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Percussionist: Rieko Koyama

Vinod Khiatani (VK)
Rieko Koyama(RK)

To start off, we thought our readers would be interested in how the journey began in Japan and ended in Hong Kong. Could you share with us your journey please?

Yes, my journey began when I joined the marching bandin my primary school as an after school activity (in Japan we called them club). I was a very active young girl and the position of playing drums while moving appealed to me. I played and thoroughly enjoyed it. We practised for 2 hours every day after school and entered into competitions. But then they did not have the marching band in middle school so I just practised the drums on my own until high school when I joined the marching band again. In high school, my teacher showed a video of high school marching bands in America. I was fascinated by the level of creative movements and skills and wanted to pursue it more. At that time, my school also had a sister relation with a school in Canada and I approached my teacher to ask if I could go to Canada and join the marching band there.

So that ended the phase in Japan and led to the next phase in North America.

Exactly. I was in Canada for about 2 years and then auditioned to join a marching band in California and was selected. I was with them for about a year as they had a age limitation policy and I had reached it. Up to that time, I was involved in marching bands more out of interest but I thought seriously about what I wanted to do and thought it would be good to pursue music formally. The other option was to be a band instructor in a school back home and I wasn’t drawn to that option. So I did my Bachelors and Masters Degrees in music between Universities in Indiana and Boston. That was when I became involved with orchestral playing and performance.

Then you moved to Hong Kong?

No, I moved back to Japan first as there was an opening for orchestral training instructors to teach the younger generation and foster in them an interest in orchestral music performance. It was a 3 year commitment after which you were on you own. In the meantime, I was encouraged to audition for position in openings around the world.

Tell us something about these auditions?

They are very competitive and for every single position available, there can be a min of 10 auditions if the orchestra is small to a hundred if it is a fairly large orchestra. I can only describe the process as stressful. You submit your resume and if you are shortlisted, you are invited to play live and the pool shrinks until they (the interviewers) find the perfect match. It is a daunting experience and in my case, I was more desperate as I wanted to land a position after my 3 years in the Japan was done. And that is when I secured the position with Hong Kong Sinfonietta and I have been here since 2011.

I am curious what factors do they consider in auditions?

I would think experience and your live performance would weigh heavily. But to be shortlisted, perhaps you music education also play a factor.

So how did you get into teaching?

I thought that perhaps I should broaden my skills set and try teaching but it was difficult in the beginning. In Hong Kong, we you are teaching violin or piano, there would be a ready demand as parents seem to prefer these instruments but percussion instruments were not so popular. So I decided to start small and worked with toddlers age 3 and above through music movement classes. That became popular and I move on to make curriculum for age 4 and above and it kept growing. I found myself enjoying the experience of seeing children explore music and take interest in it. In Hong Kong I think that parents want their children to cultivate their creativity and they look to music and art to help cultivate it but sometimes the decision is then imposed on the child. In Japan, when I was growing up, parents then to be more laid back and allow the student to explore various avenues and let the interest be self-initiated. In a small measure, I am trying to cultivate self-interest among student here.

How can a parent foster that interest in their children?

I would say that the most preferred and fruitful avenue is to take them to live concerts. Sure they can listen to music on their devices or play their DVDs on the best sound systems but nothing compares to a real live concert. It gives them a different level of appreciation and would likely spare their interest in learning a musical instrument.

Oboist/ Bassoonist – Kevin Lee
The Clown of the Orchestra

“The bassoon is one of the most difficult instruments in the orchestra to play but its role is vital”

“The instrument itself looks like a bedpost”

“The bassoon has become familiar, in anatomical terms, to the human appendix”

“The tone of the music is so companionable, so delightfully talkative, so attuned for every pure soul that until the Day of Judgement, the bassoon can never be dispensed with. It assumes all roles: it accompanies martial music with manly dignity; it is heard majestically in Church; it sustains the opera; it reasons with wisdom in the concert hall, gives a swing to the dance and fulfills every requirement” (Poet C.F.D.Shubert d.1791)

At least that is what my research – the bassoon had a fascinating history. Why would someone decide to play it for a living? In this interview, I talk with Kevin Lee who plays the bassoon and oboe professionally and asks him to share with our readers how he got started on his musical journey.

Vinod Khiatani (VK)
Kevin Lee (KL)

Let’s start from the beginning. I’ll be honest – I didn’t know what a bassoon was until I looked into it and I must say it has an unusual history. The remark I thought most interesting was the bassoon was the “clown of the orchestra”

It is true, I think, It is the most misunderstood. It may seem like it is not necessary. It has this awkward shape and it is a large piece of the instrument but it plays a vital role in the orchestra. In fact, every orchestra would have at least two or more bassoon in it. It is the bottom part of the wood wind family.

