I've performed it a couple of times, with the RSNO, back in 2018, but don't have access to the recordings. My apologies.

Dear @Symphorch, thank you for your kind words and enquiry! With regard to roll speed, I'd say that it's of utmost importance to relax. Beyond that, I try to allow the "bounce" of the stick to do as much work for me as possible and then using the pivot point (between 1st finger & thumb), then fingers, then flexible wrists, and then arms to the elbow, and beyond (if necessary), in that order, to help me to return the stick to the head in order to repeat the cycle. Throughout this it very important to do your very best to stay relaxed! The basis of your technique and choice of mallet could make all of the above easier, or harder for you, so it's worth trying out many different methods and types of stick until you find something that works for you. Beyond that, focussed practice should help you to obtain a more controlled, consistent and faster roll. These are just my thoughts. I do hope that you find them useful. 😊 All best wishes to you!

It is indeed some fabulous music! 🎶

Indeed! I have performed it a couple of times over the years! 🤓

Hi Owen, thanks for your curiosity! In fact, I do not (yet..!!.. 🤓) own a pair of Kato mallets. The vast majority of my sticks are made by either Bernard Yong (B-Mallets) in Singapore or Paul Turner (BBC Philharmonic). Stick choice is a VERY personal business and I’ve been very fortunate that both Bernard and Paul have been happy to respond to my requests. I cannot recommend their magnificent craftsmanship highly enough! That said, my favourite mallets may well not be yours, so I would simply encourage you to explore this vast and varied world in search of perfection. It will seldom disappoint you! 😊

@@PaulPhilbertwhere can I find the mallets that Paul makes?? I’d like to see his own ones. I’ve used Sean Hoopers and Angelini mallets and still not found my kind of brand yet 🥲

@@owencook2404 you can find Paul via Facebook! He’s on my friends list. Drop him a line from there. 😊

Thank you most kindly! 🙂

Greetings from Glasgow and good luck with your studies! 😊

Thank YOU for your enthusiasm and kind words! 😊

Thank you most kindly! 🙂

Thanks! I link to the full performance at the end of this video. Enjoy! 😊

You are too kind Monsieur! I hope that you are well and that all is GrOoVy with you and yours! 😎

Hi @alvaropanosbeltra9808, thanks for your comment. I don't entirely understand your question. Can you be more specific please? Thanks! :-)

You push the head at the end of the roll !!! For mi sound bad ( not define the end )

@@mariorodriguez2299 sorry! 😳

Thank you for your kind words! :-)

I do have a recording of myself performing Shosty 11, but there are copyright issues, so I will not publish it. If this magnificent piece of music comes my way again, who knows...! ;-)

Many thanks for your kind message! I do hope that you’re enjoying your own timpanic travels. 😊

You go, fellow! What a glorious future awaits!

Thank you most kindly Monsieur! All best wishes to you. 😎

Tchaikovsky Symphony no. 6 1st mvmt. Should be a little over halfway thru the mvmt.

kzbin.info/www/bejne/larUfHyXrKljp5Y

Thank you for your enthusiastically kind words! :-)

kzbin.info/www/bejne/mnymfKNsYrJqoLc

Dear d4ncheng, thank you for your interest. I have very many pairs of sticks. I will start a project with many different pairs of sticks out and will try different pairs throughout the rehearsal process and will distill my selection as I go. By the time of the performances, I tend to change sticks depending on the practical and musical requirements of any given passage. As the sticks appear, from left to right, they range from very soft and quite heavy, to lighter but extremely hard compressed felt (sounding almost identical to wood). The feel of each pair of sticks can also be quite different and I find that this can transform my expressive relationship with the head of the timp. This may sound strange, but it's difficult to put into words.. it is very much about the balance of the sticks and how they move in my hands, coupled with the sound that they produce on the head with minimal physical interference from me (essentially a neutral, very relaxed stroke). From this place I can then change my physicality to alter the attack, articulation, timbre, depth of sound, colour etc.. I do hope that this makes sense! :-)

@@PaulPhilbert thanks for the tutorial!!! I can feel your passion. It's from mechanic sense to acoustic sense. It's like Martial arts. Looking forward to hearing more.

