In conversation with Jovi Lo, Orchestral Artistry graduate

With applications for our specialist pathway in Orchestral Artistry now open, we caught up with recent graduate, percussionist Jovi Lo to hear more about the course and what it was like studying a postgraduate programme at Guildhall. 

Our specialist pathway in Orchestral Artistry is a unique programme for advanced instrumentalists seeking a career in orchestral playing and is delivered in association with the London Symphony Orchestra (LSO). 

What did you study before joining us for your postgraduate programme and where did you study? 

I obtained a Bachelor of Music as my undergraduate degree from the Chinese University of Hong Kong. 

How did your undergraduate degree prepare you for your postgraduate studies? Are there any big differences? 

I studied at a university rather than a conservatoire for my undergraduate degree, so the student life was a bit different. I had more time to practice and focus on playing my instrument, so I was able to further improve my technique. 

Where did you live before moving to London? What was the classical music scene like there? Did it different from London? 

I was born and raised in Hong Kong, there are only two major orchestras there. There are concerts, generally orchestral ones and sometimes they will collaborate with ballets and operatic groups, but not very often. London has at least three major orchestras, in particular specific orchestras for operas and ballets. 

Why did you want to study the Orchestral Artistry Masters at Guildhall? 

I have had a strong interest in orchestral playing since I was in high school, and I really like how percussion instruments can add an extra layer of timbres to orchestral pieces. Sophia Woo, who is a percussionist with the Hong Kong Philharmonic Orchestra was my principal teacher in Hong Kong. She's an alumna of Guildhall, so she recommended me to study here as it would allow me to progress and become a professional orchestral player. Sophia's a role model to me as well, as she's such an outstanding and versatile player. 

Could you tell us a little bit more about how the London Symphony Orchestra (LSO) are involved in your course and what it's like to work with them? 

As part of Orchestral Artistry, LSO players and staff members are often invited to share their expertise with students. We had mock auditions and instrument classes, as well as side-by-side playing. These sessions were extremely useful, as we  received feedback and coaching from professional players to take our playing to the next level. 

What impact has this course and the opportunities it brings had on your playing and musicianship? 

As the title suggests, throughout the two-year programme, I was able to narrow down my study focus to orchestral playing, mastering every single orchestral excerpt on all instruments. Also, there are many performance opportunities, including with the Guildhall Symphony Orchestra, where we have the chance to work with different conductors on a wide range of repertoire. It certainly benefitted by orchestral playing techniques. 

Working with the LSO is nerve-racking but very rewarding. It's inevitable to feel nervous playing in front of these world-class musicians. But, playing under stressful situations is always an important thing to learn and practice, not only in orchestral settings, but in all performance settings. 

You mentioned you get to work with different conductors, could you tell us about some that you've worked with and what that's been like? 

A big highlight of the Orchestral Artistry programme is the side-by-side rehearsals with the LSO. Recently, we were working on Prokofiev's 5th Symphony with Gianandrea Noseda. Given that this is an orchestral piece which comes up often in concert programmes, orchestras don't usually have much time to rehearse, so members would need to be extremely familiar with the piece. It was a three-hour session, filled with inspirational advice from the LSO players, as well as exclusive interpretation by Noseda. I got to play some snare drums in the piece, which requires tight control on dynamics and sound, it was a nerve-racking experience, but I managed to play it under huge pressure. 

Students also have audition masterclasses, could you tell us about the these and how beneficial they are to prepare you for life after the course? 

The audition masterclasses provide a platform for us to prepare a list of standard orchestral excerpts in a limited time, which is the same practice as in real-life auditions. It gave us a taster of how preparing for a real audition felt and how we should manage our time to excel in the audition. 

The LSO also shared their feedback with us after the mock auditions. This advice wasn't limited to playing, but usually a general overview of how we presented ourselves in auditions e.g. how we dress, our attitudes and how to stay focused when we play something wrong. 

What advice would you give to students thinking of coming to study the Masters at Guildhall?

Practice is key! Always be well-planned about how you practice, what your goals are and how to practice effectively. Effective practice makes a difference give that you usually have limited time to prepare something. Also, make the most of the programme, talk to the LSO players and make connections with them. Be proactive, ask questions if you want to learn more and take on varied opinions from different musicians. Lastly, and most importantly, enjoy your time! 

Applications to study Orchestral Artistry in 2025 are open until Wednesday 2 October 2024. Find out more