|
Home | Email diane.saldick(at)verizon.net 
HiRes photos are 300dpi JPG.
For Windows Users: Right-click on text link and "Save Target As..."
For Mac Users: Right-click on text link and "Save Link As..."
|
|
Email for more information
Tel/Fax 212/ 213-3430
225 East 36th Street New York, New York 10016
Virtuoso trumpeter Ryan Anthony is most notably known for his varied career as soloist, educator, chamber musician and orchestral player. Having departed the world-renowned brass ensemble Canadian Brass in 2003, Anthony quickly became one of the most sought after trumpet players in America.
While Mr. Anthony’s technical skills are well known, his ability to combine that with an innate musicality and a profound connection with audiences is what sets him apart as a performer. Anthony continues to win over audiences and critics with his charismatic performances and artistic finesse. Reviews have said “In his hands, the horn gets beyond the stereotype to become a mouthpiece for the composer’s voice and performer’s personality” (Memphis Commercial Appeal) and “There must be other trumpet players in this world as fine as Ryan Anthony, but you’d never think so while listening to him play” (Fanfare Magazine).
Highlights from Season 2010-2011 include Bach’s Brandenburg Concerto No. 2 with St. Louis Symphony Orchestra, premiere recording of Lowell Liebermann’s Trumpet Concerto with Dayton Philharmonic Orchestra, Artist in Residence for Arizona Music Fest, Shostakovich Piano Concerto No. 1 for Trumpet and Strings with the Dallas Symphony Orchestra and recording ‘Live 2010’ with the All-Star Brass Quintet, reuniting with former Canadian Brass colleague and trumpeter Jens Lindemann. Season 2011-2012 will include a repeat visit with the Pensacola Symphony for its annual New Year’s Eve Gala, All-Star Brass recording ‘Live 2011’, premiere recording with Dallas Symphony Orchestra Brass Quintet and numerous appearances with ‘Anthony & Beard’, a show that expands the repertoire for trumpet and organ.
Ryan Anthony’s solo career started as a 16-year-old prodigy when he won the highly publicized Seventeen Magazine/General Motors Concerto Competition – the second person ever to win the Grand Prize after Joshua Bell. Subsequent teenage appearances included the Cleveland Orchestra, Detroit Symphony, Kennedy Center and State Department, Washington D.C., as well as a feature on WQXR radio New York City. Since then he has appeared as soloist with over 30 ensembles including the Dallas, St. Louis, Springfield, Dayton, Winston-Salem Symphonies, IRIS, Wisconsin, Portland Chamber Orchestras and the Pershing’s Own Army Band, Washington D.C.. Summer festivals with solo engagements include New Hampshire Music Festival, Eastern Music Festival, Piccolo Spoleto Festival, Sewanee Music Festival, Blast of Brass and international Pan-Pacific Music Festival, Sydney, Australia, Affinis Music Festival, Hiroshima, Japan, and Banff Music Festival, Alberta, Canada.
Mr. Anthony is currently Principal Trumpet with the Dallas Symphony Orchestra and since 2004 has also appeared as principal trumpet for the Los Angeles Philharmonic, Cincinnati Symphony Orchestra, St. Louis Symphony Orchestra, Colorado Symphony and played in the sections of New York Philharmonic, Cleveland Orchestra and Israel Philharmonic.
As an educator he was Assistant Professor of Trumpet at Oberlin College Conservatory of Music prior to joining the Canadian Brass in 2000 and served as Artist/Faculty at North Carolina School of the Arts during 2004-2005. His master classes have spanned the globe to include leading conservatories in Europe, Asia, and North America. He is currently a Yamaha artist and has edited and recorded both the Haydn and Hummel Trumpet Concertos for Hal Leonard Publishing. A graduate of the Cleveland Institute of Music, Ryan Anthony received the school’s Alumni Achievement Award in 2001.
From boisterous trumpet fanfares to brooding Russian phrases, the Wisconsin Chamber Orchestra presented an evening of contrasts.
For its Friday night performance in the Capitol Theater, the WCO welcomed back trumpeter Ryan Anthony, principal trumpeter of the Dallas Symphony Orchestra, who last performed with the group in 2008. Anthony opened the concert playing the Concerto “St. Marc” (1712) by Tomaso Albinoni on piccolo trumpet, pitched an octave above the more common B-flat instrument.
Anthony’s a playful performer, energetic on a tickling allegro and lyrical on the andante, which sounded like an aria. The concerto was originally written for strings with a solo violin and was later adapted for the trumpet.
And though the tiny piccolo can’t be easy to play (Anthony compared the challenge to “blowing through a coffee straw” as opposed to a regular one), from the smooth opening to a flurry of finger work at the end, Anthony sparkled.
In Joseph Haydn’s 1796 Concerto for Trumpet and Orchestra, the composer was trying to make a point: This new “keyed” trumpet can sing like a soprano. Anthony’s performance on an E-flat trumpet featured a fair amount of fireworks, fast tonguing and soaring high notes, but the lyric melodies were where he shone, notably in the songlike andante in this work.
In the opening allegro, Anthony traded fanfares with the brass and licks with the strings, as though creating a place for this “new” solo instrument. In an exciting cadenza at the close of the allegro, Anthony shaped each phrase carefully. These more virtuosic sections fit so well with the singing melody, it sounded effortless.
The Wisconsin Chamber Orchestra has featured more than its fair share of outstanding soloists this season but Friday night's performance by trumpeter Ryan Anthony may rank as the season's favorite.
Even more than the love lauded on flutist Sir James Galway? Yeah … probably. Galway is a world-famed artist and Anthony isn't so well-known. But he left his audience wanting to hear a lot more.
What Anthony does is to make his trumpets (he used two Friday night) fit into the chamber; his piccolo trumpet could virtually be a stringed instrument the way he plays it. A trumpet is, obviously, a "brass" instrument; but Anthony's music doesn't sound brassy. He began the evening playing Tomaso Albinoni's "Concerto St. Marc," a set of five sonatas that made full use of the piccolo trumpet and full use of Anthony's infectious personality. He crouches and, then, almost leaps in time with the music. His eyebrows appear to be playing their own accompaniment.
The same phenomena were evident in Anthony's second piece, Haydn's "Trumpet Concerto." He had a bigger trumpet and a bigger sound but what was most evident was that he seemed to be having the time of his life, grinning as he listened to the orchestra and prepared to play his solos and almost bouncing as he raised his trumpet to his lips. He might just as well have been playing a jam session with friends.
On Sunday, the [San Juan] symphony, under the direction of Maestro Arthur Post, and soloist Ryan Anthony brought the house down. In a Gershwin Valentine, the orchestra played one memorable piece after another. "American in Paris," "Crazy for You Overture," "Shenandoah" and "All You Need is Love," the Lennon/McCartney ode to amour, were just a few of the highlights.
The surprises were as superb as the expected works. Anthony, a member of the Canadian Brass and acting trumpet principal with the Dallas Symphony, owned "Rhapsody in Blue," where his instrument made the more familiar piano version seem a tad tame. Suzy DiSanto and Brian Holloway with the 3rd Avenue Dance Co. performed a stylized dance to "My Funny Valentine" to add glamour and movement.
I'm not generally much of a trumpet fan. But I can safely say that this is probably the only time I'll be able to write about a trumpet being sexy, poignant, lyrical and downright fun. And Anthony made the instrument heartbreakingly romantic in "My Heart Will Go On." (Take that, Celine Dion.) His Valentine's gift of an encore - "Someone To Watch Over Me" - sent a lot of couples home with love in the air.
He was mobbed at the after-party as everyone wanted to thank him for a fabulous afternoon of music.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -Anyone who thinks classical music can be a bit stodgy would have changed his or her mind after the San Juan Symphony's performance Saturday night at the Community Concert Hall at Fort Lewis College.
It was the final of three concerts this season, where the theme has been "Passport to Sensations and Destinations."
The guest soloist was trumpeter Ryan Anthony. I have to admit I'm not generally a big fan of the trumpet. The brass instrument is generally, well, a little too brassy for me. But Anthony was a revelation. The fluidity and tone of his trumpet ranged from the triumphant to the poignant on Armenian composer Arutunian's Trumpet Concerto.
Durango can tend to be a little too generous with standing ovations. But the audience leapt to its feet for Anthony, and he deserved every minute of the applause.
And I have never seen a musician have so much fun on stage. Anthony had a big grin on his face as he listened to the orchestra and clearly loved every note he played. He also shone on Tchaikovsky's "Neapolitan Dance" from "Swan Lake."
The concert ended with two pieces. The first was Griffes' "The Pleasure Dome of Kubla Khan," a new piece for me, but one I will want to hear again. The excerpts of Khachaturian's ballet "Spartacus and Phrygia" provided both drama and romance in a finale that left the audience rushing to book a trip to Istanbul.
SPRINGFIELD - Ryan Anthony and his trumpet brought a Symphony Hall audience of 1,859 to its feet Saturday evening, to applaud his ebullient account of the Hummel Trumpet Concerto with Maestro Kevin Rhodes and the Springfield Symphony Orchestra.
Anthony, former trumpeter and frequent guest artist with the Canadian Brass, and current acting principal trumpet with the Dallas Symphony, dazzled the Symphony Hall crowd with his beaming smile, easy manner, spotless technique, and top-drawer musicianship.
