Violin (The Daughter trio)
London 2019 (UK premiere)
Portuguese violinist Joana started playing violin aged 4 and soon joined the Aveiro Conservatoire of Music where she studied with Ana Sofia Mota until she finished school. Continuing her studies, her main teachers were Radu Blidar(Royal College of Music, London), Gordan Nikolic (Codarts, Rotterdam) and Paul Wakabayashi (chamber music – ANSO, Lisbon). She was fortunate to be a recipient of the Gulbenkian Foundation Scholarship for this period in her life. She also participated in Masterclasses for solo and chamber music, given by distinguished Professors including Daniel Rowland, Catherine Manson, James Boyd, Leonid Kerbel, Zoltan Santa and the Chilingirian Quartet. As chamber music is one of her main passions, Joana was a member of the Sattler Quartet and now is a member of the Corran Quartet and co-manages Artisti con Brio. She attended many festivals such as Harmus Festival, Stift International Festival, Aurora Chamber Music and Lake District Chamber Music. Joana has been a member and guest in several orchestras including Garsington Opera, London Mozart Players, Bournemouth Symphony Orchestra, Southbank Sinfonia, Britten Sinfonia, Opera North, Orpheus Sinfonia, Philharmonia Amsterdam, Gustav Mahler Jugendorchester and Chipping Campden Festival Academy Orchestra. Her interest for historical performance has led her to some festivals such as Dartington, EUBO Mobile Academy and Freiburg Barockorchester Academy where she had the opportunity of studying with wonderful violinists such as with Petra Müllejans, Margaret Faultless and Adrian Butterfield. She also plays regularly with period ensembles such as Brandenburg Sinfonia and Feuersinfonie(Utrecht Oude Muziek Fringe Festival). In 2016 she received a Career development bursary from Help Musicians UK and performed complete Beethoven Sonatas in a four-concert cycle in London. Future engagements include a complete Beethoven Quartet Cycle during 2020 and a new chamber music series at Candid Arts (Angel).
“Participating in “THE鍵KEY” was a unique experience for me, starting with having an ensemble with percussion and singer and of course, being part of something that you couldn’t see/hear the whole of it. This particular characteristic made each performance different as the sounds from other rooms would come and complement or interrupt ours at different times. I also enjoyed how much we were encouraged to ‘add’ to our parts, keeping it fresh each time.”