(…) Galliard Ensemble, a windquintet formed in 1993 while its members were studying at the RoyalAcademy of Music, makes a very favourable impression on its recordingdebut. Its programme includes (…) two winning works from theEnsemble’s enterprising composers’ competitions: James Olsen’sImbroglio, (…) and the imaginative, arresting Autumn Wind by thePortuguese composer Luís Tinoco. (…)

Anthony Burton, BBC Music Magazine, UK

(…) Imbroglio (1998) by James Olsen (b.1982) (…) while Autumn Wind (1997) by the Portuguese composer Luís Tinoco (b.1969)displays a similarly deft touch as well as a rather more progressiveoutlook (I was frequently reminded of Lutoslawski’s later music). Bothworks were respective prize-winners in the 1998 and 1999 GalliardEnsemble Composition Competitions. (…)

Andrew Achenbach, Gramophone, UK

 (…)Luís Tinoco, a Portuguese student of Patterson at RAM in London, isrepresented with a solid contribution to the growing contemporaryrepertoire, wind quintet in two contrasted movements, the firstintrospective and brooding, the other more strident with material inrhythmic unison, vigorous and ‘frozen’ by turns, and contrastingextreme gestures; never formulaic, it keeps you wondering how it willgo. Both these prize-winning compositions should continue to winwelcomes on the recital circuit, and they make me look forward to othermusic by their composers.

Peter Grahame Woolf, Musicweb, UK

(…)An active commissioning policy, not least through their annualComposition Competition, is one of the Galliard’s most admirabletraits. This year’ winner was Luís Tinoco, a 30 year old Portuguesecomposer, whose Autumn Wind,inspired by the poetry of Philip Larkin, was a two-movement study onsonority and movement; complete in itself, yet evocative in therestrained yet haunting manner of the words that inspired it.

Richard Whitehouse, Seen&Heard, UK

(…) Luís Tinoco’s “Autumn Wind” (1997) is music of darker emotions and strong atmosphere; clearly a composer to listen out for.

Richard Whitehouse, UK

(…) Luis Tinoco’s “Antipode” compared favourably with the Saariaho and Birtwistle.
 John Warnaby, Musical Opinion (reviewing the Huddersfield Contemporary Music Festival) – March 2004, UK

(…) Reviewing the Galliard Ensemble’s debut disc on Meridian in May 2001, I was struck by the imaginative sonorities of Autumn Windby Luís Tinoco (b. 1969). That piece also finds a place on this discdevoted entirely to Portuguese music, together with two more, equallyinventive, quintets by the same composer, a Ligeti-like suite called Light – Distance and O curso das águas, a pair of studies in movement and stasis. (…)

 Anthony Burton, BBC Music Magazine – April 2004, UK

(…) “Light-Distance” is a visceral soundscape, delivered over five movements, by LuisTinoco. The Galliard Ensemble grabs the listenerfrom the first bar. (…) His “O Curso das Águas” and “Autumn Wind” return the minimalist nature that opens the disc, each as engrossing as they are entertaining.

David Alker, Musical Opinion – May 2004, UK

(…) Luis Tinoco’s ”Antipode”, an orchestral score in which powerfully rhythmic sections and quieter, sustained writing provide the opposition suggested in the title.

Allan Kozinn, New York Times – June 2005

LuísTinoco is a contemporary Portuguese composer, born in 1969, whose musicI confess I had not encountered until receiving this CD. He is clearlya composer of highly imaginative gifts and technical skill and fewlisteners will be able to resist wanting to hear a work such asSundance Sequence, inspired by the escape some years ago of two pigs,nicknamed by the press as ‘Butch Cassidy and the Sundance Kid’, whofled from a slaughterhouse near London. They were ‘on the run’ forabout a week and when finally captured their lives were spared.

Tinocohas written a fascinating musical sequence on this story, Sundance wasthe last pig to be caught, which I enjoyed hearing.

