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International Trumpet Guild Journal

Anne Hardin ­ The Roads They've Taken: A Look at ITG's Student Contest Winners (May96)

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The Roads They've Taken: A Look at ITG's Student Contest Winners


he October 1976 ITG Newsletter announced that a special feature of the first ITG Conference would be a Student Solo Competition and a Mock Orchestra Audition Contest. The contests would be open to university students, excluding those working at the doctoral level. The finalists would play "in front of the entire assembly of those attending the next meeting of the International Trumpet Guild and [would] be judged by five outstanding professional trumpeters." The winner would receive $200, plus a plaque. I was a first-year graduate student in 1976, and I attended that 1977 conference. I had never seen so many trumpeters in one place in my life. Perhaps because it was my first conference, the two student contests are burned into my memory. Tom Schlueter's performance of the Lovelock Concerto was absolutely electrifying, and he seemed taken aback by the audience's exuberant reaction - even when he returned to the stage for his third bow. After all, he was just a freshman at the University of Wisconsin. And before Brad Boehm finished his mock orchestra audition, the audience burst in applause when he played the last note of the Brandenburg excerpt. What could he do except smile and keep playing? In 1977, Mrs. Cita Widmann established the Karl Kletsch Memorial Fund in honor of her father, the former principal trumpet of the Munich Philharmonic. She generously contributes to that fund each year, and it was her stipulation that the accrued interest must be used to fund the student contest prizes, and that each finalist must receive some remuneration. That tradition has continued. In 1979, ITG held the first Jazz Improvisation Contest in lieu of the Mock Orchestra Competition. Five finalists were selected to perform in a concert; no winner was to be named. The Mock Orchestra Competition was resumed in 1980; both the solo and jazz "contests" that year featured a recital of finalists, rather than a competition with a winner. In 1981, the "competition with winner" format was resumed in all three contests, and they have become a standard feature of the ITG conferences. The student competitions are always one of my favorite sessions, because I listen to each young player and wonder where he or she will be in a few years. Some of the early winners have garnered highly visible positions: David Bilger is principal trumpet of the Philadelphia Orchestra, Stacy Blair went on to © 1996 International Trumpet Guild


win the Maurice André International Trumpet Competition, and Terry Everson won the first Ellsworth Smith Competition and is the professor of trumpet at the University of Kentucky. Craig Fraedrich is jazz trumpet soloist with The Army Blues, and Bill Nulty is solo trumpet in the Zürich Opera Orchestra. I began looking for the other winners, and a number of people helped me find those who were no longer in the ITG Membership Directory. I had an address for Brad Boehm, but no telephone number. I called member Kevin Hartman, who had the same zip code as Brad, and surprisingly, he lived just down the street from him. Bingo! Greg Hopkins, who teaches at the Berklee College of Music, gave me Ingrid Jensen's telephone number, who gave me Dave Ballou's telephone number. Several former teachers gave me updated addresses for their winning students. Martin Hurrell, of the BBC SO, located Paul Edmonds in London. Jason Carder, a jazz winner himself, gave me several telephone numbers for other jazz winners. When I called the number I had for Michelle Kaminsky, the woman to whom that number had been reassigned was grateful to know why people kept calling her young daughter for trumpet lessons! All the winners were located, and they responded to a questionnaire. Their lives and careers after winning the student contests are chronicled below.

Student Solo Winners

1977 - Tom Schlueter: I won the solo contest playing the Lovelock Concerto. I was a student of Wayne Cook at the University of Wisconsin-Milwaukee. I finished my bachelor's degree after the competition. I currently play with the Waukesha Symphony, Milwaukee Ballet Orchestra, Milwaukee Chamber Brass quintet, church music ministry, and trumpet and organ solo work. I am a radio operator/engineer for the VCY Radio Network in Milwaukee. While not directly related to music, I find some similarities with music performance, having a live "audience" out there listening. My wife and I host/ May, 1996 / ITG Journal 5

produce a weekly classical music program for the radio station. We were married in June 1995 and are expecting a baby this July. She is a great blessing in encouraging my music. One of the greatest things in my life is to share the God-given gift of music with others. The student competition was a unique type of pressure because just about every member of the audience was a trumpet player. At first that seemed like extra pressure, but once I was on stage playing, it seemed like a help. This was not only because they could empathize with you, but because you knew the whole audience loved the trumpet and trumpet music, and just wanted to enjoy good trumpet playing. So I felt there was a unique warmth from the audience. Looking back on it, I would have tried to think less in terms of being "judged" by fellow trumpeters, and much more striven to share good trumpet music with them. I liked being able to choose my own music, because that in itself shows something about the player. Winning did add pressure to my life, but in the way of learning that you need to work harder. You quickly find out that one such accomplishment doesn't mean a "free ride," and people's increased expectations demand more work. But that's a good thing. Through the competition, I did get to meet and learn from many great musicians. The competition did not help prepare me for future auditions in a direct way, but it certainly made me aware of the high level of competition on the national scene, and the high level of excellence that is expected out in the real world. Indirectly, it definitely was a help. I think any positive musical experience is, in some way, a help to every other musical experience because it helps you to grow. It stretches your limits, and the ITG Solo Competition was definitely a great musical experience. I would advise students to play in as many competitions as you can, as long as you have time to prepare well for them. Don't let your main focus be to win or to beat the other guy, but to make the best music you can. When all the competitions are said and done, that still remains the ultimate goal. Soli Deo gloria! 1978 - Stacy Blair: I played the Telemann Concerto in D. Leon Rapier, of the Louisville School of Music, and Adolph Herseth, principal trumpet of the Chicago Symphony, were my teachers. I play as a concert artist and give master classes around the world. I have a wonderful life! I have a master class video and several recordings on the market.

After winning the ITG competition, I studied with Maurice André in Paris on a Fulbright scholarship from September 1979 to May 1980. Winning the ITG Solo Competition definitely launched my career. It prepared me for the Maurice André Competition, which I also won, and I can never thank ITG enough for giving me the opportunity for such a chance as this. It was a wonderful blessing for me. It helped me get over my stage fright, to have experience as a performer, and to get the adrenaline up in front of an audience that knows every note you're playing. It's not like any experience I ever had playing with an orchestra. It's like playing for an audience of conductors or music critics. It was definitely nerve-wracking, but it helped me. As I look back on the competition, my impressions are the same now as they were then, but I think the level of music and musicianship has risen. The technical knowledge people have now is certainly more than they had 20 years ago, and the standard of expectations is higher. I think all the ITG competitions are very realistic, because you must send in a tape to be screened. All the major works are there, so it's very competitive. When I entered the André Competition, I had to memorize five concertos - the Tomasi, Jolivet, Telemann, Haydn, and Hummel - and there were 55 entrants. Of course, being legally blind, I have to memorize all my music, so I think this gave me an edge. I think the ITG competitions are the best there are to prepare students for the bigger competitions out in the real world. They are very well-planned and organized. My advice to students wanting to enter any competition is to practice every day. Warm up and practice the literature for the competition, months ahead of time. If I go to a competition well-prepared, I feel ready to play. I don't try to psyche anybody out. Performers should listen to a lot of music. Because of my blindness, I've listened to lots of different virtuosic sounds. You should listen to lots of music, not so much to imitate it, but to get an idea of sound. Wynton Marsalis, Adolph Herseth, Arturo Sandoval, Maynard Ferguson, Thomas Stevens - all have different sounds, and you can learn from them all. The old saying is worth repeating - If you miss one day of practice, you can tell it; if you miss two days of practice, your friends can tell it; and if you miss three days of practice, the whole world can tell it. 1979 - Student Recital featuring Stacy Blair, Michael Dorau, Richard Lehman, Bruce Nelson, Michael Popp, and Susan Whitney 1980 - Student Recital featuring Daniel D'Addio, Joseph Koczera, Richard Lehman, and Gregory Martin © 1996 International Trumpet Guild

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1981 - Tim Andersen (co-winner): I played the Telemann Concerto in D and tied for first place with David Bilger. In 1982 I won playing the Arutunian Concerto. I was a student at the University of Nebraska in Lincoln, and my teacher was Dennis Schneider. I continued my education at Indiana University and completed my master's degree (1984). I will continue work on a doctorate at the University of North Texas next year. I have played professionally in the Dallas/Ft. Worth area since 1984. I performed with the Dallas Brass for three years. I currently play with the Dallas Wind Symphony and substitute frequently with the Dallas Symphony Orchestra. The Dallas Wind Symphony (with trumpeters Lyman Brodie, James Sims, Steve Fitts, Louis Martinex, and Gary Dobbins) has recorded eight CDs with Reference Recording. People looking for wonderful recordings of wind band literature should investigate these. For the past eight years I have taught band in the Garland and Richardson (TX) School Districts. My wife Karla is a middle school choir director in the Garland ISD. We have two children - Whitney, age seven, and Eric, age three. At the first competition I was very nervous. I remember playing the first movement of the Telemann and thinking everyone could see my legs shaking. The second competition was a lot easier, because I knew what to expect. I would like to compliment the ITG for securing the very best accompanists for the competition. If I had had to worry about the pianist, the performance would not have been as comfortable as it was. I don't believe winning added any pressure to my life later, because that is something you put on yourself. It did help determine which direction my life would go. I realized that I could achieve a level of performance that was competitive on such a high level. It also helped me make contacts that later assisted in my professional playing career. The competition definitely helped prepare me for future auditions. The discipline it took to achieve the goal set the standard for me in practicing for all other auditions and performances. My impressions of the contest are different as I look back. I was very naïve in my younger years. Being from a small town in western Nebraska, I never fully understood the scope of ITG and the competitions. I'm sure that if I knew then what I know now, I would have been much more nervous about the whole thing. © 1996 International Trumpet Guild

I agree with the changes that have been made in the solo competition since I played. When Dave Bilger and I tied in 1981, I played the Telemann and he played the Henderson Variation Movements. How judges can compare two completely different works like these is incredibly difficult. I think having a required piece is a good idea. My advice for young students is to have your goal in mind. Keep your goal in the forefront in all you do. Diligent practice is essential. Study other performances of the piece. Do not limit yourself to just one or two recordings. Attend live performances.

