Earlier this year I was invited by Noah Max to participate in the Secret Sequenza Series: a new process where composers write for each other without knowing who they are writing for, then premiere each others’ work without knowing who wrote it.
This was one of my the first experiences as a composer, and the first one when I wrote to another performer.
I was really delighted then to hear my piece – from water – being given a beautiful and very sensitive première by David Evans on the concert streamed on the 10th March.
(from water starts at 40:26)
As everything in this project is surprise, I am just guessing that my performance will be featured on next episode of the series. I can’t wait to find out who my composer is!
Everything started with a tweet that I sent during the first lockdown this year, asking for suggestions of piano miniatures written by female composers.
Charlotte Botterill sent me then one miniature that she had just written, reflecting her feelings in that period of lockdown. For this first one, Charlotte carried on writing piano miniatures, expressing her feelings and events of such peculiar times. When the restrictions were lifted, Charlotte felt that was the moment to close the collection, and invited me to record them!
This is such a special project, which I couldn’t be prouder to be part of. While being far away (I was in Brazil, and Charlotte was in the UK), I felt so connected to Charlotte’s feelings translated in music. I recorded the 15 piano miniatures in Rio at Laranjeiras Records, with Márcio Dornelles as my sound engineer.
It’s with such a pleasure that we present you the album ‘Isolation’, which was released today through the new label Lis de la Mer.
The album is available digitally through all major platforms, and in a limited CD edition which is accompanied by exclusive art prints by Rosie Botterill (who also signs the art of the album).
Very special thanks to Thalyson Rodrigues, for the superb musical assistance during the recording session.
Early this year, when I was in self-isolation in Brasília due to the coronavirus pandemic, I started thinking about miniatures.
In a way, our homes became our universes in miniature. We spend so much time in the same old spaces with the same old objects, that they may start to become new. Suddenly, we have so much – and so little – time in our hands.
I also wanted to explore ways to share piano music, taking advantage of possibilities of the video format.
‘Piano miniaturas’ is a kind of video-piano-recital, with images collected within my then apartment over those months, and music which I recorded during the day of 23 May 2020, acknowledging all the environment noises and the passing of time in one day in this context of pandemic self-isolation.
You can watch it from Sunday 06 December, 4pm (UK time), on Youtube.
Na primeira metade desse ano, enquanto eu estava em isolamento em Brasília por causa da pandemia coronavírus, eu comecei a pensar em minuaturas.
De certa forma, nossas casas se tornaram nossos universos em miniatura. Passamos tanto tempo dentro dos mesmos velhos espaços com os mesmos velhos objetos, que de repente eles se revelam novos. Temos tanto – e tão pouco – tempo em nossas mãos.
Esse período foi também uma oportunidade de experimentar outras formas de compartilhar música ao piano, explorando possibilidades do formato de video.
‘Piano miniaturas’ é uma espécie de video-recital, com imagens coletadas de dentro do meu então apartamento durante os primeiros meses de isolamento, combinadas com gravações ao piano realizadas durante o dia 23/05/2020, reconhecendo o barulho e o passar do tempo em um dia típico desse contexto de isolamento em pandemia.
Música de Charlotte Botterill, Yfat Soul Zisso, & Erik Satie.
Você pode assistir a partir de domingo 06 de dezembro, 13h (hora de Brasília), no meu canal no Youtube.
In an evening spotlighting the spoken word, Oxford Improvisers worked with poems by Maggie Goren and Rosalind Bleach and explore the sonic properties of a single word in a piece by Jill Elliott. Live streamed through Oxford Improvisers Youtube channel.
I did a 2 minutes solo interlude on piano + toy pianos pianos.
No início do ano eu me mudei temporariamente para Brasília para dar aulas na universidade. A pandemia aconteceu, e acabou que as atividades acadêmicas não ocorreram como planejado. Esse foi então um período de isolamento nesse pequeno apartamento na Asa Norte, um período de experimentações criativas, reflexões, reinvenções, e muita espera.Na véspera da minha mudança do apartamento e da cidade , gostaria de concluir esse “capítulo” tocando música que fez parte desse período da minha vida.
Sexta-feira 16/10, meio-dia, por meia hora somente, no meu Instagram.
“Quando lembramos das horas que passamos naqueles cantos, lembramos acima de tudo do silêncio, o silêncio dos nossos pensamentos” (G. Bachelard)
Peças para toy piano e para piano elétrico de Ben Gaunt, Charlotte Botterill, Yfat Soul Zisso, & improvisações.
In Portuguese (my mother tongue), there are two different words for light; Leve meaning weightlessness and Luz meaning luminosity. In this programme, I am looking into exploring light in musical terms, referring to aspects of touch, state of being and luminosity .
The initial spark for this idea came when I was practicing Ruth Crawford’s Prelude n. 8 – Leggiero, and Schoenberg’s Little Piece Op. 19 n. 1 – Leicht, zart (Light, delicate), which are fast pieces exploring lightness of touch, and will integrate the first section of the concert.
In another section of the programme, I would like to reflect about lightness as an emotional state, as in John Palmer’s Shambhala, which refers to ‘an imaginary place of peace and happiness dwelt by enlightened people’.
Michael Taplin’s Wax Candles opens a new section in the programme connecting the theme of Leve/Luz both in regards to lightness of touch and light as a sonic colour, bringing these elements together in one piece.
The final part of the concert reflects on light as the luminous phenomenon, with Thomas Adès’ Darknesse Visible integrating this section with references to darkness, or an absence of light.
This concert is to honour the Winter Solstice, a time to renew hope with the return of light in longer days in the North Hemisphere.
This concert will be at the Great Hall at the beautiful Abbey Sutton Courtenay. Attendance is by donation at the concert. We suggest £15 for a concert of this quality but all are welcome and proceeds support the Abbey Sutton Courtenay, a registered charity. 8 – 25 years old attend free.
– Arnold Schoenberg Leicht, zart (Light, delicate) – from Six Little Piano Pieces Op. 19 (1911) – Ben Gaunt – Light Spellsphere, for toy piano (2019) – Ruth Crawford-Seeger – Preludes 8 (Leggiero), for piano (1924)
[lightness of being]
– Yfat Soul Zisso – Para a frente, for toy piano (2018) – John Palmer – Shambhala, for piano (1990) – Silvia Berg – El sueño… el vuelo, for piano (2010)
[light – luz]
– Michael Taplin – Wax Candles, for piano (2018) – Yfat Soul Zisso – Full Moon, for toy piano (2019) – Max Gibson – Night over Berstane, for toy piano & piano (2017) – Thomas Adès – Darknesse Visible, for piano(1992) – Marisa Rezende – Miragem, for piano (2009)
Many special thanks to Charlotte Lepport, Dylan Thomas, Michael Taplin, Yfat Soul Zisso, Graham Stabler, Bruno Guastalla and Benoît Mangili.
É com imensa alegria que apresento nessa quarta-feira um recital solo, com um programa que apresenta várias facetas da expressão musical, e do piano em si, em obras escritas por compositoras atuais.
Interpretação de elementos do universo através da música, expressão de reflexões sobre memórias, sentimentos de desespero e também esperança, diálogos poéticos com nossas experiências da natureza indo ainda mais além na exploração do universo sonoro do piano.
Wednesday 11th September I am playing solo, a recital with works by amazing women composers Kaija Saariaho, Yfat Soul Zisso, Emily Doolittle, Angela Elisabeth Slater, Tatiana Catanzaro, Silvia Berg, Sara Carvalho, Maria Kaoutzani e Marisa Rezende. This is a concert which brings different ways to express impressions from the universe, our thoughts, and nature itself, through music. It will be at Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil.
– Kaija Saariaho (Finlândia/França): Ballade, para piano (2009) – Yfat Soul Zisso (Israel/Reino Unido): Para a frente, para piano de brinquedo (2018)
– Emily Doolittle (Canadá/Reino Unido): Gliese 581c, para piano (2008) *estreia no Brasil – Angela Elisabeth Slater (Reino Unido): Night Mirrors, para piano (2017)
– Yfat Soul Zisso: Recollection, para piano de brinquedo (2015) – Tatiana Catanzaro (Brasil): kristallklavierexplosionsschattensplitter, para piano (2006) – Silvia Berg (Brasil): El Sueño… el vuelo, para piano (2010)
– Sara Carvalho (Portugal): inside silence, para piano preparado e piano de brinquedo (2012) – Maria Kaoutzani (Chipre/EUA): Lilies, para piano e pianista cantante (2017) – Marisa Rezende (Brasil): Miragem, para piano (2009)
‘The best thing of music is the people it brings to our lives’ (Egberto Gismonti, in a conversation).
Over the years I have been having the pleasure to have piano and toy piano works composed for me. Some times, we were friends then the composer decided to write a piece for me, some times, the composer first wrote the music, then the friendship followed the work…
In this series of concerts I will be playing a programme all made of these pieces written for me. They are going to be intimate concerts, a celebration of these encounters and friendships that music brings to us.
The first concert of the series happened in Birmingham on Saturday 23rd March.
Next dates are:
Thursday 16th May, 7:30pm at the Gamelan Room LSO St Luke’s, London (161 Old St, London EC1V 9NG. Entrance via the Artist’s door). Free, but booking is required. Tickets bookings here or through email email@example.com. Facebook event here.
Friday 24th May, 7:30pm at the Holywell Music Room, Oxford OX1 3SD. £8 on the door. Facebook event here
More dates to follow later in the year in Rio de Janeiro.