Page 39 - Phil Holiday Pops 2025 digital program book

gestures and phrasing give each performance its character, and I pay close attention
to that.
What are pieces that are especially challenging?
A lot of the music by John Williams can be very challenging. His timpani parts are
virtuosic — fast pedaling, quick pitch changes, expressive writing. I spend time
mapping out all my tunings before rehearsals. There’s also a personal connection:
Williams’ father was a percussionist, and his brother Don played timpani on film
scores. That makes his music feel meaningful to me.
What do you wish audiences knew about the timpani?
That it’s a pitched instrument! We play in bass clef, and our lines can shape the
harmony and emotion of a piece. From Beethoven to Bartók to today’s film music,
the writing can be incredibly expressive or virtuosic — sometimes both.
Is it hard to stay focused during long stretches of rest?
It can be! In works like Bruckner’s Seventh Symphony, there’s a single cymbal crash
after 170 bars of rest — and the percussion section is tacet for much of the piece.
You have to know the score inside and out. I mark my part with cues so I stay fully
engaged even when I’m not playing.
Do you have a favorite performance memory with the Phil?
One of my favorites was playing music from the Brill Building. I had just come off
a run of Beautiful, the Carole King musical, so that whole era of singer-songwriter
music really resonated with me.
What’s your favorite thing about playing under Music Director Steven Karidoyanes?
My favorite thing is how much he genuinely cares about the community of musicians
in the orchestra. The freelance world can be competitive, and his authenticity helps
us play our best without fear. It creates an atmosphere of trust.
How do you prepare mentally on concert days? Any rituals?
If I can, I like to exercise. Yoga especially helps me — breath, balance, and movement
all relate directly to being a percussionist.
Do you have a musical bucket list?
At 44, with more than twenty years of freelance performing, I’ve checked off most
of the major timpani and percussion repertoire. Now I’m interested in pieces that
bridge classical and popular music. I recently premiered Black Athena Power by Ray
Angry, the pianist from The Roots, and really connected with it.
My dream project would be a percussion-heavy orchestral celebration of Tom Waits’
music. It doesn’t exist yet — but maybe some arranger will see this and make my
dream come true!
What makes live orchestral performance special today?
Life can be stressful and grey. We live in a polarized world and get stuck in routines.
Live orchestral music is a breath of fresh air. I hope audiences see how the musicians
of the Phil listen to and respect each other. That spirit — of collaboration, curiosity,
and community — is something they can carry with them long after the concert
ends.

Season 2025/26 ~ 37