Daniel Rock: 0:06

Often humorously linked, likened to an inflatable tube man on stage because of her enthusiasm, passion, and physicality, all flautist and multidisciplinary creator Eva Ding ever wants to do is imbue in her audience, the same sense of joy and richness performing arts bring to her through her innovative multimedia chamber music productions. Eva delves deep into the essence of the AAPI and immigrant experience, amplifying their narratives through a seamless blend of music, new media, choreography, set, and lighting design. With grants and residencies from esteemed institutions like Chamber Music America and Lower Manhattan Cultural Council, shows have left audiences spellbound. From sharing the stage with Grammy and Oscar award winning musician John Batiste,

Eva Ding: 0:47

because we're

Daniel Rock: 0:48

his American Symphony at the iconic Carnegie Hall, to opening music festivities for pro wrestler Orange Cassidy at electrifying family reunion match, Eva has proven her versatility and captivating stage presence. Time and again, Eva's career includes concerto debuts and performances alongside ensembles like the Brooklyn Chamber Orchestra, the United Nations Chamber Music Society, the Auckland Philharmonic Orchestra, and the Auckland Chamber Orchestra. Her unwavering commitment to showcasing contemporary music has led to her premier works by renowned composers, including the Golden Flute Concerto by Chinese American luminary Chen Yi, And a new orchestral arrangement of cloud boilings suite for flute and jazz trio. In 2020, she founded flute, cello, jury, Coey, and I may have got that wrong. They are committed to playing the works of living API and other BIPOC composers having premiered new works or arrangements by Lee Yang, Zao Long. Shanghai born, Auckland raised, and New York based. Eva received her Bachelor of Music with honours from the University of Auckland under the tutelage of Professor Yui Grodd, and as a recipient of the Manhattan School of Music President's Scholarship, completed her Masters of Music there with Robert Langvone, Principal Flutist of the New York Philharmonic. In her spare time, Eva loves playing with her poodle Choco, who adores singing along with her flute practice and her ginger kids and Marigold, who really doesn't care either way. I don't think cats care either way for most things.

Eva Ding: 2:18

Nope.

Daniel Rock: 2:24

How are you?

Eva Ding: 2:25

I will. Thank you so much for having me on. How are you?

Daniel Rock: 2:29

I'm really, really well. And thank you so much for joining us. Um, and for those who don't know, this is the, wherever I leave my hat podcast, which I didn't intro at the top, but I'll do that here. We're all about talking to people who have an interesting take on the concept of home. And that's why we have Eva Ding here today with us. So Eva, why don't you tell us a little bit about your story, kind of where you've come from and where you are at the moment?

Eva Ding: 2:55

Absolutely. So I was born in Shanghai in China about five, uh, at five or six years old, my parents made the decision to move us over to Auckland, New Zealand. and My dad stayed back behind in Shanghai because of work and also to take care of his parents, my grandparents. And so it was just me and my mom that moved to New Zealand. Um, so they made this huge sacrifice. They continue to be together. They continue to be married, but we're just on opposite sides of the world. And so I did most of my growing up in New Zealand, um, did my undergraduate studies there. while I was in undergrad there. I'd always known I, I kind of liked the idea of America. I knew that America had this, this thriving entertainment industry, that's arts community, this cultural, you know, essence. Um, and so while I was in my undergrad and my third year, I got a chance to go to UCLA on a study abroad exchange program that The University of Auckland, um, and I went there for six months and I just loved it. I was like, well, the worst comes to worst, it could be bad or like, I don't like it, but at least I will have tried it. And that absolutely I just loved it.

Daniel Rock: 4:19

yeah.

Eva Ding: 4:20

so as, as soon as I did that, I was like, okay, I'm really going to work hard to do

Daniel Rock: 4:25

Yeah,

Eva Ding: 4:30

for my masters. And that's what I did. And so I came to New York, came to the Manhattan school of music, and I've just been here since I've absolutely loved it. It's, it's been an incredible journey far.

