I love the joke that percussionists wait around to hit things.
I've just come home from seeing the Los Angeles Philharmonic perform Mahler's 6th Symphony. Mahler pulls out all the stops for this piece, with something like a 100-person orchestra, including six percussionists.
I saw the San Francisco Symphony perform Verdi's Requiem a couple months ago, and the bass drummer stole much of my attention. This particular drummer hit the three climactic beats with two bass drums and then adjusted one drum to play the rest. He repeated the exact same procedure of tilting the drum and adjusting it each time that bit of the piece came around. Noticing the repetition of his process was fascinating. The movements were perfectly calculated.
Everyone in the hall had to be thinking that that guy is the coolest dude in the room. And that guy knew it. I figure, for a percussionist, it's the thrill of a lifetime. He's thinking, "yeah, I'm the badass that gets to play the bass drum in the Verdi Requiem. You're welcome."
Watching a world-class orchestra perform is watching lifetimes of practice, precision, timing and technique. And no one is so on display than a symphonic percussionist. They practice, practice, practice and then often hit something once, maybe twice (unless on timpani).
The photo above is an image I found online of a "hammer" used in Mahler's 6th Symphony. It is only played two times in the whole performance. The instrument I saw for this LA Phil performance (conducted by the 31-year-old Gustavo Dudamel, or as my Dad lovingly calls him, "Gus the Dude") was probably five feet tall and six feet wide, made out of simple, unfinished pine wood and had a giant whole in the middle of it. The mallet looked like something out of a Looney Toons cartoon. The percussionist (Perry Dreiman) had to walk up a couple of stairs to hit this thing.
There's also a moment in the last movement where five of the six percussionist bang the cymbals at the same time. The moments watching them prepare is exciting. I felt like a little kid waiting for this big bang, "Oh man! FIVE CYMBAL CRASHES!" And then it's over, and they move on to the next thing to hit, or wait for another 100 measures.
Two percussionists, including the same guy who played the hammer, also play off-stage bells. But I didn't realize what was going on. These guys kept exiting and entering stage, and I was thinking, "what the hell is going on here? This is so distracting!" But once I figured out what was going on could enjoy it as a super cool effect.
These guys have the best jobs.
(No offense to the rest of the orchestra, you guys are pretty fabulous yourselves, but you're not quite as amusing to watch way up in the balcony!)
Read about it from the source: the LA Phil blog.