Portuguese Music Research & Information Centre
Young Composers
In March the In Focus is dedicated to nine young Portuguese composers born in the 1980s with scores published by the MIC.PT.
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Young Composers born in the 1980s
published by the MIC.PT
The current period in Portuguese art music, which appropriately has already been denominated as the second renaissance of composition in Portugal[1] is a phenomenon, which certainly deserves more attention as well as musicological and critical analysis on the part of researchers and musicologists interested in new music. Nevertheless, perhaps due to a kind of difficulty on the part of the musicological and academic environment in taking position in relation to what is being created here and now, this reflection is often reduced and treated without proper emphasis and depth when taking into account the scale and importance of the phenomenon.
Following the February broadcasts of the Música Hoje (Music Today)[2] radio programme, dedicated to the music of some emerging Portuguese composers, in this case born in the 1980s and with scores published by the MIC.PT, we present the profiles of Sofia Sousa Rocha (1986), Daniel Martinho (1985), Ângela da Ponte (1984), Hugo Ribeiro (1983), Filipe Lopes (1981), Rui Penha (1981), Jonas Runa (1981), Nuno Peixoto de Pinho (1980) and Duarte Dinis Silva (1980). These are the nine composers In Focus in March, whose evolving careers can serve as examples and reasons for reflecting on Portuguese new music.
Putting into perspective the work of these young composers, it is possible to trace some paths for the future, not only with regards to the aesthetic implications of Portuguese art music, but also in relation to the institutional and socio-political involvement in supporting new music creation. Therefore, what are the principal trends possible to distinguish in the work of these young authors?
At the level of musical language and aesthetics one can emphasise the technological and scientific approach, where joining musical creation with a profound scientific knowledge on the sound phenomena and the use of new technologies in the domain of music informatics, accompanied by the development of new software and instruments, determine the exploration of diverse issues, such as new forms of interaction between the composers and performers, spatialization or exploration of the acoustic phenomena. This is the case of some works by Filipe Lopes relying on the performance of graphic scores generated in real time with the use of the software Õdaiko, developed by the composer within his Master’s Degree; or as in the work of Jonas Runa, composer and improviser, who uses the computer instrument Kyma; or likewise in the music of Rui Penha who has been developing diverse software and, in the same sense, exploring new interfaces of musical expression, as well as attempting to “translate musically” some physical phenomena, as in the case of his piece Pendulum, which explores gravity and the interdisciplinarity – sound / image.
Joining music with new technologies and science often goes hand in hand with intertextuality, in the framework of a dialogue between the music of various composers, with other arts, other cultures, with the tradition or the past. Within this approach lies the concept of Dialogism developed musically by Nuno Peixoto de Pinho (in such pieces as Ysin, Palabras habla or Dialogismos II) and inspired in the literary theory of the Russian formalist, Mikhail Bakhtin. In the same vein one can locate the new project developed by Ângela da Ponte, which is based on the search of a personal identity and the influence of Azorean culture in her music. In this work the composer reveals the influence of Luciano Berio, of his approach of apprehending “traditional” materials and designing from them the creative consequences.
The multiplicity of instrumental combinations, and at the same time the substantial extension of the instrumental range, the reinvention of past forms, on the one hand, and on the other, the creation of totally new forms from concepts inspired in other areas of human activity (artistic, scientific or day-to-day), all these approaches and possibilities are nowadays at the disposal of young composers. Whether blessing or curse, the creative freedom, the possibility to comprise ideas and means in accordance with a personal need, is nowadays an unquestionable reality.
In pieces as Carta a Kundera or Cartas a Mia Hugo Ribeiro enters into a personal dialogue with two great writers from world literature. As the composer says: “I enjoy the way, in which words taken from their original contexts can have various meanings. I try to translate this idea into musical terms: what would be the impact of a musical gesture if taken away from its original formal context.”[3] In the case of Sofia Sousa Rocha and her mini-opera Inês morre, the libretto by Miguel Jesus constituted a departure point for the composition, within an exercise of defining the music’s own identity when associated to a determined environment constructed by the text. On its part, in the cycle of three pieces Antologia do Tempo by Daniel Martinho we follow a gradual evolution of musical formations, symbolically expressed in the subtitles – Génese for string quartet, Ritual – fluxo contínuo for ensemble of 17 instruments, and Apogeu for orchestra; whereas in the music of Duarte Dinis Silva one can come across some extra-musical inspirations, as in the case of the piece Paralelus II, whose subject alludes to the agitation of great urban centres.
