Timpanist and percussionist at the Simon Bolivar
Symphony Orchestra of Venezuela
My thoughts about being a timpanist
For me, the timpani is the soul of the symphonic
orchestra, is it's tower of control, and it is
incredible how much this beautiful instrument can
change the sound and the character of any piece of
A timpanist can play with the colors and textures of
music giving it his own personal mark, connecting with the
other sections of the orchestra and likewise must know with
precision when the timpani has to be played as a bass,
reinforcing deepness of the sound of the low section of the
orchestra; when has to be played emulating trumpets,
emphasizing the rhythm and when has to be played properly as
a timpani, being the support of the orchestra and providing
an unique color to the music.
Most of the times, the timpani has not challenging parts
in terms of notes as others instruments in the orchestra and
that's why I think that the main purposes of a timpanist are
the maturity and the personality of the sound and the
accuracy of the tuning. Apart from that, the timpanist must
be always in shape, in terms of agility and precision and
build a strong connection with the drums, being one with
them at the moment of playing.
Hilvic Gonzalez started his studies of music at
the age of 13 at the Simon Bolivar Conservatory of
Music in Caracas, Venezuela under the teaching of
Yvan Hernandez and in his firsts years, also were
part of his musical formation the professors Jerry
Cardenas, Jaider Arteaga and Ricardo Alvarado.
A few years later he started to take private lessons with
Ramon Granda, timpanist of the Simon Bolivar Symphony
Orchestra of Venezuela at that moment.
At the age of 18, he became the principal
timpanist/percussionist of the Teresa Carreño Youth
Orchestra of Venezuela with whom participated in many
international tours playing as timpanist in most of the
important music theaters around the World, incluiding
Berliner Phillharmoniker, Concertgebouw of Amsterdam, Vienna
Konzerthaus, NCPA of Beijing, Teatro Alla Sacala of Milan,
Shanghai Symphony Hall, Gasteig Kulturzentrum of Munich,
Royal Festival Hall of London, Halle Aux Grains of Toulouse,
Grosses Festspielhaus of Salzburg, among others.
In 2013 he played his first soloist concerto, the Concert
for 8 timpani obligato and orchestra of J.C Fisher under the
baton of Maestro Christian Vasquez, chief conductor of
Stavanger Symphony Orchestra and the Teresa Carreño Youth
Orchestra of Venezuela.
At the beginning of 2018, he achieve a position in the
Simon Bolivar Symphony Orchestra of Venezuela as timpanist
and percussionist, where he is actually developing his
symphonic career and also was timpanist in the Campos do
Jordao International Festival Orchestra in Sao Paulo that
Hardtke Berlin 32, 32, 31, 29, 29, 27, 26, 26,
25, 25, 23, 20 ½ (81, 81, 78, 74, 74, 68, 66, 66,
64, 64, 60, 52).
Why I play the Hardtke Timpani
I really love the deepness of the sound and the
quality of textures that can be produced with
Hardtke's marvelous creations in comparing with
other timpani brands. The generous effective range
of notes that have these drums makes easier the
playing of challenging music and provides the
possibility to try new things.
The first time I tried Hardtke timpani was in 2013
playing Mahler's Second Symphony and the betterment I felt,
comparing with my previous drums, was unbelievable.
Definitely, the combination produced between these timpani
and Kalfo heads, provides endless possibilities of many
kinds of sounds.
Kato and Playwood (Raymond Curf Premium Series).
Kalfo Heads for indoor concerts and renaissance
heads for outdoor concerts.