“Contemporary Music Reunions” Weekend

This morning, as part of the “Reencontros de Música Contemporânea” (RMC), the Sala Estúdio do Teatro Aveirense is occupied by a group of young music students, from different conservatories, academies and professional music schools, some for their first contact with contemporary music. They will remain there until the end of tomorrow afternoon , in a work guided by the conductor and composer Carlos Lopes, with musical computer assistance from Nádia Carvalho, exploring a new work by João Moreira (2004), commissioned by Arte no Tempo for this New Music for New Musicians stage - work that culminates with a public performance, at 7 pm on Sunday , also including the interpretation of a work commissioned for the 2nd stage, in 2019, by Tiago Cutileiro (1967), as stated in a press release received by our newspaper, adding that, before that, RMC proposes a solo cello recital for this Saturday , at 7 pm , at the Igreja das Carmelitas, and a trio for the evening, in the Main Room of the Teatro Aveirense (9.30 pm ).

Aveiro cellist Gonçalo Lélis performs at the Carmelite Church

The cellist performing at the Igreja das Carmelitas is Gonçalo Lélis, a soloist from Aveiro who last Sunday performed Schumann’s Concerto with the Orquestra Filarmonia das Beiras. The programme he brings to the RMC is, however, radically different and quite diverse, combining the most revolutionary music of the 20th century with the best of the Baroque. “Pression” [1969], by Helmut Lachenmann (1935) is one of the landmarks of what the composer called “musique concrète instrumentale” – which, roughly, we can translate as concrete music created through a less conventional use of the conventional instruments of an orchestra. Avoiding sounds of a defined pitch, the composer draws the listener (and the performer) into a new way of thinking about musical art in which, before everything else, comes the sound. This is a “perscriptive” score, which focuses on the action to be developed: the performer reads the “recipe” of movements/gestures/actions that he/she must perform, focused on a bodily and spatial awareness, of which the sound seems to be a mere consequence.

The cellist, according to the statement, is literally asked to press, shake, squeeze, slide, hit and touch different parts of the instrument, sometimes with a bow, sometimes directly with his hands, revealing, through different gestures, a range of unexpected sounds.

Immediately after this “radical” work, Gonçalo Lélis will perform “Anamorphoses IV”, a work by Isabel Soveral from which “Anamorphoses V” is derived, which ars ad hoc will perform the following weekend at Teatro Aveirense. And before Suite No. 5 for solo cello (scordatura), by the great Baroque master JS Bach (1685-1750), Lélis will perform a work for cello and electronics by the British Joanna Bailie (1973), music that enters into dialogue with that work by Bach through a process of quotation.

Bach left two versions of the score for that one, one of which is tuned differently. This one has the high string tuned a whole tone lower than the usual “A”, making the already somber suite even more solemn and dark.

Re:Flexus Trio performs on Saturday

In the evening, the long-promised concert by the Re:Flexus Trio will perform a programme that was also conceived as a whole: after “Märchenerzählungen”, Op. 132, by Robert Schumann (1810-1856), Maria Isabel Mendonça, Catarina Gonçalves and Ana Sofia Matos will perform the work that György Kurtag (1926) composed with Schumann’s work in mind – “Hommage a R.Sch.”, op.15d [1990] – and will premiere the work that Nádia Carvalho (1995) composed on commission from Arte no Tempo, with funding from the Directorate- General for the Arts, for this same concert – “Was it the Lyrical Nightingale” [2025], for trio and electronics.

“ Family Concert” on Sunday

On Sunday morning , ars ad hoc will be performing a “family concert” (11 am ), welcoming the public to the stage of the Teatro Aveirense’s Main Hall, performing works from modernism (Debussy and Stravinsky) until 2024. With tickets costing three euros, there are plenty of good reasons to discover new music.

Arte no Tempo is a structure based in Aveiro, financed by the Portuguese Republic - Culture/General Directorate of Arts. The “Reencontros de Música Contemporânea” is one of its projects , organized in co-production with Teatro Aveirense.

