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Activities of the Composers Published by the MIC.PT
Carlos Caires (a composer published by the MIC.PT) will have his work Pianíssimo (2016) performed at the Texturas Sonoras concert, as part of the Autumn Festivals at the University of Aveiro. Written for piano and wind orchestra, this piece was premiered in 2018 at the Lisbon School of Music by the pianist Ana Telles and the ESML Wind Orchestra, conducted by Alberto Roque. On October 30, this work will return to the university setting, this time at the Renato Araújo Auditorium of the University of Aveiro Rectory, featuring the same pianist and conductor, but performed by the University of Aveiro Wind Orchestra. The programme, centred on the exploration of different sound textures, will also include Morning Music by Richard Rodney Bennett (1936–2012); Fantasma Lunare (a fantasy on L. v. Beethoven’s Piano Sonata op. 27-2) by Yo Goto (1958); and Time for Outrage by Marco Pütz (1958).
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The premiere of the work entitled Vulcanalia (2025), by composer Christopher Bochmann (published by MIC.PT), will occur on October 23 at the São Luiz Theatre in Lisbon. This concert by the Orquestra Sinfónica Juvenil, in which Christopher Bochmann will also serve as conductor, will also feature works by some of the composers of the Romantic period, such as Ludwig van Beethoven, Max Bruch, and Richard Wagner. Bruch’s Violin Concerto No. 1 will feature soloist Francisco Lima Santos, concertmaster of the Gulbenkian Orchestra, who returns to his roots on this day. In a MIC.PT interview from 2014, Christopher Bochmann stated: ‘For me, composition is a vocation, in the sense that if I am not composing for some reason, I become frustrated and irritated. I often write music of a certain type because I feel like it; I don’t feel the need to respond to a “market”.’
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On October 16, the album Vórtice: para o fim de um tempo will be released at Casa da Música in Porto. It features music by composers Daniel Moreira, Miguel Resende Bastos (both published by MIC.PT), and Catarina Sá Ribeiro. The album’s performers are the Coletivo Caleidoscópio. This Artway Records CD will be presented by Carlos Guedes. There will also be a talk with the composers, performers, and technicians, as well as a performance of the CD’s excerpts. Then, on the 20th, the premiere of Daniel Moreira’s new composition for soprano, Pierrot ensemble and electronics entitled Kino-Katalog will occur at the Ira-Malaniuk-Saal in Graz, Austria. The performance will be given by the PPCM Ensemble and soprano Ana Caseiro, to whom the piece is dedicated, and who will present it in the context of her master’s degree in Performance Practice in Contemporary Music at the Kunst-Universität Graz.
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In October, the music of composer Hugo Vasco Reis (published by MIC.PT) will be performed in Austria and Portugal. On October 9, his piece Sonic Figures Project (2025) will be presented in its solo electronic version at the Sonify/ ARTikulationen 2025 festival at the Theater im Palais in Graz, Austria. Then, on October 11, his new piece Vulnerabilidade (2025) will be premiered at the 19th Síntese Festival at the Castelo Branco Contemporary Culture Centre. This piece is for soprano saxophone, accordion, two violins, viola and cello, and it was commissioned by the Síntese — Grupo de Música Contemporânea, who will also perform it for the first time. Finally, the RePercussion Trio will perform Hugo Vasco Reis’s work Fragile Movements Towards Absence (2025), for percussion trio, on October 29 and 30 at O’culto da Ajuda in Lisbon and Galerias Mira in Porto, respectively.
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 This month, on October 3 and 4, two concerts featuring works by contemporary Portuguese composers will be held in Belgrade, Serbia. On the 3rd, the Belgrade Philharmonic Hall will host the world premiere of SUPERIMPOSABLE (2025), a work for flute, piano, guitar, percussion and electronics, by the composer Gerson Batista (published by the MIC.PT). The performance will feature Marina Nenadović (flute), Neda Hofman Sretenović (piano), Nikola Jelačić (guitar), Milorad Balić (percussion), and Vladimir Korać (electronics), under the direction of Srđan Sretenović. The following day, October 4, Maja Smiljanić Radić will perform Persistent Particles (2024) for organ by the composer João Pedro Oliveira (also published by the MIC.PT), at the Cathedral of the Blessed Virgin Mary. These two concerts are being held as part of the 34th International Review of Composers (Међународна трибина композитора), an initiative organised by the Serbian Composers’ Association (Udruženje kompozitora Srbije), taking place until October 7 and visiting various venues of the Serbian capital.
