Ensemble

#where_we’re_going (2018)
for ensemble (fl., ob., cl., bsn. – hrn., tpt., trbn. – 2perc. – 2vln., vla., vlc., cb.)
ca 9′
commissioned by Casa da Música, Portugal
premiered by the Remix Ensemble, conducted by Peter Rundel
programme notes

Equilíbrio (2017)
for ensemble (fl., cl., pno., vln., vlc.) and electronics
ca 9′
commissioned and premiered by the Sond’Ar-te Electric Ensemble, conducted by Petter Sundkvist

Comendador u m’eu quitei (2015)
for soprano, tenor and ensemble (fl., cl., vln., vlc., pno.)
ca 5′
based on an Iberian medieval poem

Canti Firmi (2014)
for fl. (+ a. fl.), ob., cl. (+ b. cl.), perc., pno., vln., vla., vlc.
ca 4′
based on the Gesualdo’s madrigal ‘Gioite voi col canto’
commissioned and premiered by the Guildhall New Music Ensemble, conducted by James Weeks, at the Silk Stree Music Hall, London.
Available from BabelScores

Vacuum Instability (2013)
for fl., cl. (+ cl. bx.), fg., tpt., trbn., vla., vlc., pno.
ca 7’30”
premiered by BBC Symphony Orchestra’s musicians, conducted by Richard Baker, at the BBC Maida Vale studios (London) on 15 March 2013
Avaliable from BabelScores
First page | audio

Dégradé (2012)
for fl. (+ picc.), cl. (+ cl. bx.), vln., vlc., pno.
ca 8′
premiered in London, UK, at the Guildhall School of Music and Drama’s Music Hall on the 5th of July of 2012 by the Chroma Ensemble, conducted by Christopher Austin
Available from BabelScores | audio

Configurazioni (2010)
for fl., cl., vln., vlc., piano
ca 10′
Available through CIMP

Recta e Curva (2009)
Para 2 fl. (2ª dobra picc.), ob., 2 cl., fg., vc.
ca 7’30”
First page

Singularidade (2009)
for fl., cl., cl. bx., sax. alto, fg., tpa., tpt., gtr., vln., piano
ca 4′
Dedicated to Carlos Caires
Disponível através do CIMP

Tre Piccoli Miraggi (2008)
for fl., cl., sax. alto, fg., trbn. tenor, 2 vlns., vla., vc.
ca 7′

Coming to a point (2008)
for alto sax and chamber orchestra (2 fl., 2 cl., cl. bx., fg., trbn. tenor, 2 vlns., 2 vlas., vc., cb.)
Not premiered yet

Libertação (2008)
for 2 fl., 2 cl., cl. bx., sax. alto, sax. tenor, fg., trbn. tenor, 2 vlns., 2 vla., vc., cb.
ca 4’30

Aquecimento Global (homenagem a Antonio Vivaldi) (2007)
for fl., cl., sax. sop., sax. alto, fg., trbn. tenor, vln., 2 vlas., vlc., cb.
ca 8′
Dedicated to my parents

Pedra de Vento (2007)
Para fl., ob., cl., cl. bx., sax. alto, trpa., tpt., trbn. tenor, marimba, vla., cb., piano
ca 3’30”

#where_we're_going

The symbol '#' (hashtag), followed by one or more words, plays an important role in social networks. It is used to catalogue and describe photos, videos, texts, or even hyperlink contents. The social network behaviour is complex as it is often associated with the idea of 'personal marketing'. Some highly visited profiles attract significant investments from corporations seeking personalised forms of advertising. The personal profile on the social network works as a kind of in vivo CV, showing not only personal but also professional activities. These activities are scrutinized by employers.

The title of this piece invites us to reflect about the status quo of what can be regarded as a form of digital existence and socialization. 'Where we're going' is a vague and indeterminate expression about the future, thus incompatible with the hashtag rationale. Certainly, many aspects of our lives aren't classifiable.

The work is dedicated to composer and maestro Christopher Bochmann.