New technologies, acoustic and scientific phenomena, intertextuality, political involvement or even translation of physical gestures into music – these are some of the lines of force in the work of the nine young composers published by the MIC.PT and born in the 1980s. Certainly their careers constitute a good example of the richness, which nowadays exists on the current panorama of Portuguese art music, however, in order to have a more complete image, it would be necessary to mention here various other names from the same generation.
Connected with the musical centres in the north (Porto, Aveiro, Braga) and south-centre (Lisbon and Évora) or developing their work abroad, young Portuguese composers certainly deserve more attention taking into account the quality and variety of their creative work. This attention should come, not only from the musicological environment in the framework of critical reflection, but also from the state institutions, which for “enigmatic” reasons do not recognize nor value their creation as a significant part of the Portuguese cultural patrimony.
On the occasion of the March In Focus, we present the work of the nine young Portuguese composers, born in the 1980s and with scores published by the Portuguese Music Research & Information Centre.
Sofia Sousa Rocha was born in 1986 in Braga where she began her musical studies, Piano lessons, at the age of seven. At the age of 11 she entered the Calouste Gulbenkian Conservatoire of Music in Braga. In 2004 she entered the Composition Course at the Superior School of Music in Lisbon where she studied with Christopher Bochmann, Luís Tinoco, Carlos Caires and Carlos Marecos.
She has had works commissioned by the Antena 2 for the Young Musicians Award 2008 (Prémio Jovens Músicos), by the Alcobaça Music Festival in 2009 and last year by the Leiria Music Festival. She participated in the 2nd Score Reading Atelier of the Algarve Orchestra with the piece Papagaio sem penas, in the 7th Workshop for Young Composers by the Gulbenkian Orchestra with the piece Um e um, and in 2009 and 2010 in the Concerts of the Ricercare Choir and the Lisbon Sinfonietta dedicated to Young Portuguese Composers, with the pieces Branco em branco and Sossego, só sossego.
In March 2012 she presented her mini-opera Inês morre at the São Carlos National Theatre, as part of the cycle Love-Betrayal-Death (Amor-Traição-Morte). This work is based on the piece by Miguel Jesus under the same title, from which the author extracted the libretto with an oneiric and reflective orientation. “Associating music and text”, says the composer, “allows directing the musical idea towards a determined environment constructed by the text. In this manner, the construction of melodic lines for the opera’s characters directed the creation of the gesture, harmony, rhythm and of all other aspects involved in the act of composition, influencing the work’s discourse in a decisive way. The structure of Inês morre has the text as the guiding thread.”[4]
Recently, Sofia Sousa Rocha has made her Master’s Degree in Music at the Superior School of Music in Lisbon under the direction of António Pinho Vargas, and presently she is lecturer at the Calouste Gulbenkian Conservatory of Music and at the Companhia da Música.
Sofia Sousa Rocha on YouTube
Homenagem a Berio (2003), electroacoustic piece
Daniel Martinho was born in 1985 in Vila Nova de Gaia. In 2006 he entered the ESMAE (Superior School of Music and Performing Arts) in Porto, where he graduated in Composition and had the opportunity to work with Carlos Guedes, Dimitris Andrikopoulos, Eugénio Amorim and Fernando C. Lapa. At the same school he attended seminars and particular lessons with Klaas de Vries, Magnus Lindberg, Jonathan Harvey, Helmut Lachenmann, Vic Hoyland and Ricard Climent. Subsequently he took up the Master’s Degree in Composition and Music Theory at the same institution.
In 2010 Daniel Martinho was nominated Young Composer-Resident at the Casa da Música, where he premiered two works: Antologia do Tempo 2. Ritual – fluxo contínuo by the Remix Ensemble Casa da Música conducted by Peter Rundel and Antologia do Tempo 3. Apogeu by the Orquestra Sinfónica do Porto Casa da Música conducted by Pedro Neves. “Antologia do Tempo”, says Daniel Martinho, “was born, musically and symbolically, from a string quartet (Génese), followed by a ritual of continuity (Ritual – fluxo contínuo) represented by an ensemble (Remix Ensemble Casa da Música). Apogeu, written for orchestra (Orquestra Sinfónica do Porto Casa da Música), is a conclusion of this triptych, referring to the culmination of a musical composition, which goes in the direction of its revision and continuous adaptation. In fact, just as the musical construction intends to illustrate the continuity of evolution, the musical formations are also expanded in every piece.”[5]
Simultaneously to his work as composer, Daniel Martinho teaches Musical Theory and Analysis, Introduction to Composition and Composition Techniques. He also teaches Classical Guitar and writes music for theatre, as well as arrangements and orchestrations for various instrumental formations.