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In October, the music of composer Igor C. Silva (published by the MIC.PT) will have an intense presence on international stages. Of particular note is the performance of his latest work, Sōma (2025), on October 16 at the Müpa Budapest in Hungary. The piece for quartet of improvisers, orchestra and live electronics, will be performed by the Hungarian National Symphony Orchestra, conducted by Mariano Chiacchiarini, with Igor C. Silva on electronics and synthesisers. He will be accompanied by Mané Fernandes on guitar, Zé Almeida on double bass, and Diogo Alexandre on percussion and electronics. In addition to this, there will be further performances of Igor C. Silva’s works in October. On the 4th, soprano Andrea Conangla will present Vou (2023) at the O’culto da Ajuda in Lisbon, as part of her Autopsychografia recital. On October 17, the Black Pencil ensemble will perform Love Your Opinions (2024) at the Willem Twee Toonzaal in ’s-Hertogenbosch, the Netherlands. Finally, on October 25, percussionist Tamara Kurkiewicz will perform Your Trash (2016) at the the ZeitGenuss Festival 2025 in Karlsruhe, Germany.
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In October, composer Jaime Reis, published by the MIC.PT, will have his music performed in Cyprus, South Korea, China, and Portugal. On the 8th, pianist Hayk Melikyan will perform Monólito. Ébano., at the Pharos Contemporary Music Festival in Nicosia. From 16th to 19th October, South Korea will host SONIC NOMADS 2025. The piece to be presented at the festival will be Fluxus, pas trop haut dans le ciel. This electroacoustic work will also be performed in China as part of the China International Mining Expo between the October 23 and 25. In Portugal, the Ensemble DME will premiere Sangue Inverso: Hematite, a work for violin, cello, and piano, at Lisboa Incomum on the 21st, followed by a performance at Colégio Mateus d’Aranda in Évora on the 23rd. Finally, on the 24th, the pieces Inverso Sangue: (I) Âmbar and Interlúdio IV from Bartolomeu, o Voador, will be performed by clarinettist Rúben Jacinto at Casa da Música Jorge Peixinho as part of his Clarinet Stories project.
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 The work Punge by Luís Neto da Costa (a composer published by the MIC.PT) will be premiered by the Vertixe Sonora ensemble (Pablo Coello on saxophone, María Mogas on accordion, and Nuno Pinto on electric guitar) as part of a homonymous event at the Verbum Museum in Galicia. Vertixe Sonora also features the soprano Guilhermina Gallardo, the flutist Clara Saleiro, and the pianist David Durán, as well as Diego Ventoso on percussion and Iván Ferrer on electronics. Almost all the works in the concert scheduled for October 22 will be performed for the first time. In this sense, the Punge concert, evoking “a nihilistic soundscape of punk energy within its entire dimension”, will feature the world premiere of Portuguese, South Korean, Brazilian, and German works. The programme also includes a meeting with four of the six composers, including Luís Neto da Costa, who share a residency to develop different phases of their projects. In this context, the composers will hold meetings, lectures, interviews, and conferences.
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Miso Ensemble’s opera A Laugh to Cry, with Miguel Azguime’s music and libretto and Paula Azguime’s staging and sound diffusion, will be presented on October 18 at the Centro de Artes do Espectáculo in Portalegre. The opera’s performers will be Camila Mandillo (soprano), Andrea Conangla (soprano), André Henriques (bass-baritone), Miguel Azguime (speaker), Jade Mandillo (speaker), and the Sond’Ar-te Electric Ensemble under the baton of Pedro Neves. The opera’s technical production team includes notable contributions from Andre Bartetzki, responsible for technological and live electronics direction, and Perseu Mandillo, overseeing VFX and 3D photography. As the programme note highlights, ‘ A Laugh to Cry is a scream, a warning, a new world, a utopia. This New Op-Era is conceived as an initiatory journey – a passage through the darkness of night towards the light of dawn, led by the dream of those who dare to dream’.
