字幕表 動画を再生する 英語字幕をプリント Hi, my name is Ethan Bensdorf, and I'm a trumpet player with the New York Philharmonic. So I started playing the trumpet when I was ten years old. I took a class at the Interlochen Arts Camp my first summer there, and it was called "Instrument Exploration," and every day we tried a different instrument, and when we got to the trumpet, it was kind of, I guess, an immediate love affair. I grew up in Chicago, just outside of Chicago, and my parents would drag me to Chicago Symphony concerts. So I grew up listening to the legendary "Bud" Herseth, who was the principal trumpet of the Chicago Symphony for 50-plus years. I remember immediately being drawn to his sound. I attended the Northwestern University School of Music. I was there at the same time as Matt Muckey, who is the Associate Principal Trumpet here in the New York Philharmonic. Who would have thought while we were in school that we would be colleagues someday. And now, with the addition of Chris Martin, he also studied with the same teachers as Matt and I. It's very cool to be in the same section with people who have the same sound concept, just the same idea of what it's like to play the trumpet. Chris just got here not too long ago, and it's been an immediate click from the beginning. The principal trumpet, it's his or her job to kind of create the mold of the sound of what the section should fit into. And the section is, the section's job to fit into the mold. I play a lot of second trumpet, and so it's my job really to make the first trumpet sound good. So it's my goal every year to kind of win the Best Supporting Actor award. I do have a cute dog. I have a five-year-old Vizsla. She's great. I take her on runs. I take her to the park. I've never been a dog person before I got her. I grew up with cats. I had a really, really fat cat. His name was Tigger, and he weighed about 40 pounds, and my uncle nicknamed him "Speed Bump," because he would just sit in the middle of the floor, and people would trip over him. Two memorable concerts come to mind; the first one is Maestro Lorin Maazel's final concert at Lincoln Center with the New York Philharmonic as Music Director. We did Mahler 8 — epic, epic symphony. Another one was when we did Mahler 2 live on TV for the ten-year anniversary of 9/11. I've never felt the energy quite like there was that night, on that concert, in the Orchestra. The emotion was so high, and we all just came together and elevated everything. Everything was on another level that I had never experienced before, and you know the context of the piece, and also the context of the event, and the fact that we are live on TV. All of these things were just like elevating the entire Orchestra, and Alan Gilbert included, the whole thing was just so memorable and so emotional.