When Hamza Able wields the mallets to launch the scherzo from Beethoven’s Ninth Symphony this weekend (March 27-29), lots of ears will perk up. That’s because something will be different: Able isn’t the familiar face we’ve known for nearly 40 years.
This season marks a changing of the guard on the kettledrums, with Able succeeding former Principal Timpanist John Bannon, who joined the orchestra in 1988 and retired last season. Until then, Bannon, David Coash, Kurt Grissom and John Shaw held the (unofficial) record for the longest-tenured percussion group of any orchestra in the country.
“It was very special,’’ Able said of being the newest member of such a distinguished team. “John Shaw was one of my teachers and mentors at the Eastern Music Festival when I was fresh out of high school, so getting to play alongside him is a gift. What’s truly special is all the stories and experiences they share with me − they really have a wealth of knowledge.’’
Able took over as principal timpani earlier this year, bringing experience playing in the Dayton Philharmonic, the Spokane Symphony and The Orchestra Now at Bard College. When TFO announced auditions after Bannon’s departure, Able didn’t hesitate, knowing that these open positions are rare − and coveted.
“With orchestra jobs, especially for timpani, you take every audition that’s announced in the country, and there may only be a couple of openings each year,’’ he said. “It’s extremely selective and competitive, so the odds are always against you. At that stage in my career, I was playing with Spokane in Washington, and TFO is a major step up.’’
Born in Casablanca, Morocco, Able early on took an interest in music and played the flute in his middle school band, which led to an audition with an arts-focused public school called LaVilla. After moving with his parents to the United States in 2008 and settling in Jacksonville, he traded his woodwind for percussion and joined the Jacksonville Youth Symphony.
“At the time, all the kids wanted to play drums, which made percussion more appealing,’’ he said. “I happened to do well in the audition. Honestly, it was a bit of luck.’’
Able, who continued formal study at the Manhattan School of Music and the Curtis Institute of Music, knew that luck would only go so far. What musicians need most is a passion for the score, and he wanted total immersion in the vast inventory of classical music.
“That’s where I fell in love with orchestral music,’’ he said. “It exposed me to great repertoire like the Brahms and Tchaikovsky symphonies. Percussion parts can be limited with some composers, but timpani is in almost every orchestral work. If you want to play Beethoven and Brahms, timpani is the way to go.’’
Able is quick to name a couple of favorite composers: Beethoven and Richard Strauss, both of whom wrote extensively for kettledrums − but from different angles.
“Their writing for timpani is completely different,’’ he said. “Beethoven was a pioneer who elevated timpani writing to a new level, while Strauss pushed the instrument to its full potential.’’
From the Greek tympanon − meaning drum – the timpani isn’t one but three or four different-sized copper or bronze bowls, or kettles, over which are stretched synthetic skins or animal hide. Unlike most fixed-pitch percussion instruments, such as the triangle, the kettledrums are variable pitch and can be tuned using foot pedals. Their sound is essential for creating dynamic, resonant, and even melodic bass notes that anchor the orchestral fabric.
“Timpani are pitched instruments and produce notes that you can actually sing,’’ Able said. “The pedal allows me to adjust the pitch by stretching the drumhead higher or lower. If you see me leaning down toward the drum, I’m quietly checking the pitch to make sure it’s in tune with the rest of the orchestra.’’
Playing the kettledrums has its advantages and disadvantages, especially when it comes to travel. A piccolo player can board a plane with the instrument in a suitcase, but a timpanist can’t haul four big drums on a flight, so they depend on whatever happens to be at their destination. And while a violinist can practice for an upcoming concert at home, the average timpanist doesn’t have such luxuries.
“Most timpanists my age don’t own a personal set, so we rely on orchestras or educational institutions for access to the instruments,’’ he said. “It’s both a gift and a curse.’’
TFO has one set that moves among its three main performing venues – the Straz in Tampa, Mahaffey Theater in St. Petersburg and Ruth Eckerd Hall in Clearwater. Still, the different hall acoustics and other factors require tweaks when preparing for a concert.
“It can definitely be tricky,’’ Able said. “Timpanists often have to deal with this, especially when they audition. If you don’t have access to a similar model of timpani, it can feel a bit like throwing darts blindfolded.’’
Beethoven Symphony No. 9
March 27-29
Straz Center and Mahaffey Theater
Tickets: FloridaOrchestra.org
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Kurt Loft is a journalist and music critic who has written for various newspapers, magazines and arts groups for more than 40 years. A member of the Music Critics Association of North America, he lives in St. Petersburg.
