OFFICIAL NEWSLETTER OF THE IWBC · Nancy Goodearl Abbie Conant Hello IWBC members, With the holiday season nearly upon us, brass players are very busy. So is the IWBC! We are moving

OFFICIAL NEWSLETTER OF THE IWBCwww.myiwbc.org Winter 2013 • Vol. 20, No. 2

From the President

In this IssueLady Brass Series - Part 3 ........................... 3NoteWorthy News .........................................4IWBC Conference...........................................6Spotlight on...Nancy Goodearl........................10IWBC Contributors..........................................11Membership Form ..........................................12

Nancy Goodearl Abbie Conant

Hello IWBC members,

With the holiday season nearly upon us, brass players are very busy. So is the IWBC! We are moving forward with our plans to make the IWBC more active, and more interactive. We are working to expand our activities and website resources, and will begin periodic email com-munication between the IWBC and its membership. As more women move into performing and teaching positions throughout the world, the IWBC needs to be proactive as a source of support and informa-tion sharing. There are enough of us now with the experience to serve as mentors to female musicians starting or changing careers, which was not the case when I was starting my career. We have made great progress!

Listed under “Important Announcements” are several changes to the website -- you can now join IWBC, pay your dues, and make tax-deductible donations online. We will continue to add features to the website for members: future plans include a page to post performances, sheet music downloads, an academic exchange, a research information corner, and a merchandise store.

Look for regular email communication from us in 2014 with informa-tion on upcoming website features and events, but we also to encourage you to contact us with your ideas.

As always, your feedback is welcome and your support is appreciated.

Maureen Horgan, President [email protected]

IMPORTANT ANNOUNCEMENTS

Online MeMbership, Dues, anD DOnatiOns

• You can now join IWBC or renew your membership and pay your dues online. Please go to http://myiwbc.org/ and click on “Join IWBC” on the top bar. You will be able to choose a user name and pass-word, and will be able to access existing and future members-only portions of the website using that name and password. If you are a current member, please go to the site and sign up online, you will be better able follow the website changes as they unfold.

newsletter

• We deliver the newsletter both electroni-cally and by mail. If you are currently receiving the newsletter in the mail, we ask you to please consider receiving it electronically. To switch to electronic delivery of the newsletter, please send an email to [email protected] and let her know your name, address where you are currently receiving the newsletter, and email address to which you want it sent.

Co-Editors CornerJennifer Marotta [email protected] Rodriquez [email protected]

Articles and NoteWorthy News Submissions Please contact the co-editors for all potential article and NoteWorthy News submissions. The co-editors maintain final editorial rights over all materials. IWBC Web Site Address www.myiwbc.org IWBC Online Membership Directory Password Membership directory is available on www.myiwbc.org. Current password: 2013iwbc13 If you join online, you will be able to access this and other features when you sign in.

Please Send Any Changes in Your Contact Information to: Jeanie Lee, IWBC Membership Chair 5241 Pine Grove Ct. Toledo, OH 43615 [email protected]

EditorialDr. Raquel RodriquezNorthern Kentucky UniversityDepartment of Music, FACNunn DriveHighland Heights, KY [email protected]

Jennifer Marotta [email protected]

Dues/Subscriptions Online: Go to myiwbc.com and click on “Join IWBC” on the top bar.By check, send to: IWBC Subscriptionsc/o Sharon Huff, IWBC Treasurer108 Cheltenham DriveNormal, Illinois [email protected]

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

Co-EditorsJennifer Marotta is currently a freelance musician and trumpet teacher in Los Angeles, California. She is a former member of the “President’s Own” United States Marine Band, and was the Assistant Professor of Trumpet at Kennesaw State University in Atlanta, GA, from 2006 until 2012. Jennifer is currently a member of the Grand Teton Music Festival, the Chicago Music of the Baroque, and is a substitute with the San Francisco Symphony. She has performed reg-ularly with the Atlanta Symphony Orchestra, Atlanta Opera, Atlanta Ballet, Indianapolis Symphony, Rochester Philharmonic, Georgia

Symphony, New World Symphony, and the Columbus Symphony. Marotta received her B.M. degree from Northwestern University and M.M degree from DePaul University.

