Picking up the baton for young generation
By Joyce Zhang |
May 12, 2013, Sunday
|
Print Edition
Print Edition
WITH his cheerful disposition and sunny smile, Ken Hsieh cuts a boyish figure. But the 31-year-old Canadian of Chinese origin already has 10 years' experience as a conductor-in-residence.
Hsieh, who was born in Edmonton, says that his conducting career was destined, but not planned, and was helped by many people along the way. These include famous Japanese conductor Morihiro Okabe, who provided Hsieh with what he called "the best lessons ever," for over two years.
Hsieh got his first conducting job in 2003, when at the age of 22 he was appointed assistant conductor of the Pacific Music Festival, which was founded by Leonard Bernstein.
And Hsieh became the youngest ever conductor-in-residence with the Vancouver Symphony Orchestra and the National Academy Orchestra from 2004-07. He conducted more than 100 performances, ranging from the main subscription series to lighter concerts, with the Vancouver Symphony Orchestra.
Now Hsieh is the music director of the Vancouver Metropolitan Orchestra.
Hsieh was in Shanghai recently, performing with Shanghai Philharmonic Orchestra at Shanghai Oriental Art Center on May 4. He spoke with Shanghai Daily beforehand.
Q: How did you start in music?
A: Like many kids of Chinese origin, my parents had me playing musical instruments from the age of five. As a naughty boy, that way my mother kept me out of trouble. She kept me busy with piano, violin and drums, so that I wouldn't have time to make trouble. I kept on studying and playing music, and my mother always supported me in that.
Q: Why did you choose to become a conductor?
A: My conducting career was not planned at all, but destined.
Actually, my father always wanted me to do something more "reputable," such as a doctor. But that was his dream, not mine. I was thinking about becoming a high school music teacher or a sports teacher. But I injured my finger in a handball game at university and that forced me to drop piano. I really didn't know what to do at the time. A friend recommended me to Morihiro Okabe. Surprisingly, he accepted me as a student, and I started on the road to becoming a conductor.
Q: How was studying with Okabe?
A: He was already 80 years old when I met him. People always talk about falling in love at the first sight. I don't mean I fell in love with him, but I knew at first sight that I could trust him. I went to Japan to be his student, even though I didn't know a word of Japanese. The first year of the course was so difficult for me, but it was the best training that I have ever had. I got my first job in the second year at the Pacific Music Festival. Okabe encouraged me to audition for conductor of the Vancouver Symphony Orchestra as good experience. To his surprise, I got the job. I worked there from 23 to 27 years old.
Q: What was Okabe like as a teacher?
A: He was so special. Conducting is all about technique and moving, and Japanese conducting is famous for clarity. But Okabe never looked at me when I was conducting. He just listened, while looking at the music score. That was so unusual for me, but then I learnt that what he cared was about how to make good music, not only his way of conducting.
He let you know the basic things, and encouraged you to do it in your own way. He always says that it's like cooking, with everyone preferring his own flavor.
He never told me how to conduct a specific piece, but how to tell the orchestra what I want and how to be clear in conducting. That was the most important thing.
Q: You are good at sports. How does that compare with music?
A: I like a lot of sports, such as hockey, baseball, soccer and golf. I always believe that conducting is about 40 percent music, 20 percent technique, and 40 percent psychology. Communicating with the orchestra and convincing them with your idea is important. I find some sports are similar to conducting. For example, soccer is about coordination. I find it very useful in conducting when communicating with the orchestra. Golf is about persistence and concentration. It is a mind game, similar to conducting.
Q: How do you see classical musicians of Chinese origin today?
A: Things are changing. Musicians of Asian origin are having increasing impact on the classical music field. Musicians like Lang Lang and Li Yundi have a big impact on young people today. Japan was the biggest classical music market in the past 20 years. And China may experience bigger growth than Japan in the next 20-30 years.
Hsieh, who was born in Edmonton, says that his conducting career was destined, but not planned, and was helped by many people along the way. These include famous Japanese conductor Morihiro Okabe, who provided Hsieh with what he called "the best lessons ever," for over two years.
