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Meet the Orchestra
| ALAN GILBERT | Music Director |
| Daniel Boico | Assistant Conductor |
| Leonard Bernstein | Laureate Conductor, 1943–1990 |
| Kurt Masur | Music Director Emeritus |
Violins |
|
| Glenn Dicterow | Concertmaster, The Charles E. Culpeper Chair |
| Sheryl Staples | Principal Associate Concertmaster, The Elizabeth G. Beinecke Chair |
| Michelle Kim | Assistant Concertmaster, The William Petschek Family Chair |
| Enrico Di Cecco | |
| Carol Webb | |
| Yoko Takebe |
|
| Hae-Young Ham | The Mr. and Mrs. Timothy M. George Chair |
| Lisa GiHae Kim | |
| Kuan-Cheng Lu | |
| Newton Mansfield | Edward and Priscilla Pilcher Chair |
| Kerry McDermott | |
| Anna Rabinova | |
| Charles Rex | The Shirley Bacot Shamel Chair |
| Fiona Simon | |
| Sharon Yamada | |
| Elizabeth Zeltser | William and Elfriede Ulrich Chair |
| Yulia Ziskel |
|
| Marc Ginsberg | Principal |
| Lisa Kim* | In Memory of Laura Mitchell |
| Soohyun Kwon | The Joan and Joel I. Picket Chair |
| Duoming Ba |
|
| Marilyn Dubow | The Sue and Eugene Mercy, Jr. Chair |
| Martin Eshelman | |
| Quan Ge | |
| Judith Ginsberg | |
| Myung-Hi Kim+ | |
| Hanna Lachert | |
| Hyunju Lee | |
| Daniel Reed | |
| Mark Schmoockler | |
| Na Sun | |
| Vladimir Tsypin | |
Violas |
|
| Cynthia Phelps | Principal, The Mr. and Mrs. Frederick P. Rose Chair |
| Rebecca Young* | |
| Irene Breslaw** | The Norma and Lloyd Chazen Chair |
| Dorian Rence |
|
| Katherine Greene | The Mr. and Mrs. William J. McDonough Chair |
| Dawn Hannay | |
| Vivek Kamath | |
| Peter Kenote | |
| Barry Lehr | |
| Kenneth Mirkin | |
| Judith Nelson | |
| Robert Rinehart | The Mr. and Mrs. G. Chris Andersen Chair |
Cellos |
|
| Carter Brey | Principal, The Fan Fox and Leslie R. Samuels Chair |
| Eileen Moon* | The Paul and Diane Guenther Chair |
| Qiang Tu | The Shirley and Jon Brodsky Foundation Chair |
| Evangeline Benedetti |
|
| Eric Bartlett | The Mr. and Mrs. James E. Buckman Chair |
| Elizabeth Dyson | |
| Maria Kitsopoulos | |
| Sumire Kudo | |
| Ru-Pei Yeh | |
| Wei Yu | |
Basses |
|
| Eugene Levinson | Principal, The Redfield D. Beckwith Chair |
| Orin O’Brien |
Acting Associate Principal, The Herbert M. Citrin Chair |
| William Blossom | The Ludmila S. and Carl B. Hess Chair |
| Randall Butler | |
| David J. Grossman | |
| Satoshi Okamoto | |
Flutes |
|
| Robert Langevin | Principal, The Lila Acheson Wallace Chair |
| Sandra Church* | |
| Renée Siebert | |
| Mindy Kaufman | |
Piccolo |
|
| Mindy Kaufman | |
Oboes |
|
| Liang Wang | Principal, The Alice Tully Chair |
| Sherry Sylar* | |
| Robert Botti | |
English Horn |
|
| Thomas Stacy | The Joan and Joel Smilow Chair |
Clarinets |
|
| Mark Nuccio | Acting Principal, The Edna and W. Van Alan Clark Chair |
| Pascual Martinez Forteza | Acting Associate Principal, The Honey M. Kurtz Family Chair |
E-Flat Clarinet |
|
| Pascual Martinez Forteza | |
Bass Clarinet |
|
Bassoons |
|
| Judith LeClair | Principal, The Pels Family Chair |
| Kim Laskowski* | |
| Roger Nye | |
| Arlen Fast | |
Contrabassoon |
|
| Arlen Fast | |
Horns |
|
| Philip Myers | Principal, The Ruth F. and Alan J. Broder Chair |
| Erik Ralske | Acting Associate Principal |
| Cara Kizer Aneff** | |
| R. Allen Spanjer | |
| Howard Wall | |
Trumpets |
|
| Philip Smith | Principal, The Paula Levin Chair |
| Matthew Muckey* | |
| Ethan Bensdorf | |
| Thomas V. Smith | |
Trombones |
|
| Joseph Alessi | Principal, The Gurnee F. and Marjorie L. Hart Chair |
| Amanda Davidson* | |
| David Finlayson | The Donna and Benjamin M. Rosen Chair |
Bass Trombone |
|
| James Markey | |
Tuba |
|
| Alan Baer | Principal |
Timpani |
|
| Markus Rhoten | Principal, The Carlos Moseley Chair |
Percussion |
|
| Christopher S. Lamb | Principal, The Constance R. Hoguet Friends of the Philharmonic Chair |
| Daniel Druckman* | The Mr. and Mrs. Ronald J. Ulrich Chair |
Harp |
|
| Nancy Allen | Principal, The Mr. and Mrs. William T. Knight III Chair |
Keyboard |
|
| In Memory of Paul Jacobs | |
| Harpsichord | |
| Lionel Party | |
| Piano | |
| The Karen and Richard S. LeFrak Chair Harriet Wingreen Jonathan Feldman |
|
| Organ | |
| Kent Tritle | |
Librarians |
|
| Lawrence Tarlow | Principal |
| Sandra Pearson** | |
| Sara Griffin** | |
Orchestra Personnel Manager |
|
| Carl R. Schiebler | |
Stage Representative |
|
| Louis J. Patalano | |
Audio Director |
|
| Lawrence Rock | |
| * Associate Principal ** Assistant Principal + On Leave ++ Replacement/Extra |
|
The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster. |
|
Honorary Members of the Society |
|
| Pierre Boulez | |
| Stanley Drucker | |
| Lorin Maazel | |
| Zubin Mehta | |
| Carlos Moseley | |
Browse Section:
Joseph Alessi,
Principal, The Gurnee F. and Marjorie L. Hart Chair
Joseph Alessi was appointed Principal Trombone of the New York Philharmonic in the spring of 1985. He began musical studies in his native California with his father, Joseph Alessi, Sr. As a high school student in San Rafael, California, and was a soloist with the San Francisco Symphony before continuing his musical training at Philadelphia’s Curtis Institute of Music. Prior to joining the Philharmonic, Mr. Alessi was second trombone of The Philadelphia ...
“I started on the cornet at five. I had no interest in the trombone until my father brought one home — he thought it fit my chops better. I started playing it at eight.”
Nancy Allen,
Principal, The Mr. and Mrs. William T. Knight III Chair
Hailed by the New York Times, as “a major artist” following her New York recital debut in 1975, Nancy Allen joined the New York Philharmonic in June of 1999 as Principal Harpist. She maintains a busy international concert schedule as well as heading the harp departments of The Juilliard School, Yale School of Music, and the Aspen Music Festival and School. In addition, Ms. Allen appears regularly with The Chamber Music Society of Lincoln Center ...
“My two sisters and I all studied piano and harp. My father taught us to tune, and my sisters and I tuned in unison — every note of 47 strings.”
Cara Kizer Aneff,
Assistant Principal and Utility Horn
Cara Kizer Aneff joined the New York Philharmonic as Assistant Principal/Utility Horn on April 26, 2010. Prior to joining the Philharmonic, she was an active freelancer, performing with groups such as New York City Opera, the Orchestra of St. Luke’s, on Broadway, and regularly as a substitute player with the New York Philharmonic. She has performed as guest principal horn with the St. Paul Chamber Orchestra, and was a first-prize winner at The American ...
