OFFICIAL NEWSLETTER OF THE IWBCwww.myiwbc.org Spring 2016 • Vol. 23, No. 1

From the President

In this IssueA’tudes & Brews ........................................ 3

Noteworthy News .........................................4

My Israel tour and the birth of .......................6TUBACHIQUE

Spotlight on Lorraine Cohen .......................10

IWBC Contributors......................................11

Lorraine Cohen

After four years of presiding over the IWBC, I will be stepping down from the position of President at the end of June. I will be retiring from my teaching job and moving in 2018, and there is simply not enough time to do everything. I have been a member of the IWBC since its inception in 1990 and it has been a great ride! I am pleased to announce that Joanna Ross Hersey has been elected by the Board as our new President. Please join me in welcoming her to the position.

We are delighted to announce that the 2017 IWBC Conference will be June 7-10, 2017 at Rowan University in Glassboro, New Jersey. This will be our first conference on the East Coast where it will be easy driving distance from New York, Philadelphia, and Washington, DC, and we hope to see all of you there. Your input will be sought to help the committees with the selection of artists and commissions. If you would like to volunteer to help out at this conference, please contact Amy Cherry, amy@cherrybrass.com.

Monarch Brass will appear at the 2016 International Trombone Festival, June 8-11, 2016 at The Juilliard School in New York City. The ensemble will perform the opening concert on Wednesday evening June 8, at 8:00pm at the Sharp Theater. The trombone section will give a clinic Thursday morning on Being a Woman in the Trombone World. Monarch will also appear at the December 2016 Mid-West Clinic in Chicago, IL. This is the largest instrumental music conference in the US with estimated annual attendance of 17,000 people. Dr. Mallory Thompson, Director of Bands at the Bienen School of Music at Northwestern University, will conduct both of these performances.

During my term as President, we upgraded our website, adding online registration and a virtual directory. Both of those are being revamped as I write this in order to make them more accessible and responsive to members. We are in the process of revising our accounting practices to make it easier to generate reports needed for grant applications, which would allow us to have smaller events between conferences, to sponsor Monarch appearances more frequently, and perhaps even make a new CD! We now have a Long-Range-Planning Committee, which will hold a retreat in June, where we will be looking at how we might best serve the goal of supporting women brass players.

Thank you for being a member of this wonderful organization. As always, your input and support are greatly appreciated.

Maureen Horgan President, IWBC president@myiwbc.org

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Co-Editors’ CornerSandy Coffin andJennifer Marotta editor@myiwbc.org

Articles and NoteWorthy News Submissions Please contact the co-editors for all potential article and NoteWorthy News submissions. The co-editors maintain final editorial rights over all materials.

IWBC Website Address www.myiwbc.org

IWBC Online Membership Directory Password Membership directory is available on www.myiwbc.org. Current password: 2016iwbc01 If you join online, you will be able to access this and other features when you sign in.

Changes in Contact Information Please send any changes to: Jeanie Lee IWBC Membership Chair 5241 Pine Grove Ct. Toledo, OH 43615 membership@myiwbc.org

EditorialSandy Coffin and Jennifer Marotta editor@myiwbc.org

Website ManagerLana LeeWoodwind Web Designwebmaster@myiwbc.org

Dues/Subscriptions Online: Go to myiwbc.com and click on “Join IWBC” on the top bar. By check, send to: IWBC Subscriptionsc/o Sharon Huff, IWBC Treasurer108 Cheltenham DriveNormal, Illinois 61761-2733treasurer@myiwbc.org

OFFICIAL NEWSLETTER OF THE IWBCIWBC PresidentMaureen Horgan is Professor of Music at Georgia College in Milledgeville, GA and performs with the New Hampshire Music Festival. She was a freelance trombon-ist in Boston for many years where she performed with such diverse groups as the Opera Company of Boston, the Boston Philharmonic, Nashua (NH) Symphony, Capital Brass, and the Jazzabelles. Maureen holds degrees from the New England Conservatory, the Yale School of Music, and SUNY Stony Brook. She has performed at major international festivals including the International Trombone Workshop, the Eastern Trombone Workshop, and the International Women’s Brass Conference, and has been a Guest Art-ist/Teacher at Yale University, University of North Texas, University of New Mexico, Western Connecticut State University, and others. Maureen’s teaching credits include public schools in Massachusetts and Ha-waii, Wheelock College, and the New England Conservatory Preparatory School. She has also taught and performed in Honduras, most recently in June 2009 where she was the featured soloist with the Banda de los Supremos Poderes de Honduras. An active proponent of new music, she has commissioned works four works, which can be heard on her CD Moe’s Bit o’Blues, recently released by Centaur Records.

