Interview with Armando Santiago - Revision history

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Diogooutra: Created page with "THIS PAGE IS UNDER CONSTRUCTION File:Armando santiago2.jpg|thumb|Armando Santiago © Atelier de Composição. Photo sourced from the Portuguese Music Research & Information..."

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Created page with "THIS PAGE IS UNDER CONSTRUCTION File:Armando santiago2.jpg|thumb|Armando Santiago © Atelier de Composição. Photo sourced from the Portuguese Music Research & Information..."

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← Older revision		Revision as of 12:14, 6 August 2020
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−	The following interview with the Portuguese composer [[Armando Santiago]], conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – ~~wwww~~.mic.pt. You can read the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].	+	The following interview with the Portuguese composer [[Armando Santiago]], conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – www.mic.pt. You can read the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].

	== Questionnaire / Interview ==		== Questionnaire / Interview ==

@@ Line 1: / Line 1: @@
 The following interview with the Portuguese composer [[Armando Santiago]], conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – wwww.mic.pt. You can read the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].
-== Questionnaire/ Interview ==
+== Questionnaire / Interview ==
 '''How did your interest in music begin and where do you identify your musical roots? Which paths led you to composition and which moments from your music education are the most important for you?'''

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 '''Armando Santiago:''' Listening to music, «hiding» behind it, feeling the emotions – it all began in my childhood. At the age of six, I used to disappear at home. My mother would then find me in the gloom of the living room, immersed in the deepest armchair surrounding me like a fortress. While remaining motionless, my eyes got lost in the Infinite. The lady in the apartment above was playing Franz Liszt’s “Second Hungarian Rhapsody”! I was in a trance – there was nothing else but the ecstatic experience.
-Lost between my father’s books, there was one entitled “Rudimentos de música” (Essentials of Music). I got to know it all by heart.
+[[File:Armando santiago2.jpg|thumb|Armando Santiago © Atelier de Composição. Photo sourced from the Portuguese Music Research & Information Centre - MIC.PT website]]Lost between my father’s books, there was one entitled “Rudimentos de música” (Essentials of Music). I got to know it all by heart.
 After insisting a lot, my parents agreed to the idea that, while still attending the secondary school course, I would have piano lessons with a teacher of my own choice (after sharing some thoughts with one of my fellow students).
@@ Line 36: / Line 36: @@
 Donatoni led me to acknowledge the importance of the subtlety of creative gestures. The proliferation of a «material». The «Readings» technique leading the transformational and derivational possibilities to their limits. (Not to confuse with the classical notion of «development» and «variation»). Donatoni exerted a notable influence on my activity as a composer, having been an indisputable example of rigour, sensibility and modernity.
-[[File:Armando santiago2.jpg|thumb|Armando Santiago © Atelier de Composição. Photo sourced from the Portuguese Music Research & Information Centre - MIC.PT website]]'''In your opinion what can a musical discourse express and/ or mean?'''
+'''In your opinion what can a musical discourse express and/ or mean?'''
 '''AS:''' From my experience, a musical discourse is the concretisation of a specific way of communication, in function of the dynamic force of the binominal, created by an idea and the interior listening intrinsically animating it.

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-The following interview with the Portuguese composer Armando Santiago, conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – wwww.mic.pt. You can read the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].
+The following interview with the Portuguese composer [[Armando Santiago]], conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – wwww.mic.pt. You can read the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].
 == Questionnaire/ Interview ==
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 # What is the relation between these three states in exercising my creative music action? They interpenetrate each other and are undoubtedly necessary.
 # Analysing and trying to understand the complexity of these interpenetrations of factors – on the one hand, I’m Pasteur’s «disciple», that is, I don’t believe much in spontaneous generation, thus, isolated and candidly expectable… Therefore, I give considerable value to the virtue of work, as a «follower» of the precious Stravinsky lesson: «the ideas come from working with ideas», that is, the more you search the more you find. On the other hand, I’m attracted by the power of the «dream» and I believe in the fertility of intuition and poetic imagination. One attitude doesn’t exclude the other one. They complement each other.
 '''What is your relationship with the new technologies and how do they influence your music?'''

