Sat 16 Sept – St. John’s Smith Square Music Marathon

I am thrilled to be part of St. John’s Smith Square 12-hour Music Marathon 2017, on Saturday 16th September.

The event will be featuring concerts from 10am to 10pm, and my performance will be from 8:15pm to 8:45pm. I will be playing a beautiful and intriguing repertoire of pieces for piano and for toy piano written by contemporary women composers from Europe and the Americas. My programme is detailed below, and the full listing of performances you can find here: SJSSMarathon listing. For the Facebook event, please got to SJSSMarathon Facebook.

Come to join me! And to spread the word, please remember the hashtag #SJSSMarathon.

Free entry!

St. John’s Smith Square

Smith Square

SW1P 3HA

London, UK

16 Sept 10am to 10pm

*Késia’s performance: 8:15 to 8:45pm

Késia Decoté (piano, toy pianos) plays

Contemporary Piano Music by Women Composers

Linda Catlin-Smith (born 1957, USA/ Canada): A nocturne, for solo piano (1995)

Tatiana Catanzaro (born 1976, Brazil):

Kristallklavierexplosionsschattensplitter, for piano with extended techniques (2006)

Yfat Soul Zisso (born 1987, Israel/ UK): Recollection, for toy piano (2015)

Maria Kaoutzani (born 1993, Cyprus/ USA): Lilies, for piano and singing pianist (2016)

SJSSMarathon_toy

image of my performance at the SJSS 24h-Music Marathon 2016

 

Anúncios

Sun 18 Sept – St. John’s Smith Square Music Marathon

This weekend St. John’s Smith Square is hosting 24 hours of  non-stop performance, open rehearsal, workshops and more. And I am thrilled to be part of it! I will be playing from 3am to 3:30am, a solo programme of contemporary Brazilian music for piano and for toy pianos. My programme is detailed below, and the full listing of performances you can find here: SJSSMarathon listing. For the Facebook event, please got to SJSSMarathon Facebook.

That will be an unique experience and, if you can come to join me, the Night Tube will be running to make it easier to get there! And to spread the word, please remember the hashtag #SJSSMarathon.

Free entry!

St. John’s Smith Square

Smith Square

SW1P 3HA

London, UK

17 Sept 10am to 18Sept 10am

*Késia’s performance: 3 to 3:30am

Késia Decoté (piano, toy pianos) plays

Contemporary Brazilian Music for piano, and for toy pianos

Programme

Marisa Rezende – Miragem (Mirage), 2009

Mirage explores distortions on the piano sonority, as paraphrasing the title, by using piano extended techniques (percussing the strings of the piano with mallets, glissangi on strings, etc) alongside conventional keyboard playing. ‘It is like building a moment of doubt and anguish with its endless repetitions, and only succeeding in the search for paths when one looks into another direction – perhaps towards oneself

Valéria Bonafé – Tátil (Tactile), 2007

In Tátil, Valéria Bonafé thought her timing over: “I tried to create a sound ambient composed by sparse events, seeking more of a spatial than a temporal type of listening. The rarified atmosphere and the extended time make everything transparent. Nothing hides. Each detail requires an intensive, localised listening. The piece feels flexible, moldable. I pictured a liquid piano.”

Daniel MoreiraLudvan ven Beethowig, for two toy pianos and one player, 2009

“Ludvan ven Beethowig is entirely build with materials extracted from the (in) famous prelude Für Elise from Beethoven and deconstructs this oversaturated monument leaving little place for identification. Unfulfilled expectations perpetrate the work and transform this object, which was once so intimate to us, into an odd, not always welcome, stranger. However, there are fugitive moments where this object regains its lost resemblance and we can feel ourselves once more in a safe, familiar place. These momentary – but ephemeral – pleasures are a source of relief and apparent satisfaction… but only because they will soon be abandoned.” The music score of Ludvan von Beethowig features the indication: “as a defective CD player…”

Silvia BergEl sueño… el vuelo (The dream… the flight), 2010

El sueño… el vuelo is inspired by Frida Kahlo’s painting ‘La Columna Rota’ and the architecture of her ‘Casa Azul’. The piece was written for the collection Song of the Monarch: Women in Mexico, which has the Monarch butterfly as symbol, “as a potent metaphor for persistence and valour in a seemingly fragile body, as every year it migrates thousands of miles, finding its sanctuary in Mexico.”