Daniel Martinho on YouTube
Composição VII (2009), electroacoustic piece
...para um Prelúdio... (2011), for 10 trombones and 2 tubas
Mr SC & The Wild Bones Gang
- Breathe... (2012), for bass clarinet and live electronics
Hugo Queirós – bass clarinet
Ângela da Ponte was born in 1984 on the Azores. She graduated in Composition from the ESMAE (Superior School of Music and Performing Arts) in Porto and presently is assistant professor at the Birmingham University where she is realizing a doctoral thesis directed by Jonty Harrison and Michael Zev Gordon.
Some of her more important activities include the participation in the 8th Workshop for Young Portuguese Composers of the Gulbenkian Orchestra where she premiered the piece EKIS III. Subsequently, in the same year she was chosen at the Labjovem, competition for young Azorean creators, with the piece Circus for multi-percussion. As Young Composer-Resident at the Casa da Música she composed a piece for the Orquestra Sinfónica do Porto conducted by Michael Sanderling (La Mer Soulevée), another for the Remix Ensemble conducted by Emilio Pomàrico (Kras en Momentum) and also for the percussionist Nuno Simões (La Fontaine Rouge), winner of the Young Musicians Award 2010 (Prémio Jovens Músicos). The 2012 projects include her collaboration with the tuba player Sérgio Carolino; composition of the song Espremendo a Laranja for the project 3’30’’ Percussive Sung Songs with Nuno Aroso and Rita Redshoes; as well as the 21KHz project, which she cofounded together with Dimitris Andrikopoulos.
“I write my music”, says Ângela da Ponte, “from a metaphoric / symbolic idea. The concept is based on a narrative, which is written before elaborating the sound world and which helps me in creating the piece’s global form and of the musical discourse. From this point I become more concerned with the gestural sense (…), which is then translated in rhythmic values and the choice of harmonic / melodic structures, timbre and articulations.”[6]
Presently Ângela da Ponte is dedicating herself to composing various works, which will make part of her doctoral project. These pieces have as a base the use of traditional Azorean songs, but also recordings of viola da terra with the purpose of exploring the instrument’s sonority and technique.
Ângela da Ponte on YouTube
Circus (2008), for percussion
Rui Silva – percussion
Retratos da Crise (2012)
21 KHz – Ângela da Ponte e Dimitris Andrikopoulos
Ângela da Ponte's oficial website: adaponte.wordpress.com
Hugo Ribeiro was born in 1983 in Lisbon and he began his music studies at the Dom Dinis Music Conservatory in Odivelas. He graduated in Composition from the Superior School of Music in Lisbon, in the classes of Luís Tinoco, António Pinho Vargas and Christopher Bochmann. In 2007 he completed the Master’s Degree in Composition at the Royal Academy of Music in London with Simon Bainbridge and Paul Patterson. More recently he has made his Doctoral Degree at the Canterbury Christ Church University and presently he is attending a Master’s Degree Course in Orchestral Conducting at the Montreal University, under the direction of Jean-François Rivest and Paolo Bellomia.
Among various public presentations of his work one should highlight the performances of Carta a Kundera at the Listen to the World! 2009 Festival in Sweden by the Gageego! Ensemble conducted by Pierre-André Valade; the premiere performance of Inventio at the Música Viva Festival 2009 performed by the Gulbenkian Orchestra conducted by Pedro Amaral; the premiere performance of the opera Os mortos viajam de metro at the São Luiz Municipal Theatre in Lisbon in April 2010, by the Portuguese Symphony Orchestra under the direction of João Paulo Santos; and the performance of the piece et alibi within the 2nd International Forum for Young Composers by the Sond’Ar-te Electric Ensemble, conducted by Guillaume Bourgogne.
