Born and raised on Terceira Island, Gualter Silva did not have to choose music; it had always been part of his life. He grew up in a family environment strongly linked to music: his father was involved in the philharmonic, teaching, and folklore; his mother was a singer, both in popular groups and traditional shows. “I often joke that I started taking music lessons when I was born,” recalls the musician in an interview with Açoriano Oriental newspaper.

“Of course, making a living from music is not just about liking it, there are many barriers, both emotional and in terms of resilience, that have to be overcome. Because the work is not only done at the time of the concert: hundreds of hours are spent locked in a room studying and planning, so that, when the time comes to perform, everything is at the level we want,” he says.

Despite his youth, Gualter Silva already has three international awards, soundtracks broadcast on RTP, ballets written for the National Dance Conservatory, and arrangements for nationally renowned artists.

“I often say that whenever I achieve international recognition, I have a week of celebration. I receive lots of messages, including from fellow composers who compete with me, where we exchange impressions about the works and even share ideas,” he said.

He highlights the work “No Ventre da Mátria” as the one that has had the most impact on him. “Firstly, because of the intense work of almost a year around the piece. Secondly, because of the various setbacks faced until its presentation, many of them due to the lack of support from our government, which, instead of supporting, so often hinders. And finally, because this work already represents an evolution and maturity that others were seeking to achieve: a clear conviction in the language I wanted to explore,” he explained.

His versatility is evident: he composes contemporary classical music and themes for popular marches, as well as traditional themes, often intended for Azorean festivities.

Inspired by names such as Olivier Messiaen, R. Murray Schafer, Fernando Lopes-Graça, and Joly Braga Santos, Gualter finds fertile ground for creation in the Azorean soundscape. “My goal, with the integration of the concept of soundscape into my art, is to breathe new life into these natural sounds: to explore them and reveal them to the public—sounds that many people don’t even realize they have right next to them. The same applies to traditional music. A soundscape is composed of all the sounds that identify a place, whether they are of human or natural origin,” said the musician from Terceira.

When asked about the state of music in the Azores, he expresses hope, but also sounds a note of caution. He admits that more and more Azorean musicians are being recognized and believes that “this merit is largely due to an education system that gives us hope for better days, with increasingly wider access to music education on all the islands.”

However, he says that “there is still much to be done.” “For example, our conservatories, especially in the central group, could invest more in regular concerts and the active functioning of orchestras. This would be extremely beneficial, not only for students, musicians, and composers, but also for the general public, who would become more educated and culturally involved,” he told AO.

On the other hand, he says that “our leaders must be sensitive to art and know how to support it. And I am not just talking about financial support, I am talking above all about the importance of being drivers of artistic creation, rather than hindering or restricting it, as is unfortunately so often the case.”

Maria Andrade is a journalist for Açoriano Oriental newspaper. Paula Gouveia is the director.