Apresentações Finais :: Pós-Graduação em Composição Musical Aplicada 2023/2024
Pós-Graduação em Composição Musical Aplicada 2023/2024
Aleph Guitar Quartet | 19 de Julho, 20h, Pequeno Auditório, ESML - Andrés Hernández Alba, Wolfgang Sehringer, Christian Wernicke, Tillmann Reinbeck.
Ensemble Recherche | 20 de Julho, 16h, Grande Auditório, ESML - Anja Clift (flauta), Eduardo Olloqui (oboé), Shizuyo Oka (clarinete), Klaus Steffes-Holländer (piano),Christian Dierstein (percussão), Adam Woodward (violino), Sofia von Atzingen (viola), Åsa Åkerberg (cello). Direção musical: Rut Schereiner.
O curso de pós-graduação em Composição Musical Aplicada visa proporcionar formação técnica actualizada no domínio da produção musical, privilegiando os domínios do experimentalismo associado à multiplicidade de práticas inerentes à música erudita ocidental contemporânea e à diversidade de meios de produção que lhe são inerentes.
Na Semana da Pós-Graduação em Composição Musical Aplicada 2024, destacam-se dois concertos com estreias de obras dos alunos Luís Neto da Costa, Francesco Gulic, Pablo Andoni Gómez Olabarría, Diogo Batista, Antonio La Spina, Francisco Joaquim e Alberto Piazza.
Aleph guitar Quartet
19 de Julho, 20h, Pequeno Auditório, ESML
1) Los herejes de la diócesis de Aureliano - Luís Neto da Costa
2) Borralho - Diogo Alves Batista
3) Oltre i santi, vedo - Francesco Gulic
4) suspension - Pablo Andoni Olabarría
5) Quartetto sgretolato - Alberto Piazza
6) Grades of the double moon - Antonio La Spina
ALEPH Guitarenquartett - Friday 19th of July 20:00 - Pequeno Auditório
Program notes:
1) Luís Neto da Costa Los herejes de la diócesis de Aureliano
"Los herejes de la diócesis de Aureliano eran de los que afirmaban que el tiempo no tolera repeticiones, no de los que afirmaban que todo acto se refleja en el cielo." [The heretics of Aurelian's diocese were those who claimed that time does not tolerate repetition, not those who claimed that every act is reflected in the sky.]
Jorge Luis Borges writes this in the short story "Los Teólogos" [The Theologians], which appears in the book "El Aleph" [The Aleph] and gives its name to the guitar quartet that will premiere this piece. The stories are like abstract fantasies that I suggest you read. I chose this quote as a motto for the piece's concept: to have no rhythmic repetitions. Although there are some tremolos, most of the durations are not repeated. Even grouping patterns tend to change when repeated.
The rhythms would be too complex if I decided to notate the piece in a standard score. Therefore, I notated it as a video score. Each musician plays a note when a fixed playback touches the note as the score moves.
As for the pitches, you will notice that there are many microtones. Some of them have subtle differences. They are part of the harmonic series of a very low E. There are 125 possible notes because each musician plays 7 harmonics on each string and each string of the four guitars is tuned differently. Most of the piece is played as natural harmonics, the rest are just the open strings.
2) Diogo Alves Batista Borralho
Borralho are warm ashes, most likely from cooking your meal over an open fire filled with sparkling hot coal. For me, it is also a landmark of a spectacular hike around Gerês, which was filled with folk guitar music and shimmering lagoons reflecting the sky of a hot summer day.
3) Francesco Gulic Oltre i santi, vedo
Inspired by the intricate beauty and profound symbolism of Italian Renaissance altarpieces, Oltre i santi, vedo (Beyond the saints, I see) is a musical exploration of the dynamic interplay between foreground and background, a hallmark of this illustrious period in art history. In Renaissance altarpieces, the saints and holy figures often command immediate attention, set against richly detailed backgrounds teeming with vibrant life, distant towns, and lush landscapes. These backgrounds are not mere backdrops; they pulse with their own stories and significance, inviting viewers to linger and discover their hidden narratives. This guitar quartet seeks to musically embody this artistic dialectic. Throughout the piece, the roles of the foreground and background are continuously subverted and reversed. Themes and motifs that might initially seem to occupy the primary focus seamlessly give way to secondary elements that rise to prominence, creating a fluid and ever-changing tapestry of sound.
