WNMD 2025 · CONCERT 18
String Theory / Teoria das Cordas
04-06-2025 · 21h30
São Luiz Teatro Municipal, Sala Luís Miguel Cintra
Lisbon
Bilheteira · Box Office (São Luiz)
GET-TOGETHER 4
Meeting with the Composers
21h00–21h30
Participants: [names to be announced]
Pedro Neves · conductor
Ana Pereira, José Pereira, David Ascenção, Nuno Rodrigues (1st violins) · Juan Maggiorani, José Teixeira, Sofia Ruivo (2nd violins) · Jorge Alves, Joana Cipriano, José Freitas (violas) · Catarina Gonçalves Mota, Tiago Mirra (cellos) · Margarida Afonso (double bass)
CHRIS CREE BROWN (New Zealand, 1953)
Evanesce (2023), 9’
ISCM New Zealand section
HAUKUR TÓMASSON (Iceland, 1960)
Air Sculptured (2022), 11’
ISCM Icelandic section
JI-HYANG KIM (South Korea, 1970)
Nachtmusik für Streicher (2012–2022), 12’
Individual submission
JOÃO QUINTEIRO (Portugal, 1984)
Madrugada II (2024–2025), 14’ WP
MAURO GODOY VILLALOBOS (Chile, 1967)
Moods (2016), 8’
ISCM Swedish section
RYTIS MAZULIS (Lithuania, 1961)
Timeless (2024), 7’
ISCM Lithuanian section
WP · world premiere
PROGRAMME NOTES
CHRIS CREE BROWN (New Zealand, 1953)
Evanesce (2023), for string ensemble
ISCM New Zealand section
— Evanesce embodies gestures similar to ocean waves that are interspersed with stillness. The tension between these two states increases in intensity throughout the work. A solo viola line provides a sombre contrasting idea, which is later repeated by a solo cello. The pollution of the ocean is the source of many ensuing problems facing humanity, and the melancholic mood of the secondary idea reflects an anguish at the loss of life within the ocean (such as choral reefs), together with a nostalgia for the fresh, clean and unpolluted oceans that the world has been losing all too fast.
HAUKUR TÓMASSON (Iceland, 1960)
Air Sculptured (2022), for string ensemble
ISCM Icelandic section
— Air Sculptured is composed for nine string instruments: violins, violas, cellos and double bass. Each of these instruments, of course, has its own colour and range, but they also have in common the ability to form a very wide variety of colours, depending on how they are applied. I have always been fascinated by string instruments and their amazing possibilities for shaping tones and sounds. The piece is rather rigid in form, consisting of six monoliths, i.e. homogeneous sections in which the instruments merge (to varying degrees) into one.
JI-HYANG KIM (South Korea, 1970)
Nachtmusik für Streicher (2012–2022), for string ensemble
Individual submission
— Even a composer, who believes it is better to refrain from exposing his or her active emotions in the work, has moments when he or she wants to relax at least once. This work is a product of such deviations. Quotes extracted from Mahler’s Symphony No. 3 and No. 4, the text of F. Nietzsche's poem Song of the Night, a painting by C.D. Friedrich, The Backyard of the Church in the Snow (a landscape of a dilapidated tomb covered in snow), and Dutch biologist Midas Dekus‘ book, The Teeth of Time – A Natural Study on Death and Extinction – were significant inspirations in writing this work.
JOÃO QUINTEIRO (Portugal, 1984)
Madrugada II (2024–2025), for string ensemble
— Madrugada II is a work for a string orchestra that is part of a set of satellite works of the opera Regresso. This set of ten satellite works draws upon the poem ‘Regresso’ by José Mário Silva, which inspired the libretto, focusing expressively and formally on the specific relationship between each character and the envelope of places and times from which they emerge.
MAURO GODOY VILLALOBOS (Chile, 1967)
MOODS (2016), for string ensemble
ISCM Swedish section
— Moods comprises two distinct sections. The notation in the first section is based on time, measured in seconds, incorporating aleatory elements. Musicians are given the freedom to determine the duration and select the notes they play. In contrast, the second section employs traditional notation, characterised by contrapuntal textures and intricate rhythms.
RYTIS MAZULIS (Lithuania, 1961)
Timeless (2024), for string orchestra or 13 players
ISCM Lithuanian section
— Timeless was conceived as a sign of respect to György Ligeti. It was performed after Ramifications, keeping the same tuning: six instruments tuned a quarter tone higher.