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HoustonChronide I cltron.l'lM1l l Sunday, o.,.,lMtlberll,2012

Pius: The reclusive Kermit Oliver * Classical music CD offerings * 'Ranch' is a Texas treasure

HoustonChronicle I chron.rom I Sunday. o..,lMtlberll,2012

Plus: The reclusive Kermit Oliver * Classical music CD offerings '* 'Ranch' is a Texas treasure

HoustonChronicle I chron.rom I Sunday. o..,lMtlberll.2012

Pius: The reclusive Kermit Oliver * Classical music CD offerings * 'Ranch' is a Texas treasure

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118 Zt;ST I Sunday, December 9, 2.0L2 I HouoIon ClLronide I cltron.rom A A A

_ _ PaubeO phoI",, ' HoostonOlronl::["

Symphony musicians Brinton Averil Smith (cello), from left, tl'ank Huang(violin), Paula Page (harp), Aralee Dorough (Dute) and William VerMeuJen (french horn)

Guest artists get all the glory, but the full-time musicians who make up the orchestra are true world-class performers

By Everett Evans

Classical music audiences understandably go a bit gaga whenever the Houston Symphony imports a superstar soloist such asJoshua Bell or Yo-Yo Ma.

But that's no reason to take for granted the stage full of world -class musicians who meet extraordinary challenges at every performance.

They are the 87 full-time Houston Symphony musicians who play its busy schedule of classical, pops and speciaJ-event concerts at Jones Hall and other venues, year-round.

In the competitive world of classical music, with swanns of applicants for each opening, just landing ajob with a major symphony orchestra is a feat in itself - achieved only through long hours of practice, long years of

training and a grueling audition process that would discourage all but the most talented and determined.

Another level of expertise and experience is required to rise to the position of principaJ within each section ofthe orchestra. Besides leading the musicians of that section, principaJs have the opportunity to shine in solo work­whether as featured soloist in a concerto, or playing a prominent solo passage in a symphony.

Here are five of the Houston Symphony's own superstars, each a dedicated artist who brings dazzling musicianship to every perfonnance.

118 Zt;ST I Sunday, De«rnber 9, 2.012. I Houston ClLronicle I chron.com •••

MIchael. PatHM """""" HoootnnOlronl::[" Symphony musicians Brinton Averil Smith (cello), from left, t"rank Huang(violin), Paula Page (harp), Aralee Dorough (Dute) and William VerMeulen (french horn)

Guest artists get all the glory, but the full-time musicians who make up the orchestra are true world-class performers

By Everett Evans

Classical music audiences understandably go a bit gaga whenever the Houston Symphony imports a superstar soloist such asJoshua Bell or Yo-Yo Ma.

But that's no reason to take for granted the stage full ofworld-dass musicians who meet extraordinary challenges at every performance.

They are the 87 full-time Houston Symphony musicians who play its busy schedule of classical, pops and special-event concerts at Jones Hall and other venues, year-round.

In the competitive world of classical music, with swanns of applicants for each opening, just landing ajob with a major symphony orchestra is a feat in itself - achieved only through long hours of practice, long years of

training and a grueling audition process that would discourage all but the most talented and determined.

Another level of expertise and experience is required to rise to the position of principal within each section ofthe orchestra. Besides leading the musicians of that section, principals have the opportunity to shine in solo work­whether as featured soloist in a concerto, or playing a prominent solo passage in a symphony.

Here are five of the Houston Symphony's own superstars, each a dedicated artist who brings dazzling musicianship to every perfonnance.

118 Zt;ST I Sunday, De«rnber 9, 2.012. I Houston ClLronide I chron.com •••

MIchael. PatHen """""" HoootnnOlronl::[" Symphony musicians Brinton Averil Smith (cello), from left, t"rank Huang(violin), Paula Page (harp), Aralee Dorough (flute) and William VerMeulen (french horn)

Guest artists get all the glory, but the full-time musicians who make up the orchestra are true world-class performers

By Everett Evans

Classical music audiences understandably go a bit gaga whenever the HDuston SymphDny imports a superstar soloist such asJDshua Bell Dr Yo-YO' Ma.

But that's nO' reason to' take for granted the stage full DfwDrld-dass musicians whO' meet extraordinary challenges at every perfDrmance.

They are the 87 full-time Houston Symphony musicians who play its busy schedule of classical, pops and special-event CDncerts at JDnes Hall and Dther venues, year·round.

In the competitive world of classical music, with swanns Df applicants fDr each Dpening, just landing ajDb with a majDr symphony orchestra is a feat in itself - achieved Dnly through long hours Df practice, IDng years Df

training and a grueling audition process that would discourage all but the mDst talented and determined.

AnDther level of expertise and experience is required to' rise to' the positiDn of principal within each section Dfthe Drchestra. Besides leading the musicians Dfthat section, principals have the opportunity to shine in sDlo wDrk­whether as featured solDist in a cDncerto, Dr playing a prominent SOlD passage in a symphony.

Here are five of the HDustDn SymphDny's own superstars, each a dedicated artist whO' brings dazzling musicianship to every perfDnnance.

12/ 10/ 12Houst on Chr onicle, Sunday, Decem ber 09, 2012 - Act ivePaper Daily by O live Sof t war e

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Frank Huang. concwtmast ...