How did you get started? I can’t think of any student at a young age who would say I would like to play the bassoon.

I did not start out with the bassoon. I started out at age 6 playing the violin but after a year, I gave up. I found that the posture to play the violin to be too awkward for me so I gave up. At age 9, I had the desire to pick up some instrument and two choices were before me – the bassoon or the saxophone.

My family has always loved music and if we were not going to concerts, we were listening to classical music at home. My mother gave me an advice I thought was very profound. She told me that the saxophone has a rude personality while the bassoon was shy and quiet nature more aligned with my personality. And besides if I learned the saxophone, I would not play in an orchestra but if I played the bassoon, I could have the opportunity to play in an orchestra if the opportunity presented itself.

In almost all of our interviews in this series, mothers played a pivotal part in fostering the child’s lifelong interest in music. Is that the career she envisioned for you?

I don’t know but I listened to her and chose the bassoon. My teacher who taught me was a wonderful teacher. He was always encouraging me and praised my efforts. Through his guidance, I was directed to apply for DBS. Now my academics were not exceptional but DBS had an orchestra but they need a bassoon player. My instructor said that I played well and if I applied, I could get in on the basis of my strength. So I applied and got into DBS and played in the orchestra. I enjoyed the inter-school competitions very much as it helped me improve.

So did you study music at University after graduation?

No, I graduated from DBS and went off to the UK to study Business and Management. But my academic foundation was not strong and I struggled in my studies. I decided to take lower form 6 again but no matter how hard I tried, my academic results were not improving.

What did you do next?

I was also attending a church while I was there in Brighton. I was also playing the bassoon on and off with a group and we would play at different venues. There was a lady that came up to me and asked whether I had considered playing the bassoon for a living. She had heard me play in the group and felt that I played it well and that was my strength and that I should concentrate on building my career on my strength. At that moment, a light bulb went off in my head. Why hadn’t I taught of that? It brought back to my mind the
words of my instructor when he encouraged me to apply for DBS.

So she accompanied me to look for a University that would accept me but I did not finish my A-levels so I was not sure that I could find one. But she persisted and we found a University that accepted student via audition only. I went for the audition and played my favourite piece and after I was done, the admission director extended his hands and said I was accepted. I have often looked back and marveled at God’s guidance in this.

What were your parent’s reaction to all this?

They were very supportive and encouraged me to persevere. I went through the three-year program without any difficulty. After that, I did my post-graduate diploma of music from the Royal Birmingham Conservatoire and then came back to Hong Kong to play and teach.

What do you look for in your students?

I look for students who are eager to explore new things, have a goal in mind, are willing to accept responsibility and will finish what they start. I want them to love music for music sake and not because it would be a means to get ahead in the education competition.

What kind of music do you enjoy listening to? And what advice would you have for parents?

I enjoy music in general and listen to all kind. For parents, be supportive and observant of your child’s unique personality. Build on his strength but don’t force your aspirations on them. Prepared them for the journey.

Flutist – Izumi Nikaido

Hornist / Trumpetist – Chi-chung Chow

Clarinetist – Chiu-yuan Chen Clarinetist – Chiu-yuan Chen

CELLIST – ANNA KWAN TON-AN

She is an acclaimed young virtuoso of the new generation started learning the cello when she was ten at the Hong Kong Academy for Performing Arts.

She received her Bachelor Degree at Oberlin Conservatory of Music and obtained her Masters of Music at Yale University.

Anna has worked with members of the Vermeer, Emerson, Colorado and Tokyo String Quartets. In 1992, she was chosen to be the only representative from Hong Kong to attend the Interlochen Arts Camp in Michigan, the USA with a full scholarship. She was principal cello of the Asian Youth Orchestra in 1995 and a member of the Jeunesses Musicales World Youth Orchestra, orchestra in residence of the Verbier Music Festival, Switzerland in 1996 and 1997. Anna also toured with the Yale Cellos, performing at the Manchester Cello Festival and Rencontre de Violoncelles in Beauvais, a CD of the concert was released for Calliope record label. Anna joined the Hong Kong Philharmonic Orchestra in 2001. In 2006 she was invited by Maestro Myung-Whun Chung to perform as a member of the Asia Philharmonic Orchestra to perform in Seoul, Korea.

