Luís Tinoco – Round Time

Tinoco - Round Time“Born in Portugal in 1969, Luis Tinoco spent his mature musical education in the UK at the Royal Academy of Music in London and latterly at York University. Though the record sleeve claims that he ‘creates a sound world that is uniquely, distinctively Portuguese’, I hear the style of composing I frequently find in York University concerts, and has a modern and cosmopolitan quality. Not that it is a bad thing, as it offers a broader base than falling into a nationalistic rut. (mais…)

Paulo Assis (coord.) – Emmanuel Nunes: Escritos e Entrevistas

Emmanuel Nunes“Nueva publicación conjunta de la Casa da Música de Porto y el Centro de Estudos de Sociologia e Estética Musical, tras el excelente monográfico que en 2010 dedicaron al compositor portugués Jorge Peixinho (Montijo, 1940 – Lisboa, 1995), con el título Jorge Peixinho – Escritos e entrevistas, al cumplirse los 70 años de su nacimiento. En esta ocasión, recogemos el fruto de otra celebración en Portugal de un septuagésimo aniversario, el de una de sus figuras mayores en lo musical: Emmanuel Nunes (Lisboa, 1941). La Casa da Música de Porto conmemoró a lo largo de 2011 este cumpleaños con diversos conciertos y ponencias, continuando así su estrecha relación con el compositor portugués vivo más reconocido internacionalmente, al cual dedican este segundo volumen de su colección ‘Escritos de compositores contemporâneos’, con coordinación a cargo de Paulo de Assis, encargado de seleccionar y revisar los textos que componen este libro; así como de sus traducciones, junto con Artur Morão. (mais…)

Teixeira & Assis (orgs.) – Jorge Peixinho: Escritos e Entrevistas

Jorge PeixinhoCristina Delgado Teixeira e Paulo Assis (orgs.) – Jorge Peixinho: Escritos e Entrevistas

Si uno tuviera que vertebrar la música contemporánea portuguesa entorno a tres nombres fundamentales, estos serían, sin apenas dudas al respecto, los de Fernando Lopes-Graça, Jorge Peixinho y Emmanuel Nunes.

Jorge Peixinho (Montijo, 1940 – Lisboa, 1995), además de excelente músico, compositor, crítico, docente y promotor cultural, tuvo la costumbre, como toda una ilustre nómina de creadores durante el siglo XX, de plasmar por escrito muchas de sus ideas con respecto a la música, el arte, la sociedad y las relaciones que entre éstas se establecían. Su mirada sobre la realidad cultural que le tocó vivir es al tiempo omnicomprensiva y analítica, poética y denunciadora, cosmopolita y siempre atenta a la deriva de un país, Portugal, que quizás no siempre estuvo a la altura de este creador que desarrolló parte de su formación y carrera en una Europa con la cual hizo dialogar, a través de su praxis, la música de sucesivas generaciones de compositores, músicos y melómanos lusos. (mais…)

Luís de Freitas Branco – Violin Sonatas N.º 1 & 2

«Having surveyed the orchestral music of Luis de Freitas Branco, Naxos now turn to his modest catalogue of chamber music. Born into a wealthy Lisbon family in 1890, he enjoyed a privileged musical education in Berlin and Paris. It was the French metropolis that was the major influence, though he had already fallen under the spell of Cesar Franck, having been introduced to his music by his mentor in Lisbon. Indeed his First Sonata, composed when he was seventeen, is directly derived from Franck’s well-known violin sonata, its long flowing melodies redolent of that score. It is nonetheless a most attractive score with a vibrant and joyful finale. It was to be thirty-one years, by which time he had passed through one world war, before he returned to the genre. (mais…)

Luís de Freitas Branco – Orchestral Works Vol. 4

«Luís de Freitas Branco’s symphonies, with their somewhat Franckian cyclical forms (and sometimes melodies), are more conservative than his impressionist, cutting-edge orchestral works from the turn of the 20th century. Vathek is one such, an amazing, luscious, exotic tone poem in the form of a theme and variations. Unperformed until 1950, just five years before the death of its composer, it is a masterpiece, and one of the most remarkable works of its era (there’s a variation written with something like 59 string parts, almost an anticipation of Messiaen or Ligeti).

In the Fourth Symphony (1944–52) Branco recaptures his youthful fire. The work mixes the modal melodies of Gregorian chant with tangy dissonances and supple, Latin rhythms. The result recalls the Hindemith of, say, Nobilissima Visione, though the scoring is quite different and the handling of form more traditional (save in the multi-sectional finale). Certainly this is the finest of the composer’s four symphonies, and a wonderful work by any measure. (mais…)

Paulo Esteireiro – Músicos Interpretam Camões

Estudos Musicológicos 32

Músicos Interpretam Camões: Canções sobre Poemas de Camões na Primeira Metade do Século XX

«A união entre música e poesia tem produzido, ao longo da história, algumas das experiências emocionais mais refinadas e enriquecedoras para o ser humano. Quando esta «união» é concretizada por grandes poetas e músicos de excelência, conhecedores da sua arte, o resultado emocional é sublime e as duas artes ganham. Por um lado, a emoção transmitida pela música torna-se mais inteligível devido à complementaridade trazida pelas palavras; por outro lado, as emoções do «eu poético» são amplificadas, descodificadas ou mesmo renovadas, pelo modo como o compositor dispõe os elementos musicais. (mais…)

Luís de Freitas Branco – Orchestral Works Vol. 3

«Luis de Freitas Branco (1890–1955) may not be well known, but the notes tell us that he is Portugal’s leading composer of the first half of the 20th Century. Aside from studying in Berlin and Paris, he basically spent his life in Lisbon. He became an active musicologist, a teacher and mentor of younger composers, soughtafter lecturer, and music critic, as well as a composer.

Here we have a spectrum of his music from early to late. The Death of Manfred was written in 1905 and 1906 along with his first orchestral work Manfred, Dramatic Symphony for Soloists, Chorus, and Orchestra. This is a single movement work scored for pairs of violins, violas, and cellos, all muted, and an unmuted double bass. It is, of course, a single slow movement based on a feeling of suffering. It is really quite attractive. (mais…)