Stir Q&A: Violin virtuoso Timothy Chooi sounds off on Vivaldi’s The Four Seasons
The renowned musician performs the classic piece with the Vancouver Symphony Orchestra on December 14 and 15
Timothy Chooi. Photo by Den Sweeney
Vancouver Symphony Orchestra presents Vivaldi’s The Four Seasons on December 14 and 15 at the Chan Centre for the Performing Arts
TIMOTHY CHOOI WAS just 16 years old when the violinist made his debut performance with the Montreal Symphony Orchestra, an appearance that launched his career on the international stage. A professor of violin at the University of Ottawa, he has performed with the Deutsches Symphonie-Orchester Berlin, Belgian National Orchestra, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic, and Wiener Concert-Verein, among others. He has appeared on iconic stages such as Carnegie Hall, Amsterdam’s Concertgebouw, and London’s Royal Albert Hall, to critical acclaim.
Chooi will be on the West Coast for a performance of Vivaldi’s The Four Seasons with the Vancouver Symphony Orchestra on December 14 and 15 at the Chan Centre for the Performing Arts. Stir connected with the artist in advance of his local appearance to find out more.
I see from your bio that you were inspired to play the violin because of your brother. Can you tell us more about that and about how music entered your life?
I started playing the violin when I was three years old. My older brother, who is five years older than me, had already been playing the violin since he was four. Like many younger siblings, I was completely enthralled by everything he did, and I wanted to follow in his footsteps. I was so passionate that I used to take a pair of chopsticks and imitate him endlessly, pretending to be a professional violinist. This childhood fascination set me on the path to where I am today.
What is it about the violin that drew you to it? What do you love about playing it today, and how does it challenge you?
What initially drew me to the violin was its complexity and elegance. It’s incredible to see how fine motor skills and precise nerve endings create such a rapid array of notes on such a small piece of wood and metal. I’ve always been amazed by how this instrument, a feat of human creation, can evoke such deep emotions and vivid imagery through its sound.
What I love about playing it today hasn’t changed much from when I first fell in love with it. I’m still captivated by how the violin communicates nonverbally with audiences, combining tone, timbre, and expression to create a shared experience. The repertoire available to the violin is also endlessly fascinating.
However, it remains physically demanding. The idea of putting in hours of practice hasn’t disappeared, and the physical challenges of playing the violin never truly go away. As much as some things have become easier with time, the discipline and effort required are constants.
If you could design your dream program, what compositions would be on it and why?
Honestly, my dream program would be right here in Vancouver! Playing The Four Seasons is such a joy and feels like a perfect fit for any concert. It’s a work that never fails to resonate with both musicians and audiences.
Tell us about your relationship to The Four Seasons. It’s universally beloved and never gets old, so to speak. What do you enjoy about performing this piece?
My relationship with The Four Seasons is deeply rooted in its timelessness. It was one of the first pieces I ever heard on western instruments as a child. It’s one of the most iconic works in the violin repertoire, standing the test of time with its passion, vivid imagery, and ingenuity. It’s a masterpiece that feels relatable to everyone, reflecting the cycle of life and nature in a way that’s universal.
As a violinist, I also appreciate how The Four Seasons was written specifically for the violin. It feels organic and natural to play, adapting perfectly to the temperament and technique of the instrument. Unlike some repertoire written by pianists for the violin, which can feel less intuitive, The Four Seasons is ergonomically perfect for the violinist, allowing for pure expression.
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