Pedro FARIA GOMES Chamber Works

Sarah Thurlow, clarinet Saul Picado, piano Carla Santos, violin Nancy Johnson, viola Miguel Fernandes, cello Pedro FARIA GOMES (b. 1979) Recognition for his work has included the Lopes- creates continuity of a different kind in a rapid piece for the Young Musicians’ prize (‘Prémio later three) ringing chords across the strings Chamber Works Graça Prize in Portugal and the PRS Sir Arthur perpetuum mobile, albeit disturbed by constant Jovens Músicos’) of Portuguese Radio (RTP of the violin – later unfurl as a continuous line Bliss Memorial Award in the UK. jolts and cross-accents. It is the outer movements, Antena 2). Meanwhile, the title of the piano against the clarinet’s first sustained note. malleable spaces of subjective, experiential time While geographical displacement features though, that demonstrate the closest affinities. piece Escape (also 2007) signifies retreat rather Meanwhile, the brief arch-like flourishes of (markings such as ‘freely’, ‘with flexibility’ and prominently in Faria’s biography, he is quick to The first alternates two types of material: one slow than flight, its marking ‘reflective’ borne out in these opening bars move from figure to ground, ‘non-mechanical’ abound in these scores). Time stress that the introspective turn in his chamber (foregrounding the five-note arc of melody heard in both static, resonating chords and the contrary- becoming the steadily undulating backdrop to in this sense equally signifies distance, lost music predates his move from Portugal. Of the the solo violin towards the opening) and one faster motion palindromes that pervade the melody, as the next section. From this point, the ‘returns’ time: the past as another country and another works recorded here, the two drawing directly on and more aggressive, which on its last appearance if to generate space from time. enacted in the music are unpredictable in country as past. Such time has change as its Portuguese sources are also the most recent. In freezes onto tense, tremulous clusters before the These pieces frame two longer single- both form and consequence – for Faria, a measure, whether gradual transformation or Memória (2012) for clarinet and piano, the folk measured return of the slow music. It is that music movement works: Espera (2009), written for manifestation of returning as both ‘inevitable, violent upheavals that leave the remnants of the song in question, a Christmas melody from the – specifically the five-note arcing phrase – that the composer’s wife, violist Sophie Faria, and due to its cyclical nature, and as impossible, past unrecognisable. village of Casegas near Castelo Branco, emerges returns midway through the fourth movement, Returning (2010), for clarinet, violin and piano, because of change’. After the chords’ last Born in Lisbon in 1979, Faria studied the piano unobtrusively against a tolling pedal note, which permeating the texture right to the end if never composed for the Eidos Trio and premiered appearance against fragile glissando harmonics, from the age of four, and later composition with instantly gives the tune a fresh harmonic aspect, quite resolving its own modal ambiguity. at Wigmore Hall in 2011. In Espera, meaning the piece gradually disintegrates: the clarinettist two eminent Portuguese figures, João Madureira not only defamiliarising it for listeners who know By contrast the outer sections of Thanatos ‘wait’, the muted solo viola views the same breathes silently into the instrument, and all that at the Academia de Música de Santa Cecília and it, but creating for those that do not a reassuring (2008) for clarinet and string trio offer a study in material repeatedly from different perspectives remain are the hollow and disembodied sounds Eurico Carrapatoso at the Escola Superior de illusion of déjà entendu. Following this distant echo, gradual, incremental transformation. The gently – different attempts, perhaps, at adapting to of key-clicks and wood on string – residual Photo: Katie Edgington Música de Lisboa. He then completed Master’s however, the tune proves elusive, the clarinet’s rocking motion at the start recalls the association of a stubborn reality. The phrases of melody traces of gestures and actions now past. and Doctoral degrees in composition at the attempts to take