Born in Beij ing. Huang moved to Houstoo at age 7 to be with his parents, who had come to the U.S. to study musicSOOfl after his birth. Huang stayed with his paternal grandparents in China until moving here. Surprise! He fooud his parents much more strict about bedtimes and school­work than his grandparents had been. His mother started him playing the violin, with an intensive regimen IX practice. Huang wasn't thriUed, he recalls: MAt the time, I'd have rather been playing basketmu or hanging out with friends." Now he's glad his mother kept him practicing: MHer dedicatioo and support are a big part of me being where I am

-." Huang-won the'lOO3Naum· berg FOlUldation violin COOlpeti­tion and was already known as a soloist and chamber artist when he joined the Houston Symphony as concertmaster in August 2010.

-rhe most rewarding part is the music· making itself, with all these wonderful musicians as colleaguE'S. When a concert goes well andweall feel connected and on the same pagt', the effect on the audience is magical. The challenging aspect is that you're constanUy striving for perfection while playing a new program every~k."

He rose toa parlicularchal· 1enge last month, when the scheduled guest artist could not travel to Houston because of Hurricane Sandy. Huang had to

A A A Hou:!tonChron;c~ I cltron.com I S unday. Decem ber II, 2012 I ZEST 119

substitute as soloist in the Tchai­kovsky Violin Concerto with just twodays to pretml'.

·What was amazing was feel­ing all my colleagues' detennina­tion tomake theperfonnance a success. Evl.'l"fOne was so attentive, and the audience so receptive. That made it a very memorableevent.~

Aside from his mother IalUlching his violin studies, Huangsays his teachers - Fre­dell Lack at the Univef"sityof Houston, Donald Weilerstein at the Cleveland Institute of Music and Robert Mann at Juiliiard­were the most important influ­ences k-ading him to a career in music.

Huang teaches at Rice Uni­versity's Shepherd School and at UH 's Moores School of Music, as

well as teaching a small number of high school students.

"Teaching is interesting and remindsmeof bow I got start­ed,H he says. ~I hope to inspire my students the same way my teachers have inspired me.H

Though his schedule doesn't allow a lot ofleisure time, on occasional free nights, Huang switches gears with his interest in basketball.

~I'm a bigRocketsfan.lf I have a night off and they're playing. I'll get a group offriends together togoseea Rockets game. I used to play quite a hit when I was younger, but now I only shoot arOlilld occasion­ally.1 can't !by a pick-u p game because of the risk ofj.amming a ,,=,."

Clossiro/ rontinunon HJ O

"The most rewarding part is the music­making itself, with all these wonderful musicians as colleagues. When a concert goes well and we all feel connected and on the same page, the effect on the audience is magical."

FnmlHIkltI£ m __

Frank Huang. concwtmaster

Born in Beijing. Huang lnoved to Houston at age 7 to be with his parents, who had rome to the U.S. to study music soon after his birth. Huang stayed with his paternal grandparents in China until moving here. Surprise! He fooud his parents much more strict about bedtimes and school­work than his grandparents had been. His mother started him playing the violin, with an intenSIVe regimen of practice. Huang wasn1 thrilled, he recalls: "Arthe time, I'd have rather been playing basketball or hanging out with friends. ~ Now he's glad his mother kept him practicing: MHer dedicatiOll and support are a big part of me being when' I am

now.~

Huang-won the'lOO3Naum· berg FOlmdation violin competi­tion and was already known as a soloist and chamber artist w hen he joined the Houston Symphony as concertmaster in August 2010.

"The most rewarding part is the music-making itself, with all these wooderful musicians as colleagues. When a concert goes well and we all feel COIIIlected and on the same pagt', Iheeffect on the audience is magical. The challenging aspect is that you're ronstan!ly stn"ving for perfection while playing a new program "",,-"

He rose toa particular chal· lenge last mon th, when the scheduled guest artist could not travel to Houston because of Hurricane Sandy. Huang had to

••• Hou>tonChroruc~ I cltron.com I S und a y, December II, 2012 I Z EST 119

substitute as soloist in the Tthai­Iwvsky VIOlin COllcerto w ith just twodays to prepare.

- What was amazing was feel­ing aU my colleagues' determina­tion to make the perfonnance a succe;s. Everyone was so attentive, and the audience so receptive. That made it a very memorableevent .~

Aside from his mother lawlching his violin studies, Huang says his teachers - Fre­dell Lack at the University of Houston, Donald Weilerstein at the Cleveland institute of Music and Robt'rt Mann atJuilliard­wen' the most importan t influ­ences leading him to a career in music.

Huang teaches at Rice Uni­versity's Shepherd School and at UH 's Moores School of Music, as

well as teaching a smallnumM of high school students.

"Teaching is interesting and remin ds meof how I got start­ed,~ he says. - I hope to inspire my students the same way my teachers have inspired me.~

Though his schedule doesn't allow a lot ofleisure time, on occasional free n ights, Huang switches gears with his interest in basketball.

-I'm a big Rockets fan. If I have a nightoffand they're playi.ng, I'll get a group offriends together togoseea Rockets grulle.1 used to play quite a hit w hen I was )'QwJ.gl'I", but now I only shoot UOlilld occasion­ally. 1 can't Jb.ya pick-up g<lme because of the risk ofj.anuning a fiIlger."

CIaSIJim/ rontinuetl on HlO

"The most rewarding part is the music­making itself, with aU these wonderful musicians as colleagues. When a concert goes well and we all feel connected and on the same page, the effect on the audience is magical."