Tinoco’sother, more seriously intentioned compositions on this CD are none theless equally assured in their coloration and control of timbre andtime, and I have been much taken with the composer’s naturallyexpressed mastery of his material in these works. Each of them are, itseems to me, very well written, never pushing the instruments beyondtheir capabilities and full of a delight in composition that betokens agenuine artist. Lontano’s performances throughout, under the uniqueOdaline de la Martinez, are breathtakingly assured, especially those ofthe songs by Eileen Hulse, and all in all, I recommend this recordhighly. I should really like to hear more of Luís Tinoco’s music.

Robert Matthew-Walker, Musical Opinion – September 2006, UK

(…) The evening continued with a recent work by Luis Tinoco – the Portuguese composer whose music deserves to make a wider impact in the UK. Certainly O Curso das Aguas (The Drift of the Waters) is as striking and assured as his previous works for wind ensemble: the potential of the wind quartet (no horn) being tested over two movements that allude to natural phenomena from perspectives of relative dynamism and stasis.

Richard Whitehouse – The Classical Source (reviewing a recital by the Galliard Ensemble, at the Purcell Room – South Bank Centre, 2007)

(…) Subtlety and drama are also present in Chant for East Timorby Luís Tinoco, with multifaceted writing, in service of an enormousaesthetic tension, inspired by the tough reality of the Indonesianannexation of Timor.

Manuel Pedro Ferreira, O Público, Portugal

(…) With a very different aesthetic approach, Sundance Sequence,by Luís Tinoco, revealed an irresistible humour. A programmatic work,for which the composer wrote an hilarious text based on a true episodeoccurred in the suburbs of London: a pig’s (Sundance) epic story ofevasion from a slaughterhouse. (…) A praiseworthy whiff of fresh aircontrasting with a too circumspect environment.

Cristina Fernandes, O Público, Portugal

The music of Luís Tinoco, performed two days ago at the Salão Nobre of the Teatro Nacional de São Carlos,showed again the vitality of the Portuguese contemporary music (…). Thefour works performed, reveal the solid steps of Luís Tinoco’sproduction during the last four years. It was possible to confirm thechanges from Secret Green and Triptych, both from 1997, to Mind the Gap for marimba, written this year, with Forgotten Placesin the middle, written in 1998. In all these works stands out thecoherence and consistence of his language that, yet, does not abdicateto explore various emotions that succeed in captivating the audience.(…) Luís Tinoco wrote Mind the Gapfor him [Pedro Carneiro] and this was the first time that this piecewas performed in Portugal. The work is divided in four movements thatrepresent images of a journey through the subway or train stations inLondon. It is difficult to separate the evaluation of the work, withall its richness of rhythm and timbre, and the visuality of PedroCarneiro’s performance that made the audition of Luís Tinoco’s musicone of the most enthusiastic moments that we were confronted with,during the present music season.

Teresa Cascudo, O Público, Portugal

(…) Antipode,for 15 players, by Luís Tinoco, closed the concert in celebration. Thework starts with a difficult and delicate swing, but immediatelycontagious, as if it was an (excellent) contemporary jazz band;gradually, we are driven – in place of improvisation – to the eruditeuniverse of the unpredictable, until the arrival on the antipodes ofthe rhythmic pulse. This is only momentary, though, as Luís Tinoco,always stimulating our attention, continues discharging a battery ofimagination, with rich combinations of instruments and counterpointthinking, that could only create enthusiastic approval and admiration.

Manuel Pedro Ferreira, O Público, Portugal

(…)We can start to refer to real individualised aesthetic projects.“Invention on Landscape”, by Luís Tinoco, is a good example of this.Conceived mainly in a visual way, giving special emphasis to thefeeling of motion, it uses elements used in some of his recent works,improving them. (…) In brief: The accredited Remix Ensemble, under theexcellent direction of Sarah Ioannides, offered real contemporarymusic, in a concert where the works by Luís Tinoco, João Madureira andNuno Côrte-Real stand out: three names to retain without reservation.

