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Introduction
Ana Telles develops research projects in the fields of Music of the 20th and 21st centuries, Portuguese modern and contemporary music, Piano music. She has authored a significant number of book chapters, papers in peer-reviewed journals and musical editions, including a critical edition of Luís de Freitas Branco’s Piano Preludes (AvA Musical Editions); her discography includes seventeen published CD’s.
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January 2017 - present
Publications
Publications (25)
A Casa do cravo, for piano and electronics, by Carlos Marecos, was written in 2019 and premiered at Lisboa Incomum in the same year. The commission, from the DME Festival, was carried out in the scope of the Erasmus+ project "The Soundscape in Which We Live” and presupposed the use of soundscape recordings made previously by the project partners, a...
The use of extreme dynamics and modes of attack emphasizing the percussive qualities of the piano, as well as abrupt changes in intensity and registers characterize much of the piano music written in the second half of the 20th century (Caillet, 2007). It is not rare to find, in this repertoire, dynamics ranging from pppp to ffff, and even a sustai...
The use of extreme dynamics and modes of attack emphasizing the percussive qualities of the piano, as well as abrupt changes in intensity and registers characterize much of the piano music written in the second half of the 20th century (Caillet, 2007). It is not rare to find, in this repertoire, dynamics ranging from pppp to ffff, and even a sustai...
This volume sheds light on the wide range of perspectives on musical activity today, and shows how it can be analyzed from different points of view, working within a diverse theoretical framework. It is organized into three sections, the first of which discusses the changing contexts of musical work compositions over the 20th century. The second pa...
With a rapid increase in aging population worldwide, there is a need to ensure good health and wellbeing for the elderly. Healthcare system in Portugal supports opportunities and addresses challenges of its aging population by well-maintained associations between its government and private institutes. In order to stimulate an innovation ecosystem i...
A great number of João Pedro Oliveira’s works composed between 1982 and 2016 is either directly or indirectly inspired by biblical sources, themes and motives. From orchestral to solo pieces, from chamber music to electroacoustic and video works, the composer’s output is pervaded by such references, which inform various elements of his musical lang...
The study of musical phenomenon has, for a long time, unfolded
in two separate camps: indeed, declarative knowledge was mainly
produced in universities, where Musicology and its different
disciplines were taught, whereas procedural knowledge associated
with the performance and composition of Music stemmed mostly
from conservatories, music academies...
The process of fingering a piece, for a pianist, is a highly personal one. It depends on a number of factors: the configuration of the keyboard, the physiology of the pianist’s hands, the specific demands of the work in question. It serves several purposes, of which dexterity and expressiveness have often been acknowledged in literature.
In this pr...
Christopher Bochmann's pianistic language is based on a fairly conventional instrumental technique, inherited from the 19th century pianistic tradition, yet encompassing characteristic features developed by authors associated with the 2nd Viennese School and post-serialism, as well as significant experiences in the fields of free forms and aleatori...
No extenso catálogo de obras musicais de Christopher Bochmann, o piano (enquanto instrumento solista) assume um papel de destaque. Para além disso, tem uma presença assídua nas obras para diferentes conjuntos instrumentais e de música de câmara do compositor. Este importante conjunto foi composto entre o final dos anos 60 e o presente, verificando-...
French operatic production of the 20th century is considerable; three of these operas – Miguel Mañara, Don Juan de Mañara, by Henri Tomasi (1944); Dialogues des Carmélites, by Francis Poulenc (1956) and Saint François d'Assise, by Olivier Messiaen (1983) – take place on the intersection between temporal and spiritual spaces and ways of life in diff...
O presente capítulo inscreve-se na continuidade de um estudo anterior, sobre as relações do GMCL com a criação musical portuguesa ao longo das primeiras quatro décadas da sua existência (Telles, 2012), e apresenta resultados parciais de uma investigação mais aprofundada sobre a história do grupo, que será oportunamente dada à estampa. Concentra-se...
O presente texto debruça-se sobre aspectos do percurso de Clotilde Rosa (1930-2017), da sua obra, da sua linguagem e do seu posicionamento artístico. Mais do que isso, pretende reflectir sobre o carácter lírico e onírico que subjaz, de modo mais ou menos explícito, a numerosas das suas criações, mas também à maneira como esse “lirismo onírico” se t...
This chapter reflects on the origins, premisses, format and works that composed the piano recital A Vol d'Oiseaux: Aves e Biodiversidade no Repertório Pianístico - Do Barroco ao Presente, which took place in the Terras sem Sombra Festival, on February 9th 2019.
No extenso catálogo de obras musicais de Christopher Bochmann, o piano (enquanto instrumento solista) assume um papel de destaque. Para além disso, tem uma presença assídua nas obras para diferentes conjuntos instrumentais e de música de câmara do compositor. Este importante conjunto foi composto entre o final dos anos 60 e o presente, verificando-...
This paper is about Meta-Formoses or Concerto for Bass Clarinet, a work
by Jorge Peixinho; being one of the most performed and recorded works in Portugal and
abroad with this orchestration, it features the influence of the clarinetist who premiered it
as well as the specific characteristics of the composer’s musical language. This paper aims
to dis...
En 1966, le compositeur et chef d’orchestre français Henri Tomasi (1901-1971) écrit une “cantate profane” pour récitant, choeur d’hommes et orchestre, Retour à Tipasa.
Bâtie sur l’un des essais de L’été d’Albert Camus (publié pour la première fois en 1954), l’œuvre a été commandée par l’Association Culturelle Franco-Algérienne et devrait être jouée...
Malgré sa formation en tant que pianiste, Henri Tomasi a peu écrit pour le piano en tant qu’instrument soliste ; d’ailleurs, de l’ensemble d’environ une douzaine d’œuvres, plusieurs pièces résultent de la transcription d’œuvres initialement écrites pour d’autres formations instrumentales, voire pour orchestre. Cependant, le corpus de ces œuvres s’é...
Review of Nancy Lee Harper's CD Música portuguesa
para piano/Portuguese Piano Music, vol. 3
(CD Numérica, 2012)
Malgré les liens historiques et culturels qui unissent le Portugal et le Brésil, les rapports musicaux entre les deux pays tout au long du 20e siècle et débuts de ce 21ème siècle peuvent s’estimer sporadiques et peu soutenus. Du côté brésilien, sont à signaler l’ensemble de l’activité d’un José Eduardo Martins ou les efforts notoires d’un Gilberto...
O presente capítulo pretende analisar a relação do Grupo de Música Contemporânea de Lisboa com a criação musical portuguesa ao longo dos seus quarenta anos de história numa perspectiva histórica e estética. Partindo de um levantamento de obras de compositores portugueses ou residentes em Portugal encomendadas e/ou estreadas pelo GMCL durante o perí...
São conhecidos o respeito e a admiração que Fragoso nutria por Freitas Branco, sentimentos esses que foram recíprocos. Se aquele, trágica e precocemente desaparecido em 1918, não hesitou em dedicar o seu Nocturno em ré bemol maior ao seu “mestre Snr. Luís de Freitas Branco”, este último lembrou em variadas e repetidas ocasiões a obra e o talento do...
Luís de Freitas Branco is considered a major Portuguese composer of the first half of the 20th century. Over various decades, his life and works were little known and studied; even though a renewed interest was kindled in recent years, his piano works remained largely untouched by scholars, and published biographical facts concerning him were of a...
Luís de Freitas Branco is considered a major Portuguese composer of the first half of the 20th century. Over various decades, his life and works were little known and studied; even though a renewed interest was kindled in recent years, his piano works remained largely untouched
by scholars, and published biographical facts concerning him were of a...