4) Pablo Andoni Olabarría suspension
suspension consists of four interlocking descending lines of guitar harmonics that vary their speed at different rates creating a sort of melodic hoquetus.
Each of the harmonics is recorded in real time and electronically “frozen” to create timeless microtonal structures.
5) Alberto Piazza Quartetto sgretolato
Quartetto sgretolato, is inspired to the Italian word "sgretolato", poetically translates to "crumbled" or "broken into small fragments." This term, although not commonly used in everyday language, is a poetic word and is used to describe an image or as a figurative meaning, but it’s never used to describe a sound. The choice to use this word as a title for a music comes from my desire for the audience to perceive the sound visually and feel as if they can touch it, sensing it as something made of small fragments that occasionally coalesce, only to crumble once again into infinite fragments.
6) Antonio La Spina Grades of the double moon
When reading Monas Hieroglyphica by John Dee, I understood nothing. These few words are the only thing I can remember: "grades of the double moon.”
I suppose that “double” might relate to the spiritual and the material. As above, so below. Perhaps each grade represents a step or phase in the journey towards gnostic knowledge. However, in Ficciones, Bioy Casares recalls that one of the heresiarchs of Uqbar had declared that mirrors and copulation are abominable because they increase the number of men.
Is duplication a step towards a higher state of being, or is each reflection of reality increasingly imperfect?
Ensemble Recherche
20 de Julho, 16h, Grande Auditório, ESML
1) Riglos - Diogo Alves Batista
2) sans mots - Pablo Andoni Olabarría
3) em nós inúmeros - Francesco Gulic
4) Luto Apócrifo - Francisco Joaquim
5) Notices to mariners. 1. Oh GPT - Antonio La Spina
6) Unleashing Internal Clouds - Luís Neto da Costa
7) Quando le megattere vanno a caccia - Alberto Piazza
1) Diogo Alves Batista - Riglos
Discovering Riglos with its sandy mountains like orange crayons sprouting out of feisty valleys was an absolute treasure. Just like meating Vasco Alves and recording his bagpipe music. I hoped to bring some contrasting depth to the unpredictable soundscapes I recorded of him playing by freezing them with the help of Ensemble Recherche.
2) Pablo Andoni Olabarría · sans mots
sans mots is written in the form of an early medieval three-part motet.
As is usual in these pieces, the two upper parts are based on different poems that deal with similar subjects, and each has its own character and speed. Here, however, the texts are not meant to be sung or read aloud during the performance, but guide the emotional development of the piece.
The lowest part, consisting mainly of low piano tones, works as a cantus firmus and is based on the melisma on the word interffectos - murdered - from the anonymous planctus Quis dabit (Las Huelgas Codex, 14th Century).
All three texts are reproduced below:
3) Francesco Gulic em nós inúmeros
Fernando Pessoa intricately explored the human condition through his numerous heteronyms. Among these personas, Ricardo Reis stands out for his philosophical and contemplative poetry. In the poem "Vivem em nós inúmeros," Reis articulates the profound notion that within each individual resides a multitude of selves, each with its own desires and dreams.
This composition seeks to bring to life the essence of Reis’s reflection on internal multiplicity. Pessoa's poem begins with the poignant lines:
"Inside us there are countless ones, Everyone with his difference And desires to have been different."
These words encapsulate the core idea that our inner lives are not singular but rather a collection of varied and sometimes conflicting identities. Each persona within us carries its own aspirations, memories, and experiences, contributing to the rich, complex tapestry that defines who we are.
In translating this concept into music, the composition aims to mirror the diversity and depth of the human psyche. Through a series of sections, each segment represents a different facet of our inner selves. Melodies intertwine and diverge, harmonies clash and expand, embodying the myriad voices that reside within.
