January 2017 #1 · Casa da Música Publication ENGLISH VERSION

06 GOD SAVE THE QUEEN! 03 CASA DA MÚSICA 12 CATHY GRAHAM 11 RESTAURANTE Official Opening of the British Year CHILDREN’S CHOIR The British Council’s CASA DA MÚSICA From the 19th to the 22nd January, the first themed event Music Director in London Along with three primary Discover Chef Artur Gomes’ of 2017 travels through various epochs of British music comments on God Save the schools in the Greater British menu featuring concerts, conferences, educational activities, Queen!’s programme Area, Casa da Música instalations, open rehearsals and more develops a new project

SIR HARRISON

BIRTWISTLE 04 The greatest living British composer talks about his music and comments on his three pieces in this weekend’s official opening A Casa · January 2017 A Casa · January 2017 02 British Year Project 03 © Ana Torrie

THE REASON

OF A CHOICE © Carlos Pinheiro

“What was the reason that made us choose British music BRITISHNESS IN MUSIC for the core of our season’s here’s never been a time in erations as creatively distinctive as John Dunstable to Thomas Tallis, programme? The reason the late 20th or 21st centuries Daniel Kidane and Philip Venables, reveals an earlier story of the tur- Twhen British identity has or Rebecca Saunders and Julian bulent courtly and religious sounds is twofold: the historical, been as apparently easy to grasp as it Anderson, if there is something that of the nation. is now, especially when Brexit is seen connects them, it’s a spirit of diver- To look for bonds of a common mercantile and ancestral blood through the prism of the politics of sity, openness, and the refraction of Britishness across the centuries and continental Europe: Britain and a multifaceted range of influences, all of this enormously diverse rep- connection between Britons are that collection of islands from musical modernisms to theat- ertoire – and this is just one week- and its denizens who are defined by rical, artistic, and literary avant-gar- end of the season – risks generalisa- and the United Kingdom (or their decision – albeit by the small- des, that makes them and their tion at best and caricature at worst. est of margins – to float free of the music part of a modernity that’s as That all of this is “British music” is England, before the formation EU, whatever the consequences. global as it is British. If we hear these not in doubt, but it’s all part of an And yet there has never been a time composers and their musical multi- essentially dynamic and ongoing CASA DA MÚSICA BEGINS of the UK), long before the when British identity is as contested plicities as “British”, that’s how we story of what Britishness might be, or dynamic an idea, in terms of Brit- choose to imagine them and their at home and abroad. And those who Windsor and Methuen Treaties, ain’s fractious and fragile domes- works, not in the sounds their com- are really in control of how “British” tic politics, the cultural narratives positions necessarily make. this music may or may not be aren’t plus – and this is what matters around Britishness and its representa- But the past is another coun- the composers themselves, but their tion and meaning in the rest of the try: much of the music we’re hear- programmers, their commentators, A CHILDREN’S CHOIR the most to us – the urgency world, and how all of this is played ing this weekend really was made and above all, their listeners: all of us out in the UK’s musical cultures. by composers for whom the ques- at Casa da Música. of sharing with our audience For the living composers repre- tion of what Britishness might be As the Scottish – and British – sented in this opening weekend of the in music was an important creative, poet Robert Burns wrote, “O wad A new project he beginning of the process sharp and quick to memorize things. already detected other advantages status of international recognition in a musical heritage of prime Casa da Música’s year-long explora- cultural, and political inspiration. some Power the giftie gie us, to see that will lead to the crea- I never thought they would be so in the initiative. “After the musi- the medium/long term. “What we tion of British music, the question It’s not only Thomas Arne and his oursels as ithers see us!”: “Oh would between three Ttion of Coro Infantil Casa da motivated”, says Joana Araújo who cal sessions they return to the class- are working on today will reach the importance. For some it will be of their national identity isn’t some- song of the nation, Rule, Britannia!, some Power the gift give us, to see Música is one of the big novelties for guides weekly sessions for six sep- room much calmer. Lack of concen- point of musical excellence in a few thing that is often consciously part originally composed for his masque ourselves as others see us!” That’s primary schools Casa da Música in 2017. It is a group arate classes at the EB1 (Primary tration is one of the problems we deal years,” predicts Jorge Prendas, not- a mere confirmation, for others of their work. That it’s there at all is Alfred in 1740, it’s there in Benjamin the true gift of the Casa da Música’s with high standards criteria which, School) of Quatro Caminhos, Sen- with on a daily basis, and this helps us ing that the specific characteristics of something that many of them want Britten’s work as a post-war figure- season – and of this inspirational in Greater Porto when fully established and in top hora da Hora. “For now we want work on that part,” says Teresa Ser- the project mean that the structure a true revelation.” and need to forget. Tell Harrison head for how music could be part of opening weekend. form, should join the range of resi- it to be a playful experience, with rasqueiro, a teacher of 3rd B class in set up for the vocal recruitment can Birtwistle that his music is “British” British communities as well as con- is taking its first dent formations accompanying them an easy, intuitive repertoire so that Quatro Caminhos. be maintained over time: “A choir António Jorge Pacheco or “English” in its sensibility or its cert halls; it’s sounded out by Gus- Tom Service to symphonic choral concerts. How- they feel confident in singing. Little For Jorge Prendas – coordina- of this nature will always need to Artistic and Educational Director of Casa da Música relation to tradition, and brace your- tav Holst’s cosmic nationalism in his Musicologist steps and aims to ever, all stages and deadlines must be by little we are approaching the clas- tor of Casa da Música’s Educational recruit so the continued connection self for the response – as visceral and The Planets; while the music of ear- met especially as it is a new project sical repertoire,” she explains with- Service – “the fantastic thing about with the state schools is assured. I unforgettable as his Earth Dances. lier centuries, the Catholic choral – in the mid term whose destiny goes beyond the stage. out hesitating about the potential of the Children’s Choir is that it main- hope that more schools get involved For composers of younger gen- works of English composers from Three state primary schools in the project:” It’s very big.” tains the high artistic demand – a in the future thus giving even more – create a new Porto’s Metropolitan Area have At this school and the other two – house trait – while including people children the chance to discover their been chosen as recruitment camps or EB1 in Lomba (Porto) and Quinta das who otherwise would not have access voice; to discover music.” resident group for “test tubes” where the Educational Chãs (Gaia) – students from every to a project like this – a trait of the Services seek to make them feel class are stimulated to integrate and Educational Services”. He says that Casa da Música the rhythm of joy, enthusiasm and, enrich a creative process of explora- he contemplates the desire to extend of course, Music, so far with amaz- tion of coral repertoires and collec- the family of resident groups at Casa ing results. “With every lesson they tive composition that meets the cur- da Música with the Children’s Choir are making good progress. They’re ricular content. But teachers have coupled with an ambition to reach a A Casa · January 2017 A Casa · January 2017 04 Interview Interview 05