Daniel Rock: 4:46

journey is one of those words that it sounds like a buzzword, but you end up using because there's no better word to describe it. It's been kind of co opted by the sort of Corporate buzz speak world, but it's still a great word in specific conversations. So just touching on a few things you just said to me, I'm really keen to explore a couple of those. So you mentioned sort of, obviously your parents lived apart, but stayed very much married very much together. Um, and because of that, that's the sacrifice they made you. I'd love to hear a little bit more about potentially how that may have. shaped your view of home because it's a nontraditional home life. Like obviously we hear nontraditional in terms of people perhaps being single parent families or split families. But this is quite unique in terms of, they were still very much together emotionally, but not physically. So I'd love to hear a little bit more about that. Hmm. Mm hmm.

Eva Ding: 5:43

Or like, I'm an only child. And so people were like, had siblings. I'm like, don't know what life would have been like. So who's to say? Maybe I would have, but maybe it would have been terrible. I think that together could have been, who's to say, but um, yeah I think old, you know, being in my own uh romantic relationships or being in my own even just relationships with friends i i really the steps and the sacrifice and and that they had to, that my parents had to do to Keep it working and to make things good for them and good for me. Um, I think growing up, I did a lot of traveling or like my dad would come to New Zealand every, you know, every year or twice a year. And my mom and I would go back to Shanghai to visit my grandparents and him once a year or twice a year. And so that was traveling was always a very big part of my, um, like life growing And I think also.

Daniel Rock: 6:51

Silence. Silence.

Eva Ding: 7:01

in me because that's what my parents did. That's what my mom did for me And so I don't think twice about coming to new york I know and I I I other people who have like been like, oh, this was a big decision or even people from other um States or other cities in America being like big decision to move to it's a big decision to move somewhere else I reflect on that and I'm like, yeah it is But I think I just always been told like that that's okay and to explore and that like my parents were always going to be There for me and like how blessed is that to be able to explore and find your home and create your own and to that point I Do With Koei, which you pronounce beautifully, uh, and with a lot of the programming work that I do is, um, an homage to them. Is, is just totally inspired by, them and their life and the sacrifices they make.

Daniel Rock: 8:07

Just touching on some of that. How long have you been in New York now? So how long since you left New Zealand to come to New York?

Eva Ding: 8:13

I came in 2017. Which is now seven years ago, which is an number to think about. Cause I was like, Oh, I just arrived. just got here.

Daniel Rock: 8:28

in terms of that, and obviously you've had a sort of a split family dynamic a little bit, but obviously this is moving to somewhere where you have no, you didn't have family. And so you've had to sort of create your own network. How obviously some of that has come through the music. Some of that will have come through study. Some of that come from how have you gone about sort of building that family and home feeling. In New York.

Eva Ding: 8:51

Absolutely. Um, I, I often think about this because I think about how lucky I am that I came here for school and a very specific school, like very concentrated, you know, conservatory, music conservatory. And so everyone met everyone. It was pretty small. So everyone knew everyone during orientation week. And I kind of like to joke that we suffered together and nothing bonds people together like trauma. All the hours of practice, all the hours of rehearsals, all the early morning theory classes, da da da da. And so I met some of my closest, closest, and even to this day, closest friends there. Because we really, Everyone understood what everyone else was going through. And so we really banded together and supported each other, which I thought was just as such an incredible dynamic. Um, yeah. And then through that, that expanded my. and my community and just through through the stuff that I've been doing through the performances and and the more cultural stuff and the more kind of um I wouldn't say advocacy but advocacy in a way advocacy through music um I've met people in that way too.

Daniel Rock: 10:08

And so how did you meet your partner in Koei?