Teresa Cascudo, O Público, Portugal

(…) From Luís Tinoco’s piece, “Invetion on Landscape”, [Sarah] Ioannides pointed out the “solid writing and its sound quality”, approaching it to minimalism: “Itwas conceived as a continuous moment (therefore its connection tominimalism), in which special emphasis is given to the variety oftimbre and harmonic colours, achieving a strong visual effect”.

Sarah Ioannides, [quoted by Teresa Cascudo in O Público, Portugal]

(…) Tinoco revealed a very skilled writing, each of the three movementsintroducing a well defined atmosphere and the voice worked always withintense lyricism.  For its blending technique, timbre effects and “oriental colours”, I call the attention for the third piece.

Bernardo Mariano [On the première of Three Poems from the East]

Diário de Notícias, Portugal

(…) The two world premiere performances in the programme both featured thePortuguese percussionist Pedro Carneiro in a solo role. Ends Meet byLuís Tinoco, for marimba and string quartet, was notable for itsdelicate, minimalist textures and controlled energy, and almostSchoenberg-like melodic lines. The quartet from Stroma was a good matchfor the soloist.

 Jane Dawson, The Dominion, Wellington, New Zealand

(…) I rather liked the whispered intensities of “ends meet” for stringQuartet and marimba, by Luis Tinoco. The composer wanted the idea ofcircles of material creating continuous flowing, so that one got theimpression of encountering the music already in motion rather thanlistening to a beginning. A lot of the music was sotto voce, punctuatedby occasional szforzandi and swells of volume which die away asquickly. Passages of great scampering barely-contained excitement,alternating with eerie, step-wise progressions, the often skeletalsonorities of the string quartet offset by the other-worldly resonanceof the marimba. The players, conducted by Hamish McKeich, realised thepeculiar, withdrawn beauties of the music brilliantly (incidentally, aworld premiere performance).

Peter Mechen, Mechen’s New Zealand Music Page, New Zealand

(…) From Luis TinocoI was pleased to receive an impressive orchestral work, which showsthat he is comfortable with larger canvases – too expensive to bringthose to UK, but perhaps one day Tinoco’s Round Time too may become available on commercial CD?

Peter Grahame Woolf , Musical Pointers, December 2003

(…) Luís Tinoco (b.1969) is the dominant figure, with three works on offer,all cleverly constructed and colourfully scored. I especially enjoyed Autumn Wind’sexploration of divergent yet complementary textures: melody andaccompaniment (in the first movement), chordal and contrapuntal (in thesecond).

Andrew Farach-Colton, Gramophone, UK

[review to: Light – Distance, Portuguese Wind Quintets | Galliard Ensemble | Deux-Elles DXL 1084, UK]

(…)The most satisfying new work was Luis Tinoco’s “Tracing the Memory: APortrait of Lisbon.” Sustained winds and a slow harmonic movement makefor a quiet and static surface. But beneath was a world of activity,including a gentle perpetual motion in the harp and percussion thatresembled a music box. The influence of John Adams showed up onceagain, but Marc Rothko’s color-field paintings also came to mind.

Joseph Dalton, Timesunion | NY, 18 Fevereiro 2005

(…)Friday evening’s performance by the El Paso Symphony Orchestra, underthe baton of Sarah Ioannides, highlighted a stunning performance by amaster guitarist as well as the world premiere of an excitingorchestral work by a composer who is destined to gain master status ofhis own.

(…)Luis Tinoco is a vibrant young Portuguese composer who was commissionedby Ioannides to compose an original work – a world premiere – for thefinal concert of the 2006/07 season. His charge was to write a briefpiece “full of breadth, color and direction”, which he admitted hadproved more challenging than having the liberty of length. However, inbrief span of nine minutes, Tinoco creates a piece that begins in thedepths of the orchestra and maintains a driving, rhythmic energy as itclimbs to a climatic yet whimsical conclusion.

