Outras Flores de Música (2026) «Other Flowers of Music» is an album of contemporary Portuguese music dedicated exclusively to works written for the Portuguese historical organ, a unique national instrument from the 18th century. Here we find compositions by Bruno Gabirro, Diogo Alvim, Cláudio de Pina and Vítor Rua. Performed, recorded, edited, mastered and under the artistic direction of organist Cláudio de Pina. Outras Flores de Música takes its title from another collection of keyboard works, Flores de Música (published in Lisbon c. 1620), which constitutes one of the oldest printed collections of instrumental music. These new works showcase the sonic potential of these ancient instruments, which still breathe life into new music.
1 - Roda (2024)
In this work, «Wheel». by Bruno Gabirro (1973–), the result of a commission and a masterclass on organ contemporary performance techniques (organised by Cláudio de Pina through Miso Music Portugal), Gabirro explores the potential of the Portuguese organ’s split keyboard combined with the use of extended techniques. In this way, the composer creates the illusion of an instrument with multiple manuals, juxtaposing various layers of sound.
2 - Peça com Vista (2018)
In this work, «Piece with a View», by Diogo Alvim (1979–) we find a graphical score, accompanied by field recordings of a town square in Lisbon, which inspired its visual design. These field recordings were transformed into a soundscape by Cláudio de Pina. Although the work does not specify particular techniques or stops Cláudio de Pina has performed this Peça com Vista on several recitals using extended techniques and improvisation, with an approach similar to Cornelius Cardew’s (1936–1981) Treatise (1963–1967).
3 - Tento de Falsas (2024) and
4 - Quasi-Lontano (2023)
These works by Cláudio de Pina were premiered on the centenary of György Ligeti (1923–2006) at the National Museum of Music, the Música Viva 2024 Festival and the Nova Contemporary Music Meeting. The use of electronics brings together Cláudio de Pina’s two artistic worlds: acousmatic music and contemporary music for organ. The use of electronics blends with the sounds generated by the historical organ, leaving the listener wondering whether the sound created is generated by the electronics or played on the instrument. The exploration of the natural reverberation of the Ajuda’s Church presents a unique methodology for what is known as mixed music.
5 - Onde o Ar aprende a ser Luz (2025)
In this work «Where the Air learns to become Light» by Vítor Rua (1961–), dedicated to Cláudio de Pina, we find a highly diverse interpretative framework, featuring a verbal score with various specific instructions, a timeline and a range of symbols indicating the techniques to be employed. Rua’s original approach to the instrument breaks with convention and creates new sounds, treating it in its entirety as if it were a concrète machine capable of producing noises and notes, interwoven with poetic imagery, similar to the works of La Monte Young (1935–) from the 60s.
"The pedals creak like the vertebrae of an ancient creature trying to recall its first step into the light.
Every stop I open breathes centuries of sleepwalking dust; every release is a small eclipse that happens just for me.
The organ murmurs names I never learnt and offers me its weary wooden body so that I may restore to it the memory of lost air.
In this labyrinth of timid gears, every sound is a constellation that has not yet decided to light up.
And I, sitting on the border between shadow and breath, listen to what the instrument knows of silence." (Rua, 2025)
Technical data:
Schoeps CMC5-U microphones with MK2H omnidirectional capsules were used, positioned 6.56 yards, in order to achieve the best stereo image of the instrument and a balanced reverberation. The microphones were mounted on an Optimum Stereo Signal system, utilising a Jecklin Disk. The result is a binaural format when listening through headphones and normal stereophonic sound when listening through loudspeakers (without phase issues or frequency gaps). In addition to this advantage, this setup allows for greater immersion in the organ’s sound and its acoustic environment.
Outras Flores de Música takes its title from another collection of works for keyboard, Flores de Música (published in Lisbon c. 1620), which constitutes one of the earliest printed collections of Portuguese and European instrumental music, following on from Gonzalo de Baena’s (c. 1480–1540) Arte novamente inventada pera aprender a Tanger (1540). Flores de Música is a collection of works by Manuel Rodrigues Coelho (c. 1555–1635) from Elvas. Manuel Coelho was organist at the cathedral of Badajoz, Elvas (as chapel master) and principal organist at Lisbon Cathedral (between 1603–1633), having been appointed chaplain and organist at the Royal Chapel of King Filipe II. In Flores de Música, a copy of which can be consulted at the National Library of Portugal, we find a collection of 24 tentos and a further 109 pieces, divided into: Kyries, Versos, Suzanas (based on the theme of the chanson ‘Suzanne un Jour’ by Orlando di Lasso), Magnificats, Ave Maris Stellas, and Pange Lingua. In Outras Flores de Música, we decided to select works that stand in stark contrast to the typical repertoire of this keyboard instrument, the Portuguese historical organ. This album features works that explore specific sonic characteristics of the Portuguese historical organ, particularly with regard to the use of extended techniques (the unconventional use of other performance techniques on the instrument, i.e. manipulation of stops, keys and the wind mechanism). The composers were chosen not only because of their friendship with the organist Cláudio de Pina, but above all for their originality and audacity, whether in their writing, composition or engagement with the instrument.
