Tell us about one of the most memorable experiences during your years in the Civic Orchestra.
My most memorable Civic Orchestra experience was playing Principal Horn on the world premiere of Clinton Carpenter’s performing version of Mahler Symphony No. 10. I was scared to death but also thrilled to be given the opportunity and to take on the challenge. The performance went great, though I had to try hard not to be distracted by my teacher and Civic Orchestra horn coach Dale Clevenger who was watching the concert from the center balcony box at Orchestra Hall!
How did your experience in the Civic Orchestra influence your musical career?
It was really important to be able to rehearse and perform in a real concert hall. As horn players, we have to learn how to play in a large space and how to get the best sound and musical message out to the audience. This means that we have to play and sound very different up close than we do at a distance, and Civic was an invaluable way for us to learn how this is done, especially after listening to the CSO every week as a reference.
Do you stay in contact with any of your Civic colleagues and, if so, who and in what capacity?
Many of my Civic colleagues went on to have successful careers in music, so it is no surprise that I run into them often in my travels. My horn section mates Tod Bowermaster, Eric Ruske, Steve Hayworth and Chuck Hodgson are all people I stay in touch with, as well as other musician spread out across the country.
What is your advice for Civic members who are beginning to take professional auditions?
Listen to your teachers and your colleagues, but also become intimately acquainted with yourself as a person and as a musician so as to be able to learn how best to play “the game” of auditions. It took me a while to understand how I personally reacted to the stress of the intense preparation and pressure so I could learn to rise above it all and perform at my best.
What would you say to musicians who are considering an audition for the Civic Orchestra?
Do your best and let your musical voice and message come through in your playing. Don’t worry about who else is auditioning or how they play. Have high standards and play to satisfy them. If your standards truly are high, you will do well.
Share your thoughts on how to best prepare for a professional career in music.
Classical music is an art form that required most musicians to be interpreters — to try and understand what the composers wanted and to bring that to life for an audience. This means having a deep knowledge of music history, of the history of your own instrument, of what styles are appropriate for different eras of music and being effective at communicating these things through your playing. I feel an obligation to do all of these things, since most of the composers are long gone — in other words, it’s not about me, it’s about the music.