(Brief excerpt from Hong Kong Chamber Music Society)

Vinod Khiatani (VK)
Anna Kwan (AK)

You started studying cello at the age of 10 at the Academy of Performing Arts. Why is that the instrument you chose? Were there any other instruments you played?

I grew up in a musical family. My mother taught the piano when I was young. She had studied the piano in England and my brother was also playing the piano. At the age of 4, my mother arranged for me to learn the piano. I was fond of music and picked up the violin also. My mother also took us to the concerts and it was in one of the shows where I saw the famous cellist YoYo Ma playing that I decided I too want to play the cello. I grew up playing all 3 instruments but when I was accepted to the Academy of Performing Arts, I was advised to focus on playing one instrument and I chose the cello.

What memorable experience do you have during this time in your musical journey?

A definite highlight was when I was chosen to be the sole representative from Hong Kong at the Interlochen Arts Camp in Michigan, U.S.A. It was an 8-week camp but I thoroughly enjoyed every moment that I was there.

You have a history with the Asian Youth Orchestra, what was your first involvement with the Orchestra?

I was 15 when I was invited to be a member of the AYO. It was a wonderful experience and after my studies at Yale, I returned to Hong Kong having secured a spot with the Hong Kong Philharmonic Orchestra. It was at that time that I also joined the faculty of AYO and have been with them until present. So yes, first a member and now an instructor.

How did you land the spot on the Hong Kong Philharmonic Orchestra?

After receiving my Bachelor Degree at Oberlin Conservatory of Music, I continue my studies at Yale University pursuing the Masters of Music degree. It was a 2-year program and I had the privilege of being instructed by some of the best teachers/professors in the field among them the legendary cellist Aldo Parisot.

When I finished my Master degree, I thought it would help if I capped my studies with the Artist Diploma which would further enhance my performance capabilities. It was at that time that my mother informed me of the opportunity to audition for the Hong Kong Philharmonic Orchestra. I was reluctant in the beginning as I thought the odds were against me. I thought that surely there would be someone who would be better qualified than me but my mother encouraged me to try anyway. I auditioned and was offered the position. My professor at Yale was not happy that I would not be staying in the U.S.A. but I am glad I took the opportunity.

It seems like your mother has played a vital role in your musical journey?

Indeed, she has been very supportive throughout the journey. I have fond memories of our discussion growing up about the pros and cons of becoming a musician and the varied options available whether to be a solo performer or play in an orchestra etc. I am thankful for her guidance.

When did the desire to teach the instrument develop in you?

It actually started when I was in Oberlin College. I enjoyed working with the students. That was my first teaching experience. But I got serious about it when I returned back to Hong Kong. I was teaching young children and I found that I enjoyed the relational aspects of teaching. It was very fulfilling. Music is a very expressive medium. For students to play well, they have to learn how to express themselves. So I find that teaching them, I had to get to know them personally and kind of mentor them not just in music but in other areas of their lives. Of course, seeing them progress and make music is very fulfilling.

Is there a particular age group that you enjoy working with? Alternatively, is there an ideal age in which one should begin to learn the cello?

I enjoy working with all age groups. Adult learners are more mature so they don’t waste much time. However, their fingering ability is slower and they may not be as nimble as the younger students. But I enjoy all age groups. There is no ideal age per say, but because the cello strings are thicker than violin strings and the instrument is heavier, it does require some strength to handle it. So, whereas violin could be picked up at an early age, I think slightly older say 5-6 years would be a good age to begin.

What approach do you take in teaching the instrument?

Playing string instruments is quite different from playing the piano for example, where you can immediately hit the keys and hear the sounds/tone. With string instruments, it is slightly different. I usually teach my students to sing. This is so that they can train their ears to listen to the pitch. I have found that this is foundational.

Do you see yourself getting more involved in teaching?

Definitely, I cherish my experience with the orchestra but I think I am at that stage in life where I want to pass on my accumulated knowledge and experience to young and emerging musicians. I find that I can contribute well in this area so that young musicians may develop their talents in the proper way and not succumb to poor instructions that are readily available today.

Do you listen to other music genres or play other instruments?

Nowadays, I find that I enjoy singing more. I enjoy watching singers as they master their craft, for example, their breathing techniques etc. Other than that, yes I listen to a wide variety of music.

Who are your favorite composers?

Besides CLASSICAL music, I enjoy listening to pop music. I think it is important to listen to a broad range of music whether orchestra music, solo piano music etc. It helps to develop the love for music in general. I have also ventured out of my comfort zone by playing pop music or playing the instrument in music videos for song artists. I enjoy the process very much.