Daniel Reed, Violin

The New York Philharmonic

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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 with master teacher Ivan Galamian and received his bachelor’s degree. He has appeared as soloist with the symphony orchestras of Queens, Buffalo, and Long Island — where he also served as concertmaster — as well as with the Young Artists Chamber Symphony, the San Francisco Ballet Orchestra and the Brooklyn Philharmonia.

Mr. Reed has participated in the New York Philharmonic Ensembles since 1984, and has worked with the Eliot Feld Ballet, Eric Hawkins Dance Company, Speculum Musicae, and Prospective Encounters with Pierre Boulez. He can be heard on the Nonesuch label in works of Schoenberg, Wuorinen, Martino, and Rhodes.

Mr. Reed creates personal compositions and soundtracks for films and commercials in his home music production studio. He is also a mandolin player, who appeared as soloist with the New York Philharmonic in David Del Tredici’s Final Alice in 1977, led by Erich Leinsdorf. He spends his free time at his home in Bloomfield, New Jersey, with his wife, Bonnie, and their daughter, Jenny.

“If I weren’t a musician I would be an engineer — anything mathematical or scientific. I love physics, cosmology, mathematics, and technology.”

Q&A with Daniel Reed

THE FACTS: Born in Syosset, New York; precollege and college, The Juilliard School. Prior to the Philharmonic: founding member of new-music ensemble Speculum Musicae. At the Philharmonic: Joined April 1984. Solo debut with the Orchestra in March 1977, playing the mandolin in David Del Tredici’s Final Alice, led by Erich Leinsdorf.

WHO WERE YOUR MOST INSPIRING MUSICAL INFLUENCES? For my approach to bow technique and discipline, Ivan Galamian; for artistic integrity and dedication to excellence, Jascha Heifetz. I began the violin at five. I studied with Margaret Pardee and Ivan Galamian and got a scholarship to Juilliard’s pre-college and college divisions. I spent my summers at Galamian’s Meadowmount School of Music from age 8 to 16. My fellow students included Pinchas Zukerman, Itzhak Perlman, Kyung- Wa Chung, and Michael Rabin.

WHAT’S YOUR EARLIEST MUSICAL MEMORY? David Oistrakh playing Tartini’s Devil’s Trill at Carnegie Hall. I was about nine. It was one of the most astonishing performances I’ve ever heard. The first piece I fell in love with was Chausson’s Poème.

WHAT DO YOU ENJOY ABOUT PLAYING WITH AN ORCHESTRA? I was brought up to think that a solo career was the only possible choice. I’m happy that things turned out differently. I have developed a great appreciation for the vastly richer repertoire not afforded the exclusively solo player.

WHAT IS THE BEST THING ABOUT BEING A MUSICIAN? Being able to connect with human beings on the most fundamental level, one that bypasses the inhibitions of the conscious mind

WHAT WOULD YOU BE IF NOT A MUSICIAN? An engineer — anything mathematical or scientific. I love physics, cosmology, mathematics, and technology.

MOST MEMORABLE MOMENT WITH THE PHILHARMONIC: Playing the Adagietto from Mahler’s Fifth Symphony with Leonard Bernstein, and working with Lorin Maazel, a very satisfying work environment

MOST INSPIRING COMPOSERS: Brahms and Bach … not necessarily in that order

DO YOU PLAY IN OTHER GROUPS? Chamber music is most dear to my heart, especially the string quartet

WHAT ARE YOU LISTENING TO RIGHT NOW? The sci-fi audiobook The Three Body Problem by Cixin Liu, translated by Ken Liu

WHAT DO YOU LIKE TO DO OUTSIDE OF WORK? Spend time with my wife and daughter, and work in my home production studio

As of June 2016
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