African-American Bassoonists and Their Representation Within the Classical Music Environment

Home , Anthony Parnther, Back to Tennessee, Big Five (orchestras), Imani Winds, Orchestra, Pit orchestra

African-American Bassoonists and Their Representation within the Classical Music Environment

D.M.A. Document

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical

Arts in the Graduate School of The Ohio State University

Ian Anthony Bell, M.M.

Graduate Program in Music

The Ohio State University 2019

D.M.A. Document Committee:

Professor Karen Pierson, Advisor

Doctor Arved Ashby

Professor Katherine Borst Jones

Doctor Russel Mikkelson

Copyrighted by

Ian Anthony Bell

2019

Abstract

This paper is the culmination of a research study to gauge the representation of professional African-American orchestral bassoonists. Are they adequately represented?

If they are not adequately represented, what is the cause? Within a determined set of parameters, prominent orchestras and opera companies were examined.

Of the 342 orchestral and opera companies studied, there are 684 positions for bassoonists. Sixteen of these jobs are currently held by African-Americans. Some of these musicians hold positions in more than one organization reducing the study to twelve black bassoonists. Translated to a percentage, .022% of the professional bassoonists within these groups are African-American, leading the author to believe that the African-American bassoon community is underrepresented in American orchestras and opera companies.

This study also contains a biography of each of the twelve bassoonists. In addition, four interviews and five questionnaires were completed by prominent African-

American bassoonists. Commonalities were identified, within their lives and backgrounds, illuminating some of the reasons for their success. Interview participants included Rufus Olivier Jr. (San Francisco Opera), Joshua Hood (Charlotte Symphony

Orchestra), Monica Ellis (Imani Winds), Alexander Davis (fellowship recipient), and

Andrew Brady (Atlanta Symphony Orchestra). These five bassoonists vary in age and geographic location. ii Acknowledgments

I would like to thank the members of my committee including: Doctor Arved

Ashby, Professor Kathrine Borst Jones, and Doctor Russel Mikkelson and acknowledge the time and mentorship each provided. I would not have been able to complete this document without your patience and guidance.

I would also like to acknowledge and thank Andrew Brady, Monica Ellis, Rufus

Oliver Jr., Joshua Hood, and Alexander Davis. Each of you took time from your busy schedules to participate, and talked openly during the interview process.

Finally, I would like to acknowledge my advisor, and bassoon professor at The

Ohio State University, Professor Karen Pierson. It is because of you that I decided to write this document. Furthermore, I would not be the musician that I am today, if not for your mentorship, and kindness. For that, I am truly grateful.

iii Vita

2019-Present……………………….…Faculty Woodwind Quintet, Heidelberg University

2018-Present……………...…...Part-Time instructor of Music, Ohio Wesleyan University

2018-Present…………………………….……..Second Bassoon, New Albany Symphony

2018-Present…………………..Second Bassoon, Newark-Granville Symphony Orchestra

2016-Present………………………….….Contrabassoon, Mansfield Symphony Orchestra

2017-2019…………Graduate Assistant, Department of Music, The Ohio State University

2016-2019………………………….....Doctor of Musical Arts, The Ohio State University

2016-2017…………... Graduate Fellowship, Graduate School, The Ohio State University

2014-2017…………………………Second Bassoon, Tuscarawas Philharmonic Orchestra

2015-2016…………………….Bassoon Graduate Assistantship, The University of Akron

2014-2016……………………………………..Master of Music, The University of Akron

2014-2016………………………….Lunaris Woodwind Quintet, The University of Akron

2014-2015….....……Band and Bassoon Graduate Assistantship, The University of Akron

2010-2014……………..…Bachelor of Music Education, The University of Mount Union

Fields of Study

Major Field: Music

iv Table of Contents

Abstract ...... ii Acknowledgments ...... iii Vita ...... iv Table of Contents…………………………………………………………………………. v Introduction ...... 1 Background and Description of Study ...... 2 Chapter 1. Methodology and Procedures ...... 4 Research Methodology ...... 4 Limitations of Research ...... 5 The Interview Process ...... 6 About the Interview Transcripts ...... 7 Chapter 2. The Representation of African-American Bassoonists ...... 8 Overview ...... 8 Representation of African-American Bassoonists in Symphony Orchestras ...... 8 Representation of African-American Bassoonists in Opera Orchestras ...... 9 Results ...... 9 Biographies of African-American Bassoonists ...... 10 Chapter 3. Interviews ...... 19 Overview ...... 19 Participant Interview No. 1 – Rufus Olivier Jr...... 20 Participant Interview No. 2 – Joshua Hood ...... 30 Participant Interview No. 3 – Monica Ellis ...... 42 Participant Interview No. 4 – Alexander Davis ...... 54

Chapter 4. Personal Story ...... 63 Personal Background ...... 63 Musical Background ...... 64 Introduction to the Bassoon ...... 64 The University of Mount Union ...... 65 The University of Akron ...... 65 The Ohio State University to Present ...... 67 Chapter 5. Summarization and Continuation of Research ...... 68 Summary ...... 68 Commonalities ...... 68 Fellowships ...... 69 Continuation of Research ...... 70 Bibliography ...... 74 Appendix A. Institutional Review Board Approval ...... 78 Appendix B. Preliminary Documents ...... 79 Appendix C. List of Orchestral and Opera Companies ...... 83 Appendix D. Abridged Interview Transcripts ...... 93

vi Introduction

This document addresses two main questions. First, are African-American bassoonists adequately represented in the field of classical music? Second, who are the prominent African-American bassoon players in the United States?

Representation and commonalities within this community were explored through four completed interviews and five completed questionnaires by five prominent bassoonists within sub-genres of classical music: orchestra, chamber, opera and fellowship recipients. These detailed interviews and questionnaires consisted of questions regarding their personal experiences, employment, interactions within the field of classical music, and role models. The objective was to uncover commonalities amongst the participants which may have contributed to their success.

This document contains biographical information of the twelve African-

American bassoonists identified within the parameters of the study. These musicians perform in professional symphony and opera orchestras. Additional research is recommended to study the African-American bassoonists in all American symphony orchestras, opera orchestras, higher education, military bands, and chamber ensembles.

The goal of this document is to inspire younger generations in the African-

American bassoon community to believe they too, can perform at a professional level.

1 Background and Description of Study

I am currently an African-American training to be a professional classical musician. This goal did not come to fruition until year four of my undergraduate degree in Music Education. Having never seen or heard another black bassoonist was a deterrent to declaring a performance degree. I wondered if it was possible or likely that an African-

American could have a successful career playing the bassoon in the classical music industry.

This thought led to a search for a contact list containing information about other

African-American bassoonists. None could be found. It was natural to wonder why there was a dearth of African-American musicians and more specifically, bassoonists.

Years later, this question provided a relevant and interesting topic to research for a D.M.A. document. Mentors and colleagues were genuinely interested in this research, proving it to be a worthwhile endeavor.

This topic has been a decade in the making. It is meant to encourage the interest of younger generations of bassoonists and the bassoon community at large.

African-Americans are underrepresented in classical music; making up only 3.7% of the American orchestral population.1 This number is drastically smaller than the 16.1% of African-Americans that reside in the United States. In recent years, diversity fellowships in professional symphony orchestras have been established to mitigate this situation. While this is a crucial step towards a more equitable representation of African-

1 James Doser, Ph. D, "Racial/Ethnic and Gender Diversity in the Orchestra Field," League of American Orchestras, September 2016, 3-4, accessed January 18, 2019, https://americanorchestras.org/images/stories/diversity/Racial-Ethnic-and-Gender- Diversity-in-the-Orchestra-Field-Final-92116.pdf.

2 Americans within classical music, one may learn from, and be interested in, the few who have already established a successful career.

This document contains biographies of the twelve African-American bassoonists found within the parameters of the research, and the addition of five bassoonists whom participated in interviews/questionnaires. This specific research reveals commonalities amongst the five musicians. These shared traits, characteristics, and life experiences may have contributed to their prominence and success in the very competitive world of classical music.

The five interviewees include Andrew Brady, Alexander Davis, Monica Ellis,

Joshua Hood, and Rufus Olivier Jr., all of whom range in age and demographic location.

They were selected based upon their thriving careers and prominent success as African-

American classical musicians.

3 Chapter 1. Methodology and Procedures

Research Methodology

This document contains two areas of research. The first includes biographies of twelve black bassoonists and details the parameters leading to the identification of these musicians. The second area of research provides in-depth interviews or questionnaires with five successful and prominent African-American bassoonists within selected sub- genres of classical music.

Geographical location was a factor in finding common denominators between all participants. Demographic location was of interest, to find commonalities that stretched across the country, and were not just region specific. The five participants came from

California, New York, Georgia, and North Carolina. Preference in selecting the five participants was given to bassoonists within varying sub-genres of classical music and age. The ages of participants range from early 20’s to late 60’s. Participants of varying ages were vital to this project, for example, young bassoonists demonstrated a different conception of the future of classical music than those who are older.

This research is granted IRB (Institutional Review Board) approval. Located in

Appendix A (page 84), is the IRB approval form. Signed consent forms can be found in

Appendix C (page 89.) In this research the privacy and identity of each of the five participants is not protected. Each participant has given written consent to visual or audio

4 interactions. The IRB approval was only required for the in-depth interviews/questionnaires.

Limitations of Research

While difficult to provide an exact number of orchestras and opera companies performing in the United States, it is safe to assume the number is in the 1500’s.2

Considering the scope of this document, research was limited to three categories. First, each orchestra had an annual income budget of $260,000 in the past year. Second, each orchestra had a budget of at least $20,000 for guest artists and composers. Third, the opera companies included in this research had a budget of at least one million dollars.3

After identifying the orchestras and opera companies that met the three criterion, research was further limited to those organizations that currently employ African-

American bassoonists. Most organizations list a roster of musicians on their website providing information on the bassoonists identified. Personnel managers were contacted when no website existed. This was the most reliable way to obtain a definitive answer.

Race was identified through a web search of each bassoonist or by contacting their personnel manager a second time. Twelve African-Americans were identified within the parameters of this research.

Concerning the five in-depth interviews or questionnaires, participants were selected by age, location, specific sub-genre of classical music, and professional

2 Robert Craven, Symphony Orchestras of the United States (Westport, Connecticut: Greenwood Press, Inc., 1986), xx 3 "Musical America Worldwide," Musical America, Accessed March 02, 2019, https://www.musicalamerica.com/.

5 prominence within the bassoon community. Each participant is over the age of 18. The interviews were limited to five, due to time and participant schedules. Qualitative research is the focus of this document; an intimate group of interviewees allowed a more personal and thorough conversation with regard to their individual careers. It is important to note that due to time constraints, only four interviews took place. However, questionnaires were completed by all five participants.

The Interview Process

The interview process comprised one-on-one audio interviews, with the consent of each participant. Each bassoonist received a similar list of questions with slight modifications to address their personal careers. The recorded conversations ranged from one hour to two and a half hours. The interviews were informal, and time constraints were determined by their personal schedules.

Participants received the initial list of questions on January 7th, 2019. The interviews began on February 15th. Each participant had ample time to consider their list of questions and were encouraged to respond if any question seemed too personal or uncomfortable to discuss. Care was taken to avoid causing interviewee’s unnecessary discomfort. In each interview, as appropriate, I shared personal experiences in classical music, but refrained from making statements that could influence upcoming interview questions.

6 About The Interview Transcripts

Abridged interview transcripts are located in Appendix E (page 101). Short excerpts of the transcript are found under each participant’s section in Chapter 3. The purpose for the abridged transcripts is to limit the interviews to their most salient points, and make it more accessible to the reader. The audio recordings are not included, and will not be available to the general public without written consent from both the participant and myself.

7 Chapter 2. The Representation of African-American Bassoonists

Overview

How are African-Americans represented in classical music on the bassoon? It is important to note that the focus of this document pertains to orchestral bassoonists. These musicians are most recognizable in the field of classical music and this sub-genre tends to provide the most online resources allowing the public to access their musician rosters.

Representation of African-American Bassoonists in Symphony Orchestras

The goal of this document was to research African-Americans in every orchestra within the United States, however, this task would prove too large for one year of research. Also, some orchestras do not maintain a website or a means to contact their musicians. Ultimately, the search was based on two factors: orchestras that had an income budget of $260,000 or higher, and a budget of at least $20,000 for guest artists/conductors.4

Based on this criteria, the search was narrowed to 273 orchestras, see Appendix D for complete list (page 94.) Assuming that each orchestra maintains at least two bassoon positions, there were 546 bassoonists to research. Of those, fourteen positions were held

4 Ibid.

8 by African-Americans; manifesting in a .023 percentage of black bassoonists represented within the search parameters.

Representation of African-American Bassoonists in Opera Orchestras

As previously stated, the opera orchestras researched had at least a one-million- dollar budget. There were 69 orchestras that met the parameters of this portion of the study, see Appendix D for complete list (page 94.) Assuming each opera orchestra maintains at least two positions for bassoon, there were 138 bassoonists in total. Of those, only two were identified as African-American. This resulted in a .014 percent representation of African-American bassoonists currently performing in these groups.

Results

Sixteen bassoon positions held by African-Americans were identified within the scope of the search. According to the 2018 census, the total percentage of African-

Americans (mixed and non-mixed) is 16.1% of the United States population.5 African-

Americans in classical music are less prominent, consisting of only 3.7% of the genre’s population.6 The findings of this research concluded that there was a .022% representation of African-American bassoonists gainfully employed in prominent

5 "U.S. Census Bureau QuickFacts: UNITED STATES," Census Bureau QuickFacts, Accessed March 19, 2019, https://www.census.gov/quickfacts/fact/table/US/PST045218#PST045218. 6 James Doser, Ph. D, "Racial/Ethnic and Gender Diversity in the Orchestra Field," League of American Orchestras, September 2016, 3-4, accessed January 18, 2019, https://americanorchestras.org/images/stories/diversity/Racial-Ethnic-and-Gender- Diversity-in-the-Orchestra-Field-Final-92116.pdf. 9 American symphony and opera orchestras. When compared, these percentages indicate that black bassoonists are underrepresented.

Biographies of African-American Bassoonists

The following biographies were written by the participants. There are twelve in total and they are in alphabetical order. Although sixteen positions were identified, it is important to note that four of these bassoonists each play in two ensembles. In addition,

Edward McCray and Michael Scott have no information available to the public, and were unable to be contacted. They will not have an in-depth biography listed. Only their names and the positions they hold within their respective orchestras is documented.

Sandra Bailey

Sandra Bailey was born in 1993, where she was born and raised in Atlanta, Georgia. At the age of 18, she received the Jack Kent Cooke Young Artist Award, from “From the Top”. Sandra completed her B.M at Northwestern University's Bienen School of Music where she studied with Chris Millard, Lewis Kirk, and David McGill. She is currently finishing her graduate studies at DePaul University under Bill Buchman. A dedicated orchestral musician, she has attended the Castleton Music Festival, the Brevard Music Festival, Musik Akademie Westfalen, Orchestra De la Francophone, Aspen Music Festival and School, and the National Repertoire Orchestra. She has won and placed in many competitions such as the Jack Kent Cooke Scholarship, Brevard Music Festival's Jan and Beattie Wood Concerto Competition, Evanston Music competition, Skokie Valley Concerto Competition and Hellam Concerto Competition. She won second place in the National 2014 Meg Quigley Vivaldi Competition and was first place winner in the 2014 American Protégé International Concerto Competition where she performed the Hummel Bassoon Concerto in F Major in December at Carnegie Hall. She won the Northwestern University Wind Symphony Concerto Competition, performing the Gordon Jacob Concerto fall 2015. In 2016, she was a scholarship winner of the Musicians Club of Women Jerome and Elaine Nierenberg Foundation Scholarship and the NCSC Army Band National Collegiate Competition where she performed the Gordon Jacob Concerto 10 with "Pershing's Own" United States Army Band on the West Steps of the U.S Capitol. She frequently plays with neighboring orchestras including the Civic Orchestra of Chicago, Illinois Symphony, Elgin Symphony, Arkansas Symphony, and New World Symphony Orchestra. In June 2016, She won the position of Principal Bassoon in the Kwazulu-Natal Philharmonic in Durban, South Africa where she spent six months as a full-time contracted musician. She now resides in Chicago, Illinois as the Principal Bassoonist of the Chicago Sinfonietta and Second Bassoonist in the Arkansas Symphony in Little Rock, Arkansas. She is a member of the Second City Winds, a Chicago based wind quintet.7

Andrew Brady

Andrew Brady joined the Atlanta Symphony Orchestra in January 2016 as Principal Bassoon. Brady was formerly Principal Bassoonist with the Louisiana Philharmonic, a position he held since 2013. Brady is from Johnson City, TN, where he began his musical studies on saxophone but was drawn to switch to bassoon at age 14, after seeing the quirky instrument at a band clinic. Four years later he performed on NPR’s From the Top; and in 2010 he received the Grand Prize in the Pasadena Showcase House for the Arts Competition, adjudicated by members of the Los Angeles Philharmonic. In January 2011, Brady performed Mozart’s Bassoon Concerto with the Seattle Symphony under invitation from then Music Director Gerard Schwarz. While in Seattle, he gave free public concerts as well as interactive demonstrations in area schools. An active soloist, Brady has performed concertos by Mozart, Weber, and Zwilich with the Southeast Symphony, the Los Angeles Doctor's Symphony, and The Colburn Orchestra, respectively. Enthusiastically involved in music education, he has worked as a teaching artist with the Harmony Project's Youth Orchestra Los Angeles program, where he assisted underserved teens in learning to play the bassoon. Brady has appeared with the Los Angeles Opera Company orchestra, and recently with the Orpheus Chamber Orchestra of New York in Carnegie Hall and abroad on European tours. He has attended many music festivals including Sunflower Music Festival, Music Academy of the West, and the Tanglewood Music Center. Brady received his Bachelor of Music degree from The Colburn School Conservatory of Music, where

7 "Sandra Bailey," Chicago Sinfonietta, Accessed March 01, 2019, http://www.chicagosinfonietta.org/education/sandra-bailey/.

11 he studied with Richard Beene. Other teachers include Anthony Parnther, Rick Ranti, and Suzanne Nelsen.8

Gilbert Dejean

Bassoonist Gilbert Dejean is a graduate of the Manhattan School of Music, where he studied with Leonard Hindell and Steve Maxym. He is a member of the American Symphony Orchestra, Chappaqua Orchestra, and the Saratoga Opera, and regularly performs with the Orchestra of St. Luke’s, Northeastern Pennsylvania Philharmonic, Stamford Symphony, New York City Ballet, and the New York Philharmonic. Dejean performed in the orchestra for the Broadway productions of The Scarlet Pimpernel and West Side Story. He has recorded for BIS, Telarc, and Albany Records, and is a member of the Moose Hall Chamber Ensemble, which performs annually at the Inwood Shakespeare Festival. He is also the featured soloist in the recording of Mary Jeanne van Appledorn’s Soundscapes for bassoon and strings.9

Joshua Hood

Joshua Hood, the bassoon instructor at UNCC and bassoonist with the Charlotte Symphony, received his Bachelor of Music degree from the University of Michigan, where he studied with Lewis H. Cooper. He completed his Masters' degree at the Shepherd School of Music at Rice University with Benjamin Kamins, noted teacher and former Principal Bassoonist of the Houston Symphony. Mr. Hood joined the Charlotte Symphony immediately after graduating with his masters from Rice. He has also performed with a number of other orchestras including the North Carolina Symphony, Houston Symphony, the Kansas City Symphony and the Sphinx Symphony in Detroit MI. He has been a soloist with the Charlotte Symphony, Union Symphony, and the Charlotte Repertory Symphony. He has performed with several festivals including the Pacific Music Festival in Japan, May Music Festival in Charlotte NC, Gateways Music Festival in Rochester NY, the Music Academy of the West in Santa Barbara CA. He is an active chamber musician and has performed with the Summerfest Chamber Music Festival in Kansas City

8 “Andrew Brady,” Atlanta Symphony Orchestra, Accessed March 01, 2019. https://www.atlantasymphony.org/About/Artists/ASO-Musicians/Andrew-Brady. 9 “Gilbert Dejean,” BCP Musicians - Broadway Chamber Players, Accessed March 01, 2019, https://www.broadwaychamberplayers.org/january-30-2014.

12 and with the Ritz Chamber Players on the Amelia Island Music Festival in Florida.10

PJ Jones

Starting his musical journey in 1990, PJ Jones was destined for his love of music from that point forward. After playing the trumpet for five years, he decided to pick up playing the bassoon after a summer of the Governor's Honors Program in Valdosta, GA. After playing the bassoon for about two years, he then when to the University of Georgia to study Bassoon Performance under the teachings of Dr. William Davis. While at UGA, PJ played with the University Wind Symphony, Symphony Orchestra, Opera Orchestra, and various chamber groups. He also toured upstate New York with the American Wind Symphony Orchestra under the direction of Robert Boudreau. After graduating college with a Bachelor's Degree in Music Performance, PJ has played in many gigs in local groups throughout the state of Georgia. Currently, you can find him playing 2nd bassoon in the DeKalb Symphony Orchestra under the direction of Fyodor Cherniavsky.11

Shawn Jones

Bassoonist Shawn Jones is a graduate of the Juilliard School and Rice University. He has performed as a member of the Colorado, Detroit, and San Francisco Symphonies as both a bassoonist and contrabassoonist. During the summers he has taught at the renowned Interlochen Arts Camp, performed with the Grand Tetons Music Festival Orchestra, traveled to Japan to perform with the Pacific Music Festival, toured Russia with the American Russian Youth Orchestra, and currently performs as a member of the Colorado Music Festival. Shawn is also very active as a freelance musician in the San Francisco Bay area, playing as a member of the Santa Rosa Symphony as well as a frequent Substitute with the San Francisco Ballet and Opera Orchestras. he is also a member of the ensemble group, Quinteto Latino. In addition to his skills as a bassoonist, he is also a Nationally Certified Massage Therapist and a black belt in Kung Fu. Shawn was born and raised in Miami, Florida and moved to the Bay Area in 2005.12

10 “Joshua Hood,” College of Arts + Architecture | UNC Charlotte, Accessed March 01, 2019, https://coaa.uncc.edu/people/joshua-hood. 11 “PJ Jones,” New School of Music, Accessed March 01, 2019, http://newschoolofmusic.com/music-lessons/music-teachers/johns-creek-ga-30097/. 12 “Shawn Jones,” San Francisco Ballet, Accessed March 01, 2019, http://www.sanfranciscoballetorchestra.org/shawn-jones/ 13 Edward McCrary

Edward McCrary is the bassoonist and contra bassoonist for the Chattanooga Symphony and Opera.

Rufus Olivier Jr.

Rufus Olivier is the principal bassoonist with the San Francisco Opera and the San Francisco Ballet. At 21 years of age, he became a bassoonist with the San Francisco Symphony Orchestra before moving to his current positions with the Opera and Ballet. In addition to teaching at Stanford, Mr. Olivier is also the instructor of bassoon at Mills College and Sonoma State University. Mr. Olivier has been guest soloist with numerous orchestras throughout the United States, Japan, and France, premiered new works for the bassoon and was featured in live radio recitals in Los Angeles. He is a founding member of the Anchor Chamber Players, the Midsummer Mozart Orchestra, and the Stanford Woodwind Quintet. He has recorded many movie, video, CD and TV soundtracks including Disney's Never Cry Wolf; San Francisco Opera's Grammy-nominated CD Orphee et Eurydice and won a Grammy for the soundtrack Elmo in Grouch land. In 2016 the ballet orchestra won 2 Grammys and has a CD at number one on Billboards classical chart. Prior to arriving in the Bay Area, Mr. Olivier performed with the Los Angeles Philharmonic under Zubin Mehta, the Los Angeles Chamber Orchestra under Neville Marriner, and the Goldofsky Opera Tours. He studied with David Briedenthal of the Los Angeles Philharmonic and is on the music faculties of Stanford University, Azusa Pacific University, and Mills College. In February 1993, Mayor Frank M. Jordon Awarded Mr. Olivier The Seal of The City and County of San Francisco, in recognition of his "Exemplary Accomplishment On The Occasion of Black History Month." In February 2005, Rufus was the featured subject of the cover story in the International Musician, a publication that reaches musicians in the United States and Canada, as well as Europe. In 2005 Mr. Olivier received the Award of Merit from the United States Postal Service.13

13 “Rufus Olivier, Jr.,” Stanford University | Department of Music, Accessed March 01, 2019, https://music.stanford.edu/people/rufus-olivier-jr.

14 Michael Scott

Michael Scott is the second bassoonist for the Memphis Symphony Orchestra as well as Opera Memphis.

