The Winner of 2002 International Web Concert Hall
Competition
(Honorary Mention)
 Melissa,
tell us about your musical background.
I began playing horn in 6th grade, but actually had been
taking piano lessons since I was 7. I originally began playing the flute, but when my
family moved from New Orleans to Seattle, the band at my new school didn't have any more
room for flutes, so I started the horn. It was really kind of a fluke, although a
fortunate one. I continued with the piano, both privately and in jazz band and
accompanying through junior high, high school, and my undergraduate degrees. I began
studying the horn privately in high school, and at the age of 16, I won my first concerto
competition. The prize was a small monetary prize, plus 5 different occasions to perform
as a soloist with an orchestra. However, after that experience, I knew I wanted to be a
musician ever since.
I received close to a full-ride scholarship to attend the
University of Northern Iowa, which has a small but competitive music program. Going to a
smaller school where I had group of caring teachers and loads of performance opportunities
was one of the smartest things I've done in my music career, and I'm glad that I made the
choice to attend the University of Northern Iowa. While I was a student there, I continued
to win solo competitions almost on a yearly basis, including with area symphonies and
through the school of music. During that time I won the Yamaha Young Performing Artist
Competition, had the opportunity to play in groups such as the American Wind Symphony
Orchestra, and toured Hungary twice with the UNI Wind Symphony. I also played in the
Waterloo/Cedar Falls Symphony Orchestra, a small local orchestra. This was my first taste
of playing in a semi-professional ensemble. At the same time I was the pianist and choir
director at a small church, as well as accompanying and taking piano lessons. Even though
I've not pursued piano, I've found it has served me very well.
 While I was a
student at UNI I became a member of a brass quintet that had a profound influence. For
about a year and a half we did a lot of performing. It was the first opportunity I had to
formulate my own musical ideas and integrate them into the ensemble.
From UNI, I won a scholarship to study at Yale with Paul
Ingraham for my master’s degree, and so went there for 2 years. I found it to be a
place with many opportunities, both musically and otherwise, and tried to take advantage
of as many as I could. My piano playing took a non-existent role at this point, which
seemed strange, but was necessary to fully devote myself to the horn. I found that I grew
enormously not only as a musician but as a person while I was there. Yale is quite close
to New York City, therefore, the location was accessible to many cultural events and
opportunities.... I believe that my growth as a person greatly enriched my musicianship.
From there, I began my studies at Indiana, pursuing a
doctorate in Brass pedagogy. I was also working full time at the University so that I
could have the employee tuition waver for my studies and not have to take out more loans.
While I enjoyed the music program for my tour there, I found myself frustrated for varying
reasons. I felt I was stagnating as a musician, and while I didn't know what path I needed
to take, I knew I wasn't on the right one. I didn't complete my doctorate at that time,
although I do hope to finish it at some point, perhaps when I'm more prepared to put the
work into it that's necessary.
At that point in my life my mother became very ill and I was
having some personal problems at Indiana, so I returned to Iowa and enrolled in the
University of Iowa law program, wondering if perhaps I was finished with music. I
discovered, however, that I couldn't live without it. I won an audition with the Des
Moines Symphony for acting third horn that year, and steadily gained employment here as a
gigging musician. I found my law studies were suffering, but didn't really care as long as
I was playing. That summer, I won my first concerto competition since my undergraduate
years with the Rome Festival Orchestra. I had the opportunity to travel to Rome and play
with an ensemble there in a solo capacity, as well as playing co-principal in the
orchestra. At that point I knew I had to play as much as possible. I quit law school, got
an easy day job, and applied for everything musical I could.
Currently I am subbing in the Des Moines, Cedar Rapids, and
Quad Cities Symphonies as well as taking as many miscellaneous gigs as I can fit into my
schedule. I am playing several solo recitals, including ones at UNI and Rochester, MN, as
well as teaching master classes. I am the horn instructor at Drake University in Des
Moines, and hope to quit my day job soon and concentrate entirely on my playing.
 Who are your
teachers?
