Cindy Ho | Hong Kong | March 2025
Andrew Ling, principal violist of the Hong Kong Philharmonic Orchestra, reflects on his formative years and early musical influences in this candid interview. From childhood piano lessons with his mother, vivid memories of family music traditions and exposure to disciplined practice, Ling shares how these experiences shaped his journey. Guided by dedicated parents and inspired by early encounters with choirs, violin teachers and a supportive learning environment, he details the challenges and joys of his development as a musician. The interview provides insights into Ling’s family, education and lasting passion for music.
C: Was there a powerful early musical impression on you? How did music come into your life?
A: I started learning the piano with my mum when I was three. Looking back, it was quite a demanding task for her – to practise with me and bring me to lessons. Now that I have a 10-year-old child, I’ve begun to understand just how challenging that was. She taught me how to read scores, though my memory of how it happened is vague. I do recall that it was a traditional method, beginning with an octave starting from C and gradually extending to other octaves.
C: So you chose to learn the violin yourself – did your parents have to discipline you strictly?
A: Of course! They were very strict with discipline. However, after I started learning the violin, I practised the piano less, so my progress with piano slowed down compared to before.
C: Did your mum accompany you for lessons at Yip’s?
A: Yes! My mum accompanied me to every lesson.
C: Was it a requirement at Yip’s?
A: Yes, it was. At that time, there were only a few classes, so everything was closely monitored, and Dr Yip frequently observed the lessons.
C: Can you explain a little bit about the structure of Yip’s programmes?
A: I’m not too familiar with the current structure, but back then my impression was that it was primarily focused on the choir.
I started singing in the choir at Yip’s when I was three. I still vividly remember the performance attire – a red striped shirt and white shorts. I loved being part of the choir and playing games. Yip’s had a lot of games, which greatly improved my sight-reading skills.
My elder brother, who is now a pop music arranger, was much older than me. He went to study overseas when I was young, so my parents were deeply involved in my learning process. They attended my Saturday private lessons and Sunday music classes. These experiences were invaluable – I made life-long friends with whom I practised and went to school.
C: Did you have to attend other classes aside from weekend classes?
A: Not really. I remember that my primary school days were relatively relaxed. At that time, I attended Munsang College, where classes followed a half-day system.
My mum, being a teacher, adjusted her schedule so she could be with me in the mornings before I went to school in the afternoons.
C: Your mum played such an important role in shaping your success!
A: Yes, most definitely! I remember that as a child, my practice sessions were structured into half-hour segments, and she would sit beside me the entire time. Her support continued all the way through my fifth and sixth years of primary school. Of course, if I didn’t do well, there would be appropriate punishments as well.
C: Was it because your intonation was off when you didn’t do well?
A: The expectations placed on me were incredibly high, far beyond what I would feel comfortable demanding from my students today.
At that time, my teachers would spend an hour meticulously working on just two or three phrases, ensuring every note and intonation were perfect. I believe my teachers were teaching me principles or theories back then – once I grasped those, everything else would naturally fall into place.
Now, young students often need to be taught phrase by phrase. Once you teach them one phrase, they often can’t apply it to the next one. So I think the way I learnt was quite different. In our class, there were six students, and the teacher was excellent at teaching these principles to every one of us.
C: Are you referring to Mr Li?
A: Actually, it was Miss Qiu, Li Chuan Yun’s mum. Interestingly, I have never seen her play the violin, except when she helped me tune it. She was incredibly good at explaining things.
C: How was your experience studying with Professor Lin Yaoji?
A: Professor Lin, introduced to me by Dr Yip, was another teacher who played a crucial role in helping me establish a solid foundation in my musical training. He taught me a variety of mnemonics and gestures, many of which I still remember to this day. His lessons placed significant emphasis on bow usage and advanced techniques, such as up-bow staccato.
When it came to musical interpretation, Professor Lin had considerably stricter standards compared to Miss Qiu. He focused on delivering performances that were richly colourful and deeply expressive.
