Adriana Sa and Joanne Cannon met in London. After a week of having beer and dinner together every night and playing together everyday, they decided it would be a good idea to develop the relationship. The music explores the convergences and the divergences of their individual artistic languages.
In this concert Joanne will play bassoon and custom digital wind controller instruments. Within the context of the Bent Leather Band duo, in which she plays with her husband Stuart Favilla, her music has been described as: “The music stopped and started, fumed and erupted, turned off at obscure angles like a reconstituted 1960’s Holden fitted with two steering wheels in the hands of a couple of jackaroos. [Jon Rose, 2002]
Adriana will play a zither and custom audio software, which generates sonic complexity based on pitch detection from the zither input. Her music highlights surreptitious chromaticisms and timings, avoiding easy developments. It reveals an archetypical form, where sonic streams at times converge in unison, and other times diverge following independent directions.
The duo promises to start, fume, erupt, and gently transport the listener from the Australian bush and musical larrikinism to the Portugese country side… in the vibrant here and now.
– Thursday 22/8/2013 7.30 p.m., Trem Azul, Lisboa, Portugal (Rua do Alecrim 21 A)
– Saturday 24/8/2013 8p.m., Sonoscopia, “microvolumes”, Porto, Portugal (Rua da Prelada nº 33 )
Adriana Sa is transdisciplinary artist, performer musician/ composer, with a background in music and fine arts. She has been developing and presenting her work in Europe, USA and Japan since 1995. Adriana worked full-time on her artistic projects until 2009, with grants, supports and commissions. During this period she developed a number of project-series, involving many Portuguese and international artists. Subsequently she was a lecturer, until she started a practice-based PhD in arts and computing technologies, in the UK. Adriana is developing a perceptual approach to instrument design, composition and performance, in which she outlines the boundaries of artistic insights with the aid of cognition/ attention science. This research feeds back into compositional strategies that take advantage of disparities between acoustic and digital. Throughout the years, Adriana used sensor technologies to explore music as connected to light, movement, architecture and weather. She developed and performed with an audio-visual instrument including an acoustic zither and 3D rending software, where sound and image affect each other reciprocally. She also augmented the zither with software that detunes audio samples based on pitch detection “error”. Adriana’s graphical scores choreograph texture, density, dominance and sequence variations rather than clock-time or note arrangements.
Born in Sydney Australia, Joanne Cannon began playing the bassoon when she was 13. At seventeen she was awarded an ABC orchestral scholarship. Five years later with the desire to propel the bassoon beyond its role in the orchestra, she left orchestral life to pursue and explore other musical possibilities. Joanne is Australia’s and one of the worlds leading improvisers and exponent of extended techniques on the bassoon. She has played, studied, composed, and performed across a variety of music traditions and genres including Jazz, South Indian Carnatic music, new music repertoire, improvisation and computer music.In collaboration with Stuart Favilla, Joanne has been making, playing and researching digital musical instruments since the mid 1990’s. Within their Bent Leather band duo she has developed unique and spectacular digital wind controller instruments including the Serpentine Bassoon and the Contra-Monster. Work of the Bent Leather Band has been recognized internationally through prizes, awards and many concert and festival invitations.