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ORCHESTRA SECTION PROFILE

JASON BERGMAN, COLUMN EDITOR

DALLAS SYMPHONY ORCHESTRA

TRUMPET SECTION
BY JASON BERGMAN, COLUMN EDITOR

October 2016 • Page 89

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 ORCHESTRA SECTION PROFILE
JASON BERGMAN, COLUMN EDITOR
Orchestra Section Profile is a “snapshot” of an orchestral player or section at a specific time in history. The column seeks to include
sections from all levels of orchestras. Ideas and suggestions should be directed to: Jason Bergman, College of Music, University of
North Texas, 1155 Union Circle #311367, Denton, TX 76203-5017; orchprofile@trumpetguild.org

DALLAS SYMPHONY ORCHESTRA

TRUMPET SECTION
BY JASON BERGMAN, COLUMN EDITOR

x
R yan Anthony, principal trumpet, began his rela-
tionship with the Dallas Symphony in 2004 as
guest principal trumpet and began full-time
duties in 2006. Anthony has appeared in the
Music Festival, Mainly Mozart of San Diego, and one-year
appointments as second trumpet with the St. Louis Sympho-
ny and principal trumpet with the Colorado Symphony. Just
prior to moving to Dallas, Russell was an active freelance
principal trumpet role of the Los Angeles Philharmonic, musician in Seattle, appearing regularly with the Seattle
Cincinnati Symphony Orchestra, St. Louis Symphony Symphony and Opera.
Orchestra, San Diego Symphony, Colorado Symphony, and Tom Booth, fourth and assistant principal trumpet, came
OFUNAM Philharmonic and has played in the sections of to the Dallas Symphony in 1977 from the San Antonio Sym-
the New York Philharmonic, Cleveland Orchestra, and Israel phony. He received his bachelor’s degree in music from Bald-
Philharmonic. He studied at the Cleveland Institute of win-Wallace College, where he studied with James Darling
Music, receiving both Bachelor of Music and Master of and Mary Squire, and his master’s degree in music from the
Music degrees with David Zauder and University of Illinois, where his
Michael Sachs. Other notable influences “This section not only func- teacher was David Hickman. He has
at CIM include Bernard Adelstein and been on the faculty of the University
James Darling. tions at a high level musi- of Illinois, Illinois Wesleyan University,
Kevin Finamore joined the Dallas cally, but they are also the University of Texas at San Antonio,
Sym phony Orchestra in 2000. He and Southern Methodist University,
earned a high school diploma and bach- close friends.” where he currently teaches trumpet
elor’s degree in music from the North and heads the winds, brass, and per-
Carolina School of the Arts and a master’s degree in music cussion department. Booth and his wife, Linda, also a musi-
from The Juilliard School. His teachers include Ray Mase, cian and teacher, live in Sunnyvale, Texas, and have three
Chris Gekker, and Mark Gould. Finamore was a student at grown children.
the Aspen Music Festival, the Tanglewood Music Center, and The Dallas Symphony Orchestra has maintained a tradi-
the National Repertory Orchestra and has performed with tion of excellent brass playing for decades. Previous members
the Metropolitan Opera, New Jersey Symphony, Singapore of the trumpet section include Frank Kaderabek, Richard
Symphony Orchestra, Winston-Salem Symphony, Greens- Giangiulio, Ron Modell, Boyde Hood, Bernard Adelstein,
boro Symphony, and Utah Festival Opera. He is a frequent Bert Truax, David Bilger, Jeffery Curnow, and many other
clinician, having taught masterclasses at the University of fine players. The current members of the section are celebrat-
Kentucky, University of North Carolina at Greensboro, Uni- ing ten years of working together. Individually, the longest-
versity of North Texas, and Baylor University; and he also serving member of the trumpet section is Assistant Principal
works with local high school programs and students. Tom Booth. He has completed 38 years as a member of the
Russell Campbell, a native Texan, joined the Dallas Sym- orchestra. Second trumpeter Kevin Finamore has been a
phony Orchestra in September 2004 as associate principal member for sixteen years. Russell Campbell has been a mem-
trumpet, bringing him back to Texas after fourteen years of ber of the orchestra for twelve years, and principal trumpeter
work and study elsewhere. After completing undergraduate Ryan Anthony has been a member for ten years, with two
studies at the University of Houston with James Austin, Rus- additional years of guest and interim service before officially
sell went on to study at The Juilliard School under Ray Mase joining the orchestra.
and Mark Gould. Past positions include associate principal Those who know the members of the trumpet section, or
trumpet of the Palm Beach Opera, principal trumpet of the who are privileged to hear them play live, can discern quickly
Tacoma Symphony, Northwest Sinfonietta, Utah Festival that this section not only functions at a high level musically,
Opera, guest principal of the Oregon Symphony, Peter Britt but that they are also close friends.

