ANU School of Music Streaming Sounds

Questions for David Pereira

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  1. It was a beautiful concert thank you. The Kats-Chernin piece did sound different. I assumed that was because it was being played in a larger venue until Katherine Day said that Elena had modified part. It was also great to see the humour around the Q&A session. Renaissance or renaissance man I wonder?

    • Dear Michelle,

      Thanks for your interest and encouragement. I’m interested in a lot of subjects not so obviously ‘musical’, and in finding their less-obvious connections with music. Neurobiology, for example. And then you go – “Well of course it has much to do with music!” I also like very practical things like our ‘bow-grip’ and when it’s a good one.

      David Pereira

  2. Thank you. Your playing was amazing.
    My favourite piece was the last piece, and I was wondering if the composer, Kovacs wrote anything for cello?
    from Dominic

  3. It was great to be able to watch some of the rehearsal footage from interstate! Sounds beautiful!
    Did the fact that this concert has an online component affect how repertoire was chosen?
    Has it influenced how you perform or understand the music?

  4. I enjoyed watching the interviews and rehearsal footage. Having access to that as well as the concert itself, from 11,000 miles away, has the wonderful effect of enhancing the immediacy for your audience in Bloomington Indiana. Best of luck to all!

    As a side thought for the School of Music administration, why not give your international cyber audience an easy way to donate through the website to help the School of Music?

  5. Is there anything about the experience of an online performance as a player that you actually prefer over a live performance?

  6. Do you agree there is something special about being present at a live performance, rather than hearing the concert online? If so, what can be done to enhance the concert experience for online listeners?

  7. Do you think that streaming live performances online is necessary to connect young people with classical music?

  8. Dear David,
    I know you play a lot of contemporary works. When you first get the score, how do you go about tackling the work? Do you have a step-by-step process? And how often do you ask the composers for their help as you prepare these new works?

    All the best,

    Rachel Scott

  9. Is there any way you have to adjust your playing when performing with a clarinettist?

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