Co-EditorsJennifer Marotta is currently a freelance musician and trumpet teacher in Los Angeles, California. She is originally from Naperville, IL, and earned her BM from Northwestern University and MM from DePaul University. Jennifer was a member of “The President’s Own” United States Marine Band from 2001–2005, where she was an active soloist and chamber musician. She is currently a mem-ber of the Grand Teton Music Festival and the Chicago Music of the Baroque. She has also performed with the Los Angeles Philharmonic, San Francisco Symphony, St. Louis Symphony, Atlanta Symphony Orchestra, Los Angeles Opera, Los Angeles Chamber Orchestra, LA Master Chorale, Atlanta Opera,

Indianapolis Symphony Orchestra, Greenville Symphony, Annapolis Symphony, and the New World Symphony. Ms. Marotta acted as a visiting professor at Illinois State University in 2006, was Artist in Residence at Emory University from 2006–2010, and was Assistant Professor of Trumpet at Kennesaw State University from 2006 - 2012.Sandy Coffin, trumpet, has performed throughout the US and Europe as a solo-ist, chamber musician, and orchestral player. She has presented recitals in 23 states, Spain, Italy, Austria, and Russia. She has premiered several works written for her, including Red Sky by Peri Mauer, A Cycle of Songs by Susan Kander, and Captivity by Lori Laitman. Sandy is a founding member of Prometheus Brass, a member of Gramercy Brass Orchestra, and an active freelancer in the Greater New York area. She also serves as Director of the British-style Brass Band at St. Hilda’s & St. Hugh’s School in New York City, and is currently working with the Scottish Brass Band Association on future collaborations. Sandy is the founder and Artistic Director of the “Music for Summer Evenings” chamber music series at the landmark Grace Memorial Chapel on Lake George. Sandy has been the recipient of numerous awards, including a Watson Scholarship, an Aeiolian Fellowship from Oberlin College, and the John Clark Award for Excellence in Brass Performance from Manhattan School of Music. She earned a BA in Latin and a BMus in Trumpet Performance from Oberlin College / Conservatory, and an MM from the Manhattan School of Music.

Marquita Reef Joanna Ross Hersey Faye-Ellen Silverman Susan Slaughter Ginger Turner Kelly WatkinsHonorary Board of DirectorsClora BryantBarbara ButlerJoAnn FallettaLangston Fitzgerald, III Fred Irby, IIIJulie LandsmanEugene Pokorny

Board of DirectorsVelvet Brown Daniel Burdick Amy Cherry Jan Z Duga Amy Gilreath Theresa Hanebury Maureen Horgan Nancy Joy Kana Madarame Jennifer Marotta Lynn Mostoller Laurel Ohlson Ava Ordman Jan Owens

Gerard SchwarzLeonard SlatkinGail Williams OfficersMaureen Horgan, PresidentLaurel Ohlson, Vice-PresidentSharon Huff, TreasurerExecutive Director Amy CherryMembership Chair Jeanie Lee membership@myiwbc.org

Newsletter EditorsSandy Coffin andJennifer Marotta editor@myiwbc.orgDesign & ProductionDebra J. QuintonItsASnapDesign.comWeb Site: Website ManagerLana Lee Woodwind Web Design webmaster@myiwbc.orgWeb Site: Content ManagerSusan Rider webcontent@myiwbc.org

Help IWBC GO GREEN!Go to myiwbc.org and sign up for the online version of the IWBC News letter and help to save our planet.

