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International Trumpet Guild Journal

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Karen Gustafson – Marie Speziale: Performer, Teacher and

Pioneer (Jun 02/7)

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 Marie Speziale:
Performer, Teacher and Pioneer
BY KAREN GUSTAFSON
Last summer, June 2001, I spent two days in con-
versation with Marie Speziale at her home in
Cincinnati. I spent hours poring over pictures, articles,
and programs spanning her life from her youth to the
present, and learned more about her life in those two
days than most people will ever know. I learned most
about Marie’s giving nature. She gives her all to every-
thing she does, be it playing trumpet, teaching, or in
the many service organizations of which she is a part.
She is full of grace and compassion, and cares deeply
about others.
From the time she was a little girl growing up in the
Latin district in Tampa, Florida, Marie Speziale knew
that she wanted to play the trumpet. Her father, an
accomplished banjo, guitar, and mandolin player in
New York, took up the piano in his new home in
Tampa, upon hearing the Cuban band music in the
area. In a short time, he was playing in a band. The
group sometimes rehearsed in the Speziale house.
Little Marie was drawn to the sound of the trumpet.
Eventually the family borrowed a beat-up cornet for
Marie to play because she seemed so taken with the
© 2002 International Trumpet Guild
instrument. She would carry that instrument to V. M.
Ybor Elementary School for band rehearsals with her
father’s belt tied around the case to keep it from falling
apart. Before long it was evident that she had a talent
for the instrument and her grandmother convinced her
father and mother to purchase a good instrument for
Marie to play.
She was solo trumpet with her elementary school
band and played with her father at benefits, weddings,
and often with his band. During this time, her parents
realized Marie was a gifted musician and needed to be
taking lessons. Her father asked his union friends for
the name of the best trumpet teacher in Tampa. They
recommended Robert Price. After three months on
Price’s waiting list, he invited her over for a trial les-
son. This began a teacher-student relationship that
was to last throughout high school and was very influ-
ential in Marie’s musical development. Through Price,
Marie had an opportunity to meet and work with
Vincent Bach. For the next few years, Vincent Bach
and Marie maintained contact. In a letter dated
January 21, 1957, Bach suggests that Marie “practice
June 2002 / ITG Journal 7
in front of a mirror in order to raise the mouthpiece
higher on the lip. Notice when you are tonguing
between the lips” which he did not advise doing. Bach
suggested that Marie try some larger mouthpieces like
a 1 1/4 C, 2 1/2C or a 3C. “These mouthpieces have
much better tone and although they take considerably
more effort to play, you will find in the long run that
you will get much better results.”
Marie Speziale, c. 1945
Scholastically, Marie graduated third in a class of
600 from Chamberlain High School in Sulphur
Springs. She was offered scholarships from numerous
universities based on her academic achievement, as
well as her musicianship. Because of a few connections
with the Cincinnati College-Conservatory of Music
(CCM) and a feeling that Ohio sounded “safe,” Marie
chose to move to Cincinnati to begin her bachelor’s
degree in music at CCM in the fall of 1960. When audi-
tions took place in the fall, Marie was placed first chair
in the wind ensemble, the brass choir, and the orches-
tra. At the end of Marie’s sophomore year, one of the
players in the Cincinnati Symphony Orchestra (CSO)
became ill suddenly before a concert and a replace-
ment was needed to sight-read the concert. Marie’s
teacher, and principal trumpet with CSO, Eugene
Blee, immediately thought of Marie and asked her to
play the concert. She went on to play about 90% of the
programs that year. At the beginning of the 1963-64
season, the third player, Herb Tiemeyer, became ill
and again Marie was asked to fill in for the remainder
8 ITG Journal / June 2002
of the year. During that season the CSO performed at
Carnegie Hall and made numerous recordings. In April
of 1964, Marie won the position as assistant principal
trumpet of the Cincinnati Symphony Orchestra, a
position she held until 1996. In the 1960s, few women
musicians played in major orchestras in the United
States, let alone women brass players. Until 1969
when Susan Slaughter was hired by the St. Louis
Symphony, Marie was alone among her many male
counterparts. The Cincinnati Symphony Orchestra
was well ahead of their time in hiring women in the
brass section; they had already had Betty Glover play-
ing bass trombone with them since 1948.