Maya Stone

Maya Stone began playing the bassoon in 1994 as an 11th grader. She was an advanced clarinet player in Troy, NY who began taking private lessons in middle school. Her private lesson teacher, Ruth Goldstein, was also a woodwind specialist and very fine harpsichordist/ pianist. Subsequently, she studied many of the woodwinds along with a small amount of piano. She gained her clarinet and bassoon Performance Certificates at the State University of New York in Potsdam along with a Bachelor’s degree in Music Education in 2001. Her Master’s degree was earned in Woodwind Special and Bassoon Performance from Michigan State University in 2003. After graduating from Michigan State University, Stone took a position as Visiting Professor of Double Reeds at Austin Peay State University in Clarksville, TN in the Spring of 2004. In the Fall of 2004, Stone took a position as full-time faculty with Middle Tennessee State University (MTSU). This position was soon converted to Assistant Professor of Bassoon as tenure-track. During her time in Middle Tennessee, she won the Second Bassoon position with the Huntsville Symphony Orchestra in Alabama and performed occasionally with other musical organizations. She became the regular Second Bassoonist with the Sphinx Symphony Orchestra based in Detroit in 2008. From 2008 to 2009, Stone took a leave of absence from MTSU to complete a year doctoral residency at the University of Texas at Austin. She graduated from UT Austin in the Spring of 2010. Dr. Stone took a position as Visiting Professor of Bassoon at Bowling Green State University in Ohio from 2011 to 2012, and then took a position as Visiting Professor of Bassoon at the University of Missouri in Columbia from 2012 to 2013. In 2013, she moved back to Tennessee to begin a career as a Freelance Musician in the Southeast. While Dr. Stone held a Private Studio during her time in academia, she began teaching privately more prominently in 2013. She has maintained an active career playing in orchestras, giving recitals and teaching master classes in addition to her private teaching. Currently, she is performing more prominently than teaching and is a premier performer and teacher in the Southeast. Since her academic years, Maya has been involved in several 15 Commissions of New Music. In addition, she is a member of the Rushes Ensemble, which performs Michael Gordon's group of the same name, and has premiered/recorded and toured it around Northern Europe, Canada, and the U.S. In addition to her work teaching and freelancing, Maya enjoys serving on the Regional Orchestra Players Association (ROPA) Executive Board of Directors as a Member At Large. This is a position she has held since 2015. She has also served as the ROPA Delegate for the Huntsville Symphony Orchestra Players Association, and currently, she is the Alternate Delegate. Maya has attended the Windfest Chamber Music Festival in Kitchener Ontario, Canada for two summers, and has pursued lessons with several high profile professionals around the country throughout the years. She has played Second Bassoon and Principal Bassoon respectively for the Missouri Symphony Society Professional Summer Orchestral Music Festival from 2013 to 2018. She is continuing to perform, and teach in different situations, and is grateful for the many opportunities that have come her way. Her main teachers include Kristin Wolfe Jensen, Barrick Stees and Frank Wangler. Dr. Stone has played a Fox 201 since the Spring of 2002.14

Tia Wortham

Tia Wortham, bassoon, is a Florida native and former principal bassoonist in the US Navy Band of Washington, D.C. She is a member of the Fairfax Symphony Orchestra playing contrabassoon and bassoon. She has played bassoon with the National Gallery of Art Orchestra and in the pit orchestra of the Shakespeare Theatre Company. She teaches bassoon, oboe, and clarinet at Suitland High School and is the bassoon clinician for Howard University. BMus, Florida State University; MMus, Catholic University.15

Bryan Young

Winner and finalist in competitions including the Gillet International Bassoon Competition and the ARD International Music Competition in Munich, Bryan has performed as soloist with the Baltimore Symphony and the National Symphony Orchestra. The

14 “Maya Stone,” Dr. Maya Stone’s Teaching Studio, Accessed March 01, 2019, https://stone.musicteachershelper.com. 15 “Tia Wortham,” United States Navy Band, Accessed March 01, 2019, https://www.navyband.navy.mil/wortham_tia.html. 16 Washington Post writes that his playing ‘dances with a lightness and grace uncommon for his instrument,' and the Baltimore Sun has praised his ‘particularly beautiful playing, technical agility, and understated elegance.' Bryan tours the US and internationally as a bassoonist for the Poulenc Trio. Bryan serves as the principal bassoonist of the Baltimore Chamber Orchestra and is a former member of the IRIS Orchestra in Memphis. Bryan studied at the Peabody Conservatory with Linda Harwell and at Yale with Frank Morelli. As a musical collaborator and chamber musician, Bryan has toured and performed with violinist Hilary Hahn, clarinetists Anthony McGill, Alexander Fiterstein, and David Shifrin, soprano Hyunah Yu, Guggenheim- winning poet Lia Purpura, and appeared with legendary jazz-leader Cab Calloway in his final performances at the Kennedy Center in Washington. Bryan has premiered new works written for him by composers Octavio Vazquez, Steven Gerber, Thomas Benjamin, and David Fetter, in addition to more than 25 new works he co-commissioned and premiered with the Poulenc Trio. Bryan has served on the faculties at Morgan State University and Washington Adventist University. He has been invited as featured lecturer and given masterclasses and workshops at NYU, Princeton, Tulane, Loyola University, Ohio State University, Rutgers, Brigham Young University, University of Texas, University of Arizona, University of Georgia, University of Kentucky, San Francisco State University, Regents University, MD Institute College of Art (MICA), and Towson University. He is a recipient of the Yale Alumni Ventures Grant and the UNCF Award for Excellence. In addition to his musical activities, Bryan is the former leader of Intertwine Systems, a healthcare and educational software company that he founded. At Intertwine, Bryan was featured on the front page of the Baltimore Business Journal as a mobile software entrepreneur to watch. As a technologist, Bryan worked with the State of Maryland in collaboration with the University of Maryland and the Alvin Toffler Institute to develop iPad-based software for cardiologists, and with the Johns Hopkins School of Medicine in conjunction with the government of Trinidad and Tobago to develop new research tools for endocrinologists. Bryan is a former partner and technology advisor to SailTime, a global recreational sailing company, chief technologist at JobJybe, an Austin- based startup focused on business communications, and currently the Director of Healthcare Strategy for Asymmetrik Ltd, a Maryland-based software company. Bryan serves as vice president of the board of directors of the Candlelight Concert Society in Columbia, MD, and is a frequent guest on Maryland's WBJC-FM radio show, Face the Music. Bryan writes

17 periodically about music, medicine, culture, and technology at his blog, Amalgamated Humanity.16

16 “Bryan Young,” Bryan Young Bassoon, Accessed March 01, 2019, https://bryanyoung.info/.

18 Chapter 3. Interviews

Overview

This chapter includes in-depth interviews with five of the most prominent

African-American bassoonists in the United States. These participants range in age and location. Their positions also represent several different sub-genres within classical music. Each person agreed to be interviewed and to answer all of the questions presented on their specific questionnaire. The questionnaires were similar but not identical.

Questions were adjusted depending on the participant’s position. These edited interviews are included for the purpose of revealing commonalities that led to their success as bassoonists.

Abridged transcripts are located in Appendix E of this document (page 101). Due to time constraints, Andrew Brady was unable to provide an interview for this chapter.

However, he did complete his questionnaire. Consequently, there is no interview of

Andrew Brady in this chapter. his questionnaire is located in Appendix E of this document.

19 Participant Interview No. 1 – Rufus Olivier Jr.

Early Life

Rufus Olivier Jr. grew up in South Central Los Angeles in an area call Watts, close to Compton. He was a member of a large family including his parents and four older sisters. Although his family did not have much money during his childhood, they were very supportive, and he never felt deprived of anything.

17 “Rufus Olivier, Jr,” Stanford University | Department of Music, Accessed March 01, 2019, https://music.stanford.edu/people/rufus-olivier-jr. 20 I grew up in Los Angeles. I was born in what people call South Central now, which would be Watts, Compton area, but actually Watts.

I had four sisters and myself. My father worked for the city’s water and power. So we did not have much money around. I was living in the projects. There was no budget for anything. There was no budget for school. Some days I had to stay home, because there was no budget for lunch or anything. No budget, but, I say that to say this; my father worked very hard every day of his life. Considering the times, we eventually moved into a house in the 50’s. I never really needed anything, I never starved. But there was no budget for lessons or anything like that. A lot of encouragement though.18

He was surrounded by music as a child. His father played the saxophone before World War II, and one of his older sisters played violin.

Before WWII my dad was a musician, he played saxophone in Louisiana. When he joined the military he was a Buffalo solider. When he got out, my mother had moved to Los Angeles, and my father followed her. From that time forward he just worked for the city’s water and power. My sister, who I am six years younger than, played the violin. She is still an amateur violin player. My father always encouraged us to sing or harmonize in the house. So I was always exposed to music growing up.19

Rufus recalled playing the piano at age 7 and was moved by the sound. He realized that he wanted to pursue music as a career.

I didn’t really play anything until I was in Jr. High school. I remember when I was really little just sitting at the piano by myself. It was at that moment; I was 6 or 7, that I knew I was going to become a musician. I remember being that young, but I felt something when I was playing that piano. I remember feeling some emotion from it. Nothing else had touched me like that. I didn’t know what I was going to play, but it would be something.20

18 Rufus Olivier Jr. (Principal Bassoonist for San Francisco Opera and San Francisco Ballet), personal interview with author, February 15, 2019. 19 Ibid. 20 Ibid. 21 At this time, people believed that African-Americans could not read music. Rufus wanted to play the saxophone, but his father insisted he learn all of his scales. Only then, was he given the mouthpiece to use on the instrument.

My father had bought me a saxophone, and a scale book, and made me learn all of my scales before he would give me a mouth piece. So until I proved I could read the notes he wouldn’t give me a mouthpiece. Back in the day, white folks didn’t believe black folks could read music. So he made sure I could read.21

After watching a performance of the Sound of Music, he fell in love with the sound of an orchestra, and wanted to play in one. His music teacher suggested he play the oboe but there were none, so he was given a bassoon instead.

I was in the audience listening to the sound of music, there was an orchestra playing. I decided that there were too many black saxophone players, and I loved the sound of the orchestra. I went to ask the teacher what I had to do to get into the orchestra. She said to play the oboe. So I went to get an oboe from the guy who gives out the instruments and he said they were out of those, so to take a bassoon instead.22 Rufus continued to play the saxophone in jazz ensembles, and played the bassoon after school. His school did not have an orchestral program, but he took lessons and performed with a different community orchestra every night.

I was successful musically in Jr. High. When I got to high school I was very successful, I was also in a jazz band and we would win best jazz program in Hollywood Bowl every year. Also, when I was in high school, I didn't play bassoon at all for our program. All of my bassoon playing was done after school. I played every night with a different symphony. I took private lessons on my own. There wasn't an orchestra program at our school.23

21 Ibid. 22 Ibid. 23 Ibid. 22 He earned money during high school from recording sessions, classical concerts, and performances in nightclubs playing rock and roll. He had an active musical career from a young age.

My Saturdays were like this in high school: I would take a bus, play a $25 scab recording sessions. Change my clothes to a tuxedo. Play some form of classical concert. Change my clothes again and then go play in a nightclub somewhere. That was Saturday for me. I was also in a rock and roll band, and we traveled everywhere. That's how I made my money in high school. I was like 15 or 16 at the time. At the time I just wanted to play music all of the time. If you wanted to be a musician that is what you did.24

As his interest in the bassoon grew, he decided to stop playing rock and roll. After his last tour, he realized he wanted a more stable lifestyle.

One of my last tours that I did with my group, helped solidify that I wanted to play the bassoon for the rest of my life. I realized traveling like that was not for me. I didn’t want that lifestyle. At all. When I got home I put my saxophone in the case and never took it out again.25

Reflecting back upon that time, he recalled how dangerous it could be to travel to gigs. Carrying karate sticks for protection, he was never sure if he was going get home safely while traveling through white neighborhoods.

I had to carry karate sticks up my sleeve because I would travel into white neighborhoods, and I never knew if I was going to make it home. All I brought with me were karate sticks, a Mozart bassoon concerto recording, and my bassoon. One occasion I almost didn’t make it home. So I appreciate what I do.26

Due to his passion for the bassoon, Rufus created his own set of rules, including the purchase of two albums with every paycheck he received. One record would be

24 Rufus Olivier Jr. (Principal Bassoonist for San Francisco Opera and San Francisco Ballet), personal interview with author, February 15, 2019. 25 Ibid. 26 Ibid. 23 classical, the other could be anything he wanted. He also created his own excerpt book, though later, his teacher informed him that they already existed and could be purchased.

These were my own rules, my own things. No, no one told me to do this. I started writing my own excerpt books, I didn’t know those were a thing at the time. Eventually, one of my teachers told me that I could just buy an excerpt book. My dad was a little worried about me, he thought I would go nuts. One night my dad said to me “boy, don’t go crazy” and just walks away. To this day, I hear that in my head “don’t go crazy” when things are getting wound up, and I just chill. No one told me to practice, people had to tell me to stop, in fact.27

Rufus took private lessons at the Clark House on the campus of UCLA. He rode two busses to get to the half hour lesson and studied with Raymond Nowland, a contract player for Warner Brothers. Rufus attributes some of his success to Raymond. He told the young bassoonist that he was a principal player.

I went to something called the Clark House, and that's where the people went to take lessons. So I took two busses for a half an hour lesson. I took lessons with a guy named Raymond Nowland. He was a contract player for Warner Brothers. I loved that guy. There is something to be said hearing someone talk about you. He told me that I was a first bassoon player. He planted that seed in my head.28 Rufus had relationships with two other African-American bassoonists in high school. This was unusual because black musicians were not typically in abundance. The first was Joanne Caldwell, from whom he eventually bought his first bassoon. The second was a friend who played duets with him over the phone.

Yes, the woman I eventually bought my bassoon from, Joanne Caldwell. She was actually the bassoon player for Frank Zappa. I remember playing second bassoon to her, and, that’s how I first met her. She was very successful in the studio at the time. She also played with Michael Mcnab. In Jr. High I also had a buddy, and we played duets together every night over the telephone. He was also a bassoon player.29

27 Ibid. 28 Ibid. 29 Rufus Olivier Jr. (Principal Bassoonist for San Francisco Opera and San Francisco Ballet), personal interview with author, February 15, 2019. 24 Professional Life

Rufus attended college for less than a year. He made his living by performing with the Los Angeles Philharmonic.30 Reading an advertisement on a bulletin board precipitated his association with the orchestra. He began studying with the principal bassoonist of the philharmonic and eventually, they asked him to participate in rehearsals.

I went to a city college for about 6 months. I started taking lessons from David Breidenthal in the L.A Philharmonic. Basically all of my career is bulletin board. I would see postings and just go. When I met David, the Philharmonic came to my high school and they let me sit in with them. Eventually, the Hollywood bowl, the bassoon section would let me sit in with them. They would teach me how to act in an orchestra, and I soaked it up like a sponge. That experience, I would tell people that I want their lifestyle.31

Soon after, he received his first professional break. Rufus was hired for a six- week tour with an opera company in New York. He saved enough money to buy his first car. During the tour, his wife wrote to him about an opening in the San Francisco

Symphony.32 The audition took one day to complete and Rufus won his first full-time professional job. As a result, he never finished his college education.

Soon after that, I got hired by this opera company in New York. I guess enough people turned it down that it got down to me. I started making a salary for those six weeks. I saved enough to by a little Honda Civic. While I was doing this gig, my wife wrote to me and told me about a second bassoon opening in San Francisco. So I went up one morning, and went to this audition. The audition went from 7:30 in the morning to 10 and night. Somehow I was the last man standing. I went that day and came

30 "About the LA Phil," LA Phil, Accessed March 20, 2019, https://www.laphil.com/about/la-phil/. 31 Rufus Olivier Jr. (Principal Bassoonist for San Francisco Opera and San Francisco Ballet), personal interview with author, February 15, 2019. 32 “San Francisco Symphony,” San Francisco Symphony, Accessed March 05, 2019, https://www.sfsymphony.org/About-Us.aspx. 25 back with a contract that night. It seemed like a dream. So I never made it through college.33

He served three years as the second bassoonist with the San Francisco

Symphony, until he won his current job as principal of the San Francisco Opera34.

Eleven years later, he auditioned and won his second position as the principal of the San Francisco Ballet.35 To this day, he plays for both orchestras concurrently.

After three years, there was an opening for the principal basson in the San Francisco Opera. 11 years later, I also auditioned and won the job for the San Francisco Ballet. Also all of these groups performed in the same building. So I’ve had all three jobs in my 42 years of playing with San Francisco.36

Reminiscing about his audition practice routines, he recalled the immense amount of time he spent learning to play the repertoire. It was the only path to becoming a good musician. To this day, he identifies himself as a bassoonist.

I just practice a lot. A lot. A lot. I would practice so hard. I can remember one time practicing Rhapsodie Espagnole and wearing down the G key until it became a sharp point and caused me to bleed all over. I can’t see any other way around it. You just have to practice like crazy. Lastly, I see myself as a bassoonist. I don't think of me as any other than that.37

Treatment from the Community

Rufus won his job with the San Francisco Symphony in the 1970’s and reflected upon his treatment within that community. Without remorse, he recalled the fact that he

33 Rufus Olivier Jr. (Principal Bassoonist for San Francisco Opera and San Francisco Ballet), personal interview with author, February 15, 2019. 34 “San Francisco Opera,” San Francisco Opera | Grand Opera | SF Opera, Accessed March 05, 2019, https://sfopera.com/. 35 “Official Website,” San Francisco Ballet - Official Website, Accessed March 05, 2019, https://www.sfballet.org/. 36 Rufus Olivier Jr. (Principal Bassoonist for San Francisco Opera and San Francisco Ballet), personal interview with author, February 15, 2019. 37 Ibid. 26 was considered a traitor within the African-American community, and a token for the white population. His haven from the outside world was with his family and his orchestra. And yet, he persisted in promoting racial equality until people started to change their biases, forty or fifty years later.

Let me tell you. I was a traitor to my people, and a token for the whites. I didn’t fit in anywhere. There was no where I could go for refuge except for home. Also, the orchestra knew what I could do so I was never treated any differently by them. I had black folks that went out of their way to tell me that they would never support the symphony. In my head, I thought they were idiots, and I would drag them into progress whether they liked it or not. Forty to fifty years later people are finally getting it.38

Rufus never experienced racially charged rhetoric by the members of the San

Francisco Orchestra. He had the respect of other orchestra members. They did not define him as a black bassoonist, just a good bassoonist. Occasionally, conductors took issue with the color of his skin but Rufus believed that to be their problem, not his, and concentrated on playing his instrument.

I started with some of them. So everyone was quite good to me. I was just trying to play my horn! After I won, we became the first tenured bassoon section in 12 years. I've always had a good relationship with the people in my orchestras. To this day people just see me as a bassoon player, not a black bassoon player. Just a bassoon player. I've had a few conductors be challenging, but all you have to do is play good, and the problem goes away. If they have a problem, then it's their problem. I'm not going anywhere, so they have to deal with it.39

Rufus’ Perspective

As a humble person, he is interested in serving the music and playing a beautiful phrase. In his opinion, the younger generation is more vocal about equality, where as he

38 Ibid. 39 Ibid. 27 is intent upon listening and understanding the music.

I don't consider myself old, but I would say the younger generation is a lot more verbal about equality. I am just not. I just listen, and I understand. For me, I'm just trying to find an honest phrase. To me, the music should take care of everything. If you are really doing your job, then no one can deny you. 40

He does not consider himself an important person amongst the musicians of the

African-American community and believes his success was basically accidental.

You know, our community is so small, I have always been able to understand that I am not that important to the general population. I don’t have any illusions that we are stars. I never pretended or think of being more important than I actually am. I just go and play music, then come home to my wife. As soon as I leave, someone else will take my place, and I will be forgotten over night. I have a gift for not caring about things like that. If I had to have name to take care of my family, then I would.

To me, this has all been accidental. For example, in 2005 I was put on the cover of the International Musician. A guy came out to interview me and told me they were making a collage for the cover. When they found out that I was from South Central, they decided to just go with me for the cover. But I didn’t know that was going to happen.41

Rufus believes it is time for the next generation to continue the good fight towards racial equality. He has talked to orchestral management about serving to more diverse areas, but there are road blocks. Fortunately, the younger generation of musicians joining the orchestra do not have issues with race. The only criteria that matters to them is the ability to play an instrument well.

I honestly don’t know how I feel. I wish it was different, and I have talked to the management about getting us out to more diverse areas. However, if the conductor does not want to do something, then it will almost never happen. When I talk to people like you, I often think “I think it is time to pass the baton to you all.” There is nothing more that I can really do. I will always just sit there. I have fought the fight, and now I am just enjoying myself.

40 Ibid. 41 Ibid. 28

Well, the community has changed dramatically, Like I said before, it was predominately Jewish, and they have always been sympathetic to the black. Also the younger generation within the orchestra has started to shift, there are a lot more minorities now, more Asians are being included. And overall the younger generation that I personally deal with couldn’t care less. As long as you can play your instrument I haven’t seen many issues arise.42

Conclusion

In his youth, Rufus Olivier Jr. was a pioneer as a successful African-American classical musician. He helped to carve a path for all African-Americans that succeeded him. He earned the respect of fellow musicians, conductors and more importantly, the entire community of San Francisco.

Rufus knew from an early age, that a strong work ethic would propel him to rise above negativity. Though some may have had issues with his race, he never took it personally. It was their issue. Some might struggle under this kind of adversity and allow the negativity to obstruct the meaning of their work. For Mr. Olivier, making music was paramount even under the shadow of racial divide. He successfully set aside his ego for the sake of his art.

Throughout his forty-two-year career, Rufus undoubtedly faced hardships. He was fortunate however, to work for organizations that were progressive, especially in their audition process. When an audition is blind, all that matters is the music. He does not take that for granted and continues to advocate for diversity within the orchestra and its conductors. As Rufus said himself, “I have fought the fight.”

42 Ibid. 29 Participant Interview No. 2 Joshua Hood

Early Life

Joshua Hood grew up in Gary, Indiana until the age of 12. At that time, his mother passed away and he moved to Ypsilanti, Michigan to live with the family of his oldest brother.

I was born in Gary Indiana, and I was there until the age of 11 or 12. That is when my mom passed, and I went to go live with one of my two oldest brothers. He and his wife were both school teachers. This was in Ypsilanti, Michigan.44

While living in Gary, the family did not have much money. He grew up in an all- black neighborhood and went to an all-black school. During that time, the only white

43 “Joshua Hood,” College of Arts + Architecture | UNC Charlotte, Accessed March 01, 2019, https://coaa.uncc.edu/people/joshua-hood. 44 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 30 person he ever saw was the insurance collector. His area of town suffered from white flight.45 After moving to Ypsilanti, he entered a mixed school and became a minority.

We were pretty poor growing up. But you know, as a kid you don’t notice these kinds of things. Everyone on our block wasn’t rich. It was a black neighborhood, but it wasn’t quite the ghetto. But we were not wealthy by any stretch of the word. It was also an all black neighborhood. There were no white people in the schools. It was one of those communities that had suffered from white flight. The only white person that I ever saw was the insurance man who came around and collected insurance money. So it was a big deal for me when I went to live with my brother to go into an integrated school where I suddenly became a minority.46

Joshua Hood is the youngest of five children. His oldest brother is 18 years his senior. He and his older sister were the only siblings to both play musical instruments and took lessons on the piano. At this same time, Joshua was exposed to classical music through a friend who played piano and flute. She taught him advanced classical pieces on the piano that he learned by rote.

My two oldest brothers are 18 years older than me. The day they left for college is the day I came home from the hospital. Then I have a sister after them, and another brother who is older than me. We are all kind of spread out in years apart.

I had a neighbor down the street, who would teach me songs on the piano that were really too advanced for what I was learning on the piano. She also happened to play the flute and her sister played the oboe. This was an anomaly in Gary. Her mom was a teacher and also played piano. I spent a lot of time at their house, and by rote she would teach me how to play the piano. Looking back on it now, I can say that this had a musical impact on me. Learning pieces that were a little more classical, as opposed to gospel and the usual pop stuff. My mom also loved the blues. So those were the musical things that I heard. But suddenly I got exposed to things that were a little more classical.47

45 "White Flight," Merriam-Webster, Accessed March 06, 2019, https://www.merriam- webster.com/dictionary/white flight. 46 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 47 Ibid. 31 His mother was a successful gospel singer in Gary. Most memories of his mother are of her singing. This type of singing was encouraged in his family and every member had to sing in the choir. All he and his sister needed was a name and a topic and they could make a song.

My mom was a music person. So she was well known in Gary. There is a plaque in the church were we went. She was a big time gospel singer. She sang in a lot of churches. So when she died it was a big deal. She was well-known for how she sang. When she sang, she really sang. That is what most of my memories of her are. She also had myself and my sister in piano lessons.

I used to joke about this stuff, but because my mom liked choirs. It was not IF you’re going to sing in the choir, it was YOU were going to sing in the choir. So we were all in the choir, going to church 2-3 times a week, all day on Sunday and sometimes on Saturday. It was a big affair, but was also an important element of my musical upbringing singing in choirs. Because no one read music, I learned everything by rote. My sister and I always joked, that if you gave us a name and a topic we could make a song out of it.48

In his household, he listened to primarily gospel, blues, funk, and popular music.

He was heavily influenced by his mother.

Yeah, I would have to agree in the sense of how she made her music. As much as I have appreciated it, it also scared me. When she would sing, she would become another person. She would “tear the church down.” I always saw that as other worldly. So when I started playing music, I always thought that what I did was so different from anything that I saw. It took many years for me to realize that there is a musical root for both forms of music making. Finding commonalities became an important aspect for me growing up. When you get hired professionally, you get hired because of what you bring to the table, musically. So even though my upbringing was not classically oriented, those are my roots.49

48 Ibid. 49 Ibid. 32 The Bassoon

Joshua’s first exposure to the bassoon was by chance. Searching through TV channels, he remembered coming across a PBS station. By chance, the Chicago

Symphony was playing on TV, and they performed the Mozart Bassoon Concerto played by Willard Elliot. It was the quirky sound of the instrument and the fascinating key mechanism that drew his attention to the bassoon. The more he listened to music the easier it became to identify the sound of the bassoon. It was two years of internalizing the bassoon before he got a chance to play one.

I was watching one of the PBS kind of stations and the Chicago Symphony had the Mozart Bassoon Concerto on as I was flipping through channels. I believe it was Willard Elliot, principal of Chicago for many many years. I saw all these keys, and this funny sound. I was immediately intrigued, I just wanted to find out more about it. So I would look it up in encyclopedias and ask people about it. I was just incredibly intrigued, years before I got a chance to play it.

I would say because it was different and unique. I also loved the key work. Something about the shape of it was incredible and fascinating to me. Because I had such a long time from me hearing the instrument to me finally playing the instrument. I had years to sort of stew over the idea of playing it. My ears would also perk up anytime that I thought I heard the bassoon. Once you knew the sound of it, it would pop up on cartoons more than I thought.50

The first wind instrument he played was the saxophone. At the end of his freshman year of high school, his band director allowed him to try the bassoon. After one year, he was selected to play in a concert band that toured England with Musical Youth

International. It was not until his junior year that he performed in an orchestra while attending the Interlochen Center for the Arts. Joshua graduated from the Interlochen

Center for the Arts high school program in 1983.

50 Ibid. 33 I was given my instrument at the end of my 9th grade year, and given the summer to work on it on my own. I then took lessons the following fall. However, by the end of my sophomore year I was in a group that toured England. Musical Youth International was what the group was called. I was lucky to travel for three weeks playing classical music. There was a band and a choir that alternated. So my year was the band. I had also only been playing the instrument for a year. So it was 0 to 60 very quickly. After that my first orchestra that I played with was in my junior year, at Interlochen.51

Joshua was the only African-American in his high school. He understood that he was a minority, and it never bothered him to look different than the other kids. He was aware that he needed to fit into white culture. Josh adapted well while some of his friends did not. From his viewpoint, disconnecting and reconnecting to your “roots” is something that every minority has to come to terms with in life.

I think it is also important, and I'm sure you noticed this. But in order for us to survive in these groups, we have to adapt socially. You are in a select group, and by the time you get to band, you're on a select instrument. In order to survive socially you have to get along with everyone else. Especially if you continue to play professionally, you have to be able to get along with everyone, even if they don't look like you. I say this, only because I had friends, who I later reconnected with in undergrad. They were from Gary, and because I don't think they were used to growing up around white people. They had a very hard transition, and neither of them made it through because the socialization for them was very different for them. I am also aware that it can be a struggle, because in a sense, to fit into white culture you have to disconnect from your roots in a sense. What I've learned as I have gotten older is that it is a part of your roots. Every musician that I know has had to go through this process to figure it out for him/herself.52

After starting the bassoon, Joshua quickly found a private lesson instructor. Intent upon improving, he studied with four different teachers in three years.

51 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 52 Ibid. 34 My first bassoon teacher was Chris Marsh, and she had gotten her Master’s from the University of Michigan with Cooper. I only studied with her for nine months. She recognized that things were moving along quickly for me on bassoon. She told me that I had to study with someone well-known. So I then went to study her teacher who was from Eastern Michigan University; he was also a student of Cooper. He also made the mistake of telling me who his teacher was. So I studied with Cooper a year later.53

After moving to Ypsilanti, his brother enrolled him in football in the fall and wrestling in the spring. He participated for three years and then made the decision to concentrate all efforts on his music.

So one of the biggest things that was a turning point for me was telling my football coach that I wasn’t going to play football anymore. I thought music would offer me more opportunities, so I had to tell him. He understood. Throughout high school I was recognized as a musician within my school, from touring Europe, playing at Interlochen, preforming well in solo and ensemble, and doing the high profile musical events within my high school. Ultimately, everyone understood that this is what I was going to be doing with my life.54

Higher Education

Joshua went to the University of Michigan to study with Lewis Hugh Cooper.55

He was able to attend the school and completed his undergraduate degree with the assistance of the Dean of Music, Willis Patterson. Dr. Patterson supported the African-

American students financially when they needed extra help, allowing them to complete their degrees.

By the time I applied to school I only applied to Eastman and Michigan. I got into both, but received more money from Michigan. I got money

53 Ibid. 54 Ibid. 55 Matthew Blane Morris Sr. “The Teaching Methods of Lewis Hugh Coopers.” (D.M.A. Thesis, The Florida State University, 2005.), https://fsu.digital.flvc.org/islandora/object/fsu:180480/datastream/PDF/view. 35 partially because of Cooper, but also because of this dean. He is the reason that I got through school, he would help me financially, and always make sure I had enough money to survive. He would also just look out for the black music students. There were actually a lot of us, and we had our own student union within the school of music. We were very supportive of each other within the black student union.56

The University of Michigan School of Music provided a more diverse environment. Joshua joined the Black Student Union. All of the union students performed at a high level and were interested in a professional career in music.

