Boston has new horn. No, not new
OrchestrasThe Boston Symphony today ended the search for a new principal horn to succeed James Sommerville, who retired last November after 24 years in the seat.
So who did they get? Some bright new spark fresh out of Curtis? An industry legend poached from Chicago.
No: The Boston Symphony Orchestra and its music director Andris Nelsons are pleased to announce the appointment of Richard “Gus” Sebring—a BSO player since 1981—to the position of BSO Principal Horn.
Yup, that’s Boston.
They’ve tested five concertmasters in the past three months and will probably buy local.
5 concertmasters? I only count four- who was the fifth?
As someone who’s not local I’m curious, who was on trial?
Yooshin Song(Houston Symphony), Nurit Bar-Joseph(National Symphony of Washington DC),and the BSO´s very own Alexander Velinzon and Elita Kang….Last weeks guest concertmaster was Zsolt Tihamer Visontay from the Philharmonia Orchestra London…I don´t know if he is one of the candidates.
When was Song there?
She played a program ,i think,in January. Can´t exactly remember which one.
Chicago’s principal horn, the one who was denied tenure at Berlin and Chicago after the respective probation periods, would probably not have made it through Boston either.
I wish Max Raimi who comments on a lot of things of this site could shed some light here as to why his colleagues denied the guy tenure. I mean it’s pretty damn cold.
In the absence of an insider perspective, my two cents as a listener: He doesn’t play (entries into) soft passages smoothly, it always sounds like a hitch on recordings, and I always have to replay the passage louder to see if he flubbed it, he doesn’t exactly, maybe pros have a better term for it, but it’s just not immaculate enough to catch the attention of the listener, it seems like he wants to approach the softness of a clarinet but it doesn’t come out right… maybe if he just played mezzo forte and immaculately rather than try pianissimo and not immaculately…
So if Max Raimi comes here, let’s ask him these questions:
A) how many musicians are in the pro-Cooper faction, vs the anti-Cooper faction?
B) Is it true that the anti-Cooper faction boils down essentially to the old school brass “bosses” who still think they rule the orchestra?
C) is it true that the Bill Clinton of classical music sided with the anti-Cooper faction, and ostensibly betrayed his own commitment to invite Cooper directly to the final audition?
D) if answer to B is “Yes”, then why in the world did the Stallion do that?
E) are the Principal Horn auditions, originally planned for May 22, even happening?
I know the answers to each of the five questions, but I’d like Raimi to answer them on behalf of the CSO.
The old bosses in the Brass? They do have a tradition of brass playing in Chicago. Wanting someone to fit into that would make perfect sense. If he did, I’m sure he would retain the job. As a know nothing-about-commenter, I think that the derisiveness of B sounds a little ratty.
Really funny, since you know the answer to everything, where do I stand on the issue, pro or anti?
The vast majority of the orchestra is pro Cooper. Just as importantly, so is the audience. As they are anti Muti.
Muti hid behind a lawyer to renege on his promise, because he wanted to appease the small group in the orchestra that fought and lost the war for his music directorship.
lol “vast majority”…you do realize there is an orch committee to also decide these things right? there is a number of factors at play and don’t try to make it seem otherwise.
Beyond the horn problems, the CSO should read carefully the latest news about Jeff Shell. Just saying …
and why in the world would they need to concern themselves with that?
Gus is an industry legend from Boston.
The rest of the section being younger (although not inexperienced) can of course be influenced by the sound of a new principal horn, so this way the sound is continued. Good choice.
Here he is on the Saving Private Ryan soundtrack. Did you have somebody specific you preferred? https://www.youtube.com/watch?v=TnO919yhQQ0&list=RDTnO919yhQQ0
That was in the same league as Vincent DeRosa.
On Friday he played the Sibelius 5 beautifully!
Gus’ playing of Sibelius 5 on Friday was indeed beautiful, as is everything he plays. Thank you BSO for properly recognizing and rewarding an extraordinary sound and a week after week reliability within your midst.
As an outsider who has no real ‘inside’ knowledge of the BSO horn section, it does seem to me that a ‘relatively’ young horn section could learn plenty from a proven veteran who has played in the section since 1981. In a sense, the same thing happened in S.F., where Robert Ward has successfully been leading the section throughout the recent MTT period (soon to be retired – or so I’ve heard through the rumor mill).
I think other commenters have it right on; there is value in promoting from within (look at Tom Rolfs’–who is to my ear the most compelling principal trumpet in any orchestra–progression through the section) and there are times when a fresh approach/personality are called for. Having heard the “legend” in the Midwest live in Mahler 5 and Bruckner 8 and with knowledge of the orchestra’s views of his musical blind spots, I concur he would not have made it in Boston. Gus still sounds terrific and I think will do justice to the position.
Well deserved!!!!! His playing is flawlessly beautiful,liked him much more than Sommerville.
Sebring is a marvelous horn player and a great guy. I was playing in an orchestra when he came in to rehearse the Britten Serenade only the tenor had been told the wrong dates and didn’t come. After discovering that it really didn’t work, the conductor asked if I could sub in. I got up to the front, turned to him, introduced myself and said “I’m really a baritone.” He said “I’m really a trumpeter; let’s get to work!” Talk about a thrill! The only hornist who has ever asked for the Hymn movement to be FASTER!
Gus is a great choice. First and foremost he is an excellent player. He is also a fantastic colleague. Well done, Boston. The section is in good hands.
So they tried out 150 people in supposedly blind auditions and arrived at a current member? Sounds like there was more than meets the eye here, so to speak.
Perhaps he simply stood above the pack on the basis of his musicianship. He certainly has demonstrated that over the years from the associate horn chair. I remember hearing him playing first on Boston in a concert well over thirty years ago when he stood out in regard to the beauty of his phrasing, and sensitivity to color and balance. I also noticed the same qualities in his playing in concerts in the last few years in both Carnegie Hall and in Boston (the undulating seconds in one passage in “Asie”, from Ravel’s Scheherazade perfectly set the mood in a way that was far beyond the usual mechanical way that we hear nowadays).
Boston has a tradition of hiring players that have something special, not just the best current bots, and sometimes that special quality is best served by promotion of someone already in the orchestra.
Agree. Hiring within and all the hungry young players who need to eat. He’s been feasting at the trough for 43+ years….
A very well-deserved appointment to top off an extraordinary career. Gus is a world-class musician and a remarkable man. The only reason I was a bit surprised by this news is that, seeing as he’s been a member since 1981, I suspected he’d be retiring fairly soon- but as his playing remains as sublime as ever, there’s obviously no need for him to do so unless he so chooses. Another thing I’ve been wondering about is if he actively sought the promotion and auditioned, or if the BSO specifically requested that he move up from associate to full principal after they were unable to reach a consensus about outside candidates.
As an additional aside, Mike Winter (current BSO third horn) is an extraordinary player, and I half-expected that he would be appointed. I’m curious if others have any thoughts on that score.
Gus made it impossible not to hire him. He is, and always has been, simply the best. (Jamie shared that title back when.) Ain’t nobody who knows Gus’s playing who thinks otherwise. (And those who don’t know, should hold their tongues.)
Cooper, Doc Almond, And bso lifer.
Boy , who on earth would they orchestre choose? Hmmm.
Not a shock Gents.
Geriatric hornist. Tons of younger folks need work. How many years really left? 3-5years?
Surprised it wasn’t Mrs Willis since she appears to love the attention seeking, slick hustling, and narcissism with many bands.
Also, Dick/Gus -why not give other supremely talented grads, superb horn players etc the opportunity to be principal. You had your opportunity for 42+ years …this is getting silly.
He has been there since 1981. 1983 onward as assoc principal. At this pt, it appears to be greed or something to prove, fill in time until they find a young player etc… etc.
Also, last few years he’s been front and center in the orchestras pr -marketing -virtue signaling efforts. Yup- Something is and was fishy.