em actualização
Lá nas Árvores
Ciclo II: Levantar Voo / Cycle II: Take Off
Évora_27 – Capital Europeia da Cultura
Abril/April 9-12
Coro dos Pequenos Cidadãos
9 de Abril | 21h00 | Salão Central Eborense
Pedro Nascimento - direcção musical
Hugo Marques - professor DAVD/EA/UÉ
Pedro Nascimento
Estremoz Tomaz Alcaide.
Coordenadores/ Docentes do DAVD/EA/UÉ
Pássaros e Cogumelos - Joana Gama
Concerto para famílias
10 de Abril | 10h00 & 11h30 | Salão Central Eborense
João Godinho - Música original
Aves do Alentejo em Música
Concerto comentado por Ana Telles e João Rabaça
10 de Abril | 21h00 | Salão Central
Na continuidade de uma colaboração que já vem de longe — construída ao longo dos anos, através da preparação e apresentação de recitais comentados, programas de rádio e conteúdos digitais dedicados à música inspirada nas aves e no seu canto —, Ana Telles e João Eduardo Rabaça apresentam Aves do Alentejo em Música, no âmbito do Ciclo Levantar Voo (2026) do projeto Lá nas Árvores, integrado na programação artística de Évora 2027 – Capital Europeia da Cultura.
O programa deste recital, colaborativamente comentado (incluindo informações de cariz musicológico e ornitológico), segue uma lógica sazonal: ao longo das estações do ano, sucedem-se aves residentes no Alentejo e migrantes de passagem por esse vasto território, cada uma delas evocada por uma obra musical específica. O repertório selecionado abrange obras para piano solo escritas entre o século XVIII e o tempo presente, incluindo duas estreias absolutas escritas para Ana Telles e a ela dedicadas: Os pássaros da Ana, de João Francisco Nascimento, e Abetarda, de Amílcar Vasques-Dias, ambos compositores residentes no Alentejo que têm colocado a evocação simbólica dessa região no âmago da sua produção musical.
François Couperin, Les coucous bénévoles, de Pièces de clavecin – 13ème Ordre, 3ème Livre - Les Folies Françaises, ou Les Dominos
Amílcar Vasques-Dias, Abetarda, para a Ana Telles (estreia absoluta)
João Francisco Nascimento, Papa-figos e Rolieiro (de Os Pássaros da Ana, estreia absoluta)
François Couperin, La Linotte effarouchée, Pièces de clavecin – 14ème Ordre, 3ème Livre)
Olivier Messiaen, L’Alouette lulu, de Catalogue d’Oiseaux
João Francisco Nascimento, Poupa e Gaio (de Os Pássaros da Ana, estreia absoluta)
[W.A. Mozart, Oiseaux, si tous les ans K. 307/K. 284d] - a confirmar]
Sofia Gubaidulina, The Little Tit (de Musical Toys)
Sofia Gubaidulina, The Woodpecker (de Musical Toys)
João Francisco Nascimento, Abelharuco e Gaio (de Os Pássaros da Ana, estreia absoluta)
François Couperin, Les Fauvettes plaintives, de Pièces de Clavecin – 14ème Ordre, 3ème Livre
F. Liszt, Légendes, S. 175: I. St François d'Assise: La prédication aux oiseaux
Ana Telles - Piano e comentário
João Eduardo Rabaça - Comentário
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Workshop com João Rabaça: Escutar as Aves e Árvores
11 de Abril | 10h00 | Coreto do Jardim Público de Évora
O voo é o meio de locomoção principal utilizado pela maioria das aves. Esta exigente capacidade em controlar o corpo no ar implicou mudanças espantosas do ponto de vista evolutivo, as quais conferiram às aves um domínio absoluto da arte de voar.Nos primórdios da humanidade as aves exerciam um fascínio sobre os humanos. Remetidos a uma locomoção terrestre, os antigos atribuíam ao voo das aves um carácter divino tendo em conta que os deuses serviam para justificar o que não era possível alcançar, compreender ou interpretar.
A História seguiu o seu curso mas o fascínio persistiu. Nos dias de hoje, sabemos que as aves exibem diferentes tipos de voo como uma resposta adaptativa ao meio onde vivem e como vivem. Sabemos também que muitas espécies de aves vocalizam e que essas sonoridades têm um significado biológico, que nos encanta e inspira também.Neste Workshop iremos explorar algumas dimensões à volta das aves. Levantaremos voo com elas – em sentido figurado, bem entendido – pelo prazer das descobertas. Procuraremos vê-las, ouvi-las e escutá-las atentamente, lá nas árvores onde vivem, nos céus que cruzam ou noutros lugares.
Entrada livre, mediante inscrição
João Eduardo Rabaça
Professor Associado com Agregação da Universidade de Évora. Biólogo de formação, tem desenvolvido a sua actividade nos domínios da biologia da conservação e ornitologia.
Criou e coordena o LabOr-Laboratório de Onitologia onde desenvolve a sua actividade científica e tem leccionado diversas unidades curriculares aos níveis de licenciatura e mestrado em cursos tutelados pelo Departamento de Biologia a que pertence.
Publicou dezenas de artigos em revistas científicas com arbitragem por pares, é autor e co-autor de livros e capítulos de livros, e tem publicado artigos de opinião e de difusão da cultura científica.
Tem proferido palestras em diversas universidades europeias no Reino Unido, Hungria, Itália e França, e em instituições de ensino superior nacionais. Concebeu e orientou diversas palestras na Universidade de Évora com destaque para duas iniciativas promovidas no âmbito do mestrado em Biologia da Conservação, curso que dirigiu durante vários anos: The Conservation Biology Conference que trouxe anualmente a Évora cientistas de renome internacional, e «Os Nossos Mestres Regressam a Casa» com o objectivo de trazer à Universidade Alumni do mestrado em Biologia da Conservação que seguiram os seus percursos em diversas partes do mundo e convidá-los a partilharem as suas experiências com os actuais estudantes.
Workshop com João Rabaça: Escutar as Aves e Árvores
Workshop Corpos Sonoros com Pedro Latas e Abdul Moimême
11 Abril | 10h00-12h00 & 14h00-16h00 | Salão Central Eborense
Performance pelos artistas| 18h00
O workshop, orientado pelo compositor e performer Pedro Latas e pelo improvisador Abdul Moimême, organiza-se em três módulos e propõe uma experiência imersiva na criação musical contemporânea, com foco na improvisação livre coletiva. Os formadores convidam os participantes a explorar o uso de found objects (como molas metálicas, placas de metal e pequenos objetos), bem como microfones de contacto e transducers, com o objetivo de criar pequenos setups de performance. O percurso termina com um momento de apresentação aberto ao público.
Etapa I: Apresentação dos formadores e das suas abordagens à composição, improvisação, escuta e construção de instrumentos, através de exemplos práticos, sons e referências a outros músicos, promovendo o diálogo com os participantes.
Etapa II: Breve concerto pelos formadores, criando um contexto vivo para as ideias apresentadas, seguido de uma sessão prática com os participantes.
Etapa III: Desenvolvimento de pequenas performances pelos participantes, em diferentes combinações, culminando numa apresentação final coletiva.
A participação é limitada a 10 participantes, de forma a garantir um ambiente de trabalho próximo, experimental e colaborativo.
Entrada livre, mediante inscrição.
Abdul Moimême
Nome artístico de Rui Horta Santos é um músico, produtor e engenheiro de som português, cuja prática se afirma no campo da música experimental e da improvisação livre contemporânea. A sua relevância manifesta-se no contexto artística e cultural em Portugal, mas também no contexto internacional.
A sua obra destaca-se pela forma como reconfigura a guitarra eléctrica através de práticas performativas alargadas, encarando o instrumento como um objecto sonoro e não como um dispositivo primordialmente melódico ou harmónico.
O uso de guitarras preparadas — por vezes accionadas em simultâneo —, bem como técnicas estendidas, inscreve a sua prática num diálogo directo com o reducionismo europeu e a improvisação electroacústica, afastando-se deliberadamente dos idiomas tradicionais da guitarra jazz. Ainda assim, nos últimos anos, tem colaborado e gravado com músicos oriundos desse universo. Esta abordagem tem contribuído de para a legitimação da guitarra eléctrica no domínio da improvisação não-idiomática.
A formação de Moimême em arquitectura - assim como a sua paixão pelo cinema e pela literatura - constitui um eixo estruturante do seu pensamento musical, influenciando de forma decisiva a sua atenção ao espaço, à estrutura, à densidade, à ressonância e a um estilo marcadamente narrativo. A sua música privilegia processos de escuta aprofundada, economia de meios e a emergência de micro-eventos sonoros, situando-se em afinidade com estéticas experimentais europeias mais amplas.
Ao longo do seu percurso, desenvolveu uma actividade colaborativa extensa com improvisadores internacionais, integrando numerosos ensembles e formações ad hoc. Actuou e gravou com um vasto conjunto de artistas de reconhecido mérito internacional, entre os quais Albert Cirera, Alvaro Rosso, Axel Dörner, Carlos Santos, Carlos Zíngaro, Ernesto Rodrigues, Eve Risser, Fred Lonberg-Holm, Lionel Marchetti, Mark Dresser, Patrick Brennan, Pedro Melo Alves, Thomas Rohrer, e Wade Matthews, entre muitos outros.
A sua discografia compreende mais de 60 edições, incluindo diversos trabalhos a solo e em co-liderança. Integrou múltiplos ensembles e projectos, entre os quais IKB (PT), Suspensão (PT) e a Variable Geometry Orchestra (PT), bem como a Insub Meta Orchestra (Suíça). Abdul Moimême apresentou o seu trabalho pela Europa, assim como no Brasil. Em 2019, foi convidado pelo prestigiado festival Jazz em Agosto, sob o tema “Resistance”, para apresentar uma performance de improvisação a solo. Desde 1999, desenvolve uma actividade regular de escrita e reflexão crítica sobre jazz e música improvisada, colaborando com diversas publicações portuguesas, entre as quais as revistas Flirt, All Jazz e Jazz.pt, bem como com o jornal Público.