About the Ajuda’s organ: The historical organ used is an instrument over 230 years old, built by the organ builder António Xavier Machado e Cerveira (one of the most renowned European organ builders of his time) and restored in 1988 by the organ builder António Simões. This instrument is little known in Lisbon, but is fully operational and in regular use. It is in good condition and has interesting features that allow for the performance of this repertoire (for example: the use of pedals to vary air pressure and the registers typical of Portuguese organ building—the horizontal reeds). Cláudio de Pina has been the resident organist on this instrument for over 30 years, having developed various performances of contemporary repertoire. His academic research in this field has resulted in the publication of several articles and academic theses on this instrument, its acoustics, possible extended techniques, and the interpretation of contemporary organ music.
For more information check: https://www.claudiodepina.com/organ.html
António Cadete: Born in Elvas in 1937, he was an illustrator for Portuguese flora (1970–1993) and a highly acclaimed painter, who exhibited regularly in both solo and group shows (1956–2006). His work is held in private collections in Portugal and abroad. He is known for his watercolours, satirical drawings, his landscapes of the Alentejo and its people. Among his numerous honours are the 1st Prize for Watercolour at the 1st Elvas Painting Salon (1970), an Honorary Diploma from the city of Elvas (1988), a Public Commendation from the Presidency of INIA, the INIA Art / Science Medal, and a mention in the dictionary Portuguese 20th Century Artist. As a draughtsman and painter, his works have been published in the following volumes: New Papilionaceae for Portuguese Guinea (1970), Catalogue of Weeds in Wheat Fields, I and II (1978/1982), Vascular Flora of Western Andalusia I, II and III, Spanish edition (1987), Illustrated Manual of Species of the Portuguese Flora, I and II (1991/1993).
Acknowledgements: Paula and Miguel Azguime, Bruno Gabirro, Diogo Alvim, Vítor Rua and Ajuda Parish.
This album is dedicated to António and Rosário Cadete.
1 - Roda (2024)
In this work, «Wheel». by Bruno Gabirro (1973–), the result of a commission and a masterclass on organ contemporary performance techniques (organised by Cláudio de Pina through Miso Music Portugal), Gabirro explores the potential of the Portuguese organ’s split keyboard combined with the use of extended techniques. In this way, the composer creates the illusion of an instrument with multiple manuals, juxtaposing various layers of sound.
2 - Peça com Vista (2018)
In this work, «Piece with a View», by Diogo Alvim (1979–) we find a graphical score, accompanied by field recordings of a town square in Lisbon, which inspired its visual design. These field recordings were transformed into a soundscape by Cláudio de Pina. Although the work does not specify particular techniques or stops Cláudio de Pina has performed this Peça com Vista on several recitals using extended techniques and improvisation, with an approach similar to Cornelius Cardew’s (1936–1981) Treatise (1963–1967).
3 - Tento de Falsas (2024) and
4 - Quasi-Lontano (2023)
These works by Cláudio de Pina were premiered on the centenary of György Ligeti (1923–2006) at the National Museum of Music, the Música Viva 2024 Festival and the Nova Contemporary Music Meeting. The use of electronics brings together Cláudio de Pina’s two artistic worlds: acousmatic music and contemporary music for organ. The use of electronics blends with the sounds generated by the historical organ, leaving the listener wondering whether the sound created is generated by the electronics or played on the instrument. The exploration of the natural reverberation of the Ajuda’s Church presents a unique methodology for what is known as mixed music.
5 - Onde o Ar aprende a ser Luz (2025)
In this work «Where the Air learns to become Light» by Vítor Rua (1961–), dedicated to Cláudio de Pina, we find a highly diverse interpretative framework, featuring a verbal score with various specific instructions, a timeline and a range of symbols indicating the techniques to be employed. Rua’s original approach to the instrument breaks with convention and creates new sounds, treating it in its entirety as if it were a concrète machine capable of producing noises and notes, interwoven with poetic imagery, similar to the works of La Monte Young (1935–) from the 60s.
"The pedals creak like the vertebrae of an ancient creature trying to recall its first step into the light.