During her first season with the CSO in 1964,
Speziale was offered a position as trumpet instructor
at CCM, a post she held until 1972. From 1973 to 1979
Marie taught at Miami University in Oxford, Ohio,
and played in the Miami University Jazz Quintet, a
position she relinquished to return to CCM in 1979 as
adjunct associate professor of trumpet. When Marie
retired from the CSO in 1996, she continued her
adjunct position at CCM. In the fall of 1999, she
accepted a full-time position at Indiana University in
Bloomington, Indiana. While maintaining residences
in both Cincinnati and Bloomington, Marie travels
back and forth to fulfill both teaching commitments.
KG: How did your job with the Cincinnati Symphony
Orchestra come about?
MS: I was in the right place at the right time. I had
played with the orchestra for almost two complete sea-
sons while I was still in school, while I was finishing
my degree, the only degree I have, my undergraduate
degree. In fact, recently while rummaging through my
memorabilia, I discovered a note that the Dean of the
Conservatory sent to the faculty. The note said that I
had an opportunity to go on tour with the orchestra
and that I should be excused from classes. They (the
faculty at CCM) were supportive of any opportunities
that would benefit the students. At the end of my
sophomore year, Mike Denovchek, the second trumpet
of the CSO, became ill between a rehearsal and a con-
cert. Mr. Blee, my teacher, asked me to come in and
sight-read the concert, so I did. The Maestro (Max
Rudolph) was pleased with my performance. When the
next season started (my junior year 1962-63), Mike’s
health problems continued. Mr. Blee and the Maestro
agreed that they wanted me to fill in. I played for the
rest of the season, including tours and recordings.
Then in my senior year Herb Tiemeyer, the third play-
er, started the season but soon after became ill.
KG: Wow, did you have a jinx on the section?
MS: Well, my friends at school started asking,
“Speziale, are you putting something in their water,
are you poisoning them or something?” So again, the
Maestro asked me to play and I ended up playing the
season, going to Carnegie Hall, and recording with
them. While I was playing with the CSO, I went to as
© 2002 International Trumpet Guild
many classes as possible. It was helpful that back then
the orchestra rehearsed in the morning and early
afternoon, so I was able to go back to school around
4:00 p.m. to play in the ensembles at CCM. There was
one day that will forever be indelibly etched in my
memory. I had a morning and afternoon rehearsal with
the symphony, then went back to
CCM for a 4:00-6:00 p.m. wind
ensemble rehearsal for a concert in
honor of Frank Simon that night. I
was the soloist for the concert, play-
ing Dr. Simon’s cornet solo, Willow
Echoes. After the rehearsal, I had a
coaching session on the solo with Dr.
Simon. This was from 6:00-7:00 p.m.
and the concert was at 8:00 p.m. I
was playing on my teeth by the end
of the concert!
It was late winter of my senior
year that the orchestra decided to
add the fourth trumpet. They only
had three contracted players. Maes-
tro thought it prudent to have the
extra player. The job was announced
and I applied, along with everyone
else interested in the job. Of course,
back then auditions were different;
we all auditioned in the Maestro’s
dressing room backstage at Music
Hall. There were seven people on the
committee. It was a little nerve
wracking, especially since I had
been playing with them, I didn’t
want to disappoint anyone.
KG: You were offered the principal
trumpet position in the CSO?
MS: Yes, it is a little known fact. I
10-year-old
played principal trumpet for a year
(1974-1975 season) under Maestro Schippers and he
offered me the job at the end of that year.
KG: Why didn’t you take it?
MS: I had many different interests at the time. I was
doing the pops concerts with the orchestra, playing in
the Symphony Jazz Septet, and teaching at Miami
University (Oxford, OH). I wanted to keep doing those
things and felt that I would have to give up some of
those responsibilities in order to meet the demands of
a principal position. The associate job afforded me
some principal playing, while still allowing me to do a
variety of things. I made the decision to stay in the
associate position.
KG: Max Rudolph came to direct the orchestra in the
1950’s while Betty Glover was playing bass trombone
and then you became the first woman trumpeter in a
major orchestra. Was he OK with having the women
brass players in the CSO?
