Space limited to 15 people! RESERVATIONS BY EMAIL – Sonoscopia@gmail.com
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Residency presentation by artist Avita Maheen.
This residency is the result of a collaboration between Worm (Rotterdam-based space/collective) and Sonoscopia.
Concert with dinner included ——> 6 sonos
Doors open ——> 7:00 p.m **** Balladur | “Art pop at its finest, Balladur incorporates elements of avant-garde electronic music and neo-classical into its screwed new wave.” – Bandcamp Daily. Balladur offers a truly unique brand of pop. Using a new wave setup (drum machine, guitar, and synth), the duo from the France has managed to refine a distinctive sound—a fusion of diverse influences ranging from Indonesian dangdut and tarawangsa to dance music. Hypnotic synth melodies, surprising percussion, intriguing sounds. Balladur’s success might just be in giving us the creeps when we’d just set out for a leisurely stroll in the sunshine.
** Heimat | Behind this alias lie two well-known figures in France’s underground music scene: Olivier Demeaux, keyboardist for Cheveu and a member of the drone-ambient project Accident du Travail, and Armelle Oberle, whose unique voice has previously been heard with The Dreams and Badaboum. Since their debut album (2016), Heimat has surprised many listeners with the originality of their compositions, inspired as much by new wave and trap music as by ethnographic recordings from Southeast Asia. Both strange and lyrical, this album has established itself as a classic of the genre.
Disposophonia: Sound Recordings, Archiving, and Collecting
Disposophonia is a neologism that describes a compulsive need to accumulate sounds. In its phonographic aspect, it oscillates irregularly between archiving and collecting, driven by the emotional impulses associated with each sound recording preserved on a physical medium, whether analog or digital.
We therefore draw a natural parallel between Sonoscopia’s disposophonic daily practice and the collection of the Porto Municipal Sound Archive, a collection of approximately 40,000 7, 10, and 12-inch vinyl records. But while the records are the common ground, the methodologies differ. In Sonoscopia, a record serves various functions, ranging from being played in its entirety, faithful to the original recording, to undergoing transformations—such as low fidelity, cymatics, or signal processing—which, in these cases, make the content merely a means to achieve a result completely distinct from the original.
This concert is organised by Unijazz with financial support from the European Union and the Ministry of Culture of the Czech Republic, in collaboration with its partners Muzzix and Sonoscopia.
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3:00 p.m. Doors open
3:30 p.m.: Maximilian Glass
4:00 p.m.: Mélanie Métier (SMG)
4:45 p.m.: Sajiira (bar)
5:30 p.m.: Eliad Wagner (SMG)
6:15 p.m: Elisabeth Coudoux (bar)
7:00 p.m Jena Jang (SMG)
8:00 p.m: Dinner
9:00 p.m: Ricardo Jacinto and Alfredo Costa Monteiro (SMG)
9:45 p.m: Nad Spiro (SMG)
10:30 p.m: Gonçalo Almeida (garden, acoustic)
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Radio Musgo will broadcast the festival live!
-> radiomusgo.com
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It’s not easy to keep a festival true to its original principle over the course of eleven editions—a festival that was born out of the ironic self-description of being the “smallest summer festival.” That’s because, over the past twelve years—with a brief pandemic-related stop in between—a lot has changed at Sonoscopia. We’ve grown, moved to a larger venue, and gotten older. But we’re still here, and with us are still many people who have accompanied us on this journey—from artists who perform regularly to audience members who’ve been coming since the very first edition, some of whom now bring their own children along. No Noise never intended to be a festival, and perhaps for that very reason, after all this time, there’s still the energy to organize—in a familiar and somewhat disorganized way—an intense day featuring nine concerts of strangely beautiful music and to cook for so many people. For this edition, as usual, we have no highlights. For those who come, you already know what to expect: a relaxed atmosphere for discovering new and old music in our garden, at Porto’s cheapest bar, and in our small, intimate concert hall.
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With support from the Criatório program of Ágora – Culture and Sports of Porto, E.M., S.A.
