“New Music Review Lounge” is an initiative of Miso Music Portugal and the Portuguese Music Research & Information Centre.  It constitutes a forum for open and free critique, where uncompromising opinions, tastes and new tendencies in music can be discussed in both breadth and depth. It is a place dedicated to contemporary music phenomena and their relation to other areas such as visual arts, dance, architecture, literature, new technologies, psychology or sociology. Our aim is to open a vivid discussion and rejoin contemporary music with other art forms and disciplines of human activity.

In our opinion music constitutes a potent social force. A critic, although frequently expressing his / her own subjective opinions, is a mediator between the composer, performer and the audience. Therefore our reviews intend to analyze and mention the technical elements and expressive aspects of composition and performance as well as their possible impact on the public. We will publish regularly creative descriptions and analysis of 20th century and contemporary musical works, performances and events, with special focus on Portuguese creation. 

Nowadays music has no boundaries and there are dozens of interesting music phenomena waiting to be described and discussed.

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Contact: Jakub Szczypa





“Contextual Piano”

Not only Lisbon and Porto but also Coimbra is an important cultural centre, including for new music, whose example was without any doubt the concert, which took place on January 12 at the Gil Vicente Academic Theatre, under the title “Do Virtuosismo Pianístico de Liszt à Multi(n)disciplina do Século XXI” (“From Liszt’s Pianistic Virtuosity to the Multi(n)discipline of the 21st Century”).



“Seven Pomegranate Seeds, in-between gestures and Timbre”

Sara Carvalho (1970) has published, under the Numérica label, a CD with her works entitled “Seven Pomegranate Seeds”. Contrary to what the title may perhaps suggest, “Seven Pomegranate Seeds” does not consist of seven parts or movements. These pieces are actually seven different works – and, indeed, from relatively distinct periods. For example, “Blows Hot and Cold”, for string quartet, dates back to 1996 and it was later revised in 1997. Other illustrations are provided by “Solos IV”, for soprano (2000), as well as other more recent pieces, written between 2006 and 2009.

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