This morning, as part of the “Reencontros de Música Contemporânea” (RMC), the Sala Estúdio do Teatro Aveirense is occupied by a group of young music students, from different conservatories, academies and professional music schools, some for their first contact with contemporary music. They will remain there until the end of tomorrow afternoon , in a work guided by the conductor and composer Carlos Lopes, with musical computer assistance from Nádia Carvalho, exploring a new work by João Moreira (2004), commissioned by Arte no Tempo for this New Music for New Musicians stage - work that culminates with a public performance, at 7 pm on Sunday , also including the interpretation of a work commissioned for the 2nd stage, in 2019, by Tiago Cutileiro (1967), as stated in a press release received by our newspaper, adding that, before that, RMC proposes a solo cello recital for this Saturday , at 7 pm , at the Igreja das Carmelitas, and a trio for the evening, in the Main Room of the Teatro Aveirense (9.30 pm ).

Aveiro cellist Gonçalo Lélis performs at the Carmelite Church

The cellist performing at the Igreja das Carmelitas is Gonçalo Lélis, a soloist from Aveiro who last Sunday performed Schumann’s Concerto with the Orquestra Filarmonia das Beiras. The programme he brings to the RMC is, however, radically different and quite diverse, combining the most revolutionary music of the 20th century with the best of the Baroque. “Pression” [1969], by Helmut Lachenmann (1935) is one of the landmarks of what the composer called “musique concrète instrumentale” – which, roughly, we can translate as concrete music created through a less conventional use of the conventional instruments of an orchestra. Avoiding sounds of a defined pitch, the composer draws the listener (and the performer) into a new way of thinking about musical art in which, before everything else, comes the sound. This is a “perscriptive” score, which focuses on the action to be developed: the performer reads the “recipe” of movements/gestures/actions that he/she must perform, focused on a bodily and spatial awareness, of which the sound seems to be a mere consequence.

The cellist, according to the statement, is literally asked to press, shake, squeeze, slide, hit and touch different parts of the instrument, sometimes with a bow, sometimes directly with his hands, revealing, through different gestures, a range of unexpected sounds.

Immediately after this “radical” work, Gonçalo Lélis will perform “Anamorphoses IV”, a work by Isabel Soveral from which “Anamorphoses V” is derived, which ars ad hoc will perform the following weekend at Teatro Aveirense. And before Suite No. 5 for solo cello (scordatura), by the great Baroque master JS Bach (1685-1750), Lélis will perform a work for cello and electronics by the British Joanna Bailie (1973), music that enters into dialogue with that work by Bach through a process of quotation.

Bach left two versions of the score for that one, one of which is tuned differently. This one has the high string tuned a whole tone lower than the usual “A”, making the already somber suite even more solemn and dark.

Re:Flexus Trio performs on Saturday

In the evening, the long-promised concert by the Re:Flexus Trio will perform a programme that was also conceived as a whole: after “Märchenerzählungen”, Op. 132, by Robert Schumann (1810-1856), Maria Isabel Mendonça, Catarina Gonçalves and Ana Sofia Matos will perform the work that György Kurtag (1926) composed with Schumann’s work in mind – “Hommage a R.Sch.”, op.15d [1990] – and will premiere the work that Nádia Carvalho (1995) composed on commission from Arte no Tempo, with funding from the Directorate- General for the Arts, for this same concert – “Was it the Lyrical Nightingale” [2025], for trio and electronics.

“ Family Concert” on Sunday

On Sunday morning , ars ad hoc will be performing a “family concert” (11 am ), welcoming the public to the stage of the Main Hall of the Teatro Aveirense, performing works from modernism (Debussy and Stravinsky) until 2024. With tickets costing three euros, there are plenty of good reasons to discover new music.

Arte no Tempo is a structure based in Aveiro, financed by the Portuguese Republic - Culture/General Directorate of Arts. The “Reencontros de Música Contemporânea” is one of its projects , organized in co-production with Teatro Aveirense.