António Jorge Pacheco with at Casa da Música

Having already visited the Casa music per se, how did these motets Well, I think a bit of both because certain things that have happened da Música twice, in 2005 for the Writing music is a come about? I’ve been hearing my music now for in the meantime… I sort of wonder Remix Ensemble concert and in Three Motets comes from a thea- a long time and I have certain opin- well, ‘I don’t remember that’. That’s 2014 for the Portuguese debut of sort of evolution of tre piece about and ions about my music, which are sort a very interesting question: what I Responses by the Orquestra Sin- it’s about people being called from of in my head. Writing music – and think about my music and my rela- fónica, what do you remember one’s personality. the past at the turn of the century. I can only speak for myself – is a tionship with it. I remember every about these occasions? I thought that it would be impossi- sort of evolution of one’s personal- single moment of it and very often You’re very privileged to have such So when I look ble not to talk about the Last Sup- ity. So when I look into the past in they’re like old friends you’re meet- a wonderful place to play music. per without mentioning the cruci- some ways it’s like somebody else ing after a long time. Not only does it look wonderful; it into the past in fixion. To illustrate the gathering of wrote it. In my view of them it’s like So your relationship with your sounds wonderful – and the most Jesus Christ and all the other char- they’ve changed, but it’s not that music from the past isn’t linear? I important thing is the way it sounds. some ways it’s acters I wanted to show something they have changed, I have changed. mean, do you consider that you are But it seems to be an appropriate completely different. I show it as So my relationship has changed. closer to and feel greater quality in place to play the sort of music that like somebody else three tableaus with unaccompa- In a funny way when you’re a com- your more recent works and less so I write in, it’s sort of a natural envi- nied music and it goes backwards poser you always think, as an art- in your older ones? ronment… and what also strikes me wrote it in time to the crucifixion; and then ist that you have the freedom to Not at all, I’m often very surprised. is the audiences. I’ve always found it shows the journey to Calvary and do what you want, but in a way you The one thing about a creative pro- the audiences very receptive and finally you see the garden of Geth- don’t. So the older you get there’s cess is that when you do them you that’s not always the case. Also, ble and two conductors. It is one semane where Judas betrays him. a difference between your relation- do the best you can. You don’t have what is extraordinary is how won- of the many pieces you wrote with So, what has happened in the other ship with it now as opposed to how any alternative but to do the best derful the playing is. I say that play- a mythological theme. How do you time – the modern time – simul- it was in the past. There are always you can and in that sense you’re not ing my music used to be like trying transpose the narrative of Theseus taneously is time moving forward things, which I find in the back of my in control of it, that’s what I’m say- “ MUSIC IS to get children to eat cabbage. They – who fights having and when you get to the end the two head…I always feel I can do better. ing. What you do at the moment is were told it was good for them. But entered the labyrinth of Crete – to times become the same time. It’s a Whenever I’ve written music I’ve as good as it gets. now it’s different: people are there the piece? dramatic thing within the piece so Following several key works of to be there and not just because they I wrote an Opera about Theseus and that you see these two times: the your career, the residency closes are told that it’s culture and it’s good the Minotaur and I used the meta- modern time and the original time All creative with a choir piece entitled Moth for them. Particularly in Porto, I phor of Theseus and the labyrinth of Christ with two different themes; Requiem. What kind of metaphor A SORT OF think the audiences are very recep- in the sense that my piece is like a not just the music but the theatrical is intended in this “Requiem for people, if they’re tive and are genuinely enthusiastic labyrinth and it’s complex in the representation is done by colour and the Moth”? and intelligent. way that it works. So it’s a dedica- slow motion and the motets accom- any good, are The moth is something that I have The opening of the British Year tion not just to the mythology and pany these three things. been very interested in. It’s a mys- at Casa da Música this January is the story of the labyrinth but to the Does the fact that this concert neurotic about terious animal. I don’t know what marked by the presentation of three musical idea and the dramatic con- is coupled with pieces from the the statistics are in Portugal but we WOUND” of you works for different forma- tent of the piece. Renaissance by the likes of John have over 2000 species of moth and their work tions. The first, Earth Dances for And why did you request two con- Dunstable, Thomas Tallis and John nobody knows them and they are Orchestra, is a key piece in your ductors? Taverner, who I think are impor- very beautiful things. The text in career and is dedicated to Pierre It’s a necessity. Again it’s the idea tant influences of yours, have any always felt that you have a truce the Moth Requiem is about moths Boulez. What is the significance of the music and it’s not, as you special significance for you? with an idea. I always find there are which are extinct so it is in a sense of Boulez’s music in your work? might say, a cosmetic idea. It’s an Yes. When I was a student I was certain things I could have done bet- a metaphor about all things that are He was ten years older than myself idea about music and the way that taught that music began with Bach ter. The music is a sort of wound and past and all the things that are dis- Sir Harrison Birtwistle, the he Composer in Residence at today perform many of his works. His Year. Birtwistle writes music charac- but he was the opposite of me… You two things are independent of each and in fact there are many, many I remember the wounds but after a appearing from the world. I have a the Casa da Música in 2017 orchestral music includes Responses, terised by the dynamic quality of the know the butterfly? The butterfly other and dependent of each other. years before Bach. I was told that time, in response to the past, when special relationship with this mys- greatest British composer alive, Tis Sir Harrison Birtwistle, a commissioned by Casa da Música elements, according to Tom Service comes into the world fully formed. I like to think that I’ve done some- this is music of the past, you know, I hear them again I think ‘wait a terious insect… I have been inter- great reference in British music of for piano and orchestra, presented (The Guardian): “it’s sometimes vio- There is no such thing as a baby but- thing that can’t be done any other music of the Dark Ages. I’ve always minute, the wound has come’, and ested with natural history as a child addresses his relationship with our time. He studied clarinet and here in 2014, or , a work that lent yet often lyrical, it’s energetic terfly. Boulez was one of these com- way – the musical idea can only be found that this music is highly very often my neurosis about the and all my life and the moth is some- composition at the Royal Manches- shocked the audience at the BBC yet also melancholic, but it’s always posers who seemed to be like that. interpreted in this way. It’s about sophisticated and it’s been a life long wound has gone. It’s disappeared. thing that is just a metaphor for all music, talks