Later, during my years at DBS, I continued taking lessons with Professor Lin. He would visit Hong Kong every two months to teach me, and I feel incredibly fortunate to have benefited from his expertise and guidance.
C: How did DBS shape you as a musician? Can you tell us more about your experience and the music curriculum at the school?
A: At that time, I wasn’t a student who transitioned directly from the primary section to the secondary school. Instead, like some other students, I got accepted to DBS as one of the more outstanding students from Yip’s programme.
I didn’t have a chance to play in an orchestra back in primary school but I did start playing in a string quartet at Yip’s. Since I didn’t own a viola, I played viola parts on the violin, reading the alto clef. My background in piano helped me adapt to the alto clef since it had already familiarised me with sight-reading skills.
This is why I often recommend young children to learn piano first. At three to four years old, their muscles aren’t developed enough to press violin strings correctly, which can lead to improper techniques like using the wrist. Piano provides essential foundational skills, such as pitch perception, music theory and sight-reading, all of which are invaluable to my violin or viola playing, especially when working with conductors later on.
C: So when you joined DBS, you were finally able to play in an orchestra?
A: Yes, that was the first time I officially played in a symphony orchestra!
C: How did you feel about it?
A: I vividly remember playing the final movement of Tchaikovsky’s Fifth Symphony in Form One.
C: It sounds like such an exciting experience at such a young age!
A: Yes, it was a milestone for me, as I had very little exposure to large symphonies before that. I think today’s kids are incredibly fortunate because they can easily access classical music online anytime.
For me, back then, I seldom had a chance to listen to these large-scale musical works before. Even if I did hear them, I didn’t fully understand what they were. So being able to play in an orchestra was a thrilling and enjoyable experience.
C: Was it a junior orchestra?
A: No, they didn’t separate the orchestra by age – students from Form One to Form Six were all part of the same group. This structure remains the same even now, with no age distinctions. However, there are separate symphony and string orchestras.
In primary school, though, they divided students into different groups. For example, younger children in Primary 1 who had limited playing skills but wanted the experience of being in an orchestra would be placed in one group, while those who had passed exams and gained more experience would join another group.
DBS also encouraged chamber music, and I played The Trout for the first time using a viola provided by the school. This was my first true viola-playing experience.
C: It’s incredible that you could play the viola immediately without taking any proper lessons!
A: Yes, it works similarly to the violin, so I picked it up quickly. Many of the classmates I played with in ensembles at the time are still in the field today and are highly successful. In fact, DBS has produced many musicians who continue to excel in Hong Kong’s music scene and even on the global stage.
C: How did you find time to study?
A: The school provided ample freedom to explore our musical talents, including allowing rehearsals during certain classes. However, we did prepare intensely for academic classes before the college entrance exams. I believe we were doing the right thing at the right time.
C: It’s impressive that you managed to keep up with your grades!
A: My grades were fine – I passed to the next level, so that’s good enough for me!
C: Were there school performances back then?
A: Yes, but not as many as there are nowadays. Back then, we mainly prepared for music festivals and held one concert during summer.
During my time, Mr Ronnie Cheng, who is now the DBS principal, managed all music activities. He was the only music teacher and oversaw everything, from teaching regular music classes to conducting the orchestra and choir.
C: Which instrument did you play in the orchestra?
A: I played both violin and viola in the symphony and string orchestras. However, I focused on viola in chamber music since it was less common – it was an instrument that not many students played.
C: Did you know early on that music would be your life?
A: Honestly, the decision felt very natural. After finishing Form Six, I enrolled in music school without hesitation – it just felt like the right choice. While I went through a phase where I was passionate about computers, I quickly realised I lacked talent in that field.
C: Was there anything besides music in your early years?
A: In my early years, apart from music, there wasn’t much else. We had sports during physical education lessons but they were mostly just for fun. I also participated in photography activities with my schoolmates, spending time in the darkroom developing photos. It was an artistic activity that I enjoyed.
