Physical and Digital Release: 24 April 2025
| Artist(s) | Bernardo Santos, Orquestra Filarmónica Portuguesa, Osvaldo Ferreira |
|---|---|
| Composer(s) | |
| EAN Code | |
| Edition | |
| Format | |
| Genre | |
| Instrumentation | |
| Period | |
| Publication year |
The works for piano and orchestra “Noites nas Ruas da Mouraria” (“Nights in the Streets of Mouraria”), by Ruy Coelho, and “Noches en los Jardines de España” (“Nights in the Gardens of Spain”), by Manuel de Falla, exemplify a distinctive aesthetic in 20th-century Iberian music. Each of these concertante works evokes nocturnal imagery inspired by specific Iberian locales and cultural elements, featuring fluid piano writing and orchestral textures rich in subtlety and nuance.
Manuel de Falla (1876–1946) composed “Noches en los Jardines de España” between 1909 and 1915, originally conceiving it as a set of pieces for solo piano. The work was heavily influenced by the Spanish cultural renaissance of the early 20th century, during which composers strove to incorporate national elements into classical forms. Falla was especially drawn to the evocative power of landscapes and the atmospheric possibilities of orchestral sonorities. Encouraged by pianist Ricardo Viñes, he ultimately expanded these sketches into a more elaborate orchestral work in which the piano, though integral, is by no means merely a supporting instrument. This decision aligned with Falla’s fascination with the colourful, impressionistic orchestration of his French contemporaries Debussy and Ravel, yet it also preserved a distinctively Andalusian character.
Falla completed the final orchestration in 1915 after substantial revisions. The premiere took place in Madrid in 1916, featuring José Cubiles at the piano and Enrique Fernández Arbós conducting the Madrid Symphony Orchestra. The performance was well received, praised for its vivid ambience and Falla’s skill in weaving traditional Spanish elements into refined orchestral colours. It quickly became one of the most celebrated works in the Spanish piano concerto repertoire, frequently performed and recorded throughout the 20th century.
Each movement of “Noches en los Jardines de España” transports the listener to a different Andalusian setting. “En el Generalife” (“In the Generalife”) portrays the luxuriant gardens of the Alhambra in Granada, where the orchestra provides a richly atmospheric canvas and the piano interlaces delicate arabesques evoking the palace’s intricate architecture and reflecting pools. The second movement, “Danza Lejana” (“Distant Dance”), adopts a more enigmatic quality, with woodwind motifs suggesting remoteness, while the interplay of piano and orchestra shapes a hypnotic rhythmic tapestry. Finally, “En los Jardines de la Sierra de Córdoba” (“In the Gardens of the Sierra of Córdoba”) conveys a spirit of festivity and nocturnal wonder, underpinned by layered harmonies and the piano’s fluid recitatives, reminiscent of Andalusian serenades.
The connection between Falla and Ruy Coelho (1889–1986) is documented through letters and articles by both composers preserved at the Estate of Ruy Coelho at the Biblioteca Nacional de Portugal in Lisbon, and at the Fundacion Manuel de Falla in Granada. Coelho was one of Portugal’s foremost 20th-century composers, although his output remains to be more widely acknowledged. He was deeply committed to forging a national musical idiom, blending modernist methods with Portuguese traditional and historical elements. Over a long career, he composed operas, symphonic poems, four works for piano and orchestra, and a considerable body of solo piano music. Much like Falla’s evocations of Spain, Coelho’s works frequently convey Portuguese cultural and historical imagery, as viewed from the predominant perspectives of his time.
“Noites nas Ruas da Mouraria” (1949) was derived from an earlier piece, “Mouraria” (1944), originally written for harpsichord and orchestra. In its final form, it places the piano in a prominent solo role, with the orchestra providing a descriptive backdrop to conjure atmospheres of Mouraria, a centuries-old Lisbon neighbourhood. Its three movements—“As Mulheres Dançam às Portas” (“Women Dance at the Doorways”), “O Luar Sobre as Velhas Casas” (“Moonlight Over the Old Houses”), and “Mouraria”—embody a Portuguese perspective by incorporating themes and motifs reminiscent of Portuguese traditional music, though not quoting it directly.
