Hugo Vasco Reis (Lisbon, 1981) is a composer of contemporary music. He studied at the Escola Superior de Música de Lisboa, with Sérgio Azevedo, Luís Tinoco and António Pinho Vargas, where he graduated in composition (BA in Music). He studies with Isabel Mundry at Zürcher Hochschule der Künste (ZHdK). He had private classes and master classes with the composers Åke Parmerud, Hans Tutschku, Chaya Czernowin, Zigmunt Krauze, Toshio Hosokawa, Justė Janulytė, Dieter Ammann, Franck Bedrossian, Stefan Prins, among others. His catalog contains works for orchestra, chamber music, solo instruments and electroacoustic, being performed in several concert halls and festivals (Portugal, USA, Germany, Austria, United Kingdom , Switzerland, Italy, Estonia, Poland, Spain, India and Mozambique) and awarded/selected in several competitions [Matera Intermedia Festival (Matera, Italy), The Future Blend Project (Warwick, United Kingdom), NGCS (Boston, USA), Folefest (Lisbon, Portugal), Festival Criasons (Lisbon, Portugal), Risuonanze 2018 (Udinne, Italy), Portuguese Composers Association (Lisbon, Portugal), International Society for Contemporary Music – World Music Days 2019 (Tallinn, Estonia) and GMCL / Jorge Peixinho (Lisbon, Portugal)].

A Solidão de um Pêndulo (The Solitude of a Pendulum) (2021) is a work for portuguese guitar, bow, electronics, microphones and loudspeakers, for a solo performance. In this work, experimentation is achieved through the accumulation and dissipation of gestures, and this phenomenon, by itself, creates the narrative of the piece. It puts into question the traditional method of using microphones and loudspeakers, going from fixed points to moving elements, which capture the executed sound and create by themselves the design and spatialization of the sound. It is also proposed the used of the portuguese guitar outside its conventional position, seeking to achieve a new sound experience and freeing the performer from the necessary fixation points for its conventional use. This position allows the performer to react differently with the instrument. The piece does not have a fixed score, but rather a conceptual outline of its structure and gestures, allowing sound, experimentation, permanent listening and its process of understanding to create the musical discourse.