© 2016 International Trumpet Guild October 2016 / ITG Journal 89

 Dallas Symphony Orchestra trumpet section. L – R: Tom Booth, Ryan Anthony, Russell Campbell, Kevin Finamore

Bergman: What are some early experiences that you had as a requests for time off. Personally, these guys have been so sup-
section that seemed to bring you together? portive during my illness. Everything is fluid and supportive,
Booth: Easy! We went to the roller derby for Ryan’s fortieth and each member of our section jumps in to help, regardless of
birthday. (everyone laughs) what’s needed.
Anthony: That was a great time. Campbell: Exactly. We don’t try to
You know, when I came to Dallas “You know, a principal player is undermine anyone else in the section.
to perform as guest principal trum- Sadly, you hear about that occasion-
pet, it was never my intention to only as good as the section. ally happening in the business, but
stay. It wasn’t until I really started Specifically, he’s as good as the that doesn’t ever happen here.
playing with these guys and having Finamore: We all try to have each
amazing experiences on and off the second trumpet allows him to be.” other’s best interest in mind from a
stage that I decided that this is real- musical standpoint, but also person-
ly a place I wanted to make a home. ally. There’s no sense of competition between us, and we’re all
Booth: One of the main things that makes it all work is that pulling for each other to do well.
we are all comfortable with speaking the truth to each other Anthony: You know, a principal player is only as good as the
without any type of consequence. I remember having an early section. Specifically, he’s as good as the second trumpet allows
conversation with Russ when he first started with us. I told him to be. It’s always up to Kevin how well I’m going to do. I
him to let me know anything that he was hearing—good or always trust Kevin and know that any time I sound good it’s
bad. We all feel the same way. There’s no sense of ego at all. because he’s right there with me. Likewise, the same applies to
Bergman: With all of the diverse experiences you have had Russell too. One of the best parts of my job as principal trum-
throughout your careers, how would you all describe playing in pet is being off stage while Russell is playing principal. For
this particular section? example, he sounds amazing on
Finamore: We have been togeth- “We have all been courted by other the Ravel Piano Concerto in G.
er as a unit for ten years. Our rela- That’s his piece, and it’s amazing
tionship has gotten stronger and orchestras, but we simply don’t want every time he does it.
stronger, and we don’t want to give to give up the camaraderie that we Campbell: Maybe, but can you
that up. sometimes pass me something
Anthony: We have all been have developed within our section.” more challenging like Harry and
courted by other orchestras, but we the Hendersons? (laughs) Seriously,
simply don’t want to give up the camaraderie that we have it’s a very supportive section, and when anyone has something
developed within our section. We are all willing to help each come up, we step up and support each other.
other without having to say anything. We’re helpful with Anthony: For example, earlier this year, Russell had a bike
changes in rotation assignments and supporting each other’s accident, and I was out of town for another engagement.
90 ITG Journal / October 2016 © 2016 International Trumpet Guild
Without any notice, Kevin was able to step into the principal when you’re playing in the section, be sure that you’re focusing
chair and play first on Pictures at an Exhibition. Tom also on matching what the first player is doing so that you sound
moved up a part to second. In addition to being supportive, like one unit, not separate individuals. You really have to work
our section is full of strong and capable players who can play on that.
just about any part at any time. Anthony: For me, one thing that really helped was doing a
Booth: A really important part of the success of our section lot of playing in a brass quintet. That was where I could really
is that Ryan is very good about managing all of the assign- learn how to play in unison and match, or when I needed to
ments, whether or not there is a crisis. lead more with my part. It’s really a chamber music approach
Bergman: How does that work, Ryan? How do you figure out in the orchestra.
a rotation? Finamore: As a second player, it’s very important for me to
Anthony: I am actually looking at that now for next season. know the principal player’s tendencies. Some of these tenden-
I start at the end of the season as we are approaching June. I cies involve understanding his breathing, intonation, volume,
determine what the instrumentation is for each body language, and timing. Be-
piece we’re doing. I’ll start by looking at the major ing aware of these tendencies
subscription concerts and determine rotations “It’s really a chamber music makes the job easier for the sec-