4) Francisco Joaquim Luto Apócrifo
"Luto Apócrifo" is a direct reflection of the process of grief, throughout the piece all five stages of grief are referenced. The start references Denial and evolves into Anger. Depression quickly follows and leads to Bargaining, which ultimately arrives at Acceptance to finish the work.
5) Antonio La Spina Notices to Mariners 1. Oh GPT
Notices to mariners are official publications that provide essential updates on
navigational information, including changes in sea charts, costal features, buoy
placements and navigational aids. They inform mariners of new hazards,
alterations and regulatory updates.
In this sense, the piece is the first movement of an Oratorio to Chat GPT.
Lyrics
Oh Gpt show me the light of creativity
Show me the heart, show me the brain
Show me the fire and show me the flame
Show me the light to write 9 Symphonies
Show it to me.
Oh Gpt what is the future of humanity?
Pirates at sail, pirates’ avail
Will we surrender or will you downscale?
Will you take over the whole industry?
What will it be?
Oh Gpt how do I reason my morality?
Grow a goatee, part the Red Sea
Build your own cult of personality
What are the ethics of technology?
Written in C.
Oh Gpt how do I dress for such humidity?
Layers above, layers below
Breathable fabrics are one way to go
How do I dress to convey dignity?
Dressing degree.
Oh Gpt how do I access online nudity?
click to agree, only if free
Liberal values but not the Marquis
How do I get you to speak the obscene?
Naked machine.
Oh Gpt how do I garner the likes of GenZ?
Tragic foresee, tied to a tree
Forget your payphone forget your TV
How do I dive into diversity?
Where will I pee?
6) Luís Neto da Costa Unleashing Internal Clouds
Unleashing Internal Clouds is a possible continuation of Illustrate Internal Clouds composed a few years ago. It uses and amplifies some of its textures. While the other pieces for this postgraduation introduced new techniques, in this case it deepened my writing for ensemble that I have developed over the years, as well including techniques that I have used for solo pieces (e.g. clarinet and flute).
I also continue to develop a pitch technique based on the harmonic series. It uses the structure of the lowest prime numbers, and it shows the change from the B harmonic series to the C harmonic series. However, my main concern was timbre. Therefore, be aware of the different timbral possibilities of noise. They are like distinct shades of gray. Though subtle, their differences can be felt.
7) Alberto Piazza Quando le megattere vanno a caccia
“Quando le megattere vanno a caccia” is inspired by the strange and spectacular hunting techniques used by humpback whales and Bryde's whales. To bubble-net feed, whales dive deep below schools of fish and use bubbles blown from their blowholes to stun and trap fish closer to the surface. One study suggests that it is actually the acoustics from the exhalations of the whales that trap the fish (and not the bubbles): in other words, the fish are trapped within a 'wall of sound’.
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BIOS
Antonio La Spina (*1991) is a composer and a pianist. Studied in Italy, the Netherlands, Germany and Portugal and has been the composer of the Internationale Ensemble Modern Akademie (IEMA). Selected for the IRCAM Cursus in 2024/2025. Prize winner in Acht Brücken and Valentino Bucchi composition competitions. Performed by Divertimento Ensemble, Quartetto Prometeo, New European Ensemble, Barcelona Modern, IEMA, GAME, Érma, Riccardo Acciarino, Paolo Ravaglia, Alex Waite and Maria Grazia Bellocchio. Part of The Roquentin. Sets the alarm around half past ten, falls back asleep again and again.
Francesco Gulic was born in Trieste in 1999. He graduated with honours from the Bachelor Degree of Electronic Music and New Technologies at Conservatorio Tartini in Trieste (Italy) under the supervision of Pietro Polotti, Paolo Pachini, Stefano Bonetti, Nicola Buso and Francesco Rosati.
Now he studies in the Postgraduate programme in Applied Composition at Escola Superior de Musica de Lisboa (Portugal) with Luis Naon (CNSMD Paris), Rut Schereiner (CNSMD Paris), Michele Tadini (CNSMD Lyon) and Alex Waite (HMDK Stuttgart).
He also attended composition classes with Fabio Nieder, as well as masterclasses and workshops with famous composers like Stefano Gervasoni, Salvatore Sciarrino, Juste Janulyte, Ivan Fedele, Karlheinz Essl, Márton Illés and performers like Nicholas Isherwood.