Raquel Rodriquez is the Assistant Professor of Trumpet at Northern Kentucky University. Raquel is a versatile musician having appeared as a clinician, soloist, and chamber musician throughout the United States, Canada, the United Kingdom, and China. Raquel was a per-forming member of the internationally known Synergy Brass Quintet in their 2008-09 national tour and performed in over 200 concerts and clinics across the nation. Dr. Rodriquez received her BM and MA degrees from West Texas A&M University and DMA degree at the University of North Texas.

Honorary Board of DirectorsClora BryantBarbara ButlerJoAnn FallettaLangston Fitzgerald, III Fred Irby, IIIJulie LandsmanEugene PokornyGerard SchwarzLeonard SlatkinGail Williams OfficersMaureen Horgan, PresidentLaurel Ohlson, Vice-PresidentSharon Huff, TreasurerSecretaryAmy Cherry

Board of DirectorsVelvet Brown Amy CherryJan Z DugaLin FoulkLisa FordJoanna Ross Hersey Maureen HorganSharon HuffJennifer Marotta Lynn Mostoller Laurel OhlsonJan Owens Gail RobertsonFaye-Ellen SilvermanSusan SlaughterJanet TracyGinger TurnerKelly Watkins

Membership Chair Jeanie [email protected] EditorsJennifer MarottaRaquel RodriquezDesign & ProductionDebra J. QuintonItsASnapMD.comWeb Site ManagerAlex [email protected] Site Content ManagerSusan Rider [email protected]

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

3

International Women’s Brass Conference

AUTHOR’S NOTE: This is the third of three installments about the life and times of Abbie Conant: musician, teacher, poet, actress, and above all, passionate artist. The following picks up at her life as a University of New Mexico freshman. Her parents were worried that she would run away from school, even after they moved her into an upgraded dorm suite with another Interlochen student. But she promised them to give college a try for one semester, and she made good on her word.

“Karl Hinterbichler was the new trombone professor that year,” Abbie said. “He was just wonderful – very excited about trombone. He asked me to play some things and then proclaimed, ‘You could be a profession-al.’” Abbie was flabbergasted. Nobody had ever told her that, much less a teacher. At last, somebody took her musical gifts seriously.

Karl determined she was a little behind, though. To help her catch up, “He gave me tons of stuff to work on. I practiced like a fiend. And I loved every minute of it.” Her new teacher helped her find her career’s direction. Then, “I met my future husband, William, during my freshman year,” Abbie said. “Bill was working on his composition M.A. We fell in love, married in 1974 and have been together ever since.”

Crumby music “You know, if you’re really serious about an orchestral career, you need to go to a big city and study with somebody in a major orchestra,” Karl told her one day in her freshman year. He encouraged her to go to the library (this was years before Googling became a verb) to look up conservatories and schools.

It also happened to be the same time that UNM’s Composers’ Symposium guest artist was the famous American composer, George Crumb. Abbie’s husband prepared some of Crumb’s pieces for a student concert and also threw in some of his own work. Abbie played on Bill’s pieces.

“Crumb just really loved my husband’s music and invited Bill to study with him in Philadelphia,” Abbie explained. The following summer brought the newlyweds East, where Abbie attended Boston University’s Tanglewood Institute, and Bill studied with Crumb. Abbie later enrolled at Temple Uni-versity and studied with Dee Stewart of the Philadelphia Orchestra. She graduated with a Bachelor’s degree in performance in 1977 from Temple.

Bill and Abbie wanted to be in the same city for graduate school. After a series of hits and misses with a series of institutions, they moved to New York City, where from 1977 to 1979, she attended Juilliard and he went to the Man-hattan School of Music.

