I retired from most public performance in 2021, and Nexus officially retired as a touring ensemble last year (2024). As is inevitable for any professional percussionist with a long career, I now find myself faced with divesting of a large collection of very fine musical instruments, many of which are rare and, in some cases, unique. Furthermore, performing on and living with them over decades has led to an intimate connection with how they feel to hold and touch, almost as much as with how they sound. Parting with objects such as these is difficult. There is a great deal of nostalgia involved with past performances as well as memories of the repertoire in which they were used.
So far, I’ve been fortunate to find homes for many of my instruments here in Toronto where I live. The new owners include some advanced students, as well as professional colleagues presently working in chamber groups and orchestras such as the Toronto Symphony, Canadian Opera Company Orchestra, and Toronto Ballet Orchestra. A bonus for me has been the opportunity to continue hearing “my” instruments when they are used in local performances.
As I organize, catalogue and evaluate everything, I have made it a practice, especially regarding the more rare and/or unusual items, to create certificates that document their provenance and history as far as I know. In addition, I try to include my own recollections about when and where I obtained them, and how I used them in performance. I print each certificate on fine paper and sign it, giving the new owner a tangible memorial of the instrument’s importance. Additionally, the project provides me with a means to savour some of my musical memories, as well as establishing a sense of continuity from myself to a new generation.
The testimonial at the beginning of this post was one of the first certificates I made. Two more recent examples:
