Embedded Files
clarinet
Stereochromatic
Stereochromatic
instrumentation . clarinet and electronics
duration . 10'30''
date . 28 may 2019
premiere . 04 jun 2019 _ Frederic Cardoso (cl.) _ Diálogo a Preto e Branco @ Casa da Música. Porto
The piece is based on a musical discourse that emphasizes the performer’s technical, musical, expressive, and improvisational qualities. Conceiving two dimensions — an acoustic dimension in F (F = Frederic) and an electronic dimension in C (C = Cardoso) — a musical dialogue is proposed that strengthens the correlation between the two dimensions (already pre-conceived when considering their intervallic relationships) without the absolute control of time. The interaction between the performer and the electronics occurs in real time, where unpredictability becomes an integral part of the outcome. There is only a brief structural framework, achieved through an arch-like musical form in which the two realities diverge, confront each other, and eventually converge, carrying different elements that are reshaped over time.
"(...) Right from the beginning, the piece creates moments of tension where sustained sounds in the electronics are combined, at times layered with regular rhythmic elements, and the long, high-pitched notes of the clarinet. These extend until reaching a rhythmic and agitated section, where the instrument engages in a dialogue with the small rhythmic motifs presented by the electronics, almost in a constant struggle. Subsequently, we return to a more continuous musical landscape, where some previously heard material is combined and reintegrated. The piece concludes with a delicate reference to some rhythmic andmelodic motifs that were
heard earlier."
João Pedro Oliveira, CD Lux et Umbra (2021)
"[The] interaction between the 'real' clarinet and the 'crafted electronics' is revisited in Stereochromatic by João Ferreira, who explores rhythms and very high-pitched notes on the clarinet, thereby creating a highly engaging universe where, so to speak, a repetitive battle is constructed between the clarinet and the electronics."
Dani Heyvaert, Rootstime.be
False Entropy
False Entropy
instrumentation . bass clarinet and electronics
duration . 14'15''
date . 30 jan 2012
premiere . 12 may 2012 _ Frederic Cardoso (cl.) _ EuroClassical Online Festival 2012 @ Teatro Helena Sá e Costa. Porto
The concept of entropy is an apparent concept, insofar as the moment of coexistence with the plane of musical composition suggests a perfidious disposition. It is a disorder that is not at all incoherent, and consequently assumes the quality of false. The order apparently felt at the beginning of the work is disfigured by disorder over time, leading to a move away from control in musical and theatrical writing, instead of the increasing stability in electronics.
cello
Homeless
Homeless
instrumentation . cello
duration . 14'30''
date . 24 jan 2011
premiere . pending
Homeless is an instrumental theatre work for cello. The entire drama is based on an episode in the life of a homeless man who seeks redemption in some way, while satirizing the society around him.
drums
Blur Circle
Blur Circle
instrumentation . drums and electronics
duration . 03'00''
date . 30 mar 2010
premiere . 11 apr 2010 _ João Lugatte (dr.) _ Tum-pa-tum-pa Festival (4th Ed.) @ Escola de Artes da Bairrada. Bairrada
Blur Circle is built around the concept of a solo section. The entire construction results from this uncertain and irregular nature, also using real-time and pre-recorded electronics.
piano
Aldeia de Pianopolis
Aldeia de Pianopolis
instrumentation . piano
duration . 20'00''
date . 11 out 2011
premiere . 22 out 2011 _ Joana Ribeiro (pn.) _ Pameiro @ Escola de Música Óscar da Silva. Matosinhos / 15 may 2023 _ Luca Minosso and Sofia Costa (pn.) _ Ulandeixe and Pameiro @ Conservatório de Música do Porto. Porto / 27 jun 2024 _ Zöe Whitehead (pn.) _ Rizofa @ Conservatório de Música do Porto. Porto
18 easy pieces about a village full of fun and quirky characters, with specific theatrical characteristics that are related to different pianistic abilities through physical and emotional capacities.
Um Violoncelista À Chuva
Um Violoncelista À Chuva
instrumentation . prepared piano
duration . 07'45''
date . 17 jan 2009
premiere . 21 jan 2009 _ Saul Picado (pn.) @ Conservatório Regional de Castelo Branco. Castelo Branco
Music and text inspired by photography Musician in the Rain by Robert Doisneu.
E eu senti tudo a começar,
Como se me abanasse contra a minha vontade. Aqueles sons fortes não me faziam tremer...
Por dentro sentia-me quente e assim iria permanecer, naquela hora calma invadida pelo tempestuoso exterior.
Sons...
Imagens...
Sentimentos...
E tudo ali estava tão calmo,
Mesmo por baixo daquele pequeno mas reconfortante abrigo.
João F. Ferreira, Um Violoncelista à Chuva
Last Day of January
Last Day of January
instrumentation . piano
duration . 19'40''
date . 31 jan 2008
premiere . 31 jan 2008 _ João F. Ferreira (pn.) _ Studio Recording @ Escola Superior de Artes Aplicadas. Castelo Branco
Improvisation on the image from the January 2008 calendar.
viola
Mood Swing
Mood Swing
instrumentation . viola
duration . 10'30''
date . 13 jun 2018
premiere . pending
The musical discourse is characterized by constant changes in the various parameters that shape the work.
violin
Framework: Unknown
Framework: Unknown
instrumentation . violin
duration . 07'45''
date . 29 sep 2013
premiere . 03 nov 2013 _ Carla Santos (vln.) _ Recital and Master's Degree Defense "O Compositor em Espaço Cénico" @ Escola Superior de Música e Artes do Espetáculo. Porto
The work Framework: unknown was written through a collaborative process that aimed to associate music with painting. The composer and the artist of the painting, Carla Santos, attempted a collaboration whose main objective was the creation of a mutually conditioned artistic object. Thus, it was determined that the painting would be created before the musical composition, without a concept or any other parameter of this artistic object being jointly defined. There was no extensive sharing of ideas and objectives that would lead to the creation of a unitary work of art, considering the omission of some contents that, therefore, could only be associated later, namely when the painting was delivered to the composer for analysis, interpretation and subsequent musical creation.
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