Teatro da Maior Façanha, e Glória Portuguesa (Portuguese Edition)


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Amazon Music Stream millions of songs. I came to Portugal to play programs with Remix. I was only there for two months, because in the meanwhile I won the place of soloist at the Hamburg State Opera. How was that experience? I actually regret being the first one because that means we got there late.

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Fortunately, others got in right after me. Of course, playing at the Berlin Philharmonic is amazing.

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To me that was unthinkable — it was fantastic! My first program was with Abbado - I was lucky to work with him. I didn't have much of a part to play, I only played in the first part. Although he was already physically debilitated, people had great respect for him. With Claudio Abbado I still got to do an interesting program. He talked to me during the first rehearsal, saying I could put more strength into a small solo I had. DC — Was playing opera different for you? Of course, playing the same opera ten times in a season becomes repetitive, and that's what I like the least about being in an opera orchestra.

In a theater, the rehearsals are different, an orchestra has to sacrifice itself to the scenic part, to the singers. The planning is very different. In a symphonic orchestra, every week is the same and it has a set routine, whereas in the opera the routine changes a lot from week to week, no weeks are alike due to scheduling. DC — As a musician, is it very different to play on stage and in the orchestra pit? A mistake can go unnoticed, but you have other kinds of difficulties, like keeping up with the singer. It is also amazing the amount of repertoire that you play in an opera, I've been through all kinds of programs, sometimes we have to set up a Strauss opera in only two rehearsals.

The opera is a much more complete show, so it becomes more fulfilling. But I miss playing a symphonic program in my orchestra, although there are things we play that are incredible. I have to mention that in Hamburg we have one of the best ballets in the world! We make excellent productions! DC — On a personal level, what does it mean to you to win an audition? It's not easy to win several auditions in different orchestras It means that I have kept the level or even improved. DC — In those kinds of tryouts, how do you deal with anxiety and nerves?

I can spend two nights without sleeping before the auditions, specially the night before. I get worried, anxious and I want to be playing right away. I want to rest, to sleep, but I can't, I think about the pieces I have to play over and over again, and about what they're going to ask me to play.

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If I go to an audition, I have to think I'm going to win it, that I'm fit to win it. My main objective is first place, not second. I put a lot of pressure on myself. The fact that I already play in an orchestra, and I'm already a professional musician, adds more to my responsibility, which is to show that I have more maturity than a student. DC — What do you think has changed in Portugal for the growing international success of its musicians? You need two or three people to start it and then everyone wants to do the same.

I believe we serve as example for others to take the leap, to risk it and fight for more. It's perfectly normal for me now! With social networking and globalization everything becomes easier as well. Ten years ago when I was in professional school, we got the information, but not like today and that becomes encouraging.

We also have the mindset that it's better abroad. DC — Is that positive or negative? Getting to know other cultures and other sets of ideas has nothing of negative, quite the opposite.

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Even if it's not what people were expecting, it's always a different life experience. DC — What advice can you give to young trombonists? Then they need to have their minds set, in the sense that they need to know exactly what they want. From a young age I knew what I wanted and worked hard to reach that goal. If they give it their all, they'll accomplish something.

I don't believe that those who work hard with humility and sacrifice themselves, can't accomplish something; it might not be what they wanted, but they'll always get something. Work, dedication and even more work, knowing what they want and fighting for it.

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DC — How do you see the trombone's scene in Portugal? I know there's a lot of talent coming up but talented people have always existed. The problem is a lack of opportunities. DC — If you had the chance to do a project in Portugal, what would it be? I have some things in mind but I don't want to put it out there yet. One thing I would invest in would be in making a record.

On the other hand, if I won the lottery I would open a restaurant, help my family and go to French Polynesia. The Portuguese cuisine is what we have best in Portugal. Da Capo DC - How did the interest for composition appear? Was this always your dream? When I began to study music, I did it because I wanted to be a soloist of a wind instrument the saxophone. However, I had to suspend my journey because of an accident. Returning to my studies after a hiatus of about six years, I began to compose and, little by little, the passion for composing was emerging.

I could not imagine doing anything else nowadays. DC - When you chose to compose, what was the reaction of the people around you?

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Was there a less agreeable situation because of that choice? APC - I may have gotten some less positive comments in the sense that I started composing very late and had learned jazz simultaneously to classical music. The transition from soloist to composer was very slow and it took many years.

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Years of waiting, away from the studies in which I read, studied scores, listened to music a lot and matured significantly as a person. But after so many obstacles, my determination to be a composer was very strong and I always made a point of not wasting time giving too much thought to the reactions of others.

What about this University attracted you? Bob Brookmeyer, who passed away in , was a very demanding teacher and very special, not only with a great knowledge of classical music, jazz music, and a great soloist as well. However, due to various circumstances, I ended up changing course and doing my doctorate in classical composition, also at the New England Conservatory.

First of all, I was impressed by the quality of the institution and by a particular teacher, but I believe that in the general sense, I was also captivated by the variety of choices in the US, meaning there are countless aesthetic schools and there's a place for all of them. In my case, being surrounded by excellent musicians from all over the world, and have the freedom to write and grow focusing on the quality instead of labels.

At the same time, I had to adapt to a very firm idea of self-sufficiency that undoubtedly exists in the US. DC - How was your class at the university? APC - At the university I wasn't part of a class. I had different classes of theory and musicology, but never as part of a fixed class. During the doctorate, I was the only composition student. The doctoral program at the NEC is a very exclusive program with a vast academic aspect. After three years of seminars on music theory and musicology and four dissertations per semester, you move on to the actual orientation phase, of written and oral exams, and the final dissertation.

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It's a very strict program and therefore very attractive. DC — As a winner of several awards, among which, the most recent by the League of American Orchestras. How do you get and face these prizes? APC - I always try to be aware of what the awards may or may not represent, trying not to fall on false hopes.

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An award can bring new responsibilities, opportunities for collaborations hitherto unknown or out of reach, or even a great financial stability, such as the Guggenheim Award. Not Enabled Screen Reader: Enabled Average Customer Review: Be the first to review this item Would you like to tell us about a lower price? Customer reviews There are no customer reviews yet.

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