FmfllHJIIlfIfr, ro __

Frank Huang. concwtmaster

Born in Beijing. Huang mowd to Houston at age 7 to be with his parents, who had rome 10 the U.S. to study music soon after his birth. Huang stayed with his paternal grandparents in China until moving here. Surprise! He found his parents much more strict about bedtinll'S and school­.... 'OI"k than his grandparenls had been.. His mother started him playing the violin, with an i.ntensiV!' regimen of practice. Huang wasn1 thrilled, he recalls: "Allhe time, I'd have rather been playing basketball 01" hanging out with friends." Now he's glad his mother kept him practicing: MHer dedication and support are a big part of me being where 1 am

now." Huang-won the'lOO3Naum­

berg FOlmdation violin competi­tion and was already known as a soloist and chamber artist when he joined the Houston Symphony as concertmaster in August 2010.

-rhe most rewarding part is the music-making itself, with all these W{)Ilderful musicians as colleagues. When a concert goes well and we all feel COIlIIected and on the same page, the effect 011 the audiellC!' is magical. The challenging aspect is that you're ronstancly stn"ving for perfectioo while playing a new program every wtek."

He rose toa parlicular chal· lenge last month, when the scheduled guest artist could not travel to Houston because of Hurricane Sandy. Huang had to

• •• Hou>tonChroruc~ I cltron.com I S unday, Decem ber II, 2012 I ZEST 119

substitute as soloist in the Tthai­kmrsky VIOlin Concerto w ith just twodays to prepan'.

-What was amazing was feel­ing all my colleagues' determina­tion tomake theperfonnance a succt'SS. Everyone was so attentive, and the audience so receptive. That made it a very memornbleevent.~

Aside from his mother launching his violin studies, Huang says his teachers - Fre­dell Lack at the University of Houston, Donald Weilerstein at the Cleveland institute of Music and Roixrt Mann at J uilliard­were the most importan t influ­ences leading him to a career in music.

Huang teaches at Rice Uni­versity's Shepherd SdlOOl and at UH·s Moores School of Music, as

well as teaching a small number of high school students.

"Teaching is llltl.'"n'Sting and remin ds meofllQW 1 got start­ed," he says. "I hope to inspire my students the same way my teachers have inspired me."

Though his schedule doesn't allow a lot ofleisure time, on occasional free n ights, Huang switches gears with his interest in basketball.

"I'm a bigRocketsfan.lf 1 have a nightolfand they're playi.ng, I'll get a groupoffriends together togoseea Rockets gatne.1 used to play quite a bit when 1 was yowJgI'r, but now 1 only shoot UOlilld occasion­ally. I can't Jb.ya pick-up gatne because of the risk of jamming a fitJger."

Classim/ rontinueBOII HIO

"The most rewarding part is the music­making itself, with aU these wonderful musicians as colleagues. When a concert goes well and we all feel connected and on the same page, the effect on the audience is magical."

Fmfl1: HJIIlfItr. -

12/ 10/ 12Houst on Chr onicle, Sunday, Decem ber 09, 2012 - Act ivePaper Daily by O live Sof t war e

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C/tl8lJlcoI from page H9

Paula Page, pt1nclpal harp

"Igrewupsurrounded by music and experienced the joy my parents got from their work, M

PagI" says, "so it felt natural to become a musician. M Bom in Odessa, she loved hearing her father lead the singing at churcll: MI used tOstand OlI the pew to watch him_ M

HI'I" fathl'l" is Carnegie Mellon professor and dJOrnI conductor Robert PagI", a two-time Granuny winnl'l" for work with the Cleve­land and Philadelphia Orches­tras. HI'I" mother, Glynn PagI", is a retired voice tl'achl'l", hl'l" sistl'l" Carol Ann PagI" has had an exten­sive career on Broadway and in opera, and nephew Alexander Gemignani is a singe£/actor with numerous Broadway credits.

PagI" had studied voice and piano for years when she began harp lessous at IS- "That's rather late for nlffit harpists. But fortunately, I could read music and with the guidance of a great teacher - Edna Phillips, former principal of the Philadelphia Or­dll'Sl:ra - I made quick progress. It was she who inspired me to collsider an orcl!estral career.~

PagI" earned hl'l" bachelor of music in harp perfonnance at the Cleveland Institute of Music and joined the Houstoo Symphony in fall 1984_

The greatest thing about her job, she says, is"working with colleagues v."ho are intelligent, interesting and fwmy - and w ho share a 10\11' of classical music. ~ One ofhl'l" moot Ill!'IlJOrnble experiences was performing the world premiere of Augusta Read 11101nas' "Absolute Ocean, M

a work for harp, soprano and orchestra, in 2009-

The most challenging part of her work relates to the tedmi-cal demandsofher instrument. "There are seven pedals to deal with, in additiOll to working with hands. 'Mie most challenging thing is the coordinatiOll involved in looking from the music, up

to the conductoc and then to the strings. Because we cannot play by touch asnlffit instrumental­ists do, we need to de\ll'lop quick hand-eye coordination. M

PagI" le·aches at the Shepherd School <iMusic at Rice Uni­versityand the Moores School of Music at the UniVl'l"Sity of Houstoo. Ml feel as ifl'veCOl!le full rude - helping my students as my teachers helped me_ It was extremely gratifying when 0 111' of my Rice graduates, Megan Levin, WOII [rna H ogg COIllpetition in 2012.~

Her hOObies include quilting, needlepoint, cooking, gardening and reading. MBut mostofall, ~she adds, Mi lli to spend tinl!' with my grandchildren, Samantha, Maddyand Max. M

William VllrMeulen, principal hom

VI'I"Ml'ulen is another for whom love of music has been a liMOIl! affair. Bom in Lake Forest,3O miles north of Chicago, II!' began piano lessons at age S with "an excellent teacher who gave l!lea solid foundatiOll.~ His motller, a S!'Ini-professional cellist, provided anothl'l" strOlJg influence when sll!' began taking hinl alOlJg to rehearsals ofher conununity orchestra. MI was al-10wed to sit within til!' orchestra, watching the players_ E\II'ryolie had so much fun, and the music wasbeautiful.~ At Ill, he began studyilJg hom in fifth grade band - and his career path was set_

Afterstudies at NorthwestI'm University, he joined the Houston Symphmy in 1990.