In the first movement, “As Mulheres Dançam às Portas,” the piano outlines an ostinato figure that persists throughout, evoking the bustling nocturnal festivities of the Mouraria district. The orchestra complements this vibrant depiction with colourful interjections and subtle variations on the ostinato-like idea, creating a sense of dynamic spontaneity. A harmonic ambiguity at the outset lends a touch of mystery, heightening the near-mythical aura of this vignette. In its central section, a contrasting motif suggests echoes of the Portuguese guitar, further enriching the musical portrayal of Lisbon’s traditional soundscape.
The second movement, “O Luar Sobre as Velhas Casas,” offers a marked contrast, characterised by a contemplative, ethereal atmosphere. The piano begins with a delicate, bitonal passage that mirrors the interplay of light and shadow on the ancient buildings of Mouraria. Compared to the other movements, the orchestral writing here is notably restrained—shimmering strings, harp, and celesta serve to evoke a dreamlike nocturnal scene. Occasional solo passages from the cello and viola provide moments of poignant lyricism, while the piano sustains a gentle, flowing line, suggestive of moonlight slowly traversing the historical facades of this Lisbon neighbourhood.
The final movement, “Mouraria,” is the most expansive and dynamically charged. It opens with a striking piano motif, supported by orchestral flourishes that set a spirited tone sustained throughout the piece. Several contrasting themes emerge: some draw on traditional Portuguese dance rhythms, while others are more lyrical, reminiscent of fado, thereby imparting a rhapsodic quality. These themes are interwoven as the music progresses, forming a vibrantly varied tapestry that highlights the lively, multicultural character of the neighbourhood. A virtuosic dialogue between piano and orchestra drives the movement to a climactic conclusion, affirming the celebratory spirit of the work.
The premiere of “Noites nas Ruas da Mouraria” took place at the Salle Gaveau in Paris on 29 June 1949, with pianist Aline van Barentzen and the Orchestre Colonne, conducted by Ruy Coelho. The piece continued to be performed into the 1950s and 1960s, but later drifted into obscurity until the present recording. Remarkably, Van Barentzen had already been the first pianist to record “Noches en los Jardines de España” in 1928, stepping in for Ricardo Viñes on very short notice. This connection highlights the intriguing parallels between these two works, which—despite their stylistic differences—both offer a poetic vision of the night and an embodiment of the ‘Iberian mystery.’
Both pieces featured on this CD stand out as distinctive examples of Iberian music for piano and orchestra, adopting a programmatic approach that departs from more conventional concerto structures. This recording also represents the first commercial release of “Noites nas Ruas da Mouraria,” thus preserving an important, though previously overlooked, facet of Portugal’s symphonic heritage, and furthering recognition of Ruy Coelho’s significant contribution to the repertoire. Their evocative orchestral writing and impressionistic colouring provide a welcome addition to the piano concerto canon, enriching the dialogue between soloist and ensemble. By painting vivid sonic images rooted in specific cultural contexts, they transcend mere virtuosic display, offering instead an immersive and atmospheric musical experience.
Bernardo Santos © 2025
Bernardo Santos
Bernardo Santos is one of the most sought-after Portuguese pianists of his generation. With performances ranging over four continents, Bernardo has played in venues such as the Casa da Música, Convento de São Francisco, Teatro Rivoli in Portugal, Sala Cecília Meireles, Amazon Theatre and Palácio das Artes in Brazil, Fairfield Halls, Royal Albert Hall and St. James Piccadilly Church in London, National Concert Hall and the Tonhalle Düsseldorf, among many others. Santos has been invited to several piano and chamber music festivals all over Europe, South America and Asia.
