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Kammermusik-Harmonieuses Dissonances

Alexander Vorontsov (Piano) - Solistes de L'Ensemble Intercontemporain - u.a. // Harmonieuses Dissonances: that is the title of the string quartet that closes this second album of music by Eric Montalbetti, but above all, it is a statement of the very subject of the works assembled here: they start out from heterogeneous elements, like the diversity of the people we know, or of our moods and thoughts, and aim to find the meaning of a life that we hope will, in the end, be harmonious.

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The Passion Of Musick

Consort de La Belle Feuille - Nima Ben David (Violine - Dir) -- Tobias Hume was a roving eccentric mercenary. His music, full of contrasts and irony, immerses us in the torments of the baroque world of complaints, tears, dissonances and the affects of the Passions of Musicke.

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Complete Organ Music

Cardi, Emanuele - Praeludium G-mollCardi, Emanuele - In Dich Hab Ich Gehoffet, HerrCardi, Emanuele - Auf Meinen Lieben GottCardi, Emanuele - Praeludium F-durCardi, Emanuele - Herr Gott, Dich Loben WirCardi, Emanuele - Canzona G-durCardi, Emanuele - Christ Lag In Todes BandenCardi, Emanuele - Jesus Christus, Wahr' Gottes SohPlyta 2.Cardi, Emanuele - Praeludium Nr. 3 G-mollCardi, Emanuele - Jesus Christus, Unser HeilandVers 1Vers 2Vers 3Cardi, Emanuele - Was Kann Uns Kommen An Fuer NotCardi, Emanuele - Komm, Heiliger Geist, Herre GottCardi, Emanuele - Was Kann Uns Kommen An Fuer NotCardi, Emanuele - Praeludium Nr. 2 G-moll? Franz Tunder (1614-1667) was born in the German city of Lübeck, wherehe stayed his whole life as organist and treasurer of the St. Marienkirche.? Tunder is one of the cornerstones of the North German organ school. Hisstyle is the "Stylus Phantasticus", in which the emotional content of thetext is the basis of the musical expression, using sudden harmonicchanges, dissonances and tone painting.? Tunder left an oeuvre consisting of Chorale Preludes on Lutheran hymns,as well as several separate organ preludes.? Emanuele Cardi is one of the foremost Italian organists, specialized in earlyorgans and the restoration of Baroque instruments. On this recording heplays a magnificent Ghilardi organ built in 1996, inspired by the 17thcentury German Arp Schnitger instruments.? Excellent liner notes written by a musicologist, as well as the completedisposition and photo of the organ are included in the booklet.? Another fine issue in the Brilliant Classics series of Pre-Bachian organmasters!

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Succession of Images

Paul Morin is an American born, New York-based composer, contemporary artist and pianist. He enjoys a multifaceted career in New York City performing concerts, writing new music and painting for expositions and commissions. Paul has been reviewed by such magazines and Gallery and Studio in New York City. He graduated from Stony Brook University with a degree in music focusing on piano performance and composition. In 2008 he received a Masters Degree in Piano Performance and Composition from New York University where he studied piano under Martin Canin and composition under Justin Dello Joio. As a composer, Paul's music has been used for short films and performed in concerts throughout North and South America. While collaborating with many visual artists in New York City he has been able to create a unique live experience for the concert audience. His musical style is described to be emotional and energetic, with exceptional transition from composure and order to chaotic dissonances. In November, 2011 Paul released his new C.D. for solo piano Succession of Images, which has been sold worldwide and has been featured in independent films and concerts. As an artist, Paul's works are created through inspiration and passion for color and texture. His contemporary paintings show an obsession of abstract nature. His paintings are free from the indulgence of premeditated thought, technique and mechanical harshness which he believes would obscure the natural effect in his art. His paintings have been featured in galleries throughout New York and are also sold on commissions from private buyers. His most recent solo expositions in New York City have been at The Art Bar and Logos Book store. As a pianist he won The Suffolk County Piano Teachers Forum Prize for two consecutive years. Paul has played numerous recitals at such prestigious halls as Steinway Hall in New York City, Faust Harrison Hall, The United Nations, and The Staller Center. Paul has always been active in Chamber Music and has performed with The Stony Brook Symphony Orchestra and The New York University Symphony Orchestra.