M'Mie best thing (about being in til!' symphony orchestra) is that you are playing with other great artists, 3Ild through shared expe­rience over time, you really leam each others' playing style_ With my horn section, if I breathe a certain way, move a certain way, tll!'y know when to come in. The playing develops the synchronic­ity of a great sports team_ ~

MThe lriggest. challenge is that,as principal horn, thereis a tremendous amount of stress,

...

Pawa Page (harp)

including the physical demands ofplaying. 1 don't knowifpeople realize how mudl practice is required to play at a world-class Ie\ll'll practice a 101:. I manage by over-preparing - but also by

taking naps on COIIC!'r! days, so that I'm IllOCI' rested and focused when l cometoplay.~

VerMeulen especially prizes his years under music director Christoph &cIl!'nbach_ "He was

crucial to my de\ll'lopment as an artist; many of my fawnte expe­riences with til!' orchestra were during those years, including our tour ofMahler·s Fifth, and recording all of the Mozart horn

Closslcaljrom pogeH9

PaulaPaga, principal harp

"Igrewupsurrounded by music and experienced the joy my parents got from their work,~ Pag\' says, "so it felt natural to become amusician.~ Born in Odessa. she loved hearing her father lead the singing at churcll: MI used tostandOfi the pew to watchhim.~

HI'!' fathl'!' is Carnegie Mellon professor and dKJrnI conductor Robert Page. a two-time Gralluny willnl'!' for work with the Cleve· Land and Philadelphia Orches· tras. HI'!' mother, Glynn Page, is a retired voice teaclil'!', hI'!' sistI'!' Carol Ann. Page has had an exten­sive career 011 Broadway and in opera, and nephew Alexander Gemignani is a singer/actor with numerous Broadway credits.

Page had studied voice and piano for yean; when she began harp 1essons at IS- "That's rather late for IIIffit harpists. But fortlUllltely, I could read music and with the guidance of a great teacher - Edna Phillips. fonner principal of the Philadelphia Or· dll"Stra - I made quick progress. It was she who inspired me to consider an orchestral career.~

Page earned her bachelor of music in harp performance at the Cleveland Institute of Music and joined the Houston Symphony in fall 1984.

The greatest. thing about her job. she says, is "working with colleagues v.iIo are intelligent, interesting and funny - and who share a love of classical music." One ofhl'!' most memorable experiences was perfonning the work! premiere d Augusta Read Thomas' "Absolute Ocean." a work for harp, soprnHO and orchestrn, in 2009-

The most challenging part of her work relates to the teclmi· cal demands ofher instrument. "There are seven pedals to deal with, in addition to working with hands. TIl!' most challenging thing is the coordination involved in looking from the music, up

to thecmductor and Ihen totll!' strings. Because "'il' cannot play by toud! as moot instrumental­ists do, WI' need to develop quick hand·l'ye coon:iination."

Pag\' leaches at til!' Shepherd Schoohi Music at Rice Uni­versityand the MOOI"l'S School of Music at til!' University of HoustOlL MI feel as ifl'vl'come full circk - helping my students as my teachers helped Ill!'. It was extrenl!'ly gratifying when one of my Rice graduates, Megan Levin, won !rna Hogg Competition in 2012.~

Her hOObies include quilting, nerolepoint, cooking, gardening and reading. "But mosIofall, ~she adds. Mi lli to spend tinle with my grandchildren. Samantha, Maddy and Max. ~

William V_Maulan, principal hom

VI'!'MeuJen is another for whom lave of music has beell a lifeion! affair. Born in Lake Forest, 30 miles north of Chicago, he began piano 1essons at age S with "an excellent teacher who gave mea solid fOlllldatiOll.~ His motIter. a selni·professional cellist, provided another strong influenC<' when sll!' began taking hinl along to rehearsals ofher collununity orchestra. MI wasaJ· lowed to sit within the orchestra, I""atching the players. Everyone had so much fun, and the music was beautiful." At 10, he began studying hom in fifth grade band - and his career path was set.

Afterstudies at Nortllwestem University, he joined the Houston Symphony in 1990.

"The best thing (about being in til!' symphOllY orchestra) is that you are playing witll othl'!' great artists, and through shared expe­rience over time, you really 1earn each others' playing style. With my horn section, ifl breathe a certain way. move a certain way, they know when to come in. The playing develops the synchronic· ity of a great sports team. ~

"The higgest: challenge is tllal. as principal horn.. there is a tremendous amount of stress.

...