If on the one hand every Hugo Ribeiro’s work presents a distinct compositional problem, on the other the composer gives importance to the problems of symmetry, with regard to the construction of intervals and chords, as well as within the formal plan. As the composers responds to one of the questions of the Questionnaire / Interview published in June last year in the In Focus section of the MIC.PT: “My compositional process varies from one piece to another, according to what it requires and depending on my geographical position and the tools I have at hand. Writing music in Montreal is different from writing it in Odivelas, in London, or in Canterbury, to name some of the locations where I have already lived. The morning coffee tastes differently, the parks and the walks are different, the motivation to compose music is different.”[7]
Hugo Ribeiro on YouTube
Paisagem cor de ferrugem (2007), for piano and orchestra
Tadashi Imai – piano
Royal Academy of Music Orchestra
Christopher Austin – conductor
Hugo Ribeiro's official website: hugoribeiro.pt
Born in March 1981 Filipe Lopes is a composer, performer and researcher, who in his work encompasses instrumental and electronic music, as well as compositions for theatre, film and dance.
In 2003 he entered the ESMAE (Superior School of Music and Performing Arts) in Porto where he attended the classes of Luís Tinoco, Fernando C. Lapa, Dimitris Andrikopoulos, Clarence Barlow and Carlos Guedes. In 2007 he was Composer-Resident at the Lab for Electroacoustic Creation of Music Music Portugal and he graduated in Composition from the ESMAE, with focus on electronic music and new media. In 2009 he made his Master’s Degree in Sonology at the Sonology Institute of the Royal Conservatory of the Hague where he worked with Paul Berg, Kees Tazelaar and Joel Ryan.
Since then he has developed strong bonds with electroacoustic music and with digital means of artistic expression; his Master’s Degree was materialized within the creation of the software Õdaiko, used for generating scores in real time. Since 2007 he has collaborated with the Educational Service of Casa da Música, as member of the Factor E and curator of the Digitópia project. Presently he is a scholarship holder of the Portuguese Foundation for Science and Technology, proceeding with his Doctorate in Digital Media at the Porto University and the University of Texas in Austin, under the direction of Carlos Guedes and Bruce Pennycook. His research area includes sound, space and identity.
Last year in October Filipe Lopes received the first prize at the European Competition for Live Electronic Music Projects for the piece Do Desenho e do Som #3, version for harp and live electronics based on the performance of a graphic score generated in real time. The piece was composed and improvised in collaboration with the harpist Remy van Kesteren. After creating Õdaiko in the framework of his Master’s Degree Filipe Lopes has been continuing the research in this matter, particularly within the possibilities of composing music in real time with a certain quantity of control. “I find particularly interesting the hypothesis of inducing musical gestures, controlling the densities and the rhythmical development, therefore [carving] the musical form. Being very different from the music notated in a fixed and traditional manner, the creation of graphic scores with the use of the software can induce new and interesting interactions between the composers and performers.”[8]
Filipe Lopes' official website: filipelopes.net
Born in 1981 Rui Penha is composer and performer of electronic music in real time. He studied Harpsichord at the Conservatory of Music in Porto and Piano at the Silva Monteiro Music Course. In 2006 he concluded the course of Music Teaching – Composition at the Aveiro University. Among the composers who directed his education one should emphasise João Pedro Oliveira, Sara Carvalho, Emmanuel Nunes, Brian Ferneyhough, Helmut Lachenmann, Flo Menezes, Martjin Padding and Louis Andriessen.
In 2003 Rui Penha won the 1st National Jorge Peixinho Award and in 2004 he received an Honorary Mention at the Música Viva International Competition of Electroacoustic Composition. In 2004/05 he was chosen for the Workshop for Young Portuguese Composers of the Gulbenkian Orchestra and in 2007 for the Young Composers’ Meeting in the Netherlands.
His music has been presented at various festivals and concert halls around Europe, preformed by ensembles and musicians as Nuno Aroso, Pedro Carneiro, the Arditti Quartet, the Sond’Ar-te Electric Ensmeble, the Remix Ensemble Casa da Música, orkest de ereprijs and Gulbenkian Orchestra. In 2011, through the Miso Music Portugal official application to the International Society for Contemporary Music, his piece ex nihilo was chosen to be preformed by the biNg bang Percussion Ensemble during the World New Music Days Festival in Zagreb.
Additionally to autonomous composition, Rui Penha also develops his activity within music for stage and multimedia, having composed soundtracks for films, television and radio, as well as interactive installations. He develops an intense activity in the domain of technology of music, with emphasis on the development of software and conception of new interfaces of musical expression. He was founder and curator of the Digitópia project at Casa da Música and presently he is professor at various Portuguese institutions for higher education, and finalizing his doctorate in Composition.