Foi nomeado por diversas ocasiões para o Annual International Critics Poll for Jazz, incluindo na edição mais recente. É licenciado em Arquitectura pela Universidade de Lisboa (UTL).
Pedro Latas
Pedro Latas (Ele / Elu) é um compositor, artista multimédia, performer e creative coder de Évora, Portugal. Fez a Licenciatura em Composição na Escola Superior de Música de Lisboa entre 2016 e 2019 com João Madureira e Carlos Caires. De 2019 a 2023 realizou a Licenciatura e Mestrado em Composição no Conservatório Real de Haia (Países Baixos) com Yannis Kyriakides e Mayke Nas, sob a supervisão de Alison Isadora. Após acabar o mestrado recebeu o KC-prize for best Master's research e o Buma-Stemra Incentive award durante o festival November Music. Em 2023 realizou o Sonology One-Year Course no Instituto de Sonology. Actualmente é artista freelancer baseado em Haia, Países Baixos.O seu trabalho é inspirado pela sua própria identidade queer, assim como outras experiências queer num mundo que procura suprimir identidades e corpos não-normativos. Compelido pela luta pela autonomia e integridade corporal, Pedro investiga as interconexões entre o meio digital e corpos físicos, e como estas re-estruturam e reformulam o entrelaçamento entre corpos humanos e os meios físicos que os rodeiam. O seu trabalho foca-se então, em geral, na criação de performances assistidas por computador e electrónica experimental interactiva e/ou gerada em tempo-real.
Sejam obras para ensemble ou performances a solo de electrónica ao vivo, Pedro deseja praticar actos radicais de apreciação - e carinho - pelo corpo físico, encontrando beleza e poder em todas as suas limitações. Através destes actos, Pedro tem a esperança que actos radicais de solidariedade surjam naturalmente de uns para com outros.
Entrada livre, mediante inscrição.
O seu trabalho é inspirado pela sua própria identidade queer, assim como outras experiências queer num mundo que procura suprimir identidades e corpos não-normativos. Compelido pela luta pela autonomia e integridade corporal, Pedro investiga as interconexões entre o meio digital e corpos físicos, e como estas re-estruturam e reformulam o entrelaçamento entre corpos humanos e os meios físicos que os rodeiam. O seu trabalho foca-se então, em geral, na criação de performances assistidas por computador e electrónica experimental interactiva e/ou gerada em tempo-real.
Sejam obras para ensemble ou performances a solo de electrónica ao vivo, Pedro deseja praticar actos radicais de apreciação - e carinho - pelo corpo físico, encontrando beleza e poder em todas as suas limitações. Através destes actos, Pedro tem a esperança que actos radicais de solidariedade surjam naturalmente de uns para com outros.
A Flauta de Tamborileiro no Alentejo - Associação Pé de Xumbo
12 de Abril | Colégio dos Regentes Agrícolas, campus da Universidade de Évora da Mitra (Valverde) | 10h00
No dia 12 de abril, na serenidade da Herdade da Mitra, o som da flauta tamborileiro entrelaça-se com o murmúrio do vento e o passo ritmado da caminhada. Será uma manhã de atividade que convida à partilha e à descoberta: uma conversa em movimento pelas paisagens alentejanas, onde teremos a oportunidade de conhecer mais sobre a flauta de tamborileiro e os bailes tradicionais do Alentejo, num momento onde música e dança emergem de forma espontânea.
Entre caminhos, melodias e gestos, celebra-se a convivência e o ritmo da terra — um encontro vivo entre tradição e natureza no coração do Alentejo.
PédeXumbo, Assoviação para Promoção de Música e Dança
A PédeXumbo trabalha desde 1998 na promoção da música e dança de raiz tradicional. Uma equipa profissional dedica-se à recuperação destas práticas culturais, através de registos, coproduções, criação artística, investigação, formação de formadores e ensino informal destinado a todas as idades.
Mais do que perpetuar relíquias, a PédeXumbo propõe-se a reavivar hábitos sociais de viver a música, reproduzindo bailes tradicionais participados por novas gerações que vão beber em práticas antigas.
No seu próprio espaço, em Évora, programa regularmente oficinas de dança, música, concertos, bailes e tertúlias para vários públicos. Organiza festivais em todo o país, tendo especial notoriedade o Andanças. Dinamiza aulas regulares de dança junto de escolas e jardins de infância, projetos comunitários de educação artística, e promove ações de formação que exploram diversas vertentes das danças de raiz tradicional.
Contando com diversas parcerias internacionais, tem ainda um papel pioneiro na criação artística de novos formatos de baile, explorando conceitos de danças sociais, interatividade, ritual, criatividade, contemporaneidade, tradição. Dinamiza, em colaboração com instituições universitárias, um setor de investigação etnocoreológica, tendo editado diversos livros e documentários.
Gustavo Portela
Nascido em Lisboa, mas com raízes transmontanas e minhotas, desde tenra idade se interessou por tudo o que envolvia a cultura portuguesa nas suas vertentes de etnografia, dança e música.
Durante 6 anos foi um dos responsáveis da programação do festival Andanças e no ano de 2005 fundou a associação Tradballs que promove a dança e música tradicional. Foi também presidente e membro directivo da Associação Portuguesa para o Estudo e Divulgação da Gaita-de-Foles.
Organizou inúmeros festivais, concertos, bailes e oficinas de música como o Fest-i-ball, Ball-toques, o Fest-i-Gaita e fundou o Terreiro do Gaiteiro, um evento que junta, mensalmente (desde de 2009), gaiteiros de todo o Portugal.
Desde o ano 2004 que se interessou pela Gaita-de-Foles e foi aluno do Centro Galego de Lisboa (professor Gonçalo Marques) e da Associação Gaita-de-Foles, realizando o curso regular desta instituição com os professores Vasco Ribeiro Casais, Francisco Pimenta e Miguel Costa.
Em 2008 realizou o curso de Flauta de Tamborileiro, da Associação Gaita-de-Foles, com o professor Diogo Leal. Paralelamente teve Formação Musical com o professor José Dias e requentou inúmeros cursos intensivos de Gaita-de-Foles com Anxo Lorenzo, Vicent Boniface, Julienn Cartonnet e Sito Carracedo (afinação) e Patrícia Cela (construção de palhetas). Desde de 2015 é professor de Flauta de Tamborileiro na Associação Gaita-de-
Foles.
Como músico participou/a em variadíssimos projetos dos quais se destacam os grupos Arranca- Telhados, Roncos do Diabo e mais recentemente a Orquestra de Foles, Zikhamu e A Salto à Rua.
Em 2018, coordenou o livro Cancioneiro de Gaita-de-Foles, que contem 100 temas da tradição gaiteira, e que teve a participação de 10 autores/investigadores de norte a sul de Portugal. Em 2020, coordenou o cd homenagem ao Gaiteiro Joaquim Carriço, nascido a 5 de Setembro de 1929, Quinta do Valongo, Mealhada. Participa regularmente em romarias, cirios, arruadas das festas tradicionais portuguesas, nas quais, desde há séculos, os Gaiteiros e Tamborileiros marcam a sua presença.
Mais do que perpetuar relíquias, a PédeXumbo propõe-se a reavivar hábitos sociais de viver a música, reproduzindo bailes tradicionais participados por novas gerações que vão beber em práticas antigas.
No seu próprio espaço, em Évora, programa regularmente oficinas de dança, música, concertos, bailes e tertúlias para vários públicos. Organiza festivais em todo o país, tendo especial notoriedade o Andanças. Dinamiza aulas regulares de dança junto de escolas e jardins de infância, projetos comunitários de educação artística, e promove ações de formação que exploram diversas vertentes das danças de raiz tradicional.
Contando com diversas parcerias internacionais, tem ainda um papel pioneiro na criação artística de novos formatos de baile, explorando conceitos de danças sociais, interatividade, ritual, criatividade, contemporaneidade, tradição. Dinamiza, em colaboração com instituições universitárias, um setor de investigação etnocoreológica, tendo editado diversos livros e documentários.
Foles.
Instalação Sonora
11 e 12 de Abril | 14h-17h | Coreto do Jardim Público de Évora
Durante o fim-de-semana do festival, o coreto da cidade de Évora volta a soar. Ao passear pelo Jardim Público da cidade ouvirão sons a esvoaçar. Subam as escadas do coreto e descubram uma instalação sonora com obras de diferentes artistas portugueses e não só. Fechem os olhos e deixem que os sons electroacústicos se misturem com os sons dos pavões, da água a correr e das pessoas a caminhar.
