Moving percussion beyond its stereotype
Percussion music is much more than creating intense, rhythmic sound waves. It can be soft, emotional, and most importantly, creative.
Percussionist Yu Le wants to convey that idea to audiences, especially those who only think of percussion as drums and gongs. In fact, there are scores of orchestra instruments classified in the percussion family, including the piano, drums, cymbals, marimba, tambourine, celesta, chimes and triangle.
As one of China鈥檚 most promising young percussionists, Yu presented Shanghai Grand Theater鈥檚 first percussion recital last week, joined by his pianist friend Liu Jiren.
Apart from a set of drums, Yu brought a marimba, a vibraphone, the piano, bar chimes and a waterphone to the stage. The program ranged from traditional and electronic music to tango and even rap.
鈥淚 want to break the stereotype of percussion music for audiences,鈥 Yu told Shanghai Daily. 鈥淭he drum is just one facet. I want to showcase the color and richness of more percussion instruments in the programs.鈥
The opening piece, entitled 鈥淒arkness to Light,鈥 started with Yu playing a waterphone 鈥 an instrument known for creating ethereal sounds often heard in movie soundtracks. He then played on a set of drums, standing instead of sitting as drummers usually do. He was accompanied by Liu on the piano.
After an atmospheric first half, the second half of the program was lighter and brighter, with Yu switching from drums to vibraphone.
In the piece 鈥淓verybody Talk about What鈥 鈥 composed by another musical friend, Julie Spencer 鈥 Yu played the marimba, while rapping in both English and Chinese.
鈥淚nnovation is greatly valued by percussionists,鈥 said Yu. 鈥淣ew performing styles and crossover exploration have been emerging in the past three decades. Percussionists are lucky to be born in this era.鈥
He said he thinks percussion music is winning more public attention, particularly from a younger generation tuned in to fast-changing pop culture.
鈥淭he fast and flowing pace of percussion instruments fits the modern era,鈥 he said. 鈥淢odern percussion composers have created a lot of avant-garde works, which are attractive to the young in terms of both content and playing methods.鈥
Interactive sessions are always included in Yu鈥檚 recitals. During the Shanghai concert, he and Liu led audiences in a clapping routine to demonstrate how two different rhythmic patterns eventually merge into one.
鈥淚 always want each attendee at one of my concerts to become a part of the performance instead of just watching and listening,鈥 said Yu. 鈥淩hythm lies in everyone鈥檚 body.鈥
Yu started learning percussion at age of 14, when he saw two children playing a set of drums on TV in 2000.
鈥淭heir performance was so cool that I was immediately taken by drums and asked my parents to buy me a set,鈥 said Yu. 鈥淎fter one year of learning, I asked my parents whether percussion was only about drums. My father, a vocalist, then introduced me to Liu Yaguang, a professor at the Xi鈥檃n Conservatory of Music High School. He broadened my vision of the percussion world.鈥
Yu went to Manchester鈥檚 Royal Northern College of Music to continue his studies at age 18. His mentors included Japanese composer and famed marimba player Keiko Abe, as well as Scottish percussionist Evelyn Glennie. In 2013, he received the college鈥檚 first International Artist Diploma in Solo Percussion.
As a chamber musician and concerto soloist, he has performed with troupes like the National Symphony Orchestra of Mexico, the Beijing Symphony Orchestra and the Manchester Camerata. The 35-year-old is now the deputy director of percussion at Royal Northern College of Music.
Abe, who is now 84, has been a primary contributor in the development of marimba in terms of both technique and repertoire. With the Yamaha Corp, she developed the modern five-octave concert marimba.
鈥淎be likes playing music with students more than teaching,鈥 Yu said. 鈥淪he always encouraged us to find new ideas and inspiration through improvisational collaborations.鈥
Yu鈥檚 other mentor Glennie has been his idol since childhood. Deaf since the age of 12, she was the first Western percussion soloist. She regularly plays barefoot to, as she puts it, feel the music better.
鈥淕lennie is a master in using space and creating a sound field to involve audiences,鈥 Yu said. 鈥淪he can鈥檛 hear the music, but she feels it with her body. She thinks musicians should make audiences 鈥榝eel鈥 music instead of just hearing it.鈥
Under Glennie鈥檚 influence, Yu switches playing styles for different venues.
鈥淭he Grand Theater has a big hall, so I need thicker sticks to create a better sound and more dynamic movements when playing on the stage,鈥 said Yu.
Among all percussion instruments, Yu favors the marimba.
鈥淚t has melody, and therefore has mood,鈥 said Yu. 鈥淭he marimba is like a changeable child. It can be cute and lovely, but also harsh and intractable 鈥 just like me.鈥
He added: 鈥淚t鈥檚 a pity that the marimba was born late and missed the era of great composers like Bach, Beethoven and Brahms. There haven鈥檛 been many classical works composed for marimba. But to play Bach鈥檚 works with the marimba is every percussionist鈥檚 desire.鈥
Other marimba works featured in the Shanghai recital were Abe鈥檚 鈥淧rism Rhapsody鈥 and Ryuichi Sakamoto鈥檚 鈥淢erry Christmas, Mr Lawrence,鈥 which was adapted for marimba by Yu. The concert ended with Piazzolla鈥檚 鈥淟ibertango,鈥 which was adapted into a concerto for marimba and piano.
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