DANIEL PEREIRA

www.daniel-pereira.com

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Pianist, teacher and researcher, Daniel Pereira graduated with a Doctorate in Musical Arts from the University of Maryland, a Master of Music from the University of Hartford and an Artist Diploma from the State University of New York, all in the United States, and after having completed the Superior Piano Degree at the Conservatorio Superior de Vigo. He obtained awards such as the Moses Haltzmark, Hartt Alumni, Evelyn B. Storrs and the Premio Extraordinario Fin de Grado Profesional. His doctoral thesis consisted of the complete preludes for piano by Alexander Scriabin, on which Pereira released a double cd in May 2020, 90: Scriabin Complete Piano Preludes, for Odradek Records. Of Pereira's interpretation on this disc, Melómano magazine highlights his "truly delightful pianism", and Ritmo notes that "he offers us his best in playing the soul of each work". Recently, he performed with the Trio Preseli at the Auditorio de Galicia in Santiago de Compostela, together with soprano María Hinojosa and trumpeter Simon Lewis. Among other works, the trio premiered Fernando Buide's Nao de Sangue and is preparing a CD with original pieces for this ensemble by Anthony Randall.
Pereira trained in festivals and masterclasses in Spain, Portugal, France, Italy, Belgium, Switzerland, Czech Republic, Brazil and the United States. He has appeared on television and radio in Spain, Brazil, Luxembourg, Italy, Portugal and the United States. He was selected to participate in masterclasses by pianists such as Garrick Ohlsson and Seymour Lipkin and has worked with maestros Luiz de Moura, Paul Ostrovsky, Mikhail Volchok, Boris Berman, Helena Costa, Steve Lubin, Eugene Pridonof and Carlos César Rodríguez. He participates as a teacher, guest artist and speaker at the International Keyboard Festival & Masterclass Eurocity Tui-Valença (IKFEM) and offers masterclasses at the Turtle Bay Music School in New York and at the Federal University of Minas Gerais in Brazil. He has conducted extensive research on pianists of the past, old and current recordings and schools of performance at the only institution of its kind in the world, the International Piano Archives at Maryland (IPAM) in the United States. Since January 2021, Pereira collaborates with this institution, which publishes monthly its extensive Pianistic Traditions project through its Family Trees, as does Melómano Digital in Spain. The English magazine International Piano published the article Rooted in Tradition about this project.
Pereira published the book We Can't Always Play Waltzes for the New Yorker Carl Fischer, together with the prestigious oboist Bert Lucarelli. Clavier Companion magazine published his article The Teaching of Alfred Cortot. He is co-editor of the project Notas de Compositor, for the University of the State of Minas Gerais and has collaborated writing concert program notes for the Orquestra Vigo 430 and the Camiños Sonoros festival. He was artistic director of the Conde de Gondomar International Piano Festivals and co-director of the Vianden International Music Festival in Luxembourg.
Pereira lived in the USA for 14 years and also in London, where he was a Master Instructor at WKMT. He has been piano accompanist at the Escuela Superior de Arte Dramático de Málaga and at the Real Conservatorio de Danza Mariemma in Madrid, as well as professor at the Conservatorio Teresa Berganza in Madrid. He is currently professor and head of the keyboard department at the Conservatorio Profesional de Música de Vigo.

PROGRAM

Baptized as the New Testament of the repertoire, Beethoven's 32 piano sonatas are one of the fundamental pillars of music and in which the German genius shows us his evolution as a composer through constant transformation and experimentation. These creations reveal the composer's virtuosity and imagination as a pianist, who was also a fabulous improviser. The program offers four of the most famous sonatas, composed between 1798 and 1806, and whose well-known titles were added by different publishers. The piano sonata was the only musical genre in which Beethoven worked with some constancy throughout his life.

Part One

Sonata op. 13, Pathétique
I. Grave; allegro di molto e con brio
II. Adagio cantabile
III. Rondo: allegro

Sonata op. 28, Pastoral
I. Allegro
II. Andante
III. Scherzo: Allegro vivace
IV. Rondo: Allegro ma non troppo

Part Two

Sonata op. 31, no. 2, Tempest
I. Largo - Allegro
II. Adagio
III. Allegretto

Sonata op. 23, Appassionata
I. Allegro assai
II. Andante con moto - Attaca
III. Allegro, ma non troppo - Presto