Programa
senalpriA by Tae Hong Park (2020)
Tekstil by Nayaka farrell, Welderahmat (2006)
Entomology#2 by Thanos Polymeneas - Liontiris (2025)
Tettix-A’ by Thanos Polymeneas - Liontiris (2022)
Intermezzo, like an upturn’d gem by Yuko Katori (2023)
Wichman(2,3) by Tom Bruges (2025)
Bolt by Elena Ghigas (2025)
Naiad by Jiajing Zhao (2025)
CLIMATE EXPRESSION 3 by Luigi Morleo (2025)
Noctivox (Arcana) by VorticeX (2025)
THREE FRAMES (ePWsM 15 - 19 - 21) by MARCO MOLTENI (2024)
Babel Towel by Yuk Bun Wan, Barry (2023)
An Aria for the Mallard by Jorge Ramos (2025)
haunted ground; tendrils burn like fuchsia by Darcy Copeland (2025)
« gê » Part 1 by Jean Voguet (2023)
Fuoco by Orestis Karamanlis (2026)
FAKE by Phivos-Angelos Kollias (2024)
Electropoem No. 12 for 4-channel by Ali Balighi (2025)
37.473686,14.075105 by Cristian Gabriele Argento (2025)
Reverence by Paul Francis (2026)
Makuta by Felipe Otondo (2025)
Transient Beauty by Dimitris Maronidis (2015)
Encircled by Adam Stanovic (2025)
"Interlúdio Onírico" ("Messaggio", 2021) by Pedro Carneiro (2021)
Birds by Andrés Lewin-Richter (2025)
An Interrupted Memory by Mike McFerron (2010)
Vientos Peregrinos by Iracema de Andrade (2025)
Installation: A Distant Wind - hommage à Ravel by Yuhang Li (2025)
L´oraculo di Melqart by Enrique Busto (2022)
Merging open and closed world by Nicola Fumo Frattegiani (2025)
Rabot Pulses by Kristof Lauwers (2024)
Quadri degli elementi by Marco Dibeltulu (2019)
Symplegades by Angelos Thomas Karelias (2024)
Sui generis by Shai Cohen (2020)
Estoult by Antonio Luigi La Spina (2025)
Low Earth Orbit by Peter Vukmirovic Stevens (2024)
Vulnerable by Alireza Seyedi (2025)
Unheard Of (i) by Alessio Premoli (2026)
Flake by Samuele Giulio Ferrari (2025)
Interlude by Hector Bravo Benard (2022)
8'4'' by daria baiocchi (2026
01’38” by João Farelo (2020)
Wild Fruits 2: Like a jagged flock, like pulverised jade by James Harley (2006)
Take Me Back to Indonesia by Boyi Bai (2025)
Introspezioni Immaginarie by Francesco Sottile (2025)
doorframes covered in masking tape by Mattia Benedetti (2024)
Hi, my name was... or the silence when the children are gone by Leonie Roessler (2025)
Corium II by Mathieu Lacroix (2025)
Terrazza by Nicola Cappelletti (2024)
Factor two by Scott (2026)
Insektarion by Lidia Zielinska (2016)
PEACE WIND by Domenico De Simone (2022)
Aspen by Petri Kuljuntausta (2026)
Olivier's Birds: a journey to the mountain by Joshua Tomlinson (2019)
A Brief History of The Future by Marko Vesic (2025)
V2 by Deniz Nurhat (2025)
Daylesford Naturalix by Dr Martin K. Koszolko (2025)
Absent in Cold Air by Darren Copeland (2026)
Openings by Liann J. Kang (2022)
diary of a steel mill by Yixiao Wang (2024)
doubt V / Keros by Taxiarchis Diamantopoulos (2026)
STRIGIFORMES by WIKTOR MASTELA (2024)
I wish I was a Drag on fly by Dimitris Barnias (2024)
Fractured Circuit by iliya shahbazi (2026)
On the Tarantulas for electroacoustic layer by Andrzej Ojczenasz (2022)
iNature (Sound Installation) by Thanasis Epitideios (2024)
Gebet in Blau by Maria Pelekanou (2023)
Deboyu: Prelude by Jaime Cuervo Gómez (2026)
Estuary 2 by Irvign Kinnersley (2023)
Fragments by Tanid Sintaratana (2023)
Pirapitinga Vaz'A Baril by Eduardo Azevedo Prudente (2025)
Trioxia by Girilal Baars (2024)
MIXED SIGNALS by GEORGIA KALODIKI (2026)
T.I.N.A.B.Y.B.T.I.N.S. by NIKOS BASKOZOS (2024)
Disquiet City by Libby Fabricatore (2025)
Hollow Point by Kasey Pocius (2024)
senalpriA by Tae Hong Park (2020)
Tekstil by Nayaka farrell, Welderahmat (2006)
Entomology#2 by Thanos Polymeneas - Liontiris (2025)
Tettix-A’ by Thanos Polymeneas - Liontiris (2022)
Intermezzo, like an upturn’d gem by Yuko Katori (2023)
Wichman(2,3) by Tom Bruges (2025)
Bolt by Elena Ghigas (2025)
Naiad by Jiajing Zhao (2025)
CLIMATE EXPRESSION 3 by Luigi Morleo (2025)
Noctivox (Arcana) by VorticeX (2025)
THREE FRAMES (ePWsM 15 - 19 - 21) by MARCO MOLTENI (2024)
Babel Towel by Yuk Bun Wan, Barry (2023)
An Aria for the Mallard by Jorge Ramos (2025)
haunted ground; tendrils burn like fuchsia by Darcy Copeland (2025)
« gê » Part 1 by Jean Voguet (2023)
Fuoco by Orestis Karamanlis (2026)
FAKE by Phivos-Angelos Kollias (2024)
Electropoem No. 12 for 4-channel by Ali Balighi (2025)
37.473686,14.075105 by Cristian Gabriele Argento (2025)
Reverence by Paul Francis (2026)
Makuta by Felipe Otondo (2025)
Transient Beauty by Dimitris Maronidis (2015)
Encircled by Adam Stanovic (2025)
"Interlúdio Onírico" ("Messaggio", 2021) by Pedro Carneiro (2021)
Birds by Andrés Lewin-Richter (2025)
An Interrupted Memory by Mike McFerron (2010)
Vientos Peregrinos by Iracema de Andrade (2025)
Installation: A Distant Wind - hommage à Ravel by Yuhang Li (2025)
L´oraculo di Melqart by Enrique Busto (2022)
Merging open and closed world by Nicola Fumo Frattegiani (2025)
Rabot Pulses by Kristof Lauwers (2024)
Quadri degli elementi by Marco Dibeltulu (2019)
Symplegades by Angelos Thomas Karelias (2024)
Sui generis by Shai Cohen (2020)
Estoult by Antonio Luigi La Spina (2025)
Low Earth Orbit by Peter Vukmirovic Stevens (2024)
Vulnerable by Alireza Seyedi (2025)
Unheard Of (i) by Alessio Premoli (2026)
Flake by Samuele Giulio Ferrari (2025)
Interlude by Hector Bravo Benard (2022)
8'4'' by daria baiocchi (2026
01’38” by João Farelo (2020)
Wild Fruits 2: Like a jagged flock, like pulverised jade by James Harley (2006)
Take Me Back to Indonesia by Boyi Bai (2025)
Introspezioni Immaginarie by Francesco Sottile (2025)
doorframes covered in masking tape by Mattia Benedetti (2024)
Hi, my name was... or the silence when the children are gone by Leonie Roessler (2025)
Corium II by Mathieu Lacroix (2025)
Terrazza by Nicola Cappelletti (2024)
Factor two by Scott (2026)
Insektarion by Lidia Zielinska (2016)
PEACE WIND by Domenico De Simone (2022)
Aspen by Petri Kuljuntausta (2026)
Olivier's Birds: a journey to the mountain by Joshua Tomlinson (2019)
A Brief History of The Future by Marko Vesic (2025)
V2 by Deniz Nurhat (2025)
Daylesford Naturalix by Dr Martin K. Koszolko (2025)
Absent in Cold Air by Darren Copeland (2026)
Openings by Liann J. Kang (2022)
diary of a steel mill by Yixiao Wang (2024)
doubt V / Keros by Taxiarchis Diamantopoulos (2026)
STRIGIFORMES by WIKTOR MASTELA (2024)
I wish I was a Drag on fly by Dimitris Barnias (2024)
Fractured Circuit by iliya shahbazi (2026)
On the Tarantulas for electroacoustic layer by Andrzej Ojczenasz (2022)
iNature (Sound Installation) by Thanasis Epitideios (2024)
Gebet in Blau by Maria Pelekanou (2023)
Deboyu: Prelude by Jaime Cuervo Gómez (2026)
Estuary 2 by Irvign Kinnersley (2023)
Fragments by Tanid Sintaratana (2023)
Pirapitinga Vaz'A Baril by Eduardo Azevedo Prudente (2025)
Trioxia by Girilal Baars (2024)
MIXED SIGNALS by GEORGIA KALODIKI (2026)
T.I.N.A.B.Y.B.T.I.N.S. by NIKOS BASKOZOS (2024)
Disquiet City by Libby Fabricatore (2025)
Hollow Point by Kasey Pocius (2024)Concerto Acusmático
12 de Abril | 18h00 | Salão Central Eborense
Programa
Barry Truax: Rainforest Raven (2020) (10’)
Annette Vande Gorne: Vox Alia V — Vox naturæ (08:18)
Panayiotis Kokoras: Sound Forest (6:40)
Werner Lambersy, Annette Vande Gorne: Le ginkgo (14:52)
João Pedro Oliveira: La Mer Émeraude (10:00)
Giovanni Crovetto: Comfortable Distance (8:26)
Valentin Sismann: Erosia, Part I (7'14)
Annette Vande Gorne: Haïkus, 2. Printemps (8:00)
Lá nas Árvores
Ciclo II: Levantar Voo / Cycle II: Take Off
Évora_27 – Capital Europeia da Cultura
Abril/April 9-12
Coro dos Pequenos Cidadãos
9th of April | 9:00 pm | Salão Central Eborense
Lá nas Árvores, a project forming part of Évora_27 – Capital Europeia da Cultura, organised a participatory choir by inviting members of the community, and anyone interested in choral singing, to take part with a view to performing Mariana Vieira’s work *Coro dos Pequenos Cidadãos*.
In this context, the choir that will perform this work is an intergenerational community choir, made up of residents of the city of Évora. The musical direction will be in charge of conductor Pedro Nascimento.