1981 - David Bilger (cowinner): I entered three competitions as a student of David Hickman at the University of Illinois and was co-winner in two of them. In 1981 I played the Henderson Variation Movements, and in 1983 I played the Hindemith Sonate. After graduating from the University of Illinois, I attended the Juilliard School of Music, receiving a master of music degree. I studied there with Mark Gould. Currently I am principal trumpet of the Philadelphia Orchestra. I am a soloist, chamber musician, and teacher (Temple University). Prior to that I was principal trumpet of the Dallas Symphony. I felt pressure during the 1980 Mock Orchestra Competition because it was my first performance at ITG, and I was only 18 years old. The Solo Competition seemed easier, since it was more like a real performance. The competitions were a part of my continuing career development and were important in that context. They were important, but not watershed events. I think the solo competitions are realistic, but not the mock orchestra audition. That comes from my experience of judging tapes a few years ago. We did not want to pass anyone through because of lack of preparation. Only one tape included all the required excerpts! The advice I have for future competitors is the same thing I tell my students every week - practice and be prepared. I have a few CDs I'd like to mention: Baroque Trumpetissimo (with Steve Burns and Ed Carroll) Essay Records and Trumpets in Stride (with the New York Trumpet Ensemble and Mark Gould) - Summit. This year the Philadelphia Orchestra has recorded Heldenleben, Zarathustra, and Don Juan, which will soon be released. May, 1996 / ITG Journal 7

1982 - Tim Andersen (see above) 1983 - David Bilger (co-winner, see above) 1983 - Terry Everson (cowinner): I played the Arutunian Concerto. I was a student of Richard Burkart at Ohio State University. I completed my bachelor of music at OSU, then received a fellowship at Ohio State to complete my master's degree (1984). Currently, I am professor of trumpet at the University of Kentucky in Lexington. I perform frequently as a soloist, a chamber musician, and I am active as a composer and arranger. The year I won, I felt no pressure at all(!), but that was due primarily to my previous experiences in the solo (1981) and orchestral (1982) contests, during which I felt a great deal of pressure. By my senior year, it felt very natural to be playing at the conference. Winning was no added pressure. It served as a boost to my own confidence in performing. I felt like people who knew of my prizes would actually be more accepting of my playing, rather than the contrary. My impression of the contest is about the same now as it was then. Certainly, it was the high point of my career for some time, but it was of course just a stepping stone, of which there have been several since and many more (I hope!) to come. Every competitive experience has been beneficial to every subsequent one. I think the competition is realistic in terms of repertoire; I am especially pleased by Mrs. Widmann's stipulations regarding prize money distribution, guaranteeing some remuneration for each contestant. This allows judges the freedom to withhold a First Prize (not often necessary, thankfully!), while still allowing every participant the knowledge that there is some reward at the end of his or her experience (ordeal?). This may not be much like "real life," but I prefer to see everybody who makes it to the live round treated as a winner. Maybe the orchestral winner could be offered a one-year contract as principal trumpet in the ITG Mock Orchestra; the solo winner could then play a concerto with the ensemble! I would offer this advice to students: First , know your repertoire from the inside out, don't just practice with the horn. This is one advantage of memorization (whether or not music is used in performance); the better you know the music, the more comfortable you'll be. Second, practice by performing as often as possible prior to the competition; get use to playing for others.

Perhaps my most valuable competition experience came from winning the 1990 Louise D. McMahon Competition in Lawton, Oklahoma. Part of my prize money enabled me to buy my then-fiancee her engagement ring; my wife thinks many fond thoughts about that competition to this day!

1984 - Ron Miles: I played the Peter Maxwell Davies Sonata. I was a student at the University of Denver Lamont School of Music, and Joseph Docksey was my teacher. I did graduate work at the Manhattan School of Music with Ray Mase and at the University of Colorado with Terry Sawchuk. I now teach at Metropolitan State College of Denver and play professionally with the Ron Miles Group and the Bill Frisell Quartet. I play chamber and solo performances and record for Gramavision Records. Looking back on the competition, I felt pressure in playing for so many knowledgeable listeners, but relief came from the sense of feeling I had something to share as opposed to feeling like I was competing. The award was quite an honor, and initially I felt a bit of pressure to live up to people's expectations. But what I realized was people wanted to hear honest musicmaking, and while the competition allowed me a couple of opportunities to get on stage, once you're there no one cares about that stuff. The competition made other situations seem less stressful initially. I really don't look back on it too often. And when I do, the memories are fond ones, just as I remembered feeling back then. In the classical area I think the competitions are certainly realistic. In the improvisation area it would be nice to see players of the stature of the classical judges brought in to judge. It is still rare to find major innovative jazz musicians at the ITG. As a change, I would suggest giving all the students in the finals a lesson with one of the judges. My advice to young students is to have a point of view. I have several CDs out: Ron Miles-My Cruel Heart (Gramavision), Ron Miles-Witness (Capri), Ron Miles-Distance for Safety (Prolific), with Bill Frisell-Quartet (Nonesuch), with Fred Hess-You Know I Care (Capri) and Sweet Thunder (Capri). © 1996 International Trumpet Guild

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1985 - Susan Sexton: I played the Tomasi Concerto and the Enesco Legende, which was the required piece. I was a student at the University of Colorado, and Terry Sawchuk was my teacher. I now play and teach professionally in the Youngstown, Ohio area. I taught trumpet at Youngstown State University for five years, resigned to join the Chestnut Brass Company, and spent one year with them. I came back to YSU parttime, in order to pursue a degree in massotherapy. I am now an Ohio State Medical Board-licensed massotherapist, and I teach trumpet at Westminster College in New Wilmington, Pennsylvania. I played for three summers in the Colorado Music Festival and played and taught for three summers in the Bay View (MI) Music Festival. The competition came in the middle of my master's degree at the University of Colorado. I completed my degree, got a one-year appointment at the University of Mississippi, then went to Youngstown State University. Winning the competition made me put more pressure on myself, but it also gave me more confidence in my abilities as a trumpet player. In terms of the intensity of my preparation, it helped with orchestra auditions. And of the confidence I gained in my ability to express myself, that helped me with the college teaching interviews I took. I felt no pressure during the competition. I had prepared and practiced as much as I could have. I knew the music, I had an incredible accompanist, and I had been practicing yoga and relaxation techniques. When I went on stage that day, I knew I was going to do the best job playing music I loved. That day and my experience during the competition were, and still are, two of the best moments in my life. David Greenhoe was the chair, and he made us all feel much more calm that day. He was great! Personally, it was one of those times when everything fell into the right place. I think the student competitions are realistic in terms of repertoire and especially the judging standard. So often at ITG conferences, I've heard the judges talk about the need for more musicality and expression from the players, not just all the buttons going down at the right time and the correct pitches happening. I completely agree. We need to become musicians on the trumpet, not just trumpet players. My advice to young players is to do the basics everyday. No shortcuts. Become as strong as possible © 1996 International Trumpet Guild

on the instrument. Then, open yourself up to all musical and expressive possibilities. Learn from everyone you hear on any instrument. Don't simply hold the trumpet and put air into it. Make it an extension of you and who you are. A few extra notes: I am a vegetarian, I run, I have a great concern for the earth and the environment, and my husband. I have five cats and two dogs, and I frequently take in foster dogs that have been abandoned and help find them new homes. 1986 - Gavin Wells: I won the solo competition in London and played the Buxton Orr Concerto for Trumpet and Brass Band and the William Schmidt Sonata. I was a student of William Pfund at the University of Northern Colorado. After winning the contest, I stayed in London for a year, then went to Florida State University as a teaching assistant for Bryan Goff. I currently play and teach professionally in London. I teach approximately 90 private lessons per week at 8 different schools, including Cheltenham College, The King's School (Gloucester Cathedral), and Denn Close School (private school, Cheltenham). I teach mainly trumpet and cornet students, but I have a number of students on the other brass instruments, as well. My playing is varied and freelance, and I perform regularly with the Cheltenham Chamber Orchestra and the Gloucester Concert Orchestra. I am also employed regularly as a soloist. Performances this past year have included: Neruda (2), Vivaldi Concerto for Two Trumpets (5), Brandenburg No. 2 (2), and Quiet City (1). I am doing trumpet and organ recitals in both Gloucester Cathedral and Bath Abbey this year, and there are plans for a trumpet and organ CD. The pressures of the competition were only what one would normally expect from a solo performance of any kind, except that the pressure was doubled by the fact the audience consisted almost entirely of great trumpeters! Winning the contest did raise people's expectations somewhat, but I'm afraid it was my own expectations that were raised the most. I found out the hard way that there will always be a lot to learn about playing the trumpet and about music in general. A subsequent teacher told me quite simply, "You have all the basic ingredients, now you just need experience!" Very true. A career was not determined or launched. No one came looking or took me under their wing. However, the win has always looked good on the resumé. May, 1996 / ITG Journal 9