Paula Page (harp)

including the physical denlatlds of playing. I donl know if people realize how mudl practice is required to play at a world-c1ass level. I practice a 101. 1 manage by over·preparing - but also by

taking lIaps on concert days, so that I'm more rested and focused when I COIlitto play.~

VI'!'Meulen especially prizes his years under music director Christoph &chl'I!bach. "' He was

crucial to my development as an artist; many of my favorite expe· riences with the orchestra were during those years, including our tourofMahler's Fifth, and recording all of the Mozart horn

Closslcaljrom pogeH9

PaulaPaga, principal harp

"Igrewupsurrounded by music and experienced the joy my parents got from their work,~ Pag\' says, "so it felt natural to become amusician.~ Born in Odessa. she loved hearing her father lead the singing at churcll: "I used to stand Of! the pew to walchhim.~

HI'!" fathl'!" is Carnegie Mellon professor and dKlrnI conductor Robert Page, a two-time Grammy winner for work with the Cleve· land and Philadelphia Orches· tras. HI'!" mother, GIyIUI Page, is a retir!'d voice teachl'!", hI'!" sistI'!" Carol Ann Page has had an exten· sive career 011 Broadway and in opera, and nephew Alexander Gemignani is a singer/actor with numerous Broadway credits.

Page had studied voice and piano for years when she began harp 1essons at 1.5. "That's rather late for nlffit harpists. But fortunately, I could read music and with the guidance of a great teacher - Edna Phillips, fonner principal of the Philadelphia Or· dll'Stra - 1 made quick progress. It was she who inspim:lme to consider an orchestral career.~

Page earned her bachelor of music in harp performance at the Cleveland Institute of Music and joined the Houston Symphony in fall 1984.

The greatest thing about her job, she says, is "working with colleagues v."ho are intelligent, interesting and funny - and who share a love of classical music." One ofhl'!" most menKlrnble experiences was performing the work! premiere tt Augusta Read Thomas' ~Absolute Ocean, ~ a work for harp, soprnno and orchestrn, in 2:009-

The most challenging part of her work relates to the techni· cal demands ofher instrument. -rhere are seven pedals to deal with, in addition to working with hands. TIl!' most challenging thing is the coordination involved in looking from the music, up

to the cmductor and then to til!' strings. Because we cannot play by toud! as nlffit instrumental· ists do, we need to develop quick hand·eye coon:iination. ~

Page leaches at til!' Shepherd &hoohi Music at Rice Uni· versityand the MOOI"l'S School of Music at til!' University of HoustolL " I feel as ifl'vecome full circk - helping my students as my teachers helped nl!'. It was extrenl!'ly gratifying when one of my Rice graduates, Megan Levin, won !rna Hogg Competition in 2012."

Her hOObies include quilting. needlepoint, rooking. gardening and reading. ~But mosIofall, ~she adds, " I likl' to spend tin!e with my grandchildren, Samantha, Maddy and Max. ~

William V_Maulan, principal hom

VI'!"MeuJen is another for whom lave of music has been a life1on! affair. Born in Lake Forest, 30 miles north of Chicago, he began piano lessons at age S with "an excellent teacher who gave mea solid fournlatiOll.~ His motIter. a semi·professional ccllist, provided anothl'!" strong influenC<' when she began taking him alol1g to rehearsals ofher COIiUllUnity orchestra. ~ I wasal· 10wed to sit within the orchestra, watching the players. Everyone had so much fun, and the music was beautifuL" At 10, he began studying horn ill fifth grade band - and his career path was set.

Afterstudies at NortllY .. estem University, he joined the Houstoll Symphony in 1990.

MThe best thing (about being in til!' symphOllY orchestra) is that you are playing witll othl'!" great artists, and through shared expe­rience over time, you really 1earn each others' playing style. With my horn section, ifl breathe a certain way. move a certain way, they know when to come in. The playing develops the synchronic· ity of a great sports team. ~

MThe hlggest challenge is tllal. as principal horn. there is a trenl!'ndous amount of stress.

...

" , '"

Paula ~ (harp)

including the physical denJalids of playing. 1 donl know if people realize how mudl practice is required to play at a world-c1ass level I practice a lot. 1 manage by over·preparing - but also by

taking naps on concert days, so that r m IlIOII' rested and focused when 1 COIlIttO play.~

VerMeulen especially prizes his years under music director Christoph &chl.'llbach. ·'He was

crucial to my development as an artist; many of my favorite expe· riences with the orchestra were during those years. including our tour ofMahler·s Fifth, and recording all of the Mozart horn

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"""""'~" His busy schedule with the orchestra is Of\ly the beginning of VerMeulen's professional activities. ~When I'm not working with

symphony,I'mOll! of town, solo­ing with another orchestra or working with a chamber group at the Seattle Chamber Festival ~

He's proudofhis workas professor with Rict> University's Shepherd School, whidJ boasts the top horn studio in the nation, many of its graduates placed with lop orchestras.

VerMeulen says there's s0me­

thing else crucial to keeping him growuled: ~My beautiful wife, Sylvia, and our two fabulous children, Michael and Nicole. H

For those occasional nights off, his favorite hobby is Mreally goodcooking. I've built in my home a dream kitchen that is the envy of the Food Channel, and I love working on interesting newdisbes." But even that, he admits, doesn't equal the thrill of Mplaying a really great piece and knocking it out of the park. ~

Aralee Dorough, prlnclPIII flute

Herfather is jazz musician Bob Dorough, and watching him work on various projects while she was growing up - including the music for TV's "Schoolhouse Rock~ - oonvinced her to bea musician.