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International Women’s Brass Conference

An Interview with Emily BrowneBy: Carrie Rexroat

In its literal definition, an étude is “a composition designed to improve the technique of an instrumental performer by isolating specific difficulties” (The New Harvard Dictionary of Music). I of course don’t disdain that études are important to our profession, but overcoming other “specific difficulties” we endure, such as debilitating negativity, certainly does not come from practicing études. That is why I propose another adaptation of the word. A’tudes, unlike études, aim to improve upon our ability to adopt positive ‘attitudes’ towards life, and shift our collective conscious away from feeling that we go through it alone. In this project, I encourage musicians to practice being honest and open with their stories over a nice ‘brew’ of their choice. Even in our vast differences, sharing our experiences and what we value as individuals will strengthen and connect us together as a community. So, without further ado, it is my honor and privilege to introduce our first A’tudes & Brews interview in the International Women’s Brass Conference newsletter with Ms. Emily Browne.

Name: Emily BrowneAge: 23From: State College, PAJob Title: Principal Horn, Spokane SymphonyEducation: BM Horn Performance from the Eastman School of Music (2014); MM Horn Performance from the University of Southern California (expected completion May 2016)Favorite Brew: Iced Americano

Carrie Rexroat: How did you get started in music?Emily Browne: My two older sisters played instruments. I wanted to be just like them and I couldn’t wait to play one, so I started in 4th grade band at my school. My original dream was to play the tenor sax, but my band needed horn players. My parents have a set of encyclopedias, the actual books, and I remember looking up the french horn, and it seemed pretty cool.

CR: Do you remember what it said? EB: I think it just had a little picture of a horn. It talked about hunting horns, how long it was, stuff like that. But that’s how I got started.

CR: When did you decide to pursue it as a career?EB: I took to the horn pretty immediately. My parents always say that they never had to tell me to practice because I always wanted to practice on my own. There were at least two defining points where I realized that I really wanted to pursue it as a career. The first is kind of ridiculous, but my mom had bought me the London Horn Sound CD-I listened to “Titanic Medley” constantly. I thought it was the most beautiful thing I’d ever heard, because I’m a big sap.

A’tudes & Brews

The other was the summer after eighth grade at a music camp, which was the first time I got to play in an orchestra. We did a high school arrangement of the Berceuse and Finale from Stravinsky’s The Firebird, and I just remember sitting there thinking it was the coolest thing in the entire world. It was so thrilling and exciting and I just fell in love. My teacher in high school, Matt Patton, who used to play professionally and was then principal in our local orchestra, would also bring me in to play assistant for him. That provided some really important orchestral experience.

CR: How have your feelings evolved from when you decided to pursue this as a career versus how you feel now having gone through school and having a job? EB: I would say that now, being seven months into my first year on the job, I feel just as enthusiastic about music as I did in high school. But, definitely going through school, especially my masters, there were a lot of challenges. I felt more cynical, and I felt foolish for choosing this career path. There were definitely times when I felt like I wished I’d pursued something more practical. It was probably somewhere during the first year of my masters where I really felt like I should start thinking about doing other things. I felt like none of my hard work was paying off, that maybe it wasn’t worthwhile, maybe I wasn’t cut out for it. Music school is an intense environment where you are constantly trying to improve and succeed, and that can be very competitive and very draining. Especially for me, being in that environment was really exhausting. I’m not someone who can sit around and talk about music and horn 24/7, but that’s what school was like and I really struggled with that. It’s kind of ironic because my lowest point was right before I

CONTINUED ON PAGE 8

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NoteWorthy: Spring 2016

NOTE- WORTHY

NEWS

LAUREN BERNOFSKY’s work TWO LATIN DANCES (for trombone and piano) was premiered by Natalie Mannix on March 10, 2016 at a recital at Towson University (Towson, MD). Natalie also commissioned the work, which is to be published by Theodore Presser.

JENNIFER MAROTTA launched a new website, Ask a Performer, to create an an environment where people can feel safe to ask, share, and support each other. In it, performers share their stories of various obstacles they’ve overcome, and all are welcome to chat in a forum setting. Visit the site to participate in the conversations at www.askaperformer.com.

NATALIE MANNIX, currently Associate Professor of Trombone at Towson University and Principal Trombone in the Delaware Symphony, has accepted a position as Assistant Professor of Trombone at the University of North Texas beginning Fall, 2016. Natalie’s first solo CD, Breaking Ground: A Celebration of Women Composers, will be released in September.

JOANN LAMOLINO was appointed to the trumpet section of the Hawaii Symphony Orchestra for the 2015-16 season in addition to performing with the Honolulu Brass Quintet through Chamber Music Hawaii. The symphony and brass quintet perform mostly on the island of Oahu with additional concert tours to the neighboring islands of Kauai, Maui, and Hawaii.