C: It seems like you were destined to be a musician, given your family background and surroundings! So you switched to viola later on?
A: Yes, although I only formally studied the viola for a year while earning my diploma.
C: How did you find the switch to viola? Are you happier? Did any part of you feel like you did it only because no one else was playing it?
A: No, I never felt that way. Throughout my musical journey, I’ve continued playing the violin and feel equally happy playing both instruments.
The year before graduating with my master’s degree, my teacher suggested that I learn the viola to expand my options. After completing my studies in Indiana, I bought a viola and pursued further training with Alan de Veritch. He was a student of Primrose, who was Heifetz’s chamber music partner, and he also served as the principal violist of the Los Angeles Philharmonic.
C: What do you think makes the viola distinct from other string instruments, and how do you leverage its strengths in your performances?
A: I find the viola distinct from other string instruments because it feels more human-like. The violin, for example, often stands out as a diva, while the viola has a more grounded and relatable character, resembling an average person with deep emotions. Its tone is incredibly magnetic and can be profoundly lyrical. The viola’s sound is rich, unique and capable of great passion.
Another strength of the viola is its versatility – it can adapt to various musical roles depending on the composition. For instance, it often bridges the harmony between the violin and cello parts. In string quartets, the viola occasionally carries a stunning, heartfelt melody that captures the audience, though these moments are often fleeting, like in the second movement of Dvořák’s quintet. Being a violist himself, Dvořák wrote beautifully for the instrument.
In ensembles, the viola frequently serves as a supporting voice, similar to the alto in vocal music. It plays a vital role in providing tonal colour and stability, ensuring smooth chord transitions and maintaining a steady rhythm. This prevents the leading instruments from dragging during lyrical passages or rushing through passionate sections. In orchestras, the lower string section, including violas and cellos, often takes on the role of rhythmic grounding, making them indispensable.
C: What are some of the biggest challenges you’ve faced as a violist, and how have you overcome them?
A: To me, one of the biggest challenges as a violist is finding your own sound. The viola’s tone is very unique, and each instrument can sound drastically different.
In contrast, violins tend to have a more consistent character, with a brilliant, bright and powerful sound often sought after. For violas, however, differences in size and tonal range – treble and bass – make it extremely difficult to balance the highest and lowest registers, let alone discovering a personal voice.
For myself, it wasn’t until I had been a principal violist for quite some time that I began to find the sound I truly wanted. Since I also play both violin and viola, I aim to create distinct sounds for each instrument. It’s like switching between being a protagonist and a supporting character – the sound should change accordingly.
In conclusion, I believe the most challenging aspect of playing viola is developing a personality in one’s playing. It’s a task that takes years to accomplish and evolves constantly over time.
C: You’ve been a member of the Hong Kong Philharmonic Orchestra for 15 years. How has this experience influenced your perspective on orchestral playing and the role of the viola in an ensemble?
A: I think playing in an orchestra is incredibly fun. As a violist, I have more time to listen and appreciate the parts played by other instruments, which adds a deeper layer of enjoyment to the experience. In contrast, if I were playing first violin, I would be much busier and might not have the same opportunity to engage with the overall sound of the ensemble.
This broader perspective has, in part, influenced my journey towards becoming a conductor. It has allowed me to view the orchestra as a whole and understand the intricate interplay between the different sections.
C: Any interesting incidents to share with us while working with conductors and soloists over the years?
A: Some of the most memorable experiences have been during solo performances, such as the recent Bartók Viola Concerto performance. Interestingly, I was probably the only person in the viola section who had never played this piece before.
When I transitioned from violin to viola, I quickly auditioned for the orchestra and earnt the principal position. Luckily, the audition excerpts were identical to those for violin. As a result, I didn’t have much time to study viola solo repertoire, which added a bit of pressure. However, I believe every job has its starting point.
