Monday, 24 October, 3.00, p.m., The Village of C-E-G The Village of C-E-G (storytelling for children) The idea of publishing a book and CD for children arose as part of my Master’s degree project, which focused on improvisation. In order to deepen knowledge of this performance art, the improvisation teacher, António Esteireiro, suggested that I began to improvise on well-known melodies. After improvising on one, two, three melodies, I thought “Why not write a story with music that can demonstrate the instrument in a more attractive way?” I chose a child to be the author of the story. I thought of a great friend, a “brother”, Renato Gonçalves, an adolescent of 14 years of age. The melodies were also chosen by Renato. As for the music, the characters in the story all have a characteristic tone that allows the various sounds of the instrument to be demonstrated. The improvisations are based on the method Breaking Free by Jeffrey Brilhart and will explore different improvisatory techniques. The book and CD A Aldeia de Dó Mi Sol is intended for children from 6 to 13 years of age; for children who are beginning to study music, I aim to show some techniques of improvisation, stimulating curiosity about the exploration of sound objects. For children who have not yet begun to study music, I intend, within the context of play, to demonstrate the instrument, awakening an interest in possibly learning to play it. Inês Machado |
Participants
Inês Machado Born in Fátima, Inês Machado began her studies at eight years of age, in the organ class of Margarida Oliveira, at the Music Conservatory of Ourém. At the Higher School of Music in Lisbon she graduated in music, and then pursued a Master’s in the teaching of music (specializing in organ) under the supervision of João Vaz. She participated in a number of masterclasses with personalities both from Portugal and abroad, such as António Esteireiro, Bernard Foccroulle, José Luis González Uriol, Javier Artigas, Franz Josef Stoiber, Mauricio Croci, Pieter Van Dijk and Frank Van Wijk. She has performed as a soloist and as an ensemble musician all over Portugal, notably in the International Organ Festival of Oporto and Greater Oporto, and in the concerts for six organs in the Basilica of the National Palace of Mafra. In January 2016 she published her first children’s book with a CD entitled The Village of C-E-G. She is currently professor of organ and the Music Conservatory of Ourém and Fátima, and titular organist of the Parish Church of Fátima. |
Sofia Maul Born in Madeira on 16 November 1973, she has been a translator since 1974, a speech therapist since 2000, a mother since 2009, listener to stories forever, storyteller since 1975, and has been a member, since 2006, of the Contabandistas, a group extremely active in the promotion of storytellers and of oral narration as a form of contemporary performance art. Since 2004 she has been one of the group of storytellers of the Municipal Library of Oeiras, where she has given several courses as part of the Histórias de Ida e Volta project. Other activities of significance for her professional trajectory were the clown, mime and travel workshops she gave to be listened to and recounted (Ireland, Spain, United Kingdom, Italy and Belgium). She says that what drives her as a storyteller is “hearing and reading and writing and devising and sharing stories in order to built up a repertoire in order to travel to hear more stories...”. In September 2016 she organized, with the Xarabanda Musical and Cultural Association, the first festival of oral narration in Madeira – EVA, Era uma Vez no Atlântico (Once upon a time in the Atlantic) –, part of a network of festivals on the Atlantic seaboard which includes the Atlantica in Galicia, Terra Incógnita in Lisbon, Conto Contigo na Praia on Terceira and Rencontres de l’Imaginaire in Brittany. She says that her stories come from far and near, but those that she most likes to share come from the small island in the middle of the Atlantic to which she has returned after some years of living elsewhere, in order to be with her family and friends and to tell and collect stories. |
Notes about the Organ
Church of São João Evangelista (Colégio), Funchal
This instrument, with 1586 sounding pipes, is situated in a religious space with certain particularities. As a church typical of those belonging to Jesuit colleges, with a broad nave and quite a gentle acoustic, the organ had to be specially conceived, especially with regard to the measurements of the pipes. Thus all the pipework of the instrument has been specifically tailored to produce a full sound, and each stop produces a timbre with an individual personality, forming part of a harmonic ensemble based more on the sound of fundamentals and less on harmonics. It was also felt to be essential to give the instrument a certain ‘latin’ sonority that would favour performance of ancient music of the Italian, Spanish and Portuguese schools of the 17th and 18th centuries.
Another aspect to be taken into consideration was the need to complement the current range of organs available locally: the new organ responds in an ideal fashion to the performance of works of periods and of technical and artistic requirements that none of the 24 historic instruments of Madeira cater adequately for. It also enhances the range of organs that constitute the island’s heritage by being present in this particular religious space, as well as by existing side by side with other historical instruments. In the decision to build it for this church, not only were the issues of acoustic, aesthetic and liturgical space taken into account, but also the presence there of an important historic instrument which is currently on the list of instruments undergoing restoration.
I Manual - Órgão Principal (C-g’’’)
Flautado aberto de 12 palmos (8’)
Flautado tapado de 12 palmos (8’)
Oitava real (4’)
Tapado de 6 palmos (4’)
Quinzena (2’)
Dezanovena e 22ª
Mistura III
Corneta IV
Trompa de batalha* (bass)
Clarim* (treble)
Fagote* (bass)
Clarineta* (treble)
II Manual - Órgão Positivo (C-g’’’)
Flautado aberto de 12 palmos (8’)
Tapado de 12 palmos (8’)
Flautado aberto de 6 palmos (4’)
Dozena (2 2/3’)
Quinzena (2’)
Dezassetena (1 3/5’)
Dezanovena (1 1/3)
Címbala III
Trompa real (8’)
Pedal (C-f’)
Tapado de 24 palmos (16’)
Bordão de 12 palmos (8’)
Flautado de 6 palmos (4’)
Contrafagote de 24 palmos (16’)
Trompa de 12 palmos (8’)
Couplers
II/I
I/Pedal
II/Pedal
* horizontal reeds