I was a bit disappointed that all the finalists were Americans. Otherwise, I still feel it was a fantastic experience, especially performing with the Black Dyke Mills Brass Band. Wonderful! I think the competition is very well run and organized. It would have been nice to have a performance critique from each distinguished judge. My advice to younger players is to be prepared, be over-prepared, know your pieces forward, backward, and sideways. You must be absolutely sure of what will come out of your bell. Be musical and try to act relaxed! 1987 - No winner 1988 - Bret Jackson: I played the first movement of the Kennan Sonata and the Jolivet Concertino. After winning the contest, I completed my master of music degree at Brigham Young University and a DMA at Arizona State University. I am currently professor of trumpet at Brigham Young University. Besides my work at the university, I play regularly with the Utah Symphony, Ballet West Orchestra, Utah Centennial Brass Band, and do freelance work in the Salt Lake City area. Winning helped me gain more confidence in my abilities. I remember at the time I competed, I was still feeling very ambivalent about going into music as a career. Winning the competition was sort of a pinnacle event or motivation in helping me to "keep the faith." The competition and later auditions always help me play the next one better. Bill Pfund was chair of the competition, and he did an excellent job of organizing it and helping us all feel at ease with the situation. I've always appreciated the fact that the required work is more often than not a piece that stresses musicality rather than one that is extremely technical or overly "chopsy."

My advice for students? If you'll enter competitions with the hope of improving yourself as a player, and to make new friends in your field, you'll benefit much from competing, regardless of the judges' decisions. I have a CD on the Summit Records label titled Bret Jackson, Trumpet (DCD 153)

1989 - No winner

1990 - Jonathan Fields: I played the Jolivet Concert No. 2 and the Bozza Caprice. I was a student at Indiana University and studied with Charles Gorham. That same year I won the State of Indiana Trumpet Solo Competition. In 1993 I attended the Cleveland Institute of Music, receiving my master's degree in 1994. I studied with Michael Sachs. I won the Toulon International Trumpet Competition in 1993. I am currently a member of the Fort Worth (TX) Symphony Orchestra, and I have played assistant principal trumpet with the Hong Kong Philharmonic Orchestra and principal with the Orquesta Philharmonica de Jalisco in Guadalajara, Mexico. During the competition I was nervous - stage fright - but it was a wonderful experience to perform in front of so many trumpet players, many of whom I did not know. It was as close to a real audition as any event I had played in as a student. I never really cared about people's expectations. Just for myself, I thought that being in a competition such as this would bring me more solo performances. That took much more time to achieve! Winning the competition was very important to my career, but it was not enough to win just that one. Now I can see that the competition takes place every year, at the time, it seemed like a "live or die" situation! However, I am still extremely proud to have been a winner of the ITG Solo Competition. It helped my confidence tremendously. I would like to see the winner get a recital somewhere as part of the first prize. My advice to other students is this. An ITG competition is a great way to compare yourself to other players in your age group. Students should make every effort to get into one of these. It is a wonderful experience, and you can hear what the top players your age can do on the instrument. © 1996 International Trumpet Guild

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1991 Michelle Kaminsky: I played the Chaynes Concerto and the Bitsch Four Variations on a Theme by Scarlatti. I was a student at the University of North Texas and a student of Leonard Candelaria. After the contest, I completed my master's degree at UNT, and I currently freelance and teach privately in the Dallas (TX) area. Winning has helped me gain recognition as a soloist. I think the repertoire required in both the solo and mock orchestra audition competitions is realistic. However, the frequent decision not to award a first prize in the mock orchestra competition is discouraging to present and future participants. If the competitions are open to students, then the judges should be prepared to reward good student performances. I would like to see the competitions award more prize money. As winner of the Solo Competition and top money winner in the Mock Orchestra Competition, I won $900. This did not even pay my expenses for the conference. Better prizes will attract better players. My advice to future contest entrants is that preparing for a competition provides a goal, and it will help raise your level of playing and confidence. 1992 - Ido Jan Stalman: I played the Enesco Legende and the required piece, the Tomasi Triptych. I had finished my studies at the "High School of Music" in Groningen, Holland, with Auke van der Merk, principal trumpet in the Netherlands Philharmonic Orchestra, and I studied privately with Pierre Thibaud. After that I took lessons with Peter Masseurs, principal trumpet of the Royal Concertgebouw Orchestra (Amsterdam). Since 1992 I have been the principal trumpet of the Enschede Symphonic Orchestra in Holland, the position I held when I won the contest. I do not teach, so I can spend more time practicing and performing as an orchestral player and soloist. I am also first trumpet in the brass quintet called Dutch Brass. I think every competition or audition helps you gain more experience, so you will be better prepared for the next one. This competition was a nice and fair one, which is what I expected, but now I set less value on this kind of event. I expected that winning such a contest would have more positive consequences for my career. It would have been nice if there had been more publicity about the competition and the winner, maybe even a prize-winners concert at the end of the conference. © 1996 International Trumpet Guild

I would advise students to find the best teachers, have confidence in yourself, find a good balance between practice and rest, and try to improve every day. 1993 - Todd Craven: I played the Enesco Legende and the Arutunian Concerto. I was a student of Charles Gorham at Indiana University. After winning the contest, I continued my trumpet studies with Professor Gorham, then completed my undergraduate degree with Steve Burns. I have recently completed my course requirements for my master's degree at Indiana University, where I was an associate instructor of trumpet. I want to add that Charles Gorham's name was omitted from my list of important teachers when I participated in the Ellsworth Smith Competition. I was recently a finalist in the Young Concert Artists Auditions in New York. I live with my wife, Laurie Penpraze, in Oxford, Ohio, and I am currently practicing for upcoming auditions and performing with the Miami University Faculty Brass Quintet. The ITG Solo Competition was an extremely highpressure situation for me. Even though an audience of trumpet players is the most sympathetic, they are also the most knowledgeable. Being able to handle nerves in that situation has helped my confidence a good deal. It was an extremely important experience for me in my preparation for future solo competitions and auditions. I found the repertoire to be very realistic and the standard of judging to be high. The only thing I would like to see in future competitions is the opportunity for winners of ITG contests to perform at other conferences, universities, etc. as part of the first prize. In other words, the ITG could do more to promote or showcase their winners and give them an even broader experience. My advice for undergraduate students doing competitions, besides practice a lot and be prepared well ahead of time, is to perform as much as possible before the competition, and no matter what happens, always stay focused on the music and play expressively. 1994 - Charles Saenz: I played the Charles Chaynes Concerto and the Fisher Tull Three Bagatelles. My teacher was Ken Van Winkle at New Mexico State University. I am currently working on a master's degree in performance at the University of Illinois, where I study with Michael Ewald. I didn't feel any pressure during the competition. May, 1996 / ITG Journal 11

Coming from a smaller, not very well-known school, my main concern was playing well and having the opportunity to have people hear me. The contest helped me realize that I could really succeed in the music field. In general, it gave me more confidence in performing. It was definitely a plus for my future plans. I think the ITG student competitions are very well respected, and I have gained respect from many people for having won. It is also helpful on my resumé. I am very proud to have had this opportunity and to win. It is a great opportunity to experience competitions such as these during undergraduate school. I would tell others to take their time in preparing for this competition. Have your tapes, applications, etc., completed well ahead of the deadline. This will help you prepare a quality audition.

Mock Orchestra Winners

1977 - Brad Boehm: I was a student at Northern Illinois University, and Ron Modell was my teacher. I remember the setting, the hall, the people, and the audience very well. I kept my concentration up and kept my eyes on the music to minimize the pressure, but I sure was nervous! All auditions after that seemed easy compared to the pressure of playing for 500 trumpet players. After the contest, I played professionally in the Chicago area for 10 years, traveling with the Chicago Brass Quintet. We made several CDs during that time. I also played regularly with the Chicago Lyric Opera, the Lithuanian Opera, and the Chicago Opera Theater. My wife Nance, a former horn player, and I have been married for 10 years. We have a 13-year old daughter, who is an excellent violinist, and a 4-year old son. My trumpet is in the case temporarily, but I plan to get back into it soon, starting with weddings, etc. I am currently Sales Manager at Effective Air, Inc., a heating/cooling contractor in Glenview, Illinois. I would advise students to be realistic about the possibilities in the job world, but by all means, give it your best shot. Competition may be a rude awakening for many students. 1978 - William Nulty: I was a student of Charles Gorham at Indiana University when I won the orchestra contest. I stayed there and studied until 1980, when I won the second trumpet audition for the Ft. Wayne (IN) Philharmonic. I am currently solo trumpet in the Zürich Opera Orchestra. I also played for two-and-a-half years as solo trumpet in the RAI Orchestre in Turin, Italy. My wife Veronica is the Musical Director of the International Opera Studio attached to the Opera House here in Zürich. She also accompanies Simon Estes, the American bass singer. I teach privately and do some work on the natural trumpet. I've also been working with Rainer Egger, a trumpet builder in Basel, on a German C trumpet. I did feel after winning the contest that people's expectations were higher, and I therefore spent even more time working on the orchestral repertoire in preparation for professional auditions. However, during the contest, I must add that I sensed a very positive and supportive atmosphere from the audience, as well as from the other finalists. The contest did help me prepare for future auditions. I can't imagine a more difficult audience to play for, as everyone present knows all the musical selections (whether solo or orchestral) inside and out! I believe the judging standard at professional auditions has become extremely high, perhaps in lesser orchestras (regional, etc.) too high. I don't know if ITG's standard has kept pace with this trend, since © 1996 International Trumpet Guild