MARY THORNTON appears on a new CD release of music by composer Robert Bradshaw. The CD is on the Beauport Classical label and is available on iTunes, Amazon, and CDBaby. Please visit www.beauportclassical.com.

On Monday March 28, 2016, a recital to celebrate Women’s History Month was presented at Church of the Pilgrims in the Dupont Circle neighborhood of Washington, DC. The eclectic program, performed almost entirely by women from The U.S. Army Band “Pershing’s Own,” featured music by women composers such as Joan Tower and Melanie Bonis. SSG KRISTY KLENKE (horn) and SSG ADRIENNE DOCTOR (trumpet), a former student of Marie Speziale, were among the performers. A rousing solo trombone piece called Furry Potatoes was composed and performed by SFC KIRSTEN LIES-WARFIELD. Lastly, SFC JULIE BOEHLER and SSG SIDONIE WADE used their improvisatory percussion skills to accompany a vocal group on a wonderful rendition of Arlington, composed by Nicky Mehta, and made famous by the “Wailin’ Jennys.” This was the 3rd annual Women’s History recital presented by members of The Premier Army Band.

Send your NoteWorthy News items to Sandy Coffin or Jennifer Marotta editor@myiwbc.org

Marie Speziale Marie Speziale was recently invited by the Midwest Clinic Board of Directors to present a trumpet clinic at the 70th Anniversary Conference in Chicago, December 14-17, 2016. Last year, she was presented with three awards: the College-Conservatory of Music Distinguished Alumni Award at their convocation; the University of Cincinnati Outstanding Alumni Award; and the Italian Club Ladies Auxiliary of Tampa, Florida, with their Italian-Women of Excellence Award.

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International Women’s Brass Conference

Faye Ellen Silverman Ms. Silverman has had numerous recent performances of her brass works:

JOANNA ROSS HERSEY played ZigZags for solo tuba on January 19, 2016, at Georgia College in Milledgeville, and again on February 4, 2016, at the U.S. Army Band’s 33rd Annual Tuba-Euphonium Conference at Fort Meyer. ZigZags is also recorded on Joanna’s recently issued CD by the same name.

AVERY PETTIGREW, horn, accompanied by Robert Schroder, marimba, played Protected Sleep on a recital in Gildenhorn Recital Hall at the University of Maryland at College Park. She also discusses the work in her dissertation “What’s Wrong with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire.”

JESSICA LOMBARDO, horn, and JEFFREY KAUTZ, marimba, played Protected Sleep on their recitals at Mannes College, Jeffrey’s recital on April 29 and Jessica’s recital on May 13. In addition to Protected Sleep, Jeffrey also played First Position with trombonist Michael Burner.

THOMAS MUEHLENBECK-PFOTENJAUER, trumpet, accompanied by Tracy Lipke-Perry, piano, played Stories of Our Time at the University of Wisconsin-Stevens Point (March 30), University of Wisconsin-Green Bay (March 31), and Lawrence University in Appleton, Wisconsin on April 1. These concerts presented works from his soon-to-be-released CD of trumpet works by women composers.

Additionally, she is most proud of the world premiere of her cantata on free speech, entitled A Free Pen. She writes, “my students organized a concert of this work (along with the world premiere of my piano concerto Candlelight in the 2 piano version) on February 1 at Mannes - both works were

written about 25 years ago but never performed. A Free Pen (1989-90), published by Subito Music, is a 33-minute musical theatre piece in six continuous scenes. Written for the 200th anniversary of the Bill of Rights, A Free Pen deals with the struggles for free speech that have been going on since ancient Greek times. I compiled the libretto from historical and literary documents on Socrates, Spinoza, Zenger, and others. Broadway star Jerry Dixon narrated.”

The Zinkali TrioThe Zinkali Trio, L. Elise Carter, flute; Susan LaFever, horn; and Laura Ravotti, piano; will be presenting the West Coast premiere of Adrienne Albert’s War Stories at The National Flute Convention 2016 in San Diego. The trio commissioned this work and presented its East Coast premiere in October, 2015 on the NJ Flute Society’s New Works Recital at Montclair State University.