No ideário do TNSJ, a voz sempre constituiu um dos elementos cénicos essenciais. A ela dedicamos um festival que se centra na sua exploração enquanto matéria criativa no plano musical e poético. Reúne nomes do panorama nacional e internacional, entre consagrados e emergentes, que partilham uma vontade de inovação e expansão das possibilidades expressivas da voz. Nos vários alicerces do programa, que inclui concertos, performances, instalações e conferências, representam-se diferentes perspetivas culturais e históricas, de alguma forma representativas da necessidade de transfiguração vocal. Saliente-se uma criação participativa de longa duração, com a encomenda de uma obra a um(a) compositor(a) para um grupo comunitário de todas as faixas etárias, o Grupo Operário do Ruído, onde a voz é central. E se é através das suas potencialidades que comunicamos, o festival assume-se também como ponto de encontro, discussão e celebração, reforçando os laços de uma comunidade que se dedica à exploração da poética musical da voz.
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Programa
Teatro São João | 9 julho
21:00 | Concerto
Sext Tongs
Shelley Hirsch
22:00 | Intermezzo
Ressonâncias
Essay VI – Christopher Bochmann (voz solo)
Bruno P
22:30 | Concerto
Transmutar el aire
Llorenç Barber e Montserrat Palacios
Teatro Carlos Alberto | 10 julho
21:00 | Concerto
CAR[n]E
Merche Blasco
com Anna Clementi, Alessandra Eramo, Lorena Izquierdo, Ute Wassermann
22:00 | Performance
Canto Ventríloquo – Conferência animada para XV minutos
Nu No
22:30 | Concerto
HARRGA
Dali de Saint Paul & Miguel Prado Casanova
23:00 | Intermezzo
Ressonâncias
No man is an island – Rui Penha
Bruno P
23:30 | Concerto
FUGE
Ece Canli
21:00 | Instalação sonora permanente
KAERU
Clélia Colonna
Teatro Carlos Alberto | 11 julho
21:00 | Concerto Antoine Läng
22:00 | Performance Era uma voz Ana Deus
22:30 | Concerto Ways of notseeing Savina Yannatou & Joana Sá
23:15 | Intermezzo Ressonâncias (Em torno de Constança Capdeville) Bruno P
23:30 | Concerto Polyphonic Encounters Younes Zarhoni & Marc De La Linde
16:00 | Concerto Grupo Operário do Ruído & Sononautas
criação com Teresa Gentil
DIREÇÃO ARTÍSTICA E PROGRAMAÇÃO Gustavo Costa GESTÃO DE PROJETO E ASSISTÊNCIA À PROGRAMAÇÃO Patrícia Caveiro ASSISTÊNCIA À PRODUÇÃO E TÉCNICA Vicente Mateus DESENHO DE LUZ Emanuel Pereira EQUIPA TÉCNICA Alberto Lopes, João Ricardo, Pedro Subtil PRODUÇÃO EXECUTIVA Patrícia Caveiro COM A PARTICIPAÇÃO DE Shelley Hirsch, Llorenç Barber & Montserrat Palacios, Merche Blasco, Alessandra Eramo, Anna Clementi, Lorena Izquierdo, Ute Wassermann, Nuno Pinto, HARRGA (DALI DE SAINT PAUL E MIGUEL PRADO), Ece Canlı, Younes Zarhoni, Marc de la Linde, Ana Deus, Savina Yannatou, Joana Sá, Antoine Lang, DJ Marcelle, Clélia Colonna, Bruno Pereira, Grupo Operário do Ruído & Sononautas e Teresa Gentil COPRODUÇÃO Sonoscopia, Teatro Nacional São João
MV 4.83 | Stefan Voglsinger | Spitbender
Concert with dinner included ——> 6 sonos
Doors open ——> 7:00 PM
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Stefan Voglsinger | https://voglsinger.klingt.org/
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Spitbender | https://soundcloud.com/spitbender
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With support from the Criatório da Ágora – Culture and Sports of Porto, E.M., S.A. program
Concerts + Dinner at the end
Rua Silva Porto
Free Admission | Free
Venues:
Ponto Frequência | Café Silva Porto | Lavandaria Roupress | Sonoscopia | Corpo e Alma
———- Meeting Point 5:30 PM – Sonoscopia ————-
Residency Presentation
Experimenting Access Cycle 2
Residency #2: Porto
May 18–24
Aya Masui / Percussion, field recording Augusto Lado / Video Lucija Gregov / Cello Aina Font / Saxophone, performer Xuan Mai Dang / Voice, recorder, percussions Ridina Ahmedová / Voice, audio documentary Imsu Choi / Composer, Ondes Martenot
5 years Silva Porto | 15 years Association | 27 years Collective
Manu Louis | Dalila Kayros & Danilo Casti | João Carreiro | Giovanni di Domenico & Tatsuhisa Yamamoto | Mzima: JinaOKing & Jun
