Dr. Edward Choi is the Principal Percussionist of the Seoul Philharmonic Orchestra. As a student, he attended the University of Toronto, Northwestern University, and Rutgers University. At these prestigious institutions, he formerly studied percussion with Alan Abel, She-e Wu, James Ross, Michael Burritt, John Rudolph, and Russell Hartenberger.
In addition to his work with the Seoul Philharmonic Orchestra, Dr. Choi has also performed with the Philadelphia Orchestra, the Philharmonia Orchestra of London, the Toronto Symphony, the Sydney Symphony, the Orchestre Philharmonique de Radio France, the Hong Kong Philharmonic, the Malaysian Philharmonic, the Singapore Symphony, and the Asia Philharmonic Orchestra. And as a chamber musician, he was a founding member of the Exit 9 Percussion Group, which won the Chesapeake Chamber Music Competition.
As an educator, Dr. Choi has held teaching positions at Sookmyung Women’s University, Kyunghee University, Hanyang University, and Seoul National University in Korea. He has presented clinics and masterclasses in Canada, the United States, Australia, Japan, and China. Moreover, he served on the Symphonic Committee of the Percussive Arts Society, and presented an orchestral clinic at the Percussive Arts Society’s International Convention in 2014.
When did you begin studying music?
I started playing the piano in elementary school, but not for very long. I believe it’s so important to have a good teacher to inspire you at a young age!
When did you begin your percussion studies?
I started percussion in grade seven, and really enjoyed it. I was further inspired when my friend took me to a drum corps rehearsal where he said they shot rifles but I was surprised to see that they were spinning plastic rifles instead! I ended up in the drumline room and was hooked when I heard that massive sound.
What made you choose percussion?
I realized that I had an affinity for the drums, but one of my main motivations to join the drum corps was when I heard they went on tour during the summer. I still love going on tours to this day.
Who were your primary teachers?
In drum corps my main teachers were: Gerry Hemsley (Calgary Cavaliers), Al Murray (Boston Crusaders), and Thom Hannum (UMass/Star of Indiana). In college they were: Russell Hartenberger (U of Toronto/Nexus), Michael Burritt (Northwestern), She-e Wu (Rutgers), and Alan Abel (Philadelphia Orchestra).
When did you decide to pursue a career in music?
I actually didn’t attend college to study music until later in life. I first earned a degree in English Literature and taught drum corps for fun. I ended up teaching drum corps in Japan and realized that it was something I wanted to pursue as a career. I then went to the University of Toronto where I had a lot of catching up to do on mallet instruments: spending a lot of time playing marimba. I remember hearing Leigh Howard Stevens’ Bach CD and being completely blown away! I eventually attended his Marimba Seminar which influenced my decisions for graduate school, which would be at Northwestern (MM), and Rutgers (DMA).
Did you have a specific goal: teach, compose, etc.?
My first goal was to teach. I thought I would be a high school percussion specialist like many other drum corps friends had pursued. But as I gained confidence, I realized I wanted to teach at the college level. And when I studied with Alan Abel, I realized that playing in an orchestra was not only immensely rewarding, but achievable.
Do you focus on a specific area of percussion, if so, did you always?
I’m nearing 20 years with the Seoul Philharmonic Orchestra, so I’ve been focused on that job mostly. A big part of my time is also spent teaching students who are interested in an orchestral path.
Who impacted your musical growth the most?
I’ve been very lucky to have studied with so many great teachers – too many to just name one person. In drum corps I learned so much about leadership from Al Murray, and musicianship from Thom Hannum. For chamber music I was very influenced by Nexus and their pursuit of sound and impeccable taste. Leigh Howard Stevens, Michael Burritt, and She-e Wu really helped me understand music and keyboard percussion. John Rudolph, Jim Ross, and Alan Abel inspired me with their artistry in an orchestra. Finally, the great conductor Myung-Whun Chung made a huge impact on my life by making me hear music in a much deeper way.
What teaching positions have you held?
I have taught at Seoul National University, Hanyang University, Kyunghee University, and Sookmyung Women’s University.
What percussionists have inspired you the most and why?
Alan Abel has had the biggest impact on my life because he set me on the career path I’ve taken as an orchestral player and teacher. I still remember seeing his clinic at PASIC in 1998, and being mesmerized by his presentation on cymbals where he played numerous excerpts with recordings while demonstrating different strokes. His systematic teaching approach helped me gain confidence and prepared me for life as an orchestral percussionist. Mr. Abel’s generous spirit still guides me to this day.
Is there a specific genre you enjoy performing the most?
Of course the symphonic repertoire is my main genre and I enjoy it immensely, but I sometimes perform percussion ensemble concerts which are always fun as well. I’m still a huge drum corps fan and follow it online every season. The performance level of the students these days never ceases to amaze me.