Eva Ding: 10:14

my second year I really wanted to play this piece for my graduation recital called Vox Ballinae by George Crumb. It's Latin for Voice of the Whale. And it's this insane, you know, 25 minute piece all, all the way through no breaks and the performers are instructed to wear masks and the lighting is supposed to be blackout except for blue lighting to emulate that feeling of being underwater and everyone's And so it was flute, cello, and piano, prepared piano. I had the pianist, I've been working with him, um, throughout my grad, grad school studies. I just asked a mutual friend of the cellists and I, Hey, do you know any great cellists and playing this awesome piece? I would love to, you know, really meet someone, someone. really great to collaborate with. And he was like, Oh, you've got it. Me, Emma, you guys would totally get along. You guys totally have the vibe, you know, similar vibes. And so I asked her on. Yeah. Um, and then we, and then my pianist and I graduated and she was the year below us in grad school. then COVID happened. So everything kind of went to bleep. Um, and I was just sitting there at home and I, one of my dear friends and mentors reached out to me and we were chatting and she was like, Hey, in a chamber ensemble, right? Like I have a friend. Who would like to apply for a grant from Chamber Music America to mentor a chamber ensemble. she's, you know, she, she's ready to apply. She just needs a chamber ensemble to apply with. I was like, well, like we're all kind of dispersed. We, we haven't really played much since graduation. The pianist is at that point was off in D. C. because he's an incredible collaborative pianist, and he got into a program with the National Opera. And so I was like, he's far away, but the cellist, yeah, she's in, she's in New York. So I called her up and I was like, Do you want to just apply to this thing, just you and me? And at that point, she was telling me, she was like, clawing at the walls to do something. So she was like, yes! Yes, we'll do something!

Daniel Rock: 12:32

Anything, anything.

Eva Ding: 12:33

anything! Yeah? You want me to play? I was like, great, yeah, let's do it. So we applied as a duo some of the clips of our graduation recital and some of the stuff that we had played. And as much of the two of us playing as possible and we got the grant and that was really um, and then we got a performance and a couple performances and that was really the catalyst to being like oh this could be a thing there's something here actually and that's that was a really exciting spark then.

Daniel Rock: 13:11

Nice. That's really cool. And that's a really good start. Yeah. COVID did funny things to a lot of people. Um, my, my wife and I, now we were, we were back in New Zealand and, um, we were once I really, we weren't super early in their relation, been a little while, but we hadn't moved in together yet. And we were sort of thinking, Oh, we'll talk towards the end of the year. And then Auckland went into that, you know, and, and, and, and, and, and, and, Enormous lockdown that went from like July to December. And it was like that. Well, if we don't do this now, we won't see each other and we don't know how long this is going to go. So you kind of make leaps of faith. I think a little bit when you put in situations like that in terms of, okay, well, we've got nothing to lose. Let's try it. You know? And I think that sometimes the best decisions you make ever come out of. Those kind of, well, let's just try it moments. You know, I think when you mentioned about, um, going to New York and saying, well, you know, if I don't like it in six months, I'm a huge fan of like not leaving what ifs, you know, life is too short to go, I wish I had, or what if I had, you know, I think if I look back to when I moved to New Zealand at 22 from the UK, you know, I nearly didn't go. And then I was like, I remember having a conversation with my mom, who, you know, my mom did not want me to move halfway across the world. And I remember her going, you just, you can come back, you know, no decision is irreversible, you know, you can come back. So it was like, well, you know, nothing to lose or try. And then 23 years later, I finally left New Zealand to come to America, which probably wasn't on the initial. Plan either. Um,

Eva Ding: 14:35

you got to try. What got

Daniel Rock: 14:37

exactly.

Eva Ding: 14:39

What got you

Daniel Rock: 14:39

No, go for it.

Eva Ding: 14:40

what got you interested in New Zealand to begin with at 22? So that you,

Daniel Rock: 14:45

Um, as a lot of people do, I admit, I admit a partner, a woman in the UK. Um, so we worked together and we were and we were supposed to do a year in New Zealand, a year in Australia, working holidays and then come back to the UK because her, her visa had run out. She was from New Zealand. And even when that relationship had fizzled, it's fizzled out a little bit. Um, or completely fizzled out. New Zealand by that stage was home. I didn't really want to, or it felt like home. I didn't really want to come back to the UK at that point. Um, and I think that's something, you know, I talked on a previous episode around this a little bit. It's like UK will always be where I'm from and in some parts that will always be home. I have no desire to live there again. That's not where I'll go back. I'll never live back in the UK, even though I still support all the British sports teams, English sports teams, all of that stuff. But I can't imagine ever living back there. Um,

Eva Ding: 15:38

I

Daniel Rock: 15:47

when they may, it becomes very, they, they, They, they teach treat, they treat patriotism and national identity slightly more intensely than perhaps we're used to in the UK or in New Zealand. How do you find that influences your sort of feeling of home here?

Eva Ding: 16:06

I've never really considered it, I, I feel very Well, kind of to answer your question like this, it's this feeling of, I actually feel quite secure in saying where I'm from and being proud of where I'm from, where I'm from, because even in New Zealand, I had to kind of be like, well, I was born in China, but like, you can hear my accent. I basically sound like a Kiwi. Maybe there's a, there's an American twang now at this point, but you know, and so growing up, I kind of had to fight. Or purchase in terms of, oh, but I am from here. And so because of that coming to America, I'm like, of wherever I'm from. And be that, be that China, be that New Zealand, be that eventually the States, but like my journey is unique to me. And so I think. make sense? So it's

Daniel Rock: 17:06

I think it makes perfect sense.

Eva Ding: 17:08

yeah, it's like, okay. Yeah. Like right now, New York is my home and I would love for it to be my home forever. It's just, it's just such an arts and cultural overload. And I love, and I have yet to explore, I think I've explored maybe 2. 5 percent of the whole, everything that it has to offer. Um, yeah. So I feel very much like, yeah, this is my home. Cause I live here and I've made my roots here and that's, I'm just so used to it.

Daniel Rock: 17:34

I think that's a really interesting point about New Zealand. It's a wonderful country full of wonderful people, but it can be a little clicky in terms of, you know, if you're not from there and you didn't, you know, if you're not from there originally, there can be that kind of disassociation a little bit in terms of, is it really your home? And I think that's because such a big percentage of people, there are immigrants in terms of that, that people kind of, I don't know. And, and I would have had a very different. No, I'm a middle aged white man in a country like that. I'm not a person of color. I'm not from Asian heritage and everyone's experience is different. And I'm Um, very aware that I get treated differently because of that. And I think perhaps because of your Chinese heritage, that would have colored some of that a little bit. Would that be fair?

Eva Ding: 18:22

yeah. And I feel like it's weird because in New York, people don't blink twice about, say I'm from New Zealand. And like, won't be like, Oh, but where are you really from? Sometimes they'll be like, Oh, where's your accent? Because sometimes I'll like, maybe lean towards more of the American spectrum of accents and they'll be like, Oh, but where's your accent? Yeah. Like they won't think twice about. Because, New York especially, and this is not, obviously, does not cover the rest of America. New York especially is such a melting pot of different cultures and different places. also I feel like, People in New York know that it's such a, it's a spot for people to come and do something and be somewhere and be someone and learn something and make something and make something with themselves that they're like, yeah, okay. You're from somewhere else, but here's home for now. Great. You know? Yeah,

Daniel Rock: 19:21

Yeah. And that's probably, I get a slightly different experience here. Um, because Alabama isn't necessarily where a lot of people have high on the list to go. If you're, if you're from another place, um, and we're probably not going to get into all the reasons why on this podcast, but there are reasons.

Eva Ding: 19:40

It's not a podcast

Daniel Rock: 19:41

Um, Yeah, but Birmingham is where I am, is it's a fairly multicultural place and it's, it's, It's a little different to say living out in a rural area, but I still get asked all the time I get, you know, I first I get is where you're from. The second point is, are you from Australia, which is about the most offensive thing you can say to an Englishman who lived in New Zealand for 20 years.

Eva Ding: 20:01

Literally.