There were also a lot of black students there. Also, not every black student was apart of the organization. For me some of those students were like family to me. It was very valuable to me to have other black students who looked like me, play at a high level, and were trying to become professionals just like myself.57

Upon graduating, he moved across the country to California to study at the

University of Southern California with Norman Herzberg.58 While there, he faced many challenges, most notably, the high standard that Mr. Herzberg insisted upon with his students. While Mr. Cooper created a lesson with the music the student wanted to study,

Herzberg wanted his students to be extremely proficient in the fundamentals and would assign more music to learn than was feasible in one week. At the same time, Joshua had a job to financially support himself.

But it also took a lot more work for me studying with one of the hardest teachers in the country. He was very demanding, and was the opposite of Cooper. Herzberg, cared about being able to do fundamentals; such as playing scales at quarter note = 120. He always gave you more work than you could possibly do. That was how he taught, but I just could never get it, I wasn’t used to that kind of work. When you didn’t perform well, it

56 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 57 Ibid 58 Carol Loraine Cope Lowe. “Norman Herzberg: An Icon of Bassoon Pedagogy.” (D.M.A. Dissertation, The University of North Carolina, 2008.), https://libres.uncg.edu/ir/uncg/f/umi-uncg-1629.pdf. 36 was like the world was coming to an end. It was a highly pressurized environment. There was a reason why people like Karrie worked their butts off. It was the hardest thing I’ve ever done. But it was exactly what I needed to know about. As much as I loved Cooper, I knew there was more that I needed to understand.59

He felt he could not attain Herzberg’s standards while having to work and decided to leave USC. Joshua knew he still needed to learn more and improve his abilities on the bassoon. At this point, he decided to move to Houston, Texas to study with Benjamin

Kamins at Rice University.60

After one year of studying with Herzberg, I realized I couldn’t go on. There were a lot of factors that contributed to that. Some I talked about earlier, but also, I had a job while attending school. I couldn’t keep up. Deciding to leave was one of the hardest decisions I have had to make up to that point of my life. I then went to go study with Ben Kamins at Rice. He was also a graduate from Herzberg, so he understood my point of view.61

Professional Career

After graduating from Rice University, Joshua began his path on the audition circuit. It was not long before he won a position with the Charlotte Symphony.62 The orchestra held a completely blind audition which was unique for the time. After they announced the winner, Joshua walked out from behind the screen and there was an awkward silence.

As the audition committee stared at him, he was aware that it was because he was an

African-American.

59 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 60 “Benjamin Kamins,” Benjamin Kamins | The Shepherd School of Music | Rice University, Accessed March 06, 2019, https://music.rice.edu/faculty/benjamin-kamins. 61 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 62 "Charlotte Symphony Orchestra," Charlotte Symphony, Accessed March 06, 2019, http://www.charlottesymphony.org/. 37 It was a blind audition, and I believe there were only two rounds total for the day. I was the only person that took that day after the first round. Also, I was supposed to be the first person to audition that day. But my flight came in late, and I had to rent a car and overslept. So I had to call someone and it worked out that I was the last person to play for the preliminary round. After I played I was the only person… I think to play in the finals. I was however, the only unanimous decision for the final round. After I played I was told to meet the committee. When I walked out there was an awkward silence. Every one had wide eyes, and they did not make small talk. It was just one of those moments that I was extremely aware that I was a black person.63

He was uncomfortable on his first day but was comforted by the fact that there was one other African-American in the orchestra. The transition was also easier because his colleagues recognized that he played at a much higher level than the bassoonist he replaced. During that first year, he found his unique voice as a musician.

There was another black person who played violin in the orchestra. So I didn’t have to figure out how to be the only black person in the orchestra. So that was helpful, he was also one of the first contacts I made in the orchestra. It was also stressful, because I had to play one of the Tchaikovsky symphonies in the first rehearsal. From what I was told, my playing was such a contrast to the person before me that it really helped in my favor. It helped that I sounded nice and could play in tune. I also came into my own during this time. Once you get out of the academic environment, you have to figure out who you are as a player.64

During his first year in the orchestra, he participated in a radio interview and addressed the issue of race. Some members of the group misinterpreted his comments and wrote him an anonymous, racially charged letter meant to shame him for his statements in the interview. He decided to make copies of the letter and post it on the musician’s bulletin board, effectively taking power away from the anonymous musicians. By exposing the issue, he gained control of the situation and did not internalize the

63 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 64 Ibid. 38 confrontation.

Yes, so when I played the Mozart Concerto for the first time with the orchestra I did a radio interview, and I was asked something about race. While I can’t remember what the question was exactly; I remember saying that I was still not apart of the inner sanctum, where I was not given access to certain opportunities. Someone in the orchestra read that in the orchestra. I then received an anonymous hateful letter. I later took it to work and asked some people to read it, and I noticed that their reactions were similar to what the letter had said. The letter was meant to make me feel shameful, but I made copies of the letter and posted it on the bulletin board. So I took something that was supposed to shame me, and I used it to my advantage and took the power away from them. I am typically non- confrontational, but if I were to keep quiet about it I would have internalized it.65

Joshua’s Perspective

Joshua believes he has a unique perspective on music based on events from his childhood. He has a responsibility to perform music as authentically as possible. He attributes his success to all the people that provided for him after his mother’s passing.

I would say that I really believe that I have a unique perspective on music. Based on my musical up bringing, I have a responsibility to show what my take on music is. I also just think that I am blessed. When I lost my mom at an early age, I had a lot of people step in to help me. Maybe they sensed the need that I needed help, but I just feel blessed. Where I am is the direct result of a lot of people helping me. So I try to honor that by doing the best that I can.66

He does not spend time thinking about his musical impact within the African-

American community and prefers to focus on the music he performs. Reflecting upon success takes him away from the “moment” and, the “proper head space.”

I am just trying to get through week to week. I am just trying to keep up and play my song. I also think that that is ok. If I tried to live in the space of knowing I am an important black bassoonist, it would not be the best for me. There would be a sub-consciousness that is not appealing to me. It

65 Ibid. 66 Ibid. 39 would not let me be in the moment in music. If you think of how great you are, then you are not in the right head space.67

Josh feels that the representation of black musicians in the classical music genre still needs to improve. He is extremely passionate about programming works written by

African-American composers and continues to advocate for these pieces as a member of

Gateways Music.68

I would say that it is woefully inadequate. The background that we come from is different. Not better or worse, just different. When committees do not want to program African-American works because they don’t feel like there are any masterworks out there; I think about how many pieces do we play from white men that aren’t masterworks as well. That is more of their perception rather of the reality. Also, part of Gateways is to promote music from minorities. It is important to program works by African- Americans. We have been in this country from the very beginning. Programming is just as big of an issue as the players themselves. Yes, there might not be enough in administration, or performing, or conducting, but also not enough in regards to programming. So I think there is a lot more work to be done.69

Conclusion

Bassoonist Joshua Hood transcended some personal and financial hardships during childhood to become a successful African-American musician. He did not have the typical “classical music background” and began learning by rote. Ultimately, he has found his voice on bassoon through training in both classical and gospel music.

The ability to make hard choices has contributed to his success. After leaving the

University of Southern California, he began anew and remained focused upon his goal.

67 Ibid. 68 "Home | Gateway Music Festivals & Tours," Gateway Music Festivals and Tours, Accessed March 07, 2019, https://www.musicfestivals.com/. 69 Joshua Hood (Bassoonist with Charlotte Symphony), personal interview with author, February 25, 2019. 40 After winning a coveted position in a symphony orchestra, he was subjected to occasional racism but did not back down from the confrontation and has earned the respect of many bassoonists around the country.

Finally, Joshua Hood advocates for equality in all aspects of classical music. As a member of Gateways Music Festival, he continues to support African-American composers and is clearing a path towards greater representation of black bassoonists in classical music.

41 Participant Interview No. 3 Monica Ellis

Bassoonist Monica Ellis, a native of Pittsburgh, PA, discovered the joy of making music at the age of 4. Encouraged by her father, the late jazz saxophonist Clarence Oden, she began playing the clarinet, saxophone and later the piano. After being introduced to the bassoon in middle school, she studied with Mark Pancerev of the Pittsburgh Symphony throughout high school. Ms. Ellis went on to receive her Bachelor of Music degree from Oberlin College Conservatory of Music, studying with George Sakakeeny. While at Oberlin she participated as both an instructor and performer in the Panama Project; a month-long camp for young Panamanian students. She then received her Master of Music degree from The Juilliard School and also attended Manhattan School of Music in the Orchestral Performance Program, studying with Frank Morelli at both institutions. Residing in Harlem, Ms. Ellis is an active New York freelancer, having performed with the Chamber Music Society of Lincoln Center, Absolute Ensemble, Perspectives Ensemble, Lincoln Center Jazz Orchestra, American Symphony Orchestra, and the Alvin Ailey Dance Theatre, to name a few. Also a passionate teacher, she has taught at Conservatories of Music at Purchase College and Brooklyn College, Mannes College of Music Preparatory Division and Juilliard's Music Advancement Program. She is also a well-renowned clinician and has given master classes and solo recital performances across the country.70

Early Life

Monica Ellis was born and raised in Pittsburgh, Pennsylvania. She attended school in Pittsburgh and still has family there. Monica grew up in a middle-class household, and felt the freedom to express herself artistically. She was the youngest of two girls.

Her father was a professional jazz musician and contributed the largest amount of income to support the family. Her mother worked part-time and spent the majority of the

70 “Monica Ellis,” Imani Winds, Accessed March 07, 2019, http://www.imaniwinds.com/artist-bios/monica 42 of her time with the children. Monica recalls feeling comfortable during her childhood, and her parents were very supportive.

I grew up in a middle class household. Nothing certainly fancy, but whenever we wanted or needed anything we were able to get it. My father passed away when I was 15, he was a professional musician. He was a jazz saxophonist. As a side note, my influence as a musician comes directly from him. He also had a day job at Blue Cross Blue Shield, an insurance company. There were two of us including my sister. So he was the primary bread winner. My mom had worked for the bar association in Allegheny County. She actually retired five years ago. She was more or less a stay at home mom and worked part-time. My sister is also three years older than me. So we weren’t rich, but were able to have a comfortable childhood growing up. Grew up in a big house and had a lot of space. My parent’s were very supportive of what we wanted to do. There might have been some struggles that we never saw.71

Her sister also enjoyed the performing arts: participating in musical theatre, singing in their church choir, and dancing.

She did not play an instrument, she’s not musically inclined in the professional sense, but she definitely is artistic. Growing up she was in the church choir with me. She danced and was into musical theater. She was always involved in that. When she went to college she became a part of a community based, black theater company. In Pittsburgh it is quite well known. She wound up going to Yale School of Drama for her grad work in Arts Administration; theater management specifically. To this day, she’s a consultant in the world of audience development. She focuses on black theater specifically. So growing up it was always an artistically based household.72

Monica had strong musical mentors including her father and her elementary music teacher. She also had a piano teacher in sixth grade that was both strict and nurturing. Monica later attended a performing arts high school to focus on her musical growth.

71 Monica Ellis (Bassoonist with Imani Winds), personal interview with author, March 04, 2019. 72 Ibid. 43 I have been so so lucky to grow up with the teachers that I did. My second grade music teacher is still a good friend of mine. So that early on, being seven years old. That early influence was there for me. It was also a time where public schools were just great for that sort of thing. You could get a well-rounded music education, even if you stopped at high school. I studied piano starting in 6th grade all the way through high school with a French woman who was very strict but nurturing. I also went to a performing arts high school with talented people around me. So people, people were my main influence.73

She was immersed in a mix of white and black cultures during her childhood, both at church and in school. Monica had both white and black friends and acknowledges that race relations have changed since then.

There was a community in my church for sure. Which, by the way was another source of inspiration for me. But my family was not particularly religious. In fact, my parents did not go to church. They just sent us to church.

The black community, it was interesting because all of my schools were mixed. I remember in middle school or high school I was going to a city school, so it wasn’t all black. It was also a Magnet School, so people from all over Pittsburgh would come to my high school. I went to this school in the morning. Then in the afternoon, I took two busses downtown to get to the performing arts high school. There were white and black kids, that was it though. No other races. So yes, I was around black people. But I also had white friends. I really became more aware of my roots as an early adult. But I grew up in a time where race relations weren’t what they are like now.74

The Bassoon

In eighth grade, Monica was playing clarinet and saxophone in the concert band and jazz band, respectively. Her middle school teacher encouraged her to try the bassoon as well. She began taking lessons at a free program on Saturday’s that also offered theory classes and chamber music opportunities. There, her clarinet teacher also taught bassoon.

73 Ibid. 74 Ibid. 44 He gave her a solid foundation on the bassoon, she attributes some of her success to him.

The bassoon comes along in the 8th grade for me. That was through my middle school band teacher. I was playing saxophone and clarinet in the jazz and wind band. Yeah, he encouraged me to try the bassoon. I’m not positive how the instrument got to the school, either way, when he realized there was a bassoon available. He told me to try it. I remember taking it home, having no idea what to do and just started to blow on it. So I went to a free Saturday program at my school, and I was able to take lessons, chamber music, and theory classes. So I was taking clarinet lessons for my teacher, but he also played the bassoon. He was able to help me right away, and I attribute some of that to my success, because I didn’t develop bad habits.75

After a year, her teacher encouraged her to take lessons with a bassoonist who could take her to the next level. It was then, she was introduced to Mark Pancerev, second bassoonist of the Pittsburgh Symphony. Monica studied with Mr. Pancerev for her remaining three years of high school.

Mark Pancerev, second bassoonist for the Pittsburgh Symphony. I studied with him the following three years of high school.76

During these formative years, she did not know any other African-American bassoonists, and race was not an issue to her, in regards to music. She accepted life the way it was. Monica felt that her teachers were great role models. Her lessons with

Pancerev were joyful, though at times, a bit too heady for a student. He was an excellent bassoonist and reed maker and treated Monica as an equal.

It was joyful. It was odd. It was over my head occasionally. Not in a condescending way, but too advanced occasionally. He was a dead-pan type of figure. Yet, at the same time he had some kind life behind his eye and I thought he was joyful. He was also a master reed maker; he would tell me things like I understood what he was talking about.77

75 Ibid. 76 Ibid. 77 Ibid. 45 Ms. Ellis decided to focus her attention strictly on bassoon and piano. She had a strong desire to play with an orchestra and the bassoon afforded her that opportunity. It really did not matter what orchestral instrument she played, as long as it was in an orchestra.

The bassoon offered me the first chance to play in an orchestra. I remember that being really really exciting. If it had been the cello, it would have been the same effect. I liked the idea of the orchestra, not necessarily the bassoon itself. I got excited about the bassoon much later on. Piano was my other serious instrument. I didn't really practice clarinet or saxophone.78

Her success can also be attributed to the confident nature of her mother. This mindset was passed on to Monica. There was never a doubt about accomplishing a task, she just knew she could do it.

I should also add that my mom is an extremely confident woman. There were never any questions about doing something. For good or bad, that also transferred over to me. So certain things did not affect me, because I knew what I was going to do.79

Higher Education

Monica was strongly supported by her family, friends, and teacher while considering an undergraduate degree in music. They all knew she was going to be a musician.

They were very supportive. I was always going to be a musician. There was never a doubt about it. My private teacher was also influential. He told me where to apply to school. I got into Oberlin, Eastman, and Indiana. My mom was on board. Perhaps Music Education was brought up, but it was never a forced conversation.80

78 Ibid. 79 Ibid. 80 Ibid. 46 Monica enjoyed the campus environment at Oberlin, and was grateful that her audition felt more like a lesson.

Fortunately, it was a lesson style audition. It was a great experience. I liked that it wasn’t just a five-minute audition. I just had a really exciting feeling about going to Oberlin.

I didn't research who the teachers were; it wasn't like what it is now. I would learn about the importance of the school later on.81

At Oberlin, she felt completely natural and she met many African-American musicians and non-musicians. She spent time at “the house,” (an all black dormitory) and was involved with the Black Musician’s Union. She was understanding more about her

African-American culture, and realized the value of certain alliances. At the same time, she did acknowledge the lack of diversity in classical music, but that was not a troublesome realization.

It really just felt natural. Oberlin is the kind of place where the tolerance level is so high. Certain things just don’t happen there. Because of the history it has, it is just different from other places. There were different dormitories or houses for whatever type of interest. For example, I went to the all black house, effectively called “The House”. I would eat there and hang out there, but I didn’t live there. It was just all black people. We also had the Black Student Union. All types of groups that would just come to “The House.” I was also involved with the Black Musicians Union. There were a lot of alliances, plenty of ways to not feel like a minority. You found your people there.

I guess there was more of an awareness. But I never considered it to be a problem or issue. It never bothered me, but I knew that alliances were important. It was important to know that there was a difference, but not let it affect me.82

81 Monica Ellis (Bassoonist with Imani Winds), personal interview with author, March 04, 2019. 82 Ibid. 47 After graduating from Oberlin, Monica decided to continue her studies at Juilliard with Frank Morelli.83 At the end of her audition, he told her she would be accepted to both the Juilliard and Yale bassoon studios. She could choose the school.

So when I auditioned for Yale, it was similar to my audition with Sakakeeny at Oberlin. It was with Frank Morelli, and was more of a lesson type of vibe. I didn’t even know that he was THE Frank Morelli. I don’t even know if he was THE Frank Morelli at the time. 25 years is a long time. He then asked me what other schools I was applying to. When I told him I was also auditioning at Julliard he told me that I would get in to both Yale and Julliard. So he let me decide which one I wanted to go to. I was highly blessed and favored. Julliard is where I went to school and I was able to get a great package.84

Upon finishing her two-year stint at Juilliard, she wanted to acquire a Professional

Studies Degree in Orchestral Performance and continue her studies with Morelli. He also taught at The Manhattan School of Music as well, and convinced her to pursue the degree there.

Yes. It was just a year long program. For a Professional Studies degree in Orchestral Performance. I was in one of the first classes of the Orchestral Performance program, but for an Artist Diploma. It happened because I wanted to study with Frank for another year. I initially wanted to stay at Julliard for another year. But he told me for Julliard, they never accept anyone for an Artist Diploma who isn’t studying piano or violin. So he told me to think about Manhattan School. I would practically be able to come for free, so that was nice. It was nice because I got a whole other group of alumni now as well.85

83 "Morelli, Frank," Yale School of Music, Accessed March 07, 2019, https://music.yale.edu/faculty/morelli-frank/. 84 Monica Ellis (Bassoonist with Imani Winds), personal interview with author, March 04, 2019. 85 Ibid. 48 Imani Winds

Imani Winds was formed during the end of her time at Julliard.86 Her quintet colleague, Valerie Coleman87 formed the original group. The goal of the group was to become an outlet for Valerie's Afro-centric88 compositions, and her unique perspective on music. The first three years of the quintet helped to supplement their income while freelancing.

Well, through college I had wonderful experiences in small ensembles. I got to Julliard for my Masters, and had incredible experiences there as well. I think that after going to school in New York, I took a few audition, but the group started as soon as I finished my Masters at Julliard. I also at this time was going to the Manhattan School of Music for a Performance Certificate. Right at that very same time, Imani Winds started with Valerie reaching out to us and asked for all of us to sit down together and do some reading. In the first couple of years, it did not feel like a permanent job. We thought that it could be another supplement in the freelance world. There was just something special about what Valerie had in mind. I have to give her all the credit. Her vision was very special. I just got a really great feeling being around those people.89

Monica credits her association with Imani Winds for improving her level of musicianship. Valerie’s music was inspiring and challenging and striving to find the perfect sound, shaped Monica into the bassoonist she is today.

In retrospect, it also gave me the opportunity to become the player that I am today. Again, I attribute that to Valerie's music. Her music was inspiring and challenging. The way I had to sound to in order to get what she wanted out of the music, was something that made me become the person that I am.90

86 “Imani Winds,” Imani Winds, Accessed March 06, 2019, http://www.imaniwinds.com. 87 “Valerie Coleman,” Valerie Coleman Flutist and Composer, Accessed March 06, 2019, https://www.vcolemanmusic.com. 88 Gerald Early, "Afrocentrism," Encyclopædia Britannica, January 09, 2015, Accessed March 06, 2019. https://www.britannica.com/topic/Afrocentrism. 89 Monica Ellis (Bassoonist with Imani Winds), personal interview with author, March 04, 2019. 90 Ibid. 49 The Imani winds forged a unique path in chamber music. They knew they were not interested in performing traditional repertoire, and had no template from which to draw inspiration.

It really was just us who started this whole thing. There wasn't a sense of looking at the Dorian wind quintet and emulating that. It was really just an outlet for Valerie's music. There was no template for us. We also knew very early on that we didn't want to play traditional classical music.91

Four years from its conception, the quintet won a place on the roster with Concert

Artist Guild. They became the Educational Residency Ensemble and played many concerts while continuing to play main stage recitals as well. The group felt extremely fortunate, and in 2001 they played their Carnegie Hall debut.

Well we decided four years in to take auditions. So we auditioned for Concert Artist Guild, to be on their roster. We realized we needed some goals. So we ended up not officially winning, but we made it to the finals. At this time, we were told we were rough around the edges. They were right, so it was not a race thing. The head of the Concert Artist Guild said that he liked what he saw in us, so we got on the roster anyways. But by becoming the Educational Residency Ensemble. It was a really gift for us. We were able to play a lot, having to play so many concerts. We still got the main stage recitals as well. This was in 2001. That same year we had our Carnegie Hall debut. So that was the year for us.92

During their collaboration, the Imani Winds has not experienced overt racism.

They feel fortunate to have escaped racial biases. The real obstacle they battled was finding an audience of people who understood the type of music they were performing.

Inherent biases did surface occasionally in comments audience members made, but the group stayed confident, and continued to prove themselves as an elite chamber ensemble.

91 Ibid. 92 Monica Ellis (Bassoonist with Imani Winds), personal interview with author, March 04, 2019. 50 Basically, the answer is no. We are in a time where overt racism is over. But occasionally we felt certain things along the way. We could pick up on inherent biases, or micro-aggressions. Things such as; “you guys speak so well, it was so unexpected.” Things to that nature.

Also, “I didn’t think I would enjoy your music.” But we also got that from some black people. It was because we played in a wind quintet, and people didn’t know what type of music we were playing. I for sure think that over the years we have had to prove ourselves. We played in a wind quintet, with contemporary music, and we were all of color. So we had a lot to prove. I do believe there has been a veil over us. Only over the last couple of years has it been lifted. Even ten to twelve years in we still had to prove ourselves. But no real forms of racism. But people thinking that we weren’t good enough was a real thing. We dealt with it by being confident.93

Monica’s Perspective

Monica does not spend time evaluating the fact that she has had an impact on the

African-American community, she is merely humbled by it. Instead, she continues to do the work. She does acknowledge that she is a special player who creates a distinctive sound within the group. Ms. Ellis also realizes that she made a name for herself by maintaining the highest standards, mixed with a little bit of magic.

Yes, I do. I won’t act like I don’t. I don’t sit in that place for very long, because we are all out here grinding, and we should stay in the work. But talking to you and other people, it is an incredibly humbling experience to recognize that work that we have done is considered to be a standard. It’s humbling to know that I am making a difference in someone’s life.94

Well it’s hard for me to separate myself from the group. But I think I’m a special player in the group. We are able to create a special sound, and we work super hard and push each other. Valerie was the yin to my yang. She was a big inspiration to me. Also, doing what I want to do, but at the ABSOLUTE highest level. Also, recognizing when you are not playing at the highest level. Even if people don’t know what color you are, they are still going to want you to play in tune. This group was created to form something special for ourselves, and then for our audiences. The

93 Ibid. 94 Ibid. 51 excellence has to be there. You just have to be good! That’s how I think we have been able to be a name. High excellence, and a little bit of magic. Hours of hard work.95

Monica does admit that she could have been a better musician earlier, if she had put in the work; she started to practice conscientiously a bit late, but she does not truly have any regrets.

I don’t regret anything, so I’m trying to think of advice. At the end of the day I could have practiced more. I started practicing later than I should have. I could have been an even better player earlier. But I don’t regret it, because that is the way life unfolds. So, do the practicing and work when you really really have the time.96

Finally, when considering the representation of African-Americans in classical music, Monica admits that it could be better, but we are moving in the right direction. In her opinion, more good teachers are vital, and inner city children need to be held accountable to the same standards as others. Treating these children as equals is important.

You know. There isn’t enough. Not enough oboists, not enough anything. But in so many ways it is better. There is proof out there that it is getting better. We have been a part of numerous groups that are trying to fix this. It is not because of a lack of talent, but simply a lack of opportunity and exposure. We need to get kids on instruments earlier, get teachers to teach them. Don’t placate the students, teach them at a high level. Do not dumb things down because they come from an inner city. It is no surprise that the MET is one of the most diverse groups. They are one of the only orchestras to do complete blind auditions. We aren’t career cancer. So there are ways for black boys or girls to play the bassoon. But it takes really dedicated teachers and mentors to reach them. At the end of the day we are a niche market, so not everyone is going to want to do it anyways. So we need to understand that as well, and be ok with that. So these are trickle down numbers. But, the things that need to be done are starting to be done. But people like you are also helping, by finding some actual numbers and documenting people’s real life stories. Stuff is going on that

95 Ibid. 96 Ibid. 52 is going in the right direction. To say that things are horrible would be a disservice to everyone working so hard.97

Conclusion

Bassoonist Monica Ellis, has enjoyed a rich musical life-style from an early age through hard work, as well as support from family, friends and teachers. After her father’s passing, she remained focused to achieve her goals.

Her connection to black culture grew while studying at Oberlin, and she became increasingly aware of the lack of diversity within classical music. The confidence her mother instilled in her allowed her to move beyond this realization and to remain true to herself.

Five people became the voice of many upon the conception of Imani Winds, by performing Afro-centric music and expanding the sub-genre of woodwind quintet music.

They endured some racially charged comments but never showed weakness. The group was hired by the Concert Artist Guild, and experienced more opportunities while gaining the respect of musicians and non-musicians alike.

Monica remains humble, and realizes her success grew by practicing many hours and striving for excellence.

When contemplating the diversity in classical music, she admits that more can be done. By reaching out to inner city students, teachers can make a significant impact while maintaining a high standard.

97 Ibid. 53 Participant Interview No. 4 Alexander Davis

Alexander Davis is a bassoonist based in the New York City area. An active freelancer, he has worked and performed with orchestras such as Western New York Chamber Orchestra, Western New York Opera, Bach, and Beyond Festival, Orpheus through their newly founded Fellowship Program and recent recipient of the Detroit Symphony Orchestra Fellowship. Having a strong background in chamber music, Alexander has performed with many influential chamber artists of today such as Carol Wincenc, Frank Morelli, Stephan Taylor, William Purvis, Artis Quartet, Boris Berman, Windscape, and the Imani Winds. Alexander has participated in summer festivals including and not limited to Banff Music Festival, Norfolk Chamber Music Festival, American Wind Symphony Orchestra, and Imani Winds Chamber Music Institute. Alexander holds a Bachelor's in Music Education and Performance from SUNY Fredonia, a Master's in Performance at Stony Brook University under the Turner Fellowship, and is currently enrolled in Manhattan School of Music's Orchestral Program. Alexander has studied with renowned bassoonists Abraham Weiss, Laura Koepke, and presently under the guidance of Frank Morelli.98

Early Life

Alexander was born in Germany to a military family. They immediately relocated to the United States, and lived in Kentucky and Arizona before moving to New York when he was 11.

So my father was in the military, so I was technically born in Germany. But we moved straight back into the states. So for the majority of my life, I lived in Kentucky, Arizona, and then New York state.