about the three ter College of Music, but in 1965 he Proms in 1995 and will be played in striving, always searching, always He was very enthusiastic about me rhythm in that you cannot do it with study of mine. It’s like something that has got bet- these things and it’s an animal of the sold his clarinets and devoted him- April by the Symphony Orchestra, moving.” right from the beginning and I could one conductor; and that was a sort of The remainder of the programme ter; and yet other things appear and night as well so in a way it’s a noc- pieces that represent him in the self entirely to composing. The opera for the Música & Revolução festival. A recurring presence in Casa da never understand why. He was a challenge of a certain way of think- features a portrayal of your work you think ‘why did you do that?’, turne requiem in the sense that it , along with Verses There is also a whole world of musi- Música, we have had the privilege of sort of musical friend in a way, sup- ing. with nine pieces for a variety of another wound has appeared in the uses the Latin names of the moths official opening programme of for Ensembles and The Triumph of cal theater and a fascination with the receiving him on two occasions when portive of my music; and of course As for Three Latin Motets, inter- formations spanning most of your light of the moment now. All crea- which are extinct. Time, have made him a key figure mythological narratives that tran- his music was presented here. We he was here, in London, and in my preted by the Coro Casa da Música career. Do you feel that this selec- tive people, if they’re any good, are the British Year and describes the in British music. The world’s lead- spire to many of the works included began the interview precisely look- formative years I owe more to him also at the opening of the British tion is a faithful representation of neurotic about their work, and very ing contemporary music ensem- in the retrospective that Casa da ing back at those visits. than to maybe anybody else. Year, we see a rare interpretation the way you feel musically at the often I’m very surprised about how Casa da Música as “a wonderful bles, including the Remix Ensemble, Música offers throughout the British Remix Ensemble will interpret of religious texts from the 13th and moment or should we see it as more I think that it’s much better than I Theseus Game for large ensem- 14th centuries. Not being sacred of a retrospective? remember. But then again there are place to play” A Casa · January 2017 FREE A Casa · January 2017 06 God Save The Queen! ENTRANCE God Save The Queen! 07 19-22 JANUARY 19 JANUARY 20 JANUARY 21 JANUARY 22 JANUARY DAILY THURSDAY FRIDAY SATURDAY SUNDAY

10:00-20:00 Installation Phone 11:00 Guided tours 10:00-20:00 Installation BritPop 10:00-20:00 Installation BritPop 10:00-20:00 Installation BritPop Booth, Entrance Foyer 11:00 Costa Cabral Music Piano, Cibermúsica Piano, Cibermúsica Piano, Cibermúsica 10:00-20:00 Installation Dialogues Academy, Education Service at 10:00-12:00 Rehearsal of 11:00 Guided tours 11:00 Guided tours by Isabel Cabral, South Entrance Café Casa da Música Orquestra Sinfónica, Sala Suggia 11:00 Jobra Music Conservatory, 11:00 Choir Fundação Manuel A. of the East Foyer 11:50/12:50 Rehearsal of 11:00 Guided tours Education Service at Café Casa Mota, Upper South Foyer 10:00-20:00 Installation BritPop Orquestra Sinfónica, Sala Suggia 12:00 Guided tours da Música 11:00 ESMAE Percussion Class, Sonorium, Orange Room 12:00 Guided tours 12: 00-12:30 Rehearsal of Remix 12:00 Guided tours Education Service at Café Casa da 10:00-20:00 Installation 14:00/14:30 Rehearsal of Remix Ensemble, Rehearsal Room 1 12:00 Andrena Woodhams, Música Phonobooth, VIP Lounge Ensemble, Rehearsal Room 1 14:30-15:00 Rehearsal of Remix Bagpipe Performances, Upper 12:00 Guided tours 10:00-20:00 Installation 14:30 Workshop Sound-Catcher Ensemble, Rehearsal Room 1 Staircase South Entrance 15:00 Guided tours Gamult, Renaissance (ages 6-10), Education Service at 15:00 Guided tours 13:30-14:00 Rehearsal of Remix 15:00 Choir Lira, Upper South 10:00-20:00 Sala Laranja and Sala Roxa 15:00 Andrena Woodhams, Ensemble, Sala Suggia Foyer Peter Rundel Exhibition of illustrations 15:00 Guided tours Bagpipe Performances, Upper 14:00-14:30 Rehearsal of Coro 15:00 JukeBox | Jahas – by Ana Torrie for the British Year 15:00 Costa Cabral Music Staircase South Entrance Casa da Música, Rehearsal Room 1 Rockschool Porto, Education 14:00-18:00 The luthier’s art for all Academy, Education Service at 16:00 Guided tours 15:00 Guided tours Service at Café Casa da Música to see (Luthier Capela), Entrance Café Casa da Música 16: 00-17:00 Rehearsal of Coro 15:00 Pop-up – Portable Voices, 16:00 Body Percussion Workshop, Foyer 16:00 Guided tours Casa da Música, Sala Suggia Education Service at Café Casa da Education Service at Rehearsal 16:00 Children’s Choir EB1 17:00 Guided tours Música Room 1 Quinta das Chãs/Gaia, Upper 19:00 Showcase of British 16:00 Guided tours 17:00 Guided tours South Foyer composers, Café 16:00 To Be or Not to Britten, 17:15 Body Percussion 17:00 Guided tours 20:30 Andrena Woodhams, Education Service, Sala 2 * Performance, Entrance Foyer 17:00 Children’s Choir EB1 dos Bagpipe Performances, Upper 16:00 Andrena Woodhams, 18:00 The Life of Words, Coro Casa Quatro Caminhos/Matosinhos, Staircase South Entrance Bagpipe Performances, Bars 1 and 2 da Música, Sala Suggia * Upper South Foyer 21:00 A British Rite, Orquestra 16:30 Conference “The impact of 18:00 Children’s Choir EB1 da Sinfónica do Porto Casa da Música, Brexit on British musical life”, East Working hours: Lomba/Porto, Upper South Foyer Sala Suggia * Corridor Restaurant: 12:30 to 23:00 18:00/18:30 Rehearsal of Remix 22:30 Dj Brit Pop, Café 17:00 Guided tours Café: 09:00 to 24:00 Ensemble, Rehearsal Room 1 17:15 Pre-concert lecture by Casa da Música (building): 19:00/19:30 Rehearsal of To Be or Working hours: Daniel Moreira, West Corridor 09:30 to 20:30 Not to Britten, Sala 2 Restaurant: 12:30 to 24:00 18:00 England Today, Remix Baldur Brönnimann Paul Hillier 22:00 Concert of João Canedo in Café: 09:00 to 24:00 Ensemble Casa da Música * Café Casa da Música Casa da Música (building): 22:30 Concert by Andarilho 2.0 at 09:30 to 23:00 Café Casa da Música certs and we would go to all these role throughout my career. But I have a lot of freedom. It is not the Working hours: places in the North East of England am delighted that at the other end of first piece for more than one con- Restaurant: 12:30 to 23:00 Working hours: and play music by Vaughan Wil- the time spectrum our most distin- ductor; there are very prominent Café: 09:00 to 24:00 Restaurant: 12:30 to 15:00 liams, Delius or Finzi in the local guished living composer, Sir Harri- pieces like Karlheinz Stockhausen’s Casa da Música (building): Café: 09:00 to 24:00 THE PRINCIPAL town halls. Middlesbrough, Stock- son Birtwistle, is to be the featured Gruppen, which is for three conduc- 09:30 to 20:30 Casa da Música (building): ton-On-Tees and Carlisle were composer this year and that several tors and three ensembles dispersed 09:30 to 00:30 some of the first halls I played in. of his masterful compositions will in space. In Gruppen each conduc- * subject to ticket purchase And everywhere we went with the be heard in Porto during the season. tor is responsible for his own group orchestra, there were always bis- This gives us, in the Coro Casa da but in a way it’s the same game. cuits and tea in the rehearsal break. Música, an extra reason (if one were They are independent from each CONDUCTORS Now, some of this great music needed) to perform the early English other but at certain moments they comes to Porto, including espe- music – including Dowland – that I have to meet. In the Piece by Har- cially Harry Birtwistle who wrote am so close to, as I know that this is rison Birtwistle the ensemble is not the masterpiece of British post-war reputedly a favourite area of Sir Har- divided into two groups but the con- music – his Earth Dances. Present- ry’s as well. stellation of groups referring to one ing British music at Casa da Música conductor is always changing and HAVE THEIR SAY is for me like coming home: A meet- this makes it really quite exciting BRITTEN IN MÁRIO JOÃO ALVES’ KING CAKE ing with old friends and the place and more flexible. The musicians that made me a musician. sometimes play with one – let’s say Baldur Brönnimann, Peter Rundel PETER RUNDEL conductor A – and in other parts Remix Ensemble Casa da Música’s another group of musicians with a The musical o Be or Not to Britten brings atrical plot (the cake) is stuffed with In a this kind of work, even after we and Paul Hillier, who lead three Principal Conductor different instrumentation is play- together two great figures crystallized fruits (Britten’s music) begin the more practical musical ing with conductor B and then they director of of British culture. How do Who will be on stage? and stage work phase, the creative resident groups this weekend, talk PAUL HILLIER Sir Harrison Birtwistle’s Theseus return to conductor A. Birtwistle Tthey appear or in what way do they I will be on stage with Gabriel Neves part continues until the end and the Coro Casa da Música’s Game is a piece for large ensem- manages to create, with these two To Be or Not to inspire the show? (singers), João Tiago Magalhães (pia- show is always evolving. about key works in the programme Principal Conductor ble and two conductors: this piece conductors, many, many constel- Being an eminently musical pro- nist), Carolina Picas Magalhães (vio- Britten wrote a lot of operas, a lot is about independence and unity lations of small ensembles, so to Britten compares ject, it is more focused on the figure linist), students from the Óperafita of cantatas in which the audience Britain has a long history of cordial at the same time. To achieve inde- speak. This makes this piece quite of Britten. His identity, independ- project and Meninos Cantores da participated, lots of music for chil- and fruitful relations with Portu- pendence in music is sometimes unique. This is the rhythmic lay- the concert to ence and freshness are a source of Trofa. dren. Will any of these facets be gal. I don’t pretend to know all the very hard work because you have out and this is the reason why two inexhaustible inspiration. What are the necessary steps to represented, particularly with spe- BALDUR Bliss or Tippett – who were rarely details, but I do feel that in this case to create a kind of rhythmic inde- conductors are definitely needed – a traditional Are there any other references to put together a show like this one? cific references or excerpts from played outside the UK. Coming from it makes sense to talk of a ‘special pendence that requires calculation. it’s completely impossible to do this British culture? In short, we had to define our goals the works? BRÖNNIMANN a small town in Switzerland, Man- relationship’. Of course, if you have two conduc- piece with one conductor. One is Portuguese There will be other small references taking into account the target audi- Yes, that is definitely one of the Orquestra Sinfónica do Porto Casa chester was my first contact with the So I was doubly pleased when I was tors you are able to have two differ- doing an accelerando while the other punctuating the performance. But ence. Then we searched the work aspects highlighted on To Be Or Not da Música’s Principal Conductor wider world of music. There was also told that 2017 would be the British ent Tempe at the same time, which one is doing a ritardando so of course Christmas the focus will be on Britten’s music of Britten in order to find material To Britten. We will have excerpts a lot of music coming from Manches- year here at Casa da Musica. Brit- would be very hard to do on one the conductors need a lot of prepa- and personality. that met our needs. Then we created from operas like Noah’s Ark, a com- I lived in Manchester from 1996 – ter itself – Harry Birtwistle (who was ain has a particularly rich heritage of meter. With two conductors it’s ration and practice. So I will, with cake, seeing the Is this a musical theater? How can a script and chose the cast based on munity opera with a lot of children 2009. It was right after a large bomb from Accrington), or Peter Maxwell early vocal music that stretches back possible to have different speeds at Pedro Neves who will be the other we classify it? that script... Actual hands-on work. in which the public itself will help destroyed a big part of the city cen- Davies who was from Salford. And of over 800 years to around 1200. In the the same time – one group of the conductor, have to meet prior to the theatrical plot as We can say it will be a musical and In the creation process we included transform Sala 2 into a storm wor- tre and the town was still recover- course people like Ian Curtis of Joy middle of that time, around the year ensemble playing at one speed with rehearsal and to really practice like theatrical performance. It’s not an workshops to build masks for Men- thy of Adamastor. ing. People were mad about music – Division, who were one of the many 1600, some of the greatest English one conductor and vice versa. Also two instruments because while we the dough and opera and it’s not a musical. It is a inos Cantores da Trofa, which will there were three great orchestras in groundbreaking bands who emerged composers were at their peak: Byrd, – and I think this is the real point are doing our part we are following kind of king cake in which the the- be used for the scenes of Noah’s Ark. the city, countless pop bands, ama- from the harsh social reality of the Gibbons, Dowland amongst them. of using two conductors – you are what the other one is doing, like in Britten’s music teur music societies, music venues British Northwest. It is of course my plan to include much more flexible. One conduc- chamber music, so that we are able to and the Royal Northern College of After finishing my studies, I had some of this music in our programs tor starts at a certain tempo then meet. It’s quite a good challenge. as the crystallized Music, where I studied. my first professional engagement this year, but also to go earlier still, he gets faster, he gets slower, and There I got to know all the great with an orchestra called Northern into the 15th and 14th centuries, and at a certain point the two conduc- fruit. British music. Elgar, Britten, Wal- Sinfonia in Newcastle. I would do perform some of the vocal music tors meet again. So you have more ton, but also people like Butterworth, their school and community con- that has played such a very special flexibility and composition wise you A Casa · January 2017 A Casa · January 2017 08 God Save The Queen! Feature 09 SINFÓNICA’S BRITISH ACCENT Three of the eight British musicians from the resident groups talk about their experience in Portugal over the past 20 years