"When composing the songs for the Coro dos Pequenos Cidadãos, I sought above all to immerse myself in the imaginary world that had been invented and organised into short texts by the pupils of Alumieira Primary School, and to use that as a starting point to create soundscapes that reflected it. The texts I received were rich in ideas – relating to sound, form, texture... — and were, from the outset, markedly populated in a symbolic way by elements of the natural world (the wind, the rain, the leaves, the beating of the heart…), which led me to explore the use of field recordings in the electroacoustic section to create textures that, together with the choir, evoke these elements. In the same vein, I also seek to simulate characteristics of these natural elements in a slightly more abstract way, both in the electronic music and in the choir, through musical ideas that are developed throughout the songs. For example, imitating rain by applying delays to the part sung by the choir (repeating the same element several times), or writing a section of the choir using only sibilant sounds that evoke the sound we make when treading on dry leaves. As these are songs for choir and electronic music, with no other acoustic instruments involved, it is necessary to practise listening carefully to the electroacoustic elements. This is an essential process for the choir’s participation, not only so that the children can integrate into the soundscapes presented, but also to listen for the melodic and rhythmic ‘cues’ that are presented before the choir’s entries."Mariana Vieira, on the work Coro dos Pequenos Cidadãos
The performance of this work will also feature students from the School of Arts at the University of Évora, in particular from the Departments of Music and Audiovisual Production.
Students from the Department of Music will be responsible for creating electroacoustic interludes, based on Mariana Vieira’s work Coro dos Pequenos Cidadãos, whilst students from the Department of Audiovisual Production will be responsible for creating the video content that will accompany the entire performance.
Credits
Mariana Vieira – composer | lecturer at UÉ
Pedro Nascimento – musical director
Teresa Furtado – audiovisual artist | lecturer at UÉ
João Proença – sound design
Video artists / Students from DAVD/EA/UÉ
Érica Barroso, Ana Rita Lote, Marta Almeida, Constança Cheis, Catarina Pereira (Catatiel), Lara Campanela, Maria Dolores, Leonor Barros, Cheyenne Kramer, Camila Vasquez, Luna Santos, Carolina Thomaz Martins, Mafalda Camoesas, Hao Zheng, Amelie Sanchez
Mariana Vieira
Mariana Vieira (Portugal, 1997) is a composer based in Lisbon. She studied Musical Composition at the Lisbon Higher School of Music (ESML) under the composers Carlos Caires and Jaime Reis. She is currently pursuing a Master’s degree in Composition and Pedagogy at the same institution. Her work includes electroacoustic and instrumental music in solo, chamber, ensemble and orchestral formats, as well as collaborative multimedia pieces.
In addition to her artistic output, she is interested in developing artistic and educational projects, work she carries out as production director of the DME Festival and as an active contributor to Lisboa Incomum, an independent venue for concerts and artist residencies in Lisbon.
Her music has been performed at festivals such as Young Euro Classic (Germany), L’Espace du Son (Belgium), Audio Art (Poland), Electroacoustic Music Days (Greece), Crossroads (Austria), Monaco Electroacoustique (Monaco), Aveiro_Síntese and Música Viva (Portugal). In 2017, her piece ‘Raiz’, written for the Portuguese Youth Orchestra (JOP), won the European Composition Prize.
Since 2021, she has also been an assistant lecturer at the School of Applied Arts (Castelo Branco, Portugal).
Pedro Nascimento
Born in Porto, he began his musical studies at the city’s Conservatory of Music, before continuing at the Music School of the National Conservatory in Lisbon. He completed his Bachelor’s degree in Voice at the Lisbon Higher School of Music, where he also undertook a Master’s degree in Voice, the second year of which was spent at the Licínio Refice Conservatory in Frosinone, Italy. He completed his Master’s degree in Music Education at the Higher School of Applied Arts, part of the Polytechnic Institute of Castelo Branco.As a chorister, she has worked with several renowned institutions, including the Círculo Portuense de Ópera, the Casa da Música Opera Studio (Porto), the Portuguese Opera Company, the Orquestra do Norte, the Orquestra do Algarve and the group Voces Caelestes. She was part of the cast of Filipe La Féria’s musical Amália, and, between 2005 and 2011, she was a member of the Calouste Gulbenkian Foundation choir. As a soloist, he has performed works such as Carlos Seixas’ Mass in G Major, Arthur Honegger’s Le Roi David, Ottorino Respighi’s Lauda per la Natività, J. S. Bach’s Cantata 75, and Ariel Ramirez’s Missa Criolla. In musical theatre and opera, he has distinguished himself in various roles, such as Vasco da Cunha in the musical A Queda de um Anjo by Villas-Boas, the Second Priest, Monostatos and Tamino in The Magic Flute, Don Curzio in The Marriage of Figaro and Don Ottavio in Don Giovanni, all by W. A. Mozart. He also performed the Sorceress and Aeneas in Dido and Aeneas by H. Purcell, a Villager in I Pagliacci by R. Leoncavallo, Abdallo in Verdi’s Nabucco, the Professor in Stella Lalova’s O Sonho Mágico, and made his debut in the role of Tio Lopes in Jorge Salgueiro’s Orquídea Branca. He also performed as Selimo in the first modern performance of La Zaira by Marcos Portugal at the Calouste Gulbenkian Foundation, Il Capo della polizia in L’Organo di Bambù by Ennio Porrino, Rinuccio in Gianni Schicchi by Puccini, and Bardolfo in Falstaff by Verdi.
He has taken part in various courses and masterclasses in choral conducting, led by masters such as Silvano Mangiapelo, Eugene Rogers, Piero Gallo, Paulo Lourenço, Gonçalo Gouveia, Elisenda Carrasco and Stephen Coker. He taught Singing, Vocal Health and Choir at the Évora Regional Conservatory, where he served as Academic Director and Coordinator of the Department of Singing, Languages and Ensemble Classes.
He founded and conducted the Parents’ Choir at this institution. He also taught at Álamos Art – Álamos Academy of Music and Arts, in the areas of Singing and Vocal Technique, where he conducted the children’s and adult choirs, and at the Montijo Regional Conservatory of Arts, in the subjects of Singing and Choral Music. He has organised various events for children and young people, in collaboration with organisations such as the Portuguese Institute of Youth and Sport, the Municipal Councils of Gondomar, Porto and Évora, the Eugénio de Almeida Foundation, and the University of Évora, amongst others. He currently conducts the following choirs: CorUÉ – University of Évora Choir, Évora Choir, Montargil Chamber Choir, the choir of the ASSP – Teachers’ Social Solidarity Association, the Choir of the São Pedro do Corval Philharmonic Society and the Orfeão de Estremoz Tomaz Alcaide.
Teresa Veiga Furtado
She was born in 1967 and lives and works between Lisbon and Évora. She is an artist, Associate Professor with Aggregation and Director of the Master’s Degree in Artistic Practices in Visual Arts at the Department of Visual Arts and Design of the School of Arts at the University of Évora (DAVD/EA/UÉ), and a member of the Centre for Art History and Artistic Research (CHAIA/UÉ). She is also a collaborator at the Institute of Interactive Technologies of the Associated Laboratory of Robotics and Engineering Systems at the Instituto Superior Técnico of the University of Lisbon (ITI/LARSyS/IST-UL), as well as at the Centre for Research and Studies in Fine Arts at the Faculty of Fine Arts of the University of Lisbon (CIEBA/FBAUL).
Her research focuses on multimedia art, gender studies and social art. She holds a PhD in Sociology from the Faculty of Social and Human Sciences at the New University of Lisbon (NOVA FCSH), with a thesis on video art by female artists, and a degree in Fine Arts, specialising in multimedia, from FBAUL, with research on net art and co-creation processes with women living in shelters. Her artistic practice combines different media and formats, ranging from painting and printmaking to media art.
Hugo Marques
He was born in 1973 and lives and works in Évora. He is an artist and Visiting Assistant in the Department of Visual Arts and Design at the School of Arts, University of Évora (DAVD/EA/UÉ), and a member of the Centre for Research in Arts and Communication at the University of the Algarve (CIAC/UAL). He is currently a PhD candidate in Digital Media Art at the University of the Algarve, conducting research focused on the intersections between art, technology and digital communication. With a well-established professional background in the fields of marketing and multimedia, he has developed cross-disciplinary skills that combine creativity and technological innovation.
Throughout his career, he has also distinguished himself in vocational education, where he has worked as a trainer and course coordinator in the field of multimedia, with a particular focus on practical training and the integration of emerging digital tools.
As a freelancer, he has collaborated with various organisations and companies, in both the public and private sectors, contributing to projects in the fields of visual communication, multimedia production, design and digital content development. His artistic, professional and academic practice reflects an interdisciplinary approach, with a particular interest in technology-mediated creative processes.
Lá nas Árvores, a project forming part of Évora_27 – Capital Europeia da Cultura, organised a participatory choir by inviting members of the community, and anyone interested in choral singing, to take part with a view to performing Mariana Vieira’s work *Coro dos Pequenos Cidadãos*.
In this context, the choir that will perform this work is an intergenerational community choir, made up of residents of the city of Évora. The musical direction will be in charge of conductor Pedro Nascimento.
Mariana Vieira, on the work Coro dos Pequenos Cidadãos
The performance of this work will also feature students from the School of Arts at the University of Évora, in particular from the Departments of Music and Audiovisual Production.
Students from the Department of Music will be responsible for creating electroacoustic interludes, based on Mariana Vieira’s work Coro dos Pequenos Cidadãos, whilst students from the Department of Audiovisual Production will be responsible for creating the video content that will accompany the entire performance.
Credits
Mariana Vieira – composer | lecturer at UÉ
Pedro Nascimento – musical director
Teresa Furtado – audiovisual artist | lecturer at UÉ
João Proença – sound design
Video artists / Students from DAVD/EA/UÉ
Érica Barroso, Ana Rita Lote, Marta Almeida, Constança Cheis, Catarina Pereira (Catatiel), Lara Campanela, Maria Dolores, Leonor Barros, Cheyenne Kramer, Camila Vasquez, Luna Santos, Carolina Thomaz Martins, Mafalda Camoesas, Hao Zheng, Amelie Sanchez
Mariana Vieira
Her work includes electroacoustic and instrumental music in solo, chamber, ensemble and orchestral formats, as well as collaborative multimedia pieces.
