WNMD 2025 · CONCERT 26
Future Voices / Vozes futuras
07-06-2025 · 17h30
Museu Nacional dos Coches: Picadeiro Real
Entradas por ordem de chegada - Entries available on a first come, first served basis
CHILDREN CHOIR OF THE LISBON UNIVERSITY
CORO INFANTIL DA UNIVERSIDADE DE LISBOA
Erica Mandillo · conductor
João Lucena e Vale · piano
Preparatory Choir ( 7/10 years) and Children Choir ( 10/14 years) Of The University of Lisbon
CARLOS GARCIA (Portugal, 1983)
Borboletas ( Words From Vinicicius de Moraes)
GERSON BATISTA (Portugal, 1988)
A sede Partiu (2023) WP
MATAN PORAT (Israel, 1982 )
O Cavalo from A Festa dos Animais (2004)
ANDRÉ RUIZ ( Portugal , 1971 )
José “Imbela” o menino ( Madeira Folksong)
O meu Menino é d‘ oiro ( Bustelo Folksonk)
JAMES ERB (USA 1926-2014)
Tutú Maramba ( Brasil Folksong)
Olhó Rojão! (Brasil Folksong)
ĒRIKS EŠENVALDS (Latvia, 1977)
Who Can Sail Without the Wind (Sweden Folksong)
MAURICE OHANA (France, 1913-1992)
Neige Sur les Orangers (1987)
FRANCISCO RIBEIRO (Portugal, 2001) YCA
Súplica pela Água e Pelo Mundo (2023)
ZOLTAN KODÁLY (Hungary, 1882-1967)
Dancing Song (1929)
ATAHUALPA YUPANQUI (Argentina, 1908-France, 1992) – Arr. Emílio Solé
Duemete Negrito
FERNANDO LOPES-GRAÇA (Portugal, 1906–1994)
Os Homens que Vão para a Guerra (1954-1958)
ERIC WHITACRE (USA, 1970)
The Seal Lulaby (2008)
MORTEN LAURIDSEN (USA, 1943)
Sure on this Shining Night (2010)
FERNANDO LOPES-GRAÇA (Portugal, 1906-1994)
O Ladrão do Negro Melro
JOSU ELBERDIN (Spain, 1976)
Mare nostrum Meditteranean Folksongs (2018)
Syrtos Rhodou (Greece)
Jana Erdi (Albany)
A ya Zain (Egypt)
DAVID AZURZA (Gipuzkoa, 1968)
Habaneras del Carnaval (2008)
CAPIBA (Brazil, 1904-1997)
Verde Mar de Navegar
NICK PAGE (USA, 1952-2021)
Niska Banja ( Serbian Gypsy song)
JIM PAPOULIS (U.S.A, 1961)
Sililiza (2012)
WP · world premiere
YCA · ISCM Young Composers Award candidate
[ENG]
The Children’s Choir of the University of Lisbon is a unique artistic and educational project in Portugal, recognised for its pioneering work in integrating movement and theatrical gesture into choral practice. With a diverse and demanding repertoire, the choir combines vocal excellence with physical expressiveness, promoting a contemporary approach to children’s choral performance.
Founded 20 years ago under the artistic direction of Erica Mandillo, the choir has developed an ongoing and innovative programme with children and young singers, encouraging musical, vocal, and artistic development from an early age. Its practice is grounded in an active pedagogy that values listening, creativity, and collective work, offering enriching and challenging performance experiences.
The CIUL has collaborated with contemporary composers and participated in both national and international festivals, performing on prestigious stages and earning recognition for the originality of its interpretations and the quality of its musical and theatrical work.
Its participation in the World New Music Days marks a moment of celebration, a joyful culmination of this extraordinary event, held for the first time in Portugal.
