Philip Hyman, Teaching Artistry
As an orchestral bass trombonist, chamber musician, and teaching artist, Philip Hyman enjoys a varied musical career. Mr. Hyman can regularly be heard playing with the Glens Falls Symphony, Boston Ballet, and Back Bay Chorale. He has also performed with the Boston Pops, Boston Modern Orchestra Project, New World Symphony, Rhode Island Philharmonic, Vermont Symphony, and Hartford Symphony. He has worked with world-renowned conductors such as Michael Stern, Peter Oundjian, David Zinman, James Conlon, and Michael Tilson Thomas.
As a founding member of the Redline Brass Quintet, Mr. Hyman has helped commission and premiere several new works for brass quintet. The group also works closely with outreach programs such as the Boston Philharmonic’s Crescendo! program to bring interactive performances into inner city schools. In the studio, Mr. Hyman regularly works with the Boston Chamber Orchestra, SoundtRec, and East Coast Scoring. Projects range from premiere opera cycles to international film soundtracks. Most recently, he can be heard on the critically acclaimed Final Fantasy XV soundtrack.
A native of Tobyhanna, Pennsylvania, Mr. Hyman attended Susquehanna University, and during his tenure there, appeared as a soloist with the Symphony Orchestra, Wind Ensemble, Trombone Ensemble and Jazz Ensemble. He went on to receive his master’s degree from New England Conservatory, where he studied with Boston Symphony Orchestra bass trombonist, Douglas Yeo, and second trombonist Norman Bolter. Mr. Hyman also attended the Aspen Music Festival for two summers, studying with American Brass Quintet bass trombonist, John Rojak and Metropolitan Opera trombonist, Per Brevig.
As an educator, Mr. Hyman maintains a low brass studio in Lexington, Massachusetts through the Lexington Community Education program. He is also on faculty at Longy School of Music of Bard College. There he teaches a teaching artist course that instructs undergraduate and graduate students how to effectively make art accessible to all generations and how to bring new audiences into concert halls.