" I started flute when I was 8.~ says the New York-born Dorough. "But because orother interests, I didn't gt'l reallyseri· OU!; until my final year of high school. That came from seeing my teacher playing in an orches­tra - and realizing how much work and practiC'l' I'd have to do to gt't into a music school. ~

Obviously, Dorough did the work, getting her bachelor 's de­gree at Oberlin Conservatory of Music, then her master's at Yale School of Music. She auditioned for the Houston Symphony in 1984, her last year at Yale, joined the on:hestra as second Ilutist in 1985 and became principai llutist

in 1991. MThe ~eatest challengt' is to

stay in shape on the instrument, to be able to play at top level, however the repertoire changes from week to wet'k.. The reward is getting-to play with really good musicians and contribute tothe team - because it really is a team sport, and we gt't to know each other so well.~

She met her husband, oboist Colin Gatwood, while both were at Ober lin. Aller working with other orchestras, he joined the Houston Symphony as second oboist in 1991. Their son Corin plays the electric bass.

Dorough ison the facu lty of

Brinton Averil Smith (cello)

...

UH·s Moores SchoolofMusic and also teaches for the Texas Music Festival and the Festival­Institute at Round Top. She has perfonned with the Houston Symphony Chamber Players (including their acclaimed CD of Schoenberg's Quintet for Winds) and Da Camera, at Chicago's Ravinia Festival and in tours of Europe and Japan.

Her favorite experiences with the orchestra include playing the world premiere of Bright Sheng's conC'l'rto ~Flute Moon" in a concert broadcast live on PBS, sharing the solo spotlight with colleague Judy Dines for Franz Doppler's ConC'l'rto for

Two Flutes in thisseason's opening concert in September, and the orchestra's tours., such as the recent concerts in New York and Moscow.

As for hobbies, "any free time I like to spend sharing my son·s interests, especially ou tdoor ac­tivities such as bicycling. hiking and - his nt wesl enthusiasm, target shooting. ~

Brinton Averil Smith, principal cello

Though early exposure to mu­sic is a COtlUllOfl bond among all these artists, Smith started even earlier than most.

"Mymotherwasa pianist,~ he recalls, Mand when I was only a fewweeksokl, she discovered while rehearsing with colleagues that I would stay asleep as long as they kept playing. This was obviously a good deal for them, so l heard a kit of music closeup when I was very young."

The next big signpost came with a school music demonstra­tion in fourth grade, after which Smith rushed home to tell his parents he wanted to study the cello. Theycomplied, and he wason his waytohiseventual career. Yet hi<; already established penchant for math and science - indeed, a reputation as a child genius -letHo his graduating with a degree in math from Ari· ZOfla University at age 17, even as he pursued his musical studies.

Smith earned his advanced degrees in DJ.lsic at Juilliard He worked as principal ofboth the San Diegu and Fort Worth sym­phonies, then spent three seasons with the C'l'11o section of the New York Philhannonic, before join· ing the HOllSl:Ofl Symphony as principal in 'lOO5.

"The experience with the New York Philhannonic was especially valuable,~ Smith says. "TIle exposure to a wide variety of repertoire, conductors and ~eraI orchestral life was helpful in preparingme for thisjob.

"The most rewarding aspect is that I gel to spe-nd my career working on the one thing in

]101]1 I lilt

life - aside from family - that matters to me the most. The chal­lenging side is that when you're doing something you low, you are always trying to improve, and improving in any field is always a frustrating and Iahoriow; process. It's true as an individual, and in the case of the Houston Sympho­ny, it's true for the orchestra as a whole. TheyaLreadyarerespect­ed around the world, but I low that my colleagues are always tryingto play even better and give moretotheaudience."

Besides his outside solo and chamber performances, Smith also teaches at Rice's Shepherd School and, duringsununers, with the Texas Music Festival and the Aspen Music FestivaL He also co-founded Restoration Chamber Music, which brings chamber music to historical Galveston buildings.

A nativeof RoyaIOak, Mich., a suburbofDetroit, Smith mel his wife, concert pianist Evelyn Chen, while both were atJuilliard. They and ll-year-old daughter Calista share their home with "two slightly evil but kind-hearted rescue dogs.." In his down time, Smith enjoys reading about science, music, history and political philosophy - and watching "Animal Planet.~ And he has a special project: "A fish pond I built, ofwhich I'm inordinately and Wljuslifiably proud!~

His favorite experiences with the Houston Symphony include his first time playing at Carnegie Hall and "playing Shostakovid! this SllIIlJIlI'I" for a Moscow audi­ence that lives and breathes his music.~

"But theexperiences I remem­ber the most are the ones here in jones Hall, when the orchestra catches fire and plays its heart out. Looking out at the faces in the audience - many who haw become friends over the years­and knowing we've just shared an emotional journey that coukl never be conveyed in words is a Iife-changing experience"

• • • • """""~" His busy schedule with the orchestra is only the beginning of VerMeulen's professional activities.

"Whl'fl I'm not working with symphony, "maul of town. solo­ing with another orchestra or working with a chamber group at the Seattle Chamber Festival ~

He's proudofhis workas professor with Itict> University's Shepherd School, which boasts the top horn studio ill the nation, many of its graduates placed with top orchestras.