MS: In a sense, Betty laid the groundwork. Even if
she hadn’t been there, the Maestro (Rudolph) was the
© 2002 International Trumpet Guild
kind of person who was not reluctant to hire a woman,
no matter what the instrument. He was THE MAE-
STRO, very handsome, charismatic, and intelligent.
Back in those days, the role of the orchestra conductor
was quite different than it is now. He was our conduc-
tor, artistic director and administrator, mentor, father
figure; he fed our souls musically and
emotionally. He and Mrs. Rudolph
lived in town, she used to bake cookies
and bring them to us at Christmas
time. It was a family affair. I was very
fortunate because I learned the reper-
toire with Rudolph. He actually tested
me, too. Two or three weeks into the
season, when I was a junior, we played
the Bartók Concerto for Orchestra. I
was playing second. You have to un-
derstand that at that point, I’d had
limited exposure to orchestral music.
Mr. Blee and I were just starting to
work on orchestral excerpts. We get to
the last movement with the second
trumpet solo. Fortunately, I read it
very well. Rudolph stopped the orch-
estra and wanted me to try some
things differently, playing it by my-
self, in front of the orchestra. I knew
later that it was his way of determin-
ing how quickly I could respond to his
suggestions and how I would react. I
was being auditioned. Now students
come to school with three or four dif-
ferent trumpets and know all the big
excerpts. They’re able to access mar-
velous performances by simply turn-
ing on their CD players. In my day, my
parents didn’t even own a phono-
Marie
graph.
KG: What kind of trumpets did you come into the
orchestra with?
MS: When I first started playing with the orchestra
all I had was my Bach B-flat and C trumpets. In fact,
I didn’t know anything about C trumpets until I came
to the conservatory. At the beginning of my sophomore
year, someone was selling a Holton C trumpet and Mr.
Blee suggested I consider buying it because I would
need it. When I started playing a great deal with the
orchestra Mr. Blee said, “I think we better get you a
Bach C.” For the first twelve years of my career, I
played almost everything on my B-flat, even the year I
played principal. Occasionally, I would play C on the
French literature or use my D trumpet or piccolo for
Bach and Handel. It really took me a long time to find
a comfort level on the C trumpet. The B-flat was like
an old shoe, like a trusted friend.
KG: In the early years, you also played in the
Symphony Jazz Quintet. Tell me about that.
MS: The group started as a quartet. The Symphony
June 2002 / ITG Journal 9
Jazz Quartet was born in Bombay, India about halfway
through the CSO’s ten week 1966 World Tour. There
was a combo playing at the Taj Mahal Hotel where the
orchestra was staying. After one of our concerts, some
of us decided to sit in with the group. We realized
instantly that there was a strong chemistry among
those of us from the CSO. We had so much fun playing
together that evening that we decided to keep the
group going when we got back home. The original
members of the Quartet
were Frank Proto-piano,
bass; composer, arranger
(trumpeters may recog-
nize this name as Frank
has done some great ar-
rangements for Doc Sev-
erinsen); Robert Bradley -
bass; Dave Frierich-
drums; and yours truly
on trumpet. The quartet
became a quintet when
Paul Piller, trombonist,
was hired as second
trombone of the CSO.
Erich Kunzel was just Marie Speziale and Duke Ellington, c. 1969
thrilled to have this
group in the orchestra. He would feature us a lot on his
CSO Pops concerts. We enjoyed tremendous exposure
in the tri-state area. Within a year of the group’s incep-
tion, we were appointed ensemble-in-residence at the
College-Conservatory of Music at the University of
Cincinnati. As I look back on it now, I’m amazed that
we were able to do as much playing as we did, particu-
larly given the demanding schedules in the early sev-
enties. It seems like another lifetime!
KG: It was uncommon for a woman to be playing
trumpet in a jazz combo at that time. You must have
blown people’s minds.
MS: I guess so, especially on the world tour. People
around the world
were not used to see- “For the first twelve years of my career, I of the trumpet play-
ing a woman playing
the trumpet, much played almost everything on my B-flat, even He introduced him-
less, playing jazz. the year I played principal… The B-flat was self and welcomed
KG: You appeared
on the Today Show
like an old shoe, like a trusted friend.”
a n d t h e To n i g h t
Show?