1995 - Ben Wright: I played the Haydn Concerto and the Honegger Intrada. I was then, and still am, a student of Michael Sachs at the Cleveland Institute of Music. I had appeared in an earlier ITG Solo Competition as a high school student at the Interlochen Arts Academy studying with John Lindenau. Since I've been at Cleveland, I've competed in the Young Artists Competition and the Scholarship Competition in St. Louis (1995). I made the finals in both and won the Scholarship Competition. It was a great thrill to play in the concert hall in St. Louis for Leonard Slatkin and other artists. I played the Enesco Legende and the Haydn Concerto from memory. I won the CIM Concerto Competition, also in 1995. I've been fortunate to solo a lot with CIM ensembles. I recently soloed with the orchestra as part of a gala concert to commemorate Cleveland's bicentennial, and I played a cornet solo with the CIM Wind Ensemble in February. I hope to enter an Ellsworth Smith Competition in the future, but I think I'm a little young for that repertoire right now. Winning the competition did not really determine my career, because I've known for a long time that I wanted to be a professional trumpet player. I went in there feeling I didn't have anything to lose, and I played really well, and I was content with that. The competition helped me prepare for future events. To play in front of an audience of trumpet players, adds a certain intensity to the nerve problem. Even though I am still a student, my advice is to prepare yourself to play in front of a crowd of trumpeters. To do that you have to start somewhere, anywhere. Play frequently at your church or synagogue or wherever to gain confidence playing in front of a lot of people.

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I've been away from the contest for a number of years. My advice for future orchestra competitors is that it is very important to learn the context of the excerpts. One must have an intimate knowledge of the entire piece to be able to play a particular excerpt with any meaning. 1979 - Mock Orchestra Contest Not Held 1980 - Joseph Koczera: (Also student solo recitalist, same year). At the time of the competition, I was a teaching assistant to David Greenhoe at the University of Iowa. Before that I had studied with Richard Burkart and John Beer. There was no student solo competition that year; rather, winners were chosen from the tape entries and we performed our pieces in a recital at the conference. I played the Chaynes Concerto. I don't have a current photo, but people who know me say I look like Clint Eastwood from the kneecaps down! I think I look like Patrick Swayze. I was attending the University of Iowa working on a master's degree in music performance when I took part in the competition. The decision to go to Germany and try to win a position was made the following year [1981]. I am second trumpet in the Düsseldorfor Symfoniker in Düsseldorf, Germany. As with most orchestras in Germany, the DS is a citysupported theater orchestra performing roughly 60% opera and 40% symphony concerts. The orchestra has about 120 members due to the large opera repertoire, with performances possible 6 nights a week during the 45-week season. We have six in our trumpet section, of whom three are coincidentally American. I have held this position since 1983. Before that I was solo trumpet in a smaller theater orchestra that traveled a lot in Detmold, Germany. I felt immense pressure during the student competition. Not so much from my fellow auditionees, but from the reality of playing well-known excerpts before a rather large group of peers. I did not feel any more pressure real or imagined due to my "winning." Rather, it was more of a much needed success and a happy confirmation of the time and effort invested, since I was accepted provisionally to study the trumpet at Ohio State University in 1973. My impression, from reading recent ITG journals is that the competition has changed, and now an attempt is made to judge more on the level of the competitors rather than on some "fictional" orchestral position. I say this because in the real world of orchestral auditions, as I know them, not too many of us would have even made it to this "final round," let alone been given the position without first running through a lot of fiery hoops. Nevertheless, it is a © 1996 International Trumpet Guild

valuable opportunity to gain some experience when such experience otherwise can cost a lot. The competition gave support to the way I prepared for auditions and to my basic concept and sound. It helped to convince me that I would sooner or later play in an orchestra. If I could change the competition, I would give more money to the winner! Kidding aside, it is a shame that the winner isn't guaranteed an "invite" to all upcoming auditions for the following year or perhaps indeed a monetary prize high enough to pay for the cost of attending at least one audition in the U.S. I would advise students to look for every opportunity to perform in your desired genre and test yourself constantly. Get into the habit of saying "Yes" to each opportunity. Practice and be extremely self-critical (listen, tape-record, and watch in a mirror). Perform and accept yourself. Don't ever think you know it all because, unless you are Arnold Jacobs or perhaps one or two others on this planet, you probably don't! Don't ever be too proud or too afraid to ask for help. 1981 - No winner 1982 - Daniel Ross: I was a student at Indiana University and a student of Charles Gorham. I finished by bachelor's degree in 1983 and won the associate principal trumpet position with the Fort Wayne (IN) Philharmonic Orchestra that spring. I also serve as the personnel manager. In 1981 I participated in the ITG Solo Competition and remember feeling the pressure of having all those trumpet players in the audience. I don't recall feeling the same about the Mock Orchestra Competition in 1982. I don't recall that winning added any pressure to my life, but overall I would consider it a very positive experience helpful, not hurtful, in terms of my career. It certainly helped me prepare for future auditions. I spent my senior year at Indiana University focusing on preparing for orchestra auditions. Having participated in the ITG competition was very helpful. I recall the repertoire list being very typical of auditions I have taken, and how could I not think the standard of judging was excellent, since I won?! I would advise future participants to practice like mad and prepare, listen critically to your audition tape, and focus on making music, not just playing the trumpet. My 7-year old son Jonathan is playing the piano quite well right now, but yesterday he picked up my trumpet. 1983 - Terry Everson (see above) 1984 - No winner May, 1996 / ITG Journal 13

1985 - Dan Smith: I was a student at North Texas State University, and Leonard Candelaria was my teacher. After winning the contest I went on to complete a master's degree at the Juilliard School of Music. I currently play in the United States Army Band in Washington, D.C. The ITG competition was a good experience, both in my level of preparation and in the professional players it helped me meet. Many of my schoolmates were there, and although they were very supportive, I didn't want to let them down. Otherwise, it was about like a regular audition. I think the competitions are realistic in terms of repertoire and standard of judging, and I would encourage other students to work hard and to get as much input about their playing as possible. 1986 - Christopher Pigram (co-winner): John Wallace, of the Royal College of Music, London, was my teacher when I won. After winning the contest, I went straight out into the profession. Currently, I work as a freelance player in London with symphony orchestras, contemporary music ensembles, etc. I also do commercial recording and theater work. I play in a brass quintet called Apollo, as I have done since 1985. The competition was a positive influence, since many people who heard me at the competition proved to be valuable professional contacts. However, it did not really help me prepare for future competitions because the U.K. system is very different from the way the ITG competition was run. Nevertheless, the extra practice can't have done any harm. During the competition I had an extreme desire to get it over with and go to the pub! My advice to future competitors is to get a good teacher and work hard. 1986 - Richard Stoelzel (co-winner): I was a student of Bryan Goff at Florida State University and was being coached by Steve Hendrickson in 1986. After graduating from Florida State, I completed a master's degree (trumpet performance) at the University of Connecticut, and I have done doctoral work at the Peabody Institute of Music. I am on the artist faculty of the Harid Conservatory in Florida, where I teach and play first trumpet with the AVATAR Brass Quintet. I am principal trumpet of the Palm Beach Opera Orchestra, Ballet Florida, and Symphony of the Americas.

The pressure at the actual competition was intense. Performing for a roomful of trumpet players not to mention the early morning times of these auditions - can be much more nerve-racking than what is actually the case in professional audition. Winning the competition helped launch my career in that it was a realistic audition experience, and I got the chance to play and be heard by many influential people in the trumpet and music business. It helped me learn how I could prepare best for professional auditions. Immediately following the competition, I won the position as solo cornet with the U.S. Coast Guard Band, a premier ensemble. I still enjoy listening to this competition. I had the privilege of serving as chairman of the 1991 ITG Mock Orchestra Competition. The only thing I would like to add to the present format would be having the finalists perform their excerpts with a section of pros. This was done when I won (in London). I found it extremely valuable to be able to lead a section of professionals through the excerpts, or was it them leading me through the excerpts? My advice to younger players is to practice! I like to make a tape of my favorite recording of all the excerpts and listen to them 3-4 times a day. I find it beneficial to play along with these recordings, as well. A very important tool is a tape recorder. Tape yourself often. Listen to the rhythm and style. This will also accustom you to the actual taping process. 1987 - Robert DiVito: I was a student at the University of Toronto, and my teacher was Stephen Chenette. Since 1989, I have been playing trumpet in the Canadian production of The Phantom of the Opera in Toronto. I have also been a member of the Hannaford Street Silver Band since 1987, and I freelance in the Toronto area. I've recorded three CDs with the Hannaford Band. Two of them are CBC SM5000 series; the other is for MRP Records. Two more recordings are scheduled for spring and summer, 1996. I also recorded the Canadian Cast Recording of Phantom on Polygram Records, as well as one with the Kitchner-Waterloo Orchestra featuring tenor Mark Dubois. My wife Lorraine and our two children, Benjamin and Cecilia, accompanied me this past summer to the Harmony Ridge Festival in Vermont, where I performed the Concerto for Trumpet by Edward Gregson. I won the competition in my graduating year. I really didn't know what I was going to do after gradu© 1996 International Trumpet Guild