I settled down in New York just before the 6th grade.99

The military provided for their needs, including a house. Alexander considered his family, at that time, to be upper-middle class. His father traveled extensively, and his

98 “Alexander Davis,” City Music: Cleveland Chamber Orchestra, Accessed March 01, 2019, http://www.citymusiccleveland.org/content/about-us/musicians/alexander-davis/. 99 Alexander Davis (Freelance bassoonist), personal interview with author, March 09, 2019. 54 mother cared for the five children. In his sophomore year of high school, his parents divorced, demoting the family to a lower class lifestyle.

Yeah, so in the military everything was set up for us. They provided us with a house and things like that. My father was also always traveling. So mainly my mom was the one who took care of us most of the time. So when we lived in New York, I would say we were upper middle class. We were starting to get back on our feet. But, around the time of my, sophomore or junior year in high school we were very poor. So I would say on the lower totem pole. My mother and father got a divorce, and he didn’t really pay for much, or anything. We then ended up in government housing in western New York.100

Alexander was the middle child of five. All of the kids were enrolled in private music lessons at the insistence of their mother.

My mom had my brother playing the saxophone. I mean, she did make us all take lessons. So when we were young; me, my older brother, and older sister all took piano lessons. Somewhere on that path my brother, Ryan, began playing saxophone. Then stopped around middle of Jr. High. My sister stopped sometime in high school. I also took piano for a year or two when I was five or six. My older brother and sister were also forced to play music.101

Alexander did not enjoy playing the piano, though he was fascinated by music.

After discontinuing piano lessons, he began the saxophone in middle school. Music came naturally to him, and he found a passion for it.

In the beginning was the only period that I didn’t want to play music. I always had an appeal to music, but I didn’t want to take piano lessons. I would always mess around, and make up music. When I was younger my teacher wasn’t allowed to start the lessons until we played a duet together. It was never apparent how much I wanted to do music though until middle school. I avoided doing band for a long time. Once I was in it, I realized that I did like playing saxophone and it came naturally to me.102

100 Ibid. 101 Ibid. 102 Ibid. 55 He absorbed music as he heard it, but could not recall a significant musical influence during his childhood. Alex recalled that he and his sister did listen to The

Backstreet Boys, and other music of that nature during high school. It was at that time, he started searching for music.

I feel like I just absorbed music as I heard it. I never went out of my way to find music. We didn't have streaming like we do now. I guess, when thinking about it, it would have to be my sister. I remember listening to Backstreet Boys, and things like that with her. During high school is when I started searching for music.103

The Bassoon

Mr. Davis discovered the bassoon for the first time in All-County; an honor band and orchestral program held in New York state. He saw the instrument and thought it looked “weird.” Alexander requested a bassoon from his band director and started to experiment.

I was first introduced to the bassoon when I was introduced to All County. At the time, I was playing saxophone throughout high school. I was becoming bored of the Alto Sax, so my teacher had me switch to Bari Sax. Once I got to All County, I remember seeing the bassoon, and thinking how weird it looked. I was naïve at the time. The first time I ever heard the bassoon, we were playing an ode to old cartoon songs Cartoon Capers. I remember really identifying with that instrument. So I immediately ran back to my band director really interested with the instrument.

I would play in orchestra pits around the community, and I would play reed four books. So once I told my teacher I wanted to learn it no matter what, I took the instrument home bought a method book and just tried.104

Reflecting upon his middle school and high school music programs, Alex described the classes as unique. They offered lessons during regular school hours and

103 Ibid. 104 Ibid. 56 pulled the musicians from their classrooms to offer instruction.

I would say they were good, in the sense that they had pull out lessons. New York was good for that. I would be taken out of class to have a lesson. Honestly, the whole time was a blur to me.105

Alexander did not know any other African-American classical musicians during his childhood until his undergraduate work at Fredonia State University. In high school, his passion for the bassoon led him to a greater appreciation of classical music.

I did a lot of different types of music growing up. I also sang in community theater. I think what gravitated me toward classical music was my perception of what the bassoon did. To me, classical music is what the bassoon does. So because I was so passionate about the bassoon I became more involved in classical music.106

He majored in Music Education while attending college, and his family was supportive. His mother was concerned, however, when Alexander wanted to obtain a major in Music Performance. Her fears abated after consulting Alexander’s teachers and mentors.

My mom was definitely ok with the Music education aspect. When it came to Music Performance she was not comfortable with it at all. She didn’t become comfortable with it until certain things in my life came up, like Imani Winds and my lesson teacher. But Music Education was never in question.107

105 Ibid. 106 Ibid. 107 Ibid. 57 Higher Education

Mr. Davis attended Fredonia State University. It was there that he studied with

Laura Koepke.108 Her nurturing, understanding, patient and empathetic nature contributed to his success as a bassoonist.

After making it into college, I studied with Laura Koepke. She is the reason I am where I am today.

It was so nurturing, understanding, patient, and empathetic. She made me feel like I had a second mom. I made a lot of mistakes along the way, and she was patient the entire way with me. She always pushed me to be the best that I could be. She was amazing.109

Fredonia was a small and intimate school. Alex had no money so faculty and students lent him concert attire.

I felt really at home with everyone there. It was like a small community. It was already such an intimate school. At the time, I had no money to buy a tuxedo, so some of the faculty and students would let me borrow their clothes for performances.110

At this moment in time, he realized the level required to be a successful musician, so he practiced and had faith in the encouragement offered by his teacher.

It is hard; all you can really do is keep going and continue to practice. Music is a field in which that we are always learning. Also, my teacher said, "There's a place for everybody." So I had to trust that mentality as well.111

Alex was never bothered by the lack of diversity in the School of Music at

Fredonia. He gravitated towards people of color outside of that department, and these are

108 “Laura Koepke,” Fredonia State University of New York, Accessed March 06, 2019, https://www.fredonia.edu/academics/colleges-schools/school-music/music/faculty/Laura- Koepke. 109 Alexander Davis (Freelance bassoonist), personal interview with author, March 09, 2019. 110 Ibid. 111 Ibid. 58 his closest friends to this day.

After attending Fredonia, he matriculated to Stony Brook University with a goal of impressing Frank Morelli. He focused even more on the bassoon, realizing how stiff the competition would ultimately be to win a job.

I went to Stony Brook University. I also auditioned for Yale and Julliard. Yale was the first time that I ever saw how many people played the bassoon. I applied to schools I thought I could afford

The first year I just practiced and worked on myself. I just wanted to practice and impress Morelli. I really wanted to be successful. I had to practice really hard. I knew I wasn’t where I needed to be yet.112

While Fredonia was a nurturing and supportive school, Stony Brook seemed to have no atmosphere of community.

Fredonia was super nurturing and supportive. Stony Brook was no real community. There was one other black musician, who was a pianist. But no real black community in the school of music. The student body as a whole was quite diverse.113

Later, Mr. Davis attended the Manhattan School of Music to earn a Performance

Certificate in Orchestral Studies. He worked with members of the New York

Philharmonic in orchestral reparatory classes and took lessons on orchestral excerpts.

Around this time, I started playing with more of the New York Philharmonic personnel. That was the first time I had strictly orchestral playing lessons. The first time I could focus in on just excerpts.114

Detroit Fellowship

Upon graduation from the Manhattan School, Alexander realized he needed to

112 Ibid. 113 Ibid. 114 Ibid. 59 take at least one orchestral audition. At that time, he came across the Detroit Symphony

Orchestra African-American Fellowship.115

So after just finishing that program in Manhattan, I decided that I should at least try for one orchestral audition. That was the one that I had saw, and it looked like it was in my realm. I remember staying in my room until two in the morning making recordings for them.

Alex recalled his first experience with “fight or flight” during his introduction to playing with the Detroit Symphony. He saw himself as a chamber and solo artist, and became very nervous and uncomfortable in the first rehearsal. Further exacerbating the difficult experience was the fact that he was not introduced to anyone in the orchestra.

I will be very honest. I had my first ever “fight or flight” feeling. I wanted to run away. Because I am still trying to find my path in life, I see myself as a chamber or solo artist. So when I got there, I felt very uncomfortable. Also, I wasn't introduced to anyone when I got there. I had met the bassoonists previously, but only during my audition.116

Afterwards, self-doubt engulfed him and he retreated into survival mode for the first year of the program. He was exposed to several new challenges; including the art of playing second bassoon and making reeds for the position. He also had to adjust his playing style to match the principal bassoonist.

It was hard, I had a lot of self-doubt. I thought no one wanted me to be there. Some people were not welcoming to me as well. So the first year was like survival. I also had to have back surgery at this time, and I had to go back to New York for a while. I also had to learn how to make second bassoon reeds, and learn how to be a second player in general. It was a very intense first year.117

Mr. Davis has never felt judged because of the color of his skin. He did, however,

115 "DSO Fellowship Auditions," DSO, Accessed March 08, 2019, https://www.dso.org/Fellowship. 116 Ibid. 117 Ibid. 60 sense strange reactions after winning the blind audition for the Detroit fellowship.

Alexander is a light skinned African-American.

I'm pretty sure there was a moment after I won that I came from behind the screen, and because I am light-skinned, I got some strange looks.118

Alexander’s Perspective.

Due to his love of chamber music, Alex has created ensembles that perform the music he enjoys. The bassoon/saxophone collaboration Xelana Duo, was created to explore inclusion in music, and the melting of cultures.

I had Xelana Duo. I really like new and accessible music. I liked the melting of culture in music that we had. I’m really all about inclusion.119

Alexander believes his success is derived from his personality. He is a fighter and wants to be successful. He gravitates toward people from all situations, and his playing has an honest sound that is accessible to all.

I think I work hard. I’m a people person. I also gravitate towards people well in situations that you have to. I think there are qualities in my playing that are accessible to other people as well. I’m also just a fighter. I want to be successful. 120

After reflecting upon the representation of African-American bassoonists, he acknowledged that most people do not harbor an excitement for the bassoon.

Furthermore, the instrument can be prohibitively expensive. He hopes to see this change in the future.

Bassoon is already hard enough to get people excited about. So my goal is to get people more into the bassoon by introducing it to different genres. We don't have a lot, but it is definitely growing. It would be nice to have

118 Ibid. 119 Ibid. 120 Ibid. 61 more diversity for the bassoon. But we also picked one of the most expensive instruments. So I hope to see it change.121

Conclusion

Alexander Davis is a dedicated musician with an excellent work ethic. Born with a natural talent for music, he nonetheless continues to take the time and effort to improve.

He is self-aware and acknowledges when he should work harder, and understands the dedication needed to perform professionally.

Alexander attributes a healthy portion of his success to his undergraduate bassoon teacher, Laura Koepke. He realized his passion was solo, and chamber music after attending the Manhattan School of Music and recognized the need to experience an orchestral audition.

He faced new challenges after winning the Detroit Symphony African-American

Fellowship but did not get discouraged. Though it was not the experience he anticipated, he learned the valuable skill of playing the position of second bassoon.

Alexander Davis advocates for inclusiveness within music and his unique projects are designed to make classical music more accessible to the non-musician.

121 Ibid. 62 Chapter 4. Personal Story

Personal Background

I was born in Akron, Ohio on February 4th, 1992 and grew up in a lower class neighborhood. My mother was a registered nurse and my father stayed home to take care of me. In 1996, my parents divorced. My mother and I moved to Medina, Ohio where I lived until moving away for college. The neighborhood was affluent and in a good school district, but we struggled financially for the first three years. Occasionally, there was not enough money for electricity, but my mother never openly talked about a lack of finances. She worked many hours, and allowed me to engage in any activity of interest.

I lived with my mother during the week and saw my father on the weekends.

Eventually, my father re-married and I gained a step brother and sister.

I primarily engaged with African-Americans in Akron, but Medina was very different due to the fact that the black population remained consistently around 5%.122 I assimilated into white culture. I knew I looked different than most, but did not let this bother me. I was fortunate to never suffer discrimination or a severe form of racism during my childhood, although, occasionally I did attract an odd look. Comments have also been made about the fact that I am “articulate, for my kind.” Consequently, I often

122 “Medina, Ohio Population 2019,” Medina, Ohio Population 2019 (Demographics, Maps, Graphs), Accessed March 09, 2019, http://worldpopulationreview.com/us- cities/medina-oh-population/. 63 feel like an imposter when commenting on race or racial issues. Struggling with this realization, I became motivated to write this document.

Musical Background

Until I discovered that both of my uncles were percussionists, I assumed I was the only musician in the family. My father’s brother did small gigs with local bands and my mother’s brother played professionally with a local group called “Raisin Cain”. Both of my step-siblings are also musical. My step-brother plays guitar and drums and my step- sister played clarinet during her childhood and took some piano lessons as an adult.

My mother listened to a lot of music and exposed me to alternative rock and grunge, as well as popular songs on the radio. My father enjoyed rap, jazz and soul music. I became interested in music during the 5th grade when I had the opportunity to learn a musical instrument.

I originally wanted to play trumpet, but was unable to buzz my lips. Instead, I played the saxophone, and continued to perform on it in jazz ensembles until I began my

DMA degree at The Ohio State University. I started playing the bassoon in high school because my music program needed another bassoonist.

Introduction to the Bassoon

I was fortunate that my band director advocated for private lessons. My family supported my musical endeavors until I was able to sustain these interests. I studied with

64 bassoonist, Mark DeMio123 in high school. DeMio helped me successfully audition into the Cleveland Orchestra Youth Orchestra, Contemporary Youth Orchestra, and the

Cleveland Youth Wind Symphony. I was the only African-American bassoonist, and oftentimes, the only black musician participating in these organizations.

The University of Mount Union

I was involved in music during high school, but never intended on becoming a professional musician. I originally entered college to pursue Psychology or Music

Education. After a year of classes, I decided to commit to the Music Education major.

At that time, I was the only African-American majoring in music at Mount Union.

Due to my indoctrination into white culture during childhood, I never felt out of place. I had a more difficult time socializing and feeling comfortable around people of color.

During my junior year, I began to have doubts about my major. I questioned my ability to authentically teach music in a field that focused on results and instant gratification.

During my student teaching, I definitively decided that Music Education was not the best use of my talents; and I applied last minute to The University of Akron for a

Master’s degree in bassoon performance.

The University of Akron

I applied, auditioned and was accepted into the University of Akron within the

123 “Mark DeMio,” Cleveland Institute of Music, Accessed March 08, 2019, https://www.cim.edu/faculty/mark-demio.

65 span of two weeks. I was supported by a half assistantship in bassoon and a half assistantship as a band graduate where I worked for the marching band and band office.

In my first year, I planned on becoming a college band director. Six months into the degree, I realized I could use my talents more optimally by working one-on-one with students.

At the beginning of my second year at Akron, I was offered a full assistantship on bassoon. I performed in the graduate woodwind quintet, which did outreach concerts at public schools. At every performance, I was asked about my ethnicity by teachers and students.

While attending Akron, I was one of two African-American graduate instrumental students. I gradually became more aware of how few minorities there were in classical music, but those thoughts only occurred while performing with local orchestras.

In the second year of my graduate degree, I decided that my fundamentals on bassoon were not solid enough to win a professional playing job. Although I advanced in the first four orchestral auditions I took, I realized that I was not ready to play professionally.

I applied to four doctoral programs including: Florida State, University of

Minnesota, University of North Texas, and The Ohio State University. FSU was the only school that had a diverse population. Ultimately, I chose Ohio State because the bassoon teacher there was honest and identified the fact that I needed to work on fundamentals.

66 The Ohio State University to Present

My first year at The Ohio State University was an epiphany; the reality of performing at a professional level dawned on me. It was here, I realized my lack of knowledge pertaining to all aspects relating to the bassoon. This awareness fueled my desire to master such a challenging instrument. As I practiced, the fundamental skills I was lacking began to improve. I realized that I wanted to be a performer who taught; not a teacher who performed.

The year that Donald Trump was elected into office, was my first year at The

Ohio State University; it was the first time I felt like a minority. I attributed this to the fact that numerous people would ask me, "How do you feel being black in Trump's

America?" My interpretation of “Trump’s America” is one of polarization; people observing Donald Trump seem to view his policies as black-or-white. As a person of color, I found these questions unsettling. I felt they were asked, only because I am black.

This question was also the impetus to write this document.

Currently, I am in my final year of the DMA program at OSU. During my time on the audition circuit and while playing in local orchestras in the area, I have continued to see the distinct underrepresentation of African-Americans in classical music. Naturally, I was curious to know how many professional African-American bassoonists there were in the United States.

While my time studying at OSU has not been easy, I am grateful to now understand the path I want to take in life; focusing on improving my abilities on the bassoon. It is for these reasons that I now identify myself as a bassoonist.

67 Chapter 5. Summarization and Continuation of Research

Summary

African-American bassoonists, are underrepresented in classical music. The bassoon is an unusual instrument and not many choose to play it. Historically, bassoon studios in colleges and universities have a smaller enrollment of music majors than most other studios. Combined with the supposition that African-American musicians are underrepresented in general, in classical music; one could assume that black bassoonists, are woefully underrepresented. Of the 684 bassoonists studied within the parameters of this research, twelve were identified as African-American.

It is important to recognize the successful careers of these 12 musicians, in addition to the five musicians who participated in the interviews/questionnaires. They are members of world class symphony and opera orchestras, perform chamber music at the highest levels, attended the most prestigious schools of music, and have participated in some of the most competitive festivals and competitions.

It is my goal that the identification of these individuals will inspire confidence in the next generation of African-American musicians.

Commonalities

After examining the four interviews and five questionnaires, numerous commonalities surfaced between what led to their success.

68  Most of the participants grew up in large households with multiple siblings. Their families were, on average, lower to middle-class. Each participant practiced some form of music before middle school, and were emotionally supported by their families. Those with no access to suitable school music programs, took the initiative to learn their instrument through other avenues. Every musician engaged in extra-curricular musical opportunities.

 All five participants were enrolled in private lessons. None of these bassoonists began with a bassoon in good working condition, and each managed to find alternate methods around the dysfunction.

 Participants were the only African-Americans in their respective ensembles during childhood. The first time they each identified another African-American musician in music was in college. None of the participants were bothered or discouraged by the fact that they were the only African-American in their school programs. They each assimilated into the particular culture of their community.

 Each participant was immediately infatuated upon their introduction to the bassoon, motivating them to work diligently and find their unique voice. Coincidentally, all five of these musicians began on saxophone and chose to play bassoon exclusively, no later than the age of 18.

 Each participant recalled the immense amount of time and work they did before winning their position, and how that commitment of time is required, even to this day.

 Though there has been improvement, they unanimously agreed that more work needs to be done within our culture to support and cultivate black musicians as well as other minorities.

The accomplishments of these musicians have opened a door for the next generation of African-American bassoonists; with efforts being made to enhance the representation of black musicians through inner-city scholarships. This money provides instruments, training, and equipment. Additionally, diversity fellowships have been created to provide aspiring musicians the opportunity to work and learn in a professional environment.

Fellowships

Several prominent orchestras in the United States, aware that diversity is lacking

69 within classical music, have instituted fellowships for people of color. The goal is to induce a more equitable representation of ethnicities in the musical arts.

The Sphinx Organization:

The Sphinx Organization dedicates its resources to enhancing people’s lives through diversity in art. The organization focuses on diversifying music by: music education, performance, repertoire, programming, reaching diverse communities, and leadership within the field. The program now reaches 100,000 students and artists, as well as broadcasts to audiences of more than two million annually.124

Chicago Sinfonietta:

Chicago Sinfonietta has created Project Inclusion. This program assists budding musicians, conductors, and administrators by mentoring them in their respective interests.

Created by Paul Freeman, the purpose of Project Inclusion is to eliminate bias caused by factors of ethnicity, race and socio-economic status. Currently, the organization offers four professional development fellowships to musicians, conductors and arts administrators.125

Detroit Symphony Orchestra Fellowship Program:

Created in the 1990’s, the goal for this fellowship is to develop the growth of

African-American musicians. The program provides an opportunity for fellows to perform with the DSO during their concert season. In addition to performances with the orchestra, the fellowship winners receive individual coaching, mentoring, and participate

124 “Sphinx Organization,” Sphinx Organization, Accessed March 10, 2019, http://www.sphinxmusic.org. 125 “Project Inclusion,” Chicago Sinfonietta, Accessed March 10, 2019, http://www.chicagosinfonietta.org/education/project-inclusion/. 70 in mock auditions. It is the goal of the program to help musicians achieve sustainable careers in music. Currently, fourteen African-Americans have held this two-year long position.126

Los Angeles Philharmonic Association:

The Los Angeles Philharmonic Fellowship program was created to help support and cultivate five young musicians of an ethnicity that is historically underrepresented.

This program is designed to focus on artistic growth and excellence, and serve as an immersive mentorship through one to three years of playing within the orchestra.127

Minnesota Orchestra’s Rosemary and David Good Fellowship:

This two-year program was created to aid African, Latin, and Native American musicians. Seeking to diversify the orchestral field, this fellowship has conducted nationwide searches to find highly qualified applicants.128

Pittsburgh Symphony: EQT Orchestra Training Program for African American

Musicians:

A two-year program designed to allow African-American musicians to dedicate themselves to the dream of a professional career. The fellow performs with the Pittsburgh

Symphony for two seasons, has a mentor within the orchestra, and learns how to prepare for an orchestral audition. Their goal is to promote diversity in orchestral settings to

126 "DSO Fellowship Auditions," DSO, Accessed March 08, 2019, https://www.dso.org/Fellowship. 127 “LA Phil Resident Fellows,” LA Phil, Accessed March 10, 2019, https://www.laphil.com/about/la-phil/la-phil-resident-fellows/. 128 “Rosemary and David Good Fellowship,” Minnesota Orchestra, Accessed March 10, 2019, https://www.minnesotaorchestra.org/learn/lifelong-learning/rosemary-and-david- good-fellowship. 71 better reflect the diverse community the orchestra serves.129

Continuation of Research

Progress has been made, but more is needed. This document serves as a starting point for anyone interested in studying the representation of African-Americans in classical music. My research can and should be expanded.

Merely 3.7 percent of professional classical musicians in the United States are black. Sharing their stories could be a valuable tool in educating the public.130 In addition, it is one of my goals that this research be used by music educators across the nation to spark interest about the bassoon in the African-American community.

Expanding upon the work I have presented, research should be conducted on

African-American bassoonists in all symphony and opera orchestras within the United

States. It is my assumption, that the amount of African-Americans found performing on the bassoon in any capacity will significantly increase from the records of this document.

African-Americans need an outlet to search companies, organizations, and programs that are currently interested in diversifying classical music. In this document, I have listed the major fellowship programs for orchestral musicians, but a database containing an extensive list of opportunities is crucial to help musicians find the best program for their personal needs.

129 “EQT Orchestra Training Program for African American Musicians,” Pittsburgh Symphony Orchestra, Accessed March 10, 2019, https://pittsburghsymphony.org/pso_home/web/about-landing/eqt-orchestra-training- program-for-african-american-musicians. 130 “Sphinx Organization,” Sphinx Organization, Accessed March 10, 2019, http://www.sphinxmusic.org. 72 Finally, creating a voice or platform for professional musicians of color must be done. Every musician has their own story to tell, and these narratives will educate

Americans and serve as inspiration for the next generation. From the struggles they endured, the successes they experienced, and the commonalities they share, education about diversity within classical music is possible.

I believe this document serves as a stepping stone to eliminate the misconception that African-Americans do not have a voice in classical music. 3.7 percent of classical musicians are African-American. There are at least 1,500 symphonic orchestras in the

United States, the numbers indicate that black musicians in American orchestras should be in the hundreds, if not thousands. It is incumbent upon researchers to identify, and bring to light the numerous African-Americans who have gone underrepresented and nameless for so many years.

73 Bibliography

"About the LA Phil." LA Phil. Accessed March 20, 2019. https://www.laphil.com/about/la-phil/.

“Andrew Brady.” Atlanta Symphony Orchestra. Accessed March 01, 2019. https://www.atlantasymphony.org/About/Artists/ASO-Musicians/Andrew-Brady.

“Alexander Davis.” City Music: Cleveland Chamber Orchestra. Accessed March 01, 2019. http://www.citymusiccleveland.org/content/about-us/musicians/alexander- davis/.

“Benjamin Kamins.” Benjamin Kamins | The Shepherd School of Music | Rice University. Accessed March 06, 2019. https://music.rice.edu/faculty/benjamin- kamins.

“Bryan Young.” Bryan Young Bassoon. Accessed March 01, 2019. https://bryanyoung.info/.

"Charlotte Symphony Orchestra." Charlotte Symphony. Accessed March 06, 2019. http://www.charlottesymphony.org/.

"Concert Artist Guild." Concert Artists Guild. Accessed March 08, 2019. http://www.concertartists.org/.

Cope Lowe, Carol Loraine, “Norman Herzberg: An Icon of Bassoon Pedagogy.” (D.M.A. Dissertation, The University of North Carolina, 2008.) https://libres.uncg.edu/ir/uncg/f/umi-uncg-1629.pdf.

Craven, Robert. Symphony Orchestras of the United States. Westport, Connecticut: Greenwood Press, Inc., 1986

Doser, James, Ph.D. "Racial/Ethnic and Gender Diversity in the Orchestra Field." League of American Orchestras. September 3-4, 2016. Accessed January 18, 2019. https://americanorchestras.org/images/stories/diversity/Racial-Ethnic-and- Gender-Diversity-in-the-Orchestra-Field-Final-92116.pdf

"DSO Fellowship Auditions." DSO. Accessed March 08, 2019. https://www.dso.org/Fellowship.

74 Early, Gerald. "Afrocentrism." Encyclopædia Britannica. January 09, 2015. Accessed March 06, 2019. https://www.britannica.com/topic/Afrocentrism.

“EQT Orchestra Training Program for African American Musicians.” Pittsburgh Symphony Orchestra. Accessed March 10, 2019. https://pittsburghsymphony.org/pso_home/web/about-landing/eqt-orchestra- training-program-for-african-american-musicians.

"George Sakakeeny." Eastman School of Music. Accessed March 07, 2019. https://www.esm.rochester.edu/faculty/george_sakakeeny/.

“Gilbert Dejean.” BCP Musicians - Broadway Chamber Players. Accessed March 01, 2019. https://www.broadwaychamberplayers.org/january-30-2014.

"Home | Gateway Music Festivals & Tours." Gateway Music Festivals and Tours. Accessed March 07, 2019. https://www.musicfestivals.com/.

“Imani Winds.” Imani Winds. Accessed March 06, 2019. http://www.imaniwinds.com.

"Interlochen Center for the Arts." Arts Education and Cultural Opportunities. Accessed March 20, 2019. https://www.interlochen.org/.

“Joshua Hood.” College of Arts + Architecture | UNC Charlotte. Accessed March 01, 2019. https://coaa.uncc.edu/people/joshua-hood.

“LA Phil Resident Fellows.” LA Phil. Accessed March 10, 2019. https://www.laphil.com/about/la-phil/la-phil-resident-fellows/.

“Laura Koepke.” Fredonia State University of New York. Accessed March 06, 2019. https://www.fredonia.edu/academics/colleges-schools/school- music/music/faculty/Laura-Koepke.

“Mark DeMio.” Cleveland Institute of Music. Accessed March 08, 2019. https://www.cim.edu/faculty/mark-demio.

“Maya Stone.” Dr. Maya Stone’s Teaching Studio. Accessed March 01, 2019. https://stone.musicteachershelper.com.

"Medina, Ohio Population 2019." Medina, Ohio Population 2019 (Demographics, Maps, Graphs). Accessed March 09, 2019. http://worldpopulationreview.com/us- cities/medina-oh-population/.

“Monica Ellis.” Imani Winds. Accessed March 07, 2019. http://www.imaniwinds.com/artist-bios/monica

75 "Morelli, Frank." Yale School of Music. Accessed March 07, 2019. https://music.yale.edu/faculty/morelli-frank/.

Morris Sr., Matthew Blane, “The Teaching Methods of Lewis Hugh Coopers.” (D.M.A. Thesis, The Florida State University, 2005.) https://fsu.digital.flvc.org/islandora/object/fsu:180480/datastream/PDF/view.

