The 3rd Time Around

A lot of people ask me why I joined the Asian Youth Orchestra for three times. Some of them think that it’s too much already.  They even ask me if I earn money there.  Well, I already gave them a lot of answers, but maybe this could be the best one. . .

I’ve been part of the Asian Youth Orchestra for three consecutive years (from year 2012 to 2014) and each year was always a different experience for me:  from the music and concert halls, to new friends, host families, and even to the food!

All of the members arrived Hong Kong on the 19^th of July, and as usual, we had dinner with the faculty at the hotel.  It was the time we first met all of the members and faculties, so we were completely strangers to each other at that time. 

 AYO 2014 was consisted of 110 members, and it was the largest orchestra set up in the AYO history.  The orchestra’s repertoire was Candide Overture by Leonard Bernstein, Ein Heldenleben by Strauss, and Beethoven’s 3^rd Symphony for Mr. Pontzious’ program, and for Maestro Judd’s program is La Forza del Destino Overture by Guissepe Verdi, La Valse by Maurice Ravel and Tchaikovsky’s 5^th Symphony.  So much interesting percussion parts!

Unlike my previous AYO experience, we were five in the percussion section for the year 2014: me(Philippines), Nichada Jirawattanaphan(Thailand), Jiang Tong(China), Jimmy Ka Hei (Hong Kong), and Yuki Takagi(Japan).  We were handled by Mr. Christopher Williams, who has been working with AYO for 12 years already.  Although we came from different countries, it’s not surprising that we all have similar personalities.  Like what one of my colleagues said, “We’re all Kuan teen, and we should be, because we are percussionists!”

Kuan teen =  Thai slang expression used by close friends, used informally and slightly impolite

For the percussion section, we always have a rotation on which part to play so that everyone would have a chance to experience and learn on different percussion instruments.  In my case, I was assigned to play the snare drum on La Valse, bass drum on Candide, cymbals on Ein Heldenleiben, and luckily, the timpani on Symphony no. 3 of Beethoven and Tchaikovsky’s 5^th Symphony.  (I’m really lucky!!)

I was really challenged for the assigned parts that I got this year.  I didn’t expect that I will be playing the timpani on both symphonies, though it was a great opportunity for me to have this experience.  I got a chance to try different concepts and ideas on the timpani.   

Beethoven and Tchaikovsky Timpani parts

Beethoven and Tchaikovsky timpani parts are different.  They are from two dissimilar eras, and so as the “style” of music and the role of the timpani to the orchestra.  

Our conductor (Mr. Richard Pontzious) wanted a dry, articulate sound for Beethoven, and so he asked me to use wood mallets on the timpani, and put a small cloth on the middle of the head.  Also, the timpani, back in Beethoven’s time are smaller, with calf skin used as drum heads, and wood mallets are used, thus these are some ways to “imitate” the sound of the timpani before.  But all of these ideas still depend on the conductor, orchestra, and of course the timpanist. 

 In my experience of playing Beethoven’s 3^rd Symphony, I learned that the timpani should always be “on top of the beat”.  What do I mean by that?  It means that the timpani should slightly be ahead, just a little bit, to the whole orchestra.  In this way, the timpani could also lead orchestra.  Knowing Beethoven’s works, the timpani is always together with the trumpet with a precise tempo.  Thus, playing with a 100 piece orchestra, and being at the farthest part of the stage, if you just play exactly on time, then it will sound “late” or “delayed” in the conductor’s place, and more on the audience.

On the other hand, Peter Ilyich Tchaikovsky’s symphonies are known to be emotional, dark, and somewhat “conflicting”.   It would be really helpful if the timpanist will think, or feel what the composer intended to the piece in order to bring out the music.  There are rolls, that you have to play slightly faster to have more intensity, and of course the big crescendos that will lead and help the orchestra.

In general, the timpani always have a big role in the orchestra.  Those “big drums” at the back leads the group.   Like what most people say," the timpani is the heart beat of the orchestra". 

Before the rehearsal camp was ended, we had a “Lunch Concert” organized by Mr. Christopher Williams.  The members of the orchestra form ensembles and perform in front of the conductors, faculties, and the other members.  There were brass ensembles, a harp duet, bassoon ensemble, and of course, percussion ensemble.   I believe a “Lunch Concert” is always organized in every AYO, and in this way we can show more musical skills, and also to unwind ourselves and give a variety from a very hardworking rehearsal camp. 

We played a Taiwanese Traditional folk song (arranged originally for harp duet by Ms. Shannon Chieh) and “Five Smooth Stones” composed by Brian Pretchl (percussionist from Baltimore Symphony Orchestra)  We all had a lot of fun in that concert!

This photo was taken on the day before we leave bound to Shanghai.  We were all excited for the performance tour, and yet sad, for saying good bye to our teacher.  Most of the faculties didn’t come with us on tour, and so they had to let us fly with our own wings after three weeks of intensive work with them. 

