Tell us about one of the most memorable experiences during your years in the Civic Orchestra.
I was incredibly fortunate to have been a member of two very special trumpet sections in my two seasons with Civic (1981-83). We covered some wonderful rep in those seasons, most notably Brahms 1, Bruckner 8, Pines Of Rome, Don Quixote, Mahler 10 (World Premiere of Clinton A. Carpenter’s version), to name a few. However, the biggest highlight for me was playing Principal Trumpet on Mahler 4. In the audience that night was my teacher and mentor, Principal Trumpet Bud Herseth, and also then CSO Second Trumpet George Vosburgh. Rather than being intimidated or freaked-out at all by seeing them up in the balcony of Orchestra Hall, I got very pumped up, channeling everything that I had learned from Mr. Herseth both in lessons and sectionals, as well as watching and hearing his magnificent playing week after week with CSO. Both men were kind enough to come backstage after the concert to express how impressed they were with me and the rest of the section on our performance. Due to their own busy schedules, they were very rarely able to attend our concerts, so this was certainly an incredibly special night to remember!
How did your experience in the Civic Orchestra influence your musical career?
Playing in the Civic Orchestra provided such a boost and a kick in the pants as to how to deal with life in a symphony orchestra. From the guidance we received in our one-on-one lessons with Mr. Herseth, to the weekly trumpet sectionals with him on repertoire, and of course the rehearsal process of putting together very heavy repertoire in a relatively short amount of time, we all really got a sense of what to expect when we landed our first jobs. The trumpet sectionals were especially important, as Mr. Herseth really stressed the importance learning how to effectively learn the roles and responsibilities of each position in the section. Not all of us would become Principal Trumpet players, and it was really important to him that we realize that each section is only as strong as its weakest player - and that none of us was going to be that under his watch! I certainly pass this training along in my own playing, and each summer as the Trumpet/Brass Coach at the National Youth Orchestra of Canada - a summer program very much like the Civic Orchestra.
Do you stay in contact with any of your Civic colleagues and, if so, who and in what capacity?
I made so many wonderful colleagues in my two seasons in Civic, and with the “magic” of Facebook, I keep in touch with dozens of them around the globe. Having lived in Canada now since 1987, I have come across many friends and colleagues across our country who played in Civic during their time attending DePaul and Northwestern Universities. A great many Canadian trumpet players wound up playing in Civic, as they had come to Chicago to study with former CSO 2nd Trumpet Vincent Cichowicz at NU. Vince was my predecessor as Trumpet Coach at the National Youth Orchestra of Canada for a mere 22 years! It was natural that many of those players in NYOC wanted to continue their studies with Mr. C. at NU.
What is your advice for Civic members who are beginning to take professional auditions?
Now that you’ve successfully earned a position in the Civic Orchestra, you next step is scoring that full contract in a professional orchestra. You’ve already got a leg up on many young players, as you are in the incredible environment of Civic working through great rep, led by world-class conductors, and getting coached by your CSO mentors! As you work up your professional auditions, play your audition rep for your colleagues, as well as players in other sections. Remember that certainly for wind and brass players, there may only be one other member of your instrument group on your audition panel. Wind/Brass players can benefit hugely from comments from string players, for instance, and vice-versa. Know your rep inside and out, specifically what is happening in the orchestra before, during, and after the excerpt you are preparing to play. Believe me, audition panels can really hear the players who know how a given excerpt fits into the orchestral fabric of the piece they are playing. Finally, make sure you are telling a story when you play! Show some personality in your performances, as there is nothing more boring than cookie-cutter uninteresting playing of excerpts.
What would you say to musicians who are considering an audition for the Civic Orchestra?
The Civic Orchestra was absolutely invaluable in my early orchestral training. I first heard the words “Civic Orchestra” when I ran into Bud Herseth on the grounds at Ravinia before a CSO concert in the summer of 1979. I asked him if I might be able to get a lesson with him, and he graciously replied that he only had time to teach the kids in the Civic Orchestra. At that time, I had NO idea what the Civic Orchestra was, but I was determined I was going to become a member so that I would have the opportunity to study with the legendary Mr. Herseth. Two years later I achieved that goal and began my two years of incredible study with the man. The repertoire we covered and the colleagues who I met and performed with over those two seasons made lasting and lifelong impressions on me. Many, many friendships that last to this day, 35 years later!
Share your thoughts on how to best prepare for a professional career in music.
In addition to always striving to be the very best musician that you can be, an overall mantra that has always served me well is to “Be kind whenever possible - and it’s always possible!” The music industry is such a relatively small community, and connections run far and wide not only across the U.S., but well into Canada as well. You can be the absolute greatest performer on your instrument, but if you are an arrogant and/or disagreeable person, NO one is going to want to work side-by-side with you in any ensemble - orchestral or otherwise. One of the easiest things in the world is to be kind, so why not be that?
