How can an art form be simultaneously abstract and universal?
"Composers of concert music are faced with a fundamental question: how can an art form be simultaneously abstract and universal? And how is it possible to acknowledge a vast canon and tradition while writing music that will be relevant to our present era?
From personal and professional experience in Europe and the United States, and through the analysis of scores and recordings, I will share thoughts on the role of the contemporary composer in today’s society, with particular regard to place of origin, culture, language, and range of influences. Discussion and analysis will focus on my work for chamber ensemble and orchestra — their formal structure, harmonic language, timbral choices, and orchestration."
The prestigious literary magazine Jornal de Letras describes Andreia Pinto Correia’s compositions as “a major contribution to the dissemination of Portugal’s culture and language, perhaps a contribution larger than could ever be imagined.” Her music — described by the Boston Globe as “compellingly meditative” and by the New York Times as an “aural fabric” — is characterized by close attention to harmonic detail and timbral color. Following a family tradition of scholars and writers, her work often reflects the influence of literary sources from the Iberian Peninsula and beyond.
Honors include a John Simon Guggenheim Memorial Foundation Fellowship and commissions from the European Union Presidency, League of American Orchestras and the Toulmin Foundation, Chamber Music America, Fromm Music Foundation at Harvard University, Boston Symphony Orchestra Brass Quintet, American Composers Orchestra at Carnegie Hall, Tanglewood Music Center, Calouste Gulbenkian Foundation, Andrew W. Mellon Foundation, Albany Symphony Orchestra, National Symphony and National Dance Company of Portugal, and Culturgest/National Bank of Portugal, among others. Her work Timaeus, a concerto for orchestra commissioned by the Boston Symphony’s Tanglewood Music Center in memory of Elliott Carter, was recently premiered at the opening concert of the Festival’s 75th anniversary.
Her works have been performed by the Minnesota Symphony Orchestra, Berkeley Symphony Orchestra, Calouste Gulbenkian Foundation Orchestra, Orquestra Metropolitana de Lisboa, Columbus Symphony Orchestra, and the JACK, Borromeo and the Mivos String Quartets. She has also been the recipient of a League of American Orchestras/ New Music USA Music Alive Composer Residency, a Rockefeller Foundation Center Fellowship, a Civitella Ranieri Foundation Fellowship, the Alpert Award in the Arts/Ucross Residency Prize, and the Toru Takemitsu Composition Award by the Japan Society. In addition, she was the curator of the Fertile Crescent Festival for Contemporary Music at the Institute for Advanced Study in Princeton and composer in residence with contemporary music ensemble OrchestrUtópica (Lisbon). She has collaborated with an array of artists including filmmakers Salomé Lamas and Daniel Blaufuks (Portugal), writers Mia Couto (Mozambique), Ondjaki (Angola), Betty Shamieh (Palestine/USA), João David Pinto Correia (Portugal), and choreographers Omayra Amaya (Spain/USA) and Victor Pontes (Portugal).