Many might dismiss the value of charisma in such a serious field as classical music performance, but from the moment Anthony walked onto the stage, we knew we were in for some fun, and he delivered the goods, from the first arpeggio to the final fusillades of triple-tonguing, and directed the echoes of repeated roulades to every quarter of the audience.
That kind of facility coupled with the natural stage-presence Anthony began developing from youthful solo performances in front of his father's band is a winning combination in any musical genre, but particularly valuable in symphonic music, where the guest artist often appears to be in another sphere of rarefied concentration.
Bringing to bear steely brilliance in Hummel's fanfares and buttery legato in his forthright tunes, Anthony also played like a chamber musician, dipping the bell of his trumpet toward the first violins when sharing a melodic figure with them, and exhibiting enthusiastic, almost dance-like engagement in the orchestral passages.
Rhodes and the orchestra proved eager and energetic partners in the Hummel, and they made their own appreciation of Anthony's talent visibly apparent as he returned to the stage for two solo bows.
Scores by Ravel, Mozart, and Haydn surrounded the Hummel with music of similar elegance and luminosity.
Ravel's "Le Tombeau de Couperin" opened the concert and provided a showcase for the orchestra's new principal oboist, Alexandra Knoll, who delivered her solos in the Prelude, Forlane, Menuet and Rigaudon with understated elegance and vivacious intensity.
The entire SSO woodwind section was in top form, with delicious solo efforts turned in by principal flutist Albert Brouwer and principal clarinetist Michael Sussman as well as chocolatey tones from Stella Amar's English horn.
As a foil for the ephemeral, meringue-light qualities of the Ravel, the weighty introduction and pervasive, pulsing syncopations of Mozart's "Prague" Symphony worked well.
Rhodes and his colleagues dealt thoughtfully with the composer's singular treatment of the major and minor modes, giving careful consideration to balance and color in this Janus-faced aspect of Mozart's classical style, and exhibiting a thorough understanding (and apparent enjoyment, judging by the smiles in the string section) of his high-classical 18th-century phrasing and syntax.
The "Andante" never quite settled into a rhythmic serenity, but sang with sincere good-heartedness nevertheless, and the "Presto" finale presented Mozart at his most frantic and fun-loving in a game of melodic chase teetering on the edge of playability.
Continuing on the topic of fast music, Rhodes took Haydn at his word in both the Menuetto and Finale of that composer's Symphony No. 94 in G Major, faithfully attaining an "Allegro molto" tempo in both movements and skating briskly over musical witticisms that might have spoken more clearly with a little more inflection.
It was reassuring to realize that the sudden loud second movement "Surprise" that earned this symphony its nickname can still rustle up a chuckle from a 21st century audience.
The high caliber of winds and brass, the understanding of tone and stylistic flexibility in its string section, timpanist Martin Kluger's perfect choice of mallets to effect the 18th-century bite of the kettledrum, and the musical instincts and joyous energy of the Maestro turned Saturday's streamlined SSO into one of the nimblest, truest classical orchestras you're likely to hear outside of Mostly Mozart.
Previously Performed Repertoire with Symphony Orchestras
Baroque
Tomaso Albinoni – Concerto ‘St. Marc’ in Bb Major
Tomaso Albinoni – Concerto in Bb Major
Johann Sebastion Bach – Brandenburg Concerto No. 2
Giuseppe Tartini – Concerto in D Major
Georg Philipp Telemann – Concerto in D Major
Antonio Vivaldi – Concerto in Ab Major
Antonio Vivaldi – Concerto in Bb Major
Classical
Vincenzo Bellini – Concerto in Eb Major
Joseph Haydn – Concerto in Eb Major
Johann Nepomuk Hummel – Concerto in Eb Major
Johann Baptist Neruda – Concerto in Eb Major
20th and 21st Century Composers
Alexander Arutunian – Concerto for Trumpet and Orchestra
Donald Erb – Concerto for Trumpet and Orchestra
Stanley Friedman – Classical Concerto
George Gershwin/arr. Dokshitzer – Rhapsody in Blue for Trumpet and Orchestra
Dmitri Shostakovich – Concerto for Piano, Trumpet and Strings
Lowell Liebermann – Concerto for Trumpet and Orchestra
Ellen Taaffe Zwilich – Concerto for Trumpet and Five Players
Pops Repertoire Highlights - Full programs available on request
Trumpet Voluntary – Henry Purcell/arr. Chris Nemec
Penny Lane – Paul McCartney & John Lennon /arr. Chris Dedrick
Aria: Queen of the Night – Wolfgang Amadeus Mozart
Gershwin Medley – arr. Paul Ferguson
Echoes of Harlem and Sophisticated Lady – Duke Ellington/arr. Luther Henderson
La Virgen de la Macarena “Bullfighter’s Song” – Traditional
Carnival of Venice – variations by Clarke, Arban & Steigers /orch. Chris Nemec
Born on the 4th of July – John Williams