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ation. I definitely wanted to work, but I had had enough of school at that point. I remember getting back to Toronto from the ITG conference and getting two telephone calls that got the ball rolling for me. The first call was from Raymond Tizzard, the director of the Hannaford Street Silver Band. He called to congratulate me, as well as asking if I was available to do a rehearsal with the band. (The HSSB is comprised of top brass players in the area, so it was a good opportunity for letting other players know who I was.) I went on to do a tour with the band, made a CD, and eventually became a regular member. The second call was from James Spragg, the principal trumpet of the Canadian Opera Company Orchestra, at that time. (He now plays with the Toronto Symphony Orchestra.) He asked if I was interested in doing some extra playing with the orchestra. I also had to do an audition for him. I played a Tomasi etude and some excerpts. I remember my first opera rehearsal. One of the other trumpet players turned around and said, "You must be that new kid who just won some trumpet thing; now we really have to play well." At that point I felt I had to perform well, even if he was just giving me the business! Looking back at the ITG competition, I have fond memories of it. I remember wanting to do well for my teacher, Steve. I knew it would mean a lot to him. I also had friends and family at home waiting to hear how it went. It would have been tough going home not having played well. I remember being relaxed and very focused during the competition. I try to take that feeling to other auditions. I remember at the awards banquet, when I went up to receive my prize, Gordon Mathie, who was seated at the head table, was singing O Canada. It made me proud to be Canadian. I think the competition was well-organized and executed. The excerpts were all from the standard repertoire. The chairman, Ed Cord, handled the drawing of lots very professionally. The judges were Ramon Parcells, Susan Slaughter, and Mario Guarnieri. If they don't know the excerpts, who does? My only advice to younger players is to be well prepared, play for lots of people, and tape yourself.

1988 - Cynthia Thompson Carrell: I was a student of Michael Tunnell at the University of Illinois. I was working on my DMA and had plans to pursue a university teaching career. Those plans changed when I married my graduate school accompanist, Scott Carrell. We moved to Texas, and I taught at Granbury High School and Granbury Middle School for a little over three years. I stopped teaching before the birth of our now 2-year old son, Ethan. He loves to "play" his trumpet mouthpiece or his trumpet kazoo when I practice or teach at home! I hope to finish my DMA this year. I felt pressure during the competition, not so much from other people's expectations, but from my own. Relatively few people knew about the contest, or that I won it. However, when I tell them about it they seem impressed! The performance that day was the best I've ever given. I learned a lot in my preparation. Learning to focus was the best benefit. Even if I don't always apply it, I know I can and I did, and how much difference it makes. Performing in front of so many trumpet players was a little scary, especially since they all knew how the excerpt was "supposed to be played." I would advise students to play as many "dress rehearsals" as possible. Play not so much for their critique as for the performance experience. Learn to focus on the music and nothing else. 1989 - Michael Flynt: I won the Mock Orchestra Audition Competition when the conference was in Santa Barbara. Manny Laureano chaired the competition. I was and am again a student of David Greenhoe. Last semester I taught half of Bruce C. Briney's studio at Western Illinois University in a shuffle to cover a sabbatical leave. I currently teach students at Knox College (Galesburg, IL), Mt. Mercy College (Cedar Rapids, IA), and Cornell College (Mt. Vernon, IA). I frequently play with the Cedar Rapids Symphony and its brass quintet, as I have for the past three years. I am first-call extra for the Quad City Symphony (IA). I am preparing for comprehensive exams for a DMA in Performance and Pedagogy with a minor in the pedagogy of music May, 1996 / ITG Journal 15

© 1996 International Trumpet Guild

theory at the University of Iowa. I was the trumpet TA there for one year and am now in my third year as Orchestra Manager. After the contest I studied with Allan Dean at Yale, earned my MM. Yale and Connecticut provided fantastic and powerful experiences. I was enthusiastic after winning, but the only pressure I felt was internal. I never thought that people were even aware of that "little success." I have always enjoyed orchestral playing but haven't had the adrenaline to take every possible audition. I can't say that the competition itself was so helpful. It's a very peculiar circumstance to play for an audience comprised exclusively of other trumpet players, music stripped of its context for a one-time prize, and no attached prospect of further employment. The preparation I did was much more exciting, mostly in the respect that I played the excerpts for lots of different people. The input I received from them felt very valuable. I wish it were more convenient to do that kind of preparation for much of my other playing. The pressure? I felt nervous; I wanted to find my own space - on the loading dock, wherever - to ignore the "weight" of the situation and to leave as little time as possible to prepare (i.e., worry) before playing. My impressions now aren't very different, except that winning it seems increasingly less relevant-which is only natural. From time to time judges or competition chairpersons become particularly ideological about the way "this" competition should be. They may set high standards or they may have contestants who are not as accomplished as they should be. Generally (with an obvious exception of the first Ellsworth Smith Competitions' emphasis on piccolo concerti) the repertoire is well chosen and the adjudicating is attentive and well-reasoned. Discussions that may emerge after these events can further the purpose of the competition: to educate student performers and improve their performances. It is in this venue that comments about general level of playing, bad performance habits, etc. are best aired. Better yet for the contestants are written comments from the judges or whomever. A principal danger is when well-meaning (or not) professionals place their appropriately high performance standards in the way of providing encouragement and an educational experience to the contestants and others. Not awarding prizes when sufficiently clear delineation of performance prowess has been demonstrated is not only unjustifiable - it is also arrogant and counterproductive in the extreme. Encourage better applicants; don't beat down the ones you get. I think that the Mock Orchestral Audition Competition would be more interesting if it were incorpo-

rated with a master class either before or after the competition. Or try something more bizarre: have each finalist play a round the first day of the conference, then pair each of them with a professional orchestral player. Have round two near the end. One could even evaluate pedagogies in this manner. I'm sure the Journal could squeeze one or two articles out of such an experiment. I would advise auditionees to practice, make a good tape, and remember to relax and try a home brew from time to time. 1990-1993 - No winner 1994 - Stacy Simpson: I was a student at the University of Louisville and my teacher was Michael Tunnell. After I completed my bachelor's degree, I began graduate work at Indiana University as a student of Stephen Burns and John Rommel. I will finish my master's degree at IU in May, where I have also been serving as associate instructor of trumpet for the past three years. I have recently been accepted into the Artist Diploma programs at Cincinnati Conservatory of Music and Duquesne University, where I will study with Marie Speziale or George Vosburgh. I have been serving as second trumpet with the Evansville Philharmonic, Owensboro Symphony, and Columbus Pro Musica for the past three seasons, as well as subbing with the Louisville Orchestra regularly for the past four years. I have a quintet called the Canterbury Brass, and we did a 10-day tour of New Zealand in February. I also play in the Indiana University Brass Quintet and this group performed and competed at the New York Brass Conference for Scholarships in March. I continue to work as second trumpet in the Owensboro Symphony, Evansville Philharmonic, and the Columbus Pro Musica, and still play extra with the Louisville Orchestra. I would like to take this opportunity to thank Stephen Burns, John Rommel, and Michael Tunnell for showing me, each in his own way, what it takes to be a true musician. 1995 - Christopher Kiragief: I was a student at the Cincinnati Conservatory of Music and Alan Siebert was my teacher. I graduated from Cincinnati in 1995, and I am currently working on a master of music degree at the Cleveland Institute of Music with Michael Sachs. I have played various services with the Canton Symhony, the Erie (PA) Symphony, and the Akron Symphony. I alternate playing in the orchestra and wind ensemble at school, and I am principal trumpet in those ensembles. I didn't feel much pressure at the ITG competition, © 1996 International Trumpet Guild

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because I had just gotten back from auditioning for the New York Philharmonic Orchestra. I got to the second round of the semi-finals, which consisted of sight reading duets with Philip Smith. He's a great guy. After that, a lot of things seemed like a piece of cake. I would advise students interested in preparing for this contest to play as many excerpts as they can in a row, and in front of as many people as they can. I've taken several other auditions, and this was the longest list with the "big, heavy-hitter" excerpts backto-back. This was like the final round of other auditions, where they can throw anything at you they want, and you have to be ready for it.