In the early days, I also had my share of slip-ups. During my probation period, there was a particularly amusing moment when I played the first note, only to be corrected by a colleague – it was in alto clef! Even now, there are moments when I need to remind myself of the clef I’m reading.
C: What has been the most memorable performance or project of your career so far, and why did it stand out to you?
A: To be honest, I can hardly recall the first five or six years of my career. Playing 40 weeks a year meant too many concerts to remember. Some were excellent, while there were also a few performances that I felt were underprepared and a bit concerning.
C: What happens if rehearsals don’t go as well as expected? Would there be an extra rehearsal?
A: Usually, there wouldn’t be an extra rehearsal, so all you can do is pray! But, as a musician, I completely understand that there are good days and bad days. Those bad moments pass quickly and you have to learn to accept them. Sometimes you might lose opportunities because of them but there are always new ones ahead.
C: How about the impressive performances?
A: We’ve worked with many well-known musicians, like James Ehnes and Kavakos. Collaborating with them was truly enjoyable and rewarding.
C: In what way?
A: As a string player, you can tell where the tricky passages are in the repertoire. Watching how they handle these difficult parts was fascinating. I learnt a lot from them, though some things are beyond imitation – they’re simply for admiration. For example, you can’t replicate how James Ehnes plays – everything is perfect. I recall his performances of Bernstein’s Serenade and Tchaikovsky’s Concerto; he made everything seem so effortless. As for Kavakos, he usually doesn’t practise the repertoire he is about to perform that week. Instead, he prepares for pieces he will perform two weeks later.
C: Only top-tier musicians work like that!
A: Exactly. His pieces are so ingrained in his system that he doesn’t need to practise the upcoming repertoire anymore.
C: So he is just enjoying his performances?
A: Yes, I think that’s the key difference between a soloist and an orchestral player.
C: After all, soloists have to perform a lot during the year, right?
A: That’s true. Conductors also have a significant impact on me. Jaap [van Zweden] left a strong impression when I first saw him conduct. He drastically changed the orchestra’s sound, even just with his presence, before detailed practice began. You could hear a distinct difference in sound when he conducted compared to others. After 12 years of his leadership, the orchestra can now produce that sound even when the players are exhausted.
C: Do you think he elevated the Hong Kong Philharmonic?
A: I believe he transformed it. Of course, there is still room for improvement. For instance, some conductors mentioned that we are too loud for certain repertoire. Jaap preferred a virtuosic sound similar to the Berlin Philharmonic. However, conductors with a pianistic or vocal background often think we are too loud, that we are not subtle or delicate enough. I think it is about adapting to different styles of music. It’s like the difference in sound required for Schubert versus Rachmaninoff for a piano player.
Our strengths lie in composers like Rachmaninoff, Tchaikovsky, Shostakovich and Prokofiev. On the other hand, classical period works like Haydn, which require a lighter sound, are our weakness. These pieces often involve detailed interpretations, such as vibrato adjustments, which demand a lot of rehearsal time, which we don’t always have.
C: So would you say Jaap had the biggest impact on the orchestra?
A: Jaap is one of them but there’s also Lorin Maazel.
C: Oh, you got to work with him? How lucky!
A: Yes, he came for two weeks in 2013. Unfortunately, he passed away in 2014.
C: I heard him at the Barbican. He never uses the score, right?
A: That’s correct. During his first visit, he conducted The Ring Without Words, which he arranged himself. He combined parts from Wagner’s four operas into a single symphonic poem-style piece. It lasted an hour and a half and he memorised the entire work, even during rehearsals.
I remember a section in E-flat major with 70–80 bars of repetitive materials played by eight horns. He seemed like he was falling asleep but, as the section ended, he gave the cue right on time. It was incredible. Some criticised him for looking bored while conducting, but it’s because he’s extremely familiar with the works – like a pianist who has played a Chopin piece hundreds of times.
C: Besides that, what impressed you most about him?