through those more significant works. We each approach in the orchestra.” tion and leads to a higher per-
have vacation weeks, so I’ll ask if anyone has any formance level. This approach
specific time they need off. We certainly take that also requires an open willingness
into consideration. From there, it’s determining which weeks to change and be flexible to other ideas. I have played with
are using primarily two trumpets or three trumpets. Once we Ryan and Russell for a long time. I know right where Ryan will
have that, we try to even those responsibilities out between be on a certain note, and the same with Russell. Russ and I
ourselves while ensuring that everyone gets their appropriate have been playing together since 1999. We’re all a very good
time off. It’s like a big jigsaw puzzle. I really try to ensure that match. We were in school together and had the same teachers.
everyone gets what they want, that they have their vacation, as Anthony: Yes, that’s another thing that really helps us as a
well as some additional time off, depending on the repertoire. section. We’ve all had similar backgrounds and similar teachers.
Bergman: And you’re always the one that makes these decisions? Tom and I both studied in the Cleveland area. Kevin and Rus-
Anthony: Yes. It falls under the responsibilities of the prin- sell studied in New York with Mark Gould and Ray Mase.
cipal chair. However, there is a lot of collaboration and work- Bergman: So many people, especially young players, say that
ing to ensure that everything is fair. Some things are always they want to play a principal part but don’t realize the value or
certain. For example, Russell always plays principal trumpet on necessary skills of playing in a section. Those are wonderful jobs,
the concerto. It doesn’t matter if it’s major repertoire or not, if too. What are some suggestions you have to help players learn the
there’s a taxing work in the second half, or if I’m in town or role of a section player?
not. I always want him in that chair on that repertoire. It gives Anthony: My steady, week-to-week teacher in school was
a certain sense of confidence, continuity, and comfort to the David Zauder who played second trumpet. I was never taught
trumpet section and to the orchestra as a whole. Everyone can by a principal player.
expect that. As far as I’m concerned, that responsibility comes Booth: My teacher played fourth in the orchestra.
with the associate chair. Anthony: And you know, we never did excerpts in lessons.
Bergman: Changing the subject slightly, what are some sugges- He taught me how to listen and to play fundamentals. So,
tions you would give to people who are looking to improve as sec- maybe that’s where I got the better awareness of what they’re
tion players, or improve their section playing, so to speak? all trying to do so that I can be consistent for them.
Finamore: Frequently playing with others helps a lot. I Bergman: There has to come a time when people better under-
wouldn’t approach it in a competitive way. Rather, I would stand their role. Every job in a section is important, just like on
focus on getting together and reading through excerpts with a sports team. Every position is important for the success of the
the purpose of learning from each other. Everyone has their team. Playing second isn’t less than playing first; it’s simply another
own strengths and weaknesses, and we are able to learn from job. When you build a house, there are people who do the plumb-
each other by sharing our strengths and weaknesses. Ultimately, ing and those who lay bricks. When each of those people does his
camaraderie builds the strongest section, and this type of or her specific job, it results in a completely functioning house.
approach helps students to develop these skills. Anthony: Right. It’s not that the person who stands up after
I encourage students to read through all the major sym- the piece is done gets the recognition because he or she did
phonies by all the important composers more or was more important. In real-
and play all the parts. It’s so important ity, the second trumpet is the engine
that you know more than the first “It’s so important that you know that drives the bus. He largely deter-
trumpet part; learn the second part, the more than the first trumpet mines the success of a performance.
third part, and the fourth part. Russell on third is the Jack of all
Booth: I was in school with three part; learn the second part, the Trades who does whatever needs to be
other guys who each have professional third part, and the fourth part.” done. And Tom…
orchestra jobs. We used to just sit for Booth: Bats fourth as the clean-up
hours with excerpt books and read hitter! (laughs)
through them. Anthony: You know, one of the greatest things about Tom is
Campbell: And while you’re doing that, focus on learning that no matter what piece comes up and no matter what part
the difference between leading and matching. For example, it is, he can always tell us where the tricky passages are and