it up dissolving into juddering the deathly Thanatos with his mythic twin Hypnos, unfolded at the start are juxtaposed and subtly Nachtmusik (2012) for clarinet and piano This set of chamber works by the Portuguese Royal College of Music in London, where his repeated notes, cascades and trills. After the god of sleep (or even his half-brother Charon, refracted, first slowly, then at a flowing tempo, not only deals, in the composer’s words, with composer Pedro Faria Gomes plays on a number teachers were David Sawer, Kenneth Hesketh violence of this central section, only half-recalled boatman of the Underworld). These oscillations before succumbing to anxiety and frustration in night’s ‘richness of colours and its variety of seeming paradoxes: a longing to return and Mark-Anthony Turnage. After an eight-year fragments remain, stretched over softly sustained gradually drift apart and quicken, until two sharp the central section. The subdued questioning of psychological angles’ but also, in the first that accepts the inevitability of change; abstract spell of teaching in Portugal, he spent a year as chords, as if in calm acceptance of irreversible accents (a slap-tongue in the clarinet combined then returns, the melodic phrases re-explored in piece especially, with the strange elasticity processes that conjure vivid images and a composition and music theory professor at the change. with a Bartók pizzicato in the cello) set off a sinister close counterpoint before congealing into chords of nocturnal temporality, in which events can remarkably concrete gestures; a profound Hong Kong University of Science and Technology The second movement of the Sonata (2018) central section, driven by ominous trills and violent beneath wispy harmonics and portamenti. appear stretched out or compressed. In the stillness marked often by fleet and rapid surface (2011–12). In 2015 he settled in Wales, as a for violin and piano is on the surface a more outbursts from the lower strings. Thanatos is also Though this ending fails to bring the comfort second piece night-time obsessions rear up motion; and a nostalgia that resists sentimentality. lecturer at Cardiff University. He has received conventional folk song setting, the tune present the Freudian death-drive, whose opposite, eros, of a resolution, neither is it without hope: its as quickly as they subside, while the florid Composed between 2007 and 2018, they commissions from the Teatro Nacional de São in the violin throughout. Yet there is considerable the life-drive, is glimpsed briefly in a passionate latent promise was subsequently realised in the cantilena of the third gives way in the fourth to an encompass themes of memory, change, returning, Carlos, the Lisbon Metropolitan Orchestra, the subtlety too. Each iteration of the melody ends on outburst leading back to the undulating movement Sonata, where the final chord of Espera, along animated portrayal of hyper-alert wakefulness. waiting, and the empty spaces of night. But their National Ballet of Portugal and the London an irresolution that forms the upbeat to the next, of the opening. There, Thanatos fulfils its tendency, with its main melody in retrograde, is used to The set ends, as it began, in solitude, the last, central preoccupation is arguably time itself: not Symphony Orchestra. His music has also forging a continuous cycle even before further in Faria’s words, ‘to die, to fade, to stillness’. begin the fourth movement. fragmentary echoes of the final piece fading time so much as regular, incessant pulse nor been performed by the Gulbenkian Orchestra, elements of circularity are superimposed: slowly The shortest pieces on the disc are also the Where Espera folds melody into harmony, away against strings stroked inside the piano, as unchanging stasis (though both possibilities the Orquestra Sinfónica do Porto Casa da descending and ascending scales in the piano, earliest. Elegia (2007), a ‘short piece written as a Returning at its start enacts the reverse process. like the gentle brush of a curtain on a sill. exist at the music’s outer limits), but rather the Música, Lontano and the Endymion Ensemble. and the tune itself in canon. The third movement sorrow over unnecessary loss’, served as a test The notes of the bold initial gesture – two (and Charles Wilson