[PT]
O Coro Infantil da Universidade de Lisboa é um projecto artístico e pedagógico único em Portugal, reconhecido pelo seu trabalho pioneiro na integração do movimento e do gesto teatral na prática coral. Com um repertório diversificado e exigente, o Coro alia a excelência vocal à expressividade corporal, promovendo uma abordagem contemporânea da performance coral infantil.,
Fundado há 20 anos sob a direcção artística da maestrina Erica Mandillo, o coro desenvolve um trabalho contínuo e inovador com crianças e jovens cantores, incentivando o desenvolvimento musical, vocal e artístico desde tenra idade. A sua prática assenta numa pedagogia activa que valoriza a escuta, a criatividade e o trabalho colectivo, proporcionando experiências performativas enriquecedoras e desafiantes.
O CIUL tem colaborado com compositores contemporâneos e participado em festivais nacionais e internacionais, apresentando-se em palcos prestigiados e conquistando reconhecimento pela originalidade das suas interpretações e pela qualidade do seu trabalho cénico e musical.
A sua participação no World New Music Days é um momento de festa e celebração a culminar este evento extraordinário que pela primeira vez acontece em Portugal.
PROGRAMME NOTES
CARLOS GARCIA (Portugal, 1983)
Borboletas ( Words From Vinicicius de Moraes)
Carlos Garcia set the poem "As Borboletas" to music, creating a piece that blends the lightness of the text with a gentle and engaging melody. The song is frequently used in educational settings and children's performances, standing out for its accessibility.
MATAN PORAT (Israel, 1982 )
O Cavalo from A Festa dos Animais (2004)
The Animal Party is a work for children's choir and piano composed by Matan Porat in 2004. With text by Bárbara Pires and Mónica Santos, it was commissioned and dedicated to the Portuguese pianist Maria João Pires. Each movement highlights distinctive characteristics of different animals, using a musical language that is both accessible and engaging for young audiences.
ANDRÉ RUIZ ( Portugal , 1971)
José “Imbela” o menino ( Madeira Folksong)
O meu Menino é d‘ oiro ( Bustelo Folksonk)
“José ‘Imbela’ o Menino”
This traditional lullaby from Madeira is known for its gentle melody and lyrics that portray Joseph rocking the baby Jesus. It is a representative piece of Madeiran folklore, often performed in Christmas settings.
“O Meu Menino é d’Oiro”
Originating from Bustelo, this traditional Portuguese lullaby expresses tenderness and devotion to the baby Jesus, referring to him as “of gold,” symbolising purity and value.
JAMES ERB (USA 1926-2014)
Tutú Maramba ( Brasil Folksong)
Olhó Rojão! (Brasil Folksong)
“Tutú Marambá” is a traditional Brazilian lullaby, often used to soothe children. Its simple and repetitive melody makes it easy for children to memorize and sing along. The song has been adapted into various instrumental and vocal arrangements.
“Olhó Rojão!” is a popular Brazilian expression associated with parties and celebrations, especially within the context of forró, a musical genre from the northeast of Brazil. Although no specific song with this title has been identified, expressions like this often appear in the lyrics of festive and dance-oriented songs.
DAVID AZURZA (Gipuzkoa, 1968)
Habaneras del Carnaval (2008)
— Composed by Basque musician David Azurza, Habaneras del Carnaval is a vibrant choral work that captures the festive spirit of the Tolosa Carnival. Originally written for the children's choir category of the 2008 Tolosa International Choral Contest, this piece has since become a favorite among youth choirs for its rhythmic energy and playful character.
Habaneras del Carnaval exemplifies Azurza's talent for blending traditional musical forms with contemporary choral techniques, resulting in a work that is both culturally rich and accessible to young performers.
ATAHUALPA YUPANQUI (Argentina, 1908-France, 1992) – Arr. Emílio Solé
Duemete Negrito
— Duerme Negrito ("Sleep, Little Black One") is a poignant Latin American lullaby originating from the border region between Colombia and Venezuela. Collected and popularized by Argentine folk musician Atahualpa Yupanqui, the song narrates the story of a mother who leaves her child in the care of a neighbor while she works tirelessly in the fields without pay. The caregiver soothes the child with promises of treats upon the mother's return, while also warning of the "white devil" (the slave driver) who might come if the child doesn't sleep. Spanish arranger Emilio Solé has crafted a choral adaptation of this lullaby, capturing its emotional depth and cultural significance. Solé's arrangement has been performed by various ensembles, including the Henderson State University Chorale, bringing the song's haunting melody and powerful narrative to diverse audiences.
ZOLTAN KODÁLY (Hungary, 1882-1967)
Dancing Song (1929)
— Dancing Song (Hungarian: Táncnóta) is a spirited choral work composed by Hungarian composer and ethnomusicologist Zoltán Kodály in 1929. Set for unaccompanied women's voices (SSA), the piece exemplifies Kodály's dedication to integrating Hungarian folk music into classical compositions. The text, adapted into English by Elizabeth M. Lockwood, reflects the vivacious spirit of Hungarian dance traditions.Kodály's arrangement captures the rhythmic vitality and melodic charm characteristic of folk dances, making it both accessible and engaging for performers and audiences alike. Kodály's extensive work in collecting and studying Hungarian folk songs deeply influenced his compositional style. He believed that folk music was essential to national identity and should be a foundational element in music education and composition. Dancing Song embodies this philosophy, serving as both a celebration of Hungarian cultural heritage and a testament to Kodály's innovative approach to choral music.
MAURICE OHANA (France, 1913-1992)
Neige Sur les Orangers (1987)
— This work serves as the opening movement of his Quatre chœurs pour voix d’enfants (Four Choruses for Children’s Voices), a collection that showcases Ohana's unique blend of cultural influences and innovative vocal writing.
Drawing inspiration from an Asturian lullaby, Neige sur les orangers captures the serene imagery of snow gently falling upon orange trees, a juxtaposition that evokes a sense of wonder and tranquility. Ohana's setting emphasises the purity of children's voices, employing subtle harmonies and textures to create an atmosphere of gentle introspection.
MORTEN LAURIDSEN (U.S.A, 1943)
Sure on this Shining Night (2010)
— Sure on this Shining Night is the third movement of Morten Lauridsen’s choral cycle Nocturnes, composed in 2005. The piece sets to music a poignant excerpt from James Agee’s 1934 poem “Description of Elysium,” capturing themes of wonder, solitude, and the interplay between light and darkness.
Lauridsen’s setting is characterized by its lush harmonies and lyrical melodies, firmly anchored in the warm key of D-flat major. The composition begins with unison lines that evolve into rich, expressive textures, reflecting the emotional depth of Agee’s text. The piano accompaniment adds a gentle, flowing undercurrent, enhancing the piece's contemplative atmosphere.
ERIC WHITACRE (U.S.A, 1970)
The Seal Lulaby (2008)
— The piece captures the gentle rhythm of a mother seal rocking her pup to sleep, with Whitacre's signature lush harmonies and flowing melodies creating a serene and intimate atmosphere. The music mirrors the undulating motion of the sea, providing a soothing backdrop to Kipling's lullaby. Whitacre's use of rich textures and subtle dynamics enhances the emotional depth of the piece, making it a favorite among choirs worldwide.
The Seal Lullaby is available in various arrangements, including SATB, SSA, and TTBB, and has been performed by numerous ensembles globally. Its enduring popularity is a testament to Whitacre's ability to blend contemporary choral techniques with timeless poetic texts.
FERNANDO LOPES-GRAÇA (Portugal, 1906–1994)
Os Homens que Vão para a Guerra (1954-1958)
— The Men Who Go to War (Os Homens que Vão para a Guerra) is a traditional song from the Douro Litoral region, harmonised by Fernando Lopes-Graça.
The piece portrays the farewell of soldiers departing for war, expressing the pain of separation and the uncertainty of return. With its simple and touching melody, the song conveys the emotion and suffering of those facing the horrors of conflict.
Lopes-Graça’s harmonisation respects the essence of the original tune, enriching it with harmonies that highlight the expressiveness of the text. The piece is frequently performed by choirs and vocal ensembles and stands as a remarkable example of the composer’s ability to transform folk songs into concert works of great emotional depth.
This song is part of Lopes-Graça’s choral repertoire that explores social and human themes, reflecting his commitment to music as a form of expression and resistance.
— O Ladrão do Negro Melro is a choral harmonization of a traditional folk song from the Alentejo region of Portugal. The piece playfully depicts a blackbird that sings during the night and flies away at dawn. The lyrics use onomatopoeic expressions like “requiuquiu” to mimic the bird’s song, giving the music a vivid and captivating character.
FRANCISCO RIBEIRO (Portugal, 2001)
Súplica pela Água e Pelo Mundo (2023)
— The work "Plea for Water (and for the World)", written for Children's Choir and Piano, is built around the following poem by Alcino Vieira. Inspired by the message of the text, the music adopts a hopeful and optimistic tone, harmonically grounded in the major triad (manipulated and extended).
The piano clearly conveys this sonority through a texture that imitates the movement of water, particularly by means of a rhythmic ostinato that resembles drops falling on a surface.
The voices recite the text and plead for the importance of water, using simple, almost pentatonic melodies that contrast with the somewhat frenetic harmonic rhythm of the piano.
GERSON BATISTA (Portugal, 1988)
A sede Partiu (2023) WP
"A Sede Partiu" is a piece where music drips, flows, and shines like water, bringing everything together into a single stream.
The choir, piano, and sounds made with water bottles combine to create a liquid sound world — full of “aquatic” textures and tiny rivers — flowing gently through words.
A Sede Partiu is an invitation to listen: to nature, to the collective voice, and to the simplicity of essential things. May thirst be quenched through music!
JOSU ELBERDIN (France, 1913)
Mare nostrum (2018)
— The piece is a tribute to the Mediterranean Sea, drawing inspiration from the diverse musical traditions of the countries that border it. Elberdin weaves together elements from various Mediterranean folk melodies, creating a tapestry that celebrates the region's rich cultural heritage.
The composition is characterized by its rhythmic vitality and melodic diversity, reflecting the influences of different Mediterranean cultures. Elberdin's expertise in choral writing is evident in the way he blends these elements seamlessly, offering choirs a piece that is both challenging and rewarding to perform.
CAPIBA (Brazil, 1904-1997)
Verde Mar de Navegar
The lyrics of “Verde Mar de Navegar” pay homage to the rich tapestry of Pernambuco's cultural and historical landscape.They reference prominent maracatu nations such as Leão Coroado, Cambinda Brilhante, Cruzeiro do Forte, and Maracatu Elefante, as well as historical figures and locales like Maurício de Nassau, Olinda, and Recife. The song encapsulates a deep-seated pride in Pernambuco's traditions and its vibrant carnival spirit.
NICK PAGE (USA, 1952-2021)
Niska Banja ( Serbian Gypsy song)
Nick Page's arrangement captures the essence of this vibrant folk tune, incorporating authentic rhythmic patterns and harmonies that reflect the song's cultural roots. His version is noted for its energetic tempo and the inclusion of traditional instruments like the clarinet and tambourine, which add to the piece's authenticity and excitement. Originally composed by Dušan Cvetković in 1927, Niska Banja refers to a spa town near Niš, Serbia, renowned for its thermal springs. The song's lyrics are playful and flirtatious, often associated with the spirited dances of the Roma community.
JIM PAPOULIS (U.S.A, 1961)
Sililiza (2012)
— Sililiza (Swahili for “Hear Me”) is a vibrant and rhythmically engaging choral work by American composer Jim Papoulis. Commissioned in 2012 by the Octopipers of Kingswood Oxford School in Connecticut, the piece is part of the Sounds of a Better World series, which aims to inspire young voices through multicultural music.
The composition fuses rhythms from African, American, and Latin cultures, creating a tapestry of global musical influences. Primarily set in Swahili, with interspersed phrases in Spanish, the text emphasizes themes of listening, understanding, and unity. The lyrics convey messages such as “hear me,” “I listen,” and “together,” reflecting a culture where people from diverse backgrounds share common spaces and languages.