“We survived there on Bill’s job as a ‘super’ in a fully renovated burnout building on the Up-per West Side. We rented to as many Juilliard, Columbia, and Manhattan students as possi-ble. After about a year, we had a lot of friends in the building. It was kind of like the Seinfeld set. It was a little crazy and a lot of fun.”

Who wants to be a millionaire? During that time, Abbie worked with the Met-ropolitan Opera’s Per Brevig, which resulted in a surge of improvement for the young trombonist.

“He really helped tighten up my technique and held me to a higher standard of playing. He raised the bar for me in every aspect, thus strengthening me for my first professional trombone job with the Spoleto Festival of Two Worlds [Festival dei Due Mondi] in Ita-ly. There, “We got paid with these huge lira bills and I thought I was a millionaire,” Ab-bie laughed. “Also, I was housed in a convent, which was just a trip. Bill joined me later on to attend L’ Academia di Chigiana in Siena for his composition studies.” Around that time, she ran across an audition notice for the Flor-ence Orchestra (Maggio Musicale die Firen-ze), an organization that produced ballet and symphony orchestra performances.

“I saw that ad, and thought ‘That’s my job!’’ she said.

The conductor was Muti – Riccardo Muti. Ab-bie remembered, “It was a peculiar audition. I played while the Italian musicians just sort of crowded around me. It was weird, but I nailed all the excerpts and then some Ferdinand

Abbie Conant, Flabbergasting AbbieLady Brass SeriesBy Christina M. Cavitt, Writer, Biographer, Photographer, Trumpeter • www.cavittproductions.com

Part III

- continued on page 9 -

Christina M. Cavitt

Photos by

4

NoteWorthy: Winter 2013

NOTE- WORTHY

NEWS

Sandra Coffin, trumpet, has had a very active year. In ad-dition to her freelance work in New York, she produced a benefit concert for Hurricane Sandy relief efforts in Novem-ber, 2012. This benefit brought players together from the New York area, including Julie Landsman, Wei-Ping Chou, and Julie Pilant, for an evening of chamber pieces and larger combined works. Sandy performed Quiet City with Katie

Betsy Fairlie Judge is the interim horn professor at Western Michigan University while Dr. Lin Foulk is on sabbatical during the 2013-14 school year.

Send your NoteWorthy News items to Jennifer Marotta ([email protected]) or Raquel Rodriquez ([email protected])

“East Meets West” Orchestral Program showcases the work of womenA new joint orchestral program, which toured the East Coast this fall, is to be com-mended for showcasing the work of women as soloists, composers, and brass perform-ers. The Carolina International Orchestra has begun a collaboration with the Chinese National Orchestra, an institution of the Chinese Ministry of Culture. The Chinese National Orchestra works to preserve and expand traditional Chinese instrumental mu-sic, performing across the globe while featuring traditional instruments such as the Pipa (pear shaped string instrument), Suona (double reed instrument), and Erhu (two stringed fiddle). Twelve members of the Chinese National Orchestra and their conductor, He Jianguo, came to the US in September for this series of the “East Meets West” joint con-certs. The music was composed for an ensemble of western orchestral and traditional Chinese instruments, both in the ensemble or as featured soloists, with Chinese percus-sion and tonality throughout.

The concert tour presented four works by female composers, including The Night Deepens, a percussion concerto by Chen Yi, Professor of Composition at the University of Missouri Kansas City. Female Composer Jiang Ying contributed three works to the program, each featuring a traditional Chinese solo instrument accompanied by orches-tra. The Chinese soloists, seven of whom were women, showcased true mastery of their instruments. They perform as soloists worldwide, as well as with the Chinese National Orchestra when at home in China. The percussion concerto soloist, Jin Hanbing, performed with a vibrancy and energy that amazed the audiences each evening. She is helping to change stereotypes by being a talented young woman performing on instru-ments that are more commonly played by men.

