Authenticity because it demands an individual to discover, acknowledge, understand, and then find confidence in Self. Authenticity demands investigation and development of original thought and application of creativity. It demands questions to be asked and answered. It demands an individual to take ownership in an action. Authenticity because if an individual is participating in an action for insincere reasons, the resulting fallacy does not yield success, a whole or lasting product, or personal fulfillment.
Integrity because honesty and truthfulness are some of the most important and most useful traits in and out of music. Integrity demands selflessness, respect, and the ability to listen and appreciate other's ideas. It demands humility. It demands supportive and collegial behaviors. Integrity because communicating effectively, with true intentions and working reciprocally, generates proud results.
Dedication because well defined and guided hard work produces constructive results. Dedication demands sacrifice and the development of goals. It demands the appreciation and application of perseverance. It demands patience. It demands analyzation and evaluation. It demands the development of an ideal. Dedication because in accepting it one also accepts a willingness to fail.
Dylan is a conductor who believes in a collaborative process of music making and the days of conductor-as-dictator are over. Chamber music fundamentals are emphasized in all of his ensembles and individual performers are encouraged to express them self as such and emote. Dylan believes when trust is given over to the members of an ensemble, honest, and thus spontaneous, music making is vitalized. By making oneself vulnerable to a responsive community, the possibility of sincere music making may be realized.
Another mission of Dylan is the development of greater public engagement in his performing ensembles--humanizing the art, facilitating access, and exposing its inherent import to diverse communities. Toward this aim, such live and unbidden music making, nurtured in ensemble practice and performance, stimulates community engagement, strengthening such connections, offering tangible substance to the exertion of individual, and then collective, artistry.
Dylan has conducted ensembles of University of Wisconsin Oshkosh, Ripon College, Oshkosh Symphony Orchestra, Harvard University, New England Conservatory, Longy School of Music, Northeastern University, Baldwin-Wallace College Conservatory of Music, and other groups such as Callithumpian Consort, Shivaree Ensemble, The Great White Way, Ip School Orchestra, and the Senior, Junior, and String Orchestras of Luzerne Summer Music Center. Some of the conductors Dylan has had the opportunity to intimately observe and work with are Pierre Boulez, Robert Page, Larry Rachleff, Gunther Schuller, Joseph Silverstein, and Benjamin Zander.
Dylan's principal teachers include Charles Peltz, Professor of Conducting at New England Conservatory; and Dwight Oltman, Music Director of Cleveland Opera and Ballet San Jose, and Professor of Conducting at Baldwin-Wallace Conservatory.
Dylan, a chamber musician at heart, is also an accomplished orchestral player and soloist. An admirer of all musical styles and genres, Dylan's interests have found him playing sackbut in L'Orfeo, improvising with Ran Blake, acting a clown in Sequenza V, and collaborating with IRCAM technicians in performance of new musical works with live electronics. Dylan is an active solo, chamber, and orchestral musician and has recently performed with Madison Symphony Orchestra, Green Bay Symphony Orchestra, Wisconsin Chamber Orchestra, Fox Valley Symphony Orchestra, Bach Dancing & Dynamite Society, Dal Niente, Isthmus Brass, and Con Vivo!. Notable international solo appearances include recitals at the Internationale Ferienkurse Fur Neue Musik in Darmstadt, Germany, and the Lucerne Festival in Lucerne, Switzerland. He can be heard on Mode, EuroArts, Albany, TZADIK, Summit, and the Accentus record label, among others.
Dylan performs on a Shires 1G bell with a seamed yellow-brass tuning slide, Thayer valve section, TB47 slide, and 2.5L leadpipe. His second horn is a Benge 190F with a custom-built dual bore slide (.547-.562) handmade by Chuck Ward with a Remington leadpipe. His primary mouthpiece is a Warburton-Oviedo 4GD, but he also keeps a second, made by Doug Elliott, which has an XT104 rim, XTH cup, and an H8 backbone.
Dylan's principle teachers include Mark Hetzler, former trombonist with the Empire Brass and trombonist of the Wisconsin Brass Quintet; Norman Bolter, former Second Trombone and Euphonium Soloist of the Boston Symphony Orchestra; Allen Kofsky, former Second Trombone, Euphonium, and Bass Trumpet Soloist of the Cleveland Orchestra; and Timothy Weiss, Associate Professor of Conducting at Oberlin College.