It is then one of the factors unit?
RC: It's one of them. We wanted people with the will to create new contemporary Portuguese music and to think who is there to do it? We approached groups of performers already professionals with a track record of creating this musical area and also gave an opportunity to young musicians in rapid ascent, early career, which always need this push. Hence contact with Francisco Loreto that was one of the teachers of most of these values and that gave us the contacts. After that we expose the conditions, for whom it was, why, for how long and what product was expected at the end. We thought as an economist, finding incentives through a portfolio relevant in our contemporary world, so we made documentation of everything from rehearsals to concerts, so that in the end they have a valid work of each one of us wants to composers, both for the performers.
MM: And in general as a record, it is important to catalog what you do, to be a reference of the past.
How does occur the creative process in this case? There members of the group that compuse and other's only reproduce?
MM: In this project we opened nominations for composers, but in the end, not everyone had the opportunity to participate, so I was as a composer, in addition to organizing this meeting, Rodrigo is also a composer, so we have this awareness to join these people and trying to create a portfolio. As for the musical pieces, is one of my own and the other is Rodrigo.
RC: First, we must strive to work in production for things to happen, because there is no institutionalization prepared on the basis for this product and objects, so that a composer can compose only. We were the only composers with disponbilidade to participate in this project, with knowledge from the beginning of who were the musicians, after the list was prepared.
MM: We started in June was a month of intensive composition, in terms of the various aspects of the script, image and various posibilities of interaction with the public. Rodrigo works a lot with itinerancy, there is a lot of movement among musicians.
RC: We collaborated together and with other ensembles in London, where we are coordinators. Worked on the text and the context, for whom it is, when and where. Developed the concept not as a necessity but as power of generating material. So, everything is related, my piece is link to hers and we did not called the musicians to perform our "dreams", we collaborated together, the story is about them, about us, our space and place, for example, we are all islanders. It would be unwise and stupid of us not to mention the wealth of our culture. We used the cravings we have gained in this school, which is the classic central European, and we adapt them to our realities. Things of greater interest appear in this context, since, if we work with phonetic have to have people fully capable of reading highly complex scores, with hipermatificated material and of being from Madeira in very intuitively way.
MM: This is a work that we could never do in London. We're with these people, with this story and language that will work to do something different.
Will register this all work and what is the culmination of all this?
MM: There are four concerts.
In terms of pieces how it will work?
MM: There are two parts, Rodrigo's is greater, mine depends on my interaction with the public, can be infinite. It seems it is a bit, but it is a large and rich repertoire. The work is interactive and based on 36 texts that I pulled from the newspaper "Jornal da Madeira", on the last page of opinion. From there I applied various processes text manipulation to create several poems and a picture that was in line with each text. During this survey appeared several keywords, which were repeated many times, there were other patterns that emerged, misspellings, sometimes sentence types and signs that this set was used and created the musical part. Then, during the concert during both the image, as the poem will be projected, the audience chooses the text and the poem and this will launch the musical part, in this case the audience is king and will decide what to see, read and hear. I like it a lot. I do not want to base all this work in the Jornal da Madeira, I want people to see this and might question, what was that image? Where they come from? And see what kind of discussion arises around that context, I do not want a political debate, I do not take sides, let's just play this rock and see what happens.
RC: It's not just because it is a work and then another, there is the possibility of the same concepts are interconnected. Will be a concert of 2 hours and a half, which speaks of being in a space that happens to be an island, which has features from geological, and cultural socias defining individuals of which they are part of. It's like finding the least common multiple between people. It is an intensive project, two weeks of rehearsals and four concerts.
In personal terms what of each one of you takes from this experience?
RC: Like any musician here, retreat a great piece for my portfolio, for any performer in any type of school. Despite being about us, across is respected and relevant to contemporary, in a culture that is global, but that is not equalized or compressed to be the same thing, demystifying what are the negative connotations of the word globalization. Also have an invisible new cultural capital amount I draw here, experience in my area, as maestro director of ensemble orchestra, where I have been working in these two years and this is one of the peaks of growth. More experience as a composer it has been very valuable to see what works or not in certain contexts and these things require practice, which appears in the format and process that can induce a success or not in a given context. One way or another it's history curriculum, which is what most artist needs today, it is performative art and registration is important.
MM: For me, it's a very nice opportunity to work on our island, which is always a pleasure. Having a my piece played by these people who are excellent musicians is a great deep happiness. It is also very important, because we worked all night long, for weeks and when it materializes a warmth is felt within the chest. Another very important aspect is the enrichment of our portfolio, the leverage new projects, creating networks to continue to make music on our island, because we deserve it and we need to draw more young people, because we cannot send everyone to the foreign.