"Musical America Worldwide." Musical America. Accessed March 02, 2019. https://www.musicalamerica.com/.

“Official Website.” San Francisco Ballet - Official Website. Accessed March 05, 2019. https://www.sfballet.org/.

“PJ Jones.” New School of Music. Accessed March 01, 2019. http://newschoolofmusic.com/music-lessons/music-teachers/johns-creek-ga- 30097/.

“Project Inclusion.” Chicago Sinfonietta. Accessed March 10, 2019. http://www.chicagosinfonietta.org/education/project-inclusion/.

“Rosemary and David Good Fellowship.” Minnesota Orchestra. Accessed March 10, 2019. https://www.minnesotaorchestra.org/learn/lifelong-learning/rosemary-and- david-good-fellowship.

“Rufus Olivier, Jr.” Stanford University | Department of Music. Accessed March 01, 2019. https://music.stanford.edu/people/rufus-olivier-jr.

"Sandra Bailey." Chicago Sinfonietta. Accessed March 01, 2019. http://www.chicagosinfonietta.org/education/sandra-bailey/.

“Shawn Jones.” San Francisco Ballet. Accessed March 01, 2019. http://www.sanfranciscoballetorchestra.org/shawn-jones/

“San Francisco Ballet.” San Francisco Ballet - Official Website. Accessed March 05, 2019. https://www.sfballet.org/.

“San Francisco Opera.” San Francisco Opera | Grand Opera | SF Opera. Accessed March 05, 2019. https://sfopera.com/.

“San Francisco Symphony.” San Francisco Symphony. Accessed March 05, 2019. https://www.sfsymphony.org/About-Us.aspx.

“Sphinx Organization.” Sphinx Organization. Accessed March 10, 2019. http://www.sphinxmusic.org.

76 “Tia Wortham.” United States Navy Band. Accessed March 01, 2019. http://www.navyband.navy.mil/wortham_tia.html. “Joanne Caldwell.” Joanne_cmcnab. Accessed March 05, 2019. https://www.united- mutations.com/m/joanne_cmcnab.htm.

"U.S. Census Bureau QuickFacts: UNITED STATES." Census Bureau QuickFacts. Accessed March 19, 2019. https://www.census.gov/quickfacts/fact/table/US/PST045218#PST045218.

“Valerie Coleman.” Valerie Coleman Flutist and Composer. Accessed March 06, 2019. https://www.vcolemanmusic.com.

"White Flight." Merriam-Webster. Accessed March 06, 2019. https://www.merriam- webster.com/dictionary/white flight.

77 Appendix A. Institutional Review Board Approval

78 Appendix B. Preliminary Documents

Sample Contact Form

Subject: Possible Participation for DMA Document Involving Bassoon

Hello [Mr. or Ms. Potential Participant],

My name is Ian Bell; I am currently a third year DMA student at The Ohio State University in Bassoon Performance. I am writing to you in hopes that you could help me with an idea I have for a DMA. document topic. My document topic is “African- American Bassoonists and Their Representation within the Classical Music Environment”. As an African-American bassoon player, I was initially discouraged from going into the world of classical music, as I did not see a strong representation of African-Americans in the field.

One of my main goals for this document is shine a light on prominent African-American bassoonists, through a combination of interviews as well as a bibliography of all of the current prominent African-American bassoonists. Ideally, I would love to interview you (in person or through Skype), and ask you some questions about your upbringing with classical music, some of your past experiences, and how you view classical music for African-Americans going forward. The amount of time for the interviews will be minimal. Expect the interviews to last around two to three hours, plus an additional hour for a follow-up interview if needed.

My biggest goal is to encourage future generations to enter the classical musical world. If you want, I could provide you a list of the sample questions before you agree to anything.

Thank you for taking the time to read this email, and please let me know if you are interested. I deeply appreciate it.

Ian Bell

79 Sample Consent Form

Signing the consent form

I have read (or someone has read to me) this form and I am aware that I am being asked to participate in a research study. I have had the opportunity to ask questions and have had them answered to my satisfaction. I voluntarily agree to participate in this study.

I am not giving up any legal rights by signing this form. I will be given a copy of this form.

Printed name of subject Signature of subject

AM/PM Date and time

Printed name of person authorized to Signature of person authorized to consent for subject consent for subject (when applicable) (when applicable)

AM/PM Relationship to the subject Date and time

Investigator/Research Staff

I have explained the research to the participant or his/her representative before requesting the signature(s) above. There are no blanks in this document. A copy of this form has been given to the participant or his/her representative.

Printed name of person obtaining consent Signature of person obtaining consent

AM/PM Date and time

80 Sample Interview Questions

Interview Questions

1. Where did you grow up? 2. Talk about how you were brought up, regarding socio-economic status. 3. Do you have any siblings? If so, how many siblings do you have? 4. Do they play an instrument? 5. Do you come from a musical family? If so who plays what and at what level? 6. What intrigued you about music at an early age? 7. What type of music was played in your household as a youth? 8. When did you first hear about the bassoon? 9. Why did you choose to play the bassoon versus other instruments? 10. Who was the first bassoonist you remember hearing? 11. Were you exposed to any African-American bassoonists? 12. What was your middle school or high school music program like? 13. Who was a major musical influence on you early in your study? 14. Why did you choose your field of music versus another genre of music? 15. Were you encouraged or discouraged by your family to pursue a career in classical playing? 16. Where did you first receive training in classical bassoon playing? 17. What was that experience like? 18. Who was your first bassoon teacher? 19. What was the atmosphere of those lessons? 20. Was it with that teacher that you began a serious interest in becoming a professional musician? 21. What bassoon players were you listening to during that time? 22. Where did you attend school for your undergraduate degree? 23. What was your undergraduate audition like? 24. Do you recall how many other African-Americans were auditioning on your day? 25. Why did you choose that school? 26. How were you treated by faculty (other than your primary teacher)? 27. How were you treated by your peers? 28. Was there a large community of people of color? 29. Did the community you interacted with effect your perception of minorities in music? 30. While matriculating through school, how did you cope with the psychological aspect of performing? 31. When/Why did you decide on graduate school? 32. Why didn’t you attend graduate school? 33. What was the atmosphere of that University and School of music as a whole? 34. What was the impact of that environment on your musicianship and bassoon playing? 35. How many times did you audition for a major orchestra before winning? 36. Describe the audition process for the Symphony. 37. How did you mentally and musically prepare for that audition? 38. Describe your practice routine and the various exercises and books used. 81 39. In the final round, what was the reaction from the panel to see a person of color advance to the finals? 40. How did that reaction impact your concentration for the remaining part of the audition? 41. Describe your first day in rehearsal in the symphony. What was it like? 42.Did you receive any racially-motivated behavior from your colleagues, if so, can you provide an example of what you observed and/or experienced? 43. Did you realize the impact that you would have on other African American bassoonists and other people of color? 44. What made you decide to create Imani Winds? 45. Were you inspired by any other groups of color to create Imani Winds? 46. Have you ever been met with opposition when performing as a group? 47. How did you get your first “break” as a chamber ensemble? 48. What was it like to win a professional orchestra jobs so young in the field? 49. What made you apply for Detroit’s diversity fellowship? 50. Has anyone looked or talked to you differently, in a professional performance? 51. Why do you think you were able to make a name for yourself in the field of music? 52. If you could give a piece of advice to your former self in regards to music, what would it be? 53. How do you fee about the representation of African-American bassoonists, or music in general?

82 Appendix C. Limited Orchestral and Opera Companies

Alabama: Pasadena Symphony Alabama Symphony Orchestra Peninsula Symphony Orchestra Huntsville Symphony Orchestra Philharmonia Baroque Orchestra Maya Stone Sacramento Philharmonic Mobile Symphony Orchestra San Bernardino Symphony San Diego Symphony Alaska: San Francisco Symphony Anchorage Symphony Orchestra San Jose Chamber Orchestra Fairbanks Symphony Orchestra San Luis Obispo Symphony Santa Rose Symphony Orchestra Arizona: Shawn Jones Flagstaff Symphony Orchestra Stockton Symphony The Phoenix Symphony Symphony Silicon Valley Tucson Symphony Orchestra Colorado: Arkansas: Boulder Philharmonic Orchestra Arkansas Symphony Orchestra Breckenridge Music Festival Orchestra Sandra Bailey Colorado Springs Philharmonic Fort Smith Symphony Colorado Symphony Orchestra Symphony of Northwest Arkansas Grand Junction Symphony Orchestra Greeley Philharmonic Orchestra California: National Repertory Orchestra American Bach Soloists Bakersfield Symphony Orchestra Connecticut: Berkeley Symphony Greater Bridgeport Symphony Shawn Jones Greenwich Symphony Orchestra California Philharmonic Hartford Symphony Orchestra California Symphony Orchestra New Haven Symphony Orchestra The Desert Symphony Stamford Symphony Fresno Philharmonic Orchestra Long Beach Symphony Delaware: Los Angeles Chamber Orchestra Delaware Symphony Orchestra Los Angeles Philharmonic Musica Angelica District of Columbia: Modesto Symphony Orchestra National Symphony Orchestra New West Symphony Association Oakland Symphony Florida: Pacific Symphony Atlantic Classical Orchestra

83 The Florida Orchestra Columbus Indiana Philharmonic Gulf Coast Symphony Orchestra Evansville Philharmonic Orchestra Jacksonville Symphony Fort Wayne Philharmonic Miami Symphony Orchestra Indianapolis Chamber Orchestra Naples Philharmonic Indianapolis Symphony Orchestra Ocala Symphony Orchestra Northwest Indiana Symphony Orchestra Orlando Philharmonic Orchestra Richmond Symphony Pensacola Symphony Orchestra South Bend Symphony Sarasota Orchestra Sinfonia Gulf Coast Iowa: South Florida Symphony Des Moines Symphony Southwest Symphony Orchestra Des Moines Metro Opera Orchestra Iowa Georgia: Sioux City Symphony Orchestra Atlanta Symphony Orchestra Waterloo-Cedar Falls Symphony Andrew Brady Orchestra DeKalb Symphony Orchestra PJ Jones Kansas: Georgia Symphony Orchestra Salina Symphony Symphony Orchestra Augusta Topeka Symphony Valdosta Symphony Orchestra Wichita Symphony Orchestra

Hawaii: Kentucky: Hawaii Symphony Orchestra Lexington Philharmonia Orchestra Maui Pops Orchestra The Louisville Orchestra Owensboro Symphony Orchestra Idaho: Paducah Symphony Orchestra Boise Philharmonic Idaho Falls Symphony Louisiana: Baton Rouge Symphony Orchestra Illinois: Lake Charles symphony Chicago Philharmonia Orchestra Louisiana Philharmonic Orchestra Chicago Sinfonietta Shreveport Symphony Orchestra Sandra Bailey Chicago Symphony Maine: Elgin Symphony Orchestra Bangor Symphony Orchestra Grant Park Orchestra Portland Symphony Orchestra Illinois Symphony Orchestra Lake Forest Symphony Maryland: New Philharmonic Annapolis Symphony Orchestra Peoria Symphony Orchestra Baltimore Symphony Orchestra Rockford Symphony Baltimore Chamber Orchestra Bryan Young Maryland Symphony Orchestra Indiana:

84 Massachusetts: Lincoln’s Symphony Orchestra Boston Baroque Omaha Symphony Boston Landmarks Orchestra Boston Modern Orchestra Project Nevada: Boston Philharmonic The Las Vegas Philharmonic Boston Symphony Orchestra Reno Chamber Orchestra Cape Symphony Reno Philharmonic Longwood Symphony Springfield Symphony Orchestra New Hampshire:

Michigan: New Jersey: Adrian Symphony Orchestra Bay Atlantic Symphony Ann Arbor Symphony Garden State Philharmonic Symphony Battle Creek Symphony Orchestra Detroit Symphony New Jersey Symphony Orchestra Flint Symphony Orchestra Princeton Symphony Orchestra Grand Rapids Symphony Holland Symphony Orchestra New Mexico: Kalamazoo Symphony Orchestra Roswell Symphony Orchestra Lansing Symphony Orchestra Santa Fe Pro Musica Midland Symphony Orchestra The Santa Fe Symphony Orchestra Traverse Symphony Orchestra West Michigan Symphony New York: Albany Symphony Orchestra Minnesota: American Classical Orchestra Duluth Superior Symphony Orchestra American Composers Orchestra Minnesota Orchestra American Symphony Orchestra The Saint Paul Chamber Orchestra Gilbert Dejean Binghamton Philharmonic Mississippi: Buffalo philharmonic Orchestra Mississippi Symphony Orchestra Chautauqua Symphony Orchestra Hudson Valley philharmonic Missouri: New York Philharmonic Kansas City Symphony The New York Pops Missouri Symphony Orchestra Orchestra of Saint Luke’s Maya Stone Orpheus Chamber Orchestra St. Louis Symphony Rochester Philharmonic Orchestra Springfield Symphony Orchestra Westchester Philharmonic

Montana: North Carolina: Billings Symphony Orchestra Ashville Symphony Orchestra Bozeman Symphony Orchestra Charlotte Symphony Helena Symphony Joshua Hood Greensboro Symphony Orchestra Nebraska:

85 North Carolina Symphony Pittsburg Symphony Orchestra Wilmington Symphony Orchestra Reading Symphony Orchestra Winston-Salem Symphony Williamsport Symphony orchestra York Symphony Orchestra North Dakota: Fargo-Moorhead Symphony Orchestra Puerto Rico: Puerto Rico Symphony orchestra Ohio: Akron Symphony Rhode Island: Apollo’s Fire, Cleveland Baroque Rhode Island Philharmonic Orchestra Orchestra Canton symphony Orchestra South Carolina: Cincinnati Chamber Orchestra Charleston Symphony Cincinnati Symphony Orchestra Greenville Symphony Orchestra The Cleveland Orchestra Hilton Head Symphony Orchestra Cleveland Pops Orchestra South Carolina Philharmonic Columbus Symphony Orchestra Spartanburg Philharmonic Orchestra Dayton Philharmonic orchestra Hamilton-Fairfield Symphony South Dakota: ProMusic Chamber Orchestra South Dakota Symphony Orchestra Springfield Symphony orchestra Toledo Symphony Orchestra Tennessee: Youngstown Symphony Orchestra Chattanooga Symphony Edward McCrary Oklahoma: IRIS Orchestra Enid Symphony Orchestra The Jackson Symphony Oklahoma City Philharmonic Orchestra Knoxville Symphony Orchestra Signature Symphony Memphis Symphony Orchestra Tulsa Symphony Orchestra Michael Scott Nashville Symphony Oregon: Eugene Symphony Texas: Oregon Symphony Amarillo Symphony Orchestra Portland Baroque Orchestra Austin Symphony Orchestra Rogue Valley Symphony Brazos Valley Symphony Orchestra Corpus Christi Symphony Orchestra Pennsylvania: Dallas Chamber Symphony Allentown Symphony Orchestra Dallas Symphony Orchestra Butler County Symphony Orchestra East Texas Symphony Orchestra The Chamber Orchestra of Philadelphia El Paso Symphony Orchestra Erie Philharmonic Fort Worth Symphony Orchestra Harrisburg Symphony Houston Symphony Lancaster Symphony orchestra Irving Symphony Northeastern Pennsylvania Philharmonic Las Colinas Symphony orchestra The Philadelphia Orchestra Lubbock Symphony Orchestra The Philly Pops Mercury Chamber Orchestra 86 Mid-Texas Symphony Washington: Plano Symphony Orchestra Northwest Sinfonietta River Oaks Chamber Orchestra Seattle Symphony San Angelo Symphony Orchestra Spokane Symphony San Antonio Symphony Tacoma symphony Victoria Symphony Vancouver Symphony Wichita Falls Symphony Orchestra Walla Walla Symphony Whatcom Symphony Orchestra Utah: Yakima Symphony Orchestra Utah Symphony West Virginia: Vermont: Huntington Symphony Orchestra Vermont Symphony West Virginia Symphony Orchestra Wheeling Symphony orchestra Virginia: Alexandria symphony Orchestra Wisconsin: Fairfax Symphony Orchestra Fox Valley Symphony Tia F. Wortham Madison Symphony orchestra Richmond Symphony Milwaukee Symphony Orchestra Roanoke Symphony Orchestra Wisconsin Chamber Orchestra Virginia Symphony Orchestra Williamsburg Symphony Orchestra Wyoming: Wyoming Symphony Orchestra

87 Alabama: Chicago Opera Theater Lyric Opera of Chicago Alaska: Music theater Works

Arizona: Indiana: Arizona Opera Company Iowa: California: Des Moines Metro Opera Los Angeles Opera Opera San Jose Kansas: Opera Santa Barbara San Diego Opera Kentucky: San Francisco Opera Kentucky Opera Rufus Olivier Louisiana: Colorado: New Orleans Opera Association Central City Opera Opera Colorado Maine:

Connecticut: Maryland: Lyric Opera Baltimore Delaware: OperaDelaware Massachusetts: Boston Lyric Opera District of Columbia: Opera Lafayette Michigan: Washington National Opera Michigan Opera Theater Opera grand Rapids Florida: Florida Grand Opera Minnesota: Opera Naples Minnesota Opera Opera Tampa Palm Beach Opera Mississippi: Pensacola Opera St. Petersburg Opera Missouri: Sarasota Opera Lyric Opera of Kansas City Opera Theater of Saint Louis Georgia: The Atlanta Opera Montana:

Hawaii: Nebraska: Hawaii Opera Theatre Opera Omaha

Idaho: Nevada:

Illinois: New Hampshire: 88 New Jersey: Rhode Island:

New Mexico: South Carolina: Santa Fe Opera Tennessee: New York: Knoxville Opera Metropolitan Opera Nashville Opera New York Gilbert & Sullivan players Opera Memphis Opera Company of Brooklyn Michael Scott Opera Saratoga Texas: North Carolina: Amarillo Opera North Carolina Opera Austin opera Opera Carolina The Dallas Opera Piedmont Opera Fort Worth Opera Houston Grand Opera North Dakota: Opera San Antonio

Ohio: Utah: Cincinnati Opera Utah Opera Dayton Opera Opera Columbus Vermont: Toledo Opera Opera Company of Middlebury

Oklahoma: Virginia: Cimarron Opera Virginia Opera Tulsa Opera Wolf Trap Opera

Oregon: Washington: Portland Opera Seattle Opera

Pennsylvania: Wisconsin: Opera Philadelphia Florentine Opera Pittsburg Opera Madison Opera

89 Appendix D. Abridged Transcripts and Questionnaire

Rufus Olivier Jr.

IB: Before we begin, I just wanted to say think you for agreeing to do this interview. When I decided what my topic was going to be you were the first name I thought of. So for you to agree means a lot. Hopefully, it will mean a lot to those who read this as well.

ROJ: No problem. I always enjoy talking and helping people out. I’m here for whatever you need.

IB: Great then let’s get started.

IB: Where did you grow up?

ROJ. I grew up in Los Angeles. I was born in what people call South Central now, which would be Watts, Compton area, but actually Watts.

IB: Ok. So my next question pertains to socio-economic status. Can you elaborate on the status of your family? Were you able to pursue what you wanted to do in music growing up? Or was it budget based?

ROJ: I had four sisters and myself. My father worked for the city’s water and power. So we did not have much money around. I was living in the projects. There was no budget for anything. There was no budget for school. Some days I had to stay home, because there was no budget for lunch or anything. No budget, but, I say that to say this; my father worked very hard every day of his life. Considering the times, we eventually moved into a house in the 50’s. I never really needed anything, I never starved. But there was no budget for lessons or anything like that. A lot of encouragement though.

IB: Ok, thank you for that. So since you mentioned a little bit about your family; how you had four sisters plus your mother and father. Did anyone else play a musical instrument in your family. Or was it just you?

ROJ: Before WWII my dad was a musician, he played saxophone in Louisiana. When he joined the military he was a Buffalo solider. When he got out, my mother had moved to Los Angeles, and my father followed her. From that time forward he just worked for the city’s water and power. My sister, who I am six years younger than, played the violin. She is still an amateur violin player. My father always encouraged us to sing or harmonize in the house. So I was always exposed to music growing up

IB: Interesting, would you say that is what got you going on the bassoon? Or at least music in general?

ROJ: Probably, yeah. I must have. I didn’t really play anything until I was in Jr. High school. I remember when I was really little just sitting at the piano by myself. It was at that moment; I was six or seven, that I knew I was going to become a musician.

IB: Oh, really!

ROJ: I remember being that young, but I felt something when I was playing that piano. I remember feeling some emotion from it. Nothing else had touched me like that. I didn’t know what I was going to play, but it would be something.

IB: And you’ve been able to keep that feeling this whole time?

ROJ: I had that feeling last night. Yeah it’s just in there. I can’t help it.

IB: Besides, you saying that your sister played violin and your father played saxophone. What kind of music did you listen to growing up?

ROJ: Everything. Popular music of the late 50’s or early 60’s every kind of music possible.

IB: You said that you started playing an instrument in Jr. High, but when were you first introduced to the bassoon?

ROJ: Well it was an accident. My father had bought me a saxophone, and a scale book, and made me learn all of my scales before he would give me a mouth piece. So until I proved I could read the notes he wouldn’t give me a mouthpiece. Back in the day, white folks didn’t believe black folks could read music. So he made sure I could read.

IB: Ok, so eventually you got to the bassoon. Can you remember what year or grade that was for you?

ROJ: It must have been 7th or 8th grade. I was in a very good school for Jr. High. I had good music. I went there with the recommendation of my sister. They had a very good orchestra. I was in the audience listening to the sound of music, there was an orchestra playing. I decided that there were too many black saxophone players, and I loved the sound of the orchestra. I went to ask the teacher what I had to do to get into the orchestra. She said to play the oboe. So I went to get an oboe from the guy who gives out the instruments and he said they were out of those, so to a take the bassoon instead.

IB: Oh ok, when I was approached to play the bassoon they said I could make a lot of money. So they just lied to me.

91 ROJ: [Laughs]. Let me tell you, when I went home that night. My father said “I don’t know what the hell that is, but maybe you can make a living at it.” So there.

IB: If you said the bassoon was an accident, can you remember the first basson player you remember hearing?

ROJ: Yeah I can, my sister brought home from a garage sale Tchaikovsky’s 5th Symphony. I listened to that thing night and day, it was some of the most unbelievable bassoon playing I’ve ever heard. That has been stuck in my head forever until this day.

IB: Were you ever exposed to another black person playing the bassoon?

ROJ: Yes, the woman I eventually bought my bassoon from, Joanne Caldwell. She was actually the bassoon player for Frank Zappa. I remember playing second bassoon to her, and, that’s how I first met her. She was very successful in the studio at the time. She also played with Michael Mcnab. In Jr. High I also had a buddy, and we played duets together every night over the telephone. He was also a bassoon player.

IB: When you said you were playing the bassoon in late middle school or early high school, what was the music program like? Since you said that you just wanted to play in the orchestra.

ROJ: Well Jr. High, is where they had a really good orchestra. The teacher was very dedicated. By coincidence she was bassoon player in college. So that’s pretty cool. In Jr. High I was pretty in it. I was serious about the bassoon and music. Basically in Jr. High, I would win 100 buck here and there, and I would go to USC to take bassoon lessons. I would take two busses at the time for a half hour lesson. I don’t even think my parents knew I was doing it.

IB: Oh really?

ROJ: My parents never paid a penny for lessons for me.

IB: So you talked on it briefly, how you grew up and played the piano a little bit and decided that this is what you wanted to do. I don’t know if you can explain it any better than that, but what made you pick music over any other field of study? Especially, when music is not a guaranteed field.

ROJ: Oh I didn’t think it was safe, everyone around me thought I was an idiot. I was successful musically in Jr. High. When I got to high school I was very successful, I was also in jazz band and we would win best jazz program in Hollywood Bowl every year. Also, when I was in high school I didn’t play bassoon at all for our program.

IB: Oh, ok. Why was that?

92 ROJ: All of my bassoon playing was done after school. I played every night with a different symphony. I took private lessons on my own. There wasn’t an orchestra program at our school.

IB: So you really just wanted to play music.

ROJ: My Saturdays were like this in high school: I would take a bus, play a $25 scab recording sessions. Change my clothes to a tuxedo. Play some form of classical concert. Change my clothes again and then go play in a nightclub somewhere. That was Saturday for me.

IB: And this was in high school?

ROJ: Yeah, I was also in a rock and roll band, and we traveled everywhere. That’s how I made my money in high school. I was like 15 or 16 at the time. At the time I just wanted to play music all of the time. If you wanted to be a musician that is what you did. One of my last tours that I did with my group, helped solidify that I wanted to play the bassoon for the rest of my life. I realized traveling like that was not for me. I didn’t want that lifestyle. At all. When I got home I put my saxophone in the case and never took it out again.

IB: So you have clearly had a different life than me. I can barely leave my house now.

ROJ: [Laughs], Yeah I had to carry karate sticks up my sleeve because I would travel into white neighborhoods, and I never knew if I was going to make it home. All I brought with me were karate sticks, a Mozart bassoon concerto recording, and my bassoon. One occasion I almost didn’t make it home. So I appreciate what I do.

IB: Growing up, that is almost the exact opposite experience of what I had so it’s hard for me to imagine what that must have been like.

ROJ: Well of course. I have two grown kids of my own and they know nothing of this. We moved to a better neighborhood when they were young, and my goal was for them to never go through some of the experiences that I went through.

IB: So you said the you took lessons on the bassoon and went to USC to take lessons?

ROJ: Yeah, I went to something called the Clark house and that’s where the people went to take lessons. So I took two busses for a half and hour lesson. I took lessons with a guy named Raymond Nowland, he was a contract player for Warner Brothers. I loved that guy. One day he asked me if he could take me home, and he drove me home. He asked to talk to my mother, and he tells her “I think your son could make a living playing this instrument.” And my mother said “Well, good for him.” When I was standing there listening to him talk about me, there is something to be said hearing someone talk about you. He told me that I was a first bassoon player. He planted that seed in my head.

93 IB: So he was the person to help you push forward? ROJ: Yes, I felt as though if I worked hard enough I could be anyone’s equal.

IB: Can you talk about what the overall experience was like to study with some that you really respected, and can you also talk about what the atmosphere was like for those lessons?

ROJ: The atmosphere? Well I was blessed, I’ve only had two teachers in my life. He was a very kind man. I never been pounded into the ground by my teachers. Because of that, I could never do it to my students. I don’t know how to do that. I never felt hurt in that way from my teachers.

IB: So you wouldn’t consider your teacher as the main reason you became a professional musician? You already decided that on your own correct?

ROJ: Well, I knew it was what I wanted to be, but he affirmed it. Both of my teachers said it was possible. When the whole outside world was calling me crazy, saying white folks wouldn’t let me win an orchestral job. But they made me feel that I could.

IB: Around this time, who were you listening to bassoon-wise?

ROJ: Well I would get my records from the library. Gideon Brooke was the first person I heard playing the Mozart Concerto. I also had a pact where, when I played my gigs. I had a rule that I would buy two albums from the money I made. It was the first thing I had to buy before I bough anything else. I bough a jazz or popular album, then a classical record. So every week this is what I did. My teachers would tell me to buy Bernstein or Szell albums.

IB: Was this self-discipline ingrained in you growing up. Or did someone tell you to do these things.

ROJ: These were my own rules, my own things. No, no one told me to do this. I started writing my own excerpt books, I didn’t know those were a thing at the time. Eventually, one of my teachers told me that I could just buy an excerpt book. My dad was a little worried about me, he thought I would go nuts. One night my dad said to me “boy, don’t go crazy” and just walks away. To this day, I hear that in my head “don’t go crazy” when things are getting wound up, and I just chill. No one told me to practice, people had to tell me to stop, in fact.

IB: Thank you for talking about you growing up and playing bassoon. No we are going to talk about undergrad and college level playing.