Jazz Winners

1977 - No contest 1978 - No contest 1979 - Student Recital featuring Robert Allison, Thomas Birkner, Bruce Nelson, Peter Olstad, and Steve Walters 1980 - Student Recital featuring Gary Blackman, Tom Birkner, Mark Israel, and Peter Olstad 1981 - Terry Connell: I performed 'Round Midnight, Blues on the Corner, and Airegin. My teachers were Joe Daley, Ron Modell, Terry Sawchuk, and all the musicians I knew. I was a student at Northern Illinois University. Currently, I am a CPA specializing in computers - consulting, system design, and programming. I charge rock-bottom rates and I'm always helping the down-trodden. I bought my dad's computer business when he retired. I enjoy what I do. I sometimes play a "day gig" and then do my "day gig" computing at night. My trumpet playing presently accounts for a small, but important, percentage of my income. I do quite a bit of "jobbing" in and around Chicago, and I work with some of the best musicians in the world. I independently contract for musical services, usually on © 1996 International Trumpet Guild

the weekends, but not always. This usually involves playing trumpet and flugelhorn, but I also play percussion and can do Bowie-like Brit vocals. My favorite band is Marshall Vente's "Jazz Tropicale," and we recently released a CD. I have played on other CDs, such as Bill Russo's Chicago Jazz Ensemble, Bill O'Connell's Jazz Alive, Frank Mantooth's Perseverance, and Barry Winograd's Alternatives Big Band. I was recently heard on Arts & Entertainment's Biography: Bugsy Seigal. Did winning make me feel under pressure? Not really. Working with my musician-friends makes me feel de-pressurized. And besides, that same year Wynton Marsalis signed with Columbia Records. He's under a lot of pressure! And how about that Miles Davis album Man With the Horn? I remember having fun at the ITG conference in Boulder. It was summer, and I enjoyed being in the mountains. I thought I saw Brooke Shields driving a white car, or was that a "Rocky Mountain High?" Anyway, it wasn't Big Foot! Boulder had just what I wanted - a place that served Chicago-style hot dogs. One last comment - the pat on the back from Louis Davidson and his saying, "You'll do fine," has helped me with everything. 1982 - Paul Mazzio: The 1982 conference was in Lexington, Kentucky. I played three "blue note" compositions by Hank Mobley, Wayne Shorter, and Curtis Fuller. I was a student of John Haynie at the University of North Texas. I received a B.A. in jazz studies/performance from UNT in 1985. I finished my master's degree at the University of Southern California in 1989. I moved back to Portland, Oregon in 1991, and I have been freelancing and teaching privately. One of my freelancing activities is contracting and performing with the Portland Center for the Performing Arts "Broadway Series." The series is in its second season, and a third is in planning. So far I've had the good fortune to perform in the national touring productions of Crazy for You, Fiddler on the Roof, The South of Music, Hello Dolly, West Side Story, Kiss of the Spider Woman, and others. The productions currently stay in town one week, and the series has five shows per season. Occasionally the shows will be self-contained, but most shows need local musicians to some degree. I have additional bio and CD information online through the Web. Its called the Bio-Jazz Network ( May, 1996 / ITG Journal 17

I look back at the ITG competition as one of the high points of my college years. I was very nervous, but I felt I did everything possible to be prepared. I think the exposure I received from the contest helped me land a spot with the Woody Herman Orchestra in 1983. I spent 13 months with the band. My advice to those preparing for these contests is to set a goal and prepare to the best of your ability. If you do your best, that's all you can ask. Be prepared to win a few, lose a few, and enjoy life! 1983 - Jeff Beal: I was a student of Barbara Butler at the Eastman School of Music. I played 'Round Midnight, Stablemates, and Rhythm-a-ning. I had also won many jazz awards from downbeat magazine - 11 "db's" during my Eastman years - and these early successes provided confidence and encouragement to pursue my goals. The added pressure of performing in a competitive situation did help my live performing/studio playing skills. I am currently a jazz recording artist and studio musician in Los Angeles, and I am also active as a concert and film composer. This year I will be a featured soloist and composer for the Metropol Jazz Orchestra of Holland. I'm very excited about a new CD that will be out this year, Alternate Route. This will feature my four-movement jazz trumpet concerto (with the Berkeley Symphony), and five pieces just recorded with the Metropol Orchestra of Holland. I have five solo albums out: Contemplations, Three Graces, and Objects In The Mirror (produced by Steely Dan's Walter Becker) for Triloka Records, and Liberation and Perpetual Motion for Island Records. I have composed and produced several TV and film scores, including Cheap Shots, Ring of Steel, Lookin' Italian, Power 98, and The Fence. I have also com-

posed and performed the film noir jazz score for the NBC Movie of the Week, Threat of Innocence, which aired in May 1994. I am currently composing an operatic Broadway musical version of The Count Of Monte Cristo, with lyricist Jacques Wilson. The real competition for an artist is always against oneself. Measuring your level against your peers gets you only so far. In fact, in jazz, developing your own sound and style is important. It can be a detriment to be overly concerned with what others are doing. The competition was very well set up, having a rhythm section for us to play with, rehearsal time, etc. If I remember correctly we chose our own tunes. I think this is a good approach. A guitar player friend of mine just did the Monk Competition, and he said the repertoire was very specific. In jazz this doesn't really make sense, because different material might highlight one's own improvising best. I would advise students to work on becoming a great musician, not just a great trumpet player. In fact, I've overcome many physical boundaries/frustrations in my own work by concentrating on a musical approach. Also look for great teachers. I was very lucky to find them all though my student years. Finally, listen to and study lots of recordings. If you don't have a mental image of what you want to sound like, you'll never get there. The check from ITG arrived in the mail the very day I proposed to my wife Joan (we are now married 12 years and have a 13-month old son, Henry Forrest). It was a good omen, and also helped a starving student pay for the ring. Thanks! 1984 - Craig Fraedrich (co-winner): I played Latin Lover, Little Dancer, and It's You or No One. I was a student at North Texas State University and student of Leonard Candelaria. Later I attended Arizona State University, where I was the jazz teaching assistant. I received my master's degree there in 1986. I am currently jazz trumpet soloist with The Army Blues, the premier jazz ensemble of the U.S. Army and a faculty member at the Shenandoah Con-

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© 1996 International Trumpet Guild

servatory of Music in Winchester, Virginia. I have CDs out as a leader: So In Love, On the Edge, First Flight, and Shades of Blue - A Jazz Recital for Trumpet and Piano (to be released Spring 1996). I also have written two books: Scale Studies for Improvisation (practice and development of jazz scale technique) and Dues Etudes (20 harmonically progressive jazz etudes, playable with Aebersold, Vol. 15). Winning the contest had no effect on me in terms of others' expectations. I have yet to find anyone who has higher expectations of me than those I have of myself. In a sense, the competition did prepare me for future auditions, because I can think of no audience more critical than those at ITG conferences. The pressure there was only the pressure I placed on myself. The student competitions are great because they offer an opportunity for students to learn to face pressure and a critical audience before they have to do so in order to get a job. My impressions of the contest are different now. Then, I wanted to be a winner. Now, I feel the real honor was to be a part of the event and to be allowed to present my music to an audience of dedicated musicians. Each participant that year brought something musically different and was, in terms of how they heard the music, equally successful in their presentation. Now, it seems that picking any winners at all might have been superfluous. When I played the ITG competition, there were no repertoire requirements. As far as I am concerned, the phrase "standard of judging" is a bit of an oxymoron when applied to the 1984 competition. As a participant, I was given no direction as to what the judges were listening for (as I am sure the judges were given no directions). Were they listening for the best technician? The best sound? The coolest licks? The most creative? The best choice of program? The best solo construction? Or someone who sounded "just like" Dizzy, Miles, Clifford, Clark Terry, Lee Morgan, Freddie Hubbard, Kenny Dorham, or some other "favorite" jazz player? It seems to me that, at the time, © 1996 International Trumpet Guild

there were no standards to the judging other than their subjective feelings that day. I would like to see some changes. The jazz competition needs to decide if it is a competition or an exhibition. A competition should have guidelines, requirements, and expectations that are in some way measurable. We are currently putting together a jazz trumpet audition for The Army Blues, and maybe the competition could be something like this: several prepared pieces, each playing the same number of choruses, with written instructions as to what is expected (similar to the mock orchestra audition). If it is an exhibition, then the top entrants should be allowed to be featured doing whatever it is they do best, with no concern for what anyone is looking for, and no winners declared. My advice to students interested in the jazz competition: make sure the entry tape accurately reflects your capabilities. One year I was involved with the screening of entry tapes. With one exception, I was appalled at the poor quality and preparation of the tapes. Granted, I was listening to copies made by the committee chairman, so some of the fidelity blame may not be the students' fault, but much of the playing was sub-par. I was present at the competition, and the performances far exceeded the playing on the tapes. The winner's tape had not been particularly outstanding, and he may not have been selected to perform. I am sure over the years that some fine players have not been selected, and certainly disappointed, because of poorly recorded tapes or tapes of sub-par performances. 1984 - Jim Rotundi (co-winner): I was a student at North Texas State University and Don Jacoby was my teacher. I graduated in 1985. Now I am a freelance trumpet player in New York. I have worked with Lionel Hampton's Orchestra and the Ray Charles Orchestra. I teach private students, and I sometimes give clinics in jazz improvisation. I've done everything from subbing on Broadway to playing on various May, 1996 / ITG Journal 19

recording dates. I've been featured on a few records, and I'm about to make a few more. One that's out is with Eric Alexander. It's called Straight Up, and it's on the Delmark label. One that's about to come out is with Ray Appleton, and it's on Sharp 9 records. I didn't really enjoy the competition very much, because I don't believe in competitions unless they concern a position of employment. If I had it to do over again, I probably wouldn't do it, but that was a different time. I would like to see this cease to be a competition and just feature the finalists in a concert. I think this would make it more musically pure. I would almost list it as a regret now that I didn't go to school in New York. I think I would have advanced a lot more quickly if I had. I would advise any musician, who has a choice, to be as close to New York City as he or she can. If you're going to a university, it should be close to New York. As far as a musical education is concerned, there is no substitute for what you can learn on the scene in New York as a jazz musician. A symphonic musician would have a whole variety of other choices. I think it's accepted at this point that New York is the capital of jazz, as well as being a cultural center. Go where you can get the best experience. 1985 - Ken Watters: I was a student at North Texas State University, and my teacher was Leonard Candelaria. I played Saga of Harrison Crabfeathers and Green Dolphin Street. We all sightread a piece called Mr. Oliver. Right after the competition, my contemporary jazz quartet, The Jungle, won the downbeat Student Music Award in the college division blues/pop/rock instrumentalists group category. I left NTSU at the end of the semester, because the quartet members won intern positions in the Epcot Institute for Entertainment Arts Entertainment. We played at Disney World for their 15th anniversary year, had all our expenses covered, and got to study with top artists in the jazz field. After that year, I moved to New York and took some courses at the Manhattan School of Music. I stayed in the New York area for six-and-a-half years, and I played lead trumpet with the renowned French Caribbean band called Tabau Combo. We toured extensively throughout the Caribbean, Europe, and the Far East. From 1989 to 1994, I was contracted by Royal Cruise Lines Crown Odyssey. I performed nightly as jazz/lead trumpet with the Odyssey Orchestra and Show Band. In 1994 I was lead trumpet for a stage band combo on the ship, Sovereign of the Seas. We backed all the big artists who were booked for tour entertainment. I stayed with them through January 1996. I am currently taking a break from the cruise line and living in the southeast. I may go back to it in the near future.