Rui Penha on YouTube
Calcinatio (2005), for soprano, instrumental ensemble, live electronics and video
Momentum Ensemble
Rui Penha – conductor
Rui Penha's official website: ruipenha.pt
Born in 1981, Jonas Runa composer, improviser and musicologist studied Physics and Mathematics at the Instituto Superior Técnico and simultaneously attended the Violin Course with Leonor Sousa Prado. He graduated in Sonology from the Institute of Sonology of the Royal Conservatory of the Hague, having been associated to such composers as Gottfried Michael Koenig, Konrad Boehmer and Clarence Barlow.
In 2007, together with Jorge Lima Barretio, he created the Zul Zelub duo, a conceptual and experimental project for piano and computer music, inspired in a theory of music philosophy invented by both: the unrealized musical energy. Relying on open form, indeterminacy, intuition and improvisation, this conceptual field explores all that precedes musical creation, all expenses of creative energy that have not yet found concrete materialization. This approach is the conceptual foundation of both the first album of Zul Zelub, and the second one, Ultimaton.
Jonas Runa has made various concerts with the musician, philosopher and shaman, Spiridon Shishigin, one of the major virtuosos on Khomus (jew’s harp). He was nominated representative of Siberian culture and Khomus music in Portugal.
Jonas Runa uses the Kyma X instrument: simultaneously hardware and software, one of the most advanced sound programming language existing today. He composes music for traditional orchestral instruments, with or without electronics, as well as for unconventional instruments (as in Sagres, music for 8 whistles and Kyma, a piece presented on board of the Sagres ship on the occasion of its 75th anniversary); he also collaborates in multidisciplinary projects with Clara Andermatt (Dez Mil Seres, Fica no Singelo and Dance Bailarina Dance!) or Joana Vasconcelos. Presently Jonas Runa is concluding one of the first doctoral theses on Computer Music in Portugal, under the subject: Aesthetics of Computer Music: the Unrealized Music Energy.
Jonas Runa on SoundCloud: soundcloud.com/jonas-runa
Nuno Peixoto de Pinho was born in 1980. In 2003 he entered the Composition Course at the ESMAE (Superior School of Music and Performing Arts) in Porto and since then he has worked with such composers as Cândido Lima, Fernando C. Lapa, Dimitris Andrikopoulos, Carlos Guedes, Eugénio Amorim and Eneko Vadillo Perez.
His works were presented at various venues and events, such as the Black and White Festival, the Peças Frescas Festival, as well as the Centro Cultural Vila Flor in Guimarães and the Helena Sá e Costa Theatre in Porto. In 2009, his work for orchestra, This is not a poem, won the 4th International Composition Competition in Póvoa de Varzim. In the framework of electroacoustic and mixed music he presented his works at the Curtas Metragens International Festival in Porto, the Doenças Digitais Concert Cycle, and in 2007 the piece Atzira at the Música Viva Festival. Between July and August 2008 he was Resident Composer at the Lab for Electroacoustic Creation of Miso Music Portugal. He participated in the 2nd International Forum for Young Composers by the Sond’Ar-te Electric Ensmeble, and in this context his piece Dialogismos II was premiered during the Música Viva 2012 Festival. In his repertoire one should emphasise such works for orchestra as Ysin, Palabras habla and Na Viagem de um Livro…; the latter was presented at the 8th Workshop for Young Portuguese Composers of the Gulbenkian Orchestra.
Presently Nuno Peixoto de Pinho is member of the Factor E at Casa da Música, as well as lecturer at the Espinho Music Academy and the Portuguese Catholic University. He also attends the Doctoral Course at the same University, directed by Erik Oña and co-directed by Sofia Lourenço, within the research area, Musical Rehash as the Creative Compositional Process (Reutilização musical como processo criativo composicional).
