Cláudio de Pina | CESEM

Бориска Колоколa (Boriska Bells) is a hommage to the russian director Andrei Tarkovsky (1932-1986). Boriska is a fictional character from the soviet biographical historical drama Andrei Rublev (1966), a young boy that starts the endeavor of building a bell. The film is loosely based on the life of Andrei Rublev, a 15th century russian Icon painter. The plot turns around for the main character when he witnesses the casting of a bell for the Grand Prince. Boriska is the son of a bellmaker that all is family died from the plague. While in death bed, his father partake the secret of casting a bronze bell. The film is deeply philosophical and moving, dealing with aspects about sin; hunger, sickness besides portraying the harsh Russian life at the time. The epilogue of the film is the only part that is shown in colour, of Icons from Andrei Rublev, cross fading in the end to four horses standing by a river in the rain. This piece is completely synchronized with this epilogue, and was a point of view, regarding composition.

Cláudio de Pina | CESEM

The triptych Tentações de Santo Antão (Temptation of Saint Anthony) is an oil painting on wood panels from the XVI century by the Netherlandish painter Hieronymus Bosch (1450-1516). The painting portraits the physical, mental and spiritual torments endured by S. Anthony the Great, a common subject in Medieval and Renaissance art. Like in other Bosch’s works, this triptych uses a unique and fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon and since my childhood is one of the places I often visit, just to admire this painting. In each visit new details arise and fascinated me into creating an ‘orquestre diabolique’ to portrait the scene.

Pedro Amaral | Universidade de Évora

Face a uma formação de tal modo sobrecarregada de história, abundante nas suas conotações individuais e estilísticas – de Haydn e Mozart, de Beethoven e Schubert a Brahms, à Segunda Escola de Viena e a Bartók… – sobrevem hoje uma impressão de quase extemporaneidade ao aceitarmos compor para quarteto de cordas.

Ana Telles | Universidadede Évora / CESEM

Abstract: Christopher Bochmann's pianistic language is based on a fairly conventional instrumental technique, inherited from the 19th century pianistic tradition, yet encompassing characteristic features developed by authors associated with the 2nd Viennese School and post-serialism, as well as significant experiences in the fields of free forms and aleatoric music. The permeability to a neoclassical sensibility, probably stimulated by contact with Nadia Boulanger in the formative years, has remained over time and manifests itself from time to time, both in the use of techniques, genres and forms of the past, but also, more comprehensively, in a constant search for balance and proportionality, across all of Bochmann’s works.

No entanto, Ansel Adams imaginou-a a preto e branco.
Realidade circunscrita numa fotografia cujo propósito é o seu próprio afastamento.

Sussurro de autómatos eléctricos, bzzz cling clang pim pum, o frémito dos utensílios e engenhos de todo o tipo que nos rodeiam o quotidiano, o contínuo entre concreto e abstracto, o ruído como bloco em bruto a partir do qual se esculpe um universo de possibilidades sonoras e, reciprocamente, os sons que em si carregam a memória ou a fantasia do ruído de onde brotaram. Puro e impuro. Um catálogo de transições, sinal quebrado, interrompido, cortado por intromissões, tanto ilídimas como forçosas. Uma melodia obstinada, ubíqua, uma vez e outra, a cada reinício numa roupagem única.