Cover Adrian Nicolas Ong discovered the violin at nine years old—drawn by its sound in a hospital lobby. That moment sparked a lifelong journey in music (Photo: Lito Sy)
Adrian Nicolas Ong discovered the violin at nine years old—drawn by its sound in a hospital lobby. That moment sparked a lifelong journey in music (Photo: Lito Sy)
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Discover how Adrian Nicolas Ong’s love for music and imaginative approach helped him become a celebrated violinist and scholar at the Cultural Center of the Philippines
At a young age, Adrian Nicolas Ong was fascinated by the sound of the violin. He started his musical journey at the age of nine and eventually became a scholar at the Cultural Center of the Philippines (CCP). Throughout his career, he has always believed that music is an expressive art that connects people through sound and emotion. Before he plays, he first imagines what the music would sound like. Inspired by nature and the discipline of daily practice, he doesn’t stop at classical music but also dreams of studying jazz.
Ong’s approach and commitment to his craft are shaped by the idea that musicians are storytellers who use instruments to speak. He also hopes for aspiring instrumentalists to enjoy what they’ve chosen to do. “Don’t take the music too seriously. Remember to always try to make it fun. When it’s not fun, it doesn’t feel good,” he says.
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Above For Ong, performance begins in the mind—with creativity, curiosity and care
For Ong, performance begins in the mind—with creativity, curiosity and care
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Can you tell me the story of your journey with the violin—how it all began and what first drew you to it or to music in general?
I actually started violin lessons when I was nine years old. I was about to turn ten—just two weeks away. We were in the lobby of a hospital, and in the community space there was a violinist playing. I don’t remember exactly what piece it was, but I do remember asking my mum if I could try the violin. I didn’t know anything about music at the time.
After that, I went on to do some sports, but I kept asking about learning the violin. My mum’s best friend had a daughter who was taking lessons with the teacher who would later become my first violin teacher. She referred us, and that’s when I finally started—at nine years old.
It’s actually a little bit late to begin, as most people start quite young. But ever since then, I’ve been really curious about how to make sound on the violin. I also just loved how it sounded, especially in recordings. In the beginning, a lot of my inspiration came from Youtube—I would just sit and watch violin videos there.
You’re also a scholar of the Cultural Center of the Philippines (CCP), so what does that recognition mean to you personally and also professionally?
Personally, it's a huge honour, and I'm also very, very grateful to the CCP. The first time I visited the CCP was when I was a scholar at the Philippine High School for the Arts. We would go on field trips to the CCP for recitals or to see the Philippine Philharmonic Orchestra.
I remember thinking the CCP looked so huge when I was younger, and now, to be there rehearsing as a scholar—getting to play, perform and collaborate with the Philippine Philharmonic Orchestra—is a dream. Playing with an orchestra and hearing the entire piece as it was written is something truly special.
Above From Youtube videos to orchestral stages, Ong’s journey reminds us that passion, patience and play can shape a musician’s path
From Youtube videos to orchestral stages, Ong’s journey reminds us that passion, patience and play can shape a musician’s path
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Was there a particular moment in your career so far that you would consider your breakthrough?
One moment was during my freshman year in college. I was studying with this professor, and at that point in my development as a violinist, I was really focused on just making the violin work—getting the notes right. But this professor completely changed the way I thought about playing.
He encouraged me to stop thinking of myself as just a violinist, and instead to see myself as a musician. That shift really stayed with me. He reminded me that being a musician means more than playing the correct notes—it's about digging deeper into the music itself.
He compared sheet music to a script. He said we’re like actors, but our voices come through our instruments. That idea—that each note carries meaning and expression—made me feel more connected to the music. I started trying to bring out what each note means, not just technically, but emotionally.
I also began to realise that playing music is probably the most abstract art form. You can’t see it or touch it—you can only hear it. The connection between the performer and the audience happens in real time. Unlike a painting, which you can look at for as long as you like, music only exists in the moment it’s being performed.
That insight, that sense of connection, really changed the way I approach performance. My professor reminded me that it's not just about technique—it's about what I want to say, and how I want to connect with the audience. That was when I really started thinking more deeply about music and performance.
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How have your training or practice disciplined you, and what have you learned about discipline and creativity?
I think discipline, for me, isn't really about forcing myself. It has to start from a place of love and care—not so much being careful, but putting genuine care into what I do. That’s where discipline comes in. You also have to give yourself time in the beginning, which I wish I had done more of earlier on.