azel Veitch, Sharon Kinder most difficult thing is writing Portu- and Gavin Hill. They were guese. And Hazel, according to Lis- Hborn in England in the same bon taxi drivers, already speaks with decade that the Beatles began to a perfect Porto accent. change the world, but it was classi- The children of Sharon, Hazel cal music that traced their paths in and Gavin, all born in Portugal, a journey that brought them to Por- also contribute to the Lusitanian tugal more than twenty years ago. heartbeat of the three musicians of They are three of the eight British Orquestra Sinfónica. With a Por- musicians included in the different tuguese father, Sharon’s children, ensembles of the institution, and Sophie and David, the “English kids” they are residents of the Orquestra in Porto, admit they feel more Portu- Sinfónica do Porto Casa da Música. guese now that they are travelling to They originally came to Portugal the United Kingdom to study. Gavin for a brief period of time to play in thinks his son Arthur is more influ- different orchestras. But interesting enced by his German background, professional challenges, welcoming the nationality of his mother, while people, pleasant weather, a certain his daughter Charlotte reveals her work ethic, the proximity to British British origin more clearly. Also humor and the love they found here with a British father, Hazel’s daugh- are some of the many reasons that ters don’t share the same opinion made them stay. “I was not entirely regarding the country in which they sure where Portugal was”, Gavin were born: the eldest, Geraldine, admits. With professional musicians doesn’t identify with Portugal, but at home – the father was principal the youngest, Lizzie, does. Oboe at the Hallé Orchestra and the And what about music? What BBC Scottish Symphony Orchestra, unites and separates us? In Sha- his mother joined the Choir of the Cov- ron’s view, musical tradition and ent Garden Royal Opera House, the history are greater in Britain, but English Opera Group, and was lead Portugal is investing more in cul- singer at the D’oyle Carte Opera Com- ture and doing a better job when it pany – Gavin inevitably stumbled comes to music. And for this effort, HAZEL VEITCH SHARON KINDER GAVIN HILL into music early on, more precisely in the three musicians are unanimous Viola Cello Bassoon an old bassoon his father had bought when it comes to pointing out Casa years before at an auction. “It’s a pity da Música’s primordial role in this Born in Bowdon/Altrincham – Born in Boston/Lincolnshire Born in Macclesfield/Cheshire you can’t concentrate long enough to matter. Gavin applauds, in particu- Manchester. but grew up in Kegworth/ (where Joy Division’s Ian study this instrument seriously.” The lar, the same importance with which Studied at Kingston University Leicestershire, both in the Curtis was born and died). paternal incitement worked! Casa da Música handles all musical and NCOS Goldsmiths. Midlands. Studied at the Royal Scottish Hazel and Sharon also grew up in genres. Hazel emphasizes the insti- Favourite British composer: Studied at the Royal Academy of Academy of Music & a musical household. “My mother tution’s contribution to the compre- Ralph Vaughan Williams. Music and at the Liszt Academy. Drama; Private studies with plays the piano and sings. There hensive awakening of population’s Has been living in Portugal for Favourite British composer: Charles Cracknell; Staatliche was music for everyone at home, but musical interest. Sharon points out 25 years. Elgar; if not my favourite, still Hochschule für Musik. I was the only one who followed it that Casa da Música knows how to Likes: The pace of life. one reason why I chose the cello. Favourite British composer: professionally”, says the violist. The keep music alive, appealing to peo- Dislikes: The lack of long-term Has been living in Portugal for Cyril Scott, for the fascinating THE LUTHIER’S ART FOR ALL TO SEE same thing happened with the cel- ple of all ages and strata. vision. 24 years. personality and mysticism. list, who decided early on that she In the British Year it is inevita- Likes: The people, who are Has been living in Portugal wanted to play in an orchestra. An ble to speak about the Brexit. Gavin incredibly friendly, welcoming, for 23 years. individual choice though undoubt- Hill, who says he’s still in shock, is open and generous. The city vibe. Likes: Old buildings, going to edly related to her father, who the chosen spokesman for a theme Being able to live in the suburbs football matches without fear, attended the Royal Northern Col- that upsets everyone. In order to and get to the heart of the city in the beaches of Costa Vicentina, lege of Music, and her grandfather, explain what led to this decision, 15 minutes; the regional pride the life his children have here. a church organist. he compares Scotland and Eng- that is palpable in events like São Dislikes: When old buildings are During all the or three generations, Capela of his life”, says a visibly emotional 1966 and, after finishing high school, “We work with the passion of mak- Hazel Veitch, Sharon Kinder land: “Scotland has been part of the João and New Year’s Eve. treated as if they had no value. is a name that has travelled António Capela. he decided to follow the steps of his ing a good instrument”, says Antó- and Gavin Hill are now part of the United Kingdom for hundreds of Dislikes: The education system – opening days, Faround the world, taking with The recognition for the quality of father and grandfather and his fami- nio. The rest is knowledge, quality of orchestra and Porto is their home- years but the Scots have a very clear one-dimensional and barren. it the best violins, cellos, violas and the luthier’s work earned António an ly’s art became his future. The father, the materials and... a secret, mainly town. Even more than feeling Por- idea of their identity. The English are the stringed double basses a musician could wish invitation to go to Paris, where the António, tells us with pride that his regarding the varnish. Joaquim Antó- tuguese, they feel that Porto is their not sure who they are, and a proper for. From the hands of the renowned fantastic musical scene made him son built his first violin at the age of nio adds the importance of knowing home. “Right now I couldn’t live understanding of their own culture instrument luthiers have emerged artistic crea- “fall from somewhere higher than 13. “I was happy to have a follower, how to adapt the instrument to the anywhere else!” says Sharon, who would enable them to cope with the tions that deserve to be played by the Clérigos Tower”, then to Crem- like my father did”. musician. It is a job that never ends. believes she “speaks good Portuguese modern world of open borders.” master craftsman equally virtuous hands. ona, Italy, with a grant awarded by It was his own choice, but Joaquim “The musician only owns an instru- with a British accent”. For Gavin the In their small workshop for the Fundação Gulbenkian. He learned António acknowledges that “main- ment for a short period of its life. The Joaquim Capela construction and repair of stringed from the best luthiers in the world taining the family tradition is a instrument outlives the musician”. instruments, António, the father, and became one of them. The conse- tough legacy”. And it all started, for Even more perennial will be the takes over the and Joaquim António, the son, told cration would arrive with the many the third time, in Anta’s small work- name Capela, inscribed in the His- us about this family profession awards he won in the most demand- shop. The same materials, the same tory of music for the excellence of Diálogos is a research prototype in dynamic light scenes without act- In this sense, the presentation of tors – compete and National Funds Foyer as his started by his grandfather Domin- ing luthiers competitions, in which methods, the same gestures. the work begun 92 years ago by A DIALOGUE the domain of smart textiles, whose ing upon the light source. The ensu- the Diálogos prototype proposes an through fct – Foundation for Sci- gos, who has taken the name of Anta/ he would later participate as a mem- “There were no major modifica- Domingos Capela. António would ability to change colour and shape ing performance seeks to draw a link interactive environment where the ence and Technology (project sfrh/ workshop Espinho to various places. Domingos ber of the jury. The orders came tions, practically everything remains like to see his grandson, Joaquim BETWEEN is activated in sequences inspired by between visual and sound expres- smart textile serves as an interface bd/87196/2012) and fct and fed- Capela found his vocation in 1924, at from everywhere. In 1981, the fame as in my grandfather’s time”. Follow- António’s son, continue the family British composer Frederick Delius’ sions. The relationship between the between music, light and colour. er-compete (project PEst-C/ctm/ the age of 20, and became essential of the Capela family brought to the ing his father’s example, he sought profession, but he chose to study TEXTILES, LIGHT Concerto in C minor. textiles and the music is here pro- The research prototype was devel- ui0264/2011). The authors would also for the many renowned instrumen- workshop