Every stop I open breathes centuries of sleepwalking dust; every release is a small eclipse that happens just for me.
The organ murmurs names I never learnt and offers me its weary wooden body so that I may restore to it the memory of lost air.
In this labyrinth of timid gears, every sound is a constellation that has not yet decided to light up.
And I, sitting on the border between shadow and breath, listen to what the instrument knows of silence." (Rua, 2025)
Technical data:
- Historical organ and electronics Cláudio de Pina,
- Edition, recording and mastering: Cláudio de Pina / Miso Studio,
- Recorded in the historical organ of the Parish of Our Lady of Ajuda (Lisbon),
- Design and layout: Cláudio de Pina
- Paintings by António Cadete (1939–2021) in Illustrated Manual of Portuguese Flora species, I vol. (1991).
Schoeps CMC5-U microphones with MK2H omnidirectional capsules were used, positioned 6.56 yards, in order to achieve the best stereo image of the instrument and a balanced reverberation. The microphones were mounted on an Optimum Stereo Signal system, utilising a Jecklin Disk. The result is a binaural format when listening through headphones and normal stereophonic sound when listening through loudspeakers (without phase issues or frequency gaps). In addition to this advantage, this setup allows for greater immersion in the organ’s sound and its acoustic environment.
Outras Flores de Música takes its title from another collection of works for keyboard, Flores de Música (published in Lisbon c. 1620), which constitutes one of the earliest printed collections of Portuguese and European instrumental music, following on from Gonzalo de Baena’s (c. 1480–1540) Arte novamente inventada pera aprender a Tanger (1540). Flores de Música is a collection of works by Manuel Rodrigues Coelho (c. 1555–1635) from Elvas. Manuel Coelho was organist at the cathedral of Badajoz, Elvas (as chapel master) and principal organist at Lisbon Cathedral (between 1603–1633), having been appointed chaplain and organist at the Royal Chapel of King Filipe II. In Flores de Música, a copy of which can be consulted at the National Library of Portugal, we find a collection of 24 tentos and a further 109 pieces, divided into: Kyries, Versos, Suzanas (based on the theme of the chanson ‘Suzanne un Jour’ by Orlando di Lasso), Magnificats, Ave Maris Stellas, and Pange Lingua. In Outras Flores de Música, we decided to select works that stand in stark contrast to the typical repertoire of this keyboard instrument, the Portuguese historical organ. This album features works that explore specific sonic characteristics of the Portuguese historical organ, particularly with regard to the use of extended techniques (the unconventional use of other performance techniques on the instrument, i.e. manipulation of stops, keys and the wind mechanism). The composers were chosen not only because of their friendship with the organist Cláudio de Pina, but above all for their originality and audacity, whether in their writing, composition or engagement with the instrument.
About the Ajuda’s organ: The historical organ used is an instrument over 230 years old, built by the organ builder António Xavier Machado e Cerveira (one of the most renowned European organ builders of his time) and restored in 1988 by the organ builder António Simões. This instrument is little known in Lisbon, but is fully operational and in regular use. It is in good condition and has interesting features that allow for the performance of this repertoire (for example: the use of pedals to vary air pressure and the registers typical of Portuguese organ building—the horizontal reeds). Cláudio de Pina has been the resident organist on this instrument for over 30 years, having developed various performances of contemporary repertoire. His academic research in this field has resulted in the publication of several articles and academic theses on this instrument, its acoustics, possible extended techniques, and the interpretation of contemporary organ music.
For more information check: https://www.claudiodepina.com/organ.html
António Cadete: Born in Elvas in 1937, he was an illustrator for Portuguese flora (1970–1993) and a highly acclaimed painter, who exhibited regularly in both solo and group shows (1956–2006). His work is held in private collections in Portugal and abroad. He is known for his watercolours, satirical drawings, his landscapes of the Alentejo and its people. Among his numerous honours are the 1st Prize for Watercolour at the 1st Elvas Painting Salon (1970), an Honorary Diploma from the city of Elvas (1988), a Public Commendation from the Presidency of INIA, the INIA Art / Science Medal, and a mention in the dictionary Portuguese 20th Century Artist. As a draughtsman and painter, his works have been published in the following volumes: New Papilionaceae for Portuguese Guinea (1970), Catalogue of Weeds in Wheat Fields, I and II (1978/1982), Vascular Flora of Western Andalusia I, II and III, Spanish edition (1987), Illustrated Manual of Species of the Portuguese Flora, I and II (1991/1993).
Acknowledgements: Paula and Miguel Azguime, Bruno Gabirro, Diogo Alvim, Vítor Rua and Ajuda Parish.
This album is dedicated to António and Rosário Cadete.