Ed Meltzer
It is fitting that the first program book of the Boston Philharmonic’s thirtieth anniversary season should feature a musician who has known Ben for, as he says, “a long, long, long, long time.” Ed Meltzer, BPO timpanist, first played in Ben’s NEC Youth Philharmonic Orchestra over thirty years ago and later rejoined him in the Boston Philharmonic in 1985. Since then, Ed has been commanding audiences’ attention with his expressive playing at the back of the orchestra, but most people probably are not aware of the intricacies of playing the timpani or the how Ed’s performance experience has shaped his view of the orchestra. The Boston Philharmonic’s Program Book Editor Pamela Feo sat down with Ed for lunch to learn more about his unique role, and discovered, as Ed thoughtfully chewed his way through his reflections, that the orchestra is special to him not only because of his passion for playing, but because over the years it has helped him become comfortable with himself and his choices.
“Playing timpani gives you an incredible perspective of the concert. You have the brass blaring right in front of you and then of course Ben is facing you straight on,” Ed says of his experience on the stage. During a performance, Ed has nowhere to hide when he is standing up striking four large drums; he admits that “if you step in a hole, it’s pretty obvious,” but he adds, “in that sense it’s really no different than any other principal position.” Though Ed is a focal point for audience members, he is unconcerned with feeling exposed; he says that he has gained confidence over time and instead he extols the extraordinary experience afforded by his unique position within the orchestra. “I’ve offered to Board members to come sit back there so they can see for themselves what it is like.” Ed is even-tempered and does not have any of the bravado that some might assume is necessary in such a noticeable role, but as he tries to capture the sensation of playing timpani he speaks with increasing ardor. “It’s a visceral experience; your body really feels what is going on and that’s something that is really extraordinary. You don’t get that just anywhere. I’m a skier, and I love that physical force of nature that you feel rushing down the slopes. Playing the timpani gives you the same feeling.”
Yet Ed is quick to point out that powerful playing must be tempered with an understanding of the subtleties of the instrument, which he says are not always understood by others. “A lot of people don’t even think there is anything having to do with tonality in timpani performance. The timpani are extremely fun to play and they can have a lot of power—and a lot of emotion, and a lot of finesse.” Ed began to understand the finer points of timpani as a student performer watching one of the masters of the instrument, the memory of which continues to inspire him today. “I grew up watching the Boston Symphony because a family friend had season tickets to the Friday afternoon concerts, so I would take the streetcar in and watch Vic Firth play timpani. He was without question the most incredible timpanist of his era, so it was pretty easy to fall in love with the timpani that way. He was amazing. Everything he did on stage he did with a purpose, so not only was his playing great but everything else was very disciplined: his movements, how he counted measures.” Ed says these performances helped teach him that true artistry comes from subtle expression as much as from impressive technique.
It is a similar authenticity in musicianship that Ed recognizes and admires in Ben Zander. Searching for the right words to describe Ben, Ed lands upon this declaration after a long pause: “He’s the genuine article.” He speaks of Ben as someone who strives to reveal the essence of the music through a process of discovery. “Ben’s totally committed to the process. He’s willing to experiment with his interpretation. Learning the music together with him is kind of an evolution, and the orchestra really trusts Ben as an instructor. And then when you finally get to the concert—I don’t want to be braggy about it but if someone wants a great concert experience, they are in really good shape if they make the decision to come to us! And the experience is extended by Ben’s pre-concert talks. The whole thing is just so very different from most symphonic concerts.”
Ed says that his musical tastes “are very much in line with Ben’s” and that his programming “has been very good for me. I like pieces that have drama, but they don’t have to be show-offy. I think as you get older the whole feeling of having to show off goes away,” he continues, no longer speaking just about music performance. “It’s really important in college, for instance,” he jokes. “But later it becomes less and less about proving something. It’s amazing how much better everyone would be if they stayed on that track, but, you know, people have things to prove,” he finishes philosophically.
Ed speaks with calm assurance of his situation now, but for many years he grappled to find the right balance of his interests as they led him in two directions. Away from his life as a performer, he runs a sales agency, a career resulting from a shift made years ago that was intended to be temporary. “I didn’t make a big decision to leave music; I made a small decision to get a job. I was trained to be a musician and I always thought I would do that full time, but one thing led to another and now I own the business.” When asked what his colleagues think of Ed’s musical career, he says they respect it but notes that their world can be very separate from that of music. “I think that they think what I do is great. But if you’re not a big patron of the arts, all you really say about it is ‘oh, that’s fascinating’ and that’s the end of it. When I was in school I couldn’t think that there were people that weren’t awed by music. To me my whole world was performing and it seemed like the pinnacle for success would be playing at Tanglewood. I couldn’t even imagine that the pinnacle of success for someone could be being the CEO of a big corporation, but other people do think differently,” he laughs.
Different as his two worlds are, Ed little expected that owning a sales agency would offer him another view of the orchestra, but his business experience earned him a place on the BPO Board of Directors. “The Board has got really talented, highly intelligent captains of industry. Being considered a colleague is a great privilege. The other members turn to me when it comes to questions about the music and it’s great to be in the position to be helpful.” He also is happy to contribute by performing in schools as a popular auction item for recent BPO Benefit Galas. “I feel really good about being able to give back,” he says, almost anxious to make this point clear. “It’s a lot of work putting it together but I think it goes over well and the students enjoy it.”
That Ed feels so strongly about giving to the Boston Philharmonic beyond his irreplaceable role as timpanist demonstrates how much he values the orchestra. “The orchestra has been incredibly important to me over the years. It’s really given me the opportunity to have my cake and eat it too. It took me a long time to come to terms with that. But I am very comfortably there.”
Written by Pamela Feo
Ed Meltzer is also a member of the Board of Directors. To view his Board Biography, click here.