Aliteration is absolutely awesome! ;-)

Hello. This particular tour of Japan took place in March 2015.

Hi Bo Fu, thanks for your message! Most of my mallets are made by Bernard Yong (search for “B-Mallets”) he’s based in Singapore and also Paul Turner (Principal Timpanist of the BBC Philharmonic). Very best wishes to you too!

Mahler 3 is coming up this August at the Edinburgh Festival if you're about..! 🙂

I played mahler 3rd, and the timpani bits are impeccable

Hi. Thanks for your interest. The heads on these instruments are made of calfskin and, whilst they sound warmer and more full-bodied than plastic heads (IMO), they are sensitive to changes in humidity, temperature and pressure and can be quite volatile sometimes. I’m leaning over to check the pitch as discretely as possible and hopefully not disturb my colleagues during the performance. I do hope that this answers your query. 😊

@@PaulPhilbert Ah, natural skins....like sea weed, you can tell when rain is imminent, when they slacken off with the humidity. I believe older drummers sometimes had a light bulb inside their snare drum to keep its calf skin head snappy. I have some frame drums I built myself using goatskins. On occasion they are at a perfect tension when the climate is just right. I happily drop everything to sound them at those times and feel the vibe, without having to moisten them with a damp cloth or wave them around in the air for a few minutes. But to be honest, the more I use natural skins, the more I think why ever did plastic become so ubiquitous! Theres so much variety and intricacy in each skin

@@GOLDSMITHEXILE I couldn’t agree more! Natural skins FTW! 👍🏽🤓👍🏽

Tuning them.

Dear Lednew2010, thank you for your question and kind comments. I’m based in the UK and learned timpani from John Chimes (COE & formerly BBCSO). Sadly, I never had the good fortune to meet Vic Firth.

@@PaulPhilbert Thanks. I met him and he was a very nice guy. ...and YOUR playing is superb!

You’re very kind, thanks! Currently I teach at the Royal Conservatoire of Scotland and also at the Leeds Conservatoire of Music here in the UK. If you are able, please apply! 😊

LOTS! But many are in rotation to ensure that I always have a good selection at the peak of their playability. Also, depending on the repertoire, some get used much more than others.

And you ?

@@sidoniealegre2469 they make good mallets, but I use mostly B-Mallets, by Bernard Yong (Singapore) and Paul Turner’s (BBC Philharmonic).

@@PaulPhilbert ok thanks

Thanks for your kind words! It’s been quite a while since Bruckner 4 has come my way, so maybe it’s just around the corner now.. 😉

Terima kasih banyak-banyak Encik Wilson! 😊

@@PaulPhilbert kesenangan tuan! menantikan bacaan masa depan☘️

You’re very kind. Thank you! 😊

❤️

Don’t forget the English Horn player! Indispensable, isn’t she?

😂 ..so do I..! 😜

Hi Gary, Many thanks for your kind words! In terms of grip, personally, I use both depending on the moment and what feels most comfortable. I encourage everyone to find what works best for them and to pursue that approach vigiurously. Fortunately, we are not all the same, thus you should not be forced into one school or the other.. As for CD recordings, I remain very pleased with pretty much all the stuff that we recorded with the FABULOUS Kees Bakels in my years with the Malaysian Philharmonic! Also, there's an RSNO recording of Delibes Ballet Suites with Neeme Jarvi that was great fun to record! For something a tad different, please check out Thomas Wilson Symphony No.5 (RSNO), and then there's the award winning recording of both Chopin's Piano Concertos with Benjamin Grosvenor and Elim Chan! I used the baby Wiener Pauken for those, and I just love the sound! :-)

Thank you kindly! 😊

Thank you very much! 🙏🏽