© 2016 International Trumpet Guild October 2016 / ITG Journal 91

what tricks of the trade we can use to be successful. He’s seen We were all engaged and matching well. When someone else
everything before. “Hey, page three, first trumpet, there’s a needed to lead, we followed. It was very memorable and special.
crazy lick you should check out. Second trumpet, last page, I’ve never had that last page be so well matched and blended.
you really have a tough part there!” For us, it’s great. He knows Booth: We were once doing Shostakovich’s First Symphony,
everything and knows all the parts. and I wasn’t playing that week. On Sunday morning, Ryan’s
Finamore: The nice thing about playing in the second chair son broke his arm. Understandably, Ryan needed to be at the
is that the first player has to deal with a lot of stress and all the hospital with his son. So, without any notice, we all had to step
responsibilities that come with that part. So, as second, you up and play a new part for that last concert. Russell played
have to be really solid. The way you do that is to play with a beautifully on the first part.
lot of confidence. That’s what Anthony: Yeah, and you had to play
creates that solid foundation for that low F-alto third part. That’s really
the principal player to trust in.
“It’s nice to know that no matter a good story about the strength and
Anthony: Right. On the how I’m feeling, the rest of the sec- ability of our section. And then there
nights where I’m feeling iffy, it’s was the Heldenleben concert where
his confidence and Tom’s that tion is going to be laying it down.” Kevin came on stage with a barf bag!
really helps me get through the He had the flu and was so sick. We all
night. It’s nice to know that no matter how I’m feeling, the rest had to come prepared with two parts learned because we
of the section is going to be laying it down. weren’t sure if he was going to make it. These types of experi-
Bergman: What has helped you all to develop this strong level ences can sometimes drive a wedge in a section, but we’re so
of consideration for each other? fortunate that we care about each other and are willing to be
Finamore: When you’re in school, it’s all about competition. flexible and supportive.
Music is not a competition. It’s all about expressing the music. Bergman: Thank you for sharing those stories. Is there anything
Booth: Really it’s just about common courtesy; it’s not rock- else that you feel is important for people to know about playing in
et science. Another key to building that trust and the positive a section?
relationship we have is simply hanging out. We really did go to Booth: You know, networking is so important. When David
that roller derby! We went to a dirt track race, and tonight Bilger had auditioned for the principal position in Philadel-
we’re going to the Dallas Stars playoff game. phia, my brother-in-law played second trumpet in the orches-
Bergman: What’s one of your favorite stories from the last ten years? tra. He called me up and said, “What can you tell me about
Finamore: In one of Ryan’s first weeks with the orchestra, David Bilger?” I said, “Oh man, he’s phenomenal!” He said, “I
which happened to be during the end of Andrew Litton’s time know that. How is he as a person?” I obviously said he was a
as music director, we were playing some obscure overture. great colleague, and the rest is history. We don’t want to sit
There was a part of the piece that had a long set of rests for the next to mean people. It’s important to be a really nice person,
trumpets. We were still all new and unfamiliar with each other but it’s also important to make sure your relationships are solid
and didn’t know each other’s body language. At one point, so that people can speak highly of you as a player and a person.
about thirty measures out from our entrance, Ryan picks up Campbell: It’s important to have fun on the job. You cer-
his trumpet like he’s about to enter. I’m counting and I know tainly need to be serious and focused, but if you can make your
we’re not anywhere near the entrance and I’m thinking to job fun, it’s so much more appealing to enjoy.
myself, “Is he really going to come Finamore: We all follow Ryan’s
in now?” Then he takes a big “We don’t want to sit next to mean lead, but in our section, we’re all
breath and goes for it! able to comfortably have our own
Anthony: Our brass entrance people. It’s important to be a really individuality. We can be ourselves,
was this big subito forte passage nice person, but it’s also important which helps us to play to our
and it was very quiet before our strengths. We have our own indi-
entrance. When I came in so loud to make sure your relationships are vidual strengths and weaknesses
and out of place, the section was solid so that people can speak high- and can comfortably share that
shocked and the maestro just with each other.
looked up and shook his head. He ly of you as a player and a person.” Booth: Having fun helps to
wasn’t giving a lot of cues at this break the tension. There are some
point because our entrance was supposed to be a surprise. really intense moments in rehearsals or concerts, and making
Finamore: You know, you talk about what brought us all sure we’re all enjoying ourselves and having fun really helps to
together, this was one of those pivotal moments. We could get through those tough moments.
have all been mad at each other, but we weren’t. We just Anthony: Right—the fun is never to the detriment of the
laughed, and it became this bonding moment for us. music making. We’re able to have a good time, because we all
Anthony: Yeah, that established right off the bat that some- work so hard to keep our playing at a very high level. We’re
one had better be counting! Seriously, though, playing the thus able to have a good time. We can trust each other that the
Beethoven symphonies is always a treat for us. We really play parts are learned. We can simply relax that way, and the section
those well together. Obviously, the Mahler symphonies are functions better as a unit.
always fantastic, but playing Beethoven has been special. Campbell: Take care of business, but have fun at the same time.
I remember another memorable concert early on. We did Anthony: You know, the uniqueness of this section goes
Shostakovich’s Symphony No. 5. We really were locked in beyond the normal because of my own personal health issues.
together. That piece is such a great example of section playing. These guys know my chemo schedule better than I do. That

