“Huge talent with polymath abilities and catholic tastes."
– THE PHILADELPHIA INQUIRER
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Joseph Pereira
“…it is a restless yet lucidly textured work
with a bracing and astringent harmonic language.
…. Joseph Pereira kept the music both anchored
and animated with his incisive playing."
– ANTHONY TOMMASINI, NEW YORK TIMES
Download Full PressKit
Joseph Pereira
“…it is a restless yet lucidly textured work
with a bracing and astringent harmonic language.
…. Joseph Pereira kept the music both anchored
and animated with his incisive playing."
– ANTHONY TOMMASINI, NEW YORK TIMES
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ABOUT
Joseph Pereira (1974) enjoys a multi-faceted career as a timpanist/percussionist, composer, conductor, and teacher. His work in all areas has been widely hailed for his creativity and virtuosity, and has been profiled in feature articles in both The New York Times (2006) and The Los Angeles Times in 2012 and 2015.
As a composer, Pereira’s music has been described as “restless yet lucidly textured” (The New York Times), “striking atmospherics of colour” (The Guardian), and “one sonic surprise after another” (The Los Angeles Times). His works have been commissioned and performed worldwide, most notably by the Los Angeles Philharmonic with Gustavo Dudamel, the Singapore Symphony with Pascal Rofe, the New York Philharmonic Chamber Series, the Miro Quartet, the Pavel Haas Quartet, the San Francisco Contemporary Music Players, percussionist Colin Currie, Duo Harpverk, French Ensemble TM+, and the Los Angeles Percussion Quartet. In 2013 the
Los Angeles Percussion Quartet recorded his piece Repousse’ (2009), which was nominated for three 2013 Grammy Awards. The following year LAPQ recorded Pereira’s Mallet Quartet (2013), and it was rated “Best of 2014 Classical Music” from itunes.
Pereira’s triple concerto, Threshold (2018), for solo timpani and two percussion, featured the Maraca2 percussion duo and Pereira as timpanist. The piece was premiered in 2018, with the Los Angeles Philharmonic, and Gustavo Dudamel. The Los Angeles times said. “With one sonic surprise after another, Threshold, had no trouble holding my attention over its 25-minute span.” Richard S. Ginell More
"The middle movement, which rose from silence in the deep bass notes of the marimba, cast a spell with its dusky magic. …made striking use of that most precious musical resource: silence."
– IVAN HEWETT, THE TELEGRAPH
MashIt
"The last of the Five Pieces, titled “Sotto Voce,” requires the use of two soft bass drum beaters as mallets, creating one of the truest embodiments of sotto voce imaginable."
– JAMES HENRY, KANSAS CITY’S ONLINE JOURNAL FOR THE ARTS
FabuFit
" With one sonic surprise after another, “Threshold” had no trouble holding my attention over its 25-minute span."
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Artist Management, Concert Management, Music Management, Direct Marketing, Advertising, Public Relations, Virtual TV, Hybrid Competitions, IT Services, Season Expansion, Series Development, Hybrid Event Creation, Price Soundclouds, Digital Archiving, Carnegie Hall Performances