Please introduce yourself and share when you became part of the HSO ‘Ohana:

I joined the Honolulu Symphony in 1985. Before that, I had been playing in the Hong Kong Philharmonic Orchestra since 1980. I auditioned for the principal clarinet position with the HSO in 1983, and then in 1984, after starting my doctorate at the University of Illinois, I auditioned for a one-year position on second and E-flat clarinet with the HSO. It wasn't until 1985 that I auditioned for and was offered the full-time, tenure-track position I now hold.

The audition was held in Chicago, and I remember telling my wife at the time, before I left, "I'm going to come back with a job."

A few days later, I got the call, and we began planning our move to Hawai‘i. My first classical concert with the HSO came after the seven-week Starlight Series at the Waikīkī Shell and community concerts across O‘ahu. That first concert featured Beethoven’s Eroica, conducted by Donald Johanos

Can you recall a time when music provided you with comfort or support during a difficult moment?

One meaningful experience was performing the Mozart Requiem following 9/11, and again on the 10th anniversary of that tragedy. The piece was scored for basset horns instead of standard clarinets, and I treasure every chance I get to play that beautiful and rarely heard instrument.

In other contexts—like hospitals and funerals—music can also be incredibly moving and healing. Its therapeutic power is well-documented, and I’ve seen it in action.

How do you prepare for a concert with HSO? Do you have any personal rituals or routines?

To perform well in an orchestra, you need to be in peak physical and mental condition. I always make sure to get a good night’s sleep beforehand and eat enough so my stomach won’t growl. I stay hydrated, but not too hydrated—you don’t want to need a bathroom break before intermission!

I have to feel confident that I’ve practiced enough, but not so much that my lips are sore or fatigued. I prepare multiple reed options and usually choose my final one while warming up. And yes—brushing and flossing are important! Even a tiny bit of food stuck under the reed can mess with its vibration and affect your playing.

In your experience, what sets HSO apart from other orchestras in terms of sound and spirit?

The HSO has always had a friendly, supportive atmosphere—a real sense of aloha. When new musicians arrive, often without a car, veteran members are quick to offer rides or other help. That generosity fosters a strong sense of camaraderie.

Artistically, I think our wind section is particularly tight. We value playing together and in tune, and we often fix things proactively before or after rehearsals, or even during breaks.

As a musician with HSO, what message or emotion do you hope to convey to the audience?

I hope audiences understand that music is for everyone—not just those with formal training. You can be deeply moved simply by the experience of hearing beautiful live music in a space with great acoustics.

Music is often seen as non-essential, but it truly is essential. Every child should be exposed to live music and given the chance to learn an instrument from a young age. Studies have shown that music supports brain development in profound ways, preparing kids for success in any field, not just music.

What does performing with HSO mean to you personally?

In many ways, it’s the realization of a lifelong dream. As a high school student, I listened to many of my father's records, including 78s. I fell in love with Brahms symphonies and concertos, studied the scores, and even tried composing.

At Interlochen Summer Camp in 1972, I played E-flat clarinet for the first time—on Shostakovich’s Fifth Symphony—and discovered I had a knack for it. That led me to pursue a degree in clarinet performance. I studied E-flat clarinet with Larry Combs and later John Yeh of the Chicago Symphony, performed a concerto on D clarinet with the Michigan State Orchestra, and kept auditioning.

When I learned of the Hong Kong Philharmonic opening, I practiced all the auxiliary clarinets and flew to Jackson Hole, Wyoming, to audition. After three seasons there, I knew I wanted to play in an American orchestra. After many auditions, I finally landed in Honolulu—and I’ve been here ever since.