Introduce yourself to us.
I play principal trumpet in Baltimore Symphony. I had already been playing in a Mexican orchestra for four years when I auditioned for Civic in 1993 as part of my attempt to upgrade, hoping to get in to a much better group, eventually. I had felt isolated, out of the competitive mainstream in that town up in the mountains. Chicago Civic, being in the very heartland of enthusiastic brass playing, was most certainly my path out and upwards, as it turned out.
Tell us about one of the most memorable experiences during your years in the Civic Orchestra.
While I am from Wisconsin up the road and I had studied with him a bit in high school, our weekly masterclasses with Adolph Herseth are etched in to my ears for eternity. Overall, playing onstage of Orchestra Hall before it was renovated is something I cherish. There was a bit of a learning curve, being so wide yet somewhat shallow, but it definitely had some great ring to it. Performing Mahler 6th with Pierre Boulez had a very distinct feel, between his conducting and that hall.
How did your experience in the Civic Orchestra influence your musical career?
I was in Civic only a few months because while I was there, I got a job and off I went. That autumn in Chicago, my playing came to the attention of Zubin Mehta. He subsequently auditioned me while I played in a festival youth orchestra in Israel over winter break where he appointed me principal trumpet of the Israel Philharmonic, where I stayed nearly a decade. That was the big break I was looking for and for that I have my experiences at Civic to thank.
Do you stay in contact with any of your Civic colleagues and, if so, who and in what capacity?
Funny thing is, I keep meeting people who tell me we were in Civic together. I just ran in and made a quick exit in those days. Seemed like everyone was busy with their other gigs or school.
What is your advice for Civic members who are beginning to take professional auditions?
Play for your Civic colleagues just to turn up the heat, not as a special thing, but something routine. Being acclimated to that kind of stress is like getting an inoculation. If CSO is holding auditions, get time on that stage to get used to it. It’s something unique.
What would you say to musicians who are considering an audition for the Civic Orchestra?
Getting in to Civic is no different and as hard as winning a job. If you get in, it’s a good sign.
Share your thoughts on how to best prepare for a professional career in music.
The back and forth between your own concerts, attending the best live performances and returning to your own practice room; Repeat daily.
Any remaining thoughts, stories or information that you would like to share?
As a result of my experiences playing in orchestras in various countries, I founded an organization, the Future Symphony Institute, a collective of professionals from mostly outside of the classical music profession who want to chart a more promising course for our art form.
