Os Músicos do Tejo and Sofia Dias and Vítor Roriz

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Os Músicos do Tejo and Sofia Dias & Vítor Roriz – Marta-Marcos-Sofia-Vítor – united by their love of the Baroque, the 17th and 18th centuries, dance, dance music, birds, texts about dance, texts that speak of marvellous dances, to dance teachers who play the violin and compose dance melodies for their pupils, which are in turn harmonised by other pupils in five-part harmony, to texts about texts, to rituals where ministers and ambassadors had to dance correctly, at the very least, and elegantly at most, yet without ever being able to compare themselves to the King with a capital K, who truly possessed the most elegant step and the most perfect demeanour, upon which everything was modelled; to the treatises in which the un-engraved parts were almost as beautiful as the embossed relief on ribbed paper; to textual labyrinths; to text transformed into image; to the rhythmic repetition of words; to the excess of forms where everything is wind, flame, movement, and where bodies writhe in mystical ecstasy in a metamorphosis captured mid-motion in an eternal continuum, to the dance performed in silence, and the silence that becomes movement; just as they are also bound by a surviving love, they wish to construct a design that can be seen as if from the outside, that can be sensed through the sense of smell, that provokes a stirring that is at once internal and external, profound and superficial—a design of entrances capable of being heard as much as seen, more atmospheric than unitary, sufficiently communal behind the scenes of reality, and by combining music and dance in homage to those who danced to stay alive—relevant within the nation-state, decisive in the art of high-level metaphysics, alone in full view of everyone, resistant to yet complicit with bureaucracy—to present a fitting tribute to music lovers, performers, and rabeca players, whilst appealing to the benevolent and talented expertise of other contemporary inhabitants of the physical-chemical world – artistes/flâneurs/bohemians of settled standing – who form the second team: Marta, Álvaro, Vasken, Vicente, Pedro, Denys, Cárin, José and Catarina, so that they may, in sufficient and regular numbers, fulfil the premises of what was promised and Prometheus, chained or chained to a revitalising hepatic regeneration, commonly known as being able to present a multilateral, multidirectional, multidisciplinary moment, which opens the opening, the entrance, the space of being on the stage of non-being, more heard than seen, more intuited than instructed, and consequently we may all, on the stage, be: it shall be, therefore, it will be more fruitful to design a series of drawings, a journey with various entries in two, four or six beats—be it the decimal or Sumerian system, or within the hallucinatory system—so that corresponding deities, gargoyles, fauns, satyrs, nymphs and mermaids may be evoked within immersive hydrographic systems of sound and vision. 

Programa
François de Chancy (1600-1656)
Excertos de Ballet du dérêglement des passions
I. 2ême Entrée - Promethée
lI. (8ême Entrée - La Lune, Endimion et trais autres Bergers

William Lawes (1602-1645)
Fantasia n.º 1 (“The Sunrise”),
extraída de Consort Set n.º 8 a 6 partes em Fá Maior

John Playford (1623-1686)
Excertos de The English Dancing Master

Nicolas Lebegue (c. 1631-1702)
Excertos de Pièces de Clavessin

Jean-Baptiste Lully (1632-1687)
Chaconne extraída de Phaeton;
Passacaille extraída de Armide;
Dieu des Enfers;
Excertos de Ballet des Plaisirs (1655)

Marin Marais (1656-1728)
Chaconne da ópera Alcyone

Henry Purcell (1659-1695)
Fantasia n. º 8, Z. 739 a 4 partes;
Now the Night Is Chased Away, ária extraída de The Fairy Queen

To All Lovers of Music, Performers and Scrapers - Catch (Cânone)

Elisabeth Jacquet de La Guerre (1665-1729)
Excertos da ópera Céphale et Procris
I. Ouverture
II. Pour vivre sans chagrin, duo de Dorine e Archas
III. Marche pour les trompettes et violons (reconstrução das partes interiores por Marcos Magalhães)

Gaspard Le Roux (c. 1670-1706)
Peças a dois cravos (excertos de Pièces de Clavessin)

Marcos Magalhães (1973)
Estudo para uma Queda Lateral

Performers
Marcos Magalhães, Marta Araújo, Sofia Dias and Vítor Roriz, artistic direction
Sofia Dias & Vítor Roriz with Os Músicos do Tejo, performance
Marta Araújo and Marcos Magalhães, musical direction
Cárin Geada, lighting design
José António Tenente, costume design
Marcos Magalhães, Marta Araújo, Sofia Dias and Vítor Roriz (with set designs by Catarina Dias), set design

Belém Cultural Centre, co-production
Victor Cordon Studios (rehearsal space as part of the “em casa” project), support
Sofia Dias & Vítor Roriz and Os Músicos do Tejo, production

Os Músicos do Tejo
Marta Leite Gonçalves, transverse flute
Denys Stetsenko, violin
Vasken Fermanian, violin
Álvaro Pinto, viola
Pedro Braga Falcão, viola
Vicente Magalhães, double bass
Marta Araújo, harpsichord
Marcos Magalhães, harpsichord and Indian harmonium

Os Músicos do Tejo and Sofia Dias & Vítor Roriz are organisations funded by the Portuguese Republic – Ministry of Culture, Youth and Sport / DGARTES – Directorate-General for the Arts and Lisbon City Council.

Information
If you have any questions, please contact us:
Tel. 967 716 647 or info@cistermusica.com