“Ascent”contains a few simple motives that build upon one another in arepetitive yet directional fashion and Ioannides is brilliant increating a kinetic narrative. Tinoco’s score contains a challengingpercussion part that was deftly executed by the percussion section, andthe orchestra’s performance was dynamic and engaging. Although Tinoco’swork may be new to many, his name is destined to become familiar toaudiences around the world, and the audience was fortunate to be thefirst to relish this genius composition”.

 Patricia Wetzel, El Paso Times, Saturday, April 21, 2007

(…) LuisTinoco’s End Meet was a textural study of criss-crossing, shiverysonorities in a minimalist patchwork, presented without a slip betweenhand and instrument.

The NZ Herald, William Dart – 23 August, 07, NZ

(…) Luis Tinoco’s Ends Meet portrayed translucent qualities.

The Waikato Times – Andrew Buchanan-Smart, 23 August, 07, NZ

(…) Luis Tinoco’s Ends Meet is a minimalist work with exhilarating surges in rhythmic pattern.

The Otago Daily Times – 15 August, 07 – NZ

(…) Theconcert opened with Luis Tinoco’s “Short Cuts (C),” scored for threeclarinets, saxophone, two vibraphones, marimba and piano. The work isingeniously crafted. Tinoco uses one tone out of which the entire workis constructed. In effect, the piece explores the coloristicpossibilities of this note, and how one note can generate the thematicmaterial for a piece of considerable substance.

Edward Reichel – Deseret News, 19 Out. 2007 – USA

(…) The evening opened with Luis Tinoco’s delightful “Short Cuts (C)”. Scoredfor three clarinets, a saxophone, two vibraphones, a marimba and apiano, it darted, coiled and sprang, zigged, zagged and ricocheted withinfectious energy. Principal clarinetist Tad Calcara had the showiestpart and pulled it off with virtuosic flair.

Catherine Reese Newton -The Salt Lake Tribune – USA

(…) Something of a milestone in this respect was ‘Evil Machines’, a delightful musical fantasy written and directed by Terry Jones (of Monty Python fame) with music by one of the bright stars of the Portuguese musical scene – Luis Tinoco. What they succeeded in creating together was something with all the fun of a musical (and the incomparable and penetrating humour for which Terry Jones is of course famous), but also some of the richness of an opera (the Orquestra Metropolitana de Lisboa was conducted by Cesário Costa); and in the process they inspired the cast of twelve (mostly young) singers to put their own unique touch to the show. On to the stage of the S. Luiz Theatre in January of this year sprang the most unlikely cast – of hoovers (including ‘possibly the world’s most powerful vacuum’ towering fifteen feet in the air), parking meters, wild cars, tumble-dryer, egg-whisk, alarm clock, telephone, cooker, remote control, petrol pump, aeroplane, motorbike and scooter. The human race was represented by Mrs Morris, the girl Nancy (named after Terry Jones’ dog), her mother, the inventor (good or evil or both?), a policeman and an employment officer.

Nicholas McNair – The Gentle Muse, 29th Feb. 2008

(…) this evening began with an orchestral “overture” [Antipode] by Luis Tinoco, a characterful and rhythmic piece played by the splendid Orquestra do Algarve.

Peter Grahame Woolf, Musical Pointers, review to the AlgarveOrchestra’s concert at the Queen Elizabeth Hall, London – March 2008

 (…) Composer Luis Tinoco made the trip from Portugal for the Americanpremiere of his “From the Depth of Distance”, which featured a marveloussoloist, Ana Quintans singing the original Portuguese text of a poem bythat name by Fernando Pessoa, entwined with textfrom “Passage to India” by Walt Whitman.
Tinoco’s composition was exquisite, possibly one of the very best new works performed through the years of this series.

