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David Binder joins DSO as Second Trombone

David Binder joined us in September of 2015 on Second Trombone.  He is joining the orchestra after three seasons as Co-Principal Trombone of the Finnish National Opera Orchestra in Helsinki, Finland.He has performed with the Chicago Symphony Orchestra,the Finnish Radio Symphony Orchestra, and as guest Principal Trombone with the Tapiola Sinfonietta in concerts and on recordings.  David was born and raised in Chicago, Illinois.  He received his Bachelor of Music with Brass Department Honors from Northwestern University, studying with Michael Mulcahy, Peter Ellefson, Timothy Higgins, and DSO Bass Trombonist Randall Hawes.

 

His studies with Randy Hawes played a large part in his desire to join the DSO. “When I saw the announcement for the DSO audition, I knew I had to come back for that one because of my relationship with Randy, familiarity with the Midwest and proximity to my hometown of Chicago, and because of the great reputation of the orchestra,” said David. “The schedule at my previous job along with the long travel times back to North America prevented me from participating in many enticing auditions. For auditions between September and May, I really had to choose only one out of the handful happening across the US to make the trip back.  As luck would have it, the audition occurred in February during the winter break week of my previous orchestra, so it was a perfect opportunity!”

David’s family members were not musical themselves, but always supportive of David’s endeavours as a young musician.  When asked what instrument he would play if trombone was no longer an option, he said, “I’d play the instrument I first chose when I was in 5th grade, the alto saxophone! At that time, I had just heard Cannonball Adderley and fell in love with that sound. I wanted to play alto sax, but my school required sax students to start on clarinet for one year, which somehow didn’t interest me. Trombone was my second choice.”  David is also an enthusiastic bluegrass and folk music fan, who enjoys playing the banjo in his spare time.

David is an avid Chicago Cubs fan and enjoys playing racquetball and softball.

David and his musical hero, Bela Fleck, at the 2012 North Sea Jazz Fest in Rotterdam

 

 

 

Why Ensemble Quality is Lost

 

William “Bill” Lucas – joined the trumpet section of the Detroit Symphony Orchestra in 1988 bringing versatility and a flair for jazz. He has served on musicians’ Orchestra, Education and Negotiating Committees.  Bill has a national reputation for coaching musicians in the art of audition preparation and is an adjunct faculty member at the University of Michigan School of Music where he teaches jazz trumpet.

In the second part of my article I discussed excellence in Ensemble – being on a stage full of musicians who perform at your level and all expertly communicate with one another, not with voice, but with music.

 

There are many reasons why the Ensemble of an orchestra can wane.  In some cases, a maestro can be responsible, possibly due to an inability to communicate, a lack of respect for the players, or wanton disregard for the job at hand. In other cases, it can be contractual hardships that create ensemble disharmony, perhaps due to excessive run-outs, lack of relief time, or an orchestra complement too small to achieve proper balance, resulting in extreme fatigue and eventual muscular and joint failures.

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Why Move to Another Orchestra?

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William “Bill” Lucasjoined the trumpet section of the Detroit Symphony Orchestra in 1988 bringing versatility and a flair for jazz. He has served on musicians’ Orchestra, Education and Negotiating Committees.  Bill has a national reputation for coaching musicians in the art of audition preparation and is an adjunct faculty member at the University of Michigan School of Music where he teaches jazz trumpet.
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In part one of my article series I discussed how grueling and expensive auditioning for an orchestra can be.

So the question becomes, why move to a job in another orchestra if you have one already? Why would you want to play in a major orchestra anyway, even if you are freelancing? With all of the expense, energy and effort required to play an audition against several hundred other musicians, and the likelihood that you will come home empty-handed, why bother to audition at all? (more…)

What it Takes to Land a Major Symphony Job

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William “Bill” Lucas joined the trumpet section of the Detroit Symphony Orchestra in 1988 bringing versatility and a flair for jazz. He has served on musicians’ Orchestra, Education and Negotiating Committees.  Bill has a national reputation for coaching musicians in the art of audition preparation and is an adjunct faculty member at the University of Michigan School of Music where he teaches jazz trumpet.

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What does it take to land a job in a major American symphony orchestra such as the Detroit Symphony? Or the Philharmonics of Los Angeles and New York? Or the Symphonies of Boston or Chicago?

Like most corporations, gaining entry into a symphony orchestra involves a process of scrutiny. In the business world, we know this process as the job interview, which involves both a mailed resume and the subsequent in-person interview itself. But in the symphony orchestra world, while resumes are still mailed, the interview is replaced by what is known as an audition. These auditions are attended by musicians from all over the world, and, consistently, boast a candidate pool of several hundred for a single opening. So to understand how a musician becomes a tenured member of a top-ten orchestra, one must first have a look at the audition process itself. (more…)

Tools of the Trade

Posted August 19, 2010

 

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Patricia Masri-FletcherM.M. The Juilliard School, has been Principal Harpist of the DSO since 1988, She also holds the positions of Instructor of Harp at Michigan State University, Professor of Harp at Madonna University, Life Member of the American Harp Society and Life Memeber of the World Harp Congress.

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One of the most inevitable questions I get about the Harp is: “How much does that thing cost?” I used to ask people to guess. Not anymore. Most people take a step back from my instrument when I tell them that my Italian-made Salvi Minerva (affectionately named “ Tall Red”) now sells for $47,000.

For the professional musicians of the Detroit Symphony Orchestra (DSO), our instruments are the tools of our job. Each musician is responsible for providing his own instrument, except for the piano, celesta, and much of the percussion,  which is owned by the DSO.

Every craftsman owns tools for his job. An on-site carpenter needs his own tool belt, including hammer, wire cutters, pliers, nail pouch, tape measure, carpenters (flat) pencils, etc. (more…)