Daniel Rock: 20:02

then the third thing. And this is where the experience probably changes from you. Like from what you've just said in New York, people go, well, I understand why you're here, you know, cause New York or LA, that's where people come to make the dreams come true. I get the, well, why that one? Why Birmingham? Why Alabama? Because it isn't a normal transition for people or one that they see a lot of. And so my accent was, you'll get, Oh, you're acting where it's from. Mine's, um.

Eva Ding: 20:25

Yeah.

Daniel Rock: 20:29

kind of party trick. People that like, Oh, you know, cause I haven't heard it now. There are other English people here. There's the, you know, I went to a pub to watch the European championships for other English people. So it's not unheard of, but it isn't as common to hear as you would be in sort of New York or LA where it's a lot more prevalent, I would say. So moving on to sort of the next one, I kind of, one of the things that we talked about over email before this was sort of. You had a series of music based around the concept of home and the premise of home. I'd love to talk to you a little bit more about that here. Kind of how those experiences shaped your music and I'll play some of your music at the end of the episode based on the stuff you sent me. So I'm really excited to share that. I had a good listen this morning. I was really, it was really good. Um, so I'd love to play that. But yeah, if you could talk a little bit more about how that kind of concept of home has shaped the music that you've composed and that you've put together, that'd be awesome.

Eva Ding: 21:20

Absolutely, um, yeah, I think this project, it's, it's called For Mom, Dad. Which feels kind of self explanatory, you know, and it goes back to what I was saying before about how me reflecting back on the sacrifices and the journey that my parents have made really put into perspective. You know, me being the age that I am, like, close to when they did the big move, kind of put into perspective, like, exactly what they did for me. And so

Daniel Rock: 21:55

Um, But when you see the world, you can have a lot of great things happen when you say, Go to Somalia and make the world a better place. And I think this is, in my own country, it's really hard to see the difference between what we're seeing in Afghanistan and what we're seeing in this country. And I think that's the crucial part.

Eva Ding: 22:17

not reflective of the world that's around us? Why am I only seeing a certain type of audience member and how can I make it so that everyone feels welcome? Um, and so I was like, well, let's make it more. visually appealing. Let's bring in projected media, projection mapping, you know, new media. And let's, and eventually the third one that we've recently done, we brought in choreographers and dancers and really put the audience in the middle of the stage and gave it that kind of immersive theater feeling. And my other thing was, Let's make it so that the program has a narrative structure. And so I, I wish I could say that I composed any of those pieces. I did not, I'm not skilled or nor am I talented enough. Um, and some of the pieces I did help arrange. So they were maybe for violin and cello at first. And I was like, play the violin part. Why not? And so I arranged it for flute and cello. And so it started off as. Bringing in, um, pieces and, and many of them by composers of Asian heritage, AAPI composers, because I felt that was, that was really important to me and Emma. And we kind of put together a program that showed kind of the trials and tribulations of the immigrant journey. That was the first one. And we had someone create, um, visual art that kind of, that, that really kind of brought the narrative through. And that went well and we kept expanding it. And so the second set of performances that we did maybe three years ago was, uh, this idea of what it means to call a place home. And we had actually had people write pieces for us duo. And that was really special. Um, and so they kind of put the concept of home, it meant to them and they composed it so we will, um, There's one called Sunset in Gion and one called Homecoming. And the Sunset in Gion is, you know, this, he's Japanese and so it's this beautiful area in Japan where, where a lot of the geishas, um, roam the streets and, you know, very evocative. Um, yeah, so the second one and the most recent one is, was the biggest one and I, I'm talking more about it because it's much fresher in my memory. And it was one of the big, you know, biggest productions to date. And that had a really strong narrative structure because I found the set of letters between a Chinese American couple. the husband was already in the U S um, Montana, Helena, Montana, in the 1950s or so, and the wife was stuck back in China. Um, for her papers with their child, with their son and their unborn child. And the letters are all from her. So we don't see what he replies, but there's something beautiful about the fact that like he kept the letters so pristine that we could even read them to this day. Um, and all the letters are like, you know, her say like, I'm doing well. Um, I, I, I miss you. Like the thought of you keeps me up at night, but please don't worry about me. Please worry about your own health. Make sure that you're healthy because I want to see you when I'm here. Um, you know, I, the immigration they said that I was missing a document. So I, and they couldn't, they couldn't see me the same day. So they have to see me when they're next open. And it's going to take me a week to get back home to get the thing and then a week to get back to the immigration offices so I can't see them for another two weeks, you know, it's that kind of stuff and I read that and I was like, Oh my God, like, it's honestly not that different to a lot of what people still have to deal with. Yeah, sure. Stuff is a little quicker. But the fact that immigration is like, meh, you know, and,

