The works for violin and piano, Three Fragmented Perceptions (2014) by Daniel Martinho and Num único [gesto]... saberás tudo aquilo que tenho calado (2014), will have their premiere performances during the tour of the Doppio Ensemble in the United States, between November 12 and 20. In the context of this tour the duo will visit the following American universities: Berkeley University and San José State University in California, University of Massachusetts Dartmouth, University of Massachusetts Lowell, as well as Rutgers University in New Jersey. Apart from the works by Daniel Martinho and Nuno Peixoto de Pinho, both composers published by the MIC.PT, the porgramme of the concerts will also include the music of Fernando Lopes-Graça, Anne Victorino d'Almeida, Sérgio Azevedo, Jean-François Lézé and Astor Piazzolla. Created in 2002 by the violinist Evandra de Brito Gonçalves and the pianist Ana Queirós, the Doppio Ensemble has given concerts at various venues and festivals in Portugal, within a broad repertoire ranging from Baroque to our time, yet giving particular attention to Portuguese repertoire.

On November 8 at 4h00 p.m. at Casa da Música, the Lisbon Contemporary Music Group (GMCL) will give a concert, during which it will present various Portuguese works, some of them commissioned by the GMCL, and among which one can find five pieces by the composers published by the MIC.PT, that is, Keep Invention in a noted weed… by Isabel Soveral (premiere), No mais fundo de ti… by Clotilde Rosa (premiere), ECOS - músicas de um dia e de ironia by Cândido Lima (premiere), as well as Remake (1983/85) by Jorge Peixinho and Oito Poemas Breves de Valter Hugo Mãe (2002) by Fernando C. Lapa, which will open the concert. This programme will be also complemented with the piece Siringe e outros sons (2013) by Álvaro Salazar. Founded in Spring 1970 by Jorge Peixinhio, since the beginning the GMCL has become essential in the history of art music in Portugal, having as aim the promotion of creation, and dissemination of contemporary chamber works by various generations of Portuguese composers. This has indeed been one of the Group's fundamental concerns throughout its more than 40 years of continuous existence.

The work for violoncello and piano, Sonata sobre Temas Medievais (1969) by Cândido Lima, composer published by the MIC.PT, will be presented at the 42^nd International Viola Congress in Porto, on November 27 at 4h30 p.m. at the São Bento de Vitória Monastery. The Congress will be taking place between November 26 and 30 at various venues in Porto and the event's programme will also include other works by Portuguese composers from the 20^th and 21^st centuries, that is, Armando José Fernandes, Fernando Lopes-Graça, Sérgio Azevedo (world premiere), António Victorino de Almeida, Luiz Costa, Luís de Freitas Branco, Emmanuel Nunes (Portuguese premiere), Joly Braga Santos, Alexandre Delgado and Cláudio Carneyro. The 42^nd International Viola Congress Porto 2014 will be composed of five days of intense musical activity, including viola recitals, masterclasses, concerts with orchestra and solo viola with the best performers from the world over, and numerous conferences delivered by personalities from the musical and economic community, and relevant on the international panorama.

The work for soprano and ensemble by António Chagas Rosa, Elegias Chinesas (segundo Camilo Pessanha) (2014), will have its premiere performance on November 18 at the Sala Suggia, Casa da Música in Porto. This concert entitled Songs from the East, whose programme also includes pieces by Dai Fujikura, Tan Dun and Unsuk Chin, will be performed by Yeree Suh (soprano) and Mei Yi Foo (piano), as well as by the Remix Ensemble Casa da Música conducted by Peter Rundel. In this context the new work by António Chagas Rosa, composer published by the MIC.PT, constitutes a cycle of eight songs based on poems originating from the distant Ming dynasty, one of the discoveries of the poet Camilo Pessanha in Macau.