8.579029 2 3 8.579029 4 8.579029 Pedro FARIA GOMES (b. 1979) Recognition for his work has included the Lopes- creates continuity of a different kind in a rapid piece for the Young Musicians’ prize (‘Prémio later three) ringing chords across the strings Chamber Works Graça Prize in Portugal and the PRS Sir Arthur perpetuum mobile, albeit disturbed by constant Jovens Músicos’) of Portuguese Radio (RTP of the violin – later unfurl as a continuous line Bliss Memorial Award in the UK. jolts and cross-accents. It is the outer movements, Antena 2). Meanwhile, the title of the piano against the clarinet’s first sustained note. malleable spaces of subjective, experiential time While geographical displacement features though, that demonstrate the closest affinities. piece Escape (also 2007) signifies retreat rather Meanwhile, the brief arch-like flourishes of (markings such as ‘freely’, ‘with flexibility’ and prominently in Faria’s biography, he is quick to The first alternates two types of material: one slow than flight, its marking ‘reflective’ borne out in these opening bars move from figure to ground, ‘non-mechanical’ abound in these scores). Time stress that the introspective turn in his chamber (foregrounding the five-note arc of melody heard in both static, resonating chords and the contrary- becoming the steadily undulating backdrop to in this sense equally signifies distance, lost music predates his move from Portugal. Of the the solo violin towards the opening) and one faster motion palindromes that pervade the melody, as the next section. From this point, the ‘returns’ time: the past as another country and another works recorded here, the two drawing directly on and more aggressive, which on its last appearance if to generate space from time. enacted in the music are unpredictable in country as past. Such time has change as its Portuguese sources are also the most recent. In freezes onto tense, tremulous clusters before the These pieces frame two longer single- both form and consequence – for Faria, a measure, whether gradual transformation or Memória (2012) for clarinet and piano, the folk measured return of the slow music. It is that music movement works: Espera (2009), written for manifestation of returning as both ‘inevitable, violent upheavals that leave the remnants of the song in question, a Christmas melody from the – specifically the five-note arcing phrase – that the composer’s wife, violist Sophie Faria, and due to its cyclical nature, and as impossible, past unrecognisable. village of Casegas near Castelo Branco, emerges returns midway through the fourth movement, Returning (2010), for clarinet, violin and piano, because of change’. After the chords’ last Born in Lisbon in 1979, Faria studied the piano unobtrusively against a tolling pedal note, which permeating the texture right to the end if never composed for the Eidos Trio and premiered appearance against fragile glissando harmonics, from the age of four, and later composition with instantly gives the tune a fresh harmonic aspect, quite resolving its own modal ambiguity. at Wigmore Hall in 2011. In Espera, meaning the piece gradually disintegrates: the clarinettist two eminent Portuguese figures, João Madureira not only defamiliarising it for listeners who know By contrast the outer sections of Thanatos ‘wait’, the muted solo viola views the same breathes silently into the instrument, and all that at the Academia de Música de Santa Cecília and it, but creating for those that do not a reassuring (2008) for clarinet and string trio offer a study in material repeatedly from different perspectives remain are the hollow and disembodied sounds Eurico Carrapatoso at the Escola Superior de illusion of déjà entendu. Following this distant echo, gradual, incremental transformation. The gently – different attempts, perhaps, at adapting to of key-clicks and wood on string – residual Photo: Katie Edgington Música de Lisboa. He then completed Master’s however, the tune proves elusive, the clarinet’s rocking motion at the start recalls the association of a stubborn reality. The phrases of melody traces of gestures and actions now past. and Doctoral degrees in composition at the attempts to take it up dissolving into juddering the deathly Thanatos with his mythic twin Hypnos, unfolded at the start are juxtaposed and subtly Nachtmusik (2012) for clarinet and piano This set of chamber works by the Portuguese Royal College of Music in London, where his repeated notes, cascades and trills. After the god of sleep (or even his half-brother Charon, refracted, first slowly, then at a flowing tempo, not only deals, in the composer’s words, with composer Pedro Faria Gomes plays on a number teachers were David Sawer, Kenneth Hesketh violence of this central section, only half-recalled boatman of the Underworld). These oscillations before succumbing to anxiety and frustration in night’s ‘richness of colours and its variety of seeming paradoxes: a longing to return and Mark-Anthony Turnage. After an eight-year fragments remain, stretched over softly sustained gradually drift apart and quicken, until two sharp the central section. The subdued questioning of psychological angles’ but also, in the first that accepts the inevitability of change; abstract spell of teaching in Portugal, he spent a year as chords, as if in calm acceptance of irreversible accents (a slap-tongue in the clarinet combined then returns, the melodic phrases re-explored in piece especially, with the strange elasticity processes that conjure vivid images and a composition and music theory professor at the change. with a Bartók pizzicato in the cello) set off a sinister close counterpoint before congealing into chords of nocturnal temporality, in which events can remarkably concrete gestures; a profound Hong Kong University of Science and Technology The second movement of the Sonata (2018) central section, driven by ominous trills and violent beneath wispy harmonics and portamenti. appear stretched out or compressed. In the stillness marked often by fleet and rapid surface (2011–12). In 2015 he settled in Wales, as a for violin and piano is on the surface a more outbursts from the lower strings. Thanatos is also Though this ending fails to bring the comfort second piece night-time obsessions rear up motion; and a nostalgia that resists sentimentality. lecturer at Cardiff University. He has received conventional folk song setting, the tune present the Freudian death-drive, whose opposite, eros, of a resolution, neither is it without hope: its as quickly as they subside, while the florid Composed between 2007 and 2018, they commissions from the Teatro Nacional de São in the violin throughout. Yet there is considerable the life-drive, is glimpsed briefly in a passionate latent promise was subsequently realised in the cantilena of the third gives way in the fourth to an encompass themes of memory, change, returning, Carlos, the Lisbon Metropolitan Orchestra, the subtlety too. Each iteration of the melody ends on outburst leading back to the undulating movement Sonata, where the final chord of Espera, along animated portrayal of hyper-alert wakefulness. waiting, and the empty spaces of night. But their National Ballet of Portugal and the London an irresolution that forms the upbeat to the next, of the opening. There, Thanatos fulfils its tendency, with its main melody in retrograde, is used to The set ends, as it began, in solitude, the last, central preoccupation is arguably time itself: not Symphony Orchestra. His music has also forging a continuous cycle even before further in Faria’s words, ‘to die, to fade, to stillness’. begin the fourth movement. fragmentary echoes of the final piece fading time so much as regular, incessant pulse nor been performed by the Gulbenkian Orchestra, elements of circularity are superimposed: slowly The shortest pieces on the disc are also the Where Espera folds melody into harmony, away against strings stroked inside the piano, as unchanging stasis (though both possibilities the Orquestra Sinfónica do Porto Casa da descending and ascending scales in the piano, earliest. Elegia (2007), a ‘short piece written as a Returning at its start enacts the reverse process. like the gentle brush of a curtain on a sill. exist at the music’s outer limits), but rather the Música, Lontano and the Endymion Ensemble. and the tune itself in canon. The third movement sorrow over unnecessary loss’, served as a test The notes of the bold initial gesture – two (and Charles Wilson