of Anta the celebrated training outside the country, choos- medicine. Smart textiles are defined by their posed by the metaphor of a visual oped by Isabel Cabral, in the context like to acknowledge Smart Textiles talists that came to Espinho and Russian cellist Mstislav Rostropo- ing Oberlin College, in the United “Everything has a beginning and AND MUSIC ability to sense and react reversibly orchestra, where expressive quali- of her textile engineering PhD at the Design Lab for the support with the Porto in the first half of the 20th cen- vich with a difficult request: to con- States. And he also collected awards an end. We leave behind a testimony to external stimuli. In this project, ties inherent to the selected musi- University of Minho, under supervi- development of the prototype. tury. It was in this atmosphere of rec- struct a replica of his Stradivarius. in international competitions, where that can never be extinguished. The their dynamic behaviour explores cal composition, inspire how the sion of professor A. P. Souto, co-su- ognition for his father’s work that, in “The name Capela is known in violas made him shine the most. instruments can be destroyed, but Installation by the creation of a dialogue between dynamic textile behaves. pervision of professor Linda Worbin 1932, António was born. the international music scene. Our “I studied viola, I have friends that the name will last”. Isabel Cabral textiles, light and music. In these dialogues, the spectator and the collaboration of Cristiano “I used to play here when I was instruments are played by great art- play violas. My father likes the cel- Chromatic and morphological plays an essential role, since it is he Silva, Algoritmi Centre researcher. a child, and after primary school I ists all over the world”. los, but I prefer violas”. variations transform the incident (or she) that triggers the interac- This work was supported by feder came here to work with my father. Joaquim António also contributed But what is the secret of the light that passes through the fabric tion, depending on their location, funds through the Operational Pro- I stayed with him until the last day to this “diaspora”. He was born in Capela instruments? – transmittance – thus providing detected by sensors. gramme for Competitiveness Fac- A Casa · January 2017 A Casa · January 2017 010 Others Others 011 BRITONS IN PORTO

Germano Silva gives us an overview of British figures who lived in Porto throughout history

tuted a sort of symbol of the undeni- collaborated with him in the execu- was the origin of the ill-fated repub- able influence that the British had in tion of the urban plans of S. Domin- lican revolution of January 31, 1891, Porto society for many years. gos Square and . contributed to the return of many “Viver à Inglesa” (an English style He was the architect of the British Englishmen to their homeland. But of living) meant to live in a dignified Factory House, which was built in as soon as things settled down, with and sober way and a good taste in 1785, and it was he who built the the definite cease-fire, most of the the choice of places to live; “trajar à first and only English cemetery in families that had left returned to inglesa” (an English style of dress- Porto. When Santa Casa da Miser- Porto to settle permanently here, ing) meant to dress like a gentleman icórdia do Porto needed an architect initially in Campo Alegre, one of and that was what everyone wanted to build a new hospital, Whitehead the most beautiful areas of the city, to do; “negociar à inglesa” (an Eng- contacted John Carr, from York, around the 1930’s and 1940’s. lish style of negotiating) meant trad- who designed Hospital de Santo The Jennings, the Kendalls, the ing honestly, and even today a sim- António, the city’s most remarka- Grahams, owned their “Quintas” ple British handshake is enough to ble building. there. Their gardens filled with “seal” any deal. camellias and their houses painted But it was in the trade yellow with dark green shutters; the that the influence of the English lan- The British walls covered in creepers and flower guage was mostly felt: expressions garlands tumbled over mossy walls. THE BRITISH MENU OF CHEF ARTUR GOMES like “vintage Port”, “late-bottled presence in Porto The British club, where rugby was he permanence of Britons in John of Gaunt, duke of Lancaster. vintage”, “tawny Port”, “ruby Port”, played in the winter and cricket From 19 to 22 January you can try British cuisine at Restaurante Casa da Música Porto began in the remote This treaty resulted in, among other “white Port”, are still used today. was so important and tennis in the summer, is still in TMiddle Ages. It is stated, for commitments, the marriage – in Sé Sports such as “cricket”, “ten- Campo Alegre. instance, in “Crónica dos Godos”, do Porto (), on Feb- nis” and “foot-ball” were brought that the city even Slightly more secluded, in his Cornish Pasty Garlic-herb crusted Preparation that many people from England, ruary 2, 1387 – of the Portuguese to us by English subjects. Not long comfortable mansion in Ramada served as a starter with green salad, roast-beef, green beans, Preheat the oven to 230 °C. Mix who were part of the second Cru- king with D. Filipa, daughter of ago, the soccer stories published Alta, on the street that now bears for 4 people the eggs and milk in a bowl. Slowly had a street called mushrooms and Yorkshire sade that arrived at the River Douro John of Gaunt and his cousin Branca in the sports columns of the Porto his name, lived the extraordinary pour in the flour and whisk until in the year 1140, helped D. Afonso of Lancaster. newspapers were full of typical Brit- Rua dos Ingleses Joseph James Forrester, the baron Ingredients for the pastry pudding you have a smooth batter. Grease Henriques, the first king of Portugal, The commercial relations intensi- ish expressions like “half-center”, of Forrester, a noted cartographer 450 g white flour the tin with oil and fill it with the to free Lisbon from Muslim domin- fied in the sixteenth century, expand- “shoot”, “match”, “backs”, “keeper”, (Street of the who created the masterpiece that is Salt, as needed Roast-beef batter. Let the puddings bake in ion. In 1373 the first peace and ing and diversifying in future cen- “captain”, “fouls”, “goal”, “half-time”. the map of the Douro Wine District. 100 g unsalted butter the preheated oven for 30 to 35 friendship treaty was celebrated in turies. The first British Consul The British presence in Porto English) Forrester settled in Porto in 1833, at 100 g lard Ingredients minutes. Serve immediately. London between Edward III, king appointed to Porto, Walter Maynard, was so important that the city even the end of the civil war, and always Approximately 200 ml of ice-cold 800 g beef tenderloin of England and D. Fernando, king arrived in 1659 and the first chaplain had a street called Rua dos Ingleses worked from daybreak until night- water Salt, as needed of Portugal. The document was arrived in 1682. (Street of the English), considered Speaking of architecture, we fall, around six o’clock in the after- Black pepper, as needed signed in the cathedral of the Brit- The building that houses the “Brit- in the eighteenth and nineteenth must not forget the importance of noon. Ingredients for the filling 1 tsp. ground cinnamon Rhubarb and apple ish capital on June 16. The wealthy ish Association” today, in Infante centuries as the true center of deci- Barry Parker, architect of the mod- 200 g boiled potatoes 1 tsp. star anise TEA FOR TWO AND TWO FOR TEA Portuguese merchant Afonso Mar- D. Henrique street, used to be the sions for all commercial activity in ern Avenida dos Aliados (Aliados Germano Silva cut into cubes 1 tsp. cloves crumble tins – whose nickname was “O Alho” famous and influential British Fac- 1 tsp. sweet paprika Porto. Today the’ street is named Avenue), one of the city’s landmarks, journalist and historian 200 g braised beef Infusion in the common paths between Portugal (“Garlic”) – signed on behalf of the tory House, which enjoyed special