Our performance tour for last year’s AYO was in Shanghai, Hangzhou, Tianjin, Beijing, (China), Hong Kong, Taipei, Chiayi,(Taiwan), Osaka, Ayase, and Tokyo(Japan).   I’ve been to some of these concert halls that we played, but most of them are new to me.  And this is a good reason why percussionists should have a lot of mallets, because each hall has different acoustics, and you will be able to get the sound that you want if you have various mallets to choose from.  

Here are some photos of the percussion section and with the stage team on tour before and after the concert: 

                                                         Hong Kong Cultural Centre

Tian Jin Grand Theatre

National Center for Performing Arts, Beijing, China         

National Concert Hall, Taipei, Taiwan

(Percussion section with stage team)

 Chiayi City Concert Hall 

The Symphony Hall, Osaka, Japan

Tokyo Metropolitan Theatre

The tours are always hard or better say "challenging" for the percussion, harp, and double bass sections.  It’s like playing a slot machine and wishing to win a jackpot.  Why? Since the double bass and harp sections didn't usually bring their own instruments on tour, they only have to use the instruments available in every concert.  And for the percussion section, we could bring some of the percussion instruments, but not the tam tam, xylophone, bass drum, and the timpani. We all had to go to the concert hall earlier than the others to check the instruments and have a "feel" on it for us to be able to perform our best in the concert.  

Here is a photo of Pejent (NichadaJirawattanaphan) fixing the pedal of the timpani.   If I’m not mistaken from what I remember, the range of this timpani is only up to a minor 3^rd interval, and it’s impossible for us to use it just like that!  We’re so lucky that she is with us because she really knows a lot on how to fix the mechanisms of the timpani. 

Host Families

In every AYO, there will always be an experience with host families during the performance tour.  It is the time where the members will not stay in hotels, instead, in the host families’ house.  The AYO members will be staying with them for 2 to 3 days, and be treated as a real family member; drive to the concert hall and pick up after concert, eat with them, tour around the city, and spend wonderful moments with them. 

Last year’s host family experience of AYO was really amazing for me.  We had a chance to be with 3 host families; in Chiayi City(Taiwan), Osaka, and Ayase(Japan). Though they all have different cultures, their hospitality was always there.  The happiness that they also have in this experience is always seen in their smiles. 

And here are photos of me and my roommate (Chin Lung Yang) with our host families:

                    Host family from Chiayi, Taiwan

 Host family from Osaka, Japan

                        Host family from Ayase, Japan

Food

After the AYO concert tour, it can be observed that there is always a bodily “change” on each of the members of the orchestra.  Some lose weight, well maybe some are still the same, and some gained. And in my case, I’m one of those who gained weight! First reason is because of the breakfast buffets in the hotels.  Second is the food allowance.  Third are those dinners, care of our lovely conductors and sponsors.  And the last is how the host families feed us!! (My host families really fed me and my roommate a lot!!) I always love to eat especially different cuisines, and so our performance tour was a great chance for me. Lol!

Shanghai style of dumplings and vegetables

Noodles from Chiayi City

“Turkey rice”… One of the special dishes in Chiayi City, Taiwan

Some desserts from Taiwan

“Japanese style of shabu –shabu” prepared by our host family in Ayase, Japan

And these are prepared by our host family in Osaka. Oishidesu!!

Well I guess I had too much answers already.  To conclude everything, the Asian Youth Orchestra gave me a lot of experiences that I will cherish in my life.  I’ve been to Asian Youth Orchestra for three consecutive years already and yet still wanting to go back, because of what I learn every time I join.  You can never find an orchestra like AYO, which you will always be proud of no matter how far you reach as a musician. 

By the way, I already auditioned for the forthcoming 25^th anniversary of the Asian Youth Orchestra.  I hope I could join again in making the AYO history. 

AYO Music Camp

It has always been my dream to join the Asian Youth Orchestra ever since I entered the music program of the University of the Philippines.  The fact that my senior co-percussion majors before and the percussionist whom I look up to ̶̶ my professor Mr. Elizalde Tolentino, made it to the AYO history served as an inspiration for me to work hard and to do my best in every performance.

I auditioned for a slot in the Asian Youth Orchestra’s 23^rd Rehearsal Camp.   It was tough because they only needed two members for the percussion section.  I was so fortunate that I have been chosen once again to become part of this prestigious orchestra.

When I was on my flight bound for Hong Kong, I was so excited not only to see my old friends from the previous camp, but to meet new ones as well.

Our rehearsal schedule ran from Monday to Saturday, held at the Academy for Performing Arts (APA) in Wan Chai, Hong Kong.  It was three weeks filled with workshops, masterclasses and lectures.

Before the camp commenced, a chair audition was held by Mr. Christopher Williams. Unlike the previous AYO camp where I got to play different percussion instruments, last year’s repertoire comprised only one instrument of the section – the timpani.

 The pieces that were assigned to me were Beethoven’s Symphony no. 5 in Mr. Richard Pontzious’ program and Carl Maria Von Weber’s Der Freischütz Overture and Antonín Dvořák’s Cello Concerto in B minor (with Mr. Steven Isserlis as soloist) in Maestro James Judd’s program.

