Page 38 - Phil Holiday Pops 2025 digital program book

Spotlight on

Tom Schmidt

Principal Timpanist

When did you start playing timpani?
I started on snare drum, and by sixth grade I was
playing drum kit. I taught myself timpani early on.
I originally thought I’d go to Berklee, but I ended
up doing my undergraduate work in Maine, then
completed my graduate studies in Boston. Along the
way I studied with incredible teachers — Dr. Mars,
John Grimes, Tim Adams Jr., and Salvatore Rabbio. They taught me that timpani is a
deeply visual instrument. You don’t just listen — you watch, feel, and respond.
Where do you teach, and what do you hope your students take away from your
lessons?
I’ve been teaching at Berklee College of Music for 14 years. My students have a wide
range of interests: performance, composition, film scoring, production. Because I had
such great teachers myself, I always encourage them to study with many different
people — that variety helps them develop their own musical voice.
Is practicing at home difficult with such large, loud instruments?
Fortunately, I have a very musical household! My wife is a piccolo player and flute
teacher, so she understands. Our home studio has three drum kits, a full set of
timpani, a marimba, and more. Our kids are five and eight — hopefully one day
they’ll find an instrument they love too.
Where else do you perform besides the Phil?
In addition to freelancing regularly as a percussionist and timpanist — including
substitute work with ensembles such as the Lexington Symphony, the Vista
Philharmonic, and the Cape Cod Symphony — I’m also an active performer in
contemporary music. One of my main artistic homes is Juventas New Music
Ensemble, a group dedicated to performing the music of today’s emerging
composers. Each setting challenges me in different ways and keeps my playing fresh.
How do you prepare for a performance?
I try to bring the music to life beyond what’s on the page. I listen to how other players
interpret the work, and I trust my own instincts. There’s a current trend toward using
slimmer bamboo mallets for a more “European historical” sound, and I think about
choices like that when preparing.
A big part of my preparation is understanding how the orchestra breathes. Brass
players physically breathe into their sound, so percussionists have to “breathe with
the brass” to stay perfectly together. Muffling, timing, touch — much of that isn’t
written in the score. You have to listen, adjust, and help the whole ensemble sound
unified.
Working under Music Director Steven Karidoyanes really shapes my approach. His

36 ~ Plymouth Philharmonic Orchestra