I was thrilled to win the ITG competition, because I think it's one of the most prestigious contests around. I was also happy to win because my parents and several other relatives flew to Albuquerque to hear me play. I had to make their trip worth it! I'm proud to say my brother Harry plays trombone in the Airmen of Note. 1986 - Paul Edmonds: I played Bag's Groove, I Can't Get Started, and Stella by Starlight. I was a student at the Bournemouth School and Rodney Senior was my teacher. After winning the competition, I attended the Guildhall School of Music as a graduate student. Now, I play throughout Europe and teach in London. My memories of the competition are that winning added pressure to my life because of higher expectations. During the competition itself, I had just the "general nerves" like everyone else. I wish the prize money had been higher - maybe that's something that will change in the future. I would advise any student interested in these competitions to "go for it!" 1987 - Irv Grossman (co-winner): I played Lush Life, All the Things You Are, and a Gary Lindsay original. My teacher was Chris Rogers, and I had just graduated from the University of Miami. I am in my second semester of a master of music program at the Manhattan School of Music. I am studying with Lew Soloff, who is a superb player and teacher. I play around the New York area, doing a variety of gigs from off-Broadway shows to weddings, big band work, classical, and Latin jobs. The music business is a mess! I felt a lot of pressure during the competition, but I think I could have auditioned for Gabriel afterward! I've never felt so many eyes on me, and all of them trumpeters'. I had to take my pulse a few times. The experience of "winning" gave me some confidence that I sorely needed, but hard work and determination will ultimately launch my career. I am grateful for the experience, as it showed me what true fear is playing trumpet in front of a roomful of trumpeters. Now that I can look back on the contest, I think it should be geared toward finding more modern players with modern repertoire, and the judges should look for this. I wouldn't change anything else. We were treated very nicely, and I look back on the experience very fondly. I would tell the younger players to think about two things. One, time feel is the key to good music, and two, expression is the most important technique a player can develop. Having "chops" doesn't mean playing fast licks, it means you can make someone laugh or cry. I would like to thank ITG for the competition. It was a great week in my life. My mother [Jean Grossman] is also an ITG member, and she has truly enjoyed the conferences. © 1996 International Trumpet Guild

20 ITG Journal / May, 1996

1987 - David Ballou (co-winner): I had just graduated from the Berklee College of Music, and my teachers were Tim Higgins, Greg Hopkins, and Jeff Stout. I later attended the University of New Hampshire and completed my master's degree. I teach privately, and I teach at the Maine Music Camp during the summer. I do everything and anything now as a professional trumpet player, but mainly things that are commercially oriented like shows, big bands, and swing bands. I play with the Stan Rubin Orchestra, and I sub with the Maria Schneider Orchestra. I have my own jazz quartet, the Dave Ballou Quartet. I recently did a project with a singer named Judy Silvano on Blue Note Records. I feel honored to be on that one. I've also been playing with Kenny Werner, Joe Lovano, and Clark Terry. I felt the competition was a laid-back situation because, at the time, I was on the road with the Tommy Dorsey Orchestra. I took some time off from the band to do the competition, and it was the first time I had ever been to a conference. I was struck by how nice everybody was. It was not so much a competition as it was people getting together playing, and they have to award somebody a first, second, and third prize. I was interested in listening to everybody else and learning from them. Of course, I was a bit nervous when it came down to thinking of it as a competition, but in the back of my mind it didn't matter if I won or not. It was more important that I had gotten there and could experience the conference. That was the fun part. I had the nicest conversation while I was there with a trumpet teacher, who lived somewhere in the mid-west. If I think long enough I could probably remember his name. The conference was his "vacation," and I was struck by the fact that there were people out there not in the high stress area of having to play for a living. They were there watching the crazy people like me! Talking to him gave me a sense of real grounding and a new perspective on why I was there. He made me realize the pressure was coming all from myself. 1988 - Jason Carder: I played Anthropology, My Funny Valentine, and Ruth (written by Ronny Miller). I was a student of Gilbert Johnson at the University of Miami. I currently play with Carlos Oliva y los Sobrinos. We have a Gold Record in Brazil (sold 100,000 copies), and we play in South and Central America frequently. After © 1996 International Trumpet Guild

winning the contest, I moved to Brooklyn, New York, and toured with the Woody Herman Orchestra, Ray Charles, and Maynard Ferguson. I recently moved back to Miami and completed my bachelor's degree in music. I was a finalist in the 1995 Carmine Caruso Jazz Competition. I am currently exploring the Turkish and Bulgarian folk styles of trumpet playing and looking for someone who can help me make a custom EVI of my design. I would love to correspond with anyone regarding these subjects. You can call me at 305-666-3757. The only pressure I felt during the competition was my own - to play the best I could. The contest didn't help prepare me for future auditions, but performing in front of hundreds of serious trumpet players was a great experience. I don't think the competition is very realistic. There is no standard of judging in jazz! Every participant brings his or her own life experiences to the music. Jazz is such a wonderfully individual art form that it is almost impossible to judge. The judges, no matter who they are, can only say whose performance they liked better that night. Everyone likes different aspects of trumpet playing, i.e., sound, technique, range, and everyone likes different styles of music within the huge genre of "jazz." My advice to other future competitors is this: It's impossible to know what the judges are going to like that night, so be yourself and relax! And if you win or lose, it's not because you are "better or worse" than anyone else. 1989 - Michael Johnston: I played Stella by Starlight, Body and Soul, and Anthropology. I was a student at the University of North Florida - the American Music Program - and my teachers were Rich Matteson, Bill Prince, John Almeida, and Bruce Silva. Yes, all of them at the same time! I have been a member of the U.S. Army Field Band for the past four years. I have played well over 500 concerts in that time and toured the U.K., Germany, Belgium, France, Canada, Puerto Rico, and every state except Alaska. I play in the concert band, which plays everything from orchestral transcriptions to my latest solo feature, Satchmo! I also freelance in Baltimore and Washington, D.C. when we're not on tour. I'm still looking for a graduate school that can accommodate my schedule. Winning put more pressure on me as far as others' expectations were concerned. The fact that I competed and won helped me feel more confident about my playing. The pressure during the competition was unbelievable. Warren Luening, Marvin Stamm, and Arturo Sandoval were the judges at the finals. Sandoval's clinic on the day of the competition included about 30 minutes just on Body and Soul, May, 1996 / ITG Journal 21

which I had chosen to play. Everyone knew what to listen for that night! Now that I look back, I can see that not all musicians know of the competition, but the professionals know it and instantly respect me for winning. The competition was and is still very special to me. I wish competitors could be given the opportunity to speak to each judge after the performance to help pinpoint what and how to work on their playing. Contestants should not have any expenses, including airfare, since most are struggling to pay school-related expenses. My advice to students is to take the time to prepare their tape, and make it professional - no mistakes. Make the music interesting, because to the listener you're only `Tape No. 48' until you catch their ear. Winning or placing in any ITG competition will give you more connections and look very impressive on your resumé, so take this opportunity seriously. 1990 - Marcus Printup: I performed Cherokee, Come Sunday, and Stella by Starlight. I was a student at the University of North Florida and studied with John Almeida. I am currently on a multi-record contract as a recording artist on Capitol/ Blue Note. I have recorded my second album (with sidemen Marcus Roberts, Jason Marsalis, Reuben Rogers, and Steve Riley). I perform as a bandleader or sideman with Wynton Marsalis and Marcus Roberts; we've toured Europe a lot, South America once, and we're getting ready to tour Israel in March. I have recorded on Atlantic and Sony as a sideman, and I've performed in major concert halls in London, Paris, and New York as a member of the Lincoln Center Jazz Orchestra. I serve as volunteer Artistic Director of The Arts Connection, a nonprofit jazz education program for children, and I perform and teach in conjunction with this. My CDs include my solo album,Song for the Beautiful Woman/ Blue Note, 1995; and - as sideman or guest artist The Pursuer/Atlantic (Carl Allen), 1994; They Came to Swing/Sony (Lincoln Center Jazz Orchestra/ Wynton Marsalis), 1995; Shades of Red/Blue Note (anthology Diane Reeves Kevin Eubanks, et al), 1996; Rhapsody in Blue/Sony (Marcus Roberts - future release 1996); Blood in the Fields/Sony (Wynton Marsalis) - future release TBA. I never graduated from college. I dropped out to tour with Marcus Roberts and Wynton Marsalis and was shortly thereafter signed to Blue Note. Winning