He worked with Ivan Fedele as an electronic performer in “Galileo’s Journey” world premiere (2021). In 2022 he was a member of the 66th edition of Biennale Musica’s jury in Venice.
He composed stage music for the Italian translation of Pasolini’s “I Turcs tal Friûl” curated by Ivan Crico and the soundtrack for the documentary “Il sussurro della grande voce” by Mauro Caputo (VOX Produzioni, Luce Cinecittà, 2022).
He recently published his short essay “Fiori di Loto: impollinazione incrociata tra oriente e occidente nella musica di Toshio Hosokawa”, as part of “La mia musica è calligrafia. Suono e silenzio nel pensiero compositivo di Toshio Hosokawa” (EUT, 2022).
Francisco Joaquim (b. 2000) began his studies at the Conservatório d'Artes de Loures, where he graduated in classical guitar. He holds a degree in composition from the Escola Superior de Música de Lisboa, where he studied under the guidance of professors João Madureira, Luís Tinoco, and Sérgio Azevedo. Since 2017, he has been a member of the Orquestra de Percussão Corporal do Conservatório Artallis. He regularly works with the Orquestra PhilarmoniCAL and has also received other artistic commissions.
Pablo Andoni Olabarría is a Spanish composer and conductor.
His compositional style can be defined as instrumental drone music, consisting of low sustained tones with rich spectra, complex vibrating microtonal structures and an extended perception of time, giving a ritualistic sense to his music. He has collaborated with numerous ensembles such as Ensemble Intercontemporain, United Instruments of Lucilin or Divertimento Ensemble and has had his music performed in international festivals like ManiFeste (Paris), Darmstädter Ferienkurse or Impuls (Graz).
As a conductor, he specializes in contemporary ensemble music. He has worked with ensembles like OCAZ Enigma and Divertimento Ensemble, as well as classical orchestras such as the Ciudad de León Young Orchestra or the Belgrade Chamber Orchestra.
He studied in Zaragoza, Dresden and Leipzig, and has attended numerous international courses for composition and conducting. From 2022 to 2023, he was lecturer for instrumental contemporary music at the Hochschule für Musik und Theater Leipzig.
Luís Neto da Costa is a Portuguese composer, currently a Ph.D. candidate at the Aristotle University of Thessaloniki, where he is supervised by Dimitri Papageorgiou, Franck Bedrossian (KUG-Graz) and Emilios Cambouropoulos, and a FCT scholarship holder. His research focuses on the development of techniques based on the harmonic series. He was a resident artist at Casa da Música in 2017 and at Lisboa Incomum in 2023, and has received commissions from institutions such as the Portuguese Composers Association, Arte no Tempo and Antena 2. His works have been performed by groups such as Remix Ensemble, Porto Symphony Orchestra, Lisbon Metropolitan Orchestra, ars ad hoc, among others, and he has collaborated with several musicians. He has been awarded nine composition prizes. He participated in masterclasses with Luis Naón, Pierluigi Billone, among others. He studied at the ESMAE- IPP and at the University of Aveiro, and in recent years has taught analysis and composition.
Alberto Piazza (1994) graduated in Pianoforte (Bachelor degree) in 2016 at Conservatorio di Vicenza (tutor Federica Righini). He studied composition with Pierangelo Valtinoni. He graduated with full honors in Composition at Conservatorio di Mantova under the guidance of Gabrio Taglietti and Paolo Perezzani in 2018.
He has been a proofreader for Casa Ricordi since the beginning of 2020. In 2023 he made the piano reductions for two operas by Lucia Ronchetti: Searching for Zenobia and Der Doppelgänger.
His music have been performed at festivals including: 50° Festival Internacional Cervantino (2022, Mexico City), Rondò in Monferrato (2022), Cremona Spazionovecento (2020), Festival 5 giornate di Milano (2019), the presentation evening of the 11th Mantovafilmfest (2018), where his music for the silent film Paris qui dort by René Clair was performed, and the XXI Stagione concertistica degli Amici della Musica di Bassano del Grappa (2016).