NOTE- WORTHY NEWS

Keeping in Touch at the IWBC Web Site

Do you have any professional news you would like to share? Would you like to list a job announcement? Please let us know, and we can put it on the web site (contact Susan Rider at webcontent@myiwbc.org). The IWBC is here to serve, educate, and support you. Thank you for your continued membership!

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NoteWorthy: Spring 2016

“The GOOD NEWS: Your tuba will be here tomorrow in time for your first concert in Tel Aviv.

The BAD NEWS: Your tuba is traveling from New York to Tel Aviv without its case. Evidently, the case is suspect and is being thorough-ly examined. They have it in a first class closet...and they wrapped it in bubble wrap.”

And so began my tour to Israel… As a recital artist, I travel a lot, but this was my first time to Israel. So when the invitation came from AVITAL HANDLER (tuba-Israeli Opera, faculty Tel Aviv Conservatory) to go there to play and teach, I jumped at the opportunity.

Even though I had a bit of a bumpy start with no tuba or luggage, my wonderful hostess, Avital, made sure that I lacked nothing. She whipped up an extra tuba, we did laundry, and the rehearsals and mas-terclasses began.

It was a whirlwind of a week of teaching, performing, and touring as we went from place to place. The luggage and tuba finally arrived, but hadn’t slowed us down at all. Avital and I performed recitals and taught masterclasses in Conservatories and well known concert halls in Tel Aviv, Ramat Gan, Jaffa, Or-Akiva, and Eliat. I taught many lessons, met new friends, and we even managed to throw in a volunteer concert at a well-known children’s hospital.

Making sure I REALLY experienced Israel, Avital also made sure I was able to visit the ancient sights in Ceserea, Jerusalem, Delyat,

El-Carmel, and Jaffa. She even threw in Masada, a visit to the Dead Sea, and a camel ride.

Probably the most exciting part about this entire trip was the beginning of TUBACHIQUE, our girl-powered tuba duo, plus Raviv, our amazing accompanist. We have many exciting touring/recording plans and look forward to collaborating in the very near future. Let us know if you would like us to do a masterclass/con-cert recital at your school!

TUBACHIQUE will make its American debut at the 2016 International Tuba/Euphonium Conference this spring in Knox-

ville, TN, from May 30-June 4.

For more information on booking the TU-BACHIQUE duo or Beth Mitchell in recitals and masterclasses, contact her on Facebook (Beth Chouinard-Mitchell), at tombethm@gmail.com, or through her website www.beth-mitchelltubastudio.com

My Israel tour and the birth of TUBACHIQUE

By Beth Mitchell

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International Women’s Brass Conference

Be inspired by - Performances- Masterclasses- Competitions- Exhibits

Announcing

2017 IWBC Conference

June 7-10, 2017Rowan UniversityGlassboro, NJ

Please visit myiwbc.orgfor more details

Save the Date!

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NoteWorthy: Spring 2016

won my job. But I am definitely glad I pushed through all of it. Being on the job and getting to live my dream is just as great as I’d always imagined. It’s so much fun and it’s so rewarding, and I feel incredibly lucky!

CR: I’m glad to hear that! I find that really interesting you said that your lowest point was actually right before you won your job. So what did you do to overcome that?EB: What really helped me was realizing that even if I never won a job, even if I have to do something completely different and work at McDonald’s for a year, everything would be OK. My personal happiness and success don’t have to be based on music, and that was a very freeing realization. Before I had always told myself that if I wasn’t a musician and never won a job that meant I was a failure, that I had failed at my dream. Towards the end of my first year in LA, I thought, “OK, if I haven’t won a job after I graduate I’m just going to get some sort of administrative job and make money rather than do more music school.” I’d figure things out, and if I decided that music was not the path for me that I’d be fine. Last summer when I was working at the Thornton admissions office full time I had this very structured schedule because I wanted to take the Spokane audition. Even though I was working I vowed to get up, warm up, go to work, practice during lunch, go back to work, practice after work, go to the gym, and that was my day every single day for basically about a month. It worked really well for me. It’s maybe ironic that the thing that helped me overcome feeling like I don’t want to do music was realizing that it was OK not to do music.