A: His gestures and baton technique are among the best in the world.
C: Can you elaborate?
A: His two hands could clearly express multiple aspects in music, such as tempo changes, phrasing and atmosphere. His timing was exceptionally precise. Unfortunately, we didn’t get another chance to work with him since he passed away.
C: Was your first conducting experience related to him?
A: Yes, it was in 2013. I remember being on a trip when the director of programming called, asking if I was interested in conducting a project. My first conducting gig was a Hong Kong Philharmonic side-by-side project called Share the Stage, sponsored by the Hong Kong Jockey Club. I rehearsed with the orchestra first, and Maazel later conducted an open rehearsal. It was my first time conducting an orchestra.
C: How did you feel about that?
A: Very nervous. Maazel was sitting right there as I conducted. I was inexperienced with conducting, had no formal teacher, and was conducting my colleagues, which made it extra stressful.
C: Did he give you any comments?
A: I spoke with him privately and asked for advice since I just started conducting and hadn’t taken any formal courses. He said conducting is hard to teach – you either know it or you don’t. Talent is crucial, which makes sense since he conducted the New York Philharmonic as a teenager. He was also a violin soloist and played a Mozart concerto with the Vienna Philharmonic.
He shared that he learnt a lot by sitting at the back of the orchestra and observing conductors. Initially, Hong Kong Phil invited him for the same Share the Stage project in 2014, but sadly he passed away before that.
C: Do you consider him an inspiration for your conducting?
A: Absolutely. He’s someone I aspire to learn from and is a role model for me. In my opinion, he’s one of the best conductors.
C: What are some other role models that you have? And who are some of the musicians or composers who have had the greatest influence on your career, and why?
A: There are people I admire and want to learn from, but I always tell students not to copy their role models. For instance, I really enjoy watching Heifetz’s performances but it’s impossible to replicate his playing. You also can’t copy Joshua Bell’s style. As we’ve discussed before, it’s crucial to find your own interpretation, sound and preferences instead of trying to imitate others.
C: I see. So, let’s summarise – Lorin Maazel, Jaap. Anyone else?
A: Every conductor I’ve worked with has influenced me in some way. The Hong Kong Philharmonic has collaborated with many renowned conductors in recent years, such as Paavo Järvi. Among those I’m interested in are Daniele Gatti, who will be conducting Mahler’s Symphony No. 3 soon, and our new director, Tarmo Peltokoski.
Tarmo is exceptionally musical and talented, which is even more impressive considering he’s only 24 years old. His approach to music feels very natural. I actually met him about 10 years ago at a conducting masterclass in Finland when he was very young. It didn’t register at the time but when he came to conduct the Hong Kong Philharmonic it clicked.
C: It’s amazing how he achieved so much at such a young age, right?
A: Absolutely. Hong Kong Philharmonic was his third orchestra with directorship, and he’s undoubtedly a conducting genius. Transitioning from our previous director, who was in his 60s, to Tarmo, who is in his 20s, marks a significant shift. In some ways it’s a gamble, but we believe it’s worth the exploration.
One thing I deeply admire about Tarmo is his intense focus on music – you can have lengthy discussions with him and he could go on for hours. Even in his teenage years, he loved listening to Bruckner’s works and could even memorise them.
C: You are a passionate chamber musician. How important do you think chamber music is in shaping you as a musician? Do you have a group you work regularly with? How do you choose your chamber partners?
A: While I do enjoy working with different musicians, as a violist I don’t think I get many opportunities to choose my chamber partners.
C: I guess it’s usually the pianist who gets to choose! But do you ever have a chance to lead a project?
A: Yes, occasionally, some people would ask me to join their projects, and I’ll help them brainstorm ideas about what we could do. However, most of the time it’s the organisers who decide who will perform.
C: Are you okay with this?