My main teachers were Tom Tritle in undergrad at the
University of Northern Iowa, Paul Ingraham for my Masters at Yale, and Michael Hatfield
and Tom Sherwood for what I have finished on my doctorate at Indiana.
When I remember Dr. Tritle in undergrad, the biggest thing I
remember is his patience with me. He was willing to let me go at my own pace and try my
own things, and still guide me in the direction I needed to go. He also stressed to me the
importance of not just practicing, but going about it in an intelligent manner. That's
something that's stuck with me. Finally, Tom really emphasized that listening is the most
important part of music, and not just playing. (Of course, he also gave me the basics I
needed to continue on.) He's become not only a valued teacher, but a friend as well, and
has been more supportive of me than any other teachers. Even now, when I need advice on
the horn world, he's the one I trust to ask.
How did your teachers influence you as a musician?
The biggest influence of Mr. Ingraham was teaching me that
any opportunity is what I make of it. Basically, that I am responsible for my own
education, and what I make of it is up to me. I also remember when I asked him about his
ideas on teaching the horn and he replied that he didn't teach the horn, he taught music.
I've tried to make that a real goal in my musical career - to learn music, and not just my
instrument.
Two of the biggest influences in my life were actually
teachers who didn't teach horn at all. Dr. Robin Guy is an accompanying professor at the
University of Northern Iowa, but I took her accompanying class several times and she
accompanied me for many things over the years. In many ways, I think I most closely
resemble her musical style, although I didn't know I was picking this up at the time.
She's been a huge influence on me and has also become a dear friend. The other is Allen
Dean, the trumpet professor at Yale. He stressed the importance of not just being a good
musician, but also being a 'nice guy,' as he put it. The musical world is so small that if
you get a reputation as a beastly person, it follows you. He made it very clear that you
don't have to be ruthless to get ahead, and not only preached it but lived it. That has
had a profound influence on me.
The biggest influence my undergraduate teacher had was, in
essence, to get through to me that in order to get a job I had to be just as good as he
is, or better, when I got out. That gave me a tangible goal to reach for at all times, and
a good marker of where I was at and what I was doing. Plus I learned to observe him
closely in trying to be a better player than he. That followed me through all of my
degrees and on into my professional career.
How did your friends, parents, etc. influence you as
a musician?
The biggest contribution my parents made was to support me as
best they could, even though they didn't (and don't) always agree with my choice of a
career in music. I know that if push comes to shove, they are there for me, even though
they may not feel my life choices are entirely wise at all times. Not only that, but I
know they love me whether I fail or succeed, and sometimes when things aren't going so
well, it helps to have that to remember.
I've not been fortunate enough to always have supportive
people around, but I have a friend now who has been totally supportive of my music, even
though she doesn't totally understand it and has next to no background in music. I had
tried law school for a year and was miserable and was agonizing on whether I should
continue on or quit and go back to music. She is also in law school and said that I had a
real dream, something most lawyers do not, and that I should follow my heart if music was
what I wanted to do. She helped me make a difficult choice, and has always been there even
though I've had some difficulties carrying through with that choice.
I also have another friend who simply shows support by being
interested and coming to my performances. He also has little background in music, but is
willing to try new things and is always asking questions about what I do and takes an
active interest in my musical life. He lets me talk shop even though I know he doesn't
always know, or care, about music like I do. That kind of unconditional support from a
non-musician is rare and very appreciated.
I would add that all of the above people are non-musicians,
and that it seems to be good for me to have people to ground me and bring me out of the
musical world occasionally. It tends to keep me sane.
Dr. Guy has continually been a huge influence in my life
also, and a role model in many ways. She is a strong, successful, intelligent, artistic
woman, and there are many times when I've needed that kind of female mentor in my life.
She continues to fill that role for me, even today.
Finally, a major influence in my decision to go into music
was my Godmother, who plays organ and teaches piano. I greatly admired her growing up, and
it's because of her that I stuck with the piano that caused me to later take up horn.
She's an amazingly strong and talented woman, and has influenced me far more than I think
she realizes.
My understanding from your response is that you
received a doctorate degree in music education. What was your doctoral thesis on? How did
you come to work on such a topic?
