Daniel Ishanda Moles

Principal Timpanist of the Oviedo Filarmonía since 2020.

Daniel Ishanda Moles


My thoughts about being a timpanist

For me, playing the timpani is my passion, and from the first time I played in a symphony orchestra when I was very young, I knew that I wanted to be a timpanist.

It is an instrument with great responsibility, where at the same time you play your role, you have to be in constant contact with the conductor and your companions since you are in charge of moving the orchestra forward or stopping it when the music needs it.

The timpani are a very melodic and musical instrument, where tuning is something very important as well as having a good sound so that it blends with the other instruments. 

Filling the room with sound when the music requires it.

Waiting until the last moment to make that great crescendo at the end of an opera or symphony.

Raising your arm slowly to make that perfect pizzicato with your double bass colleague. Bringing out that “less pretty” and aggressive sound when there is tension, struggle, or drama in the score and thus making that state of reach encourage the public… 

I love it!!!

My career so far

I am Daniel Ishanda Moles, born in Lleida, Spain, in 1991. I started my musical education in professional percussion in my hometown under Maestro Esteban Espinosa. Later I moved to Barcelona to pursue a Bachelor’s Degree in percussion at the Escola Superior de Música de Catalunya (ESMUC), where I studied with teachers Gratiniano Murcia, Lorenzo Ferrándiz, and Miquel A. Bernat. There, I also completed a Master’s Degree in artistic teaching with advanced studies in musical performance, specializing in timpani and orchestral percussion.

During my time in Barcelona, I regularly collaborated with the Barcelona and National Symphony Orchestra of Catalonia and the Gran Teatre del Liceu Symphony Orchestra. Additionally, I have worked with other renowned orchestras such as the National Orchestra of Spain, Bilbao Orkestra Sinfonikoa, Symphony Orchestra of the Principality of Asturias, Orquestra de la Comunitat Valenciana, Orquestra de Cadaquès, and Orquestra Simfònica del Vallès, among others.

I have served as a guest percussion teacher for the Young National Orchestra of Catalonia, the Children’s and Youth Symphony Orchestra of Mexico, and the “Mitad del Mundo” Symphony Orchestra in Ecuador.

Since January 2020, I have held the position of solo timpanist with the Oviedo Filarmonía.

My Timpani

Berlin Classic in American configuration:  32”, 29”, 26”, 23”

Why I play the Hardtke Timpani

Honestly, when I came to the orchestra they had already had these timpani for a few years and it was a big surprise for me, since in Spain it is not very common to have Hardtke timpani, unfortunately.

In the years that I have been playing them I have been able to enjoy the good sound they have, dark, round, big, with a lot of character and personality. When I play them they produce exactly the timpani sound that I have in my head, the sound that comes to mind when I think about what timpani should sound like.

They are very flexible instruments and work well with all types of music. I use them both in symphonic programs and all operas.

It is an easy instrument to play, with a very efficient mechanism and the pedals are wonderful!!!

The finishes and construction materials are of the highest quality and even though the years go by, they remain new and function like the first day.

I could write a lot more about them, but the last thing I want to add is that they are BEAUTIFUL!!!

My mallets

I mainly use Kato and Kappert and I complement them with some Playwood and Picarde

My timpani heads

Kalfo Super Timpani