MS: Yes. The spot on the Today Show was the result
of my success on the Date on Eight show (a T.V. show
Marie did as a teenager in Tampa). It was one of the
first, if not the first, remote broadcast of the Today
Show. Dave Garraway was the host of the show at the
time. We had an early morning rehearsal, something
like 6:00 am and then did a live broadcast from the
deck of the Jose Gaspar, a famous pirate ship docked
in Tampa Bay. Channel 8 had arranged to have a five-
piece union band there for background music and to
10 ITG Journal / June 2002
accompany me. After playing my first selection, I was
interviewed by Dave Garraway. One of the questions
he asked me was “How does a little girl like you get
such a big, fat, sound?” I said something like, “Oh,
from eating pasta.” A real Italian girl! I think I played
a couple of pieces by myself and then we closed the
show with a jam session. Jack Lescoulie, one of the
announcers from the show, grabbed a trombone and we
all started jamming!
KG: So when was the To-
night Show?
MS: The Tonight Show was
much later. This was during
the 1969 European tour with
the CSO. The orchestra had
premiered David Brubeck’s
oratorio Light in the Wilder-
ness earlier in the year and
was about to embark on a
three-week tour of Europe
with David Brubeck as our
soloist. Erich Kunzel pro-
grammed The Light in the
Wilderness as the centerpiece
of our pops program. We did-
n’t take the Dave Brubeck
Quartet; instead we used the nucleus of the Symphony
Jazz Quintet: Frank Proto on bass, Dave Frierich on
drums, and I took the role of Paul Desmond, the sax
player. We were the featured soloists with Dave
Brubeck. The CSO was scheduled to play the pops pro-
gram at Lincoln Center the evening before we left for
Europe. David Brubeck was invited to be a guest on
the Tonight Show while he was in New York. He invit-
ed Frank, David, and me to appear with him on the
show, to play some pieces from his oratorio. They flew
us up to New York a day early and we went to the NBC
studio to tape the show. I was in my dressing room
warming up and I heard a knock at the door. It was
Snooky Young, one
ers from the band.
me to the show. He
was extremely com-
plimentary about my
playing. He made a special effort to encourage me. He
didn’t have to do that. I’ll never forget his kindness to
me. Then Doc came in and did the same thing. With
great guys like that on your side, how can you miss?
KG: You’ve had a long association with Doc
Severinsen.
MS: Yes, it goes back to the first time he appeared
with the orchestra. You know Doc, he’s very friendly
and just comes up and talks. He has lots of energy. He
always wants to compare mouthpieces and trumpets.
Like one of the regular players in the section instead of
© 2002 International Trumpet Guild
the star of the show.
Anyway, the second
time he appeared
with the orchestra,
during a concert he
turned and looked at
Erich (Kunzel), and
said, “You know? I
really like playing
with this orchestra
because it is the only
orchestra in the
country where I can
kiss the first trum-
pet player!” The
place went nuts!
Ever since, he’s been
like a kissing cousin.
You know he is still
trying to find the
perfect horn and the
perfect mouthpiece,
almost like he feels
Marie Speziale and the Boy’s Club Cuban Band, Tampa, Florida, c. 1954
he still hasn’t gotten
it right. Doc, I hate to tell you, but IT’S RIGHT! AIN’T trumpet player. It felt as though the doctor had opened
NOTHING BROKE! You know how he is. me up, took some things out, replaced them with a
KG: Yes, I do. He is like a kid in a candy store. baby grand piano, and sewed me back up. I was away
MS: Just like a kid in a candy store. His work ethic, from the trumpet for a while. When I started back into
his determination, and his dedication are just amaz- playing, I think I over did it at first. It was painful. I
ing. Coasting is just not part of his vocabulary. On days think I was doing some things differently, perhaps in a
when we would have double rehearsals, he would be at subconscious effort to protect my body. Shortly after
the hall warming up long before the rest of the orches- my recovery from the surgery, the Cincinnati Pops was
tra came in, practicing at intermission, and frequently involved in a really heavy week of concerts and record-
staying after rehearsals. His endurance and stamina ing sessions, all John Williams music, Star Wars,
are just phenomenal. I have a great deal of respect for Superman, Raiders of the Lost Ark, etc. You get the pic-
him. ture. It was a “blood dripping at the lip” kind of thing.