“I believe”, says Nuno Peixoto de Pinho, “that a musical discourse is not constructed over itself, but it is elaborated in light of one or other works and through the involvement with them (…). In other words, the «influencing» works pervade, cross and condition the discourse of the I; and so the principle of Dialogism is born, which belongs the literary current of the Russian formalist, Mikhail Bakhtin.”[9]
Nuno Peixoto de Pinho on YouTube
Your Feet (2013), for voice, percussion and electronics
3'30'' Percussive Sung Songs
Nuno Aroso – percussion
Rita Redshoes – voice
Dialogismos II (2012), for flute, clarinet, violin, violoncello, piano and live electronics
Sond’Ar-te Electric Ensemble
Guillaume Bourgogne – conductor
Ysin, Palabras habla (2010), for orchestra
Orquestra Sinfonia do Porto Casa da Música
Enrique Mazzola – conductor
Born in 1980, Duarte Dinis Silva graduated in Composition and Electronic Music from the ESMAE in Porto (Superior School of Music and Performing Arts). He studied with João Madureira, Fernando C. Lapa, Carlos Guedes, Dimitris Andrikopoulos and Eugénio Amorim, simultaneously having attended composition seminars and workshops with Emmanuel Nunes, Clarence Barlow, Klass de Vries, Magnus Lindberg and Jonathan Harvey.
In 2008 his piece Paralelus II was distinguished with an Honorary Mention at the 1st International Composition Competition by the Sond’Ar-te Electric Ensemble. The work’s theme “makes reference to large urban centres where the agitation and the human motion are accentuated every day, and where the existence of proximities and separations is common; on occasion some of these coincidences lead to the most unexpected situations. (…). [Paralelus II] develops a constant crossing of independent entities, making their paths a fundamental element in the construction of the whole.”[10]
During the months of March and April 2009 Duarte Dinis Silva was Resident Composer at the Lab for Electroacoustic Creation of Miso Music Portugal where he composed the piece Jungle 92 for flute and electronics, and which was premiered at the Música Viva Festival in 2010. In the same year he premiered the ballet for choir and orchestra Suite às Musas do Tejo, commissioned by the Music and Dance Academy of Fundão in the framework of the Lusofonias programme.
During 2012 his works were presented at the most varied venues in Portugal, integrating festivals as Serralves em Festa or Guimarães – European Capital of Culture. In response to the commission of the Contemporary Music Group Síntese he composed his first String Quartet presented in October 2012 in the framework of the Síntese Contemporary Music Festival in Guarda. The following year he went on to compose for the Síntese Group the work Music from the Motion Picture…, which was premiered at the same festival.
Recently Duarte Dinis Silva has been Resident-Artist at the Youth Academy of the Terceira Island on the Azores, as well as professor at the Superior School of Applied Arts and at the Regional Conservatory, both in Castelo Branco, as well as at the Dance and Music Academy in Fundão.
Duarte Dinis Silva on YouTube
Paralelus II (2008), for quintet and live electronics
New Ensemble
Bruce Pennycook – conductor
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1 Designation used by Virgílio Melo in: Four Premieres, Three Composers, Two Generations, New Music Review Lounge, December 2012.
2 Música Hoje (Music Today) is a radio programme produced by the Portuguese Music Research & Information Centre and Miso Music Portugal for the Antena 2.
3 Hugo Ribeiro in response to one of the questions of the Questionnaire / Interview published on June 1, 2013, in the In Focus section of the MIC.PT on the occasion of the composer’s 30th anniversary.
4 Sofia Sousa Rocha, programme notes for the mini-opera Inês morre, sent to the Portuguese Music Research & Information Centre on the occasion of the Música Hoje radio programme (broadcast on February 1, 2014). English translation: Jakub Szczypa.
5 Daniel Martinho, programme notes for the cycle Antologia do Tempo sent to the Portuguese Music Research & Information Centre on the occasion of the Música Hoje radio programme (broadcast on February 1, 2014, Antena 2). English translation: Jakub Szczypa.
6 Ângela da Ponte in response to one of the questions of the Questionnaire / Interview published in February 2014 in the In Focus section of the MIC.PT on the occasion of the composer’s 30th anniversary.
7 Hugo Ribeiro, op. cit.
8 Filipe Lopes, programme notes for the work Do desenho e do som #3 (2013), sent to the Portuguese Music Research & Information Centre on the occasion of the Música Hoje programme (broadcast on February 15, 2014).
9 Nuno Peixoto de Pinho, programme notes for the work Ysin, Palabras habla (2010), sent to the Portuguese Music Research & Information Centre on the occasion of the Música Hoje radio programme (broadcast on February 15, 2014). English translation: Jakub Szczypa.
10 Duarte Dinis Silva, programme notes for the work Paralelus II (2008), sent to the Portuguese Music Research & Information Centre on the occasion of the Música Hoje radio programme (broadcast on February 15, 2014). English translation: Jakub Szczypa.
March 2014
© MIC.PT