In addition to her artistic output, she is interested in developing artistic and educational projects, work she carries out as production director of the DME Festival and as an active contributor to Lisboa Incomum, an independent venue for concerts and artist residencies in Lisbon.
Her music has been performed at festivals such as Young Euro Classic (Germany), L’Espace du Son (Belgium), Audio Art (Poland), Electroacoustic Music Days (Greece), Crossroads (Austria), Monaco Electroacoustique (Monaco), Aveiro_Síntese and Música Viva (Portugal). In 2017, her piece ‘Raiz’, written for the Portuguese Youth Orchestra (JOP), won the European Composition Prize.
Since 2021, she has also been an assistant lecturer at the School of Applied Arts (Castelo Branco, Portugal).
Pedro Nascimento
As a chorister, she has worked with several renowned institutions, including the Círculo Portuense de Ópera, the Casa da Música Opera Studio (Porto), the Portuguese Opera Company, the Orquestra do Norte, the Orquestra do Algarve and the group Voces Caelestes. She was part of the cast of Filipe La Féria’s musical Amália, and, between 2005 and 2011, she was a member of the Calouste Gulbenkian Foundation choir. As a soloist, he has performed works such as Carlos Seixas’ Mass in G Major, Arthur Honegger’s Le Roi David, Ottorino Respighi’s Lauda per la Natività, J. S. Bach’s Cantata 75, and Ariel Ramirez’s Missa Criolla. In musical theatre and opera, he has distinguished himself in various roles, such as Vasco da Cunha in the musical A Queda de um Anjo by Villas-Boas, the Second Priest, Monostatos and Tamino in The Magic Flute, Don Curzio in The Marriage of Figaro and Don Ottavio in Don Giovanni, all by W. A. Mozart. He also performed the Sorceress and Aeneas in Dido and Aeneas by H. Purcell, a Villager in I Pagliacci by R. Leoncavallo, Abdallo in Verdi’s Nabucco, the Professor in Stella Lalova’s O Sonho Mágico, and made his debut in the role of Tio Lopes in Jorge Salgueiro’s Orquídea Branca. He also performed as Selimo in the first modern performance of La Zaira by Marcos Portugal at the Calouste Gulbenkian Foundation, Il Capo della polizia in L’Organo di Bambù by Ennio Porrino, Rinuccio in Gianni Schicchi by Puccini, and Bardolfo in Falstaff by Verdi.
He has taken part in various courses and masterclasses in choral conducting, led by masters such as Silvano Mangiapelo, Eugene Rogers, Piero Gallo, Paulo Lourenço, Gonçalo Gouveia, Elisenda Carrasco and Stephen Coker. He taught Singing, Vocal Health and Choir at the Évora Regional Conservatory, where he served as Academic Director and Coordinator of the Department of Singing, Languages and Ensemble Classes.
He founded and conducted the Parents’ Choir at this institution. He also taught at Álamos Art – Álamos Academy of Music and Arts, in the areas of Singing and Vocal Technique, where he conducted the children’s and adult choirs, and at the Montijo Regional Conservatory of Arts, in the subjects of Singing and Choral Music. He has organised various events for children and young people, in collaboration with organisations such as the Portuguese Institute of Youth and Sport, the Municipal Councils of Gondomar, Porto and Évora, the Eugénio de Almeida Foundation, and the University of Évora, amongst others. He currently conducts the following choirs: CorUÉ – University of Évora Choir, Évora Choir, Montargil Chamber Choir, the choir of the ASSP – Teachers’ Social Solidarity Association, the Choir of the São Pedro do Corval Philharmonic Society and the Orfeão de Estremoz Tomaz Alcaide.
Teresa Veiga Furtado
She is also a collaborator at the Institute of Interactive Technologies of the Associated Laboratory of Robotics and Engineering Systems at the Instituto Superior Técnico of the University of Lisbon (ITI/LARSyS/IST-UL), as well as at the Centre for Research and Studies in Fine Arts at the Faculty of Fine Arts of the University of Lisbon (CIEBA/FBAUL).
Her research focuses on multimedia art, gender studies and social art. She holds a PhD in Sociology from the Faculty of Social and Human Sciences at the New University of Lisbon (NOVA FCSH), with a thesis on video art by female artists, and a degree in Fine Arts, specialising in multimedia, from FBAUL, with research on net art and co-creation processes with women living in shelters. Her artistic practice combines different media and formats, ranging from painting and printmaking to media art.
Hugo Marques
He is currently a PhD candidate in Digital Media Art at the University of the Algarve, conducting research focused on the intersections between art, technology and digital communication. With a well-established professional background in the fields of marketing and multimedia, he has developed cross-disciplinary skills that combine creativity and technological innovation.
Throughout his career, he has also distinguished himself in vocational education, where he has worked as a trainer and course coordinator in the field of multimedia, with a particular focus on practical training and the integration of emerging digital tools.
As a freelancer, he has collaborated with various organisations and companies, in both the public and private sectors, contributing to projects in the fields of visual communication, multimedia production, design and digital content development. His artistic, professional and academic practice reflects an interdisciplinary approach, with a particular interest in technology-mediated creative processes.
Pássaros e Cogumelos - Joana Gama
Concert for families
10th April | 10:00 & 11:30 am | Salão Central Eborense
“Everything is in everything”, said the Greek philosopher Anaxagoras. That is why to speak of trees is to speak of people, and to speak of people is to speak of trees. Trees, seemingly silent and motionless beings, form many connections, without which they could not survive and without which we could not survive. They also help birds and mushrooms, and through them, they spread for miles and miles, in ways that are hard to imagine. Speaking of this trio – trees, birds and mushrooms – there is much we could discuss... We could talk about friendship, help, food, music, curiosity, the wind, or moments of forgetfulness that bear fruit – literally! By the way: if everything is in everything, where does the toy piano fit in?
CreditsJoana Gama – Concept and performance
João Godinho – Original music
Francisco Eduardo – Illustrations and set design
Joana Gama – Concept and performance
João Godinho – Original music
Francisco Eduardo – Illustrations and set design
Aves do Alentejo em Música
Building on a long-standing collaboration—developed over the years through the preparation and presentation of commented recitals, radio programmes and digital content dedicated to music inspired by birds and their song—Ana Telles and João Eduardo Rabaça present ‘Birds of the Alentejo in Music’, as part of the Levantar Voo (2026) cycle of the Lá nas Árvores project, which forms part of the artistic programme for Évora 2027 – European Capital of Culture.
The programme for this recital, which features collaborative commentary (including musicological and ornithological insights), follows a seasonal structure: throughout the year, resident birds of the Alentejo and migratory birds passing through this vast region take turns, each evoked by a specific musical work. The selected repertoire comprises works for solo piano written between the 18th century and the present day, including two world premieres written for and dedicated to Ana Telles: Os pássaros da Ana, by João Francisco Nascimento, and Abetarda, by Amílcar Vasques-Dias, both composers based in the Alentejo who have placed the symbolic evocation of this region at the heart of their musical output.
Programme
François Couperin, Les coucous bénévoles, de Pièces de clavecin – 13ème Ordre, 3ème Livre - Les Folies Françaises, ou Les Dominos
Amílcar Vasques-Dias, Abetarda, para a Ana Telles (estreia absoluta)
João Francisco Nascimento, Papa-figos e Rolieiro (de Os Pássaros da Ana, estreia absoluta)
François Couperin, La Linotte effarouchée, Pièces de clavecin – 14ème Ordre, 3ème Livre)
Olivier Messiaen, L’Alouette lulu, de Catalogue d’Oiseaux
João Francisco Nascimento, Poupa e Gaio (de Os Pássaros da Ana, estreia absoluta)
[W.A. Mozart, Oiseaux, si tous les ans K. 307/K. 284d] - a confirmar]
Sofia Gubaidulina, The Little Tit (de Musical Toys)
Sofia Gubaidulina, The Woodpecker (de Musical Toys)
João Francisco Nascimento, Abelharuco e Gaio (de Os Pássaros da Ana, estreia absoluta)
François Couperin, Les Fauvettes plaintives, de Pièces de Clavecin – 14ème Ordre, 3ème Livre
F. Liszt, Légendes, S. 175: I. St François d'Assise: La prédication aux oiseaux
Ana Telles
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Studied in Lisbon, New York and Paris, and obtained her PhD from the University of Paris IV – Sorbonne (France). She maintains a busy concert schedule across Europe, Asia and the Americas, having performed as a soloist with various national and international orchestras.
Her discography currently comprises more than twenty-five titles, including monographic CDs, solo recordings with orchestra and chamber music recordings.
As a researcher at CESEM, she conducts research in the fields of 20th- and 21st-century music, Portuguese music (Modern/Contemporary periods) and piano music. She is the author of a significant number of book chapters, articles in indexed journals and musical editions, including a critical edition of Luís de Freitas Branco’s Preludes for piano.
Ana Telles is a Full Professor and Vice-Rector for Culture and Community at the University of Évora.
João Eduardo Rabaça
Is an Associate Professor with tenure at the University of Évora. A biologist by training, he has worked in the fields of conservation biology and ornithology.
He founded and coordinates LabOr – the Ornithology Laboratory – where he carries out his scientific work, and has taught various modules at undergraduate and postgraduate levels on courses run by the Department of Biology, to which he belongs.
He has published dozens of articles in peer-reviewed scientific journals, is the author and co-author of books and book chapters, and has published opinion pieces and articles promoting scientific culture. He has delivered lectures at various European universities in the United Kingdom, Hungary, Italy and France, and at Portuguese higher education institutions.
