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03 Casa Da Música Children's Choir 12 Cathy Graham 11 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 Porto 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 Portugal 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 Harrison Birtwistle 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 the Last Supper 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.
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