Judith White – The Saratogian, 27th Sept. 2008

(…) The new work by the young Portuguese composer Luis Tinocowas a stunner: “From the Depth of Distance,” for soprano and orchestra.Miller, in his pre-concert remarks, called the work “luminous,” asindeed it was. Brilliantly orchestrated, it struck me as a blend of theharmonic vocabulary of John Adams with the sensuous instrumentation ofVilla-Lobos. The score possesses an air of seductive charm, which I foundextremely evocative. Soprano Ana Quintans, who possesses a beautiful,clear voice with little vibrato, was perfect for the piece, and sungthe demanding work magnificently.

Stephen Dankner – The Advocate, 2nd Oct. 2008

(…) Undoubtedly,the evening’s highlight was a lovely cantata titled “From theDepth of Distance” by the young Portuguese composer LuisTinoco. (…) ThePortuguese soprano Ana Quintans, making her Berkshiresdebut, gave it an enthrallingly rapturous performance that movedand delighted.
 Raphael Rothstein – 15 Minutes Magazine, November / December 2008
(…) [Luis Tinoco's "Short Cuts C"] is seductive and soothing, with floating minimalist harmonies and cushiony timbres driven by the pulsing 16th-notes of marimbas, clarinets, tenor saxophone and piano.
John Von Rhein – Chicago Tribune, 14th January 2009
(…) Luis Tinoco’s “Sea of Tranquility” was the most successful. Exploring the evening’s theme of voyages, Tinoco looked at the 1969 moon landing, gathering spoken texts that ranged from classic science fiction to Apollo mission transcripts.
Spoken by the excellent vocalists Alexandra Sweeton and Kamala Sankaram (…), the words wove in and out of an orchestral wash initially reminiscent of Ligeti before breaking into Stravinsky-esque rhythms, showing Tinoco to be a fine orchestral craftsman.
 B.A. Nilsson – Metroland, 6th March 2009
(…) Take a bow, ASO, you blew away the rest of the field. The acclaimed symphony’s 2008-09 season launched with the stirring and mesmerizing world premiere “From the Depth of Distance” by Luis Tinoco and concluded with Gustav Mahler’s epic First Symphony, which brought the audience to its feet for a long sustained standing ovation.
Michael Huber – Timesunion, 11th June 2009
(…) Luis Tinoco’s tribute to the people of Portugal’s former island colony [Chant for East Timor] was emotionally powerful in exploiting new ways of string-writing; a substantial threnody that could enter the repertoire given a chance.
Peter Grahame Woolf - Musical Pointers, 22 Jun. 2010
[reviewing the Portuguese Chamber Orchestra début concert at the City of London Festival]
(…) The music and dance of the Portuguese-speaking world is the main theme of the festival, and the [Portuguese Chamber] Orchestra (on its British debut) offered two examples – Braga Santos’s moodily romantic Nocturno and Luís Tinoco’s haunting Chant for East Timor.
Richard Morrison - The Times, 23 Jun. 2010
[reviewing the Portuguese Chamber Orchestra début concert at the City ofLondon Festival]
(…) “Short Cuts”, de Luís Tinoco – obra de uma surpreendente fluência e grande requinte tímbrico (…)
Rui Pereira – Ípsilon, Público, 2010

Music box—the water and the curling are the strong themes of Luís Tinoco’s recording

(…) The work that gives the title to the CD, “Round Time” (2002), is the only one purely orchestral and its also the oldest one. With the orchestra enhanced with a generous percussion section, Tinoco creates varied atmospheres, sometimes quiet, other times hallucinatory, spectral, but also gravitational, that keep the listener in a state of animated suspension. “Round Time” starts well, with a few sound drops suddenly interrupted by amazements of grandiosity and impressionistic flashes. The work’s unity is achieved through a continuous inner pulse—heightened now and then by energy boosts—, and the closing of the piece emerges with an unexpected and short jazzy passage. (…)