He conceived and supervised several lectures at the University of Évora, notably two initiatives promoted as part of the Master’s in Conservation Biology, a course he directed for several years: The Conservation Biology Conference, which brought internationally renowned scientists to Évora annually, and ‘Our Masters Return Home’, aimed at bringing back to the University alumni of the Master’s in Conservation Biology who had pursued their careers in various parts of the world and inviting them to share their experiences with current students.
Ana Telles
João Eduardo Rabaça
Is an Associate Professor with tenure at the University of Évora. A biologist by training, he has worked in the fields of conservation biology and ornithology.
He founded and coordinates LabOr – the Ornithology Laboratory – where he carries out his scientific work, and has taught various modules at undergraduate and postgraduate levels on courses run by the Department of Biology, to which he belongs.
He has published dozens of articles in peer-reviewed scientific journals, is the author and co-author of books and book chapters, and has published opinion pieces and articles promoting scientific culture. He has delivered lectures at various European universities in the United Kingdom, Hungary, Italy and France, and at Portuguese higher education institutions.
He conceived and supervised several lectures at the University of Évora, notably two initiatives promoted as part of the Master’s in Conservation Biology, a course he directed for several years: The Conservation Biology Conference, which brought internationally renowned scientists to Évora annually, and ‘Our Masters Return Home’, aimed at bringing back to the University alumni of the Master’s in Conservation Biology who had pursued their careers in various parts of the world and inviting them to share their experiences with current students.
Workshop with João Rabaça: Listening to the Birds and Trees
11 April | 10.00 am | Bandstand in Évora Public Garden
Flight is the primary means of locomotion used by most birds. This demanding ability to control the body in the air has led to astonishing evolutionary changes, which have given birds complete mastery of the art of flight.
In the early days of humanity, birds held a fascination for people. Confined to moving on the ground, our ancestors attributed a divine nature to the flight of birds, given that the gods served to explain what could not be achieved, understood or interpreted.
History took its course, but the fascination persisted. Today, we know that birds exhibit different types of flight as an adaptive response to the environment in which they live and how they live. We also know that many species of birds vocalise and that these sounds have a biological significance, which enchants and inspires us too.
In this workshop, we will explore some aspects of birds. We will take flight with them – figuratively speaking, of course – for the sheer joy of discovery. We will seek to observe them, hear them and listen to them attentively, there in the trees where they live, in the skies they traverse or elsewhere.
Free admission, subject to registration
João Eduardo Rabaça
Is an Associate Professor with tenure at the University of Évora. A biologist by training, he has worked in the fields of conservation biology and ornithology.
He founded and coordinates LabOr – the Ornithology Laboratory – where he carries out his scientific work, and has taught various modules at undergraduate and postgraduate levels on courses run by the Department of Biology, to which he belongs.
He has published dozens of articles in peer-reviewed scientific journals, is the author and co-author of books and book chapters, and has published opinion pieces and articles promoting scientific culture. He has delivered lectures at various European universities in the United Kingdom, Hungary, Italy and France, and at Portuguese higher education institutions.
He conceived and supervised several lectures at the University of Évora, notably two initiatives promoted as part of the Master’s in Conservation Biology, a course he directed for several years: The Conservation Biology Conference, which brought internationally renowned scientists to Évora annually, and ‘Our Masters Return Home’, aimed at bringing back to the University alumni of the Master’s in Conservation Biology who had pursued their careers in various parts of the world and inviting them to share their experiences with current students.
Workshop with João Rabaça: Listening to the Birds and Trees
11 April | 10.00 am | Bandstand in Évora Public Garden
Flight is the primary means of locomotion used by most birds. This demanding ability to control the body in the air has led to astonishing evolutionary changes, which have given birds complete mastery of the art of flight.
In the early days of humanity, birds held a fascination for people. Confined to moving on the ground, our ancestors attributed a divine nature to the flight of birds, given that the gods served to explain what could not be achieved, understood or interpreted.
History took its course, but the fascination persisted. Today, we know that birds exhibit different types of flight as an adaptive response to the environment in which they live and how they live. We also know that many species of birds vocalise and that these sounds have a biological significance, which enchants and inspires us too.
In this workshop, we will explore some aspects of birds. We will take flight with them – figuratively speaking, of course – for the sheer joy of discovery. We will seek to observe them, hear them and listen to them attentively, there in the trees where they live, in the skies they traverse or elsewhere.
Free admission, subject to registration
João Eduardo Rabaça
Is an Associate Professor with tenure at the University of Évora. A biologist by training, he has worked in the fields of conservation biology and ornithology.
He founded and coordinates LabOr – the Ornithology Laboratory – where he carries out his scientific work, and has taught various modules at undergraduate and postgraduate levels on courses run by the Department of Biology, to which he belongs.
He has published dozens of articles in peer-reviewed scientific journals, is the author and co-author of books and book chapters, and has published opinion pieces and articles promoting scientific culture. He has delivered lectures at various European universities in the United Kingdom, Hungary, Italy and France, and at Portuguese higher education institutions.
He conceived and supervised several lectures at the University of Évora, notably two initiatives promoted as part of the Master’s in Conservation Biology, a course he directed for several years: The Conservation Biology Conference, which brought internationally renowned scientists to Évora annually, and ‘Our Masters Return Home’, aimed at bringing back to the University alumni of the Master’s in Conservation Biology who had pursued their careers in various parts of the world and inviting them to share their experiences with current students.
Workshop Corpos Sonoros with Pedro Latas e Abdul Moimême
11th April | 10:00-12:00 & 14:00-16:00 | Salão Central Eborense
Performance by artists | 18:00
The workshop, led by composer and performer Pedro Latas and improviser Abdul Moimême, is organised into three modules and offers an immersive experience in contemporary music-making, with a focus on collective free improvisation. The facilitators invite participants to explore the use of found objects (such as metal springs, metal plates and small objects), as well as contact microphones and transducers, with the aim of creating small performance setups. The workshop concludes with a performance open to the public.
Stage I: Introduction to the trainers and their approaches to composition, improvisation, listening and instrument-making, through practical examples, sounds and references to other musicians, encouraging dialogue with participants.
Stage II: A short concert by the trainers, creating a live context for the ideas presented, followed by a practical session with the participants.
Stage III: Development of short performances by the participants, in different combinations, culminating in a final collective presentation.
Participation is limited to 10 participants, in order to ensure an intimate, experimental and collaborative working environment.Free admission, subject to registration.
Pedro Latas
Pedro Latas (Ele / Elu) is a composer, multimedia artist, performer and creative coder from Évora, Portugal. He completed a Bachelor’s degree in Composition at the Lisbon Higher School of Music between 2016 and 2019, studying under João Madureira and Carlos Caires. From 2019 to 2023, he completed his Bachelor’s and Master’s degrees in Composition at the Royal Conservatoire in The Hague (Netherlands) with Yannis Kyriakides and Mayke Nas, under the supervision of Alison Isadora. After completing his Master’s degree, he received the KC Prize for Best Master’s Research and the Buma-Stemra Incentive Award during the November Music festival. In 2023, he completed the Sonology One-Year Course at the Institute of Sonology. He is currently a freelance artist based in The Hague, Netherlands.
His work is inspired by his own queer identity, as well as other queer experiences in a world that seeks to suppress non-normative identities and bodies. Driven by the struggle for autonomy and bodily integrity, Pedro investigates the interconnections between the digital realm and physical bodies, and how these restructure and reformulate the intertwining of human bodies and the physical environments surrounding them. His work therefore generally focuses on the creation of computer-assisted performances and interactive experimental and/or real-time-generated electronics.
Whether through ensemble works or solo live electronic performances, Pedro seeks to practise radical acts of appreciation – and care – for the physical body, finding beauty and power in all its limitations. Through these acts, Pedro hopes that radical acts of solidarity will arise naturally between people.
Abdul Moimême
The stage name of Rui Horta Santos is a Portuguese musician, producer and sound engineer whose work is rooted in the fields of experimental music and contemporary free improvisation. His significance is evident within the artistic and cultural context of Portugal, but also on the international stage. His work stands out for the way it reconfigures the electric guitar through expanded performative practices, treating the instrument as a sound object rather than primarily as a melodic or harmonic device.
The use of prepared guitars — sometimes played simultaneously —, as well as extended techniques, places his practice in direct dialogue with European reductionism and electroacoustic improvisation, deliberately distancing himself from the traditional idioms of jazz guitar. Nevertheless, in recent years, he has collaborated and recorded with musicians from that world. This approach has contributed to the legitimisation of the electric guitar in the realm of non-idiomatic improvisation.
Moimême’s training in architecture – as well as her passion for cinema and literature – forms a central pillar of her musical thinking, decisively influencing her focus on space, structure, density, resonance and a distinctly narrative style. Her music prioritises processes of deep listening, economy of means and the emergence of sonic micro-events, aligning with broader European experimental aesthetics.
Throughout her career, she has engaged in extensive collaborative work with international improvisers, participating in numerous ensembles and ad hoc formations.
He has performed and recorded with a wide range of artists of recognised international standing, including Albert Cirera, Alvaro Rosso, Axel Dörner, Carlos Santos, Carlos Zíngaro, Ernesto Rodrigues, Eve Risser, Fred Lonberg-Holm, Lionel Marchetti, Mark Dresser, Patrick Brennan, Pedro Melo Alves, Thomas Rohrer, and Wade Matthews, amongst many others.
His discography comprises over 60 releases, including various solo and co-led works. He has been a member of numerous ensembles and projects, including IKB (PT), Suspensão (PT) and the Variable Geometry Orchestra (PT), as well as the Insub Meta Orchestra (Switzerland).
Abdul Moimême has performed across Europe, as well as in Brazil. In 2019, he was invited by the prestigious Jazz em Agosto festival, under the theme “Resistance”, to present a solo improvisational performance.
Since 1999, he has been regularly writing and offering critical reflections on jazz and improvised music, contributing to various Portuguese publications, including the magazines Flirt, All Jazz and Jazz.pt, as well as the newspaper Público.
