New releases by Miso Records
7 and 14 October | 21h30
O'culto da Ajuda | Lisbon
New releases Miso Records, in pen-usb format. Two new monographic editions, by João Castro Pinto and António Ferreira.
João Castro Pinto
Acousmatic works (1999-2017)
Esofonia is an anthology of acousmatic pieces that illustrates part of the musical journey of João Castro Pinto (from 1999 to 2017).
Although they are referred to as acousmatic, the works that appear here are, more precisely, of a hybrid nature, i.e., they vary drastically, in terms of quantity and quality, between the maximally acousmatic and the totally referential.
Nevertheless, the term was used because, in the structural conception of all the compositions, a work of pronounced decharacterization of the used sound sources as raw material is notorious.
The creative use of silence, the interest in exploring unusual timbres, the intensive exploration of dynamics and gestures, the use of experimental compositional methods are qualities that stand out in João Castro Pinto’s music.
João Castro Pinto began his musical activity in the 90’s, focusing in electroacoustic / acousmatic music and soundscape composition. He graduated in Philosophy, by the New University of Lisbon, and is currently finishing a PhD degree in Computer Music at the Portuguese Catholic University, with a dissertation about soundscape composition. He has attended electroacoustic composition masterclasses with renowned composer as: François Bayle, Francis Dhomont, Barry Truax, Trevor Wishart, Simon Emmerson, Adrian Moore and Annette Vande Gorne, among others. Received several awards, fellowships / distinctions and published his pieces in various, national and international, labels. Presented his work live in more than 150 concerts all over Europe, U.S.A. and Asia, in festivals and events as Música Viva Festival (2004/09/14/15/16/17), Banc d’Essai 2016 – INA-GRM (France), Audio Art Festival 2016 (Poland), Visiones Sonoras 2016 (Mexico), MUSLAB 2015 (Argentina), I.C.M.C. - 2015 (USA), Seoul International Computer Music Festival 2012 (South Korea), Experimental Intermedia Foundation 2001 (USA), etc... He has collaborated, live and on records, with composers, musicians and artists from the most varied origins.
This edition documents systematically the electroacoustic works composed by António Ferreira between 2000 and 2017.
While these creations are relatively recent, the core aesthetic tenets subjacent to them are not recent, pervading much of the second half of the XX century. Also, these creations are the result of a long trek that began, for the author, in 1980 when during a trip to the Netherlands, he stumbled upon a LP (only vinyl at that time of course!) by GRM composer Bernard Parmegiani (De Natura Sonora). Upon first listening, nothing could be apprehended, only that it begun and minutes later it stopped! Much later, I would encounter similar appreciations when people, moved by curiosity, tried to listen to my own compositions.
These compositions are divided by duration. There is no particular reason to do it. In fact, this edition is probably going to be listened in a non linear way. The main body called The Acousmatics are "classical" electroacoustic compositions. The way I compose and the properties of sound material,l shape the general form and gives these compositions a similar duration. The Electroacoustic Miniatures are small form pieces made for outdoor listening in a kind of "sonic garden", a project of Miguel Azguime that existed in some editions of Música Viva annual Festival. The so called "Long" are extended form pieces; in my case I feel that electroacoustic pieces longer than 12 minutes are to be treated in a more specific way. For this kind of compositional aesthetic, the longer durations make special (and harder) demands on the listening capacities.