A: Yes! I am okay with it. For example, I once travelled to Korea to play with musicians I had never met before. It was a refreshing experience for me because, when playing string quartets, I usually perform with colleagues from the Hong Kong Philharmonic. The advantage of working with them is that our playing styles are very similar since we’re part of the same orchestra, so rehearsals are highly efficient – we often need just one or two rehearsals before the performance.
However, in Korea, everyone played differently and we had more rehearsal time. It was a fun experience for me. We performed Dvořák’s American Quartet and Brahms’s Clarinet Quintet, pieces I’ve played before but the sound and approach were entirely different.
C: So you had to change everything from your past interpretation?
A: Yes, because as a violist you often have to adapt, especially in a supporting role. That said, there are certain aspects I could “secretly” adjust, such as timing and tone colour. Still, collaborating with unfamiliar musicians is always intriguing. You have to figure out how to communicate and harmonise with them through music. I think of it as a fun challenge to adapt quickly and expand my musical flexibility.
C: That’s true – you gain that ability naturally with experience, right?
A: Absolutely. Repeating the same tasks regularly but occasionally doing something different is, in my opinion, an excellent way to grow as a musician.
C: How do you approach working with composers on new works for the viola? Any interesting experiences to share with us about working with living composers?
A: So far, I haven’t performed any commissioned work written specifically for me as a soloist! I could imagine that I would definitely enjoy it though.
C: You do have experience playing new music with the Hong Kong Philharmonic, right? Do you have anything to share with us about working with composers?
A: Yes, plenty of experiences. For instance, just last week, we performed a piece composed by Raymond Yiu. He has written works for the Hong Kong Philharmonic twice, and I really enjoy his compositions.
C: Was he there during the rehearsal or performance?
A: Yes, he was present during rehearsals. He provided feedback on aspects like balance and some finer details.
C: It must be fascinating! How about working with younger composers – anything unique?
A: Yes, working with younger composers is also interesting because it often involves more discussions.
C: Were there big changes after those discussions, like changes to the notes?
A: Not really. I suppose it’s challenging to make changes that seamlessly fit all the orchestral parts.
C: I see. Let’s talk about your teachers in the US. You studied at Indiana University Bloomington and Rice University in Houston. Your teachers included Henryk Kowalski, Ik-Hwan Bae, Alan de Veritch and Cho-Liang Lin. How did they enrich your musical life?
A: Henryk Kowalski was my professor during my bachelor’s degree. He studied with Josef Gingold, and I believe playing an instrument is like a craft passed down through generations. One’s craftsmanship is shaped by the lineage of teachers who have influenced them. Gingold was part of the Ysaye tradition, so his style involved more glissandos, and his phrasing was very unique.
Ik-Hwan Bae, who sadly passed away recently, studied with Galamian and was a joint first prize winner in the 1985 Queen Elizabeth Music Competition, along with Taiwanese violinist Hu Nai-yuan. At Indiana University, he was responsible for the chamber music programme, where he selected and coached all the chamber groups. He taught me essential collaborative skills, such as listening carefully and working effectively with others. I believe much of my ability to “sing” with my instrument came from him. He also prepared me for many violin competitions.
Alan de Veritch was the only teacher I studied viola with, though I learnt from him for a relatively short period. He taught me how to create different colour changes on the viola using my bow arm, which is distinct from the violin technique.
As for Cho-Liang Lin, I studied with him for a little over a year at Rice. The first time I saw him was in a masterclass and he was already a very famous violinist.
C: Yes, I heard his performance at the Barbican 30 years ago.
A: Yes, I grew up listening to his recordings – his performance of Sibelius was truly wonderful.
C: Were you extremely nervous during your first lesson with him? What did you play for him?
A: Not really, because by then I had already finished my master’s degree. I played the Poulenc Sonata during the masterclass, actually. In lessons, since I was already pursuing my diploma at the time, he didn’t spend too much time working on details of pieces. We would often run through as many as four pieces in one session – Paganini, sonatas, concertos, showpieces etc. Sometimes I worried about running out of repertoire to play, but then I learnt that being a soloist requires mastering a vast number of pieces.
