2017

3rd  EDITION OF IN SPIRITUM FESTIVAL

 

Salão Árabe do Palácio da Bolsa ⋅ Alhambra Poems Eduardo Paniagua e El Arabi Ensemble

This programme is made up of songs and verses by Ibn Zamrak which were written on the walls as part of the decoration in Nasrid palaces, the last Muslim dynasty in Granada.The music from these poems is taken from Andalusian nubas from the era of the Alhambra, which formed part of the Maghreb tradition. Anonymous love poems were replaced in some of them, with the same metrics and rhyme, by the qasidas which decorated the walls, alcoves and fountains at Granada’s Palace, establishing a poetic and spatial connection with the Salão Árabe at Palácio da Bolsa, whose neo-Arab style, which belongs to a kind of Romanticism, draws direct inspiration from the Alhambra.

 

 

Igreja de São Francisco Gems of the Portuguese Baroque ⋅ Ludovice Ensemble

Ludovice Ensemble presents a programme especially conceived and fitted to the lavish Baroque interior of Saint Francis Church in Porto, a masterpiece of 18th century gilded woodcarving and sculpture. It combines works by the main composers active in Portugal in this period, offering a comprehensive view of the sacred music of this period, in its varied styles and expressive contrasts, as well as its diverse origins.

Most of the pieces, discovered in recent musicological research, are presented in First World Audition, namely the works by Antonio Tedeschi (1702-1770), an Italian composer serving at the Royal and Patriarchal Chapel in Lisbon and whose works are preserved in multiple Portuguese and Italian sources. From Giovanni Giorgi (ca.1700-1762), also a Court Composer in Lisbon and previously Chapel Master of the Cathedral of Rome in Saint John Lateran Basilica, it will be performed one of his many works kept at Lisbon’s Cathedral.

Carlos de Seixas (1704-1742), one of Portugal’s best know composers, born in Coimbra and active in Lisbon as Royal Organist, is represented with two extracts from his equally famous Mass in G. The program also includes Pedro António Avondano’s (1714-1782) beautiful Litanies of the Virgin – Avondano being one of the Portuguese composers of this period who achieved international reputation, with works performed, printed and/or preserved in London, Hamburg and Dresden.

However, the highlight of the evening is the Modern Première of the Te Deum by Manuel de Morais Pedroso (fl.1750-70) a musician active in Porto in the middle 18th century, also renown as a theorist and author of “Musical Compendium” (Porto, 1751 and 1759), an important source for the performance of Baroque Portuguese Music. His Te Deum is preserved in a manuscript from the Archiepiscopal Archive in Lima, Peru, a testimony of the importance of Portugal in the dissemination of Baroque Art and Culture around the globe.

 

 

Museu Nacional Soares dos Reis ⋅ Soares dos Reis and music from his time ⋅ Quarteto Rosário

A chamber music programme will be presented at the Sculpture Gallery in Museu Soares dos Reis (1847-1889), a place where the works of this Portuguese sculptor are exhibited. Establishing a connection between the art of the creator of Desterrado and the music of his time, works from composers who lived at the same time as Soares dos Reis will be performed. Therefore, we will listen to works by Mahler (1860-1911), Fauré (1845-1925) and from Porto composers Miguel Ângelo Pereira (1843-1901) and Nicolau Medina Ribas (1832- 1900).

 

 

Sé Catedral do Porto ⋅ Dialogues  António Esteireiro e Rui Paiva

During this concert, we will hear quite a varied selection of works which aim to highlight the instruments’ timbre and dynamics. Most of the selected repertoire is contemporary to the era the cathedral was built, involving music schools and genres from different countries, with a natural prominence for the Iberian Peninsula. The solo pieces will let the audience hear each instrument on its own with their own characteristics which are very distinct of Portuguese instruments at this time. Transitions will always make up a fundamental part of the organ repertoire and it will also be showcased in this programme, namely, the transition from Entrata Festiva from Belgian composer Flor Peeters, which was originally composed for the organ and brass quintet, transcribed for these instruments by the Porto composer Eugénio Amorim.

 

 

Caves Ferreira   Ferreirinha and the female composers of her time ⋅  Ana Maria Pinto e David Santos

Dona Antonia Adelaide Ferreira (1811-1896), a Ferreirinha was a businesswoman in the 19th century, known for her dedication to Porto wine and the innovations she introduced into this field. Having become a widow very early on in her life (she was 33 years old), she established herself as an example of initiative and daring, in a traditionally masculine world, thereby becoming one of the most fascinating figures of her time. It was also in the 19th century that women began to establish themselves in music composition, breaking away from a tradition where male composers dominated. This programme presents, in the unique space of Caves Ferreira, a programme with pieces solely from female composers in the 19th century and early 20th century.

 

 

Igreja dos Clérigos  Le Quattro Staggioni: Vivaldi/Piazzolla  Pedro Meireles, Gonçalo Pescada e o Ensemble do Festival

The Igreja dos Clérigos (Clérigos Church) was designed by Nicolau Nasoni (1691-1773), becoming one of the symbols of Baroque architecture in the city of Porto. The programme for this concert first wishes to establish a connection between the building idealised by the Italian architect and Italian music from the same period, with a performance of one of the Italian composer António Vivaldi’s (1678-1741) most iconic pieces: Le quattro stagioni (The Four Seasons). Secondly, the same four seasons will be performed, alternating, as seen by Astor Piazzolla (1921-1992) two centuries later.