CR: So would you say that it’s valid that stress inhibits you, that putting too much pressure on yourself can actually stifle you? EB: Yes, especially for me because I have perfectionist tendencies. More than anything, stress just stops you from enjoying what you’re doing, and stops you from having fun. I think something lots of young musicians struggle with is that their self-worth is wrapped up in how well they do in music. If you don’t win a competition or don’t advance in an audition, it’s so easy to feel completely horrible about yourself. But whether or not I crack a note in a solo has no reflection on my value as a human being. Yes, music is a personal thing, and it is wrapped up in who you are, but you have to separate music from your self-worth.

CR: Have those feelings shifted now that you have a real life job playing in a professional orchestra? Or do you still stress about the same things?EB: There’s definitely still stress. I feel like I’ve had to step up my game even more now that I am performing professionally. Before I had tenure, and thankfully now I do, if I played poorly, my job was on the line, you know? But I resolved to do my absolute best while still giving myself the permission to fail. My thought process was “you’re going to give it your all, you’re going to give it 110%, but if at this time your absolute best isn’t good enough to play professionally and you don’t get tenure, that’s OK.” I gave myself that room to breathe and that really helped me. Overall when I get really stressed out about stuff like that, I try to remember that it’s just music. Music is really important, but I’m not a doctor. If I make a mistake no one’s going to die. Maybe I won’t have that little magical

moment that I wanted, but when it comes down to it, nothing disastrous is going to happen.

CR: I see. Congratulations on getting tenure by the way!EB: Thanks! Yeah, that was a big relief *laughter*

CR: *laughter* Definitely. Do you feel like your education prepared you for being a professional musician, or are there things that you wish had been different about it?EB: I feel pretty happy with my musical education. I had amazing teachers to whom I owe so much, but it’s hard because there’s an infinite number of things you can study in music and it’s almost impossible for music schools to give a student everything. But, I guess I wish I had honed a better skill set to play in an orchestra. It’s a very different skill set from practicing at home, or preparing a solo piece. Maybe that’s something you can only get with experience, but I wish there had been a little more focus on that. Currently I’m teaching for a program based on El Sistema. We have volunteers here from Venezuela who have gone through the program themselves, and one thing they said was that in Venezuela, the El Sistema orchestras are really good orchestras, but individually the players aren’t necessarily that great; they’re just average players. But, they have this skill set to be amazing orchestral players even if they’re not the strongest soloists. I think we’ve all heard the opposite- orchestras made up of amazing players that don’t really sound good as an ensemble. I thought that was really interesting.

CR: This might be a weird question but, do you think it’s important that a musician allows themselves to fail at least once?EB: I think if you’ve never failed at anything in your life, you’re probably not pushing yourself enough. It’s a very important learning experience, to fail, and the process of picking yourself back up and getting on your feet again is very important as well. Have you seen the video that’s going around Facebook right now called “Famous Failures”? It’s all these super famous people who were rejected or failed in their careers before becoming famous.

A’tudes & Brews Continued

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International Women’s Brass Conference

There’s also this quote by Michael Jordan. He talks about how many game winning shots that he’s missed, how many games he’s lost, and that resonated with me. He’s heralded as one of the most famous basketball players of all time, but he has failed so much. So I shouldn’t be worried if sometimes I do too. I just need to make sure that I use it as a learning experience to do better the next time.

CR: On the flipside to talking about failure, how would you define ‘success’? Do you feel that you are successful, have you always felt that way, or does it even matter to you? EB: In a more tangible way, I feel fairly successful because I won a job. I feel good about that, but I also feel my work is not over because there are still things I can do to be better. In a less tangible way, my definition of being successful has to do with being happy with who I am as a person. I’ll never feel successful professionally if I don’t feel successful as a human being, if I’m not happy with who I am. Musicians always struggle with how they are perceived, and they don’t like to appear ‘weak’ or ‘vulnerable’. But I like who I am, who I’ve become, and having that confidence, I also have the confidence to do what I want to do and feel successful about it.

CR: I really like what you’re saying about developing yourself as a person, because part of this project is to focus on that. We all work our tails off on the musical side, working on technique and learning our instruments. A lot of music students, either because they’re so busy or because they don’t value it enough, don’t really take the time to get to know themselves. So with you, has that always been important to you, to get know yourself? Or did you struggle with that and had to figure out ‘who you are’, so to speak? EB: It’s definitely something I struggled with. My personality is that I naturally tend to give up a lot of myself to make other people happy. That can be exhausting prevents me from knowing who I am. So, actually in these past few months, while being out of school and being on my own, I’ve had the opportunity to really figure out who I am and be happy. I’ve learned that it’s OK to say no and that I can’t always make other people happy. It’s just part of life.