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Out of Darkness Into His Marvelous Light / Various

Here is sacred music that, instead of remaining hushed and devotional, kicks up a storm... Saul's tonal language mixes knife-like dissonances with luxurious nineteenth-century sonorities. Each work is big, dramatically taut, and filled with ideas. --David Stabler in The Oregonian.

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Sacred Choruses/Choeurs Sacras

Robert Ingari "Sacred Choruses" Robert Ingari is the director of choral activities at l'Université de Sherbrooke, Quebec, where he has developed a unique and innovative French-speaking masters degree program in choral conducting. He is also the artistic director of l'École d'été de chant choral, a week-long summer choral intensive where his students, joined by choristers from around Quebec, study, prepare and perform choral repertoire of all styles and periods. Before coming to l'Université de Sherbrooke, he was an assistant professor at the Schulich School of Music at McGill University in Montreal where he conducted choral ensembles and taught conducting. Ingari is an active choral clinician and guest conductor, sought after for his pedagogical ingenuity and dynamic approach to choral rehearsing. As a composer, Ingari has composed choral works of varying styles and difficulty for unaccompanied voices as well as works for choir and instrumental accompaniment including keyboard, marimba, string orchestra and chamber orchestra. His music has been praised for it's lyricism, rich sonorities and expressive power. Notes Psalm 23, composed in 2006 for Le Choeur Classique de Montréal, is a cantata in five movements for soprano and tenor soloists, choir and string orchestra. The first movement, which sets the first three lines of the psalm, is a slow movement for chorus and orchestra, whose poignant dissonances and widely spaced chords express the calm assurance of the text. In the second movement for two soloists, the pizzicato in the strings evokes a slow, determined march to the text "Yea, though I walk through the valley of the shadow of death, I will fear no evil". In "Prayers", the central movement played by the orchestra alone, we hear a regal accompaniment, which turns around a series of rising and falling melodic arches played by the violins giving a sense of pleading and questioning. The counterpoint and soaring melodies of the fourth and fifth movements make for an emotionally charged tour de force where choir, soloists and orchestra unite in a Handelian display of grandeur to express the final lines of the psalm. Three pieces for choir and marimba was composed in 2009 at the request of Mario Boivin, marimbiste and colleague of Ingari at l'Université de Sherbrooke. The three works are settings of sections of Psalms 100, 102 and 150 respectively. In the first, "Make A Joyful Noise", the virtuosic linear writing for marimba interspersed with the driving rhythms of the choral writing makes for an exciting musical celebration. The middle section slows as the choir sings the words "Come before his presence with singing" followed by a gradual return to the music of the first section. In "Hear My Prayer" the mantra-like repetition of a motive sung on "ah" becomes the accompanying backdrop to a series of vocal supplications expressed by widely spaced sonorities and colorful harmonies. The musical drama is enhanced by frequent interjections by the marimba. In "Praise Ye The Lord" the dance-like text declamation in the voices is accompanied by a forward moving rhythmic pattern of eighth-note scale passages in 7/8 played on the marimba. Here again the writing for the marimba is virtuosic, making for an exhilarating finale to the set of three pieces. Dona nobis pacem was originally composed and published in 1994 as a work for chorus with keyboard accompaniment. In 2000, it was rearranged for chorus and string orchestra and it is this version that appears on this recording. A unique characteristic of the work is that it remains entirely in the scale of G major without a single accidental. The melodic and harmonic interest is found instead in the subtle use of dissonance and the addition of seconds and ninths to the chord structures. Tension is also established and maintained by the gradual ascent in vocal range, volume and intensity, toward a climax where the choir cries out in a plea for peace, only to descend back to the original music of the opening music.