Daniel Rock: 26:27

How's that? It might be quicker sending the document. I'm not sure the process is dramatically quicker.

Eva Ding: 26:33

uh, Yeah, you're like, I don't know if they're in England.

Daniel Rock: 26:37

yeah.

Eva Ding: 26:38

But this, and like, okay, sure, we have FaceTime now, or we have text, but this feeling of, of, This feeling of not being able to touch your love, touch your loved one just really got to me. And so I was like, we have to make whole show about this and inspired by this. And so that was like the big one about like this longing for home. And I think Going back to one of the questions you had asked very early on was this, like, Oh, what does home mean to you and in exploring all of this, and in my own life, it for me, home certainly is a feeling of, The people, the people are what makes home home. Like, I think New York would not feel like home if I didn't have my loved ones here. And cause like my family is not here. And so that could feel very different for different people. And like, whenever I go back to New Zealand, I'm instantly at home because I, my, my mom is there and my dog is there, you know, and, and some of my really close friends from high school, for example. And. same with Shanghai, like, I haven't lived in Shanghai since I was six. So like, really, by all accounts and purposes, it's not like, I'm not familiar. I couldn't tell you directions to save my life, know, because my dad lives there. It feels like home. So, yeah, it's that, it's that ever changing note of what it means to call home for me.

Daniel Rock: 28:16

Yeah. I hear that and I feel that as well because I'm fairly, as I said, fairly new here and I haven't built that circle of friends yet and New Zealand feels probably the most home for me because that's where I've got the biggest circle of friends. I spent most of my adult life there so that that you know there's that feeling of home there. And it's really interesting when I do go back to the U. K. And I go back to three times a year, generally for work. Um, and I see friends and I see my sister. My parents live in Spain, so I don't always get to see them when I go back. And that that does reduce the feeling of home when I go back because it doesn't have that kind of safety net. P feeling around it that it perhaps New Zealand does. And to I say that having not been back to New Zealand since I moved here and I'm, I'm going back in a few weeks, so, um, just, just for a few a week for work. But it is that, that feeling of kind where does feel like home and that, that kind of touch. And I kind of wanted to go back to the letters piece for you. Did that, do you think that inspired more because of what your parents' relationship was? As part of that, and that's why it resonates so strongly.

Eva Ding: 29:29

Definitely, I definitely think so, because I think about what they, yeah, like what they, I think about like, when I was younger, I didn't really, um, process this, right, where We, we had to go buy international calling cards. I don't know if you've

Daniel Rock: 29:47

Mm hmm.

Eva Ding: 29:47

at the dairy and we had to put money on it. Uh, and then we had to unplug like the, the wife or it's not wifi or whatever, you know, like the internet,

Daniel Rock: 29:57

Yeah. Yeah,

Eva Ding: 30:07

The, you know, the COD number, and then the PIN, and then it would tell us how much money was left, and then that that was precious. Like, I thought, just, like, I had this visceral remembrance of God, like, was as Like, you were just hopping on a call. Come on, to be able to call overseas to a loved one. And I didn't appreciate it back in the day when I was a kid,

Daniel Rock: 30:39

yeah, it's, it is that feeling I remember when I moved to New Zealand, you know, in 2001,

Eva Ding: 30:46

Yep.