(…) Tinoco writes well for voice—the operas “Evil Machines” (2008) and “Paint Me” (2010) prove this—and he has worked before with the three soprano of this recording. “From the Depth of Distance” (2008), premièred by the Algarve Orchestra and the Albany Symphony, sets fragments of Fernando Pessoa’s “Ode Marítima” and Walt Whitman’s “Passage to India”, in the limpid and luminous voice of Ana Quintans. (…) [From the Depth of Distance] Is, to me, the highlight of the program—a truly mesmerizing work. The subject and the rhythm of the voyage, the sea and the train are present in the singer’s vocalizes and in the ethereal balance that lullabies and enchants us.

Jorge CaladoExpresso, May 2013

Luìs Tinoco (1969) è un compositore portoghese di cui si conoscevano discograficamente alcuni lavori da camera, sparsi tra raccolte compilative sui compositori portoghesi tra cui dei quintetti ai fiati (soprattutto “Light – distance,O curso das aguas” e “Short cuts” per 4 sassofoni), un quartetto d’archi in stile contemporaneo (“Quarteto” performato dagli Arditti String quartet) e una composizione per marimba, “Mind the gap”. In un àmbito totalmente diverso e particolarmente maturo, Tinoco adesso pubblica per la Naxos una serie di quattro composizioni orchestrali (Orquestra Gulbenkian di Lisbona) in cui si apprezza lo stile compositivo che spazia nei meandri dei contrasti timbrici tipici delle orchestre romantiche e soprattutto di quelle post-Stravinsky (Le sacre du printemps e simili), ma in una maniera molto personale: a differenza di quanto potete pensare, nel suo stile non troverete la debordante drammaticità del romanticismo, nè la continua forza d’impatto delle orchestre del novecento, nè tanto meno gli ostinati di Stravinsky; Tinoco conduce i temi in modo sommesso, con l’orchestra che si caratterizza per un entrata e una conduzione discreta, sognante, che può ben rifugiarsi in quel senso di incoscienza delle menti prodotto dal flusso artistico dell’impressionismo musicale. Solo nei momenti decisivi, la scrittura si erge formando incastri disorientati e disincantati. “Round Time” assomma tutte queste caratteristiche dentro di sè. Invece le successive composizioni aggiungono un’elemento in più: la vocalità come veicolo espressivo della narrazione di un testo poetico. Tinoco si affida a soprani diversi (Ana Quintans, Yeree Suh e Raquel Camarinha), introducendo accanto al solito flusso strumentale, la caratterizzazione della sua provenienza geografica che, quando non è totalmente presente (vedi “Cancoes do sonhador solitario”) si ascolta nella parte bassa della tonalità delle cantanti soprano, alternando la scrittura inglese per dedicarla a quella rientrante nella parte alta della tonalità (in questo senso “From the depth of distance”): qui gli accenti indiscutibilmente malinconici e pieni di vita della lingua portoghese, il tono austero ma sommesso del canto che si avvicina alla struttura di una song cycle (sebbene non lo sia soprattutto per via della durata delle composizioni), di quelle song cycle piuttosto lontane da quelle operazioni esibizionistiche e poco intime dell’opera, la sapienza nel costruire il flusso compositivo nel suo insieme ci restituiscono un compositore che a ben ragione affronta con personalità e gusto gli “old themes”, il suo è un marchio ben udibile in cui tutti gli elementi citati (struttura orchestrale, canto ed accenti linguistici, umori, etc.) sembrano svilupparsi tutti assieme e contemporaneamente. Questa pubblicazione si fregia della minuziosa descrizione di tutta la movimentazione orchestrale fatta nelle note di copertina da Marc-Andrè Dalbavie, un aspetto non secondario che dà la conferma della statura internazionale del compositore portoghese, ma non è il solo: in “Round time” sono ricercate ed azzeccate tutte le scelte, dalla nomina dei soprani al tipo di orchestrazione, dalla riproposizione dei testi di Fernando Pessoa, Almeida Faria (suo attuale ammiratore) e Walt Whitman, ai rapporti con la tonalità che conduce a linee compositive molto moderne nello spirito, che pur rimanendo inserite nell’alveolo della tonalità, sembrano arguire aspetti appartenenti al mondo del suo contrario (l’atonalità, la simpatia musicale per Berio e le parti meno chiare). E per quanto mi riguarda ritengo anche toccante la dedica di questo cd, fatta da Tinoco al compianto e giovane pianista e compositore Bernando Sassetti, un talento prematuramente scomparso qualche tempo fa in incredibili circostanze casuali.