He has been nominated on several occasions for the Annual International Critics Poll for Jazz, including in the most recent edition.
He holds a degree in Architecture from the University of Lisbon (UTL).
The stage name of Rui Horta Santos is a Portuguese musician, producer and sound engineer whose work is rooted in the fields of experimental music and contemporary free improvisation. His significance is evident within the artistic and cultural context of Portugal, but also on the international stage. His work stands out for the way it reconfigures the electric guitar through expanded performative practices, treating the instrument as a sound object rather than primarily as a melodic or harmonic device.
The use of prepared guitars — sometimes played simultaneously —, as well as extended techniques, places his practice in direct dialogue with European reductionism and electroacoustic improvisation, deliberately distancing himself from the traditional idioms of jazz guitar. Nevertheless, in recent years, he has collaborated and recorded with musicians from that world. This approach has contributed to the legitimisation of the electric guitar in the realm of non-idiomatic improvisation.
Moimême’s training in architecture – as well as her passion for cinema and literature – forms a central pillar of her musical thinking, decisively influencing her focus on space, structure, density, resonance and a distinctly narrative style. Her music prioritises processes of deep listening, economy of means and the emergence of sonic micro-events, aligning with broader European experimental aesthetics.
Throughout her career, she has engaged in extensive collaborative work with international improvisers, participating in numerous ensembles and ad hoc formations.
He has performed and recorded with a wide range of artists of recognised international standing, including Albert Cirera, Alvaro Rosso, Axel Dörner, Carlos Santos, Carlos Zíngaro, Ernesto Rodrigues, Eve Risser, Fred Lonberg-Holm, Lionel Marchetti, Mark Dresser, Patrick Brennan, Pedro Melo Alves, Thomas Rohrer, and Wade Matthews, amongst many others.
His discography comprises over 60 releases, including various solo and co-led works. He has been a member of numerous ensembles and projects, including IKB (PT), Suspensão (PT) and the Variable Geometry Orchestra (PT), as well as the Insub Meta Orchestra (Switzerland).
Abdul Moimême has performed across Europe, as well as in Brazil. In 2019, he was invited by the prestigious Jazz em Agosto festival, under the theme “Resistance”, to present a solo improvisational performance.
Since 1999, he has been regularly writing and offering critical reflections on jazz and improvised music, contributing to various Portuguese publications, including the magazines Flirt, All Jazz and Jazz.pt, as well as the newspaper Público.
He has been nominated on several occasions for the Annual International Critics Poll for Jazz, including in the most recent edition.
He holds a degree in Architecture from the University of Lisbon (UTL).
A Flauta de Tamborileiro no Alentejo - Pé de Xumbo Association
12 April | Colégio dos Regentes Agrícolas, University of Évora campus in Mitra (Valverde) | 10.00 am
On 12 April, amidst the tranquillity of Herdade da Mitra, the sound of the tamborileiro flute blends with the whisper of the wind and the rhythmic footsteps of our walk. It will be a morning of activity that invites sharing and discovery: a conversation in motion through the Alentejo landscapes, where we will have the opportunity to learn more about the tamborileiro flute and the traditional dances of the Alentejo, at a time when music and dance emerge spontaneously.
Amidst paths, melodies and gestures, we celebrate togetherness and the rhythm of the land — a living encounter between tradition and nature in the heart of the Alentejo.
PÉDEXUMBO association for the promotion of music and dance
PédeXumbo has been working since 1998 to promote traditional folk music and dance. A professional team is dedicated to reviving these cultural practices through recordings, co-productions, artistic creation, research, training of trainers, and informal education for all ages.
Rather than merely preserving relics, PédeXumbo aims to revive social customs of experiencing music, staging traditional dances in which new generations take part, drawing inspiration from ancient practices.
At its own venue in Évora, it regularly organises dance and music workshops, concerts, dances and social gatherings for a variety of audiences. It organises festivals across the country, with Andanças being particularly well-known. It runs regular dance classes in schools and nurseries, community arts education projects, and promotes training initiatives that explore various aspects of traditional folk dances.
With a number of international partnerships, it also plays a pioneering role in the artistic creation of new dance formats, exploring concepts of social dance, interactivity, ritual, creativity, contemporaneity and tradition. In collaboration with universities, it runs an ethnocoreological research programme and has published several books and documentaries.
Gustavo Portela
Born in Lisbon, but with roots in Trás-os-Montes and Minho, he developed an interest from an early age in all aspects of Portuguese culture, particularly its ethnographic, dance and musical traditions. For six years he was one of the programme directors for the Andanças festival, and in 2005 he founded the Tradballs association, which promotes traditional dance and music. He was also president and a board member of the Portuguese Association for the Study and Promotion of the Bagpipes.He has organised numerous festivals, concerts, dances and music workshops such as Fest-i-ball, Ball-toques and Fest-i-Gaita, and founded Terreiro do Gaiteiro, an event that has brought together bagpipers from all over Portugal on a monthly basis since 2009.
He has been interested in the Gaita-de-Foles since 2004 and was a student at the Galician Centre of Lisbon (under Professor Gonçalo Marques) and the Gaita-de-Foles Association, completing the regular course at this institution with teachers Vasco Ribeiro Casais, Francisco Pimenta and Miguel Costa.
In 2008, he completed the Tamborileiro Flute course at the Gaita-de-Foles Association, taught by Diogo Leal. At the same time, he received musical training from Professor José Dias and attended numerous intensive bagpipe courses with Anxo Lorenzo, Vicent Boniface, Julienn Cartonnet and Sito Carracedo (tuning) and Patrícia Cela (reed making). Since 2015, he has been a teacher of the bagpipes at the Gaita-de-foles Association.
As a musician, he has taken part in a wide variety of projects, notably the groups Arranca-Telhados, Roncos do Diabo and, more recently, the Orquestra de Foles, Zikhamu and A Salto à Rua.
In 2018, he edited the book *Cancioneiro de Gaita-de-Foles*, which contains 100 traditional bagpipe tunes and features contributions from 10 authors and researchers from across Portugal. In 2020, he coordinated the tribute CD to the bagpiper Joaquim Carriço, born on 5 September 1929 in Quinta do Valongo, Mealhada. He regularly takes part in pilgrimages, processions and street parades at traditional Portuguese festivals, where bagpipers and drummers have been a fixture for centuries.
Sound Installation
11 and 12 April | 2pm–5pm | Évora Public Garden Bandstand
Over the festival weekend, the bandstand in Évora will once again come alive with sound. As you stroll through the city’s Public Garden, you’ll hear sounds drifting through the air. Climb the steps of the bandstand and discover a sound installation featuring works by various Portuguese artists and others. Close your eyes and let the electroacoustic sounds blend with the sounds of peacocks, running water and people walking.
Programme
senalpriA by Tae Hong Park (2020)
Tekstil by Nayaka farrell, Welderahmat (2006)
Entomology#2 by Thanos Polymeneas - Liontiris (2025)
Tettix-A’ by Thanos Polymeneas - Liontiris (2022)
Intermezzo, like an upturn’d gem by Yuko Katori (2023)
Wichman(2,3) by Tom Bruges (2025)
Bolt by Elena Ghigas (2025)
Naiad by Jiajing Zhao (2025)
CLIMATE EXPRESSION 3 by Luigi Morleo (2025)
Noctivox (Arcana) by VorticeX (2025)
THREE FRAMES (ePWsM 15 - 19 - 21) by MARCO MOLTENI (2024)
Babel Towel by Yuk Bun Wan, Barry (2023)
An Aria for the Mallard by Jorge Ramos (2025)
haunted ground; tendrils burn like fuchsia by Darcy Copeland (2025)
« gê » Part 1 by Jean Voguet (2023)
Fuoco by Orestis Karamanlis (2026)
FAKE by Phivos-Angelos Kollias (2024)
Electropoem No. 12 for 4-channel by Ali Balighi (2025)
37.473686,14.075105 by Cristian Gabriele Argento (2025)
Reverence by Paul Francis (2026)
Makuta by Felipe Otondo (2025)
Transient Beauty by Dimitris Maronidis (2015)
Encircled by Adam Stanovic (2025)
"Interlúdio Onírico" ("Messaggio", 2021) by Pedro Carneiro (2021)
Birds by Andrés Lewin-Richter (2025)
An Interrupted Memory by Mike McFerron (2010)
Vientos Peregrinos by Iracema de Andrade (2025)
Installation: A Distant Wind - hommage à Ravel by Yuhang Li (2025)
L´oraculo di Melqart by Enrique Busto (2022)
Merging open and closed world by Nicola Fumo Frattegiani (2025)
Rabot Pulses by Kristof Lauwers (2024)
Quadri degli elementi by Marco Dibeltulu (2019)
Symplegades by Angelos Thomas Karelias (2024)
Sui generis by Shai Cohen (2020)
Estoult by Antonio Luigi La Spina (2025)
Low Earth Orbit by Peter Vukmirovic Stevens (2024)
Vulnerable by Alireza Seyedi (2025)
Unheard Of (i) by Alessio Premoli (2026)
Flake by Samuele Giulio Ferrari (2025)
Interlude by Hector Bravo Benard (2022)
8'4'' by daria baiocchi (2026
01’38” by João Farelo (2020)
Wild Fruits 2: Like a jagged flock, like pulverised jade by James Harley (2006)
Take Me Back to Indonesia by Boyi Bai (2025)
Introspezioni Immaginarie by Francesco Sottile (2025)
doorframes covered in masking tape by Mattia Benedetti (2024)
Hi, my name was... or the silence when the children are gone by Leonie Roessler (2025)
Corium II by Mathieu Lacroix (2025)
Terrazza by Nicola Cappelletti (2024)
Factor two by Scott (2026)
Insektarion by Lidia Zielinska (2016)
PEACE WIND by Domenico De Simone (2022)
Aspen by Petri Kuljuntausta (2026)
Olivier's Birds: a journey to the mountain by Joshua Tomlinson (2019)
A Brief History of The Future by Marko Vesic (2025)
V2 by Deniz Nurhat (2025)
Daylesford Naturalix by Dr Martin K. Koszolko (2025)
Absent in Cold Air by Darren Copeland (2026)
Openings by Liann J. Kang (2022)
diary of a steel mill by Yixiao Wang (2024)
doubt V / Keros by Taxiarchis Diamantopoulos (2026)
STRIGIFORMES by WIKTOR MASTELA (2024)
I wish I was a Drag on fly by Dimitris Barnias (2024)
Fractured Circuit by iliya shahbazi (2026)
On the Tarantulas for electroacoustic layer by Andrzej Ojczenasz (2022)
iNature (Sound Installation) by Thanasis Epitideios (2024)
Gebet in Blau by Maria Pelekanou (2023)
Deboyu: Prelude by Jaime Cuervo Gómez (2026)
Estuary 2 by Irvign Kinnersley (2023)
Fragments by Tanid Sintaratana (2023)
Pirapitinga Vaz'A Baril by Eduardo Azevedo Prudente (2025)
Trioxia by Girilal Baars (2024)
MIXED SIGNALS by GEORGIA KALODIKI (2026)
T.I.N.A.B.Y.B.T.I.N.S. by NIKOS BASKOZOS (2024)
Disquiet City by Libby Fabricatore (2025)
Hollow Point by Kasey Pocius (2024)
Acousmatic Concert
12 April | 6.00 pm | Salão Central Eborense
Programme
On 12 April, amidst the tranquillity of Herdade da Mitra, the sound of the tamborileiro flute blends with the whisper of the wind and the rhythmic footsteps of our walk. It will be a morning of activity that invites sharing and discovery: a conversation in motion through the Alentejo landscapes, where we will have the opportunity to learn more about the tamborileiro flute and the traditional dances of the Alentejo, at a time when music and dance emerge spontaneously.
