Incipit was written in 2015, following a commission from the OPART to celebrate the 450th anniversary of the foundation of the city of Rio de Janeiro, and it was first performed in June of the same year by the Brazilian Symphony Orchestra at the City of the Arts and the Theatro Municipal. The music score of this work quotes some excerpts from ‘Audivi Vocem de Caelo’ a motet by the Renaissance and early Baroque Portuguese composer Duarte Lobo. Click here to listen to this motet.
Paulo Vassalo Lourenço
On this same day, at 9.30 pm., the Gulbenkian Choir conducted by Paulo Vassalo Lourenço will sing Descubro a Voz at the Jerónimos Monastery in Lisbon. This concert program offers a rich approach to Iberian poetry with works written by a varied group of composers of the 20th and 21st centuries.
Following a first collaboration in November 2014, composing the music for Paulo Ribeiro‘s choreography Lídia, Luís Tinoco has written a new score for the CNB‘s latest production Carnival – a fantasy after Camille Saint-Saëns’ “The Carnival of the Animals”. This new production, with choreography by Victor Hugo Pontes and music direction by Cesário Costa, conducting the Portuguese Symphony Orchestra, gathers a group of 12 Portuguese composers that have written the music for separate tableaux to be interspersed with Saint-Saëns‘ work: Sérgio Azevedo, Carlos Caires, Eurico Carrapatoso, Andreia Pinto Correia, Nuno Corte-Real, Pedro Faria Gomes, Mário Laginha, João Madureira, Carlos Marecos, Daniel Schvetz, Luís Tinoco and António Pinho Vargas. The title for Tinoco’s contribution for this collaborative work is “Centaur – Chiron“.
Carnival will have its première on the 16th of June, 9.00 pm, at the Teatro Camões in Lisbon, and it will be followed by seven more performances on the 17th, 18th, 23rd, 24th, 25th (9.00 pm); and the 19th and 26th at 4.00 pm. Two more performances on the 1st (9.30 pm) and the 2nd (7.00 pm) of July are also scheduled for the Rivoli Theatre, in the city of Porto. Click here to know more.
On his program notes for Zapping, Tinoco wrote that (…) this work was written as a response to a commission where I was asked to pay a tribute to Mozart and Haydn’s late symphonies. By being confronted, today, with the 18th century, I decided to do a musical reproduction of the “spirit” of zapping – a typical manifestation of our contemporary experience, in so many fields and contexts. Therefore, in this piece, there is no developing of material nor any organic discourse within the musical narrative. Zapping starts as it starts and ends as it ends. But it could start and end differently. As opposed to a music that would try to explore the maximum consequences of its material, I was attracted – and for a duration of 4’33″ – to exploring the idea of briefness and speed, so that detailed and careful listening would become virtually impossible. Within this context Haydn’s B-flat Major Symphony No. 102; and Mozart’s E flat Major No. 39 K.543, became a mere “pretext” – or, even, as mere ‘objets trouvés’. As the music evolves, using some fragments of both symphonies, I propose my personal zapping. (…)
Between the 7th and the 17th of June, Joana Seara (voice) and Jan Wierzba (piano) will be on tour in Brazil, performing a series of recitals devoted to songs written by Portuguese and Brazilian composers. This program includes the World première of Fogo, a song composed by Luís Tinoco setting a poem by Almeida Faria and written following a commission by the mpmp.
Wierzba & Seara
These recitals will happen on the 7th (20:30h, Centro Cultural São Paulo); 8th (20.00h, Teatro Procópio Ferreira, Tatuí); 15th (19:00h, Portuguese Embassy, Brasília); and the 17th (20:00h, Sala Cecília Meireles, Rio de Janeiro). Click here to know more.