Ensemble Recherche
The members of the Ensemble Recherche have been dedicated to the new and unknown since 1985. The Freiburg-based ensemble has shaped contemporary music and written musical history during this period of more than three decades – with in excess of 600 premiers and more than 50 CD recordings. The nine musicians, all internationally known soloists in the field of contemporary music, combine immense pleasure in experimentation with enthusiasm for intensive consideration of the present time. The nine soloists place their enormous musicality and their individual personalities at the service of the collective so that they can research the musical present together, as an ensemble . The considerable energy and personal commitment of each and every explains why the independent ensemble has been recognised as one of the most important players of contemporary music for more than three decades.
The Ensemble Recherche is regularly invited to the most prestigious festivals in Europe, and has made guest appearances at, among others, the Salzburg Festival, the Lucerne Festival, the Elbe Philharmonic Hall, the Concertgebouw Amsterdam, the Venice Biennale, the Donaueschingen Music Festival, the Darmstadt International Summer Courses for New Music, and the Vienna Modern. International concert tours have taken the ensemble to, among other places, Israel, Japan, China, Russia, Mexico, the USA and South America. In Freiburg the ensemble introduces the public to new developments in contemporary music and exciting composer personalities during its own series of subscription concerts.
In collaboration with both young and established composers, the Ensemble Recherche generates new impetus and greatly influences the development of contemporary music. Students of composition at the music academies in, among other places, Helsinki, Copenhagen, Linz, Freiburg, Antwerp, Reykjavik and Cambridge profit from the ensemble musicians’ many years of experience within the framework of the ensemble’s long-standing ‘Class Work’ project, in particular. The ensemble’s personal links to important composers of the 20 th century (particularly with Helmut Lachenmann, Wolfgang Rihm, Salvatore Sciarrino, Gérard Grisey, Hans Abrahamsen and Hans Werner Henze) make its musicians experts in ‘historical performance practice’ in the contemporary music of the last century.
The ensemble invests in the future and wants to pass on its spirit of research to the next generation in numerous teaching activities, such as school workshops, children’s concerts, participative youth projects, and master classes. The Ensemble Recherche thus advocates a culture of sensitive listening, a productive handling of difference, and a joyful and relaxed approach to complexity.
The Ensemble Recherche, together with the Freiburg Baroque Orchestra, has been headquartered in the Ensemble House Freiburg since 2012. During recent years, the ensemble has gradually rejuvenated itself with younger musicians and new management – ideal prerequisites for continuing to write musical history in future… The Ensemble Recherche won the City of Freiburg Reinhold Schneider Prize in 2018.
Aleph Guitar Quartet
The four musicians of the Aleph Guitar Quartet are enthusiastically committed to the music of our time. Since it was founded in 1993, the Quartet’s mission has been to present, promote, and make headway with the musical language and playing techniques of the 20th and 21st centuries, fueled by intensive collaboration with composers, sound engineers, and acousticians.In the meantime, the Aleph Guitar Quartet has helped to create a new, extensive and future-orientated repertoire for the classical guitar which is being constantly expanded by a large number of both renowned and younger composers. ANDRÉS HERNÁNDEZ ALBA, TILLMANN REINBECK, WOLFGANG SEHRINGER and CHRISTIAN WERNICKE perform regularly at such international music festivals as MaerzMusik (Berlin), Guitar Foundation of America (USA), Eclat (Stuttgart), Styrian Autumn (Graz), Warsaw Autumn, Archipel (Geneva), MusicadHoy (Madrid),One Month Festival (South Korea), Klangspuren Schwaz (Austria) and Time of Music (Viitasaari).The Quartet is sponsored by the Cultural Office of the City of Karlsruhe, the Ernst von Siemens Music Foundation, the Goethe Institute, the Spanish Ministry of Culture, the Province of Baden-Württemberg and the ZKM | Hertz-Lab.
Rut Schereiner (CNSMD Paris)
Alex Waite (HMDK Stuttgart)
Michele Tadini (CNSMD Lyon)
Organização e coordenação:
Jaime Reis (ESML - IPL)
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