JOANA SÁ // In Praise of Disorder
Joana Sá . semi prepared piano, bells and sirens installation, toy piano, noise boxes & mini amps, harmonium, flexible tubes
Rosinda Costa . voice
1 . Overture
2 . Hierarchy of Insanity
3 . Weakness of solids
4 . All that is light has a dark part (Lullaby)
5 . Praise of disorder
6 . Reality, imagination (a method not to go insane)
7 . The elegant fall
There is something of a skeptical respect between the arts; a respect for the work of another over matter one does not master. Composers tend to see and read the world as if they were listening. In Through This Looking Glass (2010), Joana Sá had us reading some of the texts that belong to her world of sounds and to a performance Daniel Costa Neves translated into images – texts and images that baptize the exploration of an enormous musical freedom . Always in search of the liberation, the energy and the surprise of a gesture in sound, In Praise of Disorder is more rigid in form, doing away with image and giving voice to texts by Gonçalo M. Tavares. The speech organizes the thoughts that filter the multiple, disorderly, eccentric, voluble mind. The music is the Praise of Disorder that goes on in our heads, fit to give us back (awkwardly, at times painfully) not only the multiplicity of ideas, images, sounds and even voids, but mostly their simultaneity. That is why Joana Sá, through techniques that once belonged solely to studio settings in concert, uses the recording to put the listener in the place of the pianist, of the composer and of Rosinda Costa, watching, reading and speaking.
Only logged in customers who have purchased this product may leave a review.