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On October 19, composer Pedro Rebelo (published by MIC.PT) will have his work Crana (2024) performed at the Sonic Lab (SARC) as part of the Boulez: Anthems and Dialogues programme at the Belfast International Arts Festival. Founded in 1962, this festival is the oldest arts festival in Belfast. The 63rd edition will take place from October 14 to November 9, at over 30 venues across the city. The programme includes theatre, dance, music, visual arts, literature and film, reflecting a wide variety of artistic expression. The concert featuring Pedro Rebelo’s piece will also include two emblematic works by Pierre Boulez (1925–2016): Anthèmes 2 for violin and electronics and Dialogue de l’ombre double for clarinet and electronics. The performers are the Hard Rain SoloistEnsemble – Aisling Agnew (flute), Sarah Watts (clarinet), Darragh Morgan (violin), David McCann (cello) and Daniel Browell (piano) – who premiered Crana in November 2024.
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The work sobre a areia o tempo poisa (2016), for violin, cello and piano, by composer Sara Carvalho (published by MIC.PT), is part of the programme for the final concert of Valerio Sannicandro’s artistic residency with the Ensemble DME, which will take place at Lisboa Incomum. In this recital, scheduled for October 21, Alex Waite (piano), Beatriz Costa (violin) and Ângela Carneiro (cello) will also perform the Italian composer’s own work Iconographiae (2025), as well as two other contemporary compositions for instrumental trio: Melancholia, created between 2017 and 2019 by Miguel Azguime, and the premiere of Sangue Inverso: Hematite (2025) by Jaime Reis (both composers published by MIC.PT).
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In October, the work Post Hoc Ergo Propter Hoc (2020), for digital media, video and two electric guitars, by composer Vítor Rua (published by MIC.PT), will be performed in two concerts in Germany by performers Luís Miguel Leite and José Teixeira. The first concert will take place on October 16 at Halle 16 in Sulz am Neckar, and the second on October 18 at Kulturbühne Geistreich in Konstanz. According to the programme notes, ‘the work explores different soundscapes, based on the complicity between the guitarists and the sounds of the digital medium. Post Hoc Ergo Propter Hoc creates almost theatrical and cinematic environments and is never played twice in the same way.’
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MIC.PT Highlights
 As part of the Call for Works for the ISCM World New Music Days 2026 in Romania, Miso Music Portugal/ MIC.PT, as the Portuguese Section of the ISCM, invited six composers to include their works in the official application for this festival dedicated to contemporary music. They are: Isabel Soveral, in Category 1 (Symphony Orchestra (with or without soloist[s])), with the work Anamorphoses IX (2017), for cello and orchestra; Carlos Lopes, in Category 1 (Symphony Orchestra (with or without soloist[s])), with the work Epóxi (2021), for orchestra; Solange Azevedo, in Category 4 (Large Ensemble), with the work Ensaio sobre o impulso (2022), for instrumental ensemble; Diogo Alvim, in Category 6 (Small Ensemble), with the work Jogo Duplo (2023), for piano, violin, cello and electronics; Bruno Gabirro, in Category 9 (Duo), with the work sobre a brevidade de todas as coisas (2022), for piano and cello; and Daniel Moreira, in Category 11 (Solo Cimbalom), with the work Curta-metragem n.º 2 (Brumas de outono) (2025), for solo cimbalom. The works submitted by the sections and members of the ISCM – International Society for Contemporary Music will be selected by an international jury for the inclusion in the programme of the ISCM World New Music Days 2026 festival in Bucharest, Romania, organised by the Romanian Composers’ Association (section of the ISCM), which will take place between May 23 and 31 next year.
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 The new performer page dedicated to flutist and teacher Eduardo Lucena was activated in September on MIC.PT. Born in Porto in 1940, Eduardo Lucena passed away in February this year at the age of 85. A former flutist with the Porto Symphony Orchestra, professor at the Porto Conservatory of Music and also director of ESMAE at the Porto Polytechnic Institute between 1997 and 2001, Eduardo Lucena played a key role in music education in Portugal, being one of the first teachers specialising in the transverse flute in the country. With regard to the Portuguese repertoire for this instrument, he performed works by Cláudio Carneyro, Fernando Corrêa de Oliveira, Luiz Costa, Fernando Lopes-Graça, Alexandre Delgado, Filipe Pires, Álvaro Salazar, António Pinho Vargas, Miguel Graça Moura, José Firmino, Carlos Azevedo, and Emanuel Frazão. His importance as a teacher and instrumentalist is evidenced by the fact that he was invited to join the jury of the Young Musicians Award, the 1995 Portuguese Musical Youth Competition, as well as the Helena Sá e Costa Award. In addition to his work as an orchestral flutist, Eduardo Lucena gave solo concerts and recitals. He was also a chamber musician, who belonged to ensembles such as Oficina Musical and Symphoniae Portucalensis Musici.