VerMeulen says there's some­thing else crucial to keeping him growuloo: "My beautiful wife, Sylvia, and ourtwo fabulous children, Michael and Nicole. H

For those occasional nights off. his favorite hobby is "really good cooking. I've built in my home a dream kitchen that is the envy of the Food Channel, and I love working on interesting new dishes. H But even that, he admits, doesn't equal the thrill of "playing a really great piece and knocking it out of the park.. "

Aralee Dorough, principal flute

Her father is jazz musician Bob Dorough, and watching him work on various projects while she was growing up - including the music for TV's "Schoolhouse Rock" - convinced her to bea musician.

~I started Ilute when I was 8,~ says the New York-born Dorough. MBut because of other interests, I didn't gt't reallyseri­ous until my final year of high school. That ca.me from seeing my teacher playing in an orches­tra - and realizing how much work and practice I'd have todo to gt't intoa music S{"hool.~

Obviously, Dorough did the work, getting her hachelor·s de­gree at Oberlin Conservatory of Music, then her master·s at Yale School of Music. She auditioned forthe Houston Symphony in 1984, her last year at Yale,joined the on:hestra as serond Ilutist in 1985 and became principal Ilutist

in 1991. MThe ~eatest cha1lengt' is to

stay in shape on the instrument. to be ahle to play at top level. however the repertoire changes from week to wt't'k. The reward is getting-to play with really good musicians and contribute to the team - because it really is a team sport, and we get to know each other so well."

She met her husband. oboist CoLin Gatwood, while both were at Oberlin. After working with other orchestras, he joined the Houston Symphony as second oboist in 1991. Their son Corio plays the electric bass...

Dorough is on the facuLty of

Brinton Averil Smith (celio)

A A. t-Iou!>l""ClLronicle I chron.com I Sun day, December 9. 200120 I ZEST IIU

UH's Moores SchoolofMusic and also teaches for the Texas Music Festival and the Festival­Institute at Round Top. She has perfonned with the Houston Symphony Chamber Players (induding their acrlaimed CD of Schoenberg's Quintet for \Vlllds) and Da Camera, at Chicago's Ravinia Festival and in tours of EuropeandJapan.

Her favorite experiences with the orchestra indude playing the world premiere of Bright Sheng's roncerto MFlute Moon" in a concert broadcast live on PBS, sharing the solo spotlight with colleague Judy Dines for Franz Doppler's Concerto for

Two Flutes ill this season's opening concert in September, and the orchestra's tours, such as the recent concerts in New York and Moscow.

As for hobbies. "any free time I like to spend sharing my son's interests, especially outdoor ac­tivities such as bicycling. hiking and - his nt wesl enthusiasm, target shooting. ~

Brinton Averil Smith, principal cello

Though early exposure tomu­sic is a ronlllOll bond among a.ll these artists, Smith started even earlier than most.

w I when I was very young."

The next big signpost came with a school music demonstra­tion in fourth grade, after which Smith rushed home to teU his parents he v.-1IIlted to study the cello. They complied, and he wason his ¥iaytohiseventual career. yet hi<; already established penchant for math and science - indeed, a reputation as a child genius -1ed to hisgraduating with a degreei.n math from Ari· ZOfla University at age 17, even as he pursued his musicaL studies.

Smith earned his advanced degrees ill nJ.Isic at Juilliard. He v.'Orkffi as principaL ofboth the San Diego and Fort Worth sym­phonies, then spent three seasons with the ceLlo section of the New York Phi1hannonic. beforejoiu· ing the HOU5I:Ofl Symphony as principal in 2OOS.

"The experience with the New York Philliarmonic was especially valuable.~ Smith says.. '"The exposure to a wide variety of repertoire, conductors and gmeral ordlt'Strailife was helpfuL in preparingme forthisjob.

~The most rewarding aspect is that I get to spend my career working on the one thing in

life - aside from family - that matters to me the most. The chal­lenging side is that when you·re doing something you low, you are always trying to improve, and improving in any field is always a frustrating and laboriotlS process. It's true as all individual, and i.n the case of the Houston Sympho­ny, it's true for the orchestra as a whole. They already are respect­ed around the world, but I low that my colleagues are always trying to play even better and give more to the audience.~

Besides his outside solo and chamber performances., Smith also teaches at Rice's Shephl.'l"d School and, during summers, with the Texas Music Festival and the Aspen Music Festival He also co-founded fuostoration Chamber Music. which brings chaniber music to historical Galveston buildings.

A native of Royal Oak, Mich., a suburbofDetroit, Smith me'! his wife. concert pianisI: Evelyn Chen, while both were atJuilliard. They and ll-year-old daughter Calista share their home with "two slightly evil but kind-hearted rescue dogs." In his down time. Smith enjoys reading about science, mtlSic, history and political philosophy - and watching ':Animal Planet." And he hasa special project: "A fish pond I built,ofwhich !"m inordinately and Wljustifiably proud!~

His favorite experiellfi'S with the Houston Symphony include his first tillll' playing at Carnegie Hall and '·playing Shostakovidi this sununer for a Moorow audi­ence that lives and breathes his music.~

""But tlll'experiences l remem­ber the most are the ales here in jones Hall, when the orchestra catches fire and plays its heart out. Looking out at the faces ill the audience - many who haw beronll' friends over the years­and knowing we've just shared an emotional journey that couk! 11I'wr be conveyed in words is a life-changing experience"

• • • • roncert06."

His busy schedule with the orchestra is only the beginning of VerMeulen's professional activities.

"Whl'fll'm not working with symphony, "mOIl! of town. solo­ing with another orchestra or working with a chamber group at the Seattle Chamber Festival ~

He's proudofhis workas professor with Itice University's Shepherd School, which boasts the top horn studio ill the nation, many of its graduates placed with lop orchestras.