ROJ: Well I never went to college.

IB: Great that makes this interview even easier!

94 ROJ: [Laughs]. I went to a city college for about 6 months. I started taking lessons from David Breidenthal in the L.A Philharmonic. Basically all of my career is bulletin board. I would see postings and just go. When I met David, the Philharmonic came to my high school and they let me sit in with them. Eventually, the Hollywood bowl, the bassoon section would let me sit in with them. They would teach me how to act in an orchestra, and I soaked it up like a sponge. That experience, I would tell people that I want their lifestyle. So I went to a city college for 6 months, UCLA was scouting me at this time and they were offering me my choice of Heckle bassoon. While I was playing with Joanne she was playing on a 11,000 series Heckel. Joanne told me that I was going places, and she was willing to sell her bassoon to me for $2,500. So my dad took a loan out, and I got this bassoon. I took this bassoon to the dean of the city college, and I told him since I have this bassoon I don’t need to be here anymore. The dean then told me that if I were to stay and play on the orchestral I would be the bassoon professor.

IB: Sounds like a good deal!

ROJ: Soon after that, I got hired by this opera company in New York. I guess enough people turned it down that it got down to me. I started making a salary for those six weeks. I saved enough to by a little Honda Civic. While I was doing this gig, my wife wrote to me and told me about a second bassoon opening in San Francisco. So I went up one morning, and went to this audition. The audition went from 7:30 in the morning to 10 and night. Somehow I was the last man standing. I went that day and came back with a contract that night. It seemed like a dream. So I never made it through college.

IB: So have you been staying in that area ever since?

ROJ: Yep

IB: And you won that when you were 21?

ROJ: Yes. After three years, there was an opening for the principal basson in the San Francisco Opera. 11 years later, I also auditioned and won the job for the San Francisco Ballet. Also all of these groups performed in the same building. So I’ve had all three jobs in my 42 years of playing with San Francisco.

IB: Do you still play with all of them?

ROJ: I play with the opera and the ballet, I get offered to sub with the orchestra, but I have to turn it down a lot. Really, my education has just been playing with really good people all of the time.

IB: Can you talk to me about the audition process, was it similar to how it is now or was it different?

95 ROJ: Yeah, it was similar. We had screens up to the finals and then they take them down. Now, we leave screens up the whole time. Since leaving the screens up the orchestra has become half women.

IB: I could definitely see all of the benefits to it.

IB: Can you talk a little about how you prepared for your auditions?

ROJ: I just practice a lot. A lot. A lot. I would practice so hard, I can remember one time practicing Rhapsodie Espagnole and wearing down the G key, until it became a sharp point and caused me to bleed all over. I can’t see any other way around it. You just have to practice like crazy. I have never been someone who takes beta blockers for nerves. I don’t see anything wrong with it, I just don’t want to rely on a substance personally. I know lots of people who do take them, and I don’t think any less of their playing. Whatever helps a person get through. Lastly, I see myself as a bassoonist. I don’t think of me as anything other than that.

IB: Great, that’s not the same mindset I have when I practice. Maybe one day I will figure it out.

IB: Can you talk a little about what it was life for you after you won your job?

ROJ: Let me tell you. I was a traitor to my people, and a token for the whites. I didn’t fit in anywhere. There was no where I could go for refuge except for home. Also, the orchestra knew what I could do so I was never treated any differently by them. I had black folks that went out of their way to tell me that they would never support the symphony. In my head, I thought they were idiots, and I would drag them into progress whether they liked it or not. Forty to fifty years later people are finally getting it.

IB: [Laughs], Well I think we are moving in the right direction.

ROJ: I’ve had an all black bassoon section play the ring cycle three times now. And what I take the most pride in is that the conductor said it was a “good bassoon section” he didn’t see color.

IB: Just to double check. So after your audition did you ever have any issues within the orchestra?

ROJ: Nope, at the time everyone was either Jewish or Italian. Since I never had a problem either either I was good. They were some of the warmest people I’ve ever played with. I consider some of them family.

IB: Oh really?

ROJ: Yes, I started with some of them. So everyone was quite good to me. Before I got to San Francisco. They didn’t give tenure to a black timpanist, this was bad publicity for the 96 orchestra. I didn’t know about this until my wife sent me an article. Immediately, after winning I got pegged as a token, everyone hated me or looked down at me. But I was just trying to play my horn! After I won, we became the first tenured bassoon section in twelve years. I’ve always had a good relationship with the people in my orchestras.

IB: OK.

ROJ: To this day people just see me as a bassoon player, not a black bassoon player. Just a bassoon player. I’ve had a few conductors be challenging, but all you have to do is play good and the problem goes away. If they have a problem, then it’s their problem. I’m not going anywhere so they have to deal with it.

IB: Whenever you talk to another black musician from a different orchestra have you noticed a difference in attitude compared to yours?

ROJ: Sure sure. I don’t consider myself old, but I would say the younger generation is a lot more verbal about equality. I am just not. I just listen, and I understand. For me, I’m just trying to find an honest phrase. To me, the music should take care of everything. If you are really doing your job, then no one can deny you. Right now, I’m fighting for women conductors. My argument for them is “So what is they are mediocre; half of the men are mediocre.”

IB: [Laughs], Well that’s a really good point.

ROJ: I also will not sit in on any committees unless it is a blind audition for the entire process.

IB: You seem to be very informed. I haven’t talked to that many black people who have the same mindset as you. So I find your answers to be very interesting. I have also never tried to make my playing a race issue. I’m very grateful I could hear someone speak what I am thinking as well.

IB: Well I think we are almost done with the interview. I’m sorry it’s taking up so much of your time.

ROJ: I’m having a great time. Keep going.

IB: Can you talk about what it was like to win a job so young? What changed for you musically?

ROJ: Well, I was playing with the L.A. Philharmonic since I was 17 or 18. I had been around the professional orchestra since I was 15 or 16. So I learned how to act way before I won San Francisco. In high school no one knew I was doing this. But I have been performing forever. The only real difference was I knew no one when I cam to San Francisco. So I had to learn how to play with strangers. That actually helped my bassoon

97 playing. My goal was to keep playing, and I realized I had to make money in order for me to keep playing.

IB: Maybe you won’t like this question, but why do think that you were able to make a name for yourself in the realm of music?

ROJ: You know, our community is so small, I have always been able to understand that I am not that important to the general population. I don’t have any illusions that we are stars. I never pretended or think of being more important than I actually am. I just go and play music, then come home to my wife. As soon as I leave, someone else will take my place, and I will be forgotten over night. I have a gift for not caring about things like that. If I had to have name to take care of my family, then I would

IB: You honestly answered the question in the way that I thought you would. I think the way that you answered the question, is why most bassoon players do know who you are. Especially people of color. It’s a different take form what a lot of people my age are doing.

ROJ: To me, this has all been accidental. For example, in 2005 I was put on the cover of the International Musician. A guy came out to interview me and told me they were making a collage for the cover. When they found out that I was from South Central, they decided to just go with me for the cover. But I didn’t know that was going to happen.

IB: So just a couple more questions. If you can give a piece of advice to your former self, would you change anything?

ROJ: If I was to do anything over again. I only think musically, so I would wish that I played more long-tones.

ROJ: I’m serious, I wish I would have done more of that, and focusing on my breathing. When I teach now, I focus on that stuff to help my students. As far as how everything went with my career, I see it as a blessing. All of my success comes from my up brining, and and my previous musical experiences.

IB: So this is a question specific to you, but what was it like to have your son play the bassoon with you for the Ring Cycle

ROJ: Well, if I was old enough I would have retired after that. We were able to play together for 4 years. I was also the one who trained him.

IB: Have you noticed anything from his time play the bassoon compared to yours?

ROJ: Well the one thing I realized is that you have no control over anything. You cannot control things; chips have to fall where they fall. My son had to earn his sub spot all on his own. I had nothing to do with it. My son was the only person to have to an audition to be a sub. It was actually harder for him because he was my son. 98

IB: Wow. Ok. So second to last question. How do you feel about the representation of African-Americans in classical music? I understand that is a vague and big question.

ROJ: I honestly don’t know how I feel. I wish it was different, and I have talked to the management about getting us out to more diverse areas. However, if the conductor does not want to do something, then it will almost never happen. When I talk to people like you, I often think “I think it is time to pass the baton to you all.” There is nothing more that I can really do. I will always just sit there. I have fought the fight, and now I am just enjoying myself.

IB: I think you deserve it! Ok, so final question. In your 42 plus years of experience, what is the biggest difference that you have noticed?

ROJ: Well, the community has changed dramatically, Like I said before, it was predominately Jewish, and they have always been sympathetic to the black. Also the younger generation within the orchestra has started to shift, there are a lot more minorities now, more Asians are being included. And overall the younger generation that I personally deal with couldn’t care less. As long as you can play your instrument I haven’t seen many issues arise.

IB: Well that is it. I just wanted and needed to say thank you for taking time out of your day to talk to me. You are the first black bassoonist I have ever talked to. It has been such a wonderful experience to hear your story, and to hear that you are probably one of the humblest people that I have ever talked to.

ROJ: You are very welcome and it has been great talking to you today as well. My wife is on a cruise, and it is my day off. I couldn’t think of a better way to spend it.

99 Joshua Hood

IB: Thank you so much for doing this. I really appreciate it. So this interview will be pretty straight forward. You can go as in depth as you want.

JH: That should be fine. Whenever you are ready.

IB: The first question is where did you grow up?

JH: For me, this is sort of a two-part question. I was born in Gary Indiana, and I was there until the age of 11 or 12. That is when my mom passed, and I went to go live with one of my two oldest brothers. He and his wife were both school teachers. This was in Ypsilanti, Michigan. From there, that is where I got introduced to classical music. I played Bari Saxophone in Jr. High, and switched to bassoon when I moved to Lincoln High School in Michigan. That is where I got introduced to the bassoon.

IB: Oh, ok.

JH: If you don’t mind. I’m actually out here visiting my old band director from that high school. They were the assistant band director. The process of me even getting a bassoon because the band director there was hesitant about letting me play the bassoon. I just found out that after my initial conversation with him about switching to bassoon at the end of my freshman year, he said that he only saw me as a saxophone player. So he did not want to switch me to bassoon. It was only after he was desperate, and had no other bassoon players that he relented. He found the worst instrument he could find. I took it home and tried my best with it. He was actually quite surprised when things started to go well for me. They did fairly quickly. So hearing all of this information recently, it was very revealing to me that he did not want me to play the bassoon.

IB: Well that’s interesting. This was all because he wanted you to stay on saxophone?

JH: Yeah, but I also got the feeling hearing this story from the assistant band director, that he wasn’t quite ready for me. As a person of color to play this bassoon. They are expensive, and out of his area, so he immediately told me that I had to find someone to go study with, because he didn’t know anything about it. I was lucky to study privately pretty much from the beginning. I was given a method book with plenty of wrong fingerings, and the determination to play something. But once I finally started with someone I had to unlearn everything I taught myself.

IB: I understand that. So let’s see, you talked about how you were born in Indiana but later moved to Michigan. Did your family growing up have a good source of income, or was money kind of tight?

JH: We were pretty poor growing up. But you know, as a kid you don’t notice these kinds of things. Everyone on our block wasn’t rich. It was a black neighborhood, but it wasn’t quite the ghetto. But we were not wealthy by any stretch of the word. It was also an all 100 black neighborhood. There were no white people in the schools. It was one of those communities that had suffered from white flight. The only white person that I ever saw was the insurance man who came around and collected insurance money. So it was a big deal for me when I went to live with my brother to go into an integrated school where I suddenly became a minority.

IB: Ok.

JH: What was really popular where I grew up was marching band. Mr. Horn was the director there, and he was very well-known in the city. The bands even traveled to Disney land, but the city was all about marching band. Not concert band music. All about popular tunes and doing the dances and marching.

IB: Your growing up sounds very different from mine. I was initially born in an all black neighborhood, besides my mother. But I quickly moved to a predominately white area in Ohio, and that’s where I lived until I moved for college.

JH: Well the black experience is different for everyone. It would be nice if it was the same, but it just isn’t.

IB: Yes. Alright, so getting back on track. You mentioned that you had two older siblings. Do you have any others?

JH: Yes, I’m the youngest of five.

IB: Oh, of five?

JH: Yes. My two oldest brothers are 18 years older than me. The day they left for college is the day I came home from the hospital. Then I have a sister after them, and another brother who is older than me. We are all kind of spread out in years apart.

IB: Ok, interesting. Did any of them play instruments as well? Or was it just you?

JH: It was pretty much just me. My mom was a music person. So she was well known in Gary. There is a plaque in the church were we went. She was a big time gospel singer. She sang in a lot of churches. So when she died it was a big deal. She was well-known for how she sang. When she sang, she really sang. That is what most of my memories of her are. She also had myself and my sister in piano lessons. I had those in elementary school, with Georgia Wade. She did it as a favor to my mom. When I played the piano, I never practiced, but I didn’t have to practice. Whenever I came over, she would be making dinner or be doing laundry. She would always say “again.” And that is what my lessons consisted of. I did really take to music really well, piano was just not the most pleasant experience. I loved the music, but didn’t always love that part of the lessons.

IB: Well it’s nice your mom tried to get you into music at an early age.

1 01 JH: The part I had that was really an eye opener for me. I had a neighbor down the street, who would teach me songs on the piano that were really too advanced for what I was learning on the piano. She also happened to play the flute and her sister played the oboe. This was an anomaly in Gary. Her mom was a teacher and also played piano. I spent a lot of time at their house, and by rote she would teach me how to play the piano. Looking back on it now, I can say that this had a musical impact on me. Learning pieces that were a little more classical, as opposed to gospel and the usual pop stuff. My mom also loved the blues. So those were the musical things that I heard. But suddenly I got exposed to things that were a little more classical.

IB: So you just described what my next question was going to be. The music in your house was more blues, funk, gospel, and popular music?

JH: Yeah. Primarily gospel. I used to joke about this stuff, but because my mom liked choirs. It was not IF you’re going to sing in the choir, it was YOU were going to sing in the choir. So we were all in the choir, going to church 2-3 times a week, all day on Sunday and sometimes on Saturday. It was a big affair, but was also an important element of my musical upbringing singing in choirs. Because no one read music, I learned everything by rote. My sister and I always joked, that if you gave us a name and a topic we could make a song out of it.

IB: Alright. So I think that you talked about it briefly, but I want to isolate it a little more. When did you first hear about the bassoon as an instrument?

JH: So, I was watching one of the PBS kind of stations and the Chicago Symphony had the Mozart Bassoon Concerto on as I was flipping through channels. I believe it was Willard Elliot, principal of Chicago for many many years. I saw all these keys, and this funny sound. I was immediately intrigued, I just wanted to find out more about it. So I would look it up in encyclopedias and ask people about it. I was just incredibly intrigued, years before I got a chance to play it. I was probably in 6h or 7th grade. I started saxophone in 7th grade, so probably somewhere around there.

IB: I also started on saxophone, and I played it up until the start of my D.M.A., then I quit to only focus on the bassoon. When I first switched, they initially told me I could make a lot of money. But anyways, would you say that you chose to play the bassoon because it sounded different from every other instrument?

JH: I would say because it was different and unique. I also loved the key work. Something about the shape of it was incredible and fascinating to me. Because I had such a long time from me hearing the instrument to me finally playing the instrument. I had years to sort of stew over the idea of playing it. My ears would also perk up anytime that I thought I heard the bassoon. Once you knew the sound of it, it would pop up on cartoons more than I thought.

102 IB: Ok, for you growing up. Around the time of high school when you were taking lessons, were you ever exposed to any one who was black and played the bassoon? Or was it just you?

JH: It was just me. But that in and of itself was just fabulous. It was never a factor in my interest in it. I just assumed I would be the only one who played the bassoon. At that point I didn’t know many people who played the bassoon period. So because I moved in with my brother, where being black wasn’t the majority of the students, I was used to already being in the minority. I was used to being in these isolated situation. I would say that that is one of the important things to get accustomed to. For good or bad, it just seems to be the reality for most African-Americans who play classical music period. Often times whenever in concert band, I would always joke about how I could always spot myself in the picture.

IB: That’s what happened to me as well. I always assumed everyone could remember my name because I was the only black student in every ensemble.

JH: I think it is also important, and I’m sure you noticed this. But in order for us to survive in these groups we have to adapt socially. You are in a select group by the time you get to band, and you’re on a select instrument. In order to survive socially you have to get along with everyone else. Especially if you continue to play professionally, you have to be able to get along with everyone, even if they don’t look like you. I say this, only because I had friends, who I later reconnected with in undergrad. They were from Gary, and because I don’t think they were used to growing up around white people. They had a very hard transition, and neither of them made it through, because the socialization for them was very different for them. I am also aware that it can be a struggle, because in a sense, to fit in to white culture you have to disconnect from your roots in a sense. What I’ve learned as I have gotten older is that it is a part of your root. Every musician that I know has had to go through this process to figure it out for him/herself.

IB: I believe that I am also at this step in my life.

JH: You’ll get there. It takes time for everyone.

IB: Thanks. So going back in time a little bit, can you describe what your middle school and high school programs were like? Specifically, music.

JH: Well I was fortunate. In Gary, when I made it to Jr. High the school that I went to used to be a high school, so it was very large, and took many students from different locations. Basically the entire city of Gary was bussed into this one school. You were lucky if you did not get into a fight that day. A lot of moments like that. But they had a huge band program, because everyone wanted to be a part of this marching program. The band program was about 600-700 kids. Again, a lot of things were learned by rote. Economically it was poor, but because there was so much exposure everyone wanted to support it. But, when I went to Jr. High when I lived with my brothers, the school was still fairly big. But when I went to high school, we moved again to Lincoln which was 103 even smaller. So I went from class AA schools to a class B school. There was no orchestra program here, only a band program. I might be getting a head of myself, but I was given my instrument at the end of my 9th grade year, and given the summer to work on it on my own. I then took lessons the following fall. However, by the end of my sophomore year I was in a group that toured England. Musical Youth International was what the group was called. I was lucky to travel for three weeks playing classical music. There was a band and a choir that alternated. So my year was the band. I had also only been playing the instrument for a year. So it was 0 to 60 very quickly. After that my first orchestra that I played with was in my junior year, at Interlochen.

IB: So you’ve mentioned your mother, would you say that she was a major musical influence to you? Is that fair to say?

JH: Yeah, I would have to agree in the sense of how she made her music. As much as I have appreciated it, it also scared me. When she would sing, she would become another person. She would “tear the church down.” I always saw that as other worldly. So when I started playing music, I always thought that what I did was so different from anything that I saw. It took many years for me to realize that there is a musical root for both forms of music making. Finding commonalities became an important aspect for me growing up. When you get hired professionally, you get hired because of what you bring to the table, musically. So even thought my upbringing was not classically oriented, those are my roots.

IB: So, this is coming from about the time you were graduating and attending college. But why did you pick music over any other field?

JH: So for me there were a lot of things. When I moved with my brother, my brothers both got into college by playing sports. So he understood sports, and that’s what I was enrolled in as well. I did football in fall, and wrestling in the spring. When I got to my senior year, once I became aware and tried to protect my hands, then that’s when you would get hurt. It was also time for me to just make a choice. I will say though that football was where I learned the value of really giving it your all to everything that you do. Sports were not my natural inclination, but I learned if I really tried I could be just as good as the other kids.

IB: Ok, so this ties in pretty nicely. Since you said that your brothers played sports, and they enrolled you into a sports atmosphere. When you decided you wanted to go into music, how did that conversation go?

JH: Ah yes. So one of the biggest things that was a turning point for me was telling my football coach that I wasn’t going to play football anymore. I thought music would offer me more opportunities, so I had to tell him. He understood. Throughout high school I was recognized as a musician within my school, from touring Europe, playing at Interlochen, preforming well in solo and ensemble, and doing the high profile musical events within my high school. Ultimately, everyone understood that this is what I was going to be doing with my life. 104

IB: So this is a two in one question: who was your first bassoon teacher, and can you describe the atmosphere of those lessons?

JH: Sure. My first bassoon teacher was Chris Marsh, and she had gotten her Masters from University of Michigan with Cooper. I only studied with her for 9 months, she recognized that things were moving along quickly for me on bassoon. She told me that I had to study with someone well-known. So I then went to study with her teacher who was from Eastern Michigan University; he was also a student of Cooper. She taught me the basics of the bassoon. I would play the bassoon for about eight hours a day from the start. But, because of that when I studied with her I had a lot of things to unlearn and relearn. However, I never quite sounded like the vision I had in my head. I was hard for me because I wanted to sound like a professional from the beginning. It was also hard for my siblings to take me to my lessons. They lived in the next town over, so I had to have them drive me. I would have to pay them gas money. It is what I wanted, so I had to pay them. One day my teacher, she played the piece I was suppose to be playing, so I could hear how it was going to sound. When she played I was devastated, because I could hear the difference between the way that she played and myself. My brother could also hear the difference. Most of the time my lessons were supportive, but this one lesson was very hard for me. After that, I studied with her teacher for about a year, he also made the mistake of telling me who his teacher was. So I studied with Cooper a year later. To this day, I still play on the Püchner that Cooper got for me. Cooper was like my grandfather, and I would spend many, many hours talking to him. Even during holidays, I would go over to his house and just talk.

JH: Also, after I told my football coach that I was graduating, I was recruited to go to Interlochen, so I graduated from there my senior year. There I studied with Bob Barris, who was also a student of Cooper.

IB: It’s interesting how small the community is. So you went to the University of Michigan for your undergrad, correct? Was your main reason for going to study with Cooper?

JH: So being at Interlochen, there were a lot of talented people there. Michigan was also a really good school at that time. I also had an in because one of the deans at Michigan worked with the all-state programs. He actually came out to my house and gave my brother and his wife the talk about doing music. By the time I applied to school I only applied to Eastman and Michigan. I got into both, but received more money from Michigan. I got money partially because of Cooper, but also because of this dean. He is the reason that I got through school, he would help me financially, and always make sure I had enough money to survive. He would also just look out for the black music students. There were actually a lot of us, and we had our own student union within the school of music. We were very supportive of each other within the black student union.

IB: So continuing on with you being at Michigan. One of my questions to you is what was your undergrad audition like? What was the process of the audition? 105

JH: Again, I had been at Interlochen for my senior year. I played the Marcello Sonata, the Galliard Sonata, and then I worked on the last movement of the Mozart Bassoon Concerto. For college, I had gotten introduced to the Saint-Seans Bassoon Sonata. I loved that piece, but even the teacher at Interlochen thought it was too advanced for me. But it was the piece I wanted to audition with. I auditioned on the first two movements of the sonata. Also, the band director’s wife was an accompanist. So she helped me. I never felt like I was able to play it as well as my vision. By the time I learned how to play it, I learned it by rote. Also, my fundamentals were lacking at the time. Because I could play solo music well, no one ever thought or wanted to teach fundamentals to me. And why should they? It was actually a rude awakening for me in grad school with Herzberg, to finally have someone tell me that I didn’t know my fundamentals. While at Interlochen, I did not want to play etudes or scales. So I clashed with my teacher occasionally, because I just was not interested in that sort of thing.

IB: Ok, I was the same way. It was not until studying with Professor Pierson did I really focus on my fundamentals. So going back to the questions, when you were in undergrad did you still have the same mentality that you were going to be the only black musician at that school?

JH: I would say yes, that is the case. But, there were also a lot of black students there. Also, not every black student was apart of the organization. For me some of those students were like family to me. It was very valuable to me to have other black students who looked like me, play at a high level, and were trying to become professionals just like myself.

IB: So after Michigan, you decided to go to USC, correct?

JH: Yeah, and mostly because of Karrie.

IB: Oh, really?

JH: Yeah. Karrie had been finished from Michigan, studied with John Miller for a year, and then went to USC. She always talked about how good of a school it was. Because of that I wanted to go as well. Because of her recommendation and my audition tape I got accepted. I loaded up my car and the $450 in my pocket, and went to California. Because I did it so late, I wasn’t even officially accepted yet, and didn’t have a scholarship. Because I was so used to things being worked out for me, this was an awakening for me.

IB: Well it is impressive to do move across country with no real plan.

JH: Yes, it was a lot more money. But it also took a lot more work for me studying with one of the hardest teachers in the country. He was very demanding, and was the opposite of Cooper. Herzberg, cared about being able to do fundamentals; such as playing scales at quarter note = 120. He always gave you more work than you could possibly do. That was how he taught, but I just could never get it, I wasn’t used to that kind of work. When you 106 didn’t perform well, it was like the world was coming to an end. It was a highly pressurized environment. There was a reason why people like Karrie worked their butts off. It was the hardest thing I’ve ever done. But it was exactly what I needed to know about. As much as I loved Cooper, I knew there was more that I needed to understand.

IB: So at what point did you transfer to Rice for graduate school?

JH: After one year of studying with Herzberg, I realized I couldn’t go on. There were a lot of factors that contributed to that. Some I talked about earlier, but also, I had a job while attending school. I couldn’t keep up. Deciding to leave was one of the hardest decisions I have had to make up to that point of my life. I then went to go study with Ben Kamins at Rice. He was also a graduate from Herzberg, so he understood my point of view.

IB: Yes, I’ve heard a little bit from Professor Pierson about her time at USC, but she doesn’t really focus on the amount of work that she put in. So thank you for sharing a little bit about that. I also think there are plenty of people currently who are similar to you. To have someone talk about having to leave a school because the requirements were too intense, but never gave up I’m sure means a lot.

IB: Can you now talk about what your audition process was like when you won Charlotte?

JH: Yes, it was a blind audition, and I believe there were only two rounds total for the day. I was the only person that took that day after the first round. Also, I was supposed to be the first person to audition that day. But my flight came in late, and I had to rent a car and overslept. So I had to call someone and it worked out that I was the last person to play for the preliminary round. After I played I was the only person… I think to play in the finals. I was however, the only unanimous decision for the final round. After I played I was told to meet the committee. When I walked out there was an awkward silence. Every one had wide eyes, and they did not make small talk. It was just one of those moments that I was extremely aware that I was a black person.

IB: So mentally how did you prepare for the audition? Especially if you were supposed to be first, but wound up going last. How did you get yourself to a place where you could actually perform well?

JH: It’s interesting, I’m not someone who was blessed with a lot of ego. I always felt very inadequate. I suffer a lot from imposter syndrome. I just felt like I had already blown the audition, but I just wanted to do my best. Once I got there I had a moment where I had to tell myself to breathe, and visualizing and hearing myself play the Mozart Bassoon Concerto. I had taken auditions before this one where I could barely get out of the first round. But because I had a moment to reflect, the audition went pretty well. I was shocked when they asked me to play again. The personnel manager also told me that the second round was my opportunity to show the committee what I could do musically. Which is something I know I can do. As a player I always have to work through the 107 technical elements, but I could always play with a nice sound and musical way to express myself. Playing professionally is difficult, but I still find auditions to be a harder process. Now, my focus is always on what it is that I personally want to achieve within a piece of music. It is also what helps me when I am nervous. To think in a musical way, and not focus so much on the technical elements is vital for me.

IB: That was actually very important for me to hear. Whenever I ask someone about how they win an audition they always say “I just practiced a lot,” and while I already know that to be true, I get so nervous when I perform that I mess up over the easy things. So to have you go in-depth about what your process is like is invaluable to me. So now that you helped me, I guess I can get back to the interview.

IB: Can you describe you first day with the orchestra? Was it uncomfortable in anyway?

JH: Oh god yes, but it is like that for anyone. There was another black person who played violin in the orchestra. So I didn’t have to figure out how to be the only black person in the orchestra. So that was helpful, he was also one of the first contacts I made in the orchestra. It was also stressful, because I had to play one of the Tchaikovsky symphonies in the first rehearsal. From what I was told, my playing was such a contrast to the person before me that it really helped in my favor. It helped that I sounded nice and could play in tune. I also came into my own during this time. Once you get out of the academic environment, you have to figure out who you are as a player.

