[Trombone-l] Cleveland Orch Trombone Article in newspaper

[Bonemaster]

Dave,

Your observation about the improvements to the ASO brass is 'spot on'. Years
ago when Dick Hansberry (my former teacher), Harry Maddox and Don Wells
(great guys) were playing, the brass section was okay. I'm not sure how much
was demanded of them. Fast forward, they recently had Chris Martin on
principal tpt (subsequently took over Herseth's chair in Chicago) and Colin
on princ bone. 2 wonderful players and men. I saw Colin and George Curran
recently trying out (and eventually buying) new Shires horns. These 2 play
fabulously together! Colin has that big, sweet, lyrical sound, and George?
Well, testicular with finesse! The 2 of them tried out new horns for several
hours and finished their 'session' playing the 'Scherezade(sp?)' excerpt
together. My gosh, what a sound and what intonation!!

If anyone is ever in Atlanta and the ASO is in season, go see and listen.

Bob Devine
Atlanta, GA
An 'All Shires' family

-----Original Message-----
From: trombone-l-bounces at maillists.samford.edu
[mailto:trombone-l-bounces at maillists.samford.edu]On Behalf Of Dave Demko
Sent: Monday, May 28, 2007 1:53 PM
To: trombone-l at samford.edu
Subject: Re: [Trombone-l] Cleveland Orch Trombone Article in newspaper


> The Boston Ballet orchestra has an interesting system in their
> contract for filling vacant chairs. They convene a committee (which
> includes the music director) and meet to discuss the players in town,
> the frequent subs they've had in, etc. Then they hold a secret paper
> ballot vote, and if they have a unanimous winner from that they don't
> hold an audition and simply invite that player to fill the chair. One
> dissenting vote means that they then hold an audition.

> Some might say it's unfair to do it this way, but I disagree. I think
> this takes into account the human side of the equation quite well,
> acknowledging the importance of knowing how well somebody actually
> does in the situation without pretending that a blind audition is the
> pinnacle of "fairness."

> Gabe

	I can see the advantage of this approach, or of by-invitation-only
auditions: It avoids surprises. This method reduces the risk of hiring
someone with a great sound but a disruptive attitude or personal style
or someone who for whatever reason doesn't click with the music
director or the other players in the long run.
	But hiring people you know and have worked with cuts out the good
surprises too and can reduce the new-blood effect.
	Speaking only as an audience member, I can say the Atlanta Symphony
has benefitted from adding new blood in the brass section. Michael
Tiscione joined the trumpet section in 2002. Colin Williams won the
principal trombone chair in 2003. George Curran (bass trombone) and
Thomas Hooten (principal trumpet) joined the ASO in 2006. The bass
trombone position, at least, was filled by audition. All of these guys
are established players, not straight out of school, but they're
pretty young. (My guess is that Hooten wasn't even a gleam in his
father's eye when Brice Andrus and Michael Moore, principal horn and
tuba, started playing with the ASO.) These guys came to the ASO from
other gigs in other towns.
	Atlanta did something right. Are these guys good players? Heck yeah.
Do they play well with others? That too. The ASO played Bruckner's
"Romantic" Symphony earlier this month, conducted by Donald Runnicles,
and the brass's blend, balance, and sonority were spot on. Curran has
a big sound with a good trombone edge, potentially lethal. At first I
wondered, "Is this guy going to be a hot dog?" Nope, he's a good
ensemble player, making his contribution to the group and playing with
more maturity than ego. Whatever the ASO did in the last few years
adding new blood, the result is a well-integrated, good-sounding brass
section.

Gotta go practice,
Dave
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