In 2015, flutist Gabrielle Silva presented her master’s thesis entitled Eduardo Lucena: o seu contributo no panorama musical português do século XX, which aimed to analyse and highlight Eduardo Lucena’s contribution to the Portuguese flute scene. The thesis is available at MIC.PT.
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RIZOMA
logo · riZoma
riZoma · Portuguese Platform for Intervention and Research in New Music
A network formed by various entities, linked to the creation, education, performance and research, with experience within contemporary classical music. The riZoma Platform establishes a dialogue between these entities, allowing them to speak in one voice with the audiences and trusteeship, to emphasise the effort perpetrated by many and to create a new force settled on the priceless value which contemporary classical music cerated in Portugal has for the country’s identity.
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Music of Invention & Research
 imagem ilustrativa · 10 / 10 · 1h00 a.m. · Antena 2 · Interview – Phonovoice performers
In connection with the Fonovoz/ Phonovoice meetings in Lisbon, we present interviews with some of the performers. These sound poetry meetings, curated by Manuel Portela and Rui Torres, will occur on October 10 and 11 at O’culto da Ajuda in Lisbon. Sound poetry, on the border between poetry and music, continues to explore the multiple possibilities opened up by creative work around the word-sound and the human voice. The Phonovoice sound poetry meetings are being held for the second time at O’culto da Ajuda, on the initiative of Miso Music Portugal, offering four performances, two round tables and video projections of sound poetry. The performers for the two nights will be Fernando Aguiar, Alessandra Eramo, Sara Belo and Dirk Huelstrunk. |
· 24 / 10 · 1h00 a.m. · Antena 2 · Music of Christopher Bochmann
A programme filled with music by Christopher Bochmann, composer, conductor and teacher, born in 1950 and living in Portugal since 1980. An opportunity to hear his works for different ensembles, revealing the musical artistry of a composer with a strong artistic personality. His prolific output encompasses nearly all musical genres, ranging from solo instrumental music to orchestral works, from chamber music to opera, all marked by the rigour of his musical thinking and compositional technique, as well as a unique sensitivity. This programme anticipates the Bochmann 75 concerts, by the Lisbon Contemporary Music Group, in Lisbon (at O'culto da Ajuda) and Évora (Convento dos Remédios), with works by Christopher Bochmann, to be held in early November. |
New Scores on the MIC.PT
illustrative image The score edition by the MIC.PT aims to distribute scores of works by Portuguese composers, making them available online and thus promoting the choice of Portuguese music among musicians, programmers, and researchers. Currenlty, the MIC.PT Score Catalogue contains 1192 works.
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Theses & Dissertations on MIC.PT
Dissertation submitted to the Porto School of Music and Performing Arts in order to obtain a Master’s degree in Music – Artistic Performance – Specialisation in Transverse Flute, under the scientific guidance of Dr. Daniela Coimbra and Dr. Ana Maria Liberal.
Porto, 2015
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Recent Premieres
Douro, Faina Fluvial>> see work
Douro, Faina Fluvial>> see work
Vasco Valente
Douro, Faina Fluvial>> see work
7/ 09, Casa da Música, Porto
Banda Sinfónica Portuguesa, Martim Sousa Tavares (conductor)
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7/ 09, Q.Festival 2025, Amsterdam, the Netherlands
Isabel Vaz (cello), Vasco Dantas (piano)
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09/ 09, Garcia de Resende Theatre, Évora
José Cruz (marimba, glockenspiel & electronics), Jorge Alves (viola, electronics & voice), Andrés Pérez (snare drums, electronics & voice), Pedro Rodrigues (guitars, electronics & voice) |
about CP “Frustration”>> see work
Por onde vais?>> see work
10 e 13/ 09, Cultural Exchange Portugal, Morioka and Tokyo, Japan
Daniela Anjo (flute), Yu Kakizaki (bassoon), Shun Sasaki (trumpet), Hiroki Matsuya (tuba), Takafumi Kakizaki (vibraphone), Sónia Amaral (piano)
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Curta-metragem n.º 2 (Brumas de outono)>> see work
11/ 09, Transplanted Roots: Percussion Research Symposium, Casa da Música, Porto
Manuel Campos (cimbalom)
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A impermanência do ser>> see work
12/ 09, Quarteirão de Artes e Cultura, Aradas
Beatriz Oliveira (guitar)
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Mane-Quim/ Pig-Malião>> see work
Sara Ross
13/ 09, FIO – Informal Opera Festival 2025, Loulé
Rita Castro Blanco (conductress), Sara Afonso and António Lourenço Menezes (soloists-singers), Musicians from the Orquestra do Algarve
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Abelardo e Heloísa>> see work
João Caldas
Coisas do Verão>> see work
14/ 09, FIO – Informal Opera Festival 2025, Alte
Jan Wierzba (conductor), Ana Caseiro and Ricardo Rebelo da Silva (soloists-singers), Musicians from the Orquestra do Algarve
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18/ 09, Young Musicians Festival 2025, Gulbenkian, Lisbon
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Lendas de Ródão>> see work
19/ 09, Casa de Artes e Cultura do Tejo, Vila Velha de Ródão
Bruno Cândido (conductor), Castelo Branco Sinfonietta
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Digital Perpetuum>> see work
20/ 09, Friche La Belle de Mai, GMEM, Marseille, France
TRIO & CO · Hélène Maréchaux (violin), Marine Rodallec (cello), Jean Sugitani (piano)
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21/ 09, Kölner Philharmonie, Germany
Duisburger Philharmoniker, Mariano Chiacchiarini (conductor), Mané Fernandes (guitar), Zé Almeida (double bass), Diogo Alexandre (drum set and electornics), Igor C. Silva (electronics and sythesisers)
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FEATURED NEWS
Composer, conductor and teacher Armando Santiago (1932–2025) passed away at the beginning of September. He studied Singing, Piano and Cello at the Lisbon Conservatory, as well as orchestral conducting with Hans Münch and Franco Ferrara. In 1960, he travelled to Paris to study Concrete Music with Pierre Schaeffer. Between 1962 and 1964, he received scholarships from the Portuguese and Italian governments and worked in Rome with Boris Porena, also attending Goffredo Petrassi’s course at the Academy of Santa Cecilia, where he obtained a higher diploma in Composition. His catalogue includes works for orchestra, chamber music and electroacoustics. Throughout his career, Armando Santiago expressed himself through various technical and aesthetic means. For him, composition emerged as a way of responding to a personal need, seeking the fulfilment of detail and the accuracy of each attitude. Prior to settling in Quebec, he collaborated with the Calouste Gulbenkian Foundation (1960–1968) on musicological projects. In Canada, he was director of the Quebec Conservatory of Music and its Symphony Orchestra. He also conducted the Lisbon and Porto Symphony Orchestras. He was a guest conductor with the Collegium Musicum Pommersfelden Symphony Orchestra in the Federal Republic of Germany and the Radio Canada Chamber Orchestra in Quebec. He has always been intensely dedicated to teaching, lecturing on Music History, Composition, Advanced Harmony and Contemporary Chamber Music.
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The Casa de Mateus Foundation, in collaboration with the Sond’Ar-te Electric Ensemble and the blablaLab Cultural Association, promotes the second edition of the Álvaro García de Zúñiga – Casa de Mateus – Sond'Ar-te International Lied Composition Competition. This competition aims to stimulate the creation, performance, and dissemination of new Lied works, encouraging the combination of voice with instruments and the potential inclusion of electroacoustic elements. The competition is open to composers of all nationalities, who may submit up to two original compositions that have neither been premiered, commercially published, nor awarded in other competitions. The works must have a duration of between 7 and 15 minutes and should be written for a duo. The texts chosen for the compositions must be based on the works of Álvaro García de Zúñiga, whose suggested texts are available on the websites of the partner organisations. The deadline for submissions is December 31, 2025.
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MIC.PT Interviews
Presently the MIC.PT YouTube Channel contains 36 new interviews to composers residing in Portugal, realised since 2019; as well as eight interviews from the MIC.PT Archive, realised between 2003 and 2005.
The new interviews, conducted by Pedro Boléo, were filmed at the O'culto da Ajuda in Lisbon and realised in the context of the In the 1st Person cycle of the Music Today and Music of Research & Invention radio broadcasts, produced by the MIC.PT and Miso Music Portugal for the Antena 2. They constitute a (re)visit to the creative universe of various composers published by the MIC.PT, following the Historical Interviews recorded by the MIC.PT almost 15 years ago. Today they are unique registers of the artistic evolution of each interviewed composer.
In order to access the interviews (in Portuguese) follow the links below or visit the MIC.PT YouTube Channel.
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