8.579029 2 3 8.579029 4 8.579029 Sarah Thurlow Carla Santos Sarah Thurlow studied at the Royal College of Music (RCM) with Robert Hill, Portuguese violinist Carla Santos studied with Ana Sofia Mota at the Conservatório de Michael Harris and Andrew Marriner. An English-Speaking Union scholarship Música Calouste Gulbenkian, Aveiro (Portugal), gaining a Diploma (2004), and later enabled her to attend the Aspen Music School in Colorado as a pupil of with Àgnes Sárosi at the Academia Nacional Superior de Orquestra in Lisbon, where Theodore Oien, and the RCM Mills Williams Junior Fellowship led to further she gained a Bachelor’s degree (2009). She then continued her studies in London at the study with Hans Deinzer in Italy and Sabine Meyer in Weimar. She has Royal College of Music with Radu Blidar, obtaining a Master’s degree in Performance performed concertos with the Philharmonia Orchestra and the BBC Concert (2011) and an Artist Diploma (2012). She is a member, with pianist Saul Picado, of the Orchestra, and has given recitals at the Purcell Room, The Bridgewater Hall Dryads Duo, which was awarded First Prize at the Prémio Jovens Músicos competition and St John’s Smith Square. She has appeared in the clarinet sections of in Portugal. The duo has since recorded albums of works by Janáček, Ravel and Pedro the London Symphony Orchestra, the Royal Philharmonic Orchestra and Enescu (2012) and Elgar, Szymanowski and Respighi (2016). Alongside her work as a Photo: Krystian Data the Orchestra of the Age of Enlightenment. She founded the ensemble Photo: performer, Carla Santos teaches the violin in London and Windsor. Contemporary Consort in 1998. Chris Christodoulou FARIA GOMES Nancy Johnson Saul Picado A graduate of The Juilliard School, Nancy Johnson is a freelance viola player, working principally with the London Symphony Orchestra, while also appearing with the Portuguese pianist Saul Picado began his studies with João Paulo Cunha BBC Symphony Orchestra, the English Chamber Orchestra, the Royal Philharmonic in Castelo Branco. In 2010 he graduated with distinction in piano Orchestra, the Academy of St Martin in the Fields and Music Theatre Wales. As a Chamber Works accompaniment and chamber music from the Academia Nacional Superior chamber musician she has performed at the Wigmore Hall and Weill Recital Hall at de Orquestra in Lisbon, where he studied with Alexei Eremine. In 2011 his Carnegie Hall, and toured internationally as a member of Triocca, with whom she has ensemble the Dryads Duo (with violinist Carla Santos) was awarded First released an album on the RTÉ lyric fm label. She is also a founder member of the Prize at the Prémio Jovens Músicos competition in Portugal. The duo has Zoltan Ensemble and performs with her recital partner, pianist Lauretta Bloomer. She since recorded albums of works by Janáček, Ravel and Enescu (2012) teaches the viola and the violin at the Royal Welsh College of Music & Drama and at Photo: and Elgar, Szymanowski and Respighi (2016). Saul Picado obtained his Cardiff University. David Massey Master’s degree in performance in 2012 from the Guildhall School of Music Photo: & Drama, studying with Peter Bithell and Martin Roscoe. Alongside his work Miguel Fernandes as a performer, he teaches piano in London and Windsor. Krystian Data Miguel Fernandes is currently sub-principal cello of the City of Birmingham Symphony www.saulpicado.com Orchestra (CBSO), touring internationally with the orchestra and working with conductors Sarah Thurlow, clarinet such as Semyon Bychkov, Mirga Gražinytė-Tyla, Eliahu Inbal, Michail Jurowski and Kazuki Yamada. During his studies with David Strange at the Royal Academy of Music Saul Picado, piano (2009–12), he was awarded several prizes and scholarships, including the Vivian Joseph Prize and awards from the Calouste Gulbenkian Foundation and the GDA Carla Santos, violin (Gestão dos Direitos dos Artistas). Performing alongside pianist Teresa Doutor, his ensemble the Cavatine Duo was awarded First Prize in the chamber music category Photo: Nancy Johnson, viola of the Prémio Jovens Músicos competition, and subsequently recorded an album of Krystallenia sonatas for cello and piano by Janáček, Myaskovsky and Poulenc. Photography Miguel Fernandes, cello