Amidst paths, melodies and gestures, we celebrate togetherness and the rhythm of the land — a living encounter between tradition and nature in the heart of the Alentejo.
PédeXumbo has been working since 1998 to promote traditional folk music and dance. A professional team is dedicated to reviving these cultural practices through recordings, co-productions, artistic creation, research, training of trainers, and informal education for all ages.
Rather than merely preserving relics, PédeXumbo aims to revive social customs of experiencing music, staging traditional dances in which new generations take part, drawing inspiration from ancient practices.
At its own venue in Évora, it regularly organises dance and music workshops, concerts, dances and social gatherings for a variety of audiences. It organises festivals across the country, with Andanças being particularly well-known. It runs regular dance classes in schools and nurseries, community arts education projects, and promotes training initiatives that explore various aspects of traditional folk dances.
With a number of international partnerships, it also plays a pioneering role in the artistic creation of new dance formats, exploring concepts of social dance, interactivity, ritual, creativity, contemporaneity and tradition. In collaboration with universities, it runs an ethnocoreological research programme and has published several books and documentaries.
He has organised numerous festivals, concerts, dances and music workshops such as Fest-i-ball, Ball-toques and Fest-i-Gaita, and founded Terreiro do Gaiteiro, an event that has brought together bagpipers from all over Portugal on a monthly basis since 2009.
He has been interested in the Gaita-de-Foles since 2004 and was a student at the Galician Centre of Lisbon (under Professor Gonçalo Marques) and the Gaita-de-Foles Association, completing the regular course at this institution with teachers Vasco Ribeiro Casais, Francisco Pimenta and Miguel Costa.
In 2008, he completed the Tamborileiro Flute course at the Gaita-de-Foles Association, taught by Diogo Leal. At the same time, he received musical training from Professor José Dias and attended numerous intensive bagpipe courses with Anxo Lorenzo, Vicent Boniface, Julienn Cartonnet and Sito Carracedo (tuning) and Patrícia Cela (reed making). Since 2015, he has been a teacher of the bagpipes at the Gaita-de-foles Association.
As a musician, he has taken part in a wide variety of projects, notably the groups Arranca-Telhados, Roncos do Diabo and, more recently, the Orquestra de Foles, Zikhamu and A Salto à Rua.
In 2018, he edited the book *Cancioneiro de Gaita-de-Foles*, which contains 100 traditional bagpipe tunes and features contributions from 10 authors and researchers from across Portugal. In 2020, he coordinated the tribute CD to the bagpiper Joaquim Carriço, born on 5 September 1929 in Quinta do Valongo, Mealhada. He regularly takes part in pilgrimages, processions and street parades at traditional Portuguese festivals, where bagpipers and drummers have been a fixture for centuries.
Sound Installation
11 and 12 April | 2pm–5pm | Évora Public Garden Bandstand
Over the festival weekend, the bandstand in Évora will once again come alive with sound. As you stroll through the city’s Public Garden, you’ll hear sounds drifting through the air. Climb the steps of the bandstand and discover a sound installation featuring works by various Portuguese artists and others. Close your eyes and let the electroacoustic sounds blend with the sounds of peacocks, running water and people walking.
Programme
senalpriA by Tae Hong Park (2020)
Tekstil by Nayaka farrell, Welderahmat (2006)
Entomology#2 by Thanos Polymeneas - Liontiris (2025)
Tettix-A’ by Thanos Polymeneas - Liontiris (2022)
Intermezzo, like an upturn’d gem by Yuko Katori (2023)
Wichman(2,3) by Tom Bruges (2025)
Bolt by Elena Ghigas (2025)
Naiad by Jiajing Zhao (2025)
CLIMATE EXPRESSION 3 by Luigi Morleo (2025)
Noctivox (Arcana) by VorticeX (2025)
THREE FRAMES (ePWsM 15 - 19 - 21) by MARCO MOLTENI (2024)
Babel Towel by Yuk Bun Wan, Barry (2023)
An Aria for the Mallard by Jorge Ramos (2025)
haunted ground; tendrils burn like fuchsia by Darcy Copeland (2025)
« gê » Part 1 by Jean Voguet (2023)
Fuoco by Orestis Karamanlis (2026)
FAKE by Phivos-Angelos Kollias (2024)
Electropoem No. 12 for 4-channel by Ali Balighi (2025)
37.473686,14.075105 by Cristian Gabriele Argento (2025)
Reverence by Paul Francis (2026)
Makuta by Felipe Otondo (2025)
Transient Beauty by Dimitris Maronidis (2015)
Encircled by Adam Stanovic (2025)
"Interlúdio Onírico" ("Messaggio", 2021) by Pedro Carneiro (2021)
Birds by Andrés Lewin-Richter (2025)
An Interrupted Memory by Mike McFerron (2010)
Vientos Peregrinos by Iracema de Andrade (2025)
Installation: A Distant Wind - hommage à Ravel by Yuhang Li (2025)
L´oraculo di Melqart by Enrique Busto (2022)
Merging open and closed world by Nicola Fumo Frattegiani (2025)
Rabot Pulses by Kristof Lauwers (2024)
Quadri degli elementi by Marco Dibeltulu (2019)
Symplegades by Angelos Thomas Karelias (2024)
Sui generis by Shai Cohen (2020)
Estoult by Antonio Luigi La Spina (2025)
Low Earth Orbit by Peter Vukmirovic Stevens (2024)
Vulnerable by Alireza Seyedi (2025)
Unheard Of (i) by Alessio Premoli (2026)
Flake by Samuele Giulio Ferrari (2025)
Interlude by Hector Bravo Benard (2022)
8'4'' by daria baiocchi (2026
01’38” by João Farelo (2020)
Wild Fruits 2: Like a jagged flock, like pulverised jade by James Harley (2006)
Take Me Back to Indonesia by Boyi Bai (2025)
Introspezioni Immaginarie by Francesco Sottile (2025)
doorframes covered in masking tape by Mattia Benedetti (2024)
Hi, my name was... or the silence when the children are gone by Leonie Roessler (2025)
Corium II by Mathieu Lacroix (2025)
Terrazza by Nicola Cappelletti (2024)
Factor two by Scott (2026)
Insektarion by Lidia Zielinska (2016)
PEACE WIND by Domenico De Simone (2022)
Aspen by Petri Kuljuntausta (2026)
Olivier's Birds: a journey to the mountain by Joshua Tomlinson (2019)
A Brief History of The Future by Marko Vesic (2025)
V2 by Deniz Nurhat (2025)
Daylesford Naturalix by Dr Martin K. Koszolko (2025)
Absent in Cold Air by Darren Copeland (2026)
Openings by Liann J. Kang (2022)
diary of a steel mill by Yixiao Wang (2024)
doubt V / Keros by Taxiarchis Diamantopoulos (2026)
STRIGIFORMES by WIKTOR MASTELA (2024)
I wish I was a Drag on fly by Dimitris Barnias (2024)
Fractured Circuit by iliya shahbazi (2026)
On the Tarantulas for electroacoustic layer by Andrzej Ojczenasz (2022)
iNature (Sound Installation) by Thanasis Epitideios (2024)
Gebet in Blau by Maria Pelekanou (2023)
Deboyu: Prelude by Jaime Cuervo Gómez (2026)
Estuary 2 by Irvign Kinnersley (2023)
Fragments by Tanid Sintaratana (2023)
Pirapitinga Vaz'A Baril by Eduardo Azevedo Prudente (2025)
Trioxia by Girilal Baars (2024)
MIXED SIGNALS by GEORGIA KALODIKI (2026)
T.I.N.A.B.Y.B.T.I.N.S. by NIKOS BASKOZOS (2024)
Disquiet City by Libby Fabricatore (2025)
Hollow Point by Kasey Pocius (2024)Acousmatic Concert
12 April | 6.00 pm | Salão Central Eborense
Programme
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