Orchestral

Ex machina colores (2018)
for symphony orchestra 3(+ picc.).3.3(+ Eb cl.).3(+ contrab.) – 4.3.3.1 – T.3P – H – 14.12.10.8.6
ca 8′
commissioned by Casa da Música, Portugal
premiered by Orquestra Sinfónica do Porto, conducted by Baldur Brönnimann
programme notes

Fantasia (2017)
for symphony orchestra
ca 3’30”
commissioned by the London Symphony Orchestra for the Panufnik Composer’s Workshop
publicly rehearsed at LSO St. Luke’s under François-Xavier Roth’s baton

Agnostos (2015)
for orchestra 3(+ picc, + alto fl.).3(+ eng. h.).3(+ Eb cl., + b. cl.).3(+ contrab.) – 4.3.3.1 – T.4P – cel. pno. 2H – archi
ca 12′
not premiered yet
Available from BabelScores

A Vida é Nossa (2013)
for symphonic wind band
ca 8’30”
based on portuguese folk music

Vectorial-modular (2011)
for orchestra 2(+ picc.).2(+ cor. ing.).2(+ cl. bss.).2 – 2.2 – 1.1 – archi
ca 8′
First Prize on the Sixth International Composition Competition of Póvoa de Varzim, Portugal
available online

Looking Around (2008)
for orchestra. 2.2.2.2 – 2.2 – 0.1 – archi
ca 5’50”
not premiered yet

Sobrecer (2007)
for string orchestra
ca 5′

Ex machina colores

Ex machina colores is a predominantly harmonic piece. Most of the harmonic materials were generated computationally, putting the work in resonance with current debate about the role algorithms play in human life. Although artificial intelligence ('AI', a term I dislike, since we still can't fully understand what intelligence really is) is on the horizon, it is perhaps more urgent to reflect on the actual relationship between Man and machine. In this sense, the expression 'intelligence augmentation' (IA) is much more welcome and adequate since it valorises the various aspects of human cognition and behaviour still left to unveil and comprehend. It was in an IA context that I worked, using the computer as a tool to discover a world of sonorities. A Latin title was chosen because, although an old and outdated language, Latin was used in the past to transmit knowledge universally. At first sight, it creates friction with the eminently technological theme.

The piece is dedicated to composer Luís Tinoco.