C: As a young conductor, it could be very tricky to work with experienced musicians in the orchestra while he/she just has to lead? You faced any challenges before and how did you cope?
A: I think the first thing for a conductor is to respect others. In my opinion, a conductor could be very demanding, but his intention must come from a place of respect – for the players and the music. It is also essential for conductors to learn how to work with others, because these experienced musicians have so much to offer. Being a conductor doesn’t mean that everything has to be your way. After all, even if your baton drops, if the musicians don’t react, nothing happens.
You need to convince them with your interpretation of the music, showing that it makes sense. That’s why you must be very familiar with the score. And you also have to accept that everyone makes mistakes – you can’t think you’re always right. Usually, those who think they’re infallible end up messing up on stage.
On the other hand, you can’t be afraid of the players. You must project confidence.
C: That sounds like advice for any kind of relationship.
A: Yes, but above all you have to know the music thoroughly. That familiarity helps your gestures become natural, and the performance more enjoyable – almost like chamber music.
I use the same gestures with student orchestras too, without exaggerating them. I want students to process the gestures and develop their own interpretations, keeping the music natural and organic.
C: What do you enjoy most about being a musician, and what keeps you motivated after so many years in the scene?
A: I believe everyone has their role in this world. This might sound a bit old-fashioned but I truly think that each person needs to fulfil their purpose. I feel very fortunate to have found mine, and that’s what keeps me going.
As a musician, I believe it’s our responsibility to focus on doing our best while passing on the art to the next generation. Teaching and showing students how to play is incredibly meaningful. In fact, this goes beyond teaching students – it extends to the audience as well. Ultimately, we rely on the audience to come and listen to us. Without them, we wouldn’t be able to continue our work.
C: So you feel that passing on the art is one of the motivations that keeps you going?
A: Yes, I think it’s a very important part. Of course, realistically, we need to earn a living like everyone else. But I believe that passing on the art is what gives it true meaning. It’s not just about competitions or exams.
C: How do you see the role of the viola evolving in contemporary music, both in orchestral and solo contexts?
A: I think nowadays the viola is becoming more and more important as people recognise how unique its colour and texture are. This has led to its increased usage in contemporary compositions.
C: There wasn’t much repertoire for the viola decades ago, was there?
A: Yes, there was almost none. Part of the reason was that there weren’t viola soloists in the 19th century.
C: Isn’t it strange that there were a good number of mezzo-sopranos but no violists?
A: That’s true! If you think about it, the viola as a solo instrument doesn’t have many concertos written for it. Of course, there are works by Stamitz and Hoffmeister, but composers like Mozart and Beethoven didn’t write concertos for viola. Mozart only included the viola in a duo. Similarly, Brahms didn’t compose concertos for viola either – his works for the viola were arrangements made later.
C: That’s tough! What do violists usually prepare for exams?
A: Exactly. The standard repertoire mainly consists of 20th-century works, like those by Bartók, Walton and Hindemith. Fortunately, many modern composers have written for the viola, such as Ligeti and Bowen.
There is actually a piece by a living composer that I love. His name is Magnus Lindberg, a Finnish composer who composed for the New York Philharmonic. I met him during a conducting class years ago. At the time, I was recording a programme for Radio Television Hong Kong Music, so I asked him for a piece of contemporary music. He generously gave me one to play. It was a piece originally written for the clarinet but it’s a fantastic piece.
Overall, I think there’s a growing body of contemporary music written for the viola, which is great progress.
C: What else do you think can be done to increase the visibility and appreciation of the viola among audiences?
A: More outreach concerts would definitely help. Nowadays, more people are aware of the viola because schools are promoting the instrument – it’s actually easier for students to join an orchestra if they play viola.
C: Do you think education is the key?