after Infante D. Henrique. where the heart of Porto truly beats. cut into cubes 1 tbsp. chopped parsley Ingredients and England Portuguese monarch. privileges granted by the king of Por- In 1756, the architect John White- The political conjunctures that 1 small chopped onion 1 tbsp. mint 300 g apples, peeled and A new treaty of alliance and friend- tugal. It was probably the last relic of head, only 30 years old, arrived in swept Europe for much of the nine- 100 g boiled turnips 1 tbsp. rosemary cut into pieces ship was signed on November 1, the British Empire abroad. Porto to occupy the post of British teenth century and which, in cer- cut into cubes 1 tbsp. thyme 100 g trimmed rhubarb riginating in China, tea is her own Chapel. Later she would 1386, in Ponte do Mouro, a fron- For many centuries the British consul. His influence on the urban tain aspects, had damaging conse- 80 ml extra virgin olive oil cut into cubes an ancient beverage intro- invite Italian musicians to join the tier settlement in Alto Minho, in the Factory House was the visible part of development of the old borough was quences in Portugal, like the French Preparation 2 tbsp. mustard 30 g butter duced in Europe by the Por- Chapel and some believe that it was municipality of Monção, between the abundant and active British col- ½ cup of white wine 30 g sugar O very important. He was friends with invasions, the civil war (1832/1833), Use an egg to swab 2 baking pans tuguese explorers. Together with under her influence that the first Ital- the Portuguese king D. João I and ony residing in Porto and has consti- the military governor of the city and and the British Ultimatum, which covered with parchment paper. 500 g boiled green beans Juice of 1 lemon “punctuality” and the Big Ben, tea ian opera was presented in England Sift the flour and the salt into a 150 g fresh sliced mushrooms 1 tsp. ground cinnamon is one of the UK’s top trademarks: during the wedding ceremonies of bowl. Grate the frozen lard and 100 g softened butter “five o’clock tea” is a clear symbol James II and Maria de Modena, an blend it together with the flour. Preparation 150 g unleavened wheat flour of British sophistication. Italian and Catholic lady friend of the Pour the cold water until the Clean the beef tenderloin 100 g sugar The Portuguese Infanta who Queen who chose to demonstrate mixture comes together as a fairly removing the fat and the nerves. became Queen of England in 1662, her appreciation in this manner. “I REALISED I COULD BE AN ILLUSTRATOR” dry dough. Knead the dough with Season with salt and pepper and Preparation Catherine of Braganza, daughter of In addition to tea and the cul- your hands and roll it into a ball, let it rest for 30 minutes. Chop all Heat 30 g butter and 30 g sugar in a John IV and married to King Charles tural influence, the Queen was also the herbs and combine with the saucepan. Stir and let it melt. Add Ana Torrie remembers the process of illustrating Casa da Música’s annual brochure The engraving wrap it in cling film and leave it to II, influenced the history of tea in the associated with the introduction rest in the fridge for 30 minutes. powdered spices and chopped the apple and rhubarb, lemon juice British Empire. Among many theo- of black slave labour in the English is unpredictable. In the meantime prepare the garlic. and cinnamon. Mix and cook over ries, one tells us that the first thing colonies, a practice that was inter- o search for a biography is to So what do you do, or do you like to make it as polite as I could. And filling. Bake the onions and add the Spread the spices and herbs on a high heat for 5 minutes. Catherine did when she arrived in nationalized by the Portuguese and waste time, Ana Torrie does to do, Ana Torrie? Art. No conces- it’s funny because when I look at I never know turnips and the potatoes. cooking board, swab the meat with Meanwhile, place the 150 g of England was to ask for a cup of tea. which other empires soon decided not like conventions. Born sions. “Even when friends ask me the result I feel that it corresponds Preheat the oven to 220 ºC. Divide extra virgin olive oil and mustard. flour, 100 g of sugar and the 100 g However the drink was already sold to follow. After more than 350 T Roll the meat over the spices and of butter in a bowl. Knead the in 1982, the artist responsible for for things they have expectations to what they wanted while recognis- how it will turn the dough into 6 equal pieces. and consumed before the Queen’s years, tea continues to be drunk in the illustrations in the annual Casa about the outcome but I’m not in ing some signs of my stubbornness. Make a ball with each one, then herbs until it has a thin crust. dough until the mixture resembles arrival, especially by the working class Portugal and England, accessible da Música brochure prefers to fic- their minds. It has happened, even “Although she still needs to digest out and I love it mold each piece until you have 6 Then seal the beef in a very hot crumbs. who woke up at dawn and needed to to most of the population, a large tionalise her route, sprinkling frag- in portraits, that they are disap- the experience, it being the first balls roughly 14 cm in diameter. frying pan for 5 minutes on each Place the apple and rhubarb in stave off hunger by adding hot water part of the product comes from the ments of reality on a stew of fantasy. pointed because they are badly rep- of its kind, Ana Torrie sees a clear Place a layer of chopped onions, side. Let the meat rest for another the bottom of a baking tray and to poor quality leaves. But Catherine exploitation of cheap labour in Sri Those who do not know it will resented, ugly or disproportion- advantage in having resisted the ini- turnips and potatoes and season 5 minutes before slicing. sprinkle over the topping. Preheat made tea drinking a high-class habit Lanka, Cambodia, India, China... have to imagine it from her work, ate. “Expression is the main force tial inclination to refuse. “I realised with salt and pepper. Place a layer Sauté the mushrooms and green the oven to 210 °C and let it bake at Court, adding orange marmalade Enjoy your tea! distorted, critical, biting and maca- behind the artist’s work, and she that maybe I could be an illustrator. of meat on top evenly. beans in a frying pan with olive oil for 20 to 30 minutes. When the and the use of cutlery and porcelain. bre. With Ana Torrie things are not never fails to surprise herself in Illustrate books. So far those were Wet the edges of the dough and seal and garlic. crumble is well cooked and golden, Apart from these trivial little signs what they seem. They are what she the first place. That is also why her proposals I always rejected.” them. Swab with the beaten egg remove it from the oven and serve of modernization, Catherine carried wants them to be. focus is engraving: “When I make Has Casa da Música helped design and bake for 15 minutes at 220 ºC. with a scoop of vanilla ice cream. a lot more in her luggage when she In this context, it is no wonder sketches things are very clean and an alternative path in the life of Ana Then lower to 180 ºC for another Yorkshire pudding sailed from Portugal to the British that when Casa da Música solic- realistic. They lose grit, which is Torrie? “Who knows... But I’m very 15 minutes and turn off the oven. Empire. Daughter of the king with ited her work she was surprised. “I where part of the wealth of what I happy to be an artist,” she says. Set the pasties aside to rest for 15 Ingredients the largest music library in Europe understood the invitation as I work create is found. The engraving is minutes, then serve with a mix 2 eggs (lost in the earthquake of 1755), the with engraving, a technique very unpredictable. I never know how it lettuce salad. 240 ml milk queen took with her something from much associated with a certain Brit- will turn out and I love it.” 125 g flour her childhood that was part of her ish imaginary – which, of course, Due to the relationship with Casa 2 tbsp. oil daily life: music. Catherine moved inspired me. But at first it scared me, da Música it was necessary to make to England with an entourage that it was the first time I collaborated adjustments throughout the pro- included countless musicians, sing- with an institution and I have never cess. “They wanted me to explore ers, priests and monks from Lis- thought of myself as an illustrator.” this British legacy of engraving but bon for the purpose of maintaining A Casa · January 2017 012 Back Cover HOROSCOPE by Mestre Adriano

