Point of Departure
Premiere
[Version A — Full Symphony Orchestra] [unpremiered]
[Version B — Reduced Woodwinds and Strings] 26/09/2020 - Festival Prémio Jovens Músicos 2020 - Grande Auditório - Fundação Calouste Gulbenkian (PT) - Orquestra Gulbenkian and Conductor José Eduardo Gomes
Awards
1st Prize at SPA / Antena 2 Composition Prize 9th Edition 2020 (PT)
Special Mention at Amsonia International Composition Contest 2021 (USA)
Programme notes
Point of Departure is the result of the resurgence of an idea that seemed to have been forgotten. In 2015, after a public presentation of my acousmatic work — Project 2, I was challenged by a former composition professor to orchestrate this purely electronic work for acoustic forces. I did not give it much thought at the time, though it had always been lingering there in some way.
However, in 2019 I enrolled in a Doctorate in Music Composition at the Royal College of Music in London, where I was focusing on the influence of electronic music in my orchestration practice as a composer. As part of this program, I delved deep into the world of computer-assisted orchestration where the use of computer software is essential in generating orchestration solutions from given sound files. Thus, it seemed like the ‘why?’ and ‘when?’ were now intertwined.
Written in 2020 as part of my Doctor in Music — Composition at the Royal College of Music, London (PT). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT) & Royal College of Music London (EN).
© PRS/MCPS/SPA ISWC T-301.676.116-9
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Premiere
[Version A — Full Symphony Orchestra] [unpremiered]
[Version B — Reduced Woodwinds and Strings] 26/09/2020 - Festival Prémio Jovens Músicos 2020 - Grande Auditório - Fundação Calouste Gulbenkian (PT) - Orquestra Gulbenkian and Conductor José Eduardo Gomes
Awards
1st Prize at SPA / Antena 2 Composition Prize 9th Edition 2020 (PT)
Special Mention at Amsonia International Composition Contest 2021 (USA)
Programme notes
Point of Departure is the result of the resurgence of an idea that seemed to have been forgotten. In 2015, after a public presentation of my acousmatic work — Project 2, I was challenged by a former composition professor to orchestrate this purely electronic work for acoustic forces. I did not give it much thought at the time, though it had always been lingering there in some way.
However, in 2019 I enrolled in a Doctorate in Music Composition at the Royal College of Music in London, where I was focusing on the influence of electronic music in my orchestration practice as a composer. As part of this program, I delved deep into the world of computer-assisted orchestration where the use of computer software is essential in generating orchestration solutions from given sound files. Thus, it seemed like the ‘why?’ and ‘when?’ were now intertwined.
Written in 2020 as part of my Doctor in Music — Composition at the Royal College of Music, London (PT). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT) & Royal College of Music London (EN).
© PRS/MCPS/SPA ISWC T-301.676.116-9
Are you performing this work? Submit your performance details to be featured in the upcoming events!
Scroll down for recording ↓
Premiere
[Version A — Full Symphony Orchestra] [unpremiered]
[Version B — Reduced Woodwinds and Strings] 26/09/2020 - Festival Prémio Jovens Músicos 2020 - Grande Auditório - Fundação Calouste Gulbenkian (PT) - Orquestra Gulbenkian and Conductor José Eduardo Gomes
Awards
1st Prize at SPA / Antena 2 Composition Prize 9th Edition 2020 (PT)
Special Mention at Amsonia International Composition Contest 2021 (USA)
Programme notes
Point of Departure is the result of the resurgence of an idea that seemed to have been forgotten. In 2015, after a public presentation of my acousmatic work — Project 2, I was challenged by a former composition professor to orchestrate this purely electronic work for acoustic forces. I did not give it much thought at the time, though it had always been lingering there in some way.
However, in 2019 I enrolled in a Doctorate in Music Composition at the Royal College of Music in London, where I was focusing on the influence of electronic music in my orchestration practice as a composer. As part of this program, I delved deep into the world of computer-assisted orchestration where the use of computer software is essential in generating orchestration solutions from given sound files. Thus, it seemed like the ‘why?’ and ‘when?’ were now intertwined.
Written in 2020 as part of my Doctor in Music — Composition at the Royal College of Music, London (PT). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT) & Royal College of Music London (EN).
© PRS/MCPS/SPA ISWC T-301.676.116-9
Are you performing this work? Submit your performance details to be featured in the upcoming events!
Scroll down for recording ↓