The American members of the orchestra were gathered from across the south, and were anchored in the brass section by two women. At one end of the brass line, playing fourth horn, was KaCee Sorden, a freelance artist and member of the Space Coast Symphony and Pops from Palm Bay, Florida. On the opposite end of the brass line was tubist Joanna Ross Hersey, soloist and Professor of Tuba and Euphonium at the University of North Carolina at Pembroke. Both women traveled to Washington DC for a high level Chinese and American diplomatic reception, in which a brass quintet was featured, capped by a rendition of The Stars and Stripes Forever, featuring Joanna performing the piccolo solo on tuba. The American orchestra has been invited to perform with the Chinese National Orchestra on a concert tour across China in 2014, in a similar series of performances fea-turing traditional instruments in combination with Western orchestra.

Scheele on English horn, along with strings. The concert raised over $2000 for relief efforts. In January, she per-formed L’Histoire du Soldat with Chamber 16 at Lincoln Center in NYC. In May, she performed Hummel’s Con-certo in Eb with the Einstein Symphony. On November 10, she will present the world premiere of Red Sky (for solo trumpet) by Peri Mauer for the New York Compos-ers Circle, and on November 17, she will present a solo recital in Mineola, NY as part of the Lutheran Church of Our Savior concert series.

5


NOTE- WORTHY NEWS

Composer Lauren Bernofsky’s Spring Song was premiered on July 21 in Cotati, CA, on a recital by Daniel Gianola-Norris, trum-pet, and Yvonne Wormer, piano. Another work of hers for trum-pet and piano, Saltarello, will be coming out soon from Theodore Presser.

Jennifer Marotta, freelance trumpeter in Los Angeles, and Thomas Hooten, Principal Trumpet of the Los Angeles Philharmonic, collaborated with Carl Fischer to edit and release a new edition of Arban’s Complete Conservatory Method for Trumpet. The husband and wife team worked to make the book more applicable to the modern student and performer, while keeping Arban’s exercises and teaching in tact. A CD of the 14 Characteristic Studies, recorded by Hooten, also comes with the book. This CD is also avail-able on iTunes, along with Hooten’s CD, Trumpet Call. Their individual websites can be seen at:www.jennifermarotta.comwww.tomhooten.com

Laura PettigrewLaura Pettigrew, from Canada, is honored to announce her film The Sky Came Down, which she produced and wrote the film score. The film won an Award of Merit at Best Shorts Competition in La Jolla, California, was a nominee at the Golden Sheaf Awards, and won Best Overall Production at Reel Rave International Film Festival - Short Films in September 2013.

A global call was sent out for scores by women composers for the Foothills Brass (Cal-gary AB Canada) in association with Laura Pettigrew Publications, Production, Etc., Inc., to present a concert celebrating International Women’s Day on March 8, 2014, in Cal-gary, Alberta, Canada. Thirty-nine works by renowned women composers from Belgium, Canada, England, Germany, Israel, Italy, Norway, Poland, Romania, Russia, Taiwan, UK, and the USA were received. To create a global celebration of women, all works received through this call will be made available to interested brass quintets throughout the world, to present in a concert in their respective locations, in celebration of International Wom-en’s Day. Scores and parts are available by contacting:

Laura Pettigrew [email protected] or [email protected]

Laura’s current composition projects include:

• A work for Dr. Corey Hamm for his piano and Erhu duo with Nicole Ge Li. The work titled Mei Li de Hua will be performed in a concert tour in Canada and China in 2013/2014.

• A commission from Andy Anderson at the bequest of his loving wife, Cathe-rine Anderson. The work, Dance of Life, was premiered on October 19, 2013, by the RSO Chamber Ensemble as part of the Government House Concert Series in Regina SK, Canada.