Capricorn – Strength Cancer – The High Priestess Determined to overcome obstacles. This week’s advice is to keep quiet This is a good time to learn études by and reflect. We recomend listen- Liszt and Paganini. You may expe- ing intently to John Cage’s 4’33”. rience some difficulties controlling Relationships with neighbours will your strength. Watch out for quick improve. Be more understanding movements and take good care of with those around you and those your instrument. You will be in com- who are out of tune. Take a break plete control of your passions. We from studying and avoid joint pains. recommend listening to A Midsum- Avoid repetitive movements. mer Night’s Dream. Leo – The Wheel of Fortune Aquarius – The Lovers The Arcanum of successive cycles in Expect disagreements and fights nature and in human life presents you about everything. Focus on solo recit- with some good suggestions in terms als, without accompaniment. Do not of the repertoire that will help you be mean to the audience and play by get through this cold season. Schu- memory avoiding the page-turners. bert’s Winter Journey, Vivaldi’s Four A WEEKEND TO REMEMBER Practice Bach’s Partitas for solo vio- Seasons, Harrison Birtwistle’s Earth lin. Listen to soft music and put on a Dances, or the choral version of John chill out CD in the car. Dowland’s Lachrimae will be just love the way this intensely rich World Wars. Rule, Britannia! – right. The Wheel of Fortune also sug- opening weekend sets the ambi- with its rousing chorus we all love Pisces – The Moon gests renovation. Have you renewed Ition and bold chronological singing – was originally part of the A distracting time. Make sure your your subscriptions and your Friend sweep of the year of British Music 1740 masque Alfred with music by instrument is in its box and do not Card at Casa da Música yet? in the first two pieces of the very first Thomas Arne, but is now known forget your sheet music. Pay attention concert. Elizabethan composer John world-wide for its yearly appear- to the key signature. We recommend Virgo – The Hermit Dowland’s Lachrimae is followed by ance in the Last Night of the Proms. Haydn’s Symphony No. 60. You will be The Arcanum of Consciousness may one of the most powerful and com- We are many who find the words prone to jealousy. Pay no attention to limit your actions. The tireless quest pelling orchestral works by dis- anachronistic, but I find a com- what others say. Your neighbour is not for truth can make you believe you are tinguished composer in residence forting balance in that there were better looking or a better musician. not ready to be up on stage just yet. Harrison Birtwistle, Earth Dances, as many EU flags as British being Put off your concerts for the coming written 413 years later. It also refer- waved at last year’s closing proms Aries – The Empress weeks. Your path is lonely. Try review- ences Harry’s fascination with early concert. Still feeling the effects of The 3rd Arcanum rests a hand on her ing music or join the academy. English music, particularly Dowland the UK’s momentous decision to stomach indicating fruitful and cre- (whose very Lachrimae he arranged leave the EU, we will take some ative thoughts. Devote yourself to Libra – Justice in his work Semper Dowland Semper time over the weekend to look at composition and register in Socie- The Arcanum of the Resurrection Dolen), and giving a unique sense of the state of music in the UK and the dade Portuguesa de Autores (Portu- suggests that you meditate on your historical continuity. Further explo- repercussions Brexit could have on guese Society of Authors). The ter- actions and prepare for the Final ration of the new continues with two its continuing relationship with the nary symbology is a good reason to Judgment. Find the motif of Dies Casa da Musica commissions from rest of Europe – and most impor- do so. Hope is your greatest ally. Be Irae in Rachmaninoff’s complete two British composers born in the tantly what we can do to ensure confident about future endeavours. work. Choose your favorite move- same year but speaking very differ- that the invaluable cultural links Ravel is a good composer for this ment from Berlioz’s Fantastic Sym- ent musical languages. Works by and “free market of the mind” con- week. Listen to Ma mère l’Oye. phony as your ringtone and listen to Rebecca Saunders and Julian Ander- tinue unhindered between all coun- it all the way to the end before you son sit alongside Birtwistle’s thrill- tries of the EU. Taurus – The Hanged Man answer. Alternatively, watch The ing and complex Theseus Game, with Finally, how wonderful to see the The symbolic meanings of the 12th Shining in 3D. its two conductors and wonderfully extensive education work in the pro- Arcanum are self–denial and accept- expressive instrumental solos. And gramme which has been inspired by ance of destiny. The composer for Scorpio – Death as we are many in the UK who feel Benjamin Britten, composer, founder you this week is Verdi. Teaching and This arcane indicates a good time to there is a particular burgeoning of of the Aldeburgh Festival, pacifist devoting oneself to imparting knowl- part from everything that no longer compositional talent at the moment, and passionate advocate and crea- edge is sensible. That piece of con- adds positive energy to your life. I’m delighted we’ve been able to tor of music for young people. This temporary music that you weren’t Change your repertoire and try new expand the landscape which is rep- is an inspired opening weekend to able to play was only upside down. music. Changing instruments can resented in the concerts by bring- an inspired year of UK music, and You will see that if you turn it around, also be a solution, though more dras- ing over four emerging composers I thank and pay homage to my col- things will begin to make just a little tic. But if you do, sell it, do not bury whose names will not be so familiar league António Pacheco for his vision more sense. it. Listen to Dead Combo. to talk about and present their work and insightful programming. in an informal setting. Gemini – The Emperor Sagittarius – Devil I am struck by the fact that two of Cathy Graham This is the arcane of authority. Con- This will be a period of great activity the works in the first concert were Director of Music at British sider a career as a conductor. But do but total selfishness and no notion of written for one purpose but are now Council in London not forget that The Emperor has his justice. Consider abandoning a career better known for another. Holst feet firmly placed on dry land. It will in music and devote yourself to a posi- arranged the glorious melody from be an arduous and difficult task. Start tion in human resources. The condi- Jupiter from The Planets as a hymn, by conducting the Valkyries at home. tions for success are in place. You don’t to British Diplomat Sir Cecil Spring Remember the symbolism of the 4th need to listen to Wagner anymore. Rice’s poem I vow to thee my coun- Arcanum and explore the tetralogy. try. It became known as a response to the human cost of World War I and a patriotic anthem, and for sev- eral generations in the UK was the introduction for many to Gustav Holst in a century marked by two

Credits Editorial team: André Alves, António Jorge Pacheco, Cândida Colaço Monteiro, Fernando Lima, Gilda Veloso, Liana Rego, Liliana Marinho, Marcos Cruz, Rui Pereira and Tomás Hogg · Editorial project/graphic design: André Cruz, Dobra www.casadamusica.com · T 220 120 220 · Fundação Casa da Música, Av. da Boavista 604-610, 4149-071 Porto, Portugal