CSO Principal

[EinHeldenleben]

Guys, just thought you would want to know. I talked to Chris today and he won that job.
_________________
"We communicate through motor systems not sensory systems. Do not become involved in self analysis while performing music. You must keep the product (your musical message) foremost in your mind." - Arnold Jacobs

[WAKeele]

Holy crap! You mean they actually made a choice. Well good for him.
_________________
WAK
Ace Hardware Hoseophone w/heavy-weight funnel
Bach 20C Megatone (gold plated) w/ 30 throat
Handguard once believed to be used by Arban
$10,000 Stoneline mute bought on eBay

[_Don Herman]

Thanks for the note! Congratulations to Chris! Although, anybody making a good showing for the CSO is a fantastic player in my book. - Don
_________________
Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley

[EinHeldenleben]

ASO may lose star of brass section
Pierre Ruhe -Staff
Friday, January 14, 2005

The orchestra famous for its killer brass is trying to snag the Atlanta
Symphony Orchestra's trumpeting MVP.

In auditions that ended Tuesday, ASO principal trumpet player
Christopher Martin won the same position with the mighty Chicago
Symphony Orchestra, one of America's historically "big five"
orchestras. By reputation, the CSO's awesome brass section plays with
demolition-crew power, unsurpassed in the world. Yet for six years ---
since the retirement of the legendary Adolph "Bud" Herseth --- the CSO
has failed to find a good match for its principal trumpet job.

Martin, who joined the ASO in 2000, is the anchor of the orchestra's
brass section, and its most audible player. Although he has about a
month to formally decide his career plans --- he's currently
negotiating with both orchestras --- he calls the Chicago offer "a
dream."

"It's the premier trumpet job in America," says the 29-year-old
Marietta native. "It's the most storied job out there."

In recent seasons, several ASO members have departed for academic
posts, and ASO assistant concertmaster Jeff Thayer left for the top job
at the San Diego Symphony --- a better job in a less esteemed
orchestra. Martin, who in 2001 turned down a similar offer from the Los
Angeles Philharmonic, would be the first prominent ASO musician to
depart for a more prestigious orchestra under ASO music director Robert
Spano's tenure.

ASO general manager John Sparrow says, "We feel it's an endorsement of
the caliber of players we have here."

Even if he accepts the Chicago offer, however, Martin doesn't have to
immediately quit his ASO principal chair. By contract, a musician can
take a one-year leave of absence to try out another job.

On a larger scale, because of Martin's talent and prominence, his
decision --- Atlanta vs. Chicago? --- will be seen as a bellwether for
the ASO. If he remains here at home, it'll be perceived as a
grass-roots signal that the ASO has grown, artistically, to the point
where it can attract and retain the best musicians in the country.

Although principal players like Martin can earn significantly more than
the orchestra's rank-and-file members, Chicago's base pay of $104,000
exceeds the ASO's base pay of $75,400 --- an indicator of relative
financial muscle.

Martin is genuine Atlanta talent.

His father, Freddy Martin, is band director for Westminster Schools,
his mother, Lynda, sings in the ASO Chorus.

Beginning at 16, Martin studied with the ASO's former principal
trumpet, Larry Black, and played in the Atlanta Symphony Youth
Orchestra. He later studied at the Eastman School of Music, played for
two years with the Philadelphia Orchestra and returned home to play
with the ASO in 2000.

On CD, Martin has a solo part in the ASO's 2000 recording of Mahler's
First Symphony.

Lynda Martin speaks of "mixed emotions" about her son's offer, but says
he's "worked long and hard for an opportunity like this. He deserves
it."

Unmarried and unattached, Martin says he must weigh conflicting
ambitions: "The Chicago brass sound is very distinctive; they've got
their traditions. Do I want to be a part of that? What attracted me to
Atlanta was the chance to build our own sound. We're on such a big
growth curve. I spoke to Robert [Spano] about this. He wants me to
stay, but he's being very neutral. People tell me it's a no-brainer,
but musically, I'm really committed to what we're doing here, helping
my hometown grow to where it's at the top. It's a really hard decision
for me."
_________________
"We communicate through motor systems not sensory systems. Do not become involved in self analysis while performing music. You must keep the product (your musical message) foremost in your mind." - Arnold Jacobs

[redface]

While it's cool to win the chair, it would make him a legend if he turned it down, especially if it were for artistic reasons.

[Trptbenge]

Great post about Chris. I think he will take a years leave of absence and see if he likes the job. He owes it to himself to do that. From all indications that is way he is leaning. One correction to your post. While Larry Black would be flattered by your reference to him as former principal he has not been the principal. He retired to NC. last year after 33 years with the ASO - most as fourth chair. He is also known as one of the best teachers around. I just saw Larry last weekend and have known him for many years. He and Chris had done concert together in Atlanta just before Christmas. He is excited for Chris and also thinks he'll take the leave of absence.

I hate to lose Chris from the ASO but to have an opportunity to play with the CSO is hard to pass up. Chris is an extraordinary player and a great guy. He is scheduled to perform with our group - the Peachtree Symphonic Winds in March. Hopefully, he will still be able to do so. By the way he is scheduled to play the Carnival of Venice.

Mike

[EinHeldenleben]

ASO loses one to Chicago
Trumpeter says 'fit feels good' at coveted new job
Pierre Ruhe -Staff
Thursday, March 3, 2005

It was too seductive an offer. The Atlanta Symphony Orchestra has lost
its principal trumpet player to the Chicago Symphony, one of America's
historically "big five" orchestras.

Christopher Martin, who's been with the ASO since 2000, won the CSO
auditions in January. On Wednesday, he accepted the same position with
the CSO and officially notified the ASO.

Martin, 29, a Marietta native, will debut as a member of the CSO in
September, but over the summer he'll shuttle between the two
orchestras. In Chicago, he'll be on probation for one or two years.

"They're trying me out," Martin says, "and I'm trying them out. The
timing is very tricky."

ASO general manager John Sparrow confirmed that the orchestra will
grant Martin a one-year leave of absence. Although the ASO won't
discuss its options, one likely scenario is that assistant principal
Mark Hughes will slide over to the top chair, as everyone waits to see
if Martin and the legendary Chicago brass are a match.

Part of the CSO's prestige comes from the great Adolph Herseth, who
held the principal trumpet job for 53 years before retiring in 2001. A
trumpet player the Chicago Symphony hired to fill Herseth's spot, Craig
Morris, was let go in 2003 after his two-year probationary period. He
now teaches at the University of Miami.

Now it's Martin's turn. He's both nervous and confident. After sitting
in for a Chicago performance, he recalls that one of the low brass
players told him, " 'You sound like you've played here forever.' The
fit feels good to me."

Beyond artistic merit, there's money.

Martin's future CSO income remains undisclosed, but he'll likely
receive a significant increase. Although principal players typically
make a lot more than rank-and-file section musicians, an orchestra's
base pay is a gauge of relative financial muscle. Chicago's base pay of
$104,000 blows away the ASO's base of $75,400.

A better Chicago comparison is with the New York Philharmonic: In 2003,
its base pay was $103,000, and its iconic principal trumpet, Philip
Smith, earned $243,000. Hearing Smith's salary, Martin laughed and
said, "I'm a little too young to be earning that much yet."

Martin says ASO music director Robert Spano has been sympathetic to his
ambition. Spano, the young trumpet player says, "said to me, 'It's an
opportunity that can't be ignored.' And he was really nice to tell me
that if I do come back [to the ASO], there will be no animosity, no ill
will."

The trumpeter adds, "A lot of employers wouldn't be that generous with
someone who's about to try another job. Now all I need to do is find
someone to rent my Toco Hills townhouse."
_________________
"We communicate through motor systems not sensory systems. Do not become involved in self analysis while performing music. You must keep the product (your musical message) foremost in your mind." - Arnold Jacobs