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Within the cycle, Compositores na 1.ª pessoa (II), on November 13 at 9h30 p.m. at the Museu Arte Nova in Aveiro, Carlos Caires, composer published by the MIC.PT, will present to the audience a part of his work composed for instruments and live electronics. The 2^nd series of this cycle organized by the association Arte no Tempo in the context of the Omnia Mutantur project, began with two meetings in October, with the participation of the composers published by the MIC.PT, Isabel Soveral on October 23 and Cândido Lima on October 30. The cycle Compositores na 1.ª pessoa (II) is a guide through the work of five composers, sharing the way they understand their music. In November there is also a possibility to attend the meetings with Dimitris Andrikopoulos (November 6) and Virgílio Melo (November 20).

The work for (prepared) piano and toy piano, inside silence by Sara Carvalho, composer published by the MIC.PT, will be performed in Italy within two recitals by the pianist Antonietta Loffredo. The first one entitled Antarctica and with a multidisciplinary character, is the result of a collaboration with the University of Western Texas. It will take place on November 7 in Como, in the context of the Concert Season organized by the Associazione Giouse Carducci. The second performance of Sara Carvalho's piece will take place on November 24 in Bologne, during a concert entitled Intorno al Pianoforte… at the San Giacomo Festival. The work inside silence was commissined by the Antarctica project and by the Italian pianist Antonietta Loffredo.

Fernando Lopes-Graça left us 20 years ago, on November 27, 1994. This great composer, pianist, teacher, critic and essayist, left an extensive music work together with an important literary work, which gives evidence to his great humanist education and intense cultural and political activity. Fernando Lopes-Graça was one of the most prolific Portuguese composers. He maintained his artistic production between 1927 and 1992, having created 260 titles and having in his catalogue 694 pieces of various genres - original works, revisions, sketches and transcriptions. On the one hand, one of he most relevant aspects of his musical style has to do with his commitment to use Portuguese folklore as a mean to forge his personal style, similarly to Bela Bartók or Leoš Janáček; but on the other, many of his pieces are quite cosmopolitan in their style and approach. According to Teresa Cascudo, who writes in the book Dez Compositores Portugueses (Ten Portuguese Composers), coordinated by Manuel Pedro Ferreira and published by Dom Quichite: "Many misconceptions in evaluating the work of Lopes-Graça have emerged from the lack of understanding of the Portuguese musical past, which in great part determines the reception of his work, either by imitation or rejection."
Fernando Lopes-Graça's professional life was frequently turned difficult by the regime of Estado Novo, due to his political convictions and affiliations. Before the Portuguese Revolution on April 25 1974, he had been imprisoned many times, as well as prohibited to teach in public institutions, such as the National Conservatoire in Lisbon. In spite of these circumstances, he managed to develop a prolific activity, not only when it comes to collecting Portuguese folklore, together with Michel Giacometti, but also as animator of music life in Portugal, for example as founder of the Sonata Concert Society, which he directed until 1961, and which was dedicated to the promotion of contemporary music, becoming a reference for the intellectual avant-garde of the time.
Fernando Lopes-Graça's music has been object of various discographic editions and musicological research in Portugal, nevertheless his work still awaits a broader international recognition, not only for its unique artistic value, but also for the role it played in the history of Portugal in the 20^th century.

The 4^th National Meeting for Research in Music, will be taking place in Seixal between November 20 and 22. It is organized by the Portuguese Society for Research in Music (SPIM), in collaboration with the Centre for Studies in Music Aesthetics and Sociology (CESEM), the Institute of Ethnomusicology - Music and Dance (INET-MD), the Seixal Municipality and the IFCT Arts School. The ENIM 2014 is dedicated to the commemorations of the 40 years after the April 25, Portuguese Revolution, where music constitutes a vast field for research, discussion and reflection. The presentations made during the Meeting will approach various aspects connected with the processes of social, political and cultural changes in Portugal during the last 40 years, and analogical experiences in other countries, for example: Music and musicians in political resistance and revolutionary process; Transformations of the public sphere as well as networks of production, mediation and reception; Music in the mass-media and digital networks; Music institutions and public politics in the areas of education and culture; or Politics of identity: in search for the "national", "regional" and "local".