Daniel Rock: 30:47

wasn't ubiquitous yet, like, it just wasn't like we, I was saying, um, Where I was staying, we had dial up internet. So I had calling cards exactly the same. And for those of you that aren't from New Zealand, a dairy just means like a corner store or a convenience store. It's

Eva Ding: 31:03

will, if

Daniel Rock: 31:04

yeah, but I, it's, it's not a, it's, it's not an actual dairy where cows are. Um, as I've been asked since here, when I've used that comment and said there, um, but yeah, exactly the same with the calling cards and it's. It does change the dynamic because we used to write letters or you'd write emails, you know, 2001. We're still writing emails to each other, but it isn't that immediacy of contact that you get now with being able to do this, right? You're the other side of the country from me or a fair way from the country for me. But I've done interviews with people in California. I've got interviews line up people back in New Zealand. So it is really interesting. Now we get this immediacy of contact. We get this immediacy of being able to see people on screen and it's better. Yeah. But it still isn't the same visceral feeling that when you're there with someone, you know, and it's, I work remotely full time. My job is to be remote and stuff like that. And you do, you miss people and people are, but you're on zoom all day. And I am, but it is not the same. It is not the same as being in person. And you do miss that. And do you think that influences? The way that you, uh, composed these, these shows and these events because it is less visceral based on those letters. Like there's that longing and that feeling, but you don't have that immediacy.

Eva Ding: 32:18

Interesting. I feel like the awesome thing about the arts, though, is that it transcends language. And so, okay, the letters are in Chinese, we translated them to English to have subtitles, but we had, we had the media aspect. We had the dances, we had two dances that, kind of showed through their movement and their art form this longing. And, you know, it wasn't as black and white as obvious as there was a male dancer and a female dancer and he was carrying a suitcase or whatever. But they showed through their art. And we had, we had a great time. What about great friends and great collaborators, Corey Chang, um, write a piece for us based on those letters. And what was going to be maybe like a 10 minute piece flourished into this long 30 minute odyssey. It was flute, cello, and percussion and electronics. And so to be able to like tell the story throughout instruments such a privilege, I think. And I, I'm hoping, and I hope, it, it, it got the point across, it, it translated.

Daniel Rock: 33:35

So on that note, if people, and I'll share some of the recordings that you played with me, but just as a taster, um, so that if people do want to access your music, see you live, access your multimedia, where should they find that out?

Eva Ding: 33:48

Um, we're on Instagram, my duo and I, as Koe, K O E, Duo, D U O. Uh, and same with our website, koaduo. com, I have my own website, Eva ding. com, or I'm on Instagram as itsits. Eva Ding, E V A D I N G. and that's, I feel like, social media and web, I need to get better at updating my websites, but social media is the, well, the best place to keep as updated as possible for it.

Daniel Rock: 34:26

Awesome. Well, thank you so much for your time. I've really, really enjoyed our chat today. Um, and it's really, I do love listening to the way really talented artists interpret things like this because I think they put a, I don't have to use the word visceral probably a bit too much, but they put that emotive kind of almost touchable feeling to things that sometimes us mere mortals don't have the ability to do. So again, thank you so much for your time. It's hugely appreciated

Eva Ding: 34:52

Thank you so much

Daniel Rock: 34:53

and

Eva Ding: 34:54

See ya.

Daniel Rock: 34:55

awesome. And if you want to hear more, um, There'll be more episodes coming out soon. You're able to access us. Obviously, if you're on YouTube, please comment, like, subscribe, all the things that you're supposed to do. Um, same on Spotify, Apple music, leave us a review. Let us know how you're going. That'll help spread the reach of the podcast. And again, thank you Eva and have a great day, everybody.

35:22

Rossini's Semiramide Overture I have something. I have something. Something. Something. Something. Something. Something. Something. Something. What I have to do. To say what I have to say, what I long to say, what I long what I have, what I have, what I have to say, what I have, what I have, what I have, what I have, what I have low, what I long to. What I longed to, I have to, what I longed to, Say, what I longed to, say.