VerMeulen says there's s0me­

thing else crucial to keeping him growuled: "My beautiful wife, Sylvia, and ourtwo fabulous children, Michael and N"lCOle. H

For those occasional nights off. his favorite hoN!y is "really good cooking. I've built in my home a dream kitchen that is the envy of the Food Channel, and I love working on interesting new dishes. H But even that, he admits, doesn't equal the thrill of "playing a really great piece and knocking it out of the park.. "

Aralee Dorough, principal flute

Her father is jazz musician Bob Dorough, and watching him work on various projects while she was growing up - including the music for TV's "Schoolhouse Rock" - convinced her to bea musician.

" I started flute when I was 8,~ says the New York-born Dorough. "But because of other interests, I didn't gt't reallyseri­ous until my final year of high school. That came from seeing my teacher playing in an OIThes­Ira - and realizing how much work and practice I'd have todo to gt't into a music school. ~

Obviously, Dorough did the work, gt'tting her hachelor's de­gree at Oberlin Conservatory of Music, then her master's at Yale School of Music. She auditioned forthe Houston Symphony in 1984, her last year at Yale,joined the on:hestra as second flutist in 1985 and became principal flutist

in 1991. HThe ~eatest chalIengt' is to

stay in shape on the instrullll'llt. to be able to play at top level, however the repertoire changes from week to wt't'k. The reward is gt'ttingto play with really good musicians and contribute to the team - because it really is a team sport, and we gt't to know each other sowell."

She met her husband. oboist Colin Gatwood, while both were at Oberlin. After workillg with other orchestras, he joined the HoustOll Symphonyasserolld oboist in 1991. Their son Corin plays the electric bass..

Dorough is on the faculty of

Brinton Averil Smith (cello)

A A. tiowol""ClLronicle I chron.com I Sun day, December 9. lIO I20 I ZEST IIU

UH's Moores SchoolofMusic and also teaches for the Texas Music Festival and the Festival­Institute at Round Top. She has perfonned with the Houston Symphony Chamber Players (including their acclainled CD of Schoenberg's Quintet for \Vmds) and Da Camera, at Chicago's Ravinia Festival alld in tours of EuropeandJapan.

Her favorite experiences with the orchestra illclude playing the world premiere of Bright Shellg's concerto MFlute Moon" in a concert broadcast live on PBS, sharing the solo spotlight with colleague Judy Dines for Franz Doppler's Concerto for

Two Flutes in this season's opening concert in September, and theorcbestra's tours, such as the recent concerts in New York and Moscow.

As for hobbies. "any free time I like to speud sharing my son's interests, especially outdoor ac­tivities such as bicycling. hiking and - his nt wesl enthusiasm, target shooting. ~

Brinton Averil Smith, principal cello

Though early exposure to mu­sic is a COIllllOfl bond among all these artists, Smith started even earlier than most.

w I when I was Yl'ry young."

The next big signpost came with a school music demonstra­tion in fourth grade, after which Smith rushed home to tell his parents he v.-1Illted to study the cello. They complied, and he wason his ¥iaytohiseventual career. yet hi<; already established penchant for math and science - indeed, a reputation as a child genius -kod to hisgraduating with a degreein math from Ari· zona University at age 17, even as he pursued his musical studies.

Smith earned his advanced degrees in nJ.Isic at Juilliard. He worked as principal ofboth the San Diego and Fort Worth sym­phonies, then spent three seasons with the cello section of the New York Philhannonic. beforejoin· ing the Houston Symphony as principal in 2OOS.

"The experience with the New York Philharmonic was especially valuable.~ Smith says.. '"The exposure to a wide variety of repertoire, conductors and ~leral orcht'Strallife was helpful in preparingme forthisjob.

'"The most rewarding aspect is that I get to spend my c:trl'eI"

workiug on the one thing in

life - aside from family - that matters to me the most. The chal­lenging side is that when you're doing something you low, you are always trying to improVl', and improving in any field is always a frustrating and laborious process. It's true as all individual, and i.n the caseof the Houston Sympho­ny, it's true for the orchestra as a whole. They already are respect­ed arowId the world, but I low that my colleagues are always trying to play even better and give more to the aud.ience.~

Besides his outside solo and chamberperfonnances,Smith also teaches at Rice's Shepherd School and, during summers, with the Texas Music Festival and the Aspen Music Festival He also co-founded fuostoration Chamber Music. which brings chanJber music to historical Galveston buildings.

A native of Royal Oak, Mich., a suburbofDetroit, Smith mel his wife. concert pianist Evelyn Chell, while both were atJuilliard. Theyand ll-year-old daughter Calista share their home with "two slightly evil but kind-hearted rescue dogs.." In his down time. Smith enjoys reading about science, music, history and political philosophy - and watching ~Animal Planet." And he hasa special project: "A fish pond I built,ofwhich r m inordinately and Wljustifiably proud!~

His favorite experiences with the Houston Symphony include his first tinll' playing at Carnegie Hall and '"playing Shostakovid! this summer for a Moorow audi­ence that liVl'S and breathes his music.~

'"But tlll'experiences l remem­ber the most are the ales here in jones Hall, when the orchestra catches fire and plays its heart out. Looking out at the faces in the audience - many who haVl' beronll' friends 0Vl'f" the years­and knowing we've just shared an emotional journey that couk! neVl'r be conVl'yed in words is a life-changing experience"