As an invited soloist with orchestra, Bernardo had the opportunity to play with the Minas Gerais Symphony Orchestra, Amazon Chamber Orchestra, Vidin State Philarmonic Orchestra, Orquestra Classica do Centro, Orquestra Filarmonia das Beiras, among others. He has played under the baton of conductors such as Antonio Vassalo Lourenco, Bruno Martins, Charles Gambetta, Hilo Carriel, Kira Omelchenko, Marcelo de Jesus, and Silvio Viegas. Bernardo complements his artistic career with research on famed Portuguese composers Berta Alves de Sousa and Frederico de Freitas, being responsible for the critical edition and publishing of works by both composers. His main object of research now incides on the music for piano by Portuguese composer Ruy Coelho. Bernardo gave masterclasses in several universities and music schools in Portugal, Brazil and Colombia. Bernardo Santos is an avid chamber musician, having studied with Antonio Chagas Rosa, Eugene Asti and Martino Tirimo. Bernardo collaborated with artists such as André Lacerda, David Wyn Lloyd, Diana Rodriguez Vivas, Diego Caetano, Liana Branscome, Olga Argo, Svetlana Rudenko and Belem Quartet from Brazil. Bernardo has also participated in the project “Curtas” of the composer and guitarist Israel Costa Pereira, having recorded a CD for this project.
Bernardo Santos is currently taking part of the Doctoral Programme in Music Performance (PhD) at the University of Aveiro. Bernardo graduated from Trinity Laban Conservatoire of Music and Dance in London, Conservatori del Liceu in Barcelona and from the University of Aveiro (Aveiro City Prize), having studied with Deniz Gelenbe, Josep Colom, Álvaro Teixeira Lopes and Klara Dolynay. During his studies, Bernardo Santos was a Trinity College London Scholar and recipient of scholarships from Fundação GDA and Fundação Dionísio Pinheiro e Alice Cardoso Pinheiro.
The Portuguese Philharmonic Orchestra (Orquestra
Filarmónica Portuguesa) is supported by Direção-Geral
das Artes and by funds from the European Union’s
Creative Europe program, having ranked first among
the European orchestras that applied for this project.
The 2022–2024 triennium was a particularly special
period for the Portuguese Philharmonic Orchestra
(OFP), marked by tremendous successes. At the
invitation of the Institut Français de Culture, the OFP
performed at the théâtre des Champs-Élysées in a
concert included in the Saison Croisée France/Portugal
2022 season, marking its international debut at the
renowned Parisian venue. Also in Paris, and at the invitation
of UNESCO, the OFP delivered a memorable
concert at the headquarters of this prestigious global
organization as part of the celebrations for World
Portuguese Language Day. this concert was recorded
and streamed worldwide.
As the leader of the "Sounds of Change" project—bringing
together partners from Germany, Spain, Slovenia,
and Serbia—the OFP had its application selected by the
European Union’s Creative Europe program, becoming
one of only twenty projects funded among hundreds of
applicants.
At the invitation of German promoters, the OFP
performed at the iconic Berlin Philharmonie, receiving
enthusiastic applause and outstanding reviews.
During the 2021 and 2022 seasons, the Portuguese
Philharmonic Orchestra further consolidated its success
and national and international impact, receiving an
invitation to take part in the celebrations of the 500th
anniversary of Ferdinand Magellan’s circumnavigation
voyage. For this occasion, the OFP performed significant
As a chamber musician, Bernardo studied under
guidance of Antonio Chagas Rosa, Eugene Asti and
Martino Tirimo. Bernardo frequently collaborates
with other artists such as Artur Pizarro, Pascal Rogé
and Deniz Arman Gelenbe. He also has a long time
partnership with cellist Burak Özkan, with whom
Santos actively plays as a duo and other ensemble
formations.