Since we had a lot of time for sectionals, we also worked on different percussion orchestral excerpts.  Mr. Williams gave us some points and ideas on playing it. I will always remember his words back then. He told us to set the techniques aside and always think musically while playing these parts alone.

We even had mock auditions during the rehearsal camp.  We were asked to play snare drum excerpts from ”Bolero” and ”Scheherazade” and timpani parts of Beethoven’s Symphony no. 1 and “Star Wars Main Title”.  Our panels were Mr. Richard Pontzious(Artistic Director, Founder and Conductor of the Asian Youth Orchestra), Maestro James Judd(Principal Conductor), Mr. Richard Hoffman( Teacher of the trumpet section, former Principal Trumpet of Baltimore Symphony), and our trumpet players.  It really felt like I was in an actual audition, leaving me pointers on how to compose myself in the given situation.

The percussion section was handled by Mr. Christopher Williams, the Principal Percussionist of the Baltimore Symphony Orchestra.  I and the other percussionist, Shogo Kasai, from Japan, worked with him for the entire rehearsal camp.

After our rehearsal camp in Hong Kong, the orchestra began the preparations for a performance tour in Vietnam, Singapore, China, Taiwan, Hong Kong, and Japan.  We were all excited to start performing at the same time touring the entire of Asia.

Our first performance after the rehearsal camp…. Hanoi Opera House, Vietnam.

Esplanade Concert Hall in Singapore

Zhong Shan Cultural and Arts Center, China

We had a tight schedule during our performance tour.  After our concert in each country, we needed to go back to the hotel immediately to pack up our luggage for the early flight next morning.  Most of our travel had connecting flights to and from Hong Kong, which means, that there were days spent just for travelling.  Though considered to be lag time, these are moments that I get to bond with my colleagues. 

National Concert Hall, Taiwan

Rehearsal before the concert in Hong Kong Cultural Center

Kamakura Geijutsukan, Japan

Final performance of the entire tour.. Tokyo Opera City, Japan

It was a “dream come true” for me to be part of the Asian Youth Orchestra.  All of the things that I learned along the way and all of the experiences were irreplaceable.  It truly helped me to grow in becoming a great musician. Most importantly, the values that the AYO taught me will remain as I mature.

I will always be grateful to the percussionists who helped me hone my skills – my professor Mr. Elizalde Tolentino, and to Mr. Christopher Williams, together with the two conductors of the orchestra – Maestro James Judd, and to Mr. Richard Pontzious, for their continued trust and confidence in my talent.

That’s my experience in the Asian Youth Orchestra. . . .

Now preparing for this year’s AYO rehearsal camp. . .

                                    

Recital I

The start of second semester was quite difficult in preparation for my recital. Since the recital was scheduled earlier, I decided to start practicing during the semestral break. As soon as classes resumed, I practice everyday during my free time. I come to school early and go home late to improve my repertoire. Also, the audition being one week before the actual recital, I had to make use of the limited time. 

Here is a video clip of my extremely advanced rudimental solo for snare drum..

Rudiments, speed, and visual effects are the key points to be able to play this piece.

A percussionist should be an "all-rounder". What do I mean by that? For those who don't know, one must be able to play different percussion instruments mainly snare drum, marimba, multi-percussion, and timpani.

This piece for solo timpani consists of metric changes and contrapuntal dance rhythms played at different speed. Intonation, different strokes, and articulation are some factors to be able to produce a good tone quality  Accuracy is also needed, for the composer requires different playing spots which are normal playing spot, center, and near the rim.

Just what I said, a percussionist also needs to play good marimba.....

Every classical musician should have a "taste" of Baroque music for it requires virtuosity... Since we don't have pieces originally written for marimba during the Baroque era, Leigh Howard Stevens - a marimba virtuoso - transcribed some pieces to the marimba originally for violin or cello.

                                         
                                

    

One-handed roll, and body positioning are the techniques I developed in this movement.

A multi-percussion is having various drums in a setup, and each instrument is notated accordingly by the composer.

                                     
                                   

 

      The entire movement of this piece consists of constant rhythm... I worked on speed and accuracy in playing every drum for this movement.

Fortunately, everything turned out well.  Every recitalist needs to undergo an audition.  It is where the juries have our performance graded and decide on whether we can continue the recital.  I was glad when I came to know that I got the highest grade a recitalist can possibly get which is 1.0. 

On the day of my recital, I was not expecting a great number of people as it was scheduled on the same day with another recital. I was awed when so many people showed up and it was a great performance. 

So that's how hard I prepared for my first solo recital in my college life.  There will be more to come as I continue my studies.

I would like to express my gratitude to my fellow percussion majors in UP for helping me setup the instruments I needed, to my family and loved ones for their continued support and believing in my talent, and especially to my mentor Prof. Elizalde Tolentino for every hard working lesson, for inspiring me and for honing my skills and ability to become a great musician.