Abyssus Ascendens ad Aeternum Splendorem for piano, orchestra, electronics.
(the Ascending Abyss to the Eternal Brightness) 

In accordance with certain Hebrew mysticism, the Heaven is divided in seven kingdoms, each one ruled by one Angel. 
The Seventh Heaven, ruled by the Angel Cassiel, is the most sacred of these places. This the kingdom where God inhabits. 
Underneath of the Throne of Glory is the Chamber of Guf (Hebrew word for "body"). This chamber is the house of all the souls of human beings not yet  born. 
In the New Testament, Jesus Christ mentions the place of comfort and happiness after death, Abraham’s Bosom, also known as the Limb of the Fathers. And, according to some Hebrew-Christian traditions, this is the place where the just human soul goes after death, while it waits the Final Judgment. 
Faith is the power that takes the soul in its journey from the descending of the Guf, through the earthly existence, and finally into the Limb of the Fathers. 
Faith is also described by Simone Weil, as being an Ascending Abyss. It is abysmal because it pushes the human being into a state of higher perfection. It is ascending and its vortex culminates in a higher sphere, the Eternal Brightness. 
The form of the piece was suggested by a visit to the Convent of the Capuchos, in Sintra, Portugal. The paths inside of this convent takes us through the sad and dark altars of the low area, till we reach an ascending path where we find multiple references to the symbolism of the Cross. Finally the path ends in the higher altar of the Convent, almost at the top of the mountain. There, the shady environment of the “earthly” sections of the convent is replaced by brightness and light. 
This is what inspired this piece.

Interpreters:
Orquestra Filarmonia das Beiras
António Lourenço - Conductor
Ana Telles - Piano
João Pedro Oliveira - Electronics

Abyssus Ascendens ad Aeternum Splendorem

Orquestra de sopros da Escola Superior de Música de Lisboa, Ana Telles (piano) e Alberto Roque (maestro).

Pianissimo (2017)

Ἕως (2004)

For Piano, Live Electronics and Tape

Eos is the reflection of the first light on the morning sky. The moment that darkness is breaking, the moment that its shadows are taking shape and we, for the first time, can get a clearer view of their reality. A game between the surreal world and our way of interpretating him. 
Eos shadows are the tracks of another reality, a reality that is not possible to grasp. A reality that goes over our understanding and connects us with the non-real imaginary world.
They are shadows of our past and our cultural heritage and they are morphing the way of our understanding and the answers that we give to our questions. A sum of observations that mixes with memories. 
How do we perceive and interpretate this reality and events, the nature and the way that we look on them is something that I try to investigate in this work.
The first ideas for this piece came while reading the book of F. Pessoa " The hour of the Devil ". A line: "Darkness-Temptation-Magic-Destiny-Infinity", the names of the five continuous movements of the piece, formed a basic point of departure to this investigation.

Eos for Piano, Live Electronics and Tape

improvisation for prepared piano, featured in a video by Companhia de Música Teatral

music for a peaceful nest

Ana Telles, Piano
Carlos Marecos, Electronics
João Quintero, Recording

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