Suite for oboe and cello - Paulo Chagas e Miguel Mira

29 June 2017 | 21h30
O'culto da Ajuda | Lisboa



Suite for oboe and cello - Paulo Chagas e Miguel Mira


Paulo Chagas oboe

Miguel Mira cello


Although it is an extremely rare configuration in the history of music, the duo of cello and oboe has offered remarkable pages to the universal repertoire, from the late romantic period to the present day. Eugène Bozza, at the beginning of the last century and, more recently, Isang Yun, reputed Korean composer, have left us good examples of what can be done with this specific format. 

The Suite for oboe and cello by Paulo Chagas is a work that combines elements of formal writing with unconventional graphics, crossing written material with guided improvisation. Structurally, the piece is divided into eight sections with different characters from each other, where the stylistic variety can present a challenge for the interpreters, in the sense of achieving cohesion in the sum of the parts. It is therefore an exercise of language transversality that evokes a global sensory perception in different dimensions - sound, image, language.

The first tempo is a static minimal opening that explores the various possibilities of trajectory within a mixed scale (chromatic, modal). In the second, polyphonic movements predominate. The third tempo is admittedly environmental, interspersing tonal "drones" with unconventional textures. The forth offers space for solos, crossed with melody accompanied on a "groove" basis, as if it were a postmodern continuous bass exercise. In the fifth one, the roles are reversed, offering the cello the melodic responsibility, and the oboe the bordello of support. The sixth section is a revisit of the minimal opening, vaguely invoking the "rondeau" form. The seventh one presents a polyrhythmic dimension, although of elementary character, leading later to the end of the suite, creating an effect of anticlimax.


Paulo Chagas

Composer, teacher and multi-instrumentalist. He has dedicated his intervention to various aspects of contemporary music, electro-acoustic, ambient, improvisation, jazz and chamber music. He has also worked in music production, promotion of concerts and festivals, as well as writing about music. He has been artistic director of MIA - Encounters of Improvised Music of Atouguia da Baleia, since 2010. He has traveled several countries playing in concerts and festivals, and giving workshops on composition and improvisation.

Miguel Mira

Architect, painter, university professor and musician, this contrabass player, who also plays electric contrabass and acoustic bass guitar, has focused on the cello in the last years, tuning it like a contrabass and using it, most of the times, with these functions .

A veteran of jazz (with episodic incursions into the blues and rock), having practically covered all his tendencies from the "mainstream" to the freely improvised melodramatic music, he played with national musicians as diverse as Emilio Robalo, Celso de Carvalho, António Ferro, Armindo Neves, Carlos "Zíngaro", Paulo Curado, Ernesto Rodrigues, Abdul Moimême and Rodrigo Pinheiro. Joe McPhee, Evan Parker, Jeb Bishop, Scott Fields, Joe Giardullo and Patrick Brennan are some of the international figures with whom he has shared stages or studios. He integrates the Rodrigo Amado Motion Trio and has a duo with the also cellist Ulrich Mitzlaff.

Um veterano nas lides do jazz (com episódicas incursões pelos blues e pelo rock), tendo percorrido praticamente todas as suas tendências desde o “mainstream” ao free e à música livremente improvisada, com passagem pela fusão, tocou com músicos nacionais tão diversos quanto Emílio Robalo, Celso de Carvalho, António Ferro, Armindo Neves, Carlos “Zíngaro”, Paulo Curado, Ernesto Rodrigues, Abdul Moimême e Rodrigo Pinheiro. Joe McPhee, Evan Parker, Jeb Bishop, Scott Fields, Joe Giardullo e Patrick Brennan são algumas das figuras internacionais com quem já partilhou palcos ou estúdios. Integra o Rodrigo Amado Motion Trio e tem um duo com o também violoncelista Ulrich Mitzlaff.


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