Acousmatic study using human voices, inspired by Francis Bacon painting. Premiered in Ar Condicionado, Esbal

Vox Humana - Acousmatic Study

Choral composition for the event "Isto não é um happening..." for the celebration of the 80th birthday of portuguese composer Constança de Capdeville. Sine Nomine Choir, dir. by Pedro Beirão. FCSH/CESEM

Waiting for Capdeville

Selection for the international electroacoustic event MUSLAB 2017
Premiered in Buenos Aires and México.
Acousmatic work set in the imaginary cosmogony of William Blake, where Urizen forges his Book of Eternal Brass.

Book Of Eternal Brass - Stereo Reduction

Sirius A and B for flute and 6 channels electronics
flutist: Yuri Matsuzaki

"this is a message from the beings of the star system Sirius to the beings of the planet Earth"

Touchpoints: Di nuova mestria
Kyiv Contemporary Music Days
Festival DME
Live at Lisboa Incomum
2018

Sirius A and B

Composition for the Master dissertation in Musical Arts: Instrumental and electroacoustic music for Pipe Organ

3 Juno

Vocals: Sean Rose and Kate Leon
Bass and mixing: Sean Rose
Keyboards and stuff: Adam Nox

FEAST OF TORTURE

Soundtrack for multimedia presentation in UE

Safe Journey

10 Hygiea

Ceci N'est Pas Une...

Violin, Cello, Flute, Clarinet, Piano with electroacoustic.

Viseonarium

Бориска Колоколa (Boriska Bells) is a hommage to the russian director Andrei Tarkovsky (1932-1986). 
	Boriska is a fictional character from the soviet biographical historical drama Andrei Rublev (1966), a young boy that starts the endeavor of building a bell. The film is loosely based on the life of Andrei Rublev, a 15th century russian Icon painter. The plot turns around for the main character when he witnesses the casting of a bell for the Grand Prince. Boriska is the son of a bellmaker that all is family died from the plague. While in death bed, his father partake the secret of casting a bronze bell. 
	The film is deeply philosophical and moving, dealing with aspects about sin; hunger, sickness besides portraying the harsh Russian life at the time.
	The epilogue of the film is the only part that is shown in colour, of Icons from Andrei Rublev, cross fading in the end to four horses standing by a river in the rain. This piece is completely synchronised with this epilogue, and was a point of view, regarding composition. If needed, one could diffuse this piece, while watching the epilogue of the film.
	Bell casting and ringing is an important part of the russian society, deeply rooted on the Orthodox Church to the point that they can be called “singing icons”. Those bells are anointed and blessed and are rather different of the European bells, even in sound with a narrower interval in the bell (a 7th instead of the usual octave) so producing a completely different harmonic content.  Never the less, is the rhythm that is important, while “chiming” the bells, and not the intervals.
	With Boriska Bells both the harmonic and inharmonic and rhythmic changes coexist. All sound material is derived from the recording of bells, except other usual sound material that Tarkovsky continuously uses in hes films; rain, thunder and water drops. The sound transformations where done with convolution and other FFT transformations to preserve the character of the bell.
	A real impulse response of a church in six channels where used to spread the sound to all channels thru reverberation.
	The musical quotations are deeply rooted on Tarkovsky’s sound imaginary. Bach plays a great role to the director and he uses it to develop the emotion of the scene. The pipe organ chorale Ich ruf zu dir Herr Jesu from the Orgelbuchlein of Bach appears in Solaris and is quoted by other directors (Nymphomaniac, by Lars Von Trier). In the movie Offret, Tarkovsky explores the philosophical aspects, with the quote of Komm süsser Tod from Bach. So, a homage could not be completed without the pastiche of using them appropriately.

Duration: 8:48 (Same duration has the epilogue of the movie)
Channels: Six or other available format.
Tools: Pd, Cdp and Cubase
Processes: Various FFT transformations on the frequency and time domain, Doppler, spectral delay and granular synthesis. Self-made reverb convolution of an actual Portuguese church (XVIII century) in six channels. All the panning was done using FFT transformations to ensure the ambience of a large church.

official selection on MA/IN 2019 festival and mix tape.

Бориска Колоколa

Svart Hål is the Swedish word for black hole. This piece was composed for the International Electroacoustic Composition Masterclass with Swedish composer Åke Parmerud. The piece is an homage to Ingmar Bergman, hence the title and the quotation in the beginning. The quotation is from the film Vargtimmen (1968) “The Hour of the Wolf”). This Swedish psychological horror film delves upon the themes of insanity, relationships and surreal elements with allusions to the werewolf legend. Vargtimmen is the moment when most births and deaths occurs, so it relates to time and the cycle of life. A black hole also represents a cycle of death and life, besides being shrouded by mystery and intimately connected with the notion of time. The quote on this piece belongs to Swedish actor Max Von Sydow, here he talks about time in the beginning of the film, waiting for the Sun to rise. 	Coincidentally, this piece was composed during the time EHT team captured the first image of a black hole (in the center of M87 galaxy), lead by Katie Bouman, in April, 2019. Several sounds of black holes where used, the sound representation of two black holes merging that contains a high pitched glissando and radio hum from several black holes  (taken from the free based sound folio of NASA). Other sounds, like clocks, bells and cuckoo clock represent the time passing and are always accelerating, decelerating and being frozen in time mimicking the effect of a naked singularity. 
	Puredata was used to create the drones, spacialization and granulation, Nuendo was used for mixing.

Svart Hål

Vid Flumina a methane river in Saturn's Moon, Titan.
Super Flumina, first two words of the psalm 137 (136).

Article concerning extended techniques presented in Nova Contemporary Music Meeting:
https://www.researchgate.net/publication/329277307_Extended_techniques_on_the_pipe_organ

Played in a historical portuguese pipe organ built by António Xavier Machado e Cerveira.

Super Vid Flumina

Sound artist, organist, improviser, composer and researcher. PhD (summa cum laude, FCSH/ESML), DAS, Master (dean's honour roll, FCSH) in Musical Arts, FCT research fellow, Integrated researcher in Contemporary Music Research Group (FCSH). Avant-Garde Bard of Sorts.
https://linktr.ee/claudiopina

Cláudio de Pina

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