When I was younger, I could play all day without taking breaks. But that doesn’t really work for me anymore. I remember a quote from John Cage, the composer—he pointed out that the word discipline is very close to disciple. That stuck with me. He talked about giving oneself up, in a way—about devoting yourself to something rather than forcing it. That really changed how I see things. It’s easier when you offer yourself to the process, when you’re genuinely committed.
Now, when I start working on a piece, I try to do a bit of research first. I look into what was happening when the composer wrote it, and that helps me connect with the music. I try to think like them—what they were going through, why they chose certain harmonies, what their intentions might have been.
For me, imagery also plays a big role. Scenery, landscapes, even smells sometimes—these things can trigger inspiration. Occasionally, I feel like I can smell the sound, or imagine the environment the piece reminds me of. Sheet music, after all, is just printed text or instructions. It’s up to me to bring it to life.
I draw a lot of inspiration from nature too, and sometimes from personal memories. Certain pieces remind me of specific moments or feelings, and I try to channel that when I play.
Can you share with me what challenges you have faced and how you have overcome them in your career?
For me, every piece of music is a challenge, but one of the most difficult was the fugue from the Violin Sonata. I was stuck on it for a very long time. This piece is just for violin—there’s no piano accompaniment, which is unusual because most violin pieces have accompaniment, either piano or orchestra.
The violin is a melodic instrument and usually plays one line at a time, unlike the piano which can play chords and harmonies. But in this Bach fugue, the violin becomes a harmonic instrument by using double stops and even triple stops, playing two or three strings at once. It transforms the violin into something quite complex.
The fugue is quite long—it takes me about 11 minutes to get through the whole thing. The melody itself is simple, but the added harmonies and the memory work required make it very challenging.
This piece made me rethink how I memorise music. At first, I focused on logic and playing everything correctly, but I learned there’s another level of understanding needed. It’s very demanding and has many different characters throughout.
What this piece really taught me was patience. Sometimes patience can bring wonders. Of course, it’s never really a finished product. Like most music, it’s always changing. There is no final version because the music happens in the moment. You never quite know how it will come out—you just have to practise so you’re ready for whatever happens.
Above Ong's violin speaks not just through notes, but through emotion, memory and imagination
Ong's violin speaks not just through notes, but through emotion, memory and imagination
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If not the violin, what instrument would you be playing?
I’ve thought about this a lot. It might actually be the piano, because you can play a lot of notes on it, which the violin cannot—or maybe the cello.
Outside of classical music, are there any genres or musical collaborations you are interested in exploring?
I listen to a lot of jazz and also some soul music, but I would be really interested in practising jazz. I've never really worked on improvisation, but I do enjoy playing jazz sometimes in my free time. It can also be a source of inspiration for me.
What do you usually do to de-stress or when you are not practising or playing?
I like reading about music. I'm very interested in the lives of musicians, and I enjoy reading biographies too. Right now, I'm reading a book by Haruki Murakami. It's a collection of his conversations with the Japanese conductor Seiji Ozawa. The title of the book is Absolutely on Music, and their conversations are really fascinating. It interests me a lot.
I also like going on walks and eating. Since I’m on vacation at the moment, I’ve been playing games too. I recently got Resident Evil 4, although it does stress me out a bit.
Above Ong’s advice to young musicians is simple: love what you do, and the discipline will follow
Ong’s advice to young musicians is simple: love what you do, and the discipline will follow
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What advice would you give to young Filipinos who dream of pursuing music?
Being a musician requires a lot of time alone, so you have to be okay with that. You really need to love the music. Find ways to love the music you are playing because it will involve a lot of hard work. Instead of dreading it, try to see it as a journey of discovery.
For me, it is always about finding the sound. Before I play the violin, I try to really hear the sound in my mind. Imagination comes first. Before you play anything, you have to hear it.
It also helps to go to concerts and surround yourself with other musicians. And don’t take the music too seriously. Remember to always try to make it fun. When it’s not fun, it doesn’t feel good. Your love for music has to be stronger than the hardships.
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Credits
Photography: Lito Sy
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Jessica grew up writing letters for everyone, on every occasion. Little did she know that her hobby would eventually turn into a true passion. She believes that content should be relatable yet factual, engaging yet straightforward.
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A journalism graduate, Jessica never stops learning and honing her craft. She began her career as a Global Content Editor for a travel company, inspiring readers and travellers to explore the world. Currently, she writes on topics ranging from entertainment, health, sports and travel to in-depth stories about influential and impactful personalities.
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