What composers do you identify with and why?
To be honest, I identify with so many of them: Russian composers like Stravinsky, Tchaikovsky, Shostakovich, Prokofiev, Rimsky-Korsokov, and Mussorgsky who wrote such fun percussion parts; and Austro Germanic composers Mahler, Strauss, Wagner for their epic orchestrations; Italian composers Puccini, Verdi, and Respighi for their dramatic intensity; French composers Debussy and Ravel for their colorful use of percussion; and the American composers Bernstein, Copland, and Williams who are always highlights on any program.
Do you get nervous before you play – if so, how do you deal with it?
I do get nervous sometimes. I think of it as a part of the job that makes it exciting for me.
Like being an athlete having to perform under pressure. That attitude alone gives me a positive mental state as opposed to thinking of the nerves as a negative thing. I combat it by thinking about my breathing before entrances where I might be nervous, and I try to sing the music louder in my head, or make a conscious effort to count louder in my head. If it’s a soft snare drum passage for example, I’ll think of using my bigger muscles and perhaps heavier sticks to help the control. If it’s a piece with tricky counting I’ll make sure I have enough cues written in to always know where I am in the music. I may even have a violin or trumpet part on hand to know exactly where I am in the music during very long periods of rest. In some cases there may be timing issues occurring as a result of the distance between the percussion in the back of the stage to the violins in the front for example. If possible I may move my setup closer to the violins to help the ensemble connect rather than try to guess how much I have to play ahead of what I hear. This can be a big help to alleviate nerves as well. There are times when I may use beta blocker medication to help keep my hands from shaking, and give me more confidence.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
I certainly make mistakes! It’s part of the job and frankly it can sometimes keep me up at night. One has to have a short memory and bounce right back if something unexpectedly goes wrong. I like to record rehearsals from the audience to check my timing and balance, although it can be tough to judge balance on a phone recording, so having someone listen up front helps with that. Sometimes mistakes can come from just not knowing the music on a deep enough level. That means score study and plenty of cues to know what’s happening in the rest of the orchestra. I tell my students that they should be able to play the music with a recording and no conductor before the first rehearsal to really be ready. That often means score study and preparing enough cues to not get lost. My music can look messy with so many cues written but it gives me confidence to know where I am at all times. A colleague used to joke that he could conduct the orchestra just looking at my percussion parts, which I took as a badge of honor!
Has your practice regimen changed from when you were a student?
Of course I can’t practice as much as I did when I was a student due to family obligations, rehearsals, and teaching schedules. I literally get a lot of my snare drum work done on a pad while commuting (Seoul is a very big city so I can be stuck in traffic a lot)! If I have challenging keyboard parts, I may even practice them on a piano at home to understand the music more mentally rather than just through muscle memory. I do use a Malletkat with headphones to practice at home since I live in an apartment.
How do you define a good musician and a good teacher?
My definition of both a good musician and good teacher has evolved since I was a student as I have gained more experience and insight into the music world. Therefore, I think a good orchestral musician is someone who is well prepared and knows his/her role in the music whether it’s to lead, follow, or blend in with the ensemble. Generally speaking, a good musician to me plays with a sense of direction and nuance. Also, someone who is always a student of his/her craft and never stops learning or developing. A good teacher is someone who takes responsibility for his/her students and tries to lead them down a path towards success. I teach college music majors so trying to make them employable is a big concern, and it is a big responsibility that I don’t take lightly.
Do you think that performing and teaching are intrinsically intertwined?
Performing and teaching are intertwined for me since I teach a lot and I utilize my playing experiences to inform students all the time. There is so much in orchestral music that goes beyond the page whether it’s style or performance practice. It takes experience and mentorship which is why I think more developed performers can become better teachers.
Has teaching made you a better musician, if so how and why?
Absolutely! I learn so much from my students whether it’s helping them with issues they may have, or even being exposed to new repertoire that they want to work on.
What was the impetus behind your video series with The Percussion Conservatory, and has it altered the way you approach teaching?
I wanted to document different orchestral excerpts to help students get easier access to playing examples that will hopefully inspire them. I saw Mr. Abel conduct so many different presentations at PASIC, and his annual seminar was such an inspiration to me.
Would you change anything about how you prepared for your career?
Actually, I would’ve liked to have spent some time studying in Europe. There are so many different ways of playing that I find fascinating and informative.
What words of wisdom would you share with a students?
Hard work will win over just talent. Also it’s so important to find the right teachers. Your path can change so drastically based on who you study with. Lastly as Chris Deviney would say: It’s a marathon, not a sprint!