@@ Line 1: / Line 1: @@
-[[File:Armando santiago2.jpg|thumb|Armando Santiago © Atelier de Composição. Photo sourced from the Portuguese Music Research & Information Centre - MIC.PT website]]The following interview to the Portuguese composer Armando Santiago, conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – wwww.mic.pt. You can see the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].
+The following interview with the Portuguese composer Armando Santiago, conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – wwww.mic.pt. You can read the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].
 == Questionnaire/ Interview ==
@@ Line 36: / Line 36: @@
 Donatoni led me to acknowledge the importance of the subtlety of creative gestures. The proliferation of a «material». The «Readings» technique leading the transformational and derivational possibilities to their limits. (Not to confuse with the classical notion of «development» and «variation»). Donatoni exerted a notable influence on my activity as a composer, having been an indisputable example of rigour, sensibility and modernity.
-'''In your opinion what can a musical discourse express and/ or mean?'''
+[[File:Armando santiago2.jpg|thumb|Armando Santiago © Atelier de Composição. Photo sourced from the Portuguese Music Research & Information Centre - MIC.PT website]]'''In your opinion what can a musical discourse express and/ or mean?'''
 '''AS:''' From my experience, a musical discourse is the concretisation of a specific way of communication, in function of the dynamic force of the binominal, created by an idea and the interior listening intrinsically animating it.

← Older revision		Revision as of 16:19, 31 July 2020
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	We were in the 1940s. Whenever I could, I spent my free time listening to «Lisboa-2» (radio). Chopin, Liszt and Beethoven were on my daily diet – musical, emotive and balancing. And so, I started composing mazurkas. The ideas came to me spontaneously. Obviously, above everything I imitated Chopin’s harmonic essence.		We were in the 1940s. Whenever I could, I spent my free time listening to «Lisboa-2» (radio). Chopin, Liszt and Beethoven were on my daily diet – musical, emotive and balancing. And so, I started composing mazurkas. The ideas came to me spontaneously. Obviously, above everything I imitated Chopin’s harmonic essence.
		+
	As I went forward with my secondary school course, at the College I was being more and more asked to «to supervise the music events» at feasts and other official events. So, I sat at the piano to play my mazurkas. «Wow! You should never stop studying music! » It all happened according to the most sophisticated banality…		As I went forward with my secondary school course, at the College I was being more and more asked to «to supervise the music events» at feasts and other official events. So, I sat at the piano to play my mazurkas. «Wow! You should never stop studying music! » It all happened according to the most sophisticated banality…

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 It’s the spontaneous seduction of the unfathomable, through independent or juxtaposed gestures aiming at liberating themselves from the solutions of continuity.
 Conceived as if it were destined for and orchestra and filtered human voices – the sonic MIDI sources, with instrumental liberty and dogmatic neutrality, are thus transformed into a gigantic and virtual instrumentalism. The work advances as a long ode with static verses, where microorganisms, multiplied up to the infinite, spread out upon curvilinear objects with almost enchanting endowments.
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 ---
 '''1''' «Mudam-se os tempos, mudam-se as vontades… Todo o Mundo é composto de mudança…. E, afora este mudar-se cada dia, outra mudança faz de mor espanto, que não se muda já como soía.» (Luís Vaz de Camões, in "Sonetos"); Translation to English: Jakub Szczypa.
 [[Category: Portuguese Content]]

@@ Line 3: / Line 3: @@
 [[File:Armando santiago2.jpg|thumb|Armando Santiago © Atelier de Composição. Photo sourced from the Portuguese Music Research & Information Centre - MIC.PT website]]The following interview to the Portuguese composer Armando Santiago, conducted by the MIC.PT in June 2020 and published on-line in July 2020, has been replicated here with the kind permission of the Portuguese Music Research & Information Centre – wwww.mic.pt. You can see the original by [http://mic.pt/noticias?where=8&what=3&id=271&lang=EN clicking here].
-'''Questionnaire/ Interview'''
+== Questionnaire/ Interview ==
 '''How did music begin for you and where do you identify your music roots? Which paths led you to composition and which moments from your music education are the most important for you?'''