在我有份演奏的神劇，約瑟夫．海頓的「四季」中有 28 位小提琴手，即使其中一位出錯或是彈錯了一個音符，觀眾皆難以察覺。然而，作為敲擊樂手的我便沒有這般幸褔。在短短一節樂章中，我需要在 1 分鐘內兼顧敲擊低音鼓和鈸。當我猶如獨奏者般敲響這些樂器，正正由於它們迴蕩全場的響亮聲線，絲毫差錯都將顯露無遺。敲擊樂手若有半點差池，所有觀眾都一清二楚。
In my performance of Haydn’s The Seasons, there were 28 violinists. Hardly anyone in the audience, if any, would realise if a violinist had made a mistake or played a wrong note. However, this was not the case for me, who played the bass drum and cymbals together during the minute when I actually had to perform. As I was playing these instruments alone like a soloist, and because of the tremendous sounds that these instruments made, there was no hiding if I made a mistake. Everyone in the audience would know if I was late or early to an entry.
海頓
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藝評：薩爾斯堡室樂團與安德塞斯基
來自奧地利薩爾斯堡的樂團，當然會選奏當地有代表性的樂曲。這次，薩爾斯堡室樂團（Camerata Salzburg）只選了莫札特和海頓的樂曲：上半場是莫札特專場，下半場則留給海頓。