I haven't actually completed my doctorate yet, it's in progress, but it is in music
education, specifically brass pedagogy, so I'm somewhat versed in trombone, tuba, and
trumpet as well as horn. I'm hoping to resume work in the next year or so, if the
circumstances work out. I've not started on my thesis yet and although I have a few
ideas on what I'd like to do, nothing is set in stone just yet.
.... any of your other family members musician?
Neither of my parents were musicians, although my Mother can
play the piano and my Dad taught himself to play the banjo. They both played in band
in high school. There was ALWAYS music and some dance in my house growing up,
usually to the exclusion of things like television, although I really wasn't exposed to
any classical music until I went to college. It was mostly folk music and Rock and
Roll.
I'm not certain my parents have always been extremely
supportive of my choice to go into music, especially being non-musicians themselves, but I
do think they want what is best for me and what makes me happiest, whatever that is.
I think it must be difficult for them to watch their daughter struggle at
something for so long, but I think they try to understand as best they can anyway, and be
as supportive as possible. As of now I am the only musician on either side of my family,
except for my Godmother. In many ways, she's the one who really inspired me to be a
musician, especially in the early stages of my development.
You said...."I also remember when I asked him about his ideas
on teaching the horn and he replied that he didn't teach the horn, he taught music. I've
tried to make that a real goal in my musical career - to learn music, and not just my
instrument...." What are you doing in your life that helps you to stay on this
path? How are you guiding yourself to learn more about music?
I actually try to do a lot of studying about history, to try
and get a feel for the music I'm playing. If I know more about the composer as a
person and the historical climate at the time the piece was written, I can get a better
idea of the total concept of the piece, as opposed to just learning the notes. Music
isn't written in a vacuum, and the more I can glean what the composer was really trying to
say, the better I can convey it to the audience. Also, once I understand a little
more about the climate the piece is written in, I find it becomes easier to apply emotions
in a context that makes sense and is in good taste. I really believe that
emotion is the basic element that makes music beautiful and reaches people on a personal
level. The trick is not to over do it, to be sincere about it, and to do it in
a way that's characteristic to the piece being played.
I also try to go past the limitations of my instrument and
really concentrate on making music. I think a lot of players get hung up in what
they can and can't do on their particular instruments and that becomes mentally
restrictive. For instance, a lot of horn players are so busy just trying to get
the right notes and play loudly that they never look at things they can do that are
natural to other instruments, such as playing with the color of the tone or using
vibrato. (There are horn players who eschew the use of vibrato at all.) I'll
purposely play music written for other instruments, such as opera arias or trombone
etudes, just to try and expand what I can do musically on my instrument. (At one
point I played a recital where I arranged the Trois Gymnopedies by Satie for horn and
harp, and it was received really well, even though it was technically a piano
piece.) I think keeping an open mind and not being afraid to try things that may be
considered a little unusual are important to staying musical.
Finally, I just try to remember that it's all right to
play with and have fun with what I do. I try lots of things, and keep the things I
like and leave the things I don't, but I try to always be open to new ideas and not be
afraid to try new things, even if they're unfamiliar and seem uncomfortable at
first. I never want to be so serious about what I do that it is no longer
enjoyable, and that's something I personally have to really work at, as I can be too
serious at times. Children learn by playing and having fun - why shouldn't I try to
do the same?
Have you attended major music festivals, e.g., Aspen? Have you had a chance to
play in master classes given by a major players in the field? If so, tell us your
experience.
I have attended some lesser festivals, but not any of the
major ones, although I hope to do at some point. I figure I still have time. I have
played in master classes with Eric Ruske and Gail Williams, as well as the brass
faculty at Yale (Allen Dean, John Swallow, Paul Ingraham and Toby Hanks). I remember
Ruske's master class having a huge impact on me for several reasons. First, it was
one of the first things I did my freshman year at college, so it was early in my
training. Second, I remember how much he seemed to enjoy what he was doing and loved
music. He was less like a stuffy classical musician and more like a rock star.
Finally, I remember how impressed I was with how relaxed and engaging he was on stage and
I've tried to emulate that as much as possible.