• Two works for Sergio Carolino: Adamastor for MASSIVE BRASS ATTACK, and Jotunheim for Sergio’s TUBAX project. Both will be recorded.

SUSAN SLAUGHTER TO GIVE CLINIC AT MIDWEST BAND CLINIC IWBC Founder, Susan Slaughter, will present a clinic: “You Can Do It! Leading Students to Professional/Life-Long Musical Per-formance” at the Midwest Band and Orchestra Clinic in Chicago at McCormick Place, on Friday, Dec. 20, 2013, from 10:00- 11:00 AM. Susan’s contributions to music are renowned, and she is now sharing her “secrets of success” with the hundreds of band/orchestra directors and music teachers that attend the clinic, so they can lead their students to professional, life-long, musical performances. Susan is sponsored by he Association of Con-cert Bands, an international organization which encourages and fosters adult concert, community, municipal, and civic bands. The Association strives to ensure that each musician who wishes to perform may have that opportunity, allowing communities to take civic pride in their bands, and citizens of the world may en-joy live performances of band music. The ACB Booth will be in the 700’s aisle of the Midwest Band Clinic. Come visit the booth and be sure to attend Susan Slaughter’s clinic.

6


International Women’s Brass Conference June 4-8, 2014

Northern Kentucky UniversityHighland Heights, KY (Greater Cincinnati)

Host: Raquel RodriquezPreparations are well underway for IWBC 2014! There is a great line-up of featured artists and composers, and there will be something for all brass-lovers, including the Susan Slaughter Solo Brass Competition, con-certs masterclasses, lectures, workshops, band and orchestral mock au-ditions, University brass ensemble performances, participant ensembles, and exhibits. Please keep checking the website for frequent updates!

Susan Slaughter Solo Brass Competition The Susan Slaughter Solo Brass Competition is open to brass perform-ers of any gender and all ages. Application deadline is April 1st, 2014. Soloists may compete in three categories:

Cat. I (age 18 & under, pre-college)Cat. II (age 28 and under)Cat. III (age 29 and over)

Penny Turner Scholarship The Penny Turner Scholarship covers registration and housing fees at the conference-you must be an IWBC member to apply.

For more information, or to apply, please visit:http://www.iwbc2014.com

IWBC CONFERENCE

Keeping in Touch at the IWBC Web Site

How can you stay in touch with the IWBC in between receiving these excellent newsletters and attending conferences? By visiting the IWBC web site, of course! Which compos-ers and what works have been com-missioned by the IWBC? Who are some of our female brass player pio-neers? Who were the winners of the 2012 Susan Slaughter solo compe-tition? Where and when are the an-nual Holiday Brass concerts? These answers can be found at myiwbc.org. Additionally, there is access to previous newsletters, pictures from past conferences (Toronto 2010 and Kalamazoo 2012), information about the people who serve as the backbone of the organization, and many new features that are coming in 2014.

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

NEW

7


8


9


David Concertino – the typical audition solo in Europe. Afterward, they told me I won the audition for first principal trombone! The co-principal, another American, came up and congratulated me, said he’d help me find an apartment, and that they would send the contract in the mail. Well, the contract never came.” Abbie was confounded that the orchestra didn’t follow through. After several weeks, she called them to inquire, “What happened? Where’s my contract?” The Florence administrator hemmed and hawed for a few moments before finally blustering, “We changed our minds. We had a second audition with the principal from Turin’s orchestra and gave the job to him.”

Abbie was devastated until her hus-band – always her champion – advised matter-of-factly, “Well, why don’t you just audition for Turin?” So Abbie sent a telegram, asking if she could audition. They replied with an enthusiastic, “Sure! Come on up.”

Ottimo “I marched into the hall with all ten of my orchestral excerpt books in hand,” she said. When they called me up, I played the Martin Ballade solo. Then, the conductor strode up to my stand and started opening selections from all of my books. I guess it was kind of dumb to bring everything I had – I’d never played so many excerