Photography by Rae Overman.
In its 120 year-run, the Dallas Symphony Orchestra (DSO) has become the largest performing arts organization in the southwestern region of the United States, earning national recognition and praise. The holiday season brings with it a rigorous fury of programming for the organization that includes pieces with over 100 musicians on the stage at once. There are 93 full-time musicians that are a part of the Dallas Symphony Orchestra this season — five of whom are our neighbors.
Let’s get to know them.
Haley Hoops, Second Horn – Lakewood
Did you always know you wanted to be a musician?
I didn’t always want to be a musician. I wanted to be an architect. However, when I tried to quit the horn, I was super depressed, like a part of me was taken away. So, I went back to playing and was happy again.
What music or artists inspire you?
I love Bonnie Raitt, and my mom inspired me to use music as a way to relax. I get inspired by any kind of good music. I also love movie music.
Willa Henigman, Associate Principal Oboe – East Dallas
What about the oboe intrigued you?
I chose the oboe for its sound after hearing an oboe/flute duet performing on the street in New York City. I love the vocal, penetrating quality of the oboe and its great variety of tonal colors.
What made you choose to become a musician?
I never thought about becoming a professional musician; music was just part of my life growing up. My dad was a pianist and composer who made his living as an X-ray technician. He played piano every day after work, and our family often listened to classical music (long plays) during dinner. Dad taught all of us piano, and my siblings also played violin, guitar, harmonica … but I was always drawn to the wind instruments. I played recorder in third grade and clarinet in fourth because my school band didn’t start students in the ‘difficult’ instruments – like oboe, bassoon or French horn – until later. I switched to oboe as soon as I could, when I was 10 years old.
What other kinds of creative mediums do you look to for inspiration?
I enjoy reading poetry and going to theater and dance performances. All of these art forms exhibit the rhythmic balance and beauty of expression I look for in music.
Maria Schleuning, Violin – Forest Hills
Are you from Dallas?
I grew up in Oregon and moved here in 1994 after receiving my master’s degree at Juilliard and winning a position in the DSO. I met my husband in the orchestra (he was the former principal trumpet) and he had been a resident of Forest Hills for 34 years. I loved the area because of all the beautiful trees and its proximity to the lake. We were married in 2003 and I have lived in Forest Hills ever since.
Why did you choose the violin?
I was originally drawn to it because I was the youngest of three girls and both of my sisters were playing instruments, so I wanted to play something too. I loved it right away, and I especially like that in the orchestra the first violins most often have the melody and get to play in the higher range of sound.
Did you always want to be a musician?
I knew that I wanted to be a professional musician by the time I was in high school. I spent several summers at music camps/festivals with other talented students my age from around the country and world. I so loved getting to play with them and meeting people from different places. I was also active in my youth orchestra in Portland, Oregon, and had the opportunity to travel both nationally and internationally with them. It made me understand what a universal language music is.
Brent Ross, Oboe – Lakewood
How did you come to choose the oboe?
I was drawn to the sound of the oboe in an early music appreciation class when a recording of “Peter and the Wolf” by Prokofiev was played for the class. I was drawn to the sound of the duck, who is portrayed by the oboe in that piece. It’s ironic, because I’ve spent the rest of my career here at the DSO trying to sound beautiful, not duck-like. No one else wanted to play the oboe in the fifth grade band, so I think I was up for the challenge of a more exotic instrument. I always knew I wanted to be a professional musician. I loved being a part of the Cleveland Youth Orchestra throughout my high school years. It really prepped me for going to a music conservatory later on. But I also enjoyed playing guitar and drums in a few pop-punk and ska bands as a teenager.
What advice do you have for aspiring musicians?
I think music can be both serious and fun. Young people who are interested in becoming musicians should strive to find the best private teacher available to them, listen to many different recordings of the music they love and also practice how they listen. A quiet place, free of distraction, is also essential; oftentimes practice is as gratifying as performing.
Tom Fleming, Second Bassoon – Hollywood Hills
How did you choose the bassoon?
The bassoon kind of chose me. I was a very enthusiastic beginner band student who wanted to play every instrument. As it turned out, I was the only one who raised my hand for the bassoon that day. Luckily, it was a very good match and we were inseparable almost immediately. I don’t come from a particularly musical family, but I knew by the 10th grade that I couldn’t imagine doing anything else. My family was incredibly supportive of this dream which made it all the more possible.
What are your favorite things to do in our neighborhood?
Kayaking and cycling at White Rock have been among my favorite things to do here.
What is something people may not know about the music industry?
The music business is incredibly competitive. I spent many years as a freelancer playing with great groups, but struggling to really make ends meet. I encourage all of my students who want to pursue a music degree to simultaneously develop other marketable skills.
How would you describe your experience working in this field so far?
I’ve had a unique career in that I’ve been able to perform with major orchestras across the globe, including spending over a year in Asia. The variety of these quality experiences have helped me develop a unique ability to quickly adapt to different playing styles. As a second bassoonist, that skill is critical.
