Master Class: Brass Orchestral Repertoire Reading Session

As I reflect on the IWBC conference, there are several events that stand out. One of those was the orchestral excerpts session led by Marie Speziale. Those who attended can probably cite any number of reasons why this session was special. The sound in the recently renovated Corbett Auditorium was rich and vibrant. The players who volunteered to play responded to the setting and the coaching from Marie Speziale, and were rewarded with a wave of sound. It enveloped like a cocoon, giving the feeling of being surrounded while in a nurturing environment. It was a little intimidating to play beside so many fine players and in front of a discriminating audience and I remember the nervousness, but there was also the exhilaration of playing and feeling like a butterfly lifted in the air by a breeze.

Some people will remember the challenge of changing their playing to blend with a section. In an established ensemble, the players often have a similar background, perhaps having studied with the same instructors. They may very well play on similar instruments. Here, the style, the timbre, and character of the music demanded immediate adaptation. Ms. Speziale’s experience as a trumpet player in many orchestral and studio settings was evident as she coached individuals and sections. But equally valuable, no doubt was her experience as a brass choir director. There is a big difference between the sensations of a player in a section, and knowing what the sound is like to the director and audience. She also shared some of the variety of interpretations and tempos that various conductors expect.

The excerpts which Ms. Speziale chose may stand out in the memory of some; the overture to Die Meistersinger and The Planets are some of the great examples in orchestral brass writing. Earlier in the conference, an ensemble made up of guest artists and conference leaders played orchestral excerpts, but in this session participants got to experience the building and molding process that goes on in a rehearsal to prepare those pieces. That insight into HOW to get to the end result was the heart of this session.

To all of these reasons I can add one more for holding the session as a cherished memory. For many years I didn’t realize how truly gifted many of the women brass players were who opened doors, such as Marie Speziale and my former teacher Betty Glover. I saw them frequently in perfomances of the Cincinnati Symphony and in various activities at the College Conservatory of music and took much for granted. In this session I played with a deeper understanding of the environment in which they, and other women brass players, have distinguished themselves. When people ask why I attended a conference targeted for women brass players, I can tell them about the new insights I gained (I was in the minority group) and the thrill of playing with top-notch players. I also speak about the importance of encouraging, nurturing, and showing through words and deeds that men not only accept women brass players, but seek them out because of their talent and what they have to teach. If you are a reader who missed this session, or regrettably the whole conference, you missed a lot.

Dr. Robert Coil

Dr. Coil is a 1971 graduate of the University of Cincinnati, College-Conservatory and is active in the musical life of Cincinnati, in addition to being an instructor in Information Technologies at Cincinnati State Technical and Community College.