I learned a lot from Gail Williams about the horn also, but
the biggest thing was that it was the first time I really believed that I could have a
career in music, if I was willing to work hard and pay the price. I had always been
a little unsure that a smaller woman could really be a major brass player
orchestrally and as a soloist, but here was one who had really done just that, despite the
odds! To be certain, she is one of the very few who have, but I saw that it was
indeed possible, with a little luck and a lot of hard work.
Finally, the biggest thing I learned from the brass faculty
at Yale, all of whom had been members of the New York Brass Quintet, was that even though
they were major players at their respective instruments, that they were human beings
too. I had always been frightened of people I perceived as being big in the musical
world, but after working with these people on a daily basis for two years, I discovered
that by getting past my fear I was better able to learn from them. Also, I was able
to relate to them as players better when I realized they really were just people, and not
demi-Gods.
Do you do any special breathing exercises? Such as Yoga, Alexander techniques,
etc. to help you practice, focus, etc.
I don't do anything in particular or as regimented as say Yoga, but I do use some
breathing exercises, mostly just things I've picked up along the way that work for me
personally. I don't really have a routine per se, but just integrate it into my
daily routine, like in the shower in the morning or while I'm driving to work. I do
meditate before a major performance, to prepare myself mentally and calm myself
physically, and deep breathing is a big part of that. I've found that concentrating
on my breathing in a performance situation is my way of overcoming nerves and
facilitating the flow of the music. If my air is working correctly, everything else
seems to follow naturally.
I have also found that doing cardiovascular exercise at
least 4 times a week is imperative to the kind of breathing I need to do to play the
horn. As a smaller woman, and hence a person with a smaller lung capacity than my
larger male counterparts, I need to be able to use every bit of air I can get as
efficiently as possible. Keeping up with exercise as regularly as I can helps me
with that. (Even though, I must admit, I can be more ambitious about keeping up with
this at some times than others.)
As far as brass playing specifically is concerned, most of my
thoughts on breathing are from Arnold Jacobs' studies and teachings on the physiology of
brass playing. His book, 'Wind and Song' is one I would recommend to any brass
player.
Do you have a practicing method you follow everyday?
There are certain things that I try to do daily, such as
major and minor scales and arpeggios, lip trills, long tones and transposition studies. If
I don't have much time, I might abbreviate that as necessary. I also try to hit one major
orchestral work a day, just to keep my excerpts somewhat fresh. Other than that, I take
the tact of practicing until I get done what I need to, however long that takes, whatever
it is that I feel I need to work at.
How much do you practice daily before a performance?
It depends on the performance and how secure I am with the
literature. If I'm preparing for a recital, for example, I might spend 2-3 hours a day
practicing, but outside of that, I find myself listening to recordings and doing
memorization without my instrument. If I'm preparing an orchestral work, I may also
include some score study and listen to various recordings.
On the day of performance, I may warm-up only and not do much
practicing at all, other than scales and some lip flexibility exercises. In this way, I
walk to the stage fresh... I've learned that I need to do the bulk of the work long before
a performance and cramming that day is of little use. I don't think not practicing much on
the day of performance is a bad thing.
What do you do when you don't feel like practicing
for a week or even a month? How do you cope with it?
I believe that brass playing is a lot like bodybuilding in
that you must give the muscles a break periodically in order to give them a chance to rest
and grow. If you don't, you risk injury. Playing an instrument is a much more athletic
thing than people realize, and even professional bodybuilders take at least a week off in
the period of a year. I do that also, usually in the summer when I know I'm not working
toward a major performance.
I will also occasionally take a day off, if I just come from
a heavy performance, which forces me to take a break both mentally and physically. After
relaxing for a day or two and I still don't feel like practicing, then I know it's a case
of being burned out, and I will try to actively find a way to make it enjoyable by finding
different music to practice or playing along with symphonic recordings just to keep the
instrument in use. In that case, it becomes mostly a matter of focus.... and I try to find
a way to get myself engaged in what I'm doing again.
In your opinion, what is your strength in your
playing?
I think my musicianship is my biggest attribute. I try very
hard to really say something with what I play. I also think I have a good hold on music
history and information about the composers that I play...