This morning, as part of the “Reencontros de Música Contemporânea” (RMC), the Sala Estúdio do Teatro Aveirense is occupied by a group of young music students, from different conservatories, academies and professional music schools, some for their first contact with contemporary music. They will remain there until the end of tomorrow afternoon , in a work guided by the conductor and composer Carlos Lopes, with musical computer assistance from Nádia Carvalho, exploring a new work by João Moreira (2004), commissioned by Arte no Tempo for this New Music for New Musicians stage - work that culminates with a public performance, at 7 pm on Sunday , also including the interpretation of a work commissioned for the 2nd stage, in 2019, by Tiago Cutileiro (1967), as stated in a press release received by our newspaper, adding that, before that, RMC proposes a solo cello recital for this Saturday , at 7 pm , at the Igreja das Carmelitas, and a trio for the evening, in the Main Room of the Teatro Aveirense (9.30 pm ).

Aveiro cellist Gonçalo Lélis performs at the Carmelite Church

The cellist performing at the Igreja das Carmelitas is Gonçalo Lélis, a soloist from Aveiro who last Sunday performed Schumann’s Concerto with the Orquestra Filarmonia das Beiras. The programme he brings to the RMC is, however, radically different and quite diverse, combining the most revolutionary music of the 20th century with the best of the Baroque. “Pression” [1969], by Helmut Lachenmann (1935) is one of the landmarks of what the composer called “musique concrète instrumentale” – which, roughly, we can translate as concrete music created through a less conventional use of the conventional instruments of an orchestra. Avoiding sounds of a defined pitch, the composer draws the listener (and the performer) into a new way of thinking about musical art in which, before everything else, comes the sound. This is a “perscriptive” score, which focuses on the action to be developed: the performer reads the “recipe” of movements/gestures/actions that he/she must perform, focused on a bodily and spatial awareness, of which the sound seems to be a mere consequence.

The cellist, according to the statement, is literally asked to press, shake, squeeze, slide, hit and touch different parts of the instrument, sometimes with a bow, sometimes directly with his hands, revealing, through different gestures, a range of unexpected sounds.

Immediately after this “radical” work, Gonçalo Lélis will perform “Anamorphoses IV”, a work by Isabel Soveral from which “Anamorphoses V” is derived, which ars ad hoc will perform the following weekend at Teatro Aveirense. And before Suite No. 5 for solo cello (scordatura), by the great Baroque master JS Bach (1685-1750), Lélis will perform a work for cello and electronics by the British Joanna Bailie (1973), music that enters into dialogue with that work by Bach through a process of quotation.

Bach left two versions of the score for that one, one of which is tuned differently. This one has the high string tuned a whole tone lower than the usual “A”, making the already somber suite even more solemn and dark.

Re:Flexus Trio performs on Saturday

In the evening, the long-promised concert by the Re:Flexus Trio will perform a programme that was also conceived as a whole: after “Märchenerzählungen”, Op. 132, by Robert Schumann (1810-1856), Maria Isabel Mendonça, Catarina Gonçalves and Ana Sofia Matos will perform the work that György Kurtag (1926) composed with Schumann’s work in mind – “Hommage a R.Sch.”, op.15d [1990] – and will premiere the work that Nádia Carvalho (1995) composed on commission from Arte no Tempo, with funding from the Directorate- General for the Arts, for this same concert – “Was it the Lyrical Nightingale” [2025], for trio and electronics.

“ Family Concert” on Sunday

On Sunday morning , ars ad hoc will be performing a “family concert” (11 am ), welcoming the public to the stage of the Main Hall of the Teatro Aveirense, performing works from modernism (Debussy and Stravinsky) until 2024. With tickets costing three euros, there are plenty of good reasons to discover new music.

Arte no Tempo is a structure based in Aveiro, financed by the Portuguese Republic - Culture/General Directorate of Arts. The “Reencontros de Música Contemporânea” is one of its projects , organized in co-production with Teatro Aveirense.