Percorsi Musicali – July 2013

(…) The concert on Friday evening was a real highlight of my trip to IHS 45, with stellar performances from Abel Pereira (premiere of a new concerto by Luís Tinoco), Jasper de Waal (Mozart Concerto, K. 447), and Frank Lloyd (Britten Serenade).

James Boldin – Horn World – 4th August 2013

(…) The evening concert was a wonderful experience. Great discoveries have been a highlight of this symposium and the Horn Concerto by Luís Tinoco was no exception. Very atmospheric music beautifully performed.

Bruce Richards (*) – 17th Sept. 2013

(*) Co-Principal Horn with the Liège Royal Philharmonic.   Professor of Horn at the Liège Royal Conservatory

Luís Tinoco is one of the most interesting composers from the new generations of Portuguese music. Round Time was one of the works that more decisively marked his career and, in this work, Tinoco reveals a rich orchestral canvas, capable to invent a mosaic of very contrasted sound atmospheres. The remaining works in this CD are all vocal, one territory that Tinoco controls in perfection. From the Depth of Distance was written in reply to a commission under the subject of the Portuguese navigators, although the musician preferred to focus on the idea of “inner discoveries”. The poems by Pessoa and Whytman are sung by a soprano that alternates from the syllabic to the recitative, with some jazzy influences. Search Songs, is a cycle that reveals more dramatic tones and embodies some repetition features. Finally, the Songs from The Solitary Dreamer reveal a melancholic tone, with very subtle sound effects, such as the music box that is portrayed in the first song. This is a very fine composer that deserves all our attention. Moreover, the Gulbenkian Orchestra is one of the best in Portugal and the production must be credited to Antena 2, the classical radio channel from RTP, fully showing what a public radio can do for the promotion of its country’s music.

