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Toby Oft was born in the Portland, Oregon area on February 16, 1976. His was a musical family, and he began playing trombone, guided by his trombonist father Michael Oft (1946- ), at the age of 6. Toby Oft studied at the Indiana University School of Music (as it was then known), where he earned his BMus. This was followed by Northwestern University (Illinois) MMus. While in the Chicago area at University, Toby Oft was also an active freelance musician. His first professional orchestral job was as Principal trombone of the Florida West Coast Symphony (Sarasota) in September 2002. Oft was then Principal trombone of the Buffalo Philharmonic during about 2004-2006. Then, Toby Oft was named Principal trombone of the San Diego Symphony Orchestra 2006-2008. In 2008, Toby Oft won the very competitive auditions for the Boston Symphony Principal trombone chair. In Boston, Oft was one of the founders of the Boston Symphony Brass Quintet: trumpet, horn, tuba, second trumpet, trombone. Only the 12th Principal trombone of the Boston Symphony since its creation in 1881, Toby Oft continues the rich tradition of excellence of the BSO "Low Brass".

John Ferrillo was born in Massachusetts in 1955. He was raised in Bedford, Massachusetts in a musical family. Ferrillo's mother was a music teacher with a Masters degree in music education. As a youth, Ferrillo played oboe in the Greater Boston Youth Symphony. John Ferrillo then followed the footsteps of two great Boston Symphony oboe predecessors, and Genovese's predecessor, , entering the Curtis Institute of Music in Philadelphia. Ferrillo studied for 5 years at the Curtis with of the Philadelphia Orchestra, where he received his Artist’s Diploma and Artist’s Certificate in the Class of 1977. Ralph Gomberg, Alfred Genovese and John de Lancie were all pupils of the legendary oboist and teacher at the Curtis Institute. Ferrillo studied at the Blossom Music Festival with John Mack. He also participated at the Marlboro Music Festival. Upon graduation from Curtis in 1977, John Ferrillo freelanced for a year. In 1977, he also played Principal oboe with the suburban Washington D.C. Fairfax Symphony Orchestra. For six years during the late 1970s and early 1980s, John Ferrillo taught at the University of West Virginia. He was constantly working towards a major symphony orchestra position during these years. In interviews, John Ferrillo has pointed out the challenges for a beginning musician to build a career. He said that he "blew off" nine years and 21 auditions, prior to landing his first position as assistant Principal oboe of the San Francisco Symphony 54. Ferrillo in May, 1985 won the competition to become second oboe of the San Francisco Symphony to begin in the 1985-1986 season, under Herbert Blomstedt. Then, only months later, in September, 1985, Ferrillo won the Principal oboe audition for the Metropolitan Opera Orchestra. Ferrillo joined the MET for the 1986-1987 season, and remained as Principal Oboe for fifteen seasons, 1986 to 2001. At the same time as his tenure at the Metropolitan Opera, Ferrillo taught oboe at the Juilliard School. Then, in 2001, Ferrillo succeeded Alfred Genovese, Principal oboe of the Boston Symphony who had retired at the end of the 1997-1998 season. Ferrillo also began to teach at Boston University and the New England Conservatory. John Ferrillo is admired for his singing tone and phrasing, which some speculate may have been reinforced during his years at the Metropolitan Opera. John Ferrillo's colleagues observe that his way of shaping and phrasing a line of music, and his intensity bring alive the teaching of Ferrillo's great mentor John de Lancie. As such, he continues a tradition of the Boston Symphony winds, and in particular the oboe section which is not surpassed by another orchestra.

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Arthur Nikisch was born in Lébény, Hungary, located mid-way between Vienna and Budapest on October 12, 1855. Nikisch studied At the Vienna Conservatory. At the Conservatory, Nikisch studied conducting under Johann von Herbeck (1831-1877), and violin and conducting under Joseph Hellmesberger, Jr. (1855-1907). Upon leaving the Vienna Conservatory in 1878, Nikisch followed the German method of mastering conducting with a series of 'provincial' conducting responsibilities. In 1878, Nikisch became second conductor of the Stadt Theater, Leipzig (the opera), and in 1882, Nikisch advanced to Principal conductor. In 1889, Henry Lee Higginson, founder of the Boston Symphony, was searching for a successor to Wilhelm Gericke, who had decided to return to Vienna. Higginson's friend Julius Epstein of the Vienna Conservatory, just as he had recommended Gericke, now recommended Nikisch 56. Nikisch accepted and arrived in October, 1889 for the opening of the Boston 1889-1890 season. He is said to have found the BSO a better ensemble than he had expected 2. With the Boston Symphony, contemporaries noted that Nikisch conducting style was more free and romantic than Gericke's more classical approach. The Boston Symphony under all its conductors regularly toured U.S. cities, but a disagreement between the orchestra and Nikisch about such touring lead to his departure in the Spring of 1893. (It is interesting that Nikisch demurred at touring then, but later returned in 1912 to tour the eastern U.S. with the London Symphony. But the press claimed Nikisch was earning $1000 per night on this later tour 76.) On leaving Boston, 1893-1895 Nikisch became Director General of the Budapest Royal Opera.

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Since the definition of the genre "orchestral essay" is unclear, the composer hasconsiderable latitude while still claiming a connection to a musical tradition.

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Harmonically, Essay for Orchestra is an attempt to blend thelanguages of Prokofiev, Hindemith, Shostakovich, Schnittke, and in deference to the title,Barber.

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Free choir papers, essays, and research papers. The concert featured works by Felix Mendelssohn, Johannes Brahms, and Anton Arensky, just to name a few. .. Visited the church to review size, space, objects, and arrangement. :

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Erich Leinsdorf was born Erich J. Landauer in Vienna, Austria on February 4, 1912. Leinsdorf studied piano, cello and conducting at the Universität Mozarteum Salzburg, followed by the University of Vienna and the Vienna Conservatory. At the Salzburg Festival, 1934-1938, Leinsdorf was conducting assistant first to Bruno Walter and then Arturo Toscanini. Leinsdorf's ability to sight read scores at the piano, his memory, and his Italian language skills were advantages at Salzburg, and Toscanini became something of a mentor to Leinsdorf. During these years, Leinsdorf also conducted opera Italy, in Bologna, Trieste, Florence, and San Remo. In 1938, Leinsdorf left Vienna and Europe because of the rise of the Nazi influence and went to New York. At the recommendation of Lotte Lehmann to Artur Bodanzky 55, Leinsdorf joined the Metropolitan Opera in the 1938-1939 season. Beginning in the 1939-1940 season, following the death or Artur Bodanzky, Erich Leinsdorf was named principal MET conductor of the German repertory, which gave Leinsdorf's career an immediate boost during 1939-1942. Leinsdorf found the Metropolitan Opera progressively more frustrating, with the few rehearsals and the negative atmosphere of opera house politics. In 1942 in a controversial selection process in which candidates George Szell and Vladimir Golschmann were turned down 54, Erich Leinsdorf was named Music Director of the Cleveland Orchestra. Leinsdorf happily departed from the MET, but he was unlucky at Cleveland. First, in the 1942-1943 season, with the US entering World War 2, Cleveland lost 22 musicians, whom Leinsdorf needed to replace. One of Leinsdorf's hires was George Goslee, Principal bassoon, who remained with the orchestra for 44 seasons. Then, Leinsdorf himself was drafted into the U.S. Army 1943-1945, and so was not able to make his mark in Cleveland. Leinsdorf received his Army discharge in September, 1944. Meanwhile, the 1944-1945 Cleveland Orchestra season had already been programmed with guest conductors including George Szell who had very successful series of November 1944 concerts. The 1945-1946 Cleveland season became a horserace between Leinsdorf, Szell, and Vladimir Golschmann as to who would become permanent Music Director. Szell made a strong impression on Cleveland that season, and Erich Leinsdorf gradually lost our to Szell. This may have seemed the destiny of George Szell, who continued with 24 seasons of greatness with the Cleveland Orchestra. Leinsdorf then went on to the Rochester Philharmonic, where he was Music Director for eight seasons, 1947-1955. Then, after a brief period at the New York City Opera, Leinsdorf returned as a leading conductor of the Metropolitan Opera during 1957-1962.

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