|Jorge Filipe Pinto Ramos|
Jorge Filipe Pinto Ramos:
«Prelude» / 10:38
«Project 2» / 05:52
It all started with 2 frequencies shocking, and like almost everything, with time comes development and evolution. From a struggle between frequencies, effects, rhythmic games, aggressive panoramic and volume work and noise to a very beautiful moment of resonances which marks the decay of the early electronic processed ambient and the hatching of a very beautiful piano melody between the smoothness of electronic processing disappearing and the distant clarinet playing. In the end, with the hearing of the last note, everyone can realize that a struggle so simple as 2 frequencies shocking can be turned into a very beautiful melodious ambient...
Written between 2012-2013 as part of my High School Research at CMCG — Conservatório de Música Calouste Gulbenkian de Braga, Portugal. The piano part was played and recorded by Paulo Bastos.
@PRS/MCPS/SPA ISWC T-045.670.514-8
Commissioned by gnration
A prelude is generally understood to be an introductory piece to another larger work, such as an opera, a ballet, or a neo-psychedelic experience.
Prelude is born from the reconfiguration of the themes Super Inertia and A House Full of Garbage present in Superinertia, the last album of the Portuguese band 10 000 Russos. In this work the electronic takes a predominant role over the instrumental, seeking to dilute the perceptual barrier between the acoustic and the electronic. This search for a more cohesive and immersive sound environment allows the work to be presented both in physical concerts and online, ideally succeeded by the performance of the original themes.
Written between 2021 and the 7th January 2022 as part of my Doctor in Music — Composition Research at RCM - Royal College of Music in London, England.
© PRS/MCPS/SPA ISWC T-308.735.376-8
Jorge Ramos (b. 1995) is a Portuguese multiple award-winning composer, electronics performer, and researcher based in London. He has written music for orchestras, ensembles, and soloists across Asia, North/South America, and Europe such as the Calouste Gulbenkian Orchestra, Cat’s Cradle Collective, Orquestra Clássica do Centro, Portuguese Symphonic Band, and The Hermes Experiment.
Commissioners and partners for Ramos’ work extend beyond the concert hall to major international bodies such as Arte no Tempo, Braga Media Arts, Galerie Sans Nom / RE:FLUX Festival, gnration, Municipality of Braga, RTP/Antena 2, Theatro Circo, UNDERSCORE Film Festival, and UNESCO, as well as through prominent fellowships and awards from the Calouste Gulbenkian Foundation, Escola Superior de Música de Lisboa, Festival Internacional de Órgão de Braga, Foundation for Science and Technology, Miso Music Portugal, Orquestra Clássica do Centro, Royal College of Music, Royal Music Association, RTP/Antena 2, Sociedade Portuguesa de Autores, The National Flute Association and Youth Foundation.
A DMus researcher, Graduate Teaching Assistant and a Digital Learning Ambassador at the Royal College of Music London, he is funded by the Foundation for Sciences and Technologies, Calouste Gulbenkian Foundation, and the Student Representative of the Executive Committee at The ACTOR Project — Analysis, Creation, and Teaching of Orchestration.
|Photo Credit||Lais Pereira|