KG: Who were your major influences? I believe For a two-week period after that, I realized that some-
you’ve mentioned your old trumpet teacher, Robert thing wasn’t quite as it had been but I couldn’t put my
Price. finger on what was different. I had contemplated going
MS: He was a huge influence. to see Jake for a long time anyway, so why not go for it.
KG: You once stated that he taught you everything So, I went up and took a lesson with him and it was
you know. like, WOW! It was almost a spiritual experience. I felt
MS: Yes, in a sense that’s true. I’m reminded of the a real connection with him that I’m sure a lot of people
book based on the premise Everything I need to know, felt. He was just that kind of warm, fuzzy, giving per-
I learned in kindergarten. Obviously, you continue to son. We talked about a number of different things. He
learn and grow, and I was no exception. There have helped me regain my center, an approach to playing
been a number of wonderful people who played signif- that I had done all my life without really thinking
icant roles in the development of my career: Mr. Blee about it. You know, like going with the sounds in my
my teacher at CCM, Ernest Glover, Betty Glover, Max head and using the air.
Rudolph, and Arnold Jacobs. Jake was a huge influ- KG: Having the concept.
ence. MS: Having the concept and doing it. That is what I
KG: Tell me about your association with Arnold had done all my life. That’s what Bob Price had
Jacobs. instilled in me. Everything had to be done with a good
MS: Actually I’d heard about Jake several years tone. I’ll never forget one of the first things he said to
before I went up to see him. A couple of people from me when I started studying with him: “I don’t care if
here had gone up to take some lessons and had come you can play the Flight of the Bumble Bee hanging
back raving about him. In 1985, I had a hysterectomy, from your toes. If you can’t play it with a good tone,
which is not a fun thing to go through if you are a nobody wants to listen to you.” I always remembered

© 2002 International Trumpet Guild June 2002 / ITG Journal 11

that. It had to sing. Here was Arnold Jacobs saying the tunately, it was not a brain tumor. I was told that I had
same thing years later. In an attempt to protect my (in addition to Ménières) a vestibular pressure differ-
body, I had started to go by the process and not by the ential, which meant that the right and left sides of my
product. All it took was a one-hour session and it was brain were processing information at different rates,
back! We talked about the fact that women don’t have which didn’t help matters. The doctor explained that
the same kind of there had been a
muscle strength or gradual build-up of
air capacity as men. pressure in the head
We talked about the and stressed the
aging process and the importance of releas-
effect it has on play- ing it gradually to
ing. His concepts avoid deafness. At
were so great. He that point, I was al-
was such a wealth of ready going into the
information, a mas- c a r e e r- c o u n s e l i n g
ter teacher. center at the Univer-
KG: So how long sity of Cincinnati.
did you continue to The doctor insisted
study with Jake? that I quit playing for
MS: Over a period a while. He reduced
of three years, I my medication signif-
would drive up to icantly, prescribed
Chicago for lessons vitamins and a diet
whenever schedules Doc Severinsen and Marie Speziale, c. 1972 low in sodium and
would allow. This was high in potassium.
about once a month during the school year, but it also He monitored me very carefully for the next six
depended on his availability. He was in such great months. When he finally gave to me the go-ahead to
demand. He always insisted that you call the night resume playing, I had to do it very slowly, staying in
before a lesson to make sure he still had time to see the low register. When I finally was able to return to
you. the orchestra, I played third trumpet until I felt com-
KG: Have there been any other challenges? fortable enough to move up. The Ménière’s is under
MS: Well, three years before the hysterectomy, I was control now; I was one of the lucky ones!
diagnosed with Ménière’s disease. Now what is that, KG: Let’s talk about your teaching. It has been a big
you ask? Long story short, I thought I part of your life. Your first
was going to have to pursue a different love is playing and your
career. Ménière’s disease is an inner second love is teaching.
ear disorder and depending on the Your students are your
severity of the condition, you can expe- kids and you have devel-
rience a loss of balance, severe head- oped close relationships
aches, nausea, and can become bed- with many of them over
ridden. It can be quite debilitating. the years.