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Dancing in Latin America

NOTES Dancing in Latin America expresses Awilda Villarini's love and admiration for Latin American music and culture. As part of her heritage, Ms. Villarini performs this music with passion and poetry. The complex rhythms and syncopations are second nature to her. At times, it sounds like two pianists interpreting the difficult technical passages. In the lyrical passages, the piano sings with a beautiful warm sound. It is the work of a virtuoso and a romantic pianist who understands and feels this music. ABOUT THE MUSIC This recording includes five tangos by Piazzolla, two of the popular Afro-Cuban Dances by Lecuona and a collage of Puerto Rican Danzas by Morel Campos, Misl&aacute,n, Pedreira and Otero. As a bonus track, she includes a preview of the repertoire to be included in the second volume, the Bomba from her Suite Portoricinses. ABOUT AWILDA VILLARINI Following the tradition of pianists - composers such as Rachmaninoff and Lecuona, Awilda Villarini has excelled both as concert pianist and composer. As a concert pianist, she has mastered the traditional piano repertoire and has received rave reviews from major newspapers such as The London Times, Z&uuml,rcher Nachrichten, Washington Post, and The New York Times. Villarini has performed in some of Europe's most prestigious venues: Salle Gaveau in Paris, Wigmore Hall in London, Kammermusiksaal in Zurich, Brahms Saal in Vienna, among others. In the United States, she has performed at Carnegie Hall, Abraham Goodman House, The Organization of American States as well as colleges and universities throughout the States. The late music critic Harold Sch&ouml,enberg said about her playing: 'I have heard Liszt's Transcendental Etude in F minor by hundreds of young pianists in different piano competitions. Ms. Villarini's technique and interpretation proved to be superior to all of them. She is an exciting romantic pianist.' As a composer, she has written works for piano, voice and piano, chorus, chamber music, theater and orchestra. She has received very enthusiastic reviews and received commissions from the National Endowment for the Arts, Louis Vogelstein Foundation, M&uacute,sica Para Instituciones, and The Institute of Culture in Puerto Rico. After the premiere of her Symphonic Poem The Legend of the Indian, Sylvia Lamoutte from El Nuevo D&iacute,a wrote: ' The Legend of the Indian proved that Villarini has imagination, knows how to create a musical ambience, can capture the listener's fantasy, handles well the orchestra's texture with interesting dynamic contrasts and balance between the different sections of the orchestra.' REVIEWS AS A PIANIST 'An exceptionally well-schooled artist with dependable fingers and an assertive style.' New York Times - Donal Henahan 'Bold, romantic style of playing.' London Times 'Awilda Villarini regaled her audience with doubled barreled power. She is a pianist of considerable vigor.' Washington Post 'Ms. Villarini is a talented, intelligent, technically versatile and also physically robust musician.' Neue Z&uuml,rcher Zeitung 'She played with a beautiful sound and with well achieved contrasts.' Le Nouveau Journal, Paris 'Awilda Villarini performed brilliantly the difficult concerto in A minor by F. Liszt. We enjoyed her great musicianship and poetry, as well as her virtuoso technique.' El Mundo, Puerto Rico 'Her performance of Beethoven's Prometheus variations was bone strong. Quite a Pianist, Quite a composer.' Joanne Hoover Washington Post 'In Chopin's Sonata Op. 35, the artist showed that she is a full-blooded musician.' Hans J&ouml,rg M&uuml,ller Z&uuml,richsee-Zeitung 'In the Pictures of an Exhibition by Modest Moussorgsky, the pianist showed her security, imagination and musical talent.' Bartolom&eacute, Bover, El Mundo 'Ms. Villarini played Chopin's second sonata with a weight and depth of tone that would banish any lingering doubt of a woman's capacity for sustained power in comparison with a man's. It was sonority fed by youthful ardor.' Eric Warr, London Reviews 'A new star in the musical heavens.' Neue Z&uuml,rcher Nachtrichten REVIEWS AS A COMPOSER 'She showed herself to be a highly resourceful composer who handles with ease the high voltage rhythms of her native Puerto Rico. Villarini's composition is a stylish, sophisticated work literary bursting with vitality.' Washington Post 'Ms. Villarini's Suite Portoricinses, based on four Puerto Rican dances, was couched in a moderately acerbic and fairly conservative idiom... striking sparks of real imagination.' New York Times 'Her composition is a multicolored panorama, where each element has a purpose and character.' Maxime Belliard, Le Nouveau Journal 'In her composition, which does not lack temperament, harshness and daredevilness, she often uses dissonances for the sake of expression. She also uses some bitonal elements, which are used with much artistry and sureness of effects. Simple themes were repeated with rhythmic variations, resulting in charming effects.' Neue Z&uuml,rcher Zeitung 'I was especially impressed by the Two Love Songs by Awilda Villarini on texts by Julia de Burgos and Pablo Neruda. I believe the composer's experience resulted in not hurrying the text, in taking time for the phrases to breathe, in not gambling it all on a couple of special effects. The Villarini's songs are also kind to the singer. Also, for this reason, I think they are completely successful.' Donald Thompson, San Juan Star 'Dialogue, by Awilda Villarini (poem by Pat Parker), is a dramatic song that impacts the listener.' Peter Bloch, New York Impacto 'Her Suite Portoricinses consist of four pieces full of variety which reminds us of Prokofieff.' Neue Z&uuml,rcher Nachtrichten 'The world premiere of Awilda Villarini's composition for orchestra, Cinquillo Dram&aacute,tico, was an important and successful event. This fascinating, captivating composition was received with great enthusiasm by the audience.' La Raz&oacute,n.