IB: Great. During your time has there been any racially motivate behavior within your orchestra?

JH: Yes, so when I played the Mozart Concerto for the first time with the orchestra I did a radio interview, and I was asked something about race. While I can’t remember what the question was exactly, I remember saying that I was still not apart of the inner sanctum, where I was not given access to certain opportunities. Someone in the orchestra read that in the orchestra. I then received an anonymous hateful letter. I later took it to work and asked some people to read it, and I noticed that their reactions were similar to what the letter had said. The letter was meant to make me feel shameful, but I made copies of the letter and posted it on the bulletin board. So I took something that was supposed to shame me, and I used it to my advantage and took the power away from them. I am typically non-confrontational, but if I were to keep quiet about it I would have internalized it.

IB: So the last couple of question I have for you are opinion based. The first question is: why do you think that you were able to make a name for yourself?

JH: I would say that I really believe that I have a unique perspective on music. Based on my musical up bringing, I have a responsibility to show what my take on music is. I also just think that I am blessed. When I lost my mom at an early age, I had a lot of people step in to help me. Maybe they sensed the need that I needed help, but I just feel blessed.

108 Where I am is the direct result of a lot of people helping me. So I try to honor that by doing the best that I can.

IB: After you won your job, did you think about what kind of impact you would have on the black community?

JH: No. I am just trying to get through week to week. I am just trying to keep up and play my song. I also think that that is ok. If I tried to live in the space of knowing I am an important black bassoonist, it would not be the best for me. There would be a sub- consciousness that is not appealing to me. It would not let me be in the moment in music. If you think of how great you are, then you are not in the right head space.

IB: Thank you, like I said before this document is ultimately to help other people. But I am hoping to find some new ways to motivate myself through hearing all of you speak so passionately about what you do.

JH: Well, I think you should know that I think what you are doing is important, and I would encourage you to go farther with your project. There many more of us that are undiscovered, and giving them a voice is just as important. I am always intrigued to find these bassoonists, that are great players but never had the career they deserved.

IB: Thank you so much. So my next question is. If you could give a piece of advice to your former self. What would that be?

JH: I would say do all of the hard stuff that you don’t want to do. Make more reeds, play more etudes, do all of the intervals. Do everything that you don’t like to do and do them. Those are the things that separate you from everyone else. No it doesn’t come naturally, but do them anyways

IB: Finally question. In your opinion how is the representation of African-American bassoonists, or just musicians in genera?

JH: I would say that it is woefully inadequate. The background that we come from is different. Not better or worse, just different. When committees do not want to program African-American works because they don’t feel like there are any masterworks out there; I think about how many pieces do we play from white men that aren’t masterworks as well. That is more of their perception rather of the reality. Also, part of Gateways is to promote music from minorities. It is important to program works by African-Americans. We have been in this country from the very beginning. Programming is just as big of an issue as the players themselves. Yes, there might not be enough in administration, or performing, or conducting, but also not enough in regards to programming. So I think there is a lot more work to be done.

IB: So that is all of my questions. You were so helpful. I am glad that Professor Pierson told me to interview you. I can see why she speaks so highly of you, so thank you.

109 JH: You’re welcome and if you can, please keep me involved in your work. I would love to hear how some of these conversations went with the other bassoonists.

IB: I sure will. Thank you again.

110 Monica Ellis Transcript

IB: Thank you for doing this.

ME: Sure, sure. I’m glad we were finally able to find a time. This is clearly some important work that you’re doing. Congratulations on the work you’ve done so far.

IB: Great. If you’re ready, we can just start. The first question is pretty simple. Where did you grow up?

ME: I grew up in Pittsburgh, Pennsylvania. It’s where I did all of my schooling all the way through high school. It’s my home town, so I still have family there.

IB: Can you talk a little bit about your socio-economic status growing up?

ME: I grew up in a middle class household. Nothing certainly fancy, but whenever we wanted or needed anything we were able to get it. My father passed away when I was 15, he was a professional musician. He was a jazz saxophonist. As a side note, my influence as a musician comes directly from him. He also had a day job at Blue Cross Blue Shield, an insurance company. There were two of us including my sister. So he was the primary bread winner. My mom had worked for the bar association in Allegheny County. She actually retired five years ago. She was more or less a stay at home mom and worked part-time. My sister is also three years older than me. So we weren’t rich, but were able to have a comfortable childhood growing up. Grew up in a big house and had a lot of space. My parent’s were very supportive of what we wanted to do. There might have been some struggles that we never saw.

IB: Great, thanks for sharing. So you talking about your sister and how she is three years older than you. Did she play a musical instrument as well? Or was it just you?

ME: She did not play an instrument, she’s not musically inclined in the professional sense, but she definitely is artistic. Growing up she was in the church choir with me. She danced and was into musical theater. She was always involved in that. When she went to college she became a part of a community based, black theater company. In Pittsburgh it is quite well known. She wound up going to Yale School of Drama for her grad work in Arts Administration; theater management specifically. To this day, she’s a consultant in the world of audience development. She focuses on black theater specifically. So growing up it was always an artistically based household.

IB: Oh ok. So you said that your father was probably the most direct source of inspiration when playing music, but was there anything else that intrigued you about music from an early age besides him?

ME: Well certainly my teachers. I have been so so lucky to grow up with the teachers that I did. My second grade music teacher is still a good friend of mine. So that early on, being seven years old. That early influence was there for me. It was also a time where 111 public schools were just great for that sort of thing. You could get a well-rounded music education, even if you stopped at high school. So from him, to my piano teacher. I studied piano starting in 6th grade all the way through high school with a French woman who was very strict but nurturing. I also went to a performing arts high school with talented people around me. So people, people were my main influence.

IB: Could we actually go back for one second because I am curious. In regards to growing up, would you say that you had a lot of exposure to the black community growing up? Or did you find this later in life.

ME: There was a community in my church for sure. Which, by the way was another source of inspiration for me. But my family was not particularly religious. In fact, my parents did not go to church. They just sent us to church.

IB: [Laughs], Well it’s the thought that counts.

ME: I think so! Now, my mom goes to church when she comes to New York to visit me or my sister. Back to your question. The black community, it was interesting because all of my schools were mixed. I remember in middle school or high school I was going to a city school, so it wasn’t all black. It was also a Magnet School, so people from all over Pittsburgh would come to my high school. I went to this school in the morning. Then in the afternoon I took two busses downtown to get to the performing arts high school. There were white and black kids, that was it though. No other races. So yes, I was around black people. But I also had white friends. I really became more aware of my roots as an early adult. But I grew up in a time where race relations weren’t what they are like now. Even my 5-year-old son has to have conversations about race.

IB: Thank you for answer. I enjoy hearing about everyone’s story with black culture. It was very different from mine, so I find it interesting. But, back to the interview. What kind of music was played in your house?

ME: It was definitely on the popular side. I did not grow up listening to classical music at all. I don’t really listen to it now unless it comes up on my shuffle. 80’s hits. Jazz was also there for sure, but it was not hammered into me. It was interesting, even his profession as a musician was a side gig. So I never really heard him practice, we would just watch TV.

IB: So going off of that. When did you first hear about the bassoon?

ME: The bassoon comes along in the 8th grade for me. That was through my middle school band teacher. I was playing saxophone and clarinet in the jazz and wind band. Yeah, he encouraged me to try the bassoon. I’m not positive how the instrument got to the school, either way, when he realized there was a bassoon available. He told me to try it. I remember taking it home, having no idea what to do and just started to blow on it. So I went to a free Saturday program at my school, and I was able to take lessons, chamber music, and theory classes. So I was taking clarinet lessons from my teacher, but he also 112 played the bassoon. He was able to help me right away, and I attribute some of that to my success, because I didn’t develop bad habits. After a year, he told me to study with someone else. He got me hooked up with Mark Pancerev, second bassoonist for the Pittsburgh Symphony. I studied with him the the following three years of high school.

IB: Ok, so if you already played piano, clarinet, and saxophone, what made you want to stick with the bassoon?

ME: The bassoon offered me the first chance to play in an orchestra. I remember that being really really exciting. If it had been the cello it would have been the same effect. I liked the idea of the orchestra, not necessarily the bassoon itself. I got excited about the bassoon much later on. Piano was my other serious instrument, I didn’t really practice clarinet or saxophone.

IB: Were you exposed to any African-American bassoonists before you?

ME: I definitely did not have any awareness of that whatsoever. It didn’t even cross my mind; being honest with you. I was sort of oblivious. Not that I had my head in the clouds, but it just wasn’t a thing. Certain things were the way they were, and we never questioned it. I think that was an advantage for myself, because I never felt like I was lacking. Even though my teachers were white, I still had great role models.

IB: I understand that completely.

ME: I should also add that my mom is an extremely confident woman. There were never any questions about doing something. For good or bad, that also transferred over to me. So certain things did not affect me, because I knew what I was going to do.

IB: I know you talked about wanting to do orchestral music, and you didn’t care about the instrument. But now, you are with Imani Winds. Can you talk about what made you want to go into chamber music?

ME: Ironic, right? Well, through college I had wonderful experiences in small ensembles. I got to Julliard for my Masters, and had incredible experiences there as well. I think that after going to school in New York, I took a few audition, but the group started as soon as I finished my Masters at Julliard. I also at this time was going to the Manhattan School of Music for a Performance Certificate. Right at that very same time, Imani Winds started with Valerie reaching out to us and asked for all of us to sit down together and do some reading. In the first couple of years, it did not feel like a permanent job. We thought that it could be another supplement in the freelance world. There was just something special about what Valerie had in mind. I have to give her all the credit. Her vision was very special. I just got a really great feeling being around those people.

IB: Interesting.

113 ME: In retrospect, it also gave me the opportunity to become the player that I am today. Again, I attribute that to Valerie’s music. Her music was inspiring and challenging. The way I had to sound to in order to get what she wanted out of the music, was something that made me become the person that I am.

IB: Thank you for talking about the start of Imani Winds. I know you get asked that all the time, so thanks for putting up with it. You actually, eliminated all of my questions about the group so now I never have to bring it up again.

ME: [Laughs] Yes, it is brought up a lot. But your questions are making me think in a different way. You are making me think about how I played my instrument to fit the music. So its nice to have that retrospect.

IB: So backtracking. When it came time for you to go to Oberlin and play classical music, how did your family react?

ME: They were very supportive. I was always going to be a musician. There was never a doubt about it. My private teacher was also influential. He told me where to apply to the school. I got into Oberlin, Eastman, and Indiana. My mom was on board. Perhaps Music Education was brought up, but it was never a forced conversation.

IB: So you talked about your bassoon teacher. Can you describe what those lessons were like for you? What was the atmosphere like?

ME: It was joyful. It was odd. It was over my head occasionally. Not in a condescending way, but too advanced occasionally. He was a dead-pan type of figure. Yet, at the same time he had some kind life behind his eye and I thought he was joyful. He was also a master reed maker; he would tell me things like I understood what he was talking about.

IB: So as you are taking lessons, and getting more involved with the bassoon. Were there any bassoonists that you listened to.

ME: No. I just listened to my teacher play. Really when I got to college, that was my first experience hearing other people play the bassoon.

IB: So speaking of college. You went to Oberlin; can you talk about what the audition process was like for you?

ME: Fortunately, it was a lesson style audition. It was a great experience. I liked that it wasn’t just a five-minute audition. I just had a really exciting feeling about going to Oberlin.

IB: Do you remember any other black people auditioning on the same day as you?

ME: It didn’t occur to me that day. I don’t really recall. But certainly once I got there as a student, I was very involved in the black community. It was a game changer. 114

IB: Can you be a little more specific about why you chose to go to Oberlin.

ME: I think it was probably the environment, and the scholarship. Let’s just be honest. I think the environment drew me more to the school, rather than Sakakeeny. I didn’t research who the teachers were, it wasn’t like what it is now. I would learn about the importance of the school later on.

IB: So I have two questions: How were you treated racially by the faculty and your peers? Did it ever feel uncomfortable?

ME: It really just felt natural. Oberlin is the kind of place where the tolerance level is so high. Certain things just don’t happen there. Because of the history it has, it is just different from other places. There were different dormitories or houses for whatever type of interest. For example, I went to the all black house, effectively called “The House”. I would eat there and hang out there, but I didn’t live there. It was just all black people. We also had the Black Student Union. All types of groups that would just come to “The House.” I was also involved with the Black Musicians Union. There were a lot of alliances, plenty of ways to not feel like a minority. You found your people there.

IB: So that brings me to my next question. With the interaction with the black community, did you begin to notice how few black people there were in music?

ME: I guess there was more of an awareness. But I never considered it to be a problem or issue. It never bothered me, but I knew that alliances were important. It was important to know that there was a difference, but not let it affect me. Also during this time, I was becoming more worldly, I had a boyfriend and I would travel to New York to visit him. So I never changed who I was at my core, but I was gaining new perspectives.

IB: I’m glad that you talked about that. I also never let it effect me. I believe that if I’m good enough of a player that everything will work out. So thanks for talking about it.

IB: So why did you decide to continue your education, and go to Julliard for graduate school?

ME: Well it was just kind of expected, that that was what you had to do. Also, my boyfriend was from New York, so I auditioned at New York schools to be closer to him. I didn’t even apply to Julliard because of it’s reputation, I auditioned because of some dude [laughs]. At the time Rice wasn’t a school that everyone was talking about.

IB: [Laughs] Ok.

ME: So when I auditioned for Yale, it was similar to my audition with Sakakeeny at Oberlin. It was with Frank Morelli, and was more of a lesson type of vibe. I didn’t even know that he was THE Frank Morelli. I don’t even know if he was THE Frank Morelli at the time. 25 years is a long time. He then asked me what other schools I was applying to. 115 When I told him I was also auditioning at Julliard he told me that I would get in to both Yale and Julliard. So he let me decide which one I wanted to go to. I was highly blessed and favored. Julliard is where I went to school and I was able to get a great package.

IB: So you were talking about how you were attending Manhattan when Imani Winds formed. Did you ever finish from there?

ME: Yes. It was just a year long program. For a Professional Studies degree in Orchestral Performance. I was in one of the first classes of the Orchestral Performance program, but for an Artist Diploma. It happened because I wanted to study with Frank for another year. I initially wanted to stay at Julliard for another year. But he told me for Julliard, they never accept anyone for an Artist Diploma who isn’t studying piano or violin. So he told me to think about Manhattan School. I would practically be able to come for free, so that was nice. It was nice because I got a whole other group of alumni now as well.

IB: Thank you for explaining. So the last couple questions I have are more opinion based. So my first question is, have you ever met any opposition from people when it comes to dealing with race. Especially since you formed a primarily black chamber ensemble?

ME: Basically, the answer is no. We are in a time where overt racism is over. But occasionally we felt certain things along the way. We could pick up on inherent biases, or micro-aggressions. Things such as; “you guys speak so well, it was so unexpected.” Things to that nature.

IB: I’ve gotten that since I first moved away from Akron.

ME: Also, “I didn’t think I would enjoy your music.” But we also got that from some black people. It was because we played in a wind quintet, and people didn’t know what type of music we were playing. I for sure think that over the years we have had to prove ourselves. We played in a wind quintet, with contemporary music, and we were all of color. So we had a lot to prove. I do believe there has been a veil over us. Only over the last couple of years has it been lifted. Even ten to twelve years in we still had to prove ourselves. But no real forms of racism. But people thinking that we weren’t good enough was a real thing. We dealt with it by being confident.

IB: So you mentioned that Valerie made the initial contact. But were there any groups before the Imani Winds that you took inspiration from?

ME: It really was just us who started this whole thing. There wasn’t a sense of looking at the Dorian wind quintet and emulating that. It was really just and outlet for Valerie’s music. There was no template for us. We also knew very early on that we didn’t want to play traditional classical music.

IB: Ok. Do you remember what the first “break” that you had together as an ensemble?

ME: Like a big break in our career? 116

IB: Yeah. What was the first moment that you all realized you could do this as a living?

ME: Oh I see. Well we decided four years in to take auditions. So we auditioned for Concert Artist Guild, to be on their roster. We realized we needed some goals. So we ended up not officially winning, but we made it to the finals. At this time, we were told we were rough around the edges. They were right, so it was not a race thing. The head of the Concert Artist Guild said that he liked what he saw in us, so we got on the roster anyways, but by becoming the Educational Residency Ensemble. It was a really gift for us. We were able to play a lot, having to play so many concerts. We still got the main stage recitals as well. This was in 2001. That same year we had our Carnegie Hall debut. So that was the year for us.

IB: So that answers all of the questions that I have based off of your performances. I have a few questions left that I would like your opinion on. So the first question is, looking back on Imani Winds and how you’ve been in the group for 22 years. Did/Do you realize the affect you would have on African-American bassoonists with your music?

ME: Yes, I do. I won’t act like I don’t. I don’t sit in that place for very long, because we are all out here grinding, and we should stay in the work. But talking to you and other people, it is an incredibly humbling experience to recognize that work that we have done is considered to be a standard. It’s humbling to know that I am making a difference in someone’s life.

IB: So for you personally. Why do you think that you have been able to make a name for yourself in music?

ME: Well it’s hard for me to separate myself from the group. But I think I’m a special player in the group. We are able to create a special sound, and we work super hard and push each other. Valerie was the yin to my yang. She was a big inspiration to me. Also, doing what I want to do, but at the ABSOLUTE highest level. Also, recognizing when you are not playing at the highest level. Even if people don’t know what color you are, they are still going to want you to play in tune. This group was created to form something special for ourselves, and then for our audiences. The excellence has to be there. You just have to be good! [Laughs]. That’s how I think we have been able to be a name. High excellence, and a little bit of magic. Hours of hard work.

IB: If you could give your former self a piece of advice, what would that be?

ME: From what age?

IB: Around the time of late high school or undergrad.

ME: I don’t regret anything, so I’m trying to think of advice. At the end of the day I could have practiced more. I started practicing later than I should have. I could have been an even better player earlier. But I don’t regret it, because that is the way life unfolds. So, 117 do the practicing and work when you really really have the time. I would always do arpeggios, but there were also other times when I wasn’t doing much.

IB: So, your opinion. How do you feel about the representation of black bassoonists in America?

ME: You know. There isn’t enough. Not enough oboists, not enough anything. But in so many ways it is better. There is proof out there that it is getting better. We have been a part of numerous groups that are trying to fix this. It is not because of a lack of talent, but simply a lack of opportunity and exposure. We need to get kids on instruments earlier, get teachers to teach them. Don’t placate the students, teach them at a high level. Do not dumb things down because they come from an inner city. It is no surprise that the MET is one of the most diverse groups. They are one of the only orchestras to do complete blind auditions. We aren’t career cancer. So there are ways for black boys or girls to play the bassoon. But it takes really dedicated teachers and mentors to reach them. At the end of the day we are a niche market, so not everyone is going to want to do it anyways. So we need to understand that as well, and be ok with that. So these are trickle down numbers. But, the things that need to be done are starting to be done. But people like you are also helping, by finding some actual numbers and documenting people’s real life stories. Stuff is going on that is going in the right direction. To say that things are horrible would be a disservice to everyone working so hard.

IB: Well that is it! Thank you for giving me two hours of your free time. I really appreciate it.

ME: It is my pleasure!

118 Alexander Davis Transcript

IB: Thank you so much for doing this. This should be pretty easy. If you’re ready, we can get going.

AD: Sounds good.

IB: First question. Where did you grow up?

AD: So my father was in the military, so I was technically born in Germany. But we moved straight back into the states. So for the majority of my life I lived in Kentucky, Arizona, and then New York state.

IB: Ok. So when did you settle down in New York?

AD: I settled down in New York just before the 6th grade.

IB: Got it. So next question. Your father was in the military and you moved around a lot, but can you talk about the socio-economic status in your household?

AD: Yeah, so in the military everything was set up for us. They provided us with a house and things like that. My father was also always traveling. So mainly my mom was the one who took care of us most of the time. So when we lived in New York, I would say we were upper middle class. We were starting to get back on our feet. But, around the time of my, sophomore or junior year in high school we were very poor. So I would say on the lower totem pole. My mother and father got a divorce, and he didn’t really pay for much, or anything. We then ended up in government housing in western New York.

IB: So you said “us” earlier. Do you have any siblings?

AD: I do. I am of five. I have a younger brother and a younger sister and we share the same father. I also have an older brother and older sister all from my mom.

IB: Alright. Did any of them play a musical instrument as well?

AD: My mom had my brother playing the saxophone. I mean, she did make us all take lessons. So when we were young; me, my older brother, and older sister all took piano lessons. Somewhere on that path my brother, Ryan, began playing saxophone. Then stopped around middle of Jr. High. My sister stopped sometime in high school. I also took piano for a year or two when I was five or six. My older brother and sister were also forced to play music.

IB: Besides your siblings, did any one else do music in your family?

AD: Not that I know of. My aunt has expressed that they in some way had a musical connection as well. But to my knowledge I do not know of anyone else. 119 IB: So you mentioned that your mom made you all take lessons, but besides that, was there anything else about music that appealed to you?

AD: In the beginning was the only period that I didn’t want to play music. I always had an appeal to music, but I didn’t want to take piano lessons. I would always mess around, and make up music. When I was younger my teacher wasn’t allowed to start the lessons until we played a duet together. It was never apparent how much I wanted to do music though until middle school. I avoided doing band for a long time. Once I was in it, I realized that I did like playing saxophone and it came naturally to me. I didn’t realize music could even be a path until my sophomore year of high school.

IB: [Laughs] I wanted to play trumpet, so once I couldn’t make a sound on the instrument I also didn’t want to do band right away. So can you talk a little about what type of music your family listened to growing up?

AD: A lot of pop music. My mom loved Anita Baker, Chicago, Rick James. She was about everything. We did not listen to classical music at all. She would occasionally take us to listen to some of those things, but was never our first choice. She also loves musicals, and I carry a little bit of that with me as well. She just loves all genres of music. There was nothing that I never listened to, and that was because of my mom.

IB: Great. So, how did you first get introduced to the bassoon?

AD: I was first introduced to the bassoon when I was introduced to All County. At the time, I was playing saxophone throughout high school. I was becoming bored of the Alto Sax, so my teacher had me switch to Bari Sax. Once I got to All County, I remember seeing the bassoon, and thinking how weird it looked. I was naïve at the time. The first time I ever heard the bassoon, we were playing an ode to old cartoon songs Cartoon Capers. I remember really identifying with that instrument. So I immediately ran back to my band director really interested with the instrument. However, we needed a Bari Sax player, so I stayed on that for a little while longer. At this time in my life, I was playing a lot of different instruments. I would play in orchestra pits around the community, and I would play the reed 4 books. So once I told my teacher I wanted to learn it no matter what, I took the instrument home bought a method book and just tried.

IB: So moving along. When you first started playing the bassoon, were you exposed to any black bassoonists?

AD: I was just me. I wasn’t exposed to a black musician until my undergrad.

IB: Can you then talk a little bit about what your middle school and high school music programs were like?

AD: I would say they were good in the sense that they had pull out lessons. New York was good for that. I would be taken out of class to have a lesson. Honestly, the whole

120 time was a blur to me. It was a decent school. Other schools would beat us in competitions, but it was a good program.

IB: Can you identify the first major musical influence you had at an early age?

AD: When I turned to classical music?

IB: It could be anything. Just whatever got you involved in music.

AD: I feel like I just absorbed music as I heard it. I never went out of my way to find music. We didn’t have streaming like we do now. I guess, when thinking about it, it would have to be my sister. I remember to listening to Backstreet Boys, and things like that with her. During high school is when I started searching for music.

IB: So because you were doing a lot of pit orchestras, and playing numerous instruments. Can you talk about what made you decide to go into classical music?

AD: So yeah, I did a lot of different types of music growing up. I also sang in community theater. I think what gravitated me toward classical music was my perception of what the bassoon did. To me, classical music is what the bassoon does. So because I was so passionate about the bassoon I became more involved in classical music. I also really enjoyed it. Most of my happiest moments growing up were grounded in me playing classical music. I was also bored of playing Bari Sax. I loved jazz, but not the instrument.

IB: So when it comes time for you to go to college, was your family supportive of you going into Music Education?

AD: My mom was definitely ok with the Music Education aspect. When it came to Music Performance she was not comfortable with it at all. She didn’t become comfortable with it until certain things in my life came up, like Imani Winds and my lesson teacher. But Music Education was never in question.

IB: Who was your first teacher for the bassoon?

AD: My very first teacher was Abe Weiss who was in the Rochester Philharmonic.

IB: That’s pretty cool

AD: I started taking lessons with him at the start of my junior year. But it wasn’t too long, eventually my dad stopped paying for things, and we gradually stopped showing up. When those lessons fell through I was upset. After that I was playing with the Eastman Youth Symphony, and I originally auditioned on the Bari sax, but wanted to play the bassoon. So I also took bassoon lessons with the teacher there as well. But yes, I studied with Abraham Weiss for about three months. Then I studied with Charles Bailey through the Eastman Youth program, and that was for a month and a half.

121 AD: Also around this time I had no real knowledge of how college was supposed to work. My mother didn’t exactly go to college, and while my father did, after the divorce I wasn’t able to get advice from him about any of that.

AD: After making it into college I studied with Laura Koepke. She is the reason I am where I am today. Then I studied with Frank Morelli, and Michael Ma from the Detroit Symphony.

IB: OK, that’s quite a collection of teachers. Since you said that Laura Koepke is the reason you are where you are today. Do you mind if you describe what it was about her that you responded so positively to?

AD: It was so nurturing, understanding, patient, and empathetic. She made me feel like I had a second mom. I made a lot of mistakes along the way, and she was patient the entire way with me. She always pushed me to be the best that I could be. She was amazing.

IB: So for your undergraduate studies, did you listen to other bassoon players besides your teacher?

AD: Really quick, I want to point out how naïve I was. I really took to heart what my high school teacher would tell me about the bassoon. I remember them saying that the bassoon is unique, and that you can just add more fingerings to make notes play in tune. I really took that to heart, and remember making up any fingerings that didn’t work on my instrument. Abe Weiss was the person who helped me find an appropriate bassoon for me to use growing up in high school.

AD: Anyways, I didn’t listen to any one in particular. I just listened to whoever I liked listening to and was available.

IB: Ok, same with me. I just found bassoonists that I thought had the most appealing sound.

IB: You went to Fredonia for your undergrad, correct?

AD: Yep.

IB: Can you talk about what your undergraduate audition was like? Also if you can, do you remember any other African-Americans at the audition with you?

AD: My audition was set up more like an audition rather than a lesson. I also didn’t see any black people there. In general, there were no black people at Fredonia at the beginning of my time there. Slowly throughout the years, more and more black people started showing up. But for the audition, I went to her office, she met my mom, I played, she made me match pitch and that was about it.

IB: So what made you choose that school? 122

AD: Laura Koepke. Bottom line. I had only applied to two schools. This was all new to me.

IB: So at Fredonia, do you recall ever feeling weird by the faculty or the students?

AD: I felt really at home with everyone there. It was like a small community. It was already such an intimate school. At the time, I had no money to buy a tuxedo, so some of the faculty and students would let me borrow their clothes for performances.

IB: So can I ask, because you came from a background that wasn’t classical music oriented, and you said you were naïve about how music worked. Did you feel that you were far behind the curve when you started considering going in to Music Performance as a profession?

AD: I didn’t know what the curve was to be honest. I had no idea what I was like compared to other people. I never looked at schools outside of New York and I was having family issues at the time. I really had to trust my teacher, Laura Koepke. She has done a lot in her musical career, and she was the only one telling me that I had a chance to make it. I can tell you though, especially during the fellowship, I had those thoughts of how far behind I was.

IB: So how did you start to bridge the gap.