 

* All notes were taken from the composers’ own comments: emails, music scores, personal websites and published articles

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Thurs 25 February – Contemporary Brazilian Music at Wesley Memorial

I am very happy to be back to the Lunchtime Concerts Series at Wesley Memorial Church for a solo performance on Thursday 25th February.

I will be playing piano and toy pianos pieces written by contemporary Brazilian composers.  Some of those composers are dear friends, some I have only been in touch by emails, but there is always a conversation, a personal connection behind each piece of this programme.

The entry is free, and it will be my pleasure to see you there!

12:45 – 1:30pm

Wesley Memorial Church

New Inn Hall Street
OXFORD, UK
OX1 2DH

Free entry

Programme

 1. Marisa Rezende – Ressonâncias [Resonances] (1983)

“Ressonâncias explores the resonance and timbre of the piano resonances by using the pedal through  each of its registers. It has a loose melodic line as its starting point, but evolves gradually with a more chord-like architecture. Ressonâncias is improvisatory in character, its notation suggests an implicit sense of rubato.”

2. Valéria Bonafé – Tátil [Tactile] (2007)

“In Tátil I thought my timing over. I tried to create a sound ambient composed by sparse events, seeking more of a spatial than a temporal type of listening. The rarified atmosphere and the extended time make everything transparent. Nothing hides. Each detail requires an intensive, localised listening. The piece feels flexible, moldable. I pictured a liquid piano.”

3. Gustavo Penha – Nenhum, Nenhuma [None, None] (2010)

“Nenhum, Nenhuma seeks to delineate an indefinite space, and then disturbs these limits until the point of breaking them. At this point of rupture, a new behaviour is established, and this then finds repose in the familiar spaces that were explored previously. These points of repose space are delineated by remembering past elements, now deformed by both time and memory.”

4. João Guilherme RipperCantilena [Song] (1989)

‘Cantilena’ is an old Portuguese word that means ‘short song, simple and delicate’. João Ripper’s Cantilena is dedicated to Beatriz, his daughter who was born a few months before he composed the work.

5. Daniel Moreira – Ludvan ven Beethowig, for two toy pianos and one player  (2009)

“Ludvan ven Beethowig is entirely build with materials extracted from the (in) famous prelude Für Elise from Beethoven and deconstructs this oversaturated monument leaving little place for identification. Unfulfilled expectations perpetrate the work and transform this object, which was once so intimate to us, into an odd, not always welcome, stranger. However, there are fugitive moments where this object regains its lost resemblance and we can feel ourselves once more in a safe, familiar place. These momentary – but ephemeral – pleasures are a source of relief and apparent satisfaction… but only because they will soon be abandoned.” The music score of Ludvan von Beethowig features the indication: “as a defective CD player…”

6. Silvia Berg – El sueño… el vuelo [The dream… the flight] (2010)

 “El sueño… el vuelo is inspired by Frida Kahlo’s painting ‘La Columna Rota’ and the architecture of her ‘Casa Azul’. The piece was written for the collection Song of the Monarch: Women in Mexico, which has the Monarch butterfly as symbol, “as a potent metaphor for persistence and valour in a seemingly fragile body, as every year it migrates thousands of miles, finding its sanctuary in Mexico.”

*All notes were taken from the composers’ own comments, which were found in emails, music scores, personal websites and published articles.

kesia.concert.Wesmem25Feb2016

photo: Stu Allsopp (with many thanks)