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Cyber Jubilee

The composers who followed Beethoven writing symphonies did so at the risk of a failed serious comparison. Some managed to survive. But, Schumann has suffered greatly by comparison. Beethoven set the stage. Brahms forged ahead and gave four sparkling masterworks. Schubert was not to be outdone in his 8th (unfinished) and 9th symphonies. But what about Schumann? His symphonies (the 2nd movement of the 2nd symphony comes to mind) are weak shadows of the giant. I think he may have known this because he revised his revisions. But now let us set the record straight and give Schumann his due. Beethoven fathomed the depths of our psyche to the very bottom. He found suffering there. His reaction was to triumph over it with his music. We call Beethoven's music 'heroic' for this reason. I would add that his music is even therapeutic. His heroic temperament accounts in part for his universal appeal. On the other hand, Schubert did not have the courage to oppose the tribulation. So he did something just as good. He transformed it into something beautiful and therefore bearable. Brahms' reaction to it is somewhere between Schubert and Beethoven. Brahms can be heroic and poignant in the same passage. What about Schumann? Schumann seemed to want to create something uplifting and gay (that is to say uplifting in a not too serious way). In this he failed. If he could of ignored Beethoven (fat chance) and just been himself, he would of been better off. Well then, what is the result? Schumann plumed the depth of our suffering like the rest. He made something beautiful like the others. In this he compares favorably with Schubert and Brahms. And that is the answer. Take Schumann on his own and his music is worthily crafted and splendid. He wanted it to be delightful but the burden of suffering still shows through. Taken in this way, Schumann's symphonies are solid masterpieces. Always brooding and sometimes gay and often delightful and always wonderfully crafted. In concert, audiences usually spontaneously applaud the virtuoso performance of the violins for their speed and precision in this scherzo. Tip: listen for the dissonances. He occasionally has notes semitones apart sounding together. *** Debussy and the Tri-Tone Western music has some recognizable principles: The major scale of 8 notes and the associated chords called the tonic, the fourth and the dominant. The scale is the do-ray-me ... sequence or otherwise the notes c-d-e-f-g-a-b-c on the piano keyboard. The three chords are c-e-g and c-f-a and b-d-g. Only the white keys are used. These sounds are familiar to our ears because Haydn, Mozart and Beethoven used them extensively and inspired their followers to do the same. An excellent example would be Haydn's Clock Symphony, the 2nd movement. The C major chord c-e-g is, however, unbalanced. Unbalanced because the e is a major third above the c while the g is only a minor third above the e. Likewise, the corresponding c minor chord c-(e-flat)-g is top-heavy with the g being a major third above the e-flat while the e-flat is only a minor third above the c. One way to achieve balance is to make both intervals a minor third. That is, c-(e-flat)-(g-flat), and this is the tri-tone that attracted Debussy. He used this tri-tone sound whenever possible in his (only) string quartet. That is why this music sounds new to us. It sounds modern. It sounds convincing. *** Schubert wrote two trios for piano, violin and cello. Both are masterpieces. However, there also survives a single trio movement presented here. With this trio movement there is a problem of balance. The modern concert piano is much more massive in it's strength and loudness than the piano of Schubert's day. The challenge today is to prevent the piano from drowning the strings in it's sea of sound. It does no good to play the strings louder because then they lose Schubert's intended sweetness. No, the piano must be softer, but without losing it's strength. A