The concerts of the Artist Residency Series are the culmination of the participation of tomorrow’s music stars- young and brilliant pianists who come to the festival to work with the artist faculty of Porto Pianofest and prepare for tours, recordings, important concerts, and to make their art known to the world. Six pianists are chosen, from all continents, to perform in a solo recital and share their unique musical ideas with our welcoming audience in Porto.

This single ticket includes entrance to the full day of Artist Residency Concerts for August 7th, with recitals at 18h00 and 19h30. Join us for one concert that evening, or both!

Daniel Alvarez Veizaga is a Bolivian composer and pianist whose work focuses on the narrative dimension of music, engaging with diverse traditions and idioms to construct hybrid sound worlds rooted in the Andes.

His output spans orchestral, chamber, vocal, and solo repertoire, with a strong emphasis on piano writing. His works often explore the boundaries between the archaic and the contemporary, memory and transformation, drawing on Latin American musical forms, poetic references, and experimental approaches to sound. Recent projects include Flores para Nayjama, a cycle of thirteen guitar pieces in dialogue with Bolivian poetry, and De desamor, a set of piano cuecas that reimagines traditional dance forms within a contemporary idiom.

As a performer, he has developed a close engagement with contemporary and Latin American piano repertoire, frequently programming works by Bolivian composers across different generations.

————

Program Note from the Artist:

This recital brings together contemporary voices from Latin America, exploring different approaches to musical expression through works connected by a shared attention to imagination, atmosphere, and the poetic potential of sound.

The program opens with Miguel Rivera Bénard’s Homenaje, Giorgos Kouvaras, a work shaped by a highly contrapuntal language in which even articulation becomes part of the polyphonic discourse. Its precision and delicacy create a subtle and constantly shifting musical texture. It is followed by two pieces by the Bolivian composer Franz Terceros, whose writing is marked by bold gestures and sharply defined character. Claroscuro explores the idea of contrast through changes of register, texture, and intensity, while Grave persistencia unfolds from the obsessive return of a persistent musical motive.

At the center of the recital stands Marvin Sandi’s Sonata en un movimiento, one of the landmark works of twentieth-century Bolivian piano literature, revealing a voice of remarkable expressive intensity and structural coherence.

The program then presents the first eleven pieces from liminales, an ongoing cycle of thirty-one miniatures that explores brief and fragile states: lullabies, prayers, dreams, childhood memories, imagined figures, and everyday scenes. Each piece inhabits a threshold between image and sound, memory and invention.

The recital concludes with En el Mal from De desamor, a virtuosic and extroverted cueca for solo piano. Rooted in the traditional Bolivian cueca—a dance characterized by rhythmic vitality and expressive interplay—it transforms familiar gestures into an energetic, sharply articulated, and intensely theatrical musical language.

Although these composers belong to different generations and aesthetic worlds, their music reveals a common interest in atmosphere, expressive character, and the evocative power of sound. Together, the works offer a glimpse into the richness and diversity of contemporary Latin American musical creation.