AD: It is hard, all you can really do is keep going and continue to practice. Music is a field in which we are always learning. Also, my teacher said “There’s a place for everybody.” So I had to trust that mentality as well.

IB: Thank you for answering that. I think your story is more relatable, not everyone is blessed to start taking music at an early age. So to hear you speak on this, and still be successful is great to hear.

IB: I got of track a little bit, sorry. So at Fredonia you said there weren’t many black students there. Did that ever affect your perception of what African-Americans could do in music.

AD: No it didn’t. The few that were around, we all had the same mindset, in that we wanted to be successful. I also gravitated to people of color who were outside of the music program. They are some of my best friends now.

IB: Did you attend graduate school after your undergrad?

AD: So, I was Music Education, and I wanted to add performance as well. So I added and extra semester with performance to get ready for graduate school.

IB: So did you go to graduate school before you got the fellowship with Detroit? 123

AD: I did. I went to Stony Brook University. I also auditioned for Yale and Julliard. Yale was the first time that I ever saw how many people played the basson. I applied to schools I thought I could afford

IB: So how was the graduate school atmosphere different from Fredonia?

AD: Fredonia was super nurturing and supportive. Stony Brook was no real community. There was one other black musician, who was a pianist. But no real black community in the school of music. The student body as a whole was quite diverse.

IB: Ok, so how did that change in atmosphere affect your bassoon playing?

AD: The first year I just practiced and worked on myself. I just wanted to practice and impress Morelli. I really wanted to be successful. I had to practice really hard. I knew I wasn’t where I needed to be yet.

IB: So what made you decide to apply for the Detroit Fellowship?

AD: Actually, I still felt like I needed more work so I got a Performers Certificate at Manhattan School of Music.

IB: Oh sorry, I didn’t know that. Was that just a year long program?

AD: Yeah. I was. Around this time, I started playing with more of the New York Philharmonic personnel. That was the first time I had strictly orchestral playing lessons. The first time I could focus in on just excerpts.

IB: So after that, was that when you applied for the fellowship?

AD: Yes

IB: What made you want to apply for that

AD: So after just finishing that program in Manhattan I decided that I should at least try for one orchestral audition. That was the one that I had saw and it looked like it was in my realm. I remember staying in my room until two in the morning making recordings for them.

IB: So after you won, can you talk a little about your experience the first day?

AD: I will be very honest, I had my first ever “fight or flight” feeling. I wanted to run away. Because I am still trying to find my path in life, I see myself as a chamber or solo artist. So when I got there I felt very uncomfortable. Also, I wasn’t introduced to any one when I got there. I had met the bassoonists previously, but only during my audition.

124 IB: So after that first rehearsal, what game plan did you come up with so you could get through the next two years.

AD: It was hard, I had a lot of self-doubt. I thought no one wanted me to be there. Some people were not welcoming to me as well. So the first year was like survival. I also had to have back surgery at this time, and I had to go back to New York for a while. I also had to learn how to make second bassoon reeds, and learn how to be a second player in general. It was a very intense first year. I do think that my purpose is to help the next person win a job.

IB: Thank you so much for being opening about your experience. I think a lot of people have this experience but never open up about it. It is something that needs to be talked about.

IB: Anyways, what was your initial reaction to winning the fellowship?

AD: I was initially really excited. I believe that the fellowship is also exclusive to African-Americans

IB: Oh, got it!

AD: I’m pretty sure there was a moment after I won that I came from behind the screen, and because I am light-skinned I got some strange looks.

IB: So within the orchestra, were there any moments where people looked at you different?

AD: I really don’t know. I was just kind of there. Because this fellowship was normal, no one reacted differently towards me.

IB: So what part of the fellowship made you feel like you were making a difference in the community.

AD: I really didn’t feel like I made an impact. I only interacted with people one or two times a year. So I never really got to work in the community.

IB: So apart from the fellowship. You said that you are inspired to do chamber music. Have you been in any groups recently?

AD: Well, I had Xelana Duo. I really like new and accessible music. I liked the melting of culture in music that we had. I’m really all about inclusion.

IB: That sounds really cool. I hope it comes together.

AD: Me too.

125 IB: Why do you think that you have been able to forge a path for yourself in music?

AD: I think I work hard. I’m a people person. I also gravitate towards people well in situations that you have to. I think there are qualities in my playing that are accessible to other people as well. I’m also just a fighter. I want to be successful.

IB: OK. Now if you could give a piece of advice to your former self, what would that be?

AD: I guess start fighting for music harder even earlier.

IB: So last question. How do you feel about African-Americans in music or bassoon?

AD: Bassoon is already hard enough to get people excited about. So my goal is to get people more into the bassoon by introducing it to different genres. We don’t have a lot, but it is definitely growing. It would be nice to have more diversity for the bassoon. But we also picked one of the most expensive instruments. So I hope to see it change.

IB: Well that is it! Thank you so much for agreeing to be apart of this project. I think your perspective, especially being so young will help a lot of people.

AD: No problem. Thanks for asking me to help out.

126 Andrew Brady Questionnaire

1. Where did you grow up? I grew up in Johnson City, TN. Much of my family lives there or in neighboring cities, several family members live within blocks of the house I grew up in.

2. Talk about how you were brought up, regarding social economic status. I was brought up in a stably middle class family. My father worked/works for Siemens (he was laid off for a period while I was in high school), and my mother is an elementary school teacher. I feel that I was well provided for growing up, and wasn’t really wanting for anything in terms of basic care and nurturing. Of course, I had friends with more money than me, and there were things I saw them get that I also wanted, but any of that would’ve just been extra. My parents were able to pay for private lessons for all three of their children, as well as new intermediate/advanced instruments (saxophone, clarinet, bassoon).

3. Do you have any siblings? If so, how many siblings do you have? I am the youngest of three children. I have two older sisters.

4. Do they play an instrument? Both of my sisters play instruments. My oldest sister is now a band director and plays saxophone. She got her degree in Music Education from Middle Tennessee State University. My middle sister played clarinet, and also went to MTSU but majored in French and Social Work.

5. Do you come from a musical family? If so who plays what and at what level? I come from a very musical family. Pretty much everyone in my family can sing, and sing very well. I grew up listening to family members sing at church or around the house. Two of my aunts have been in Broadway productions, both in New York and on tours in the US and abroad (South Pacific and Ain’t Misbehavin’). My parents played musical instruments in high school. My dad played the euphonium, and also had a band where he played electric bass. My mother played clarinet for a short while, but was admittedly not great at it. As I mentioned above, my oldest sister is now a band director at the very middle school I went to. Both of my sisters now play in the Johnson City Community Concert Band. My grandmothers also sang (both of my grandfathers passed before I was born). My paternal grandmother had a gospel singing group of four ladies that were called The Harmonettes. I can’t remember if my maternal grandmother was in a group, but she certainly did a lot of singing around town.

6. What intrigued you about music at an early age? I think what intrigued me was just the emotional aspect of music. Growing up, I was raised in the Southern Baptist church convention. We had a great choir at our church, and I told my mom at an early age I wanted to sing ‘tender’ in the choir (instead of tenor). I think I always enjoyed performing for people. The thrill of sharing a spark with someone else. I invited church members over to my home on several occasions for impromptu concerts on my front porch. My parents were surprised when people showed up 127 unexpected to hear my show. I’m also grateful my mom enrolled me in Kindermusik while I was young. It exposed me to music and movement in a different way through playing instruments.

7. What type of music was played in your household as a youth? I grew up listening to a lot of gospel music, but also R&B and lots of old school ‘black’ music. Al Green, Anita Baker, The Temptations, Gladys Knight, Stevie Wonder, just to name a few. But you definitely knew it was cleaning time when early on Saturday morning, mom put on the gospel music and bumped it up through the speakers…

8. When did you first hear about the bassoon? I started real instrumental training on saxophone in 6th grade. I had grown up listening to my oldest sister practice, and that sound stuck with me. We also had an extra saxophone in the house, so it seemed like a good fit. I played alto and baritone saxophone up until 8th grade, where I saw a bassoonist sitting in front of me at a band clinic. I don’t think I’d ever seen or heard about the instrument before, and I couldn’t really hear it in the band clinic either but I thought it looked cool and challenging so I decided I wanted to play it. By this point I kind of knew that I wanted to play in orchestra, and that saxophone wouldn’t get me there. I was also looking for something a bit more challenging than saxophone, so this time bassoon seemed like the perfect fit.

9. Why did you choose to play the bassoon versus other instruments? Kind of answered above. I wanted a challenge, and I thought the instrument looked cool. I grew to love the bassoon for its deep, rustic, vocal sound though.

10. Who was the first bassoonist you remember hearing? The first bassoonist I can recall hearing was Judith LeClair. I was in my first lesson with my new bassoon teacher, Anthony Parnther, and he wanted to show me the capabilities of the bassoon, so he played LeClair’s recording of the first movement of the John Williams bassoon concerto for me.

11. Were you exposed to any African-American bassoonists? I was VERY lucky in that my private lessons instructor through high school, Anthony Parnther, is African-American and half Samoan. I didn’t quite realize how monumental it was at the time, but looking back now, it was a hugely special thing for me to be able to study my instrument with someone who looks like me.

12. What was your middle school or high school music program like? I think my middle and high school band programs were some of the best in the state, especially due to the teachers I had. They were Randy Coapstick, Fred Humphrey’s, Mark Foster, and Tom Stites. The band program throughout my middle and high school years was very robust. People came and went, but we always had quite a large number in the ensembles. We also were held to a high standard. One of my greatest memories is being selected to go to Carnegie Hall for the New York Wind Band Festival to play with the Wind Ensemble from my high school (Science Hill High School). The high school marching band was also selected to march in the Macy’s Thanksgiving Day Parade, the 128 Tournament of Rose Parade, and the Hollywood Thanksgiving Parade.

13. Who was a major musical influence on you early in your study? Oh, man…there are several. Well first off, my family, especially my aunts that had performance careers. My grandmothers. I was fortunate to be accepted to the Eastern Music Festival in 2007, while I was in high school, and I studied with Kristin Wolfe Jensen through that summer. She was a great resource and influence. The next year, I was accepted to the Boston University Tanglewood Institute, which is Tanglewood for high- schoolers basically. Matthew Ruggiero was leading the bassoon workshop. He made a big impression on me. He was so kind and generous, even offering to help me if I needed to buy a new instrument! The next summer I went back to BUTI, and this time it was Rick Ranti and Suzane Nelsen that led the bassoon workshop. Both of them were hugely important to my development on the instrument. It was an exciting time, seeing the Boston Symphony Orchestra perform at Koussevitsky shed, as well as hearing my colleagues perform. Josh Baker, Catherine Chen, and Keith Buncke are just a few of the other bassoonists who I attended BUTI with. It was a truly special group.

14. Why did you choose your field of music versus another genre of music? Classical music just moved me more than anything else. I remember deciding that I needed to take my music education into my own hands around 9th grade, and I would listen to complete Beethoven cycles. I would spend money on classical CDs. I bought scores so that I could follow along. It was my escape. Classical music made me happy no matter whatever else I might’ve been feeling before I listened. For a while, my favorite piece was Stravinsky’s Pulcinella. I would sit alone with my headphones on and close my eyes and just totally get lost in the music. Classical music just evokes so much feeling and emotion in me.

15. Were you encouraged or discouraged by your family to pursue a career in classical playing? My family was very supportive of my choice to pursue music. They paid for private lessons, and were at every performance of mine. They bought me an intermediate level instrument, which is no small thing for bassoon as they’re so expensive. They also helped pay for summer music festival tuitions. We didn’t exactly have $4-5k extra laying around for those festivals though. So I put together a practice-a-thon where I had people pledge a certain amount of money per hour, and I set up to practice in my local music store (so that people could drop in and make sure I was actually practicing) and played for I believe 6 or 7 hours. I earned the tuition for the summer as well as a little spending money!

16. Where did you first receive training in classical bassoon playing? The very first person that I took bassoon lessons with was my high school band director, Tom Stites. He showed me the basics, until he introduced me to Anthony Parnther who was also working at Science Hill with the marching band. Anthony then became my teacher for the rest of my high school career. Though he did move to Los Angeles in my junior year. There wasn’t anyone else close to me in Johnson City to study with, so I basically practiced and taught myself for about two years. 129

17. What was that experience like? Anthony was a GREAT teacher. He’s one of those people that can play any instrument you put in front of them. During the time he was teaching me, he also had a horn student who is now a member of the Colorado Symphony.

18. Who was your first bassoon teacher? Anthony Parnther

19. What was the atmosphere of those lessons? The lessons were so much fun. Anthony and I had a lot of laughs in our lessons. But I definitely was a bit intimidated by him and wanted to play well for him. He would assign some pretty intense workloads for me, but not really let on that it was a lot of work. He just expected me to do it, so I did. I was eager and hungry. He was very good at presenting things that most teachers would say is beyond a student, but he would make the ‘impossible’ merely a challenge. We also had lessons on instruments other than bassoon. During marching season, I played sousaphone, so I wasn’t really practicing bassoon as much as normal, and he was also busy with handling the drill and music for the season. So, I remember coming in and having flute lessons with him. Moreso, we read through flute duets.

20. Was it with that teacher that you began a serious interest in becoming a professional musician? Anthony was certainly the one that made me feel a career as an orchestral bassoonist was attainable. He had me research and write down information on the bassoon sections of the “Big Five” orchestras and bring it in to my lessons. He would quiz me, and I’d need to know which orchestra the bassoonist was in, what position they played, and where they went to school/who they studied with. I also got the opportunity to perform next to him in the Johnson City Symphony. I played second bassoon to him, because there weren’t very many bassoonists of high quality in the area. It was an amazing experience to get to perform alongside him, and also get paid for it! This experience also introduced me to the social interactions involved with the life of an orchestral musician. I went to galas, receptions, etc. that helped me understand how to interact with donors and supporters. Part of this also was learning how to act around white people who were donors and supporters. Anthony talked with me on more than one occasion about what to expect during my career, likely being one of the few musicians of color or the only musician of color in any given social situation.

21. What bassoon players were you listening to during that time? I listened to Judith LeClair, Rick Ranti, David McGill, and Chris Millard a lot, as well as others.

22. Where did you attend school for your undergraduate degree? I attended The Colburn School in Los Angeles, CA. I studied with Richard Beene.

23. What was your undergraduate audition like? 130 Well, I definitely remember being quite nervous at all times, except for during the actual audition. I don’t really remember too much from that day. I know that I was in the biggest hall at the school, so that was a little intimidating. And the panel was sitting near the back of the hall. I believe all four woodwind faculty were present: Jim Walker, Allen Vogel, Yehuda Gilad, and Richard Beene. The only thing I really remember is either Yehuda or Beene telling me that I was flat to the piano. Colburn tunes to 441½ (who knows if that’s even really a thing), but I don’t think they told the auditioners that the piano would be tuned high.

24. Do you recall how many other African-Americans were auditioning on your day? I believe I was the only African-American bassoonist auditioning, but I can’t recall how many African-Americans auditioned on other instruments.

25. Why did you choose that school? I chose Colburn because it seemed a great fit for me. From the moment I stepped onto the campus I loved it and could see myself going there. It also helped that tuition and room and board are totally covered by the institution. At that time, my father was laid off from work, so we were just living on a kindergarten teacher’s salary. I also auditioned at CIM and NEC, and got into both with some scholarship, but still would’ve had to pay a significant amount of money. So when Colburn opened up for me, I jumped on the opportunity. It was also very cool that Anthony was in LA. He had moved out there during my junior year, and he was the reason I knew about Colburn at all. It was still a really new conservatory at the time and I didn’t know anything about it, other than that it was free.

26. How were you treated by faculty (other than your primary teacher)? I was always treated well by the faculty at Colburn. It’s an extremely nurturing and dedicated group of people.

27. How were you treated by your peers? I was treated equally well by my peers. I don’t recall any instances where race really played a big negative role in my interactions with my classmates.

28. Was there a large community of people of color? At Colburn there weren’t many African-Americans. I believe my first year, I was the only black student. Later there were more of us. I think the highest number of African- Americans while I was there was about 4 or 5 out of a school of around 120 students. There were many Asians in the conservatory, but I don’t recall very many Latinos.

29. Did the community you interacted with affect your perception of minorities in music? I’m not exactly sure what you mean by this question. If you’re speaking of interacting with donors and classical music supporters, I certainly did have instances that opened my eyes to how people of color are viewed in the classical music world. I’ve been asked how I’m able to speak so well. I’ve heard a donor say “You literally just saved a lot of those children from going to jail.” on a bus on the way back from an outreach orchestra concert. The school was predominately black. I’ve had a patron come up to me and say 131 “You sounded so great on the oboe the other night, and your bassoon playing is just as nice!” (or something to that effect). She had confused myself and Titus Underwood, an oboist who was in school at Colburn with me. We look nothing alike.

30. While matriculating through school, how did you cope with the psychological aspect of performing? In middle and high school, performing for me was all about joy. I was enthralled with getting to perform and to try to do it as best I could. However, when I got to Colburn I certainly put a lot of pressure on myself. When I first got to Colburn, I was too scared to practice in the practice rooms because I had heard other students in there and they sounded so incredible. I didn’t want anyone to hear my subpar practicing, so I played in my dorm room (which was against the rules). I still had a lot of joy and love of performing, but now there was an added element of being absolutely superb and trying hard to be flawless. It did reach kind of a boiling point when I played in the school’s Performance Forum, a weekly gathering where select students perform in front of the whole school (faculty, staff, administration, all students). I was performing a piece from memory, and I had several memory slips. I skipped large portions of the piece and got on track at a spot near the end. I finished the piece, but there was a moment where I was standing rooted to the stage, not playing, wondering if I should just walk off the stage or try to finish the piece. I called my aunt (that had sung on Broadway) immediately after the performance and told her what happened. It was customary for all the performers to line up outside the hall at the end of Performance Forum to shake the audience members’ hands. I wanted to just stay up in my dorm room, but my aunt told me that I had to go downstairs and face it and own it. I was so embarrassed standing there, but so many faculty members and students came up and were so kind. One of the teachers reassured me that this kind of situation happens to almost everybody at some point during their career, and that I would recover. It was great to hear this, but for years after I still felt a little shaken when it came to solo performance. I remember being so nervous and anxious for my junior and senior recitals that I could barely eat for the month or so leading up to them. I think I lost at least ten pounds before my junior recital. It was also extremely unpleasant for me to sit and listen to others’ play solo in recitals or Performance Forum. Those negative thoughts are hard to overcome. I combat them with positive self talk and affirmations. That thought pattern is so insidious though, that sometimes you slip into the negative state of mind without even realizing. I’m trying to be better about being more forgiving of myself and also creating a positive attitude around performing and practicing.

31. When/Why did you decide on graduate school? I had only two schools on my list for graduate school: Colburn and Rice University. At the time, Richard Beene and Ben Kamins were the only teachers I felt I really wanted to work with. Once I found out I had been accepted to Rice though, I canceled my Colburn audition. There were social issues in the studio with my classmates that made me not want to stay at Colburn any longer.

32. Why didn’t you attend graduate school? I ended up not going to Rice because I went to the audition for Principal Bassoon of the 132 Louisiana Philharmonic during the week of my graduation from Colburn and ended up winning the position. It’s crazy to me now that I was extremely close to canceling my audition and my flight. I’m glad I had a friend who talked me into going!

33. What was the atmosphere of that University and School of music as a whole? N/A

34. What was the impact of that environment on your musicianship and bassoon playing? N/A

35. How many times did you audition for a major orchestra before winning? I believe my first orchestral position with the Louisiana Philharmonic was the result of my fifth audition. I can’t recall right now what orchestra the first four auditions were for.

36. Describe the audition process for the Symphony. I auditioned for the Atlanta Symphony Orchestra twice. I made it to the semi final round in their first Principal Bassoon audition after Carl Nitchie retired. Keith Buncke won that audition, and I don’t think he even played a full season with the ASO before he won the same spot with the Chicago Symphony. Then the ASO had a second audition for principal bassoon, which I did not take. I had it in my mind that the section was looking for a certain sound and a certain type of playing which wasn’t what I learned in school, so I thought I wouldn’t be successful. That second audition ended up being a no-hire. Then I took the third audition for the principal spot and was pre-advanced to semis. I made it to finals, and was awarded trial weeks with another finalist, Julia Harguindey. I believe for the first ASO audition I took, there were probably around 70 or 80 bassoonists to audition. I think it was probably a similar amount for the audition that I won. The audition was screened until the final round.

37. How did you mentally and musically prepare for that audition? I was extremely regimented with my practice. I had a list of excerpts that was divided into three categories: very familiar and doesn’t need daily work, somewhat familiar and needs to be put in a practice rotation, and totally unfamiliar and needs daily work. I practiced probably around 4 hours a day. I recorded myself. I listened to orchestral recordings, and specifically tried to find recordings of the ASO playing the pieces. I also did mock auditions, and played for other wind players in the Louisiana Phil. Mentally, I tried to get into a daily routine. Making sure I slept enough. Eating well. I also did a lot of mental practice, both with the excerpts themselves and with the experience of the audition day. I would run through in my mind possible scenarios that could unfold. I pictured myself onstage playing through rounds. I knew exactly what outfit I would wear. I looked up pictures of the Atlanta Symphony Hall so that I would be as familiar with it as I could. And of course, I made a LOT of reeds.

38. Describe your practice routine and the various exercises and books used. Same process listed above for auditions. For daily practice routine, I play Herzberg scales with drones. I sing along with the drones so that I have the pitch in my ear and body. I also use the Milde Scale and Chord Study book almost every day. It’s kind of the bassoon 133 bible for me. Beyond that, I work on whatever orchestral music is coming up soon, or if I have a chamber music performance I work on that repertoire. I’m trying to be better about scheduling time to play through solo bassoon rep just for fun.

39. In the final round, what was the reaction from the panel to see a person of color advance to the finals? I honestly don’t remember. I don’t think there was any negative reaction that I recall. I was so in the moment of just trying to play my best, that I don’t have a clue what the panel’s reaction was.

40. How did that reaction impact your concentration for the remaining part of the audition? N/A I was in my own world.

41. Describe your first day in rehearsal in the symphony. What was it like? My first day of rehearsal was my trial. I remember feeling well prepared, but also a bit intimidated. The very first piece I played was Leshnoff’s Symphony No. 2, which the orchestra had rehearsed already early in the season for their season prep rehearsals. It’s a particularly thorny and hard-to-put-together piece. I did well with it, but I remember when we switched to Beethoven 7, it was much harder. I almost couldn’t hear myself at. I just didn’t have a sound big enough to match the volume that was being put out around me. Also, the wind section in ASO is very good about keeping the pitch down to 440. Coming from LPO, I was not used to that, so that was a big challenge over the course of my trial weeks.

42. Did you receive any racially-motivated behavior from your colleagues, if so, can you provide an example of what you observed and/or experienced? During my trial weeks, I did hear feedback that I wasn’t playing the Quid Sum Miser solo from the Verdi Requiem the way Robert Shaw liked it. It was impressed on me that there is a lot of tradition here regarding Shaw, and an old guard of musicians that tries to maintain that tradition. I went and got the ASO Verdi Requiem recording from Carl Nitchie, the former principal bassoonist, and came in playing the solo like the recording (which is not at all the way I like the solo to be played). This seemed to appease whoever had made the complaint. Later, I learned that that way of playing the solo wasn’t Shaw’s interpretation at all, but actually the way that Carl liked to play it. I don’t know if this was specifically racially motivated or not, but it did seem a bit crazy to me. (The next time we performed Verdi’s Requiem, I played the solo exactly how I wanted it!) There have been other instances of issues that have seemed racially motivated since that time. I feel during my tenure process; I was being held to a much higher standard than normal. There were complaints brought up about my outside interest in playing the recorder. I post videos on Facebook from time to time of me playing recorder. Apparently, this was unacceptable to some on the committee, even though it didn’t interfere with my work at the ASO. I also have had complaints come back to me for having taken off a cycle of CYPs (Concerts for Young People). However, other principals in my section have taken off CYPs and they are never reprimanded for the way they do seatings or run their section.

134 43. Did you realize the impact that you would have on other African American bassoonists and other people of color? I don’t think I did realize, no. Now that I’ve been here a while, I do see the impact. I have so many people approach me after concerts and say how elated they were to see me onstage and that they were cheering me on and rooting for me. They are all so proud. I’ve even seen people out in the audience very clearly taking pictures of me. Our hall is brightly lit, and it’s very easy to see out into the audience. I can tell when certain audience members spot me and are training their cameras on me. It’s very cool to see, but also puts a bit of pressure on me. I feel that since I’m the only black musician on stage, I have to absolutely nail it. It is inspiring to see so many young people of color out there though, and know that what I’m doing can affect them positively.

48. What was it like to win a professional orchestra jobs so young in the field? It definitely felt gratifying. I had a list of goals in a notebook during my high school years. I had short term, intermediate, and long term goals all spelled out very clearly and “play principal bassoon in a major orchestra” was one of my long term goals. I had always hoped that it would happen sooner rather than later, but I was kind of shocked for it to happen right before graduation. I had heard from a couple teachers at Colburn that I would win a job before I graduated. It was great to hear, but I didn’t really know if I believed it. It was very surreal to win the LPO job just days before my Colburn graduation.

49. Winning a job so young, what has been the biggest challenge to overcome? Being in the LPO at a young age was great! There were many other musicians my age, a lot of whom I knew previously from school or summer music festivals. The level of high energy and the desire to be as good as we possibly could be to continue the trajectory after school was very apparent. A lot of the younger musicians were still actively taking auditions. This helped me stay fresh and hungry. Coming to Atlanta was a little bit different. This orchestra has a lot more tradition, and frankly, is a more aged group overall. It’s a bit more of a destination orchestra, so there isn’t always that same fire that you find in a group of younger musicians who are constantly striving to reach the top. I think one of the biggest challenges was just figuring out how to keep that fire when a lot of people around me don’t have that same level of hunger. Also, figuring out how to be confident in my musical personality while also blending into the ensemble when I need to has taken some time. Now I’m feeling more comfortable stepping out and taking my moments when I need to. I think my musical voice is maturing and becoming more assured. Part of that also is that I care a lot less now what people think of me.

50. Has anyone looked or talked to you differently, in a professional performance? Not that I recall.

51. Why do you think you were able to make a name for yourself in the field of music? I think I’ve gotten where I am because I was so incredibly persistent and goal oriented. My desire from an early age was to perform and make music for people. When I found bassoon, I know that it was the medium through which I wanted to bring people joy. Playing bassoon brings me joy as well, and I think the fact that I have something to say 135 through the instrument is a big part of why I’ve succeeded. Of course, the technical mastery of the instrument is important, but there’s gotta be a message and conviction behind what you play.

52. If you could give a piece of advice to your former self in regards to music, what would it be? I think my message would be to be fearless. To not care so much what other’s think of your playing. Or to not care so much what others think of me in general. So much of who we are as musicians comes from our own personalities, and that’s one thing I dislike about my own personality. I’m naturally inclined to try to please and serve others, and that can be a detriment at times. To be secure in your own voice and confident in your skills is invaluable. It’s one of the hardest things to attain as a musician, and also one of the hardest things to maintain. Trust is absolutely key.

53. How do you feel about the representation of African-American bassoonists, or music in general? I always think there can be more of us. I think the number is steadily growing, which is great! And I love that I keep in contact with more than a few African-American bassoonists. The camaraderie is great to have. I would like to see more of us in orchestral positions, and that goes for all instruments. It’s sad that I’m so used to being the only African-American on stage. We recently did a program in ASO that celebrated the Talent Development Program, an initiative to bring high quality music education to young African-American and Latino students in the Atlanta area. Part of the concert was bringing back alumni of the program and having them play within the ASO for Beethoven’s 7th symphony. It was amazing to look out in front of me and see so many people that looked like me. It made me feel less on display, and that I belonged. I want to see more of that all across orchestras in the US.

136