the ITG contest gave me more of a sense of confidence in my abilities; it's very fulfilling to be appreciated by a mass of people and by judges in what you're trying to do. The ITG competition helped prepare me for the caliber of musicians I'm playing with today, such as Wynton Marsalis, Nicholas Payton, and Roy Hargrove. When we're on stage in a cutting contest, I realize how important it is to just let your personality shine, rather than trying to outplay somebody. I really enjoyed the way the competition was held. It was rooted on the tradition of jazz, and they gave us choices for three standards. It was very laid back. The setting was like that of a jazz club, and it made it very relaxing. My advice to young players is to practice, practice, practice! Put your heart into every note that comes out of your horn. 1991 - Tim Leahey: I performed Good Bait, Country Cornflakes, Tenderly, and Voyage (the required piece). I was studying with Sue Sexton at Youngstown State University. I am currently a member of The Airmen of Note, the premier jazz ensemble of the United States Air Force. We perform public relations concerts across the United States and around the world. The band has been to Japan and will tour Sweden in the Fall. We also have the opportunity to perform at many jazz festivals and to backup guest artists such as Randy Brecker, Arturo Sandoval, Claudio Roditi, and Allen Vizzutti, to name a few trumpet players. After winning the contest, I freelanced around Cleveland until landing this gig. Winning the competition gave me a certain amount of self-confidence in terms of my ability to "keep up" in the real world. But it definitely didn't add pressure to my life or help to launch my career. I did feel that the self-confidence I gained gave me a better shot at performing well in my subsequent audition for the Note. I felt a little pressure the year I won the competition, since I had lost the year before! But both years I felt I was prepared to play my best and that either the judges would dig what I had to say or they wouldn't. I was happy with my performances both years, but I was glad I didn't have to try a third time! As for my impressions of the competition, I would © 1996 International Trumpet Guild

22 ITG Journal / May, 1996

have to say they're about the same now as they were then. Unfortunately, jazz is such a subjective thing that it's really ludicrous to call someone a winner. One set of judges may want to hear someone play like Louis Armstrong, another may want to hear Chet Baker, and still another may want to hear Don Cherry. Preference for a more aggressive, passive, harmonic, melodic, etc. style doesn't make someone whose approach is different a less valid soloist. It's just hard to call someone a winner because you like their style better. I think the student competitions are a great way of showing your stuff to your peers, and that judging is the best it can be, as far as evaluating an art form is concerned. In the case of the jazz competition, except for the required piece, you choose your own repertoire. (Can't really complain about that!) I wouldn't add anything to the competition. The required piece is a great tool to see what someone is made of, since it isn't given until the start of the conference. I would advise students to participate in as many competitions as they can get into (and afford!) You can always learn something from preparing for a performance, and from listening to the others. I have now been married to Donna Nichols Leahey for almost two years, and we have an eight-monthold daughter, Lindsey Erin. 1992 - Ron Blake: I played Giant Steps, Maiden Voyage, and Tenderly. I was an undergraduate at Cal State-Northridge at the time studied with Bill Bing. I have just finished my bachelor's degree in music and will be getting a master's degree somewhere. Don't know where I'm going yet, but it's a strong chance I'll go to the California Institute of the Arts. I currently teach and play in the California area. I play in several bands of all styles. I'm also starting an original jazz combo now that I have more time. The competition helped me in my confidence because when you win an international jazz competition (held in a different country), it makes people talk about you. When they hear you play, they usually say, "Oh yeah, he's a great player. He won ITG in '92!" Not a lot of people get to go to these things, and I was thankful and happy to have been able to do it. As for future competitions, I felt the most pressure whenever I tried to submit more tapes to them. I guess I feel like it can never happen again. © 1996 International Trumpet Guild

During the competition, I felt massive pressure! I won other competitions, but one so far away from home was difficult. I didn't know anyone, and I was alone when I took the long flight to Europe from Los Angeles! The people were nice, and I met some professors from different universities. After I played, I received helpful playing tips from one of my competitors! My impressions of the competition are different now in that I see playing music as an art and not a race to see who can play the highest and fastest. I still recommend whoever wants to enter the competition (or any competition) to do so as a learning experience and a chance to broaden your musical experience. You never know what can happen. I didn't know I would be going to Holland! I really don't know how realistic the competition is now. Judges can be so varied, and different types of playing and selections can affect them in so many ways. Some may not want a highly technical player, while others are impressed with the fast, high phrases with the influence of Woody Shaw. I now believe all you have to do is go out there and play like you play. Don't try to impress anyone but yourself, and you will do fine. I would like to help the arts in any way I can. Music has given me wonderful experiences and beautiful friends. I recently (1995) got to travel to Puerto Rico, Bermuda, Dallas, Phoenix, and all around California. In 1990 I went to Japan and, of course, Holland in 1992. These are things I probably wouldn't have done if it weren't for music. I won outstanding trumpet player in the Pacific Coast Jazz Festival. In 1992 I also won the local Dolo Coker Jazz Scholarship. I am currently on a couple of acid jazz CDs and some other project CDs. Hopefully, I will one day be able to have my own CDs in several genres. 1993 - John Daversa (co-winner): I played Joy Spring, I Got Rhythm, and Like Someone in Love. I am currently finishing my last couple of classes at UCLA for an undergraduate degree in composition and performance. I play with the John Daversa Trio in Los Angeles and the acid jazz group Solsonics. I have released my first CD, The D.a.M. Band, and my trio is recording for Rough Cut Records. While I was at the conference, I felt a need to play my best and to play a spectrum of what I could do in a short amount of time. The ironic thing was that I just had to play and not think about any pressures or expectations. Winning the contest gave May, 1996 / ITG Journal 23

me respect from others because ITG's standard is high. I think artistic competitions can never be fully realistic because you can't rank one expression or emotion above another. The competition was helpful because every experience gives you more confidence for the next situation. It would be great if there were more record label scouts or artists in the audience listening to young, upcoming talent. Then, the "pressure" would be on music making and not so much on ranking. 1993 - Vance Thompson (co-winner): I played If I Were A Bell, I Thought About You, and Bolivia. I was a student at the University of Tennessee, and Cathy Leach was my teacher. I am currently pursuing a master's degree in jazz trumpet performance at DePaul University in Chicago. I'm also playing gigs in the area and teaching private lessons at a local junior high school. Winning the competition was encouraging, but it didn't really launch my career. It didn't really change my life at all. However, I did enjoy the experience of performing in such a positive environment. The competition helped prepare me for future auditions. I was invited to audition for the Airmen of Note based on my participation in the competition. I didn't get the job, but that audition process was a real learning experience. I was feeling a little pressure as I heard the others perform before me. I actually tied for first place with another contestant. His performance was before mine, and I listened to him perform while sitting with my teacher, Cathy Leach. About halfway through his performance, I turned to her and said, "Wow! This guy sounds good!" She turned and said, "Yeah, but don't worry about him. You just play the way you play." After that, I felt no anxiety. Advice? Don't get too uptight about competitions. If you get in the competition and do well, that's great, but if not, it's not the end of the world. After all, winning a competition shouldn't be one's ultimate goal in music. Perhaps the most positive thing to come from the competition was the prize money ­ $300, which I used to provide a small nest-egg for my wife and me. We were married three weeks after the competition. We are still happily married, two-and a-half years later.

1994 - No winner 1995 - Graham Breedlove (co-winner): I played Joy Spring, Cochise (Cherokee), Dolphin Dance, and Embraceable You. I was a student at Indiana University. Stephen Burns and David Baker were my teachers. I am currently the associate instructor of jazz studies at Indiana University. I freelance in the Indianapolis area, and I teach approximately 20 private students. I was recently married, and I am pursuing my first CD agreement. I am a finlist for the jazz trumpet opening in the Army Blues. Being a winner was lots of fun, and playing under that kind of pressure makes one mentally stronger. I think this particular competition was somewhat stifling and unrealistic. You could use only one horn, do the solo, then take the head out with no other solos. The competition chair should have monitored the rehearsal times more carefully. The player before me ran over time, and my own time was shortened. I must have used my time wisely! My advice to students considering this competition is to compete with yourself, and everything else will fall into place. 1995 - Roger Lent (cowinner): I was a student of Jay Saunders at the University of North Texas. I played Joy Spring, Skylark, On the T, and Wee. I graduated in May 1995 with a bachelor's degree. I am currently on tour with Columbia Artists Tribute to Artie Shaw and saving money at this point. The contest was a good experience, having to perform in front of all those trumpet players. Winning hasn't added any pressure to my life, but it's a good thing to have on my resumé. These contests are very important, because they give students goals to strive for and challenge them to be better. I would advise any interested student to send in a tape. You never know what might happen.

1996 Trumpet and Brass Programs

Dr. Kevin Eisensmith

ITG members should send printed programs from 1995-96 trumpet recitals & brass concerts to: To be compiled July 1, 1996 by

Dr. Kevin E. Eisensmith, ITG Programs Department of Music Eastern Kentucky University Richmond, KY 40475 USA

24 ITG Journal / May, 1996

© 1996 International Trumpet Guild


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