Some people can go stone-cold deaf. At MS: Yup. You betcha.
first, the doctors weren’t sure what KG: I’ve also heard you
was going on. Ménières episodes can be say that your students
triggered by loud sounds (the orches- are your teachers.
tra) combined with standing/sitting on MS: My very first
something not stable (the risers on teachers were two young
stage). There were times that I came blind boys. Working with
away from concerts or rehearsals hav- them was a challenge.
ing felt as though somebody had been Generally, I try not to
beating me on the head with a steel change embouchures. For
bat. Sometimes I had to hold on to the each of those boys,
horn with my right hand and my chair though, it was a necessity.
with my left hand so I wouldn’t fall off. They had embouchure
There was some talk of surgery to the formations that were
ear until I sought a second opinion. As really distorted. It was
luck would have it, I found a doctor amazing that they were
who took a holistic approach. For- able to produce any

12 ITG Journal / June 2002 © 2002 International Trumpet Guild

sounds at all. I really had to be creative in my descrip-
tions of how to form an embouchure and how to use the
air properly. I tried to find ways to stimulate their
imaginations, to help them develop concepts that
would enhance their playing. As a young teacher, I was
learning too. These young men were truly an inspira-
tion. I learned a lot about my own playing and became
Laurie Frink, Marie Speziale, Susan Slaughter, Barbara Butler
IWBC, July, 1993
a more effective teacher because of my work with
them.
There have been so many students! I had wonderful
experiences teaching a brass orchestral repertoire
class. I inherited the class from Betty Glover in the
early 80’s when she retired from CCM. I almost
declined the opportunity when it was offered to me.
The thought of having to address a group of students
was intimidating to me. Playing is fine, but talking?
Speaking is a personal challenge, if you haven’t noticed
yet, it really is.
KG: No, I haven’t noticed.
MS: Really? I’ve always felt insecure about speak-
ing, especially to large groups. Looking back that’s
hard to imagine now, since I do so many masterclass-
es, and enjoy them so much. In any event, some of my
earlier insecurities may have stemmed from the fact
that I was a late starter. For the first two-and-a-half
years of my life, I didn’t speak at all. I just grunted.
My parents were quite concerned that there was
something wrong with me. When the doctor examined
me, he assured them that once I started talking they
probably wouldn’t be able to shut me up. When I final-
ly did start talking, it was in Spanish. I learned it
from the Spanish lady who took care of me while my
parents were at work. She was a huge part of my early
development. When I went from speaking Spanish to
speaking English, I felt very insecure. All this even
though I’m Italian. You would think that someone
who’s tri-lingual wouldn’t be as self-conscious about
© 2002 International Trumpet Guild
speaking as I am.
KG: I always think that there is a reason we play
music, that sometimes we just can’t say what we need
to say in words, so we play our instruments.
MS: I agree. I was OK in private lessons, but having
to stand in front of a group of 12 or 13 students felt a
little uncomfortable at first. I did it, and found that it
was fun. It’s so exciting to see and
hear these young careers unfold.
It gives me such pleasure to be
able to share my expertise with
them. Working with the brass rep
class added a new dimension to
my career. I’ve had wonderful
opportunities to work with some
very talented performers, like
Mark Ridenour from the Chicago
Symphony, Jim Wilt from the
Houston Symphony, and Chris
Kiradjieff from the Cincinnati
Symphony. I was surprised to dis-
cover that many of my former
brass repertoire students have
listed me in their bios/resumes.
That’s very gratifying.
KG: You shouldn’t be surprised.
MS: Yeah, but here we go again.
I was just doing my job.
KG: And now you teach at Indiana University in
Bloomington, a very prestigious school.
MS: God has blessed my career beyond all my
dreams.
KG: We have talked before about the mentoring of
female trumpet players. Have you had many women
trumpet students?
MS: Not really. In the 60s, there weren’t many
women playing the trumpet. We started to see
increased numbers in the 70s and 80s. I think the most
dramatic increase has been in the last decade. I’ve
worked with more young women trumpet students in
the past ten years than in all of the previous years
combined. I’m glad that I can be there for them, to
encourage them to pursue their dream.
KG: I know that you have influenced many people in
your life, particularly in conjunction with the
International Women’s Brass Conference. Tell me
about your experiences at the first IWBC.