Bernardo complements his artistic career with research
on Portuguese composers Berta Alves de Sousa and
Frederico de Freitas, being responsible for the critical
edition and publishing of works by both composers.
the main object of research now incides on the music
for piano by Portuguese composer Ruy Coelho. Bernardo
gave masterclasses in several festivals, universities and
music schools in Argentina, Brazil, Colombia, Malaysia,
Mexico, Portugal, Spain, Turkey and Vietnam.
Bernardo Santos is currently taking part of the Doctoral
Programme in Music Performance (PhD) at the University
of Aveiro, being a research fellow at INET-md.
Bernardo graduated from Trinity Laban Conservatoire
of Music and Dance in London, Ljubljana Academy of
Music, Conservatori del Liceu in Barcelona and from
the University of Aveiro (Aveiro City Prize), having
studied with Dubravka Tomsic, Deniz Gelenbe, Josep
Colom, Álvaro Teixeira Lopes and Klara Dolynay.
Bernardo Santos is the president of the World Piano
Teachers Association (WPTA) Portugal, co-founder
and co-director of Festival Internacional de Piano y
Orquesta de Guadalajara (FIPOG) in Mexico and
Artistic Director of the “Ciclos Lua Nova” concert
series, hosted by Fundação Dionísio Pinheiro e Alice
Cardoso Pinheiro, in Águeda, Portugal.
concerts featuring commissioned works by renowned
Portuguese and international composers.
the Portuguese Philharmonic Orchestra has performed
throughout almost the entire national territory, interpreting
some of the most significant works of the symphonic
repertoire and accompanying distinguished international
soloists. Among its regular concert venues are the
Centro Cultural de Belém (CCB), the Aula Magna of
the University of Lisbon, the Altice Arena (where it is
an associate orchestra), and Campo Pequeno in Lisbon;
the Coliseu do Porto, Casa da Música, the Salão Árabe
of the Palácio da Bolsa, the Serralves Gardens, and the
Romantic Museum in Porto; Europarque (Santa Maria
da Feira), Theatro Circo (Braga), Convento S. Francisco
(Coimbra), Teatro Sá de Miranda (Viana do Castelo),
Teatro Municipal de Bragança, Teatro Viriato (Viseu),
Teatro Municipal da Guarda, Centro de Congressos de
Santarém, Centro Cultural Olga Cadaval (Sintra), Teatro
das Figuras (Faro), Teatro TEMPO (Portimão), Teatro
Aveirense (Aveiro), Auditório de Olhão, Centro Cultural
do Arade (Lagoa), as well as annual performances at most
of the country’s major music festivals.
PHOTO: DUKTUS SOUND STUDIO
the OFP has consistently supported young national
soloists and conductors, commissioning and
premiering 16 works by Portuguese composers and
five by international composers. Notable support has
been given to young Portuguese composers Ana Seara,
Anne Vitorino d’Almeida, Fátima Fonte, Ana Ataíde
Magalhães, Camila Salomé Menino, and Sara Ross, as
well as collaborations with Alexandre Delgado, Luís
Tinoco, Rafael Diaz, and Nuno Guedes Campos.
Founded in May 2016 by Osvaldo Ferreira and Augusto
Trindade, the Portuguese Philharmonic Orchestra is
widely recognized by audiences and critics alike as one of
the finest national symphonic orchestras. the high standards
of quality and artistic excellence established from
its inception have resulted in an ensemble composed of
musicians with outstanding technical and artistic ability
from various nationalities—including prize-winning
instrumentalists from national and international
competitions, former members of the European Union
Youth Orchestra, and foreign musicians residing in
Portugal.
The Portuguese Philharmonic Orchestra is artistically
directed by conductor Osvaldo Ferreira, one of the
most prominent orchestral conductors in Portugal
today.
Osvaldo Ferreira is the artistic director of the
Portuguese Philharmonic Orchestra.
In Portugal, he served as the artistic director of the
Algarve Orchestra and the Algarve International Music
Festival. He has recorded several CDs featuring works
by Portuguese composers for the Numérica label, as
well as a double CD with Mozart symphonies. With
the Algarve Orchestra, he has performed in Vienna,
Brussels, Lisbon, Seville, Porto, Curitiba, and London.
He was also the music director of the Curitiba Music
Workshop.
His career highlights include conducting major
orchestras such as the Saint Petersburg Philharmonic,
the Rome Symphony Orchestra, the Gulbenkian Orchestra,
the Prague Orchestra, the Łódz Philharmonic,
the Silesian Philharmonic, the Nuremberg Symphony
Orchestra, the Rhenish Radio Philharmonic, the
National Orchestra of Porto, the Orchestra of the
National eatre of São Carlos, the Aspen Music
Festival Orchestra (USA), and the National Orchestra
of Venezuela, among others.
He earned a master’s degree in orchestral conducting in
Chicago and pursued postgraduate studies at the Saint
Petersburg Conservatory under Ilya Mussin. In 1999,
he was awarded at the Sergei Prokofiev Competition
in Russia. He received a "Fellowship" from the Aspen
Music Festival, where he attended the American
Conductors Academy. He was an assistant to maestro
Claudio Abbado in Salzburg and Berlin. He also
studied with Jorma Panula and David Zinman and was
a scholarship recipient from the Portuguese Ministry of
Culture and the Calouste Gulbenkian Foundation.
Falla Manuel De: (b Cádiz, 23 Nov 1876; d Alta Gracia, Argentina, 14 Nov 1946). Spanish composer. The central figure of 20th-century Spanish music, he addressed over the course of his career many of the salient concerns of modernist aesthetics (nationalism, neo-classicism, the role of tonality, parody and allusion) from a unique perspective. Like many Spaniards, he was attracted to French culture. His predilection for the French music of his time, especially that of Debussy, caused him to be misunderstood in his own country, where conservative-minded critics attacked his music for its over-susceptibility to foreign influences. Reaction to Falla’s music by his compatriots often mirrored the convulsive political changes the country underwent before and during the Spanish Civil War (1936–9), a period of intense cultural activity whose musical manifestations nonetheless remain relatively unexplored.
Ruy Coelho
(b Alcácer do Sal, 3 March 1889; d Lisbon, 5 May 1986). Portuguese composer. He studied at the Lisbon Conservatory with Alexandre Rey Colaço (piano) and António Eduardo da Costa Ferreira and Tomás Borba (composition). Later he studied with Humperdinck in Berlin (1910–13) and with Vidal in Paris. In Portugal he often appeared as a pianist and a conductor, mainly performing his own works. He worked for Portuguese radio and was music critic for several Lisbon newspapers.
In spite of his contact with the European musical trends of the 1910s, Coelho made almost no use of 20th-century techniques. He composed in a nationalist manner, aiming (in his own words) ‘to make known to the world the Portuguese spirit’. For that purpose he created (1934) the Acção Nacional de Ópera, a foundation for the promotion of Portuguese opera, which, however, performed only his own works. Coelho has often been inaccurately called the creator of Portuguese national opera. Nevertheless, he gave a strong impulse to dramatic genres and fostered a new interest in national subjects. In his operas Coelho used only Portuguese texts on national subjects, literary, historic and popular. He wrote the first Portuguese ballets of the 20th century, all of them on traditional subjects. In his orchestral works he portrayed some of the greatest events of Portuguese history and described the Portuguese landscape. Coelho’s activities and music were also strongly connected with the political life of the period. As a result, his music was performed less often after 1974. Nowadays his operas are no longer performed, but the ballets and the orchestral works, full of popular themes, are still played.
13.76€
Physical and Release: 17 July 2026
Physical and Release: 17 July 2026
Physical Release: 17 July 2026 Digital Release: 24 July 2026