Hsieh got his first conducting job in 2003, when at the age of 22 he was appointed assistant conductor of the Pacific Music Festival, which was founded by Leonard Bernstein.
And Hsieh became the youngest ever conductor-in-residence with the Vancouver Symphony Orchestra and the National Academy Orchestra from 2004-07. He conducted more than 100 performances, ranging from the main subscription series to lighter concerts, with the Vancouver Symphony Orchestra.
Now Hsieh is the music director of the Vancouver Metropolitan Orchestra.
Hsieh was in Shanghai recently, performing with Shanghai Philharmonic Orchestra at Shanghai Oriental Art Center on May 4. He spoke with Shanghai Daily beforehand.
Q: How did you start in music?
A: Like many kids of Chinese origin, my parents had me playing musical instruments from the age of five. As a naughty boy, that way my mother kept me out of trouble. She kept me busy with piano, violin and drums, so that I wouldn't have time to make trouble. I kept on studying and playing music, and my mother always supported me in that.
Q: Why did you choose to become a conductor?
A: My conducting career was not planned at all, but destined.
Actually, my father always wanted me to do something more "reputable," such as a doctor. But that was his dream, not mine. I was thinking about becoming a high school music teacher or a sports teacher. But I injured my finger in a handball game at university and that forced me to drop piano. I really didn't know what to do at the time. A friend recommended me to Morihiro Okabe. Surprisingly, he accepted me as a student, and I started on the road to becoming a conductor.
Q: How was studying with Okabe?
A: He was already 80 years old when I met him. People always talk about falling in love at the first sight. I don't mean I fell in love with him, but I knew at first sight that I could trust him. I went to Japan to be his student, even though I didn't know a word of Japanese. The first year of the course was so difficult for me, but it was the best training that I have ever had. I got my first job in the second year at the Pacific Music Festival. Okabe encouraged me to audition for conductor of the Vancouver Symphony Orchestra as good experience. To his surprise, I got the job. I worked there from 23 to 27 years old.
Q: What was Okabe like as a teacher?
A: He was so special. Conducting is all about technique and moving, and Japanese conducting is famous for clarity. But Okabe never looked at me when I was conducting. He just listened, while looking at the music score. That was so unusual for me, but then I learnt that what he cared was about how to make good music, not only his way of conducting.
He let you know the basic things, and encouraged you to do it in your own way. He always says that it's like cooking, with everyone preferring his own flavor.
He never told me how to conduct a specific piece, but how to tell the orchestra what I want and how to be clear in conducting. That was the most important thing.
Q: You are good at sports. How does that compare with music?
A: I like a lot of sports, such as hockey, baseball, soccer and golf. I always believe that conducting is about 40 percent music, 20 percent technique, and 40 percent psychology. Communicating with the orchestra and convincing them with your idea is important. I find some sports are similar to conducting. For example, soccer is about coordination. I find it very useful in conducting when communicating with the orchestra. Golf is about persistence and concentration. It is a mind game, similar to conducting.
Q: How do you see classical musicians of Chinese origin today?
A: Things are changing. Musicians of Asian origin are having increasing impact on the classical music field. Musicians like Lang Lang and Li Yundi have a big impact on young people today. Japan was the biggest classical music market in the past 20 years. And China may experience bigger growth than Japan in the next 20-30 years.
- About Us
- |
- Terms of Use
- |
-
RSS - |
- Privacy Policy
- |
- Contact Us
- |
- Shanghai Call Center: 962288
- |
- Tip-off hotline: 52920043
- 沪ICP证：沪ICP备05050403号-1
- |
- 互联网新闻信息服务许可证：31120180004
- |
- 网络视听许可证：0909346
- |
- 广播电视节目制作许可证：沪字第354号
- |
- 增值电信业务经营许可证：沪B2-20120012
Copyright © 1999- Shanghai Daily. All rights reserved.Preferably viewed with Internet Explorer 8 or newer browsers.
