Today we had the pleasure of being visited not only by Roberto Moritz but also by Carlos Jorge, who came in straight after him. Roberto, who examined the drawings several times without having realised how exactly he would interpret them, ended up having the elegant idea of inviting Carlos for a bit of a cooperation. The Braguinha [a machete-type traditional chordophone from Madeira Island] was the principal instrument, accompanying Carlos' voice sailing through a poem, which Roberto chose. As the first recording was done, the invitation inverted itself around, and Carlos chose another text to suitably read backwards, and asked Roberto if he could accompany him with some 'strange noises'.
We happened to have some unplanned visits, including two architects, a retired journalist, an English-Jamaican tourist, and managed to confirm Emmanuel Mejía's participation, who we did not know before, but with whom we settled a good friendship. He well surprised us with an interpretation - in a Venezuelan percussion instrument - of a house's floor plan. He then explained to us that each numbered division would represent a collection of different timbres and ways of playing; pre-composed structures of various technical strikes, which constitute an integral part of the Venezuelan traditional music.
At the end of the day, we had some time to dive into Lazaretto's waters, whose rocky beach, unknown to many, hidden just below this enormous abandoned hospital by the austerest of cliffs, is, although practically taken from a horror film, quite inviting (at least to us).
Photographs by Sara Rodrigues