92 ITG Journal / October 2016 © 2016 International Trumpet Guild

really says a lot. You know, Kevin will say, “Okay, Ryan, I’ll Anthony: I hope that through this interview, people are able
pick you up tomorrow because you have an infusion tomor- to see how much we respect each other as people and players,
row.” And I’ll think, “Yeah, that’s right; I do have one tomor- and how much we respect each position. We look at each posi-
row.” That type of caring effort goes into the way we play with tion as equal and that we have specific jobs to do. We all realize
each other as a section. and appreciate what’s being done.
Booth: I think it also helps that we all live really close to each
other. Russell lives a little farther away, but still really close to About the author: Dr. Jason Bergman is assistant professor of
us. We see each other all the time. trumpet at the University of North Texas. He is the former
Anthony: Our kids go to school with each other. associate principal trumpet of the Santiago Philharmonic in
Finamore: They play together and know each other really well. Chile, principal trumpet of the Mobile Symphony Orchestra,
Bergman: Ryan, in conclusion, I have one more question. I and many other professional orchestras. He has previously
imagine that many people are probably aware by now of your can- taught at the University of Southern Mississippi and given
cer diagnosis. From knowing you and masterclasses and recitals at
being around each of you, it’s clear “These guys know my chemo schedule numerous institutions around
that one of the positives that has come the world. His debut solo al -
from that challenge has been the better than I do. That really says a lot.” bum, On The Horizon, has re-
strengthening of your section. Can ceived very positive reviews
you describe that or other positive results from going through this and is available on the MSR label. He holds degrees from the
experience? University of Michigan and Brigham Young University. Jason
Booth: Ryan goes to have chemo and then still comes to work. Bergman is a Bach Artist.
So, nobody else is going to call in sick for whatever reason.
Campbell: We were already close, but when Ryan got his
diagnosis, we really banded together.
Finamore: It has given us better perspective. We know how
good we have it, and we appreciate it every day.
Anthony: We want to perform well and put ourselves in a
position to be really successful; but for me, I know that there’s
much more to life than a great performance. When something
goes wrong, there’s no sense in flipping out and adding that
extra tension. I know I don’t need that, and with the right per-
spective, we understand there is so much more to life.

“I know that there’s much more to life

than a great performance. When some-
thing goes wrong, there’s no sense in
flipping out and adding that extra ten-
sion.”
On our last European tour, I was going through my trans-
plant and had to stay home. They took pictures and sent them
to me from every concert hall. They kept me part of the group
even though I wasn’t there. It showed me again that this all
goes beyond music and that it’s about the four of us bonding,
even if I wasn’t with them.
Booth: We had a picture of him that we put in his chair at
every hall. We’d take a picture and send it to him.
Finamore: We would also take a picture of what the hall
looked like from his chair so that he could see. We took a
panoramic picture from his chair of the Concertgebouw in
Amsterdam.
Anthony: For me, that was huge with what I was going
through. Knowing these guys cared about me and included me
gave me strength during a challenging time.
Campbell: The perspective was that this is our career and we
should make sure that we enjoy it.
Booth: We’re all fortunate that we have really good families
and strong relationships with our kids. That helps us to
remember that in the end it’s just a job, and what’s most
important is at home.

© 2016 International Trumpet Guild October 2016 / ITG Journal 93