Clara Berea – RITMO magazine, No. 868 – October 2013
David Alan Miller and the Albany Symphony have been Grammy nominated for their recording of John Corigliano Conjuror/Vocalise, featuring a percussion concerto written for Dame Evelyn Glennie, cast in six parts, showcasing three different percussion families solo and with orchestra in a 36-minute work with a satisfying cumulative effect. Miller also helms the Orquestra Gulbenkian in a recording of pieces by Portuguese-born Luís Tinoco, leading off with the percussion-heavy “Round Time.” Both CDs are excellent showcases of new music; both are on Naxos.
B. A. Nilsson – Metroland – 12 December 2013
(…) Open source ranged far and wide in terms of ambition, scope, and attitude. There was room for pieces featuring cheeky allusions and playful “rewiring” of musical codes as well as epic-scale updatings of the Gesamtkunstwerkmeme and its goal of a total-immersion experience. Pieces like Spam! by the Portuguese composer Luís Tinoco (on hand as this year’s guest composer) offered a sardonically comic take on the flotsam and jetsam of spam email in our procrastination-information culture.
Thomas May – Memeteria – 19th February 2014 [reviewing Seattle Chamber Players' Icebreaker VII Festival]
(…) I also very much enjoyed Tinoco’s kaleidoscopically orchestrated ruminations in FrisLand, which he describes as “an imaginary voyage through an (also imaginary) sound-world inspired by Frisell’s music.”
Thomas May – Memeteria – 10th June 2014 [reviewing Seattle Symphony Orchestra "Sonic Evolution" concert]
(…) “Before Spring,” a 2013 piece written as a commission to play as prelude to Stravinsky’s “Rite of Spring,” showed Luis Tinoco as both a thoughtful and communicative composer. A personable recorded speech by the composer was followed by a ten-minute work that took Stravinsky’s familiar-yet-still-challenging language and reworked it into a dreamy, cinematic landscape that sounded like a frozen tundra broken increasingly by bursting buds. Long tone clusters, exposed oboe, hovering flutes, staccato piano – all nodded to the great work while creating another completely new one. Finally, with almost all the wind and brass section playing from throughout the auditorium, the piece surrounded the audience in a crescendoing cloud of discord – only to end with that iconic high C on bassoon, hinting at the masterpiece to come. The awed audience member who uttered a solo “Woah!” after the baton dropped summed it up for all of us.
Rosemary Ponnekanti – The News Tribune – 23rd November 2015
The Sublime through the violoncello: from Schubert to Tinoco
(…) Between the works of Cherubini and Mendelssohn we heard the new Concerto for cello and orchestra by Luís Tinoco (premiered the previous day in Almada), in which the soloist Filipe Quaresma stood out. He had already played Brahms’ Double Concerto for violin, cello and orchestra at the CCB this year, where, in excellent partnership with Johannes Lorstad and the Orquesta de Extremadura, directed by Nuno Côrte-Real, he boasted of his impressive technique at the service of a rare expressive intensity. But the cello that brought us Luís Tinoco’s Concerto, pointing to a similar level of virtuosity, uses different writing techniques and is, aesthetically, another animal, less anchored in the subjectivity and the soloist exuberance expectable under the heritage of romanticism. Here, in one of the possible narratives, the sound of the cello begins by rising in melancholy over a desolate landscape, melodically inert, conveyed by the orchestra.
Thin rays of light, however, will animate it, and we hear a being in timid expansion; the cello follows it, learns its contours, and is submerged. Then the solo breaks out, and the orchestra echoes its gestures, its will, intimately and waving in waves, coloring itself with variegated sonorities.
New transition: then we have the orchestra in earthquake mode, with its ocher and stony replicas. There is no place for the subjective: we still have no concert but, instead, immersion in the revolving magma. But the energetic, serpentine motive of the convulsing earth opens the way to a dialogue, and remains as memory in the discourse, now accepted by the orchestra, of the cello, which imposes a calming harmony, cyclically iterated in shades of blue.
Whatever our degree of strangeness in the course of the Concert, we are at last fully convinced: Luís Tinoco has succeeded in writing a piece that is recognizably his, which honors tradition in a challenging manner and which, in its coherence and its novelty, opens horizons to the imagination. Filipe Quaresma sailed like a fish in water in this complex and suggestive score, rich in timbral and textural combinations, loaded with jolts, sometimes merging with the strings section, now standing out in the high register with total authority, which earned him, In the end, three calls to the stage to receive the applause.
Manuel Pedro Ferreira - O Público - 20th February 2017
The Violoncello’s essence of sound
(…) Luís Tinoco’s Cello Concerto was heard this Sunday at the CCB, played by the same performers that gave its World première the day before: Filipe Quaresma (soloist), the Portuguese Symphony Orchestra and maestro Pedro Neves.
Its a concert in autumnal tones, never distant from concepts such as elegy, litany and even threnody. The work reveals great consistency, achieved through successive evolving environments, in a spectrum tight with contrast and, in its materials, plenty with organic derivation (melodies, harmonies, intervals, rhythms). The solo writing is concertante, therefore in straight dialogue with the orchestral fabric, and the solos often suggest the freely improvised reverie. In one and another environment / conceptions, Filipe Quaresma was, on the one hand, attentive and reactive, and on the other hand, imaginative. (…)
Bernardo Mariano - Diário de Notícias - 22nd February 2017