CR: Just out of curiosity, how would you describe yourself as a person? EB: Well, I can say the type of person I try to be. I try to be as compassionate and as hardworking as possible, because I think those are two of the most important things in the world. But, I think I’m a creative person and a silly person. Those three: creative, compassionate and silly.

CR: What’s your best advice that you could give to someone? EB: I would just say to enjoy yourself, and even if it doesn’t feel like it, hard work will always pay off in some way or another.

CR: Do you have a favorite quote or mantra? EB: I have two favorite quotes: “It’s more important to be kind than it is to be right”- Brandon Bays “The man who cannot visualize a horse galloping on a tomato is an idiot”

-Andre Breton

I love that last one because I think having that imagination and creativity while being a little silly is fun. The tomato can be really big and there can be a life size horse galloping on a tomato, or it could be a tiny horse on a regular sized tomato. I just really never want to be the type of person who cannot visualize a horse galloping on a tomato *laughter*.

CR: *laughter* That’s amazing. I love it. What are some of your hobbies?EB: I’ve always loved reading and writing, and would love to be an author or a poet if I weren’t a musician. Recently, I’ve gotten really into making crossword puzzles by hand. It takes a long time, around 10-12 hours of work, but it’s incredibly fun.

CR: That’s awesome! So, talking about all this stuff brings up a lot of things, a lot of thoughts. Do you have a final thought you want to leave people with? EB: Yes. As young musicians we can all feel threatened. We feel threatened by our peers because there aren’t enough jobs, and we can feel threatened by our life choices. That’s not to say that musicians within the general music community aren’t supportive of each other, because they are, but we all have those moments where we feel like lashing out. But, relax and know that everything is going to be OK, you don’t need to be super stressed out all the time about everything. Stress can suck out all the enjoyment, so try to chill out a little bit, go out and enjoy life, and get out of the music bubble a little bit.

CR: Thanks so much for your time, Emily!

Carrie Rexroat is a horn player, amateur writer, and the Founder of A’tudes & Brews. She currently plays as 2nd/4th Horn in the Sarajevo Philharmonic in Sarajevo, Bosnia and Herzegovina for the 2015-2016 season, but is based as a freelancer in Los Angeles, CA. For more information about this project, please visit www.atudesandbrews.org, or ‘Like’ us on Facebook at www.facebook.com/tatudesandbrews/

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NoteWorthy: Spring 2016

Professional Positions: - Principal Trumpet of the Israel

Philharmonic - Principal Trumpet of the Hong Kong

Philharmonic - Principal Trumpet of the Queens

Symphony Orchestra - Extra Trumpet with the Philadelphia

Orchestra

NYC Freelance musician, including: - Westchester Philharmonic - Radio City Christmas Show orchestra - American Symphony - American Ballet Theater - The Bronx Arts Ensemble - Philip Glass Ensemble - Trumpet player for over 50 different

Broadway shows Hometown:

Springfield, PA

Education: The Curtis Institute of Music

Biggest Influences: Itzhak Perlman

Most Memorable Musical Moment: Playing the Flight of the Bumblebee solo live on The Maury Povich Show

Favorite Pieces of Music: Everything that Beethoven composed

Debussy’s La Mer Bach’s 3rd Suite Russian Easter Overture by Rimsky-

Korsakov Bernstein’s Candide Overture Puccini’s La Boheme

Greatest Accomplishments: Winning auditions, giving birth, and buying a house.

Words of Wisdom: Female brass musicians have to be better than their male counterparts to be on equal grounds. Never back down.