good balance may be a distant dream in the concert hall but not so in cyberchambermusic's studio. Four separate channels are used one each for the violin, the cello, the piano right hand and the piano left hand. The four channels can then be combined in such a way that each can be heard for it's own part. The four voices are spread across the stereo spectrum starting with the violin on the far left, then the cello mid left, then on the mid right the piano right-hand (high notes) and on the far right the piano left-hand (low notes). However, there is also the problem of musical balance. What should be the natural role of each of the four voices? In the violin sonata, the role of the piano and violin duet had been firmly established. Beethoven and Mozart had been at it already. But adding the cello to make a trio means Schubert has something new to say. While he created something beautiful in this movement, it does not have the balance he sought. Each of the four parts seem to be in a secondary accompanying role. Nowhere does the violin (or cello) lead and the others follow. It is the piano that demands our attention throughout even though not in the usual leading way. The movement is a scene with four bit players and no leading man. Cyberchambermusic can in it's studio successfully attack the problem of volume balance but be assured we are helpless to improve Schubert's musical balance. *** Victor Borge walked onto the stage, sat, adjusted the piano bench, smiled at the audience and played his piece. When he was done, he rose, turned and accepted the audience's applause and said, "For my next piece, I would like to play all the notes I missed in this first one." Mr. Borge is a very funny man and also a good pianist. However, his amusing joke raises an interesting question that I would like to pursue. Another good story comes from an interview with a well-known concert violinist. He said that sometimes in concert he forgot Mozart's concerto score and had to fill in with some notes he just made up. He hoped Mozart would forgive him. Even studio performances do not always satisfy. When Toscanini was unhappy with a section of a recorded performance, the piece was fixed by his allowing the recording engineers to splice in the same section with a tape from another (years) earlier performance. So fine was Toscanini's art that such a fix could succeed. The advantage of a studio recording is that if any notes are accidentally skipped or altered while playing, it is a simple matter to discard the recording and redo it - as many times as it takes to get it right (assuming the players schedules allow them time). The disadvantage of the studio is that the soloist loses the interaction with the audience which may well have inspired him to a superior performance. Another concert pianist said that because of his interaction with his audience during the concert, no two of his concert performances of a piece were ever the same. Indeed, he went further and confessed that he even lacked the control needed to produce two identical performances. While it is indeed a thrilling experience to sit in the hall (and socialize) and marvel along with the others in the audience at the soloist's expertise, to be fair it must be said that the best place for the recording of many live concert performances is in the trash can. The reason for raising this point is because modern computer software gives us more control over a performance than ever before. The number of ways for the man at the computer to fix his performance is nearly unlimited. Let me continue with an example. I have in mind Chopin's piano Fantasy in f minor. Here is a place where the computer-controlled performance can excel. First of all the recorded "sound" of a piano is the same whether it is generated by the sequencer at the computer keyboard or by a soloist at the piano keyboard. That is to say, if one note is hit by the pianist and recorded, it sounds the same when played back even though the computer initiates the pla

