Matthew Sonneborn, Principal Trumpet
Matthew Sonneborn earned a Bachelor of Music from the New England Conservatory. Matthew is the principal trumpet with the Naples Philharmonic. He has been a frequent soloist with the orchestra, performing Bach's Brandenburg Concerto No. 2, Hummel's Concerto for Trumpet, Copland's Quiet City, Leopold Mozart Concerto and the Florida premiere of James Stephenson's Concerto for Trumpet. Matthew also performs in the Pops series and with the Naples Philharmonic Brass Quintet.
During the summers, Matthew performs on occasion at the Grand Teton Music Festival, with the Baltimore Symphony Orchestra and with the Colorado Music Festival. He has played under the direction of Leonard Bernstein, Seiji Ozawa, André Previn, Sir Simon Rattle and Leonard Slatkin.
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The facts:
I’ve been a member of the orchestra since the ribbon cutting that opened the center in 1989. The artistic goalposts of this organization have never ceased to amaze me.
What has been your most memorable moment with the orchestra?
While it’s my friendships and relationships with members that I recall most, perhaps the best memories I have are with Jack Everly on the podium. As a child, I heard the music of John Williams at the movies. Becoming that trumpet player, and playing Star Wars live 40 years later, brought me full circle. Singin’ in the Rain introduced me to the innocence of an era I wished I had lived in. Jack will give you a wink every now and again when you’ve done something that touches him and gives you an appreciation few can transmit validation with through words.
What inspired you to become a musician?
I wanted to be able to inspire people the way the trumpet inspired me when I heard Rocky the first time — and eventually the great orchestral heroes I heard, such as Strauss and Mahler. The trumpet can reach into the emotional depths of one’s voice, mind and spirit. My teachers instilled that experience in me indelibly. My jaw would drop, and the hair on the back of my neck would stand at attention as if I had my finger in a socket.
What are your favorite compositions?
The Blumine movement from Mahler No. 1 (that was omitted) is hard to top. Mahler’s posthorn solo is also easy to mention. From a more personal level, my former colleague James Stephenson III wrote a Sonata for Trumpet and Piano early on that I premiered. That helped launch his career at the time and it was a profound privilege to record. I ended up performing it on a recital in Brazil, which was extremely gratifying. Copland Symphony No. 3 has great meaning to me as well, as my wife and I played it with Bernstein in 1990 at Tanglewood. It was two days before his last conducted performance. We saw the absolute best of Lenny that week, and it shaped us forever.
What have you been listening to recently?
I’ve been digging deep into Bach’s Goldberg Variations a lot lately. In a world of strife, chaos, dysfunction and distractions, music is love, order and beauty. In Bach, we hear someone so moved by God and what is pure that, as listeners, we can transcend beyond our present strife.
Are there other musicians in your immediate family?
I’m going to direct you to the orchestra roster on that one: she’s our miracle of a principal bassoonist. My son has been playing some percussion in the Naples Philharmonic Youth Orchestra and potentially has some musical aspirations, albeit perhaps more in the studio.
What do you like to do outside of work?
I am a little obsessed with coffee, though I typically only drink a mug or an espresso in the morning. I am a home roaster and barista — and have been for a long time. I’m proud of my son and wife and enjoy time with them. We travel in the summer, and I have tried to maximize long road trips in the Tesla, stopping to see friends and family along the way to Wyoming in the summers.