A: Yes, I think many things start with education. Going back to compositions, I believe it’s difficult for composers to write music for an instrument without an audience. Violin, piano and orchestral pieces tend to have more exposure, so it’s only natural for composers to focus on those instruments.
C: Have you ever thought about what you would have become if you didn’t become a violist?
A: I would be a violinist (laughs).
C: Great answer! And do you teach a lot?
A: Yes, I do teach a lot. I work with both college students and younger students.
C: What are your objectives for lessons or masterclasses?
A: It depends on their age. I enjoy teaching young students because they usually respond quickly and are able to correct mistakes right away.
For masterclasses, which are typically for middle school or college students, I focus more on musical elements. Most of them are like a blank canvas when it comes to understanding music. I provide ideas about musical structure or history because many students have limited knowledge of music theory, which can hinder their understanding of music. For example, they may not know the key of the piece they’re playing or how to phrase certain passages.
C: So their understanding of music is still somewhat immature. Do you think this is common here?
A: I think it’s the same everywhere – it’s just a matter of age. They might already have some technical skills but they’re not fully developed musically yet.
I try to introduce my ideas about music and how to play it correctly, rather than letting them practice aimlessly. Understanding the true essence of music can save them a lot of practice time. It’s like drawing: if you keep getting paint but don’t know what you want to draw, it becomes unorganised – even in abstract art. The same applies to music. I want them to have an idea of the sound they want first, then produce it. Otherwise, it’s like writing an essay without an outline.
C: So you focus on training them to be more independent?
A: Yes, that’s very important. They need to learn how to practise on their own and understand the principles behind what they’re doing.
C: How do you help students discover their own voice on the viola, especially given the instrument’s unique role in music?
A: Sometimes in music it’s hard to tell students what is their “correct sound”. However, you can guide them on what constitutes good taste versus bad taste. There is no absolute right or wrong in music – different people have different preferences. For example, some may feel that Heifetz’s music doesn’t move them emotionally but they could never say he is a bad musician.
In reality, there’s no such thing as perfect music, even though there’s a modern trend of promoting perfectionism. As humans, it’s impossible to achieve absolute perfection in every performance – perhaps only technology, like AI, can achieve that, such as autotune for singers.
C: We’ll turn into robots then! I hope that won’t be our future!
A: [Laughs] Let’s hope not!
C: What advice would you give to aspiring musicians who are considering a career in classical music?
A: That’s a very difficult question. Being a musician is a very lonely career. In fact, I, as a string player, am already less isolated compared to pianists, conductors or composers, who often live a solitary life. It’s not just about how musicians tend to communicate less with others; it also affects their family members.
C: Yes, we need to let aspiring musicians know in advance that this is something they’ll have to consider about the career.
A: Absolutely. Some family members or partners may not appreciate you being away from them so often, which is the reality for highly successful musicians. For example, Jaap mentioned that the year before COVID he was away from home nine out of 10 months. His wife had to take care of their four children on her own.
As a musician, you have to be prepared for the possibility of being single or spending a lot of time alone – which is perfectly fine if one decides to do so.
C: Right. Many musicians find ways to manage that well.
A: Yes, because music itself provides them a great sense of satisfaction. It’s something you need to consider as a lifestyle factor.
Another important thing for aspiring musicians is to think about what makes them stand out among others. Music is art, and art is all about individuality and emotion. You have to have something special so that others feel that you are unique.
C: Do you have any future plans or projects to share with us?
A: Mostly projects with the Hong Kong Philharmonic. I’m really looking forward to the upcoming two seasons, firstly because of our new director, and secondly because there are many artists we’ve never invited before. And, of course, I’m also excited about the concert I’ll be conducting in April. It’s for the 140th anniversary of the Hong Kong Jockey Club. Additionally, we have some upcoming concerts with the Pan Asia Symphony Orchestra, which I’m looking forward to as well.
C: Great, that’s all for today. Thank you, Andrew.
A: Thank you!
Interview written by Dr Carmen Ching