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Chopin Piano Music

Frederic Chopin was born near Warsaw in 1810. He was a child prodigy who published his first piece a Polonaise at seven. He received an excellent general education in Poland but left at twenty to further his career and never returned. He spent almost all his adult life in Paris where he died of TB in 1849, but his love for Poland stayed with him, as his many Polish dances - Mazurkas and Polonaises - so clearly demonstrate. Chopin has been called the 'Poet of the Piano', having never written anything which did not involve this instrument. Mazurkas Chopin wrote more than 55 Mazurkas, his final compositions were two Mazurkas. The Mazurka is a dance in 3/4 time similar to a waltz, but characterized by a strong accent on either the second or third beat or a dotted first beat. Chopin's Mazurkas evoke the Polish spirit without using actual folk melodies. The Mazurka in B-flat, Opus 7, no. 1, is one of the most popular with it's scherzando theme. Opus 63, no. 2 in F minor, published in 1847, has a lingering sadness and elegiac sound caused by sharp dissonances, chromatic passing tones, and suspensions. Opus 63, no. 3 in C-sharp minor, is eloquently lyrical and concludes with a display of Chopin's contrapuntal skill: a perfect canon at the octave. Opus 67, no. 3 in C major of 1835 is a dancing tune, although Chopin stated that the Mazurkas, like the Waltzes, were not intended for dancing. Opus 68, no. 2 in A minor, written in 1827, is the earliest of the group despite it's highest opus number. Scherzo in E Major, Opus 54 This Scherzo, the last of the four Chopin wrote, was published in 1843. It is more truly a Scherzo (literally, a joke) than the others, which are stormy and in minor key. It is playful, with a lightness rare in Chopin's larger works. The middle section has a poignant melody, and the Coda with scales running the length of the keyboard, brings the work to a brilliant conclusion. Nocturnes Nocturne is a French word indicating 'night piece'. Chopin did not invent the Nocturne, though his are best known. They range from the delicate to dramatic, and are generally in three - part form: ABA. Opus 15, No. 2 in F-sharp major. 1830-31, is among the most popular. The opening section contains one of Chopin's loveliest melodies, while the middle section, 'Doppio Movimento', is turbulent and passionate. Opus 27, no. 1 in C-sharp minor of 1840, is one of Chopin's greatest works in this form. This opus is tragic and menacing, opening with a chromatic melody. The middle section, marked 'Piu mosso', is restless and agitated. Ballade in F minor, Opus 52 Like the Scherzos, there are four Ballades. The F minor is the last. The Ballades were published between 1836 and 1843. Opus 52 is a narrative on a heroic scale. Chopin is at his most intimate and also most tragic. The opening melody has the charm of a slow, mournful waltz, but the piece is also exalted, intense and sublimely powerful, ending with a stormy, bravura coda. Lorraine Falberg Fuchs, a native New Yorker, appears regularly with chamber music groups and in solo performances. She started piano studies at the age of three, giving her first solo recital in Steinway Hall at age six. Ms. Fuchs was a semi-finalist in the first Van Cliburn Amateur Competition and was a finalist in competitions in Paris, New York and New Jersey. She has been an active participant in the Marlboro Vermont Music Festival. Ms. Fuchs is an alumna of the University of Michigan. Her studies in New York were with Willard McGregor, Leonard Shure, Claude Frank and Richard Goode.

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Portuguese Music for Solo Cello

