João-Carlos Pinto

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Studied Piano and Composition at Braga Gulbenkian Conservatory and did his bachelor in Composition at Escola Superior de Música de Lisboa.

Participated in masterclasses and workshops with: Ensemble Recherche, Tristan Murail, Thomas Adès, Alexander Schubert, John Chowning, Rebecca Saunders, João Pedro Oliveira, Panayiotis Kokoras, Stefano Gervasoni, Stefan Prins, Carola Bauckholt, Åke Parmerud, Kaija Saariaho, Thierry de Mey.

His music as been played at: Arts Incubator (KOR), CEMI Circles (EUA), Gaudeamus (NL), Porgy & Bess (AUS), Matera Intermedia (IT), Festival Mixtur (ESP) and Casa da Música, Calouste Gulbenkian Foundation, Festival DME, O’culto da Ajuda, São Carlos National Theater, S. Luiz Theater, gnration, Sonoscopia (PT).

As received commissions from: Gaudeamus, RTP / Antena 2, Arte no Tempo and Centro Cultural de Belém.

In 2019 he was appointed Young Associated Composer of Estúdios Victor Córdon (partnership with São Carlos National Theater and National Ballet Company), selected for IRCAM's Festival ManiFeste (Paris, FR), where he worked with Raphaël Cendo and the Ensemble Nikel, and was also selected for the artist residency program about Opera Creation "Bijloke Summer Academy", co-ordinated by ENOA (European Network of Opera Academies) at LOD Muziektheater (Ghent, BE).

As a performer, he plays mostly electronic instruments built by himself. Highlight for the projects CACO.MEAL (post-human non-binary techno jazz), Peter Evans' Som Crescente (contemporary electroacoustic jazz), Pedro Melo Alves' Omniae Ensemble (avant-garde jazz) and Duo Almeida / Carlos Pinto (experimental electroacoustic).

photo © Diogo Ferreira, 2018

Ordered by year. Most recent works appears first

Soloist (Instrument or Voice) and Fixed Electronic Media

Anti-manifesto.exe for megaphone and electronics (2018)
Nothingness as an emergence for prepared cello and electronics (2018)

Concert Band

Nadir for wind orchestra (2017)
Anti-manifesto.exe for megaphone and electronics (2018)
Nadir for wind orchestra (2017)
Nothingness as an emergence for prepared cello and electronics (2018)