Biography
Graduated in Saxophone at Escola Superior de Música de Lisboa and held a master’s degree in education from the same university, Philippe dedicates his artistic activity to performance, research, and creation, seeking a relationship between these elements in the projects that he develops. In the last few years, it has been focusing on contemporary electroacoustic music and its dissemination. He has been involved in many multidisciplinary projects, more recently: the theatre piece “ODISSEIA”, with Teresa Sobral and José Raposo, where he worked as a sound designer; the ópera “Manifesto Nada”, composed by António de Sousa Dias and directed by Alexandre Leite (Companhia Teatral
Inestética); and MiniÓperaLab, also with Alexandre Leite and Companhia Teatral Inestética. Philippe also developed work in artistic residencies in collaboration with Associação Projecto DME (Dias de Música Electroacústica) in 2019 and 2023 having, in the latter, premiered a piece composed by António de Sousa Dias, and in collaboration with Miso Music, in 2019, part of their Emergent Talent Program. He made concerts in festivals like Reencontros de Música Contemporânea (Arte no Tempo), Festival Música Viva (MisoMusic), Ciclo Fronteiras (Cistermúsica), GondoSax Fest – Festival de Saxofones de Gondomar e FISP – Festival Internacional de Saxofones de Palmela. As a researcher, one of his areas of focus is the reconstruction of pieces for saxophone and electronics, and the preservation of this cultural heritage. This work led to his first cd recording RECAST (2021). In 2024, Philippe launchs his second album Sur la Couler, a monography of Jean-Claude Risset. His work in research led him to Universidade de Aveiro where he’s a doctoral student in Music and is part of the research center INET-md (Creation, Performance and Artistic Research groupArtistic Research group).
Doctoral Project
Title
"RECASTING – recuperação de obras para saxofone e eletr.nica em tempo real"
Advisor
Co-advisor
António de Sousa Dias
Abstract
Mixed music with live electronics poses, since its beginning, constraints when it comes to its dissemination and preservation. These are caused by the low practicality and obsolete of the devices, mainly analog and digital with tangible interfaces, used to transform sound. Although much research has been done in this field, I seek to offer a different angle to gaps that persist, such as the lack of documentation, centralization of resources, and difficult access and use for those who interpret pieces of the genre. This research intends to bring the performer to the center of the discussion about recovery and preservation of repertoire with live electronics. That being said, the goal is to turn the performer and the performance into guidelines for the reconstruction of electronic parts of selected pieces, reconfiguring the process, going beyond its technicity, to achieve longer-lasting solutions, accessible and easy to use in the study of performance situations.
Keywords: Recasting; Saxophone; Mixed music