Spotlight on…Lorraine Cohen

Monarch BrassPeter Jay Sharp Theatre

The Juilliard School

June 8 8:00 pm

2016 International Trombone Festival

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International Women’s Brass Conference

Bravo Circle $1000+ Dr. Ann Johanson Carole Klein

Benefactor’s/Patron’s Circle $200-999 Stephane Beaulac Katelyn Benedict* Laurel Bennert-Ohlson Amy Bowers* Velvet Brown Stephen Chenette* Amy Cherry Ryan Darke Joan Fann Langston Fitzgerald III Betty Glover* Theresa Hanebury Christine Hayes* Joanna Ross Hersey Thomas Hooten* Maureen Horgan Fred Irby III* Nancy Joy* Kana Madarame* Jennifer Marotta Arthur & Barbara McDonnell Malcolm McNab James Miller Beth Mitchell Kristy Morrell* Lynn Mostoller Jeffrey & Nancy Neville* Ava Ordman* Jan Owens Rob Schaer Amanda Schoonmaker, Given in honor of Susan Slaughter* Faye-Ellen Silverman* Susan Slaughter Marie Speziale Phyllis Tirmenstein Jan Tracy* Ginger Turner James Wilt

Supporter’s Circle $100-199 Charline Bambauer Mary Bowden Karen Caffee

Chapter IF P.E.O. Sisterhood Jeremy Cucco Robert Feller Steven & Virginia Hendrickson John Leipprandt Robert Lischer Ruth Morris Gerry Pagano* Marquita Reef Lydia Reinebach Julia Rose Judith Saxton* Kelly Watkins Dorothea & Lawrence Weeks

Donor’s Circle Up to $99 Cynthia Allen Tracey Allison Annie Amen Lilly Aycud Noreen Baer Brittany Belcher Sarah Berglund Amy Bliss Victoria Boell Lynn Bogovich Emily Borra Joan Briccetti Cynthia Brown Blaine Brubaker Steven Bryant Mary Burroughs Barbara Burt Lauraine Carpenter Maurice Carretta Michelle Caudill Christina Cavitt Sandra Chesnut Brenda Clark Anita Cocker-Hunt Edmund Cord Katie Cox Al & Marilyn Coxon Lorna Crafton Ashley Cumming DeAunn Davis Jean Davis Brooke DeArman Natalie DeJong Bryan Doughty

Mary Jo DouglassJo Anne EdwardsLaverne EhlmannVirgina FileRyanne FlynnLin FoulkKristen FowlerJoseph FuttnerGE FoundationMelba GierseBetsy GowanGary GrayJoAnn HahnDarcy HamlinSarah HaylettLacey HaysFiona HerbertSarah HerbertJanice HermannBetty HilbrantLaurel HinkleSharon HuffBarbara HullLauren HuntBarbara HunterBeatrice HuskeySoley Hyman, In gratitude toward Susan SlaughterJennifer JesterMike and Leslie JuengerJean KautzmanDiane KelchnerMarilyn KnoepfelHoward and Dale KormanCatherine KozubBrittany LaschCharlotte LeonardJean LeonhardtKirsten Lies-WarfieldSheryl Linch-ParkerMargaret LudewigErik LundquistNatalie MannixNancy MartiMayeli MartinezJulia MatthewsAnn McCandlessSandra Anne McCauslandAudree McConnellAnne McNamaraAnn McNeillJoan MellMarilyn MermoudBetty MeyerStacie Mickens

Noa MillerMargaret MoranDonald MortonNicole MuffittDenise NelsonKayla NelsonBarbara OldinAmy Peterson-StoutDelphine PiguetSally PodrebaracBarbara PrughChristine PurdueJacquelyn RahmJane RandCarrie RexroatRachel RichardsSusan RiderGail RobertsonJulie RochusPhyllis RussellAmy SchendelKatherine SchultzMaria SerkinLaura Shea-ClarkJudith ShellenbergerStacy SimpsonJanet Carol SmithJanice SmithEllie SnyderCora SowerMary Jo SparrowShulamit SterninDonald & Helen StreettSamantha TerryMary ThompsonMary ThorntonLouise TitlowJulia TownerIrene TravisEricka Tyner GrodrianDebra ValdesSandy VernerAlicia WaiteKirsten WarfieldErin WehrDawn WilsonEmily WilsonMartie WilsonKate WohlmanTami WoodHeather WorlingMyra WottowaKimberly Zoeller

*Denotes Board Member

Contributors

From the IWBC: We gratefully acknowledge and thank all of you for your continued support!

Non-Profit Org.U.S. Postage

PAIDSaint Louis, MOPermit No. 2631OFFICIAL NEWSLETTER OF THE IWBC

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