'In Antagonia, for solo cello, the first and second strings are tuned half a tone lower (A and D flat). This tuning divides the instrument in two contrasting fields: two perfct fifths separated by an augmented fourth that makes them "antagonistic". This antagonism is transposed to every aspect of musical construction: there is one force trying to ascend and another one pushing down (or vice-versa), rhythmical characters opposing each other in expansions and contractions, and dynamic progressions in different directions. The work is divided into six parts: prologue (pesante), four variations (fuido, presto, allegretto, lento) and epilogue. In the introduction there is no theme but a structure that is transformed in tempi, textures and sonorities peculiar to each variation. In the epilogue there is a deformed condensation of all the previous sections: it is the non-resolution of an untransposable conflict. It's anguish is intensified by the dissonances of the scordatura, wich "repress" the natural tone of the cello. Written in Almoçageme in March 1990, it was first performed in Barcelona three months later, in a concert in memory of Jean Etienne Marie. It was recorded by the Czech and the Portuguese Broadcasting Companies, and selected by the jury of the International Society for Contemporary Music for the World Music Days that took place in Mexico City, in November 1993. It is dedicated to the Portuguese cellist Irene Lima.' Alexandre Delgado 'The composition of this piece, like all my music, is based on listening and spectral understanding of the sound phenomena, taking into account the acoustic properties of the musical instrument, which is the subject of research, leading to the abstract speculation on the compositional process. The piece is based on a defective spectrum on C (one octave below the C on the cello), in which only 11 partials (from the fundamental up to the 29th harmonic) are taken into consideration. From this defective spectrum I realized 8 micro-intervallic frequency shifts, resulting in a total of 9 sound aggregates. These aggregates have a slightly different intervallic structure between them, yet this small difference is of great importance - in terms of acoustics and perception it changes considerably the harmonicity / inharmonicity of the aggregates, what actually means being more consonant or less consonant in terms of perception. Each of these sound aggregates corresponds to a section of the piece. Although the sections succeed without interruption, some interludes and transitions are introduced here and there between them. There are also few sections, where some of the material presented earlier is reintroduced from a new perspective. Within each section, every aggregate is the subject of successive transpositions, yet retaining the same intervallic structure and also conforming to the base harmonic spectrum. These transpositions give origin to numerous melodic figurations, often in accelerando and appearing throughout the piece. The electronics operates primarily as a shadow or double of the acoustic instrument, blending with it, and extending it's identity. Occasionally, it can also act as a counterpoint.' Miguel Azguime, 29th July 2014 'Labirintho was written for the cellist Filipe Quaresma. The piece is clearly divided into two major parts recognizable by the change in tempo. The construction of this piece is centred on a theme that is constantly repeated and varied, resembling an obsession from which it can not escape (like in a maze).' Carlos Azevedo 'One of the salient features of the work of Corte-Real has been it's umbilical relationship with Portuguese culture and, above all, with it's poetry. Poets that the composer has put to music or from whom has taken inspiration are already numerous: Pessoa, Pascoaes, Régio, Agostinho da Silva, Eugénio de Andrade or Florbela Espanca. The work Bicicleta do Poeta (The Poet's Bicycle) (2014) for solo cello, is inspired by the poem Bicicleta (Bicycle) by Herberto Hélder. As in the poem, the music is full of sudden changes of speed and pace, unpredictable changes of direction and hard braking. The calm, relaxed, summer's-day ride itself gives way to the speed and vertigo inside...' Afonso Miranda 'Ostinati (2010) represents a change of direction in the composer's work: a turn that incorporates previously rejected elements, guided under a greater freedom, in the sense that it suffers less from the denial of material and solutions than from the meeting of musically sufficient ideas in order to create one sound identity. The material found in the origin of the score is, therefore, quite concise. Like other works from Ricardo Ribeiro, if the thought associated to the electronic processing is present since the first moment, it is true that the instrumental part lives by itself as an autonomous piece. This phenomenon doesn't work both ways: the electronic is only possible as a factor that improves the original idea, sometimes even recreating it, according to the notes which date from the elaboration of the instrumental part. The idea that each performance consists in a unique piece is, in Ostinati, taken a step further, since the electronic program was designed with some characteristics of randomness concerning to the degree of microtonality's range and overlapping of elements closer or furthest in time, which can be triggered in certain sections. The same electronic works as an orchestration of a particella, adding the microtonality and enhancing the timbre. The persistence of ideas and gestures is a metaphor of the idea of repetition, a presence that is increasingly evident in the last works of the composer. The repetition that in Intensités (2001) happened at the harmonic level, is present in Ostinati at a much more immediate level, in the movement, in the heights, in the continuous manifestation of strength which simultaneously transmits serenity.' Diana Ferreira.

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