Duoming Ba
Violinist Duoming Ba joined the New York Philharmonic in 2003. Previously, she was a member of the New Jersey Symphony Orchestra. She performs regularly with the New York Philharmonic Ensembles at Merkin Concert Hall, and has been a participant in numerous music festivals, including the Sarasota Music festival. She is also an active soloist and chamber musician, performing in cities in the United States and abroad. Ms. Ba has won numerous violin ...
“I came to the U.S. by myself at 17 to attend high school. It was very scary. I didn’t speak a word of English.”
Alan Baer,
Principal
Alan Baer joined the New York Philharmonic on June 21, 2004, as Principal Tuba. He was formerly principal tuba with the Milwaukee Symphony Orchestra, Long Beach Symphony Orchestra, and Louisiana Philharmonic Orchestra. His other performing credits include recordings with The Cleveland Orchestra led by Vladimir Ashkenazy, performances with the Peninsula Music Festival of Wisconsin, New Orleans Symphony, Los Angeles Concert Orchestra, Ojai Festival ...
“The tuba is the largest of the brass instruments, and has one of the largest usable ranges. It can amplify and enrich the sound of the orchestra. It’s like thickening the stew.”
Eric Bartlett,
The Mr. and Mrs. James E. Buckman Chair
Before joining the New York Philharmonic in 1997, cellist Eric Bartlett had already established himself as an artist of formidable talent and artistic integrity. He has appeared frequently as a member soloist with the world famous Orpheus Chamber Orchestra and is featured on several of their Deutsche Grammophon recordings. In addition to Orpheus, his solo appearances include the Cabrillo Festival, the Mostly Mozart Festival Orchestra, the Anchorage ...
“As a teenager I was exposed to contemporary and experimental music and was taught to listen with an open mind. It’s interesting, challenging, and it makes earlier styles easier to play by stretching one’s ability to hear complex music.”
Evangeline Benedetti
Evangeline Benedetti, cellist, active soloist, and chamber musician, has been a member of the New York Philharmonic since 1967, one of the first women cellists to be accepted into the organization. She appears regularly on the Philharmonic Ensembles series at Merkin Concert Hall in New York, including performances with guest artists Yefim Bronfman, Vladimir Feltsman, and Jerome Lowenthal. As a member of the New York Trio Concertant, she toured Japan ...
“When I joined the Philharmonic I was one of only two tenured women. I felt honored, overwhelmed by the vast repertoire, but that was tempered with awe and joy to be in such a great orchestra.”
Ethan Bensdorf
Ethan Bensdorf joined the New York Philharmonic’s trumpet section on June 3, 2008, after spending the 2007–08 season as acting assistant principal trumpet with the Naples Philharmonic Orchestra in Naples, Florida. He received his bachelor of music degree from Northwestern University in 2007, where he studied with Barbara Butler, Charles Geyer, and Christopher Martin. While a student at Northwestern, Mr. Bensdorf spent two years performing with the ...
“What I like about the trumpet is that it’s very diverse and has so much possibility — loud fanfares, soft solos. I try to imitate the music I hear on other instruments to become an all-encompassing musician.”
William Blossom,
The Ludmila S. and Carl B. Hess Chair
Bassist William Blossom joined the New York Philharmonic in 1975, having previously been a member of the Rochester Philharmonic Orchestra and the Milwaukee Symphony. He performs with the New York Philharmonic Ensembles and other chamber music groups in the New York area. Since the summer of 1985, he has made regular guest appearances with the Arcady Music Festival in Bar Harbor, Maine. Mr. Blossom teaches privately and has coached the bass section ...
“I wasn’t seriously interested in music until fourth grade, when we were introduced to all the orchestral instruments. The bass appealed to me because of its size and shape; it seemed unusual.”
Daniel Boico
Daniel Boico, the newly appointed New York Philharmonic Assistant Conductor, will lead all of the Philharmonic's Young People's Concerts in the 2009-10 season. Mr. Boico made his New York Philharmonic debut on January 23, 2009, conducting an Inside the Music program.
Mr. Boico has served as music director of the Skokie Valley Symphony Orchestra, Illinois, and the Skokie Concert Choir, as well as conductor of the Elgin Youth Symphony ...
Robert Botti
Oboist Robert Botti joined the New York Philharmonic in 1992, having been principal oboe of the New York City Opera Orchestra. He has appeared as soloist with the New York Symphonic Ensemble and performed in the Grand Teton, Bach Stony Brook, and Music from Colorado festivals. He has collaborated and recorded with Gunther Schuller and Wynton Marsalis as a guest artist with Jazz at Lincoln Center, and is a member of the Sylvan Winds, with whom he ...
“I had actually planned to go into medicine and become a surgeon, but a revelatory experience at a summer music camp changed my mind.”
Irene Breslaw,
Assistant Principal, The Norma and Lloyd Chazen Chair
A former Naumburg Scholarship winner and graduate of The Juilliard School, Irene Breslaw joined the viola section of the New York Philharmonic in August 1976. She was named Assistant Principal Viola in 1989. Prior to joining the Orchestra, Ms. Breslaw was a member of both the St. Louis Symphony Ochestra and the Baltimore Symphony Orchestra. In May 2001 Ms. Breslaw celebrated 25 years as a member of the New York Philharmonic.
An active ...
“Being an orchestral musician offers a lot of camaraderie. I’m moved at moments when I’m aware of the collective effort of creating a work of art.”
Carter Brey,
Principal, The Fan Fox and Leslie R. Samuels Chair
Carter Brey was appointed Principal Cellist of the New York Philharmonic in 1996, and made his subscription debut as soloist with the Orchestra in May 1997, performing Tchaikovsky’s Rococo Variations led by then-Music Director Kurt Masur. He has performed as soloist in subsequent seasons in the Elgar Cello Concerto with André Previn conducting; in William Schuman’s A Song of Orpheus with Christian Thielemann; in Richard Strauss’s Don ...
“My most important musical influences were Judy Garland, Jascha Heifetz, and my most important mentor, Rostropovich.”
Randall Butler
Bassist Randall Butler joined the New York Philharmonic in 1976. Throughout his musical career, Mr. Butler has also pursued the study of aesthetics and other philosophical disciplines. Currently he is a Ph.D. candidate in Philosophy at Columbia University working on a dissertation dealing with the Theory of Human Action. Mr. Butler had previously been accepted by Columbia University’s Department of Philosophy as an M.A. candidate—one of only four ...
“My most important musical influences have been my Philharmonic colleagues. Their knowledge continually informs me; their devotion inspires me.”
Sandra Church,
Associate Principal
Sandra Church joined the New York Philharmonic as Associate Principal Flute in December 1988, under then-Music Director Zubin Mehta. She made her solo debut with the Orchestra in 1990, and has played first flute on New York Philharmonic recordings conducted by Leonard Bernstein, Mr. Mehta, and Kurt Masur. She has also performed with André Previn on his album From Ordinary Things for Sony.
A native of Syracuse, New York, Ms. Church ...
“The best thing about being a musician is feeling intimately connected with the great composers — bringing to life their compositions. When I’m not playing I hear the music in my head. It’s such a gift, so elevating.”
Amanda Davidson,
Associate Principal
Amanda Davidson joined the New York Philharmonic as Associate Principal Trombone in September 2009. Born in Oakland, Maryland, she began playing the trombone at the age of six. Her studies started with Harold Hudnall and continued with Keith Jackson, professor of trombone and euphonium at West Virginia University. She received her bachelor of music degree from The Juilliard School in 2004, studying with New York Philharmonic Principal Trombone Joseph ...
Enrico Di Cecco
Glenn Dicterow,
Concertmaster, The Charles E. Culpeper Chair
New York Philharmonic Concertmaster Glenn Dicterow has established himself worldwide as one of the most prominent American concert artists of his generation. His extraordinary musical gifts became apparent when, at age 11, he made his solo debut in Tchaikovsky’s Violin Concerto with the Los Angeles Philharmonic (where his father, Harold Dicterow, served as principal of the second violin section for 52 years). In the following years, Mr. Dicterow ...
“When you grow up as a symphony brat as I did, you cannot help but feel attracted to that way of life. It was surrounding me. There was no way I was going to be a lawyer.”
Daniel Druckman,
Associate Principal, The Mr. and Mrs. Ronald J. Ulrich Chair
Percussionist Daniel Druckman is active as a soloist, chamber and orchestral musician, and recording artist, concertizing throughout the United States, Europe, and Japan. He has appeared as soloist with the Los Angeles Philharmonic, the American Composer’s Orchestra, the New York Philharmonic’s Horizons concerts, the San Francisco Symphony’s New and Unusual Music series, and in recital in New York, Los Angeles, San Francisco, and Tokyo. He has been ...
“My father, Jacob Druckman, was a composer who often worked well into the night, so I have memories of scary music late at night.”
Marilyn Dubow,
The Sue and Eugene Mercy, Jr. Chair
Marilyn Dubow, a native of Philadelphia, began studying the violin at age four and made her New York Philharmonic debut in a Young People's Concert at the age of 11; she joined the Philharmonic's violin ...
“I remember a huge box of percussion instruments arriving at our house, and my brother and I playing everything for days. Then the box mysteriously disappeared.”
Elizabeth Dyson
A native of Surrey, England, Elizabeth Dyson joined the New York Philharmonic in the Fall of 1996. Previously, she was a member of the Atlanta Symphony and also served as the Principal Cellist of the Canton and Akron Symphonies.
Widely traveled, Ms. Dyson has performed as a soloist throughout Europe and Asia including venues such as the Queen Elizabeth Hall and Wigmore Hall in London and Jordan Hall in Boston. She has also been heard frequently ...
Martin Eshelman
Violinist Martin Eshelman is a
graduate of the Cincinnati Conservatory
and The Juilliard School. He joined the
New York Philharmonic in 1956 under
Dimitri Mitropoulos.
A descendant of pre-revolutionary
...
Arlen Fast
Arlen Fast joined the Philharmonic in 1996 as Bassoonist and Contrabassoonist after serving 17 seasons as second bassoonist for the San Diego Symphony and San Diego Opera. Mr. Fast earned his music degree at Wichita State University in Kansas, where he was second bassoonist of the Wichita Symphony Orchestra. While on the West Coast, he studied with Norman Herzberg, who himself had studied with the New York Philharmonic’s former second bassoonist, ...
“I extensively overhauled the contrabassoon because I couldn’t make the instrument produce the quality of playing I knew in my head that I wanted. Now it is a wonderful instrument, and it gives me a lot of satisfaction to play.”
Jonathan Feldman
New York Philharmonic pianist Jonathan Feldman, recognized by colleagues and critics alike as an extremely accomplished ensemble player and accompanist, has performed on four continents with some of the world’s greatest instrumentalists. Among these have been the legendary Nathan Milstein, Itzhak Perlman, James Galway, Joshua Bell, Kyung Wha Chung, Zara Nelsova, and Sarah Chang. Mr. Feldman also enjoys an active solo career performing throughout ...
“One of the most difficult aspects of my job is finding a piano and time to practice when traveling. Every piano is different; most times you have to get to know it quickly. Hopefully, 88 keys are smiling at you!”
David Finlayson,
The Donna and Benjamin M. Rosen Chair
David Finlayson joined the New York Philharmonic in December 1985 during Zubin Mehta’s tenure as music director. He serves as the orchestra’s Second Trombonist.
Born in Washington, D.C., into a military family, Mr. Finlayson spent his early years in many different parts of the world. His music studies began on the piano when he was six while his family was living in Heidelberg, Germany; the trombone did not take center stage in his life ...
Quan Ge
Violinist Quan Ge joined the New York Philharmonic in June 2009. She holds a bachelor’s degree from The Curtis Institute of Music, where she worked with Yumi Scott, Ida Kavafian, and Jaime Laredo, and a master’s degree from The Juilliard School, where she studied with David Chan. A native of Huai Nan, China, Ms. Ge was the recipient of a Fu Chenxian Scholarship, and has won top prizes in both the China National Competition and the Jeunesses Music ...
Judith Ginsberg
New York Philharmonic violinist Judith Ginsberg studied art and music for two years at Douglass College before attending the Juilliard School, where she was a student of Ivan Galamian and earned both bachelor's and master's degrees. In 1984, she joined the Philharmonic, following several years with the American Symphony Orchestra under Leopold Stokowski, and ten years as a member of the New Jersey Symphony. Ms. Ginsberg met her husband, Philharmonic ...
“The violin wasn’t my first instrument, but when I took it up after studying the piano, I immediately fell in love with it.”
Marc Ginsberg,
Principal
Marc Ginsberg joined the New York Philharmonic in 1970 and was appointed Principal, Second Violin Group, in 1972. He is a graduate of The Juilliard School, where he studied with Margaret Pardee, Ivan Galamian, and Paul Makanowitzky. He was also a recipient of a Fulbright scholarship for study in Paris. Mr. Ginsberg frequently performs chamber music, including with the Philharmonic Ensembles at Merkin Concert Hall and the Washington Square Music Festival. ...
“In high school the violin was the focus of my life. I didn’t know where it would go — I had no idea what it was like to be a professional musician. It was just something I wanted to pursue because I loved it.”
Katherine Greene,
The Mr. and Mrs. William J. McDonough Chair
Katherine Greene, violist, is a native New Yorker and holds a Masters Degree in performance from The Juilliard School, where she studied with Mr. William Lincer (former Principal Violist of the New York Philharmonic). Over the years Ms. Greene has held various positions, including that of Assistant Principal Violist of the New Jersey Symphony Orchestra until 1990, at which time she became a member of the New York Philharmonic.
As an accomplished ...
“My instrument has a glorious quality that reminds me of the human voice. I played only three notes on my viola, and it was like meeting the man of your dreams!”
Sara Griffin,
Assistant Principal
Sara Griffin joined the New York Philharmonic as Assistant Principal Librarian in September 2009. A native of Springfield, Missouri, Ms. Griffin earned a bachelor of music and a doctor of musical arts degree in oboe from the University of Missouri-Kansas City, and a master in music degree from the University of Illinois at Urbana-Champaign. A student of Barbara Bishop and Nancy Ambrose-King, Ms. Griffin has been an orchestral performer, soloist, ...
David J. Grossman
Bassist David J. Grossman began playing with the New York Philharmonic as its youngest member in December 1999 before graduating from The Juilliard School in May 2000. Born and educated in New York City, Mr. Grossman has performed as double bassist and pianist in orchestral, chamber, and jazz venues worldwide. He is a member of the double bass faculties of the Manhattan School of Music and The Juilliard School.
An active chamber musician, ...
“I fell in love with the bass for its rich, dark tone and versatility in all kinds of music.”
Hae-Young Ham,
The Mr. and Mrs. Timothy M. George Chair
Violinist Hae-Young Ham, a member of the New York Philharmonic since 1986, last appeared as soloist with the Orchestra in 1991 with Erich Leinsdorf. As a winner of the Philharmonic’s Young Artists Competition in 1980, she was a soloist with Zubin Mehta. Ms. Ham has made solo appearances with the New Jersey Symphony, Louisiana Philharmonic, Ann Arbor Symphony, Bergen Philharmonic, Seoul Philharmonic, and Korea’s KBS Symphony.
Active in chamber ...
“At age four I sang in a children’s choir. I had a high, squeaky voice. At five I sang for the president of South Korea and met the president and first lady; I was thrilled!”
Dawn Hannay
Violist Dawn Hannay has been a member of the Philharmonic since 1979. Before joining the Orchestra, she was principal violist with the Omaha Symphony and the Nebraska Sinfonia, and was a member of ...
“Outside of work, I like wildlife conservation, bird watching, and hiking and camping with my dog, Toby. In August 2004 I worked as a volunteer on a research project studying lions in Kenya.”
Vivek Kamath
Violist Vivek Kamath joined the New York Philharmonic in January 1998. Mr. Kamath earned his bachelor's degree at the Cleveland Institute of Music, studying with Donald Weilerstein. He has appeared as soloist with the Rochester Philharmonic Orchestra and the Metamorphosen Chamber Orchestra. An avid chamber musician, he has performed at the Marlboro, Ravinia, Sarasota, Blossom, and Bowdoin festivals. In 1997 Mr. Kamath was a prize-winner in the Washington ...
“When I was about four, a little girl I knew played “Twinkle, Twinkle” on the violin. Immediately I wanted to play the violin, too. In college I played the violin and the viola, but I gave up the violin — I liked the viola sound better.”
Mindy Kaufman
Solo piccolo and flutist Mindy Kaufman joined the New York Philharmonic in 1979 at the age of 22. She received a bachelor of music degree from the Eastman School of Music, and at the age of 19 won her first audition — as second flute with the Rochester Philharmonic. She also performed as acting principal flute with the Milwaukee Symphony, during which time she recorded works by Dvorák and Kodály. Ms. Kaufman has appeared as a piccolo soloist with ...
“If I weren’t a musician, I’d be a ski instructor, but it’s too late for the U.S. Ski Team!”
Peter Kenote
Peter Kenote was born in Seattle, Washington. He received his undergraduate degree from the University of Washington, and his master’s and doctorate degrees in music performances from The Juilliard School. Since 1983, he has been a member of the New York Philharmonic viola section. His interests include spending time with family, hiking, running, and Bible study. ...
“The best thing about being a musician is having the honor and privilege of interpreting great works of art and enjoying them on a regular basis.”
Lisa Kim,
Associate Principal, In Memory of Laura Mitchell
Lisa Kim joined the Philharmonic violin section in 1994 and was named Associate Principal, Second Violin Group (In Memory of Laura Mitchell), in 2003. She teaches in South Korea and the United States, and has performed with the Seoul National Philharmonic Orchestra and the SooWon, North Carolina, Winston-Salem, and Durham symphony orchestras. Ms. Kim’s chamber music activities have included the Philharmonic Ensembles series, Hofstra Chamber Ensemble ...
“For me, the most inspiring composers are Mozart and Bach. They’re the Bible of music.”
Lisa GiHae Kim
Lisa GiHae Kim joined the New York Philharmonic’s violin section in February, 2003. As a soloist, Ms. Kim has appeared with the Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra, Orchestra of St. John’s Smith Square (under the direction of Lord Yehudi Menuhin), Santa Cruz Symphony Orchestra, San Angelo Symphony, Flint Symphony Orchestra, and other ensembles.
An active chamber musician, Ms. Kim has participated in the Taos ...
Michelle Kim,
Assistant Concertmaster, The William Petschek Family Chair
Violinist Michelle Kim has been Assistant Concertmaster (The William Petschek Family Chair) of the New York Philharmonic since 2001. She has performed as soloist with orchestras such as the New York Philharmonic, New Jersey Philharmonic, Santa Barbara Chamber Orchestra, and Pacific Symphony. An active chamber musician, Ms. Kim has collaborated with violinists Cho-Liang Lin, Christian Tetzlaff, and Pinchas Zukerman; cellists Mstislav Rostropovich, ...
“I feel very blessed to be a part of this amazing orchestra.”
Myung-Hi Kim
Violinist Myung-Hi Kim began music lessons as a child, along with her three sisters, in her native Korea. She was inspired by her grandfather’s interest in Western music, then uncommon in Korea, and her mother’s love of music. As a teenager, she came to the United States to study, and entered New York’s High School of Music and Art. She later received her bachelor’s and master’s degrees from The Juilliard School, where she studied with Ivan Galamian. ...
Maria Kitsopoulos
Cellist Maria Kitsopoulos joined the Philharmonic in 1996. Her solo engagements have included the CONTINUUM ensemble in Alice Tully Hall; the Phoenix Symphony; the Westfield Symphony, Graz, and Athens State orchestras; and recitals. She performs contemporary music with groups such as Music Mobile and the Guild of Composers, and she has toured Europe with the Ensemble Intercontemporain. She is a member of the cello quartet CELLO, which performs music ...
Sumire Kudo
Sumire Kudo joined the Philharmonic as a cellist in June 2006. Previously she taught at Indiana University–South Bend and was the cellist of the Avalon String Quartet. She is a member of the New York-based new-music group counter)induction, a composer/performer collective. Born in Tokyo, Japan, Ms. Kudo began cello studies at age four with her father, cellist Akiyoshi Kudo. She came to the United States in 2000, after establishing herself in her ...
“I started playing the violin at two, but I kept wanting to play it like a cello. On my fourth birthday I got a tiny cello.”
Soohyun Kwon,
The Joan and Joel I. Picket Chair
Violinist Soohyun Kwon became a member of the New York Philharmonic in September 2001. Prior to joining the Philharmonic, Ms. Kwon performed as a soloist with many orchestras, including the Vienna Symphony Chamber Orchestra at the Bregenz Summer Music Festival, Prague Symphony Chamber Orchestra at Smetana Hall, Vienna Mozart Orchestra at the Goldensaal Musikverein, Tchaikovsky Society, Shanghai Symphony, Korea Chamber Ensemble, and Seoul Philharmonic ...
“I started officially with the Orchestra in September 2001, and performing the Brahms Requiem as a memorial concert to 9/11 was the most memorable and meaningful experience for me. I found a reason why I had become a musician.”
Hanna Lachert
Polish-born and New York-based violinist Hanna Lachert leads a busy and versatile professional life. She joined the New York Philharmonic in 1972, and plays more than 150 concerts annually with the Orchestra as well as performing with various chamber music groups and as a soloist.
Ms. Lachert played her New York debut in 1972 (under the auspices of Carnegie Hall and Jeunesses Musicales), and has given concerts throughout the United States, ...
“Arts generally and music in particular are among the most beautiful parts of life. It permits the transformation and communication between people in different realms beyond what meets the eye.”
Christopher S. Lamb,
Principal, The Constance R. Hoguet Friends of the Philharmonic Chair
Hailed as a dynamic and versatile performer, Christopher S. Lamb joined the New York Philharmonic as Principal Percussionist in 1985. He subsequently made his solo debut with the Philharmonic in the world premiere of Joseph Schwantner’s Percussion Concerto, one of several commissions celebrating the Philharmonic’s 150th Anniversary, and has since performed the work to critical acclaim with orchestras throughout the United States. Mr. Lamb also gave ...
“I appreciated the variety and almost endless array of percussion instruments — anything from a marimba, xylophone, vibraphone, orchestra bells, chimes, and crotales (antique cymbals) to triangles, tambourines, castanets, cymbals, and a bass drum.”
Robert Langevin,
Principal, The Lila Acheson Wallace Chair
Robert Langevin, holder of The Lila Acheson Wallace Chair, joined the New York Philharmonic as Principal Flute at the start of the 2000–01 season. In May 2001, he made his solo debut with the Orchestra in the North American premiere of Siegfried Matthus’s Concerto for Flute and Harp with Philharmonic Principal Harp Nancy Allen and then- Music Director Kurt Masur. Prior to the Philharmonic, Mr. Langevin held the Jackman Pfouts Principal Flute ...
“I cannot think of any other instrument with such a palette of colors.”
Kim Laskowski,
Associate Principal
Kim Laskowski joined the New York Philharmonic in September 2003 as Associate Principal Bassoon. Born in Brooklyn, she attended the High School of Music and Art and The Juilliard School, where she studied with Harold Goltzer, former Associate Principal Bassoon of the New York Philharmonic. While at Juilliard she won the Walter and Elsie Naumburg Award for Orchestral Excellence. She completed a master’s degree at Juilliard while playing in the National ...
“The best thing about being a musician is carrying around works of art in your head all the time.”
Judith LeClair,
Principal, The Pels Family Chair
Judith LeClair joined the Philharmonic as Principal Bassoon (The Pels Family Chair) in 1981, at the age of 23, and has since made more than 50 solo appearances with the Orchestra. Previously she was principal bassoon with the San Diego Symphony and San Diego Opera. She has participated in the Music from Angel Fire, Bridgehampton, Bay Chamber, and Aspen music festivals, and she performs as a member of the Philharmonic Woodwind Quintet of New York. ...
“I’ve been here almost 27 years and I find that the most musically satisfying and enjoyable moments are happening right now. It is a joy to perform with all of our new great players.”
Hyunju Lee
Violinist Hyunju Lee joined the New York Philharmonic in June 2009. She received a diploma from The Curtis Institute of Music, a bachelor of music degree from The Cleveland Institute of Music (CIM), and a graduate diploma from The Juilliard School. The Seoul, Korea, native began playing the violin at age five and made a successful solo debut at 12 with the Seoul Philharmonic, subsequently appearing as soloist with the Korean Symphony, Seoul Metropolitan ...
Barry Lehr
Violist Barry Lehr is a native of New York City and currently resides on Long Island with his wife Susan, and their three children, Jessica, Steven and Laura. A graduate of the New England Conservatory ...
Eugene Levinson,
Principal, The Redfield D. Beckwith Chair
Eugene Levinson enjoys a unique career as a world-class soloist and as Principal Bass of the New York Philharmonic since May 1985, in addition to being one of the foremost and world-renowned double bass teachers.
Mr. Levinson was born in Kiev and began his musical studies at the age of nine. He graduated from the Leningrad Conservatory, where he later received his doctoral degree and was, at the age of 29, the youngest member to be appointed ...
“Attending many master classes of leading artists shaped my interpretive ideas for my instrument, technically and artistically.”
Kuan-Cheng Lu
Violinist Kuan-Cheng Lu joined the New York Philharmonic at the beginning of the 2004-05 season. He received his bachelor's in music degree from Oberlin College, and his master's in music from the Manhattan School of Music. A native of Taiwan, Mr. Lu has received numerous awards and scholarships that include the top prize in the Taiwan National Violin Competition, first prize in the ASTA string competition, the Raphael Bronstein Award, and the Taiwan ...
“In 1997, when I was 17, I came to the U.S. from Taiwan to the Interlochen Arts Academy. It was not my intention to leave my family, but I wanted to play the violin.”
Newton Mansfield,
The Edward and Priscilla Pilcher Chair
Violinist Newton Mansfield joined the New York Philharmonic in 1961.
Born in Poland, he gave his first public
performance in Paris in 1938 and
became an American citizen in 1946.
After studying at the Peabody
...
“I knew that I wanted to be a professional musician as soon as I got paid for it! In Paris when I played, I got balloons. In New York, when I was 11 or 12, I got paid!”
James Markey
James Markey joined the New York Philharmonic in 1997 as Associate Principal Trombone, and in June 2007 was appointed Bass Trombone. Previously, he was principal trombone of the Pittsburgh Symphony Orchestra. Since 2001 he has also been a member of the Sun Valley Summer Symphony in Sun Valley, Idaho.
Mr. Markey has had numerous solo appearances, including performances with the Pittsburgh Symphony Orchestra, Sun Valley Summer Symphony, ...
“I had had thoughts about attending the Naval Academy or studying medicine, but then I realized how much I enjoyed music and how bad I was in biology.”
Pascual Martinez Forteza
Acting Associate Principal, The Honey M. Kurtz Family Chair
Pascual Martinez Forteza joined the New York Philharmonic as Second Clarinet in May 2001 after a tenure with the Cincinnati Symphony Orchestra, where he had been Second Clarinet since 1998. From 1999-2000, he also served as that orchestra’s Acting Associate Principal Clarinet. Prior to his appointment in Cincinnati, Mr. Martinez Forteza was Assistant Principal Clarinet of the Symphony Orchestra of Baleares, Spain, from 1991-1998. He also performed ...
“I used to play soccer. I had a contract with the young division of the Mallorca Club de Futbol as a goal keeper. It was always between soccer and music. When I was 16 I had to choose; I left soccer to focus more seriously on music.”
Pascual Martinez Forteza,
Acting Associate Principal, The Honey M. Kurtz Family Chair
Pascual Martinez Forteza joined the New York Philharmonic as Second Clarinet in May 2001 after a tenure with the Cincinnati Symphony Orchestra, where he had been Second Clarinet since 1998. From 1999-2000, he also served as that orchestra’s Acting Associate Principal Clarinet. Prior to his appointment in Cincinnati, Mr. Martinez Forteza was Assistant Principal Clarinet of the Symphony Orchestra of Baleares, Spain, from 1991-1998. He also performed ...
“I used to play soccer. I had a contract with the young division of the Mallorca Club de Futbol as a goal keeper. It was always between soccer and music. When I was 16 I had to choose; I left soccer to focus more seriously on music.”
Kerry McDermott
Violinist Kerry McDermott has appeared as a soloist with orchestras throughout the United States and abroad including the Montreal, North Carolina and Taipei City Symphonies, the Moscow Radio and Budapest ...
“I come from a very musical family, and enjoy performing with my sisters Anne-Marie, a pianist, and Maureen, a cellist, as the McDermott Trio.”
Kenneth Mirkin
Violist Kenneth Mirkin often spends as much time working behind the scenes for the New York Philharmonic as he does on stage. A member of the Orchestra since 1982, he has served on every Contract Negotiating Committee since 1985 in addition to the Orchestra, Tour, Pension, and Healthcare Committees. Mr. Mirkin also enjoys teaching privately and coaching the viola sections of the New York Youth Symphony and Interschool Orchestras of New York. A recording ...
“I did a lot of silent practicing while watching television; I actually learned the technique of vibrato while watching 'I Love Lucy'.”
Eileen Moon,
Associate Principal, The Paul and Diane Guenther Chair
Eileen Moon was named Associate Principal Cello (The Mr. and Mrs. Paul B. Guenther Chair) of the New York Philharmonic in September 2007. Prior to joining the Orchestra in 1998 she had performed with the San Francisco Symphony and Los Angeles Philharmonic. A native of California, she began her studies with Irene Sharp at the San Francisco Conservatory; she subsequently received a bachelor of music degree from The Juilliard School and a performance ...
“Outside of work I enjoy food and wine, long meals with friends, tennis, and watching my dogs run around with joyful abandon. I love their enjoyment of each new day and I strive to adopt the same attitude in my own life.”
Matthew Muckey,
Associate Principal
Matthew Muckey joined the Philharmonic in June 2006. He recently graduated from Northwestern University with a bachelor’s degree in music, studying with Charles Geyer and Barbara Butler. A native of Sacramento, California, he has appeared as soloist with the Omaha Symphony, Sacramento Philharmonic, California Wind Orchestra, Northwestern University Symphony Orchestra, and on NPR’s program, From the Top. He has also played with the Boston Pops Orchestra, ...
“The trumpet is a very athletic and dangerous instrument because everyone hears it. I practice almost every day. If not, I have to re-step. It’s an instrument you have to take on vacation with you.”
Philip Myers,
Principal, The Ruth F. and Alan J. Broder Chair
Philip Myers joined the Philharmonic as Principal French Horn (The Ruth F. and Alan J. Broder Chair) in January 1980, and made his solo debut with the Orchestra that month in the premiere of William Schuman’s Three Colloquies for French Horn and Orchestra. He has since appeared as a Philharmonic soloist often, most recently performing Mozart’s Horn Concerto No. 2, conducted by Lorin Maazel, in New York in January 2008 and again in February ...
“The best thing about being a musician is the variety of life. Every year is different — in playing the instrument, touring. The job makes it interesting.”
Judith Nelson
Violist Judith Nelson joined the Philharmonic in 1983. A native of Portland, Oregon, she graduated magna cum laude and Phi Beta Kappa from the University of Washington (Seattle) and also holds a Master’s degree from The Juilliard School. As a student, she received the University of Washington’s highest music award, the Brechemin Scholarship, and performed concertos by Mozart, Hindemith, Walton, and Bartók with the University Symphony and the Seattle ...
“At 19 I was asked to play viola for a couple of weeks and fell in love with its sound. I was preparing for my first solo violin recital, but the day after the concert, I bought a viola and never looked back.”
Mark Nuccio,
Acting Principal, The Edna and W. Van Alan Clark Chair
Mark Nuccio joined the New York Philharmonic in 1999 as Associate Principal and Solo E-flat Clarinet. He previously held positions with orchestras in Pittsburgh, Denver, Savannah, and Florida. He has worked with distinguished conductors such as Lorin Maazel, Kurt Masur, Mariss Jansons, Zubin Mehta, Riccardo Muti, Erich Leinsdorf, Claudio Abbado, Riccardo Chailly, André Previn, Christoph von Dohnányi, and Gustavo Dudamel. Additionally, Mr. Nuccio ...
“The most memorable moment with the Orchestra was the day I was hired. Here I was, standing on the stage with some of the greatest musicians in the world. I almost broke down crying.”
Roger Nye
Bassoonist Roger Nye joined the New York Philharmonic in September 2005 after serving as the second bassoonist of the Omaha Symphony for 11 seasons. Raised in Michigan, he attended the Interlochen Arts Academy for the last two years of high school, where he studied with Robert Barris, now bassoon instructor at Northwestern University. Mr. Nye earned his bachelor of music degree from the Eastman School of Music, where he was a student of K. David ...
“My earliest musical memory was listening to the music of the Bugs Bunny cartoons — lots of virtuosic wind playing. I loved how the music had a direct correlation to what the characters were doing. That’s when I first heard the bassoon, though I didn’t know its name.”
Orin O'Brien,
Acting Associate Principal, The Herbert M. Citrin Chair
New York Philharmonic bassist Orin O’Brien was born in Hollywood to parents in the film industry, George O’Brien and Marguerite Churchill, and received her early musical training in Los Angeles, where she studied with Milton Kestenbaum and Herman Reinshagen. She then studied in New York with Frederick Zimmermann and graduated from The Juilliard School. She has been a member of the New York Philharmonic since 1966, where she has played with the world’s ...
Satoshi Okamoto
Satoshi Okamoto was an assistant principal double bassist in the San Antonio Symphony for eight years and a member of the New York City Ballet Orchestra for a year before joining the New York Philharmonic in September 2003. He received his master’s degree from The Juilliard School, and a bachelor’s degree from Tokyo University of Fine Arts. An eight-time Aspen Music Festival participant, he won the festival’s bass competition twice, in 1993 and 1997. ...
“When I was 16 or 17 I had to decide which exam I should take — whether to focus on regular college or music. I changed my decision once a week for two months and then decided to go to music school.”
Lionel Party
Harpsichordist Lionel Party made his New York Philharmonic solo debut in 1991 in Poulenc’s Concert champêtre. A native of Chile and a member of the Philharmonic since 1984, he was awarded a Fulbright scholarship to study with harpsichordist Albert Fuller at The Juilliard School, where he earned his D.M.A. in 1976 and remained as a faculty member, teaching Baroque music and harpsichord. Since winning first prize in the J.S. Bach Fourth International ...
“Outside of work I like to teach, converse, cook, read, and practice calligraphy — I use a treatise by a 16th-century Vatican scribe.”
“The musicians are professionals — they’re there to make music. I’m here to make them comfortable onstage so they can do their job.”
Sandra Pearson,
Assistant Principal
Sandra Pearson, Assistant Principal Librarian of the New York Philharmonic, received her B.M. in bassoon at the University of Wisconsin-Madison as a student of Richard Lottridge, and earned a Master of Music degree at the Cincinnati College-Conservatory of Music as a student of William Winstead. Her previous professional affiliations include the Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, Boston Symphony Orchestra, and the Mostly Mozart ...
“My earliest musical memory was watching 'Evening at Pops' on television while eating Swanson’s TV dinners. I loved it.”
Cynthia Phelps,
Principal, The Mr. and Mrs. Frederick P. Rose Chair
Cynthia Phelps is the Philharmonic’s Principal Viola (The Mr. and Mrs. Frederick P. Rose Chair). Her solo appearances with the Orchestra have included performances on the 2006 Tour of Italy, sponsored by Generali, and the 1999 premiere of Sofia Gubaidulina’s Two Paths, which the Orchestra commissioned for her and Philharmonic Associate Principal Viola Rebecca Young. Other solo engagements have included the Minnesota Orchestra, San Diego ...
“I spent four years looking for my viola. It has a very dark, throaty sound, which is what I’ve always liked. It’s quite big and very temperamental. I have to baby it!”
Anna Rabinova
Violinist Anna Rabinova performs nationally and internationally as a soloist, chamber and orchestral musician, and recording artist. She joined the New York Philharmonic in 1994, two years after arriving in the United States from her native Russia; in the 2008–09 season she was a soloist with the Orchestra in Bach’s Brandenburg Concerto No. 5, led by Lorin Maazel.
Ms. Rabinova has toured Germany, Italy, the former Yugoslavia, Hungary, ...
“Playing music reveals who I am without the need of the spoken word.”
Erik Ralske,
Acting Associate Principal
Erik Ralske joined the New York Philharmonic as third horn in September 1993 after eleven years of experience in principal positions in five different North American orchestras. These include six years as Associate Principal Horn with the Houston Symphony Orchestra, three years as Principal Horn with the Vancouver Symphony, and one season each as Principal Horn in the Florida Symphony and Tulsa Philharmonic orchestras. A native of Long Island, he ...
“I knew that I wanted to be a professional musician in high school, after playing with an orchestra for the first time. I also realized I had more talent for music than for ice hockey, my other great passion.”
Daniel Reed
Praised by the late Leonard Rose as “a brilliant violinist with complete technical control, beautiful tone qualities and a sensitive, intelligent musician,” New York Philharmonic violinist Daniel Reed made his solo debut at the age of nine with the Queens Symphony Orchestra.
A native of Syosset, Long Island, Mr. Reed began his studies with Margaret Pardee, then went on to both the Juilliard pre-college and college divisions, where he worked ...
“If I weren’t a musician I would be an engineer — anything mathematical or scientific. I love physics, cosmology, mathematics, and technology.”
Dorian Rence
Violist Dorian Rence is a graduate of The Curtis Institute of Music in Philadelphia, where she studied with Max Aronoff and Joseph De Pasquale. At the completion of her studies, in 1976, she joined the New York Philharmonic. She has been a participant at the Marlboro, Arcady, and Marland music festivals. Ms. Rence has performed extensively as a chamber musician, playing regularly with the Philharmonic Ensembles and the Hofstra Quartet. She has appeared ...
“When I was in the first grade, we had a rhythm orchestra and I was the conductor. My conducting post was supposed to be an honor, but what I really wanted to do was play the tambourine!”
Charles Rex,
The Shirley Bacot Shamel Chair
Markus Rhoten,
Principal, The Carlos Moseley Chair
Markus Rhoten joined the New York Philharmonic as Principal Timpani in September 2006. Prior to this appointment he was the principal timpanist of the Berlin Symphony Orchestra, led by Eliahu Inbal.
Born in 1978 in Hanover, Germany, Mr. Rhoten attended the College of Arts in Berlin, and continued his studies as an apprentice with the National Opera Orchestra Mannheim. Subsequently, he was awarded a stipend for the Academy of the Bavarian ...
“I began studying percussion at age six. My dad took me to the opera house and sat me in the pit between the two timpanists. I fell in love with both the timpani and Stravinsky’s 'Rite of Spring'.”
Robert Rinehart,
The Mr. & Mrs. G. Chris Andersen Chair
Robert Rinehart, who joined the New York Philharmonic’s viola section in 1992, is a familiar figure on the New York chamber-music scene. He has appeared at the Spoleto, Vancouver Chamber Music, and Santa Fe Chamber Music festivals, and with Chamber Music Northwest and The Chamber Music Society of Lincoln Center. A founding member of the Ridge String Quartet, Mr. Rinehart has performed in every major music center in the United States, as well as in ...
“My parents wanted me to be a physician. Unfortunately for them I was obsessed with music.”
Lawrence Rock,
Audio Director
Lawrence Rock has been Audio Director of the New York Philharmonic since 1997, overseeing all audio activities including recording, broadcasting, and live sound. His recent projects include producing New York Philharmonic and Lorin Maazel: The Complete Mahler Symphonies, Live; Deutsche Grammophon’s New York Philharmonic DG Concerts downloads; and a Deutsche Grammophon recording of music by Richard Strauss, performed by the Philharmonic. He ...
“You need to have an aesthetic point of view to use technology to make a recording of music. It amounts to bottling the magic — capturing the essence of the performances in a sonically balanced representation of the orchestra.”
Carl R. Schiebler,
Orchestra Personnel Manager
Carl R. Schiebler has been the New York Philharmonic’s Orchestra Personnel Manager since 1986. Mr. Schiebler was educated at the University of Wisconsin, Madison, and at the United States Naval School of Music. He performed as a horn player in the 7th Army Symphony Orchestra before becoming second hornist of the Saint. Louis Symphony Orchestra in 1962. He combined the duties of this position with that of the symphony’s Personnel Manager from 1977 ...
Mark Schmoockler
Violinist Mark Schmoockler was born in Tbilisi, Georgia (former U.S.S.R.), and spent a year in Israel before coming to the United States in 1973. Mr. Schmoockler began studying the violin with his father at age five. He attended the Central Music High School in Tbilisi and received his diploma and graduate school certificate from the Moscow Conservatory of Music. Before joining the New York Philharmonic, Mr. Schmoockler played in the Moscow Conservatory ...
Renée Siebert
Renée Siebert has been a member of the New York Philharmonic flute section since 1974, and has performed as a soloist with the Orchestra on several occasions. She has appeared with The Chamber Music Society of Lincoln Center, Orpheus Chamber Orchestra, and Bargemusic. During the 1999–2000 season she performed with André Previn and Renée Fleming on the Great Performers series at Lincoln Center and at the New Jersey Performing Arts Center. In addition, ...
“The flute provided me with a deep form of expression — almost like a second voice.”
Fiona Simon
Violinist Fiona Simon, a member of the Orchestra since 1985, made her Philharmonic solo debut in November 1989, performing Vivaldi’s Concerto for Three Violins. Ms. Simon began her career in her native England, where she studied with Szymon Goldberg and won major prizes in the Carl Flesch and Jacques Thibaud competitions. For three consecutive years, she was London’s Young Artist of the Year. She has performed with the Academy of St. Martin-in-the-Fields, ...
“My family was friendly with that of the late cellist, Jacqueline du Pré. Sometimes she would stay with us on weekends, and my elder brother and I would observe her practicing. My brother then decided he wanted to play the cello, and so did I.”
Philip Smith,
Principal, The Paula Levin Chair
Philip Smith joined the New York Philharmonic as Co-Principal Trumpet in 1978, becoming Principal Trumpet (The Paula Levin Chair) in 1988. His early training was provided at The Salvation Army and by his father, Derek Smith. He is a graduate of The Juilliard School; while still a student he was appointed to the Chicago Symphony Orchestra. Mr. Smith appears regularly as soloist, recitalist, chamber performer, clinician, and recording artist. He has ...
“I love the creativeness and expressiveness of being a musician. It allows me to lose myself in someplace special. I was very shy as a kid so it was a comfortable place where I could dream and achieve.”
Thomas V. Smith
A native of Detroit, Michigan, Thomas Smith came to the Philharmonic as fourth trumpet in September 1998. A graduate of Interlochen Arts Academy and the New England Conservatory, where he received a bachelor's degree with distinction in 1981, he came to the Philharmonic from Boston, where he was a freelance musician, playing regularly with the Boston Symphony, the Boston Pops and the Boston Pops Esplanade Orchestra. He also performed with Sara Caldwell's ...
“In junior high school I heard a concert by the Interlochen Arts Academy Wind Ensemble and my jaw dropped to the floor. I was bitten by the bug.”
R. Allen Spanjer
R. Allen Spanjer joined the Philharmonic as Second Horn in February 1993. He appeared with the Orchestra as a featured soloist in performances of Schumann’s Konzertstück for Four Horns in 1995, 2001, and 2007, as well as on the Philharmonic’s 1996 European Festivals Tour and 2001 Latin American Tour. He was also featured in 1996 in Vivaldi’s Concerto for Two Horns with Principal Horn Philip Myers. Prior to joining the Philharmonic Mr. Spanjer ...
“Our section is very close, and we have known each other for many years. To be a part of such a great section is fantastic, and it’s great getting paid to do what you love to do.”
Thomas Stacy,
The Joan and Joel Smilow Chair
Thomas Stacy has been hailed as “the Heifetz of the English horn” by The New York Times, and was called “a poet among craftsmen” by Leonard Bernstein. He has appeared as guest soloist with major orchestras including the National Symphony, the Minnesota Orchestra, the Louisville Symphony, the Rochester Philharmonic, the Indianapolis Symphony, the Spokane Symphony, and the Oregon Symphony. Additionally he has appeared in more than 70 solo performances ...
“The best thing about playing in the New York Philharmonic is the music. I have the best seat in the house for surround-sound, listening to the world’s greatest music performed by the world’s greatest orchestra.”
Sheryl Staples,
Principal Associate Concertmaster, The Elizabeth G. Beinecke Chair
Violinist Sheryl Staples joined the New York Philharmonic as Principal Associate Concertmaster (The Elizabeth G. Beinecke Chair) in 1998, and made her solo debut with the Orchestra in 1999. Previously she was the associate concertmaster of The Cleveland Orchestra and concertmaster of the Pacific Symphony and Santa Barbara Chamber orchestras. She has appeared as soloist with more than 40 orchestras, including The Cleveland Orchestra and Los Angeles ...
“I began playing the violin at age five. I was enchanted by a tiny violin that had belonged to my aunt as a young girl. The strings and bow hair were broken, but I really wanted to play; my parents fixed it up for me.”
Na Sun
Violinist Na Sun joined the New York Philharmonic in June 2006. A native of China, she began playing the violin at age seven, and at nine, was accepted into the Central Conservatory of Music in Beijing. After attending the conservatory’s elementary, middle, and high schools, she received her bachelor of arts degree there with highest honors, studying with Yao-ji Lin, and was the winner of the conservatory violin competition. She received her artist ...
“I came to the U.S. in 2003 when I was 23. Being accepted into the Philharmonic was a life-changing moment for me.”
Sherry Sylar,
Associate Principal
Associate Principal Oboe Sherry Sylar joined the New York Philharmonic in 1984. Previously she performed with the Louisville Orchestra and taught at the University of Evansville in Indiana. Her most recent solo performance with the Philharmonic was in J.S. Bach’s Concerto for Oboe and Violin in March 2005. In 2001 the Boston Symphony Orchestra invited her to perform solo principal oboe in tour performances led by Bernard Haitink, which concluded ...
“In junior high school I joined the band and started playing the flute. There were lots of flutes and fewer oboes. The oboe spoke to me.”
Yoko Takebe
Violinist Yoko Takebe joined the New York Philharmonic in 1979. A former member of the Philadelphia Orchestra, her early training in Tokyo included music and traditional Japanese dance. While ...
