QUARTETO
CALEIDOSCÓPIO
Quarteto Caleidoscópio is made up of Dalila Teixeira (piano), Francisco Ferreira (violin), Teresa Soares (cello) and Tiago Bento (clarinet). Born in an academic context in 2019, performed for the first time at the Helena Sá e Costa Theater in two recitals with Quatour pour la fin du Temps, by Olivier Messiaen. Its most irreverent characteristic involves the dialogue between music and light, with a scenographic and synesthetic symbiosis that allows the creation of unconventional environments.
Dialogue between Music and Light: Messiaen and synesthesia
In one of the darkest contexts in the history of music, the "Quartet for the End of Time" is premiered in the middle of a prison camp during the Second World War. It is, therefore, a work with undeniable emotional and historical weight, yet still full of moments of hope. One of the most luminous elements of this work is the fact that there is for the first time a reference to the composer's synesthesia when he describes the piano chords of the second movement as “blue-orange cascades”. Therefore, even though the debut of this landmark of chamber music took place in dark times, his writing takes on luminous contours, which highlights Messiaen's strength and tenacity.
The Quartet proposes to present a recital in which light and music dialogue, in order to transform the room and involve people in the experience that retells the story of the Quartet, a less dark and more boreal one, just like the auroras that gave hope to the composer in the prison camp. Ensure that Messiaen's world is projected, as far as possible, for the public, and thus the two sides of the crystal are fulfilled: the weight of the Abyss and the Hope in Eternity.
VORTICE (to the end of a Time)
The audience is faced with an unconventional space and begins their walk, without realizing they are entering a parallel reality. In an external space, the public is directed to the show location, not by the usual room attendants, but by an installation of sounds and lights whose movement in the space takes the spectator into the room.
When looking around, the public notices that the available chairs are few for the number of people (just enough to guarantee the minimum desirable comfort). Given that the walls, floor and ceiling will function as light and sound screens (multichannel sound system), the audience is left with two options: lean back on the light paintings or wander around the room.
Throughout the show, three moments of more conventional composition follow each other: three visions about the end of Time, one from each of the composers. These moments are separated and interspersed by sound and light installations, but the opposition between the two is not strict: on the contrary, the show slides fluidly between the two registers.
Inevitably involved in a dynamic and abstract ambience, the audience tries to understand what they hear, see and feel, beginning to move due to the need to seek the origin of the various elements: sound, light, Time, the End... center of the vortice.
After abandoning the temporal shackles of clocks and getting lost in the search for the center of the vortice, people may wonder if this was a concert of classical, contemporary, classical music... They may question how many movements the “piece” had, what were the moments with just electronics (whether transitions or just daydreams) and, more importantly, they can question whether time has ended at that moment in which they abandon themselves to a meditative search for Time itself, during the aesthetic experience. And that's exactly where we want to get to.
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