8.579029 5 6 8.579029 Sarah Thurlow Carla Santos Sarah Thurlow studied at the Royal College of Music (RCM) with Robert Hill, Portuguese violinist Carla Santos studied with Ana Sofia Mota at the Conservatório de Michael Harris and Andrew Marriner. An English-Speaking Union scholarship Música Calouste Gulbenkian, Aveiro (Portugal), gaining a Diploma (2004), and later enabled her to attend the Aspen Music School in Colorado as a pupil of with Àgnes Sárosi at the Academia Nacional Superior de Orquestra in Lisbon, where Theodore Oien, and the RCM Mills Williams Junior Fellowship led to further she gained a Bachelor’s degree (2009). She then continued her studies in London at the study with Hans Deinzer in Italy and Sabine Meyer in Weimar. She has Royal College of Music with Radu Blidar, obtaining a Master’s degree in Performance performed concertos with the Philharmonia Orchestra and the BBC Concert (2011) and an Artist Diploma (2012). She is a member, with pianist Saul Picado, of the Orchestra, and has given recitals at the Purcell Room, The Bridgewater Hall Dryads Duo, which was awarded First Prize at the Prémio Jovens Músicos competition and St John’s Smith Square. She has appeared in the clarinet sections of in Portugal. The duo has since recorded albums of works by Janáček, Ravel and Pedro the London Symphony Orchestra, the Royal Philharmonic Orchestra and Enescu (2012) and Elgar, Szymanowski and Respighi (2016). Alongside her work as a Photo: Krystian Data the Orchestra of the Age of Enlightenment. She founded the ensemble Photo: performer, Carla Santos teaches the violin in London and Windsor. Contemporary Consort in 1998. Chris Christodoulou FARIA GOMES Nancy Johnson Saul Picado A graduate of The Juilliard School, Nancy Johnson is a freelance viola player, working principally with the London Symphony Orchestra, while also appearing with the Portuguese pianist Saul Picado began his studies with João Paulo Cunha BBC Symphony Orchestra, the English Chamber Orchestra, the Royal Philharmonic in Castelo Branco. In 2010 he graduated with distinction in piano Orchestra, the Academy of St Martin in the Fields and Music Theatre Wales. As a Chamber Works accompaniment and chamber music from the Academia Nacional Superior chamber musician she has performed at the Wigmore Hall and Weill Recital Hall at de Orquestra in Lisbon, where he studied with Alexei Eremine. In 2011 his Carnegie Hall, and toured internationally as a member of Triocca, with whom she has ensemble the Dryads Duo (with violinist Carla Santos) was awarded First released an album on the RTÉ lyric fm label. She is also a founder member of the Prize at the Prémio Jovens Músicos competition in Portugal. The duo has Zoltan Ensemble and performs with her recital partner, pianist Lauretta Bloomer. She since recorded albums of works by Janáček, Ravel and Enescu (2012) teaches the viola and the violin at the Royal Welsh College of Music & Drama and at Photo: and Elgar, Szymanowski and Respighi (2016). Saul Picado obtained his Cardiff University. David Massey Master’s degree in performance in 2012 from the Guildhall School of Music Photo: & Drama, studying with Peter Bithell and Martin Roscoe. Alongside his work Miguel Fernandes as a performer, he teaches piano in London and Windsor. Krystian Data Miguel Fernandes is currently sub-principal cello of the City of Birmingham Symphony www.saulpicado.com Orchestra (CBSO), touring internationally with the orchestra and working with conductors Sarah Thurlow, clarinet such as Semyon Bychkov, Mirga Gražinytė-Tyla, Eliahu Inbal, Michail Jurowski and Kazuki Yamada. During his studies with David Strange at the Royal Academy of Music Saul Picado, piano (2009–12), he was awarded several prizes and scholarships, including the Vivian Joseph Prize and awards from the Calouste Gulbenkian Foundation and the GDA Carla Santos, violin (Gestão dos Direitos dos Artistas). Performing alongside pianist Teresa Doutor, his ensemble the Cavatine Duo was awarded First Prize in the chamber music category Photo: Nancy Johnson, viola of the Prémio Jovens Músicos competition, and subsequently recorded an album of Krystallenia sonatas for cello and piano by Janáček, Myaskovsky and Poulenc. Photography Miguel Fernandes, cello

8.579029 5 6 8.579029 NAXOS FARIA GOMES: Chamber Works 8.579029 ℗ & © 2020 Naxos Rights (Europe) Ltd Booklet notes in English Made in Germany 68:19 DDD 8.579029 Playing Time 7 47313 90297 2 www.naxos.com 1:57 1:10 1:21 1:12 5:43 3:01 9:23 0 11:45 harmonic harmonic 6 9 0

2– 6

* contemporary chamber chamber contemporary , AVA Musical Editions AVA ,

% % – – !

9 – 9 1 – 7

with new Sonata – it is always III. With flexibility, non-mechanical flexibility, With III. Returning (2010) Elegia (2007) Nachtmusik (2012) I. Slow and freely I. Slow and freely lively Very II. Unpredictable, IV. and freely Slow V. with sudden changes 5 • Carla Santos, Violin Violin • Carla Santos,

–

9 0 ! @ # $ % % 1 • Miguel Fernandes, Cello Pedro and in the 8 (b. 1979)

6:43 3:34 4:40 5:42 6:09 8:22 1:36 6:18 20:51 6 1 6 9 !– Chamber Works Chamber Memória ℗ & © 2020 Naxos Rights (Europe) Ltd FARIA GOMES FARIA Saul Picado, Piano WORLD PREMIERE RECORDING WORLD PREMIERE * * Towards the Forest I by Edvard Munch, Munch Museum, Oslo, Norway the Forest Towards * * * This recording was made with generous support from Cardiff University. support from Cardiff This recording was made with generous International Public License https://creativecommons.org/livenses/by/4.0/ (2012) Recorded: 12–14 July 2018 at Cardiff University Concert Hall, Cardiff, UK University Concert Hall, Cardiff, Recorded: 12–14 July 2018 at Cardiff Nancy Johnson, Viola Nancy Viola Johnson, Producer: Oscar Torres and Pedro Faria Gomes • Engineer and editor: Oscar Torres Oscar and Pedro Faria Gomes • Engineer and editor: Torres Producer: Oscar Cover image: Photograph by Halvor Bjørngård used under terms of Creative Commons Attribution 4.0 Photograph by Halvor Bjørngård used under terms of Creative Commons Sarah Thurlow, Clarinet Sarah Thurlow, Espera (2009) Memória Sonata (2018) Thanatos (2008) Escape (2007) I. Lento e libero I. Lento e libero non troppo Andante II. III. Molto vivace Calmo IV. Booklet notes: Charles Wilson • Publisher: Pedro Faria Gomes Wilson Booklet notes: Charles

8 1 2 3 4 5 6 7 music repertoire. written between 2007 and 2018. The works encompass themes of memory, change and waiting, waiting, and change of memory, themes encompass works The 2018. and 2007 between written from music has drawn on Though he preoccupation. a central being of time concept with the – in folk traditions his country’s to invigorating additions undeniably creating and subtlety, insights This selection of chamber music by leading Portuguese composer Pedro Faria Gomes was Gomes Faria Pedro composer Portuguese leading by music of chamber selection This

NAXOS FARIA GOMES: Chamber Works 8.579029