MS: That conference and the subsequent Monarch
Brass tour in 1996 altered my perception of who I real-
ly was and where I stood in the national community of
brass players. Up until that point, I think I was some-
what naïve about my own success as a performer and
teacher.
Bless Susan’s (Slaughter) heart. She kept after me to
come to the conference, even for just a few hours.
Those few hours at the conference in St. Louis changed
my life. Another chapter opened. I added another
dimension to my professional life. It was a very excit-
June 2002 / ITG Journal 13
ing, nurturing, encouraging, al- extremely difficult year, to say the
most liberating experience. It least. There were times when I
was so great to have gentlemen received phone calls from people
such as Jake (Arnold Jacobs), and I wasn’t able give them the
John Marcellus, Charlie Geyer, attention I would like to have
Gene Pokorny, and Fitz (Lang- given. I simply didn’t have the
ston Fitzgerald, III) there with emotional energy to deal with
us, cheering us on and support- more. I think most people under-
ing our cause. It felt so good, it stood.
really did. I had never thought KG: IWBC has been instrumen-
too much about the biases that tal in helping women gain accep-
went on. When I was denied the tance into the world of brass play-
chances to audition for jobs early ing.
in my career, I just thought that MS: It is exciting to read the let-
that was the way it was and I ters and e-mails that come across
couldn’t do much about it. I my desk. It’s great to look around
wanted to play trumpet and no and see that so many young ladies
one was going to stop me. are being encouraged, acknowl-
KG: You had never met Susan edged, and supported. The base is
Slaughter before? becoming wider and more stable. If
MS: No. We had exchanged you look at some of our pioneers
Christmas cards and a couple of like Betty Glover and Dotty Zieg-
phone calls, but didn’t meet until ler, it is easy to see the path they
the 1993 conference. We finally started. They put down some peb-
had an opportunity to play bles as they forged a path. Each
together in 1996 when Susan generation since has contributed
organized a tour for the Monarch toward defining and enlarging the
Marie Speziale and Arnold Jacobs
Brass. That was another very ex- path. Before you know it, it will be
IWBC, July, 1993
citing experience, to be sitting in a long, rock-solid path through the
a brass choir made up entirely of professional women, forest.
including Julie Landsman and Michelle Baker from KG: What advice do you have for young female brass
the Metropolitan Opera Orchestra; Nancy Goodearl players?
from the Houston Symphony; and to be conducted by MS: Practice, practice, practice!
Marin Alsop. The rest is history, I guess. KG: I like what you said before. Something like,
KG: The rest is history. You were elected to be presi- ‘This is what I do, and nobody is going to stop me from
dent of IWBC, taking over from Susan Slaughter. doing it.”
MS: It was at that 1997 conference in St. Louis that MS: We have all been given a gift. What’s important
I was elected president. Really, in hindsight, it was is what we do with that gift. Don’t waste valuable time
scary because I had and energy trying to
never even served “When I was denied the chance to audition control things that are
on the board. Here beyond your control.
I was faced with for jobs early in my career, I just thought You can only do what
the presidency and that that was the way it was and I could- you do. Don’t let all the
the next confer- n’t do much about it. I wanted to play other noise get in the
ence all in one fell way.
swoop. trumpet and no one was going to stop me.”
KG: It was a About the author:
huge commitment. Karen Gustafson teaches trumpet at Oklahoma City
MS: That’s putting it mildly. Things got a little tricky University. She is an active performer and clinician in
because I had accepted the professorship at IU the both the United States and Canada. Her degrees are
year before the conference. CCM in Cincinnati had from the University of Minnesota (DMA),
already committed to hosting the conference, IWBC Northwestern University (MM), and the University of
had already started to advertise the conference, and Victoria (BM). Her teachers have included David
here I was living in Bloomington most of the time. It Baldwin, Vincent Cichowicz, and Louis Ranger.
was a great challenge, two jobs, two households, two e- Gustafson has performed with the Minnesota
mail addresses, and four phone numbers. Adding to Orchestra, Windsor Symphony, Hannaford Street
the stress, my mother was in very poor health (termi- Silver Band, and numerous brass ensembles in
nal), so I frequently had to fly to Florida. It was an Canada and the Unites States.

14 ITG Journal / June 2002 © 2002 International Trumpet Guild