What do you hope to accomplish as a musician?
My short-term goals are simply to make every performance as
best as I can, and to really say something through the music. If I can make the music
speak to someone else, even one person, then I consider it was a success.
Do you like any other forms of art? such as painting?
a favorite writer? Tell us about it.
I like almost anything that involves creativity. My favorite
painting is "The Kiss" by Gustav Klimt. I also enjoy almost anything by Paul
Klee, Salvador Dali and Marc Chagall. I can spend hours in a museum and be perfectly
content. I don't know that I have one favorite writer, but in the past, I enjoyed Frank
Herbert, Michael Crichton, and Douglas Adams. My favorite series right now is Harry
Potter, but I think that's typical for a lot of people!
What do you like to read?
I like to read just about anything. I honestly haven't been
able to squeeze in reading as much as I'd like lately, but I find I prefer reading to
watching TV or things like that when I have some down time. I tend to go in phases, but
lately I'm enjoying fantasy and science fiction books. I also enjoy Smithsonian Magazine,
although again I haven't had time to really delve into it lately.
What are some of your recent reading?
I've recently read The Chamber by John Grisham, Music,
the Brain and Ecstasy by Robert Jourdain and Timeline by Michael Crichton.
Right now I'm working on Mostly Harmless by Douglas Adams, and have a whole list
of books I want to read but haven't gotten around to yet.
What do you do for a hobby, if any?
One of my hobbies, until very recently, was working out, both
for health reasons and mental reasons. I've kind of let it slide recently, but am hoping
to get back into it soon. I have a kind of fascination with ancient cultures also, and
enjoy learning about anything from ancient Egypt to the Greeks to Mesopotamia to the
Aztecs and Incas and everything in between. I'm especially interested in the mythology
that comes from various civilizations. Although I've never formally studied ancient
civilizations, I do find them interesting and love visiting museums and reading about
anything that relates to them. I also enjoy sewing, especially cross-stitch, cooking, and
sketching, although these have also been neglected lately. Sometimes music is a jealous
master and doesn't leave much time for outside interests.
What do you hope to achieve ten years from now in
your music career?
More than anything, I want to make a living doing what I love
full time, which is playing my horn. Most people aren't fortunate enough to be able to do
that, get paid to do what they were really born to do. If I can do that, I will consider
myself a success and be very proud of it.
In your opinion, what are the characteristics of a
good performer?
One major characteristic of a good performer is the ability
to convey the composer's creation of music to an audience. As much as we like to think
we're creative, we're actually RE-creative, and are taking a composer's conceptions and
conveying them to an audience. If we can't bridge that distance between composer and
listener, then we're not doing our job correctly.
I also think a performer has to be half actor. We have to
look confident and professional, no matter what may be happening in our personal lives. We
are, as performers, entertainers as much as artists, and the audience wants to see someone
who is in control. There's a certain image we have to convey, or the performance will be
lacking no matter HOW musical and artistic it is. And, of course, we have to be musical at
ALL times. We are there to say something to the audience. It's not enough to be there and
keep nerves under control and play the right notes; we have to communicate through our
instruments, and transcend any human concerns to the greater artistry of the music.
How do you judge a good performance?
If I can forget who I am and my life and really be drawn into
the music and what it has to say, even for a second, then I consider it a good
performance.
Do you believe a performer must attend conservatory?
What is your opinion on this?
I don't believe attending a conservatory is necessary to a
music career. Most of what we do to grow and thrive as musicians is personal time in a
practice room and that can be done anywhere. Some of the best teachers are at obscure
little schools with smaller music programs. Sometimes the smaller programs offer more in
the way of opportunities to play. It really has more to do with the person and what they
need to thrive and flourish as an artist, and that's different for everyone. In the end I
think it has a lot more to do with ambition, determination, and a strong work ethic than
just the name of a school. The cream will rise to the top, regardless of its origin.
MOL: I think we need to wrap up at this point.
So on be half of MusicalOnline, we would like to thank you for your time and we wish all
the success.
Interviewed by
MusicalOnline on October, 2002
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