“In 2001 our son, Alan Gilbert, made his conducting debut with the Philharmonic. It was really exciting to see his picture on the cover of the program book. And the first time he walked on stage for the concerts was quite special for me.”
Lawrence Tarlow,
Principal
Principal Librarian Lawrence
Tarlow got his start when, as a tubist in
the Roslyn (Long Island) High School
Band, he streamlined the system for
handing out music at rehearsals.
He attended ...
“Being an orchestral librarian fits my personality — I love process, esoterica, and trivia.”
Kent Tritle
Kent Tritle has performed as organist with the New York Philharmonic since 1994. In that time he has recorded Brahms’s Ein deutsches Requiem, Britten’s War Requiem, and Henze’s Symphony No.9, all conducted by Kurt Masur, as well as the Grammy-nominated Sweeney Todd conducted by Andrew Litton. He has recorded more than a dozen CDs, and is featured on the Cala label’s “New York Legends” series with New York Philharmonic English ...
“I grew up thinking I would be a veterinarian with a pipe organ in my horse barn — an ideal combination.”
Vladimir Tsypin
Vladimir Tsypin was born in the Soviet Union and was a top prizewinner there in three major competitions among five Soviet Republics, including the Tchaikovsky National Competition in 1972. He graduated from the Latvian State Conservatory in Riga. After emigrating to the United States, Mr. Tsypin made his Carnegie Recital Hall debut in 1979.
As concertmaster and soloist with the Camerata of Los Angeles, he toured the United States, Europe, ...
“Being a musician is a way of life. When I come home from the Philharmonic I’m still a musician, always working on other musical projects.”
Qiang Tu,
The Shirley and Jon Brodsky Foundation Chair
Since arriving in the United States in 1987, Chinese-born Qiang Tu has established himself as a multifaceted artist much in demand. He won the San Angelo, Texas, Symphony Young Artist Competition in 1987, and the Grand Prize in the Downey Symphony Young Artist Competition of Los Angeles the following year. In 1994, he served as Principal Cellist of the Princeton Chamber Symphony. Mr. Tu joined the New York Philharmonic in November 1995.
After ...
“If you have a fresh mind every day and look forward to something cheerful and happy, every day is a fresh day for making music.”
Howard Wall
Howard Wall, a native of Pittsburgh, joined the horn section of the New York Philharmonic in March 1994. Previously, he was a member of The Philadelphia Orchestra for nearly 20 years. He is also a former member of both the Phoenix Symphony and the Denver Symphony Orchestra. He has appeared as soloist with the New York Philharmonic in Schumann’s Konzertstück for Four Horns in New York as well as in Europe and South America, and can be heard on the ...
“Playing the horn doesn’t feel like work, and the people in the horn section are all my friends; I look forward to seeing them and working with them every day.”
Liang Wang,
Principal, The Alice Tully Chair
Liang Wang joined the Philharmonic as Principal Oboe in September 2006; in February 2008 he performed Richard Strauss’s Oboe Concerto with the Orchestra in Hong Kong. Previously he was principal oboe of the Cincinnati Symphony Orchestra, Santa Fe Opera, and San Francisco Ballet Orchestra, and was guest principal oboe at the Chicago and San Francisco Symphony Orchestras. Born in Qing Dao, China, he studied at the Beijing Central Conservatory and ...
“The most difficult aspect of the oboe is the process of making reeds. They’re so temperamental. The tip of the reed is thinner than a hair. You try to rely on it for your daily playing level; it’s like walking on thin ice.”
Carol Webb
Carol Webb joined the New York Philharmonic in 1977. She had just graduated from Juilliard three years earlier, and it was her first orchestral audition. At Juilliard she studied violin with Ivan Galamian and Margaret Pardee. Ms. Webb, a Louisville, Kentucky, native, began music studies on the piano at age five but so desired the violin that she switched to it exclusively at eight, studying with Ruth French. It was only one year later that she made ...
Harriet Wingreen
Harriet Wingreen a native New Yorker, received her early musical training at the Third Street Music School Settlement and subsequently studied on fellowships at The Juilliard Graduate School. In her freelance days, she was in great demand as pianist for various opera societies, modern dance groups, professional choruses, and radio and TV studio recordings. As a member of the New York Chamber Soloists and the Lyric Trio, Ms. Wingreen toured extensively ...
“I remember watching the upright piano that my grandmother had sent down from the Bronx come through the window of our upstairs room. I later pounded on it, imagining that I was playing gorgeous music.”
Sharon Yamada
Sharon Yamada, a member of the New York Philharmonic since 1988, has performed extensively on both the East and West Coasts. She performs regularly with the New York Philharmonic Ensembles at Merkin Hall, and has appeared with the New Jersey Chamber Music Society. Ms. Yamada has performed frequently in the summer at the Grand Teton Music Festival. Other summer activities have included the Aspen, Norfolk, and Chigiana (Siena, Italy) music festivals. ...
“When I got to college, I felt so excited about exploring other things. I decided to take an introduction to architecture, and fell in love with the field. But, somehow, I kept coming back to the violin. I guess my first love won out.”
Ru-Pei Yeh
Cellist Ru-Pei Yeh, who joined the New York Philharmonic in September 2006, has performed regularly as a recitalist in her native Taiwan and in the U.S. A founding member of the Formosa Quartet, formed in 2003, she has served as acting principal cello of the San Diego Symphony and the San Diego Opera, in addition to performing with a string quartet of principal players from the San Diego Symphony. She has made solo appearances with the Hudson Valley ...
“I like to attend concerts. That’s one way I get inspired. I also like to read chamber music with many people to get new ideas.”
Rebecca Young,
Associate Principal
Violist Rebecca Young joined the Philharmonic in 1986 as its youngest member and in 1991 was named the Orchestra’s Associate Principal Viola. After serving as principal of the Boston Symphony Orchestra in 1992–93, she resumed her Philharmonic Associate Principal position in 1994. She has performed chamber music with groups such as the Boston Chamber Music Society, Boston Symphony Chamber Players, and Chamber Music Society of Lincoln Center, and ...
“I always knew that I wanted to be a professional musician — largely due to the Young People’s Concerts. I wanted to be in the New York Philharmonic.”
Wei Yu
A member of the New York Philharmonic cello section beginning September 2007, Wei Yu has appeared regularly as a substitute cellist with the New York Philharmonic and The Cleveland Orchestra. Most recently, he was invited to join the Israel Philharmonic Orchestra’s USA 70th Anniversary tour led by Zubin Mehta and Lorin Maazel. He has participated in open master classes conducted by pianist Leon Fleisher, violist Kim Kashkashian, and cellists Lynn ...
“When I was four, Yo-Yo Ma came to China to perform with the Shanghai Symphony. I attended the concert and saw it televised. I was fascinated by the cello’s beautiful sound and the charismatic performer. I wanted to climb into the TV and join them!”
Elizabeth Zeltser,
The William and Elfriede Ulrich Chair
Violinist Elizabeth Zeltser joined the New York Philharmonic at the start of the 2003–04 season. Born in New York City into a family of Russian musicians, Ms. Zeltser began her violin studies at age three, and made her New York debut at age five with the Mannes College of Music Orchestra, performing Vivaldi’s Violin Concerto under the baton of Felix Kruglikov. At five, she also appeared on Israeli television with her father, Mark Zeltser, a renowned ...
“Before a concert I like to swim 70 laps. It’s relaxing and great mental preparation.”
Yulia Ziskel
Yulia Ziskel joined the New York Philharmonic in September 2001, and is active as a solo, chamber, and orchestral musician in the United States and around the world. She made her solo recital debut at Weill Recital Hall at Carnegie Hall in March 2002, and has been praised by The Strad magazine for “…the sweetness of her sound.”
Ms. Ziskel’s most recent appearances include critically-acclaimed chamber music performances at the ...
“The North Korean performance was an unforgettable experience. Seeing the audience’s faces transform as we played brought tears to my eyes.”
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