RESERVATIONS BY EMAIL – SONOSCOPIA@GMAIL.COM
Concerts with dinner included ——> 6 sonos
Doors open ——> 4:00 PM
Lineup:
16H Portas
16H30: João Carreiro
16H45: Mzima: JinaOKing & Jun
17H30: Manu Louis
18H15 : Giovanni di Domenico & Tatsuhisa Yamamoto
19H : Jantar
20H: Dalila Kayros & Danilo Casti
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Com apoio do programa Criatório da Ágora – Cultura e Desporto do Porto, E.M., S.A
Microvolumes is a series of concerts in the field of improvised, experimental, and electroacoustic music that began in 2004 at the now defunct Artes Múltiplas / Cão Danado venue in Porto. In 2011, Microvolumes took on a new format at Sonoscopia’s workspace at the time. In this space, located in the Stop Shopping Center (a meeting place for countless amateur and professional musicians from different musical areas), the concerts were preceded by a dinner, thus providing a more spontaneous and welcoming atmosphere.
The third series of concerts began in 2013, accompanying Sonoscopia’s move to its new premises on Rua da Prelada, in Carvalhido. The concept of dinner and concert remained, but the physical conditions of the new space provided greater comfort, proximity, and a deeper relationship between the audience and the musicians and the surrounding space.
The fourth and current series of concerts maintains the same principle, but in Sonoscopia’s new workspace, which offers better conditions for presenting, hosting, and recording the shows. The new space has a dedicated concert hall, three rooms for an exhibition area dedicated to sound art, a bar, and a large garden, which also has a small stage for outdoor performances.
The basic principle of Microvolumes is to promote new forms of musical expression that lie outside commercial or institutional circuits. They favor emerging artists whose relationship with these spaces creates an artistic movement that is fundamental to the solidification of the cultural fabric. At the same time, they serve as a venue for more established names in experimental music, but with a strong connection to the ethic of strengthening experimental music scenes that are related in various parts of the world.
*****
With support from the Criatório da Ágora – Cultura e Desporto do Porto, E.M., S.A. program
Com apoio do programa Criatório da Ágora – Cultura e Desporto do Porto, E.M., S.A
André Alves
Constança Amador
Horácio Tomé Marques
Mário Azevedo
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PT description version :
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Escutar o chão comum
«Escutar é tender para um sentido possível, e não ainda alcançado» (Nancy).
Este trabalho performativo-ensaístico da Ressonâncias em forma de 5a aumentada move-se no intervalo entre aquilo que nos chega vibracionalmente e o que ainda não se deixa compreender. Assume, por isso, deliberadamente uma ação performativa político-poética, onde o rigor conceptual não se opõe à vibração da linguagem, ao
furor dos sons, à agitação dos corpos, nem do imaginário pictórico sensível, mas deles depende.
Propomo-nos pensar e fazer exercitar a escuta como se esta fosse um lugar do ser-com, enquanto prática ontológica e política do comum. Escutar não é apenas um ato percetivo, visto ser uma forma de estarmos expostos a, de partilharmos espaços com e de criarmos tempo e vulnerabilidade. Num mundo tão marcado pela apropriação, pela extração e pela captura — inclusive a do sensível — a escuta surge aqui como gesto de resistência.
A questão que atravessa este trabalho permanece em aberto: será possível partilhar o som sem o possuir?
“Sononautas: Aquática” is an installation and workshop that transports participants to a universe where the sound of water becomes visible and palpable, and where its musical and acoustic dimension is explored. From various stations, there is a set of games and visual and auditory experiences that lead us to discover the underwater world and its sound possibilities.
Microvolumes is a series of concerts in the field of improvised, experimental, and electroacoustic music that began in 2004 at the now defunct Artes Múltiplas / Cão Danado venue in Porto. In 2011, Microvolumes took on a new format at Sonoscopia’s workspace at the time. In this space, located in the Stop Shopping Center (a meeting place for countless amateur and professional musicians from different musical areas), the concerts were preceded by a dinner, thus providing a more spontaneous and welcoming atmosphere.
The third series of concerts began in 2013, accompanying Sonoscopia’s move to its new premises on Rua da Prelada, in Carvalhido. The concept of dinner and concert remained, but the physical conditions of the new space provided greater comfort, proximity, and a deeper relationship between the audience and the musicians and the surrounding space.
The fourth and current series of concerts maintains the same principle, but in Sonoscopia’s new workspace, which offers better conditions for presenting, hosting, and recording the shows. The new space has a dedicated concert hall, three rooms for an exhibition area dedicated to sound art, a bar, and a large garden, which also has a small stage for outdoor performances.
The basic principle of Microvolumes is to promote new forms of musical expression that lie outside commercial or institutional circuits. They favor emerging artists whose relationship with these spaces creates an artistic movement that is fundamental to the solidification of the cultural fabric. At the same time, they serve as a venue for more established names in experimental music, but with a strong connection to the ethic of strengthening experimental music scenes that are related in various parts of the world.
*****
With support from the Criatório da Ágora – Cultura e Desporto do Porto, E.M., S.A. program
Microvolumes is a series of concerts in the field of improvised, experimental, and electroacoustic music that began in 2004 at the now defunct Artes Múltiplas / Cão Danado venue in Porto. In 2011, Microvolumes took on a new format at Sonoscopia’s workspace at the time. In this space, located in the Stop Shopping Center (a meeting place for countless amateur and professional musicians from different musical areas), the concerts were preceded by a dinner, thus providing a more spontaneous and welcoming atmosphere.
The third series of concerts began in 2013, accompanying Sonoscopia’s move to its new premises on Rua da Prelada, in Carvalhido. The concept of dinner and concert remained, but the physical conditions of the new space provided greater comfort, proximity, and a deeper relationship between the audience and the musicians and the surrounding space.
The fourth and current series of concerts maintains the same principle, but in Sonoscopia’s new workspace, which offers better conditions for presenting, hosting, and recording the shows. The new space has a dedicated concert hall, three rooms for an exhibition area dedicated to sound art, a bar, and a large garden, which also has a small stage for outdoor performances.
The basic principle of Microvolumes is to promote new forms of musical expression that lie outside commercial or institutional circuits. They favor emerging artists whose relationship with these spaces creates an artistic movement that is fundamental to the solidification of the cultural fabric. At the same time, they serve as a venue for more established names in experimental music, but with a strong connection to the ethic of strengthening experimental music scenes that are related in various parts of the world.
*****
With support from the Criatório da Ágora – Cultura e Desporto do Porto, E.M., S.A. program
O Sistema Sonar baseia-se num princípio de comunicação sonora universal que transcenda as tradições e paradigmas dos instrumentos e formas de expressão musical da música ocidental. Ao centro deste sistema está um instrumento icónico, o Órgão de Tubos, mas numa versão robotizada, e que embora inspirada pelos modelos mecânicos que surgem com maior expressão a partir do século XVIII, é aqui controlada por sistemas computorizados que permitem uma maior acessibilidade e controlo por parte de todos o tipo de utilizadores, libertando o instrumento das limitações físicas do corpo humano para se poder focar numa expressão puramente musical. A partir desta libertação física, é possível então desconstruir várias limitações da criação musical, tornando-a acessível a músicos de todas as idades, não-músicos ou pessoas com mobilidade reduzida. O Sistema Sonar é por definição um sistema em evolução e constante descoberta. Os seus sinais são refletidos em novos satélites, rumo a um universo musical desconhecido e em constante expansão.
The Sonar System is an educational concert that presents a totally new instrument: a robotic organ that functions as the center of a sound system, accompanied by several satellite instruments. In this show, we will explore the infinite possibilities of these new sounds, building an engaging and interactive musical experience in which the audience is an essential part of the process. More than a concert, the Sonar System is a journey into the future of music—an invitation to experiment, discover, and participate.
