LocationOpen-Air Amphitheatre R. Dr. Nicolau Bettencourt, Lisbon
Angélica Salvi Harp, Eletronics
If music is the most abstract of the arts, it is also that which best conveys the transit of emotions, both of those who play and those who listen, of those who play for those who listen and even those who listen for those who play. “Phantone”, a solo album released in 2019 by Angélica Salvi, a Spanish harpist who has been based in Porto for many years, not only highlights this particular condition but also has the rare ability to make us believe in a future for music in the ever more horrendous world of the present day.
In this project, Salvi brings together her different strengths as an interpreter of contemporary composers and as an improviser and adds something else, something that emerges between a “folky” imaginary without definable temporal and geographical origins and an acute exploratory sensitivity which uses presets and electronic signal processing to form something different and new. What we hear may constitute the stuff of dreams, so strange does it sound to us, but we are not alienated by it. This is redeeming music, music that saves, that makes us still want to continue Instead of keeping us in our chairs, even the beautiful “Indigo” theme has the particularity of making us want more and act accordingly.
Rui Eduardo Paes
Ricardo Jacinto Cello
Gonçalo Almeida Double bass
Nuno Morão Drums
With The Selva (The Jungle), the use of repetition adapts the lessons of North American minimalism – that of Steve Reich, but above all that practised by Arnold Dreyblatt – in the construction of themes based on the tiniest of elements. The obstinate phrases of the cello and the double bass underpin a series of micro-events that take on their dimension precisely because they have a predictable basis. Atonal continua also appear, reminiscent of Harry Partch’s explorations, resulting in the form of a tube of floating sound changing its direction through the suggestions of the drums.
Released in 2019, the trio’s latest album, “Canícula Rosa”, goes from nighttime to daytime, with constant changes of colour and light. The name chosen for this trio carries a considerable burden. The Jungle is the name given to the camp that settled in Calais, France, made up of refugees trying to cross the English Channel. In that same place, a wall was erected on the margins of the motorway, yet another fence in a Europe that has forgotten the shame that was the Berlin Wall. The Selva proposes to tear down this symbolic wall, playing improvised music that clashes with the general tendency of this. How? By playing something that reminds us of both old music and the chorus of what could be a Soft Machine theme, with ever more allusions in the middle, none of them actually materializing.
Rui Eduardo Paes
The Calouste Gulbenkian Foundation joined forces with Associação Porta-Jazz and Jazz ao Centro Clube to present Jazz 2020, a cycle of 10 concerts in Lisbon, Oporto and Coimbra. Between 31 July and 9 August, Portuguese jazz and improvised music will be once more on the agenda!
In a time where many artists have seen their projects cancelled or postponed, this edition is also an opportunity to support more than 60 musicians and the technical teams involved in these concerts.
The Calouste Gulbenkian Foundation reserves the right to collect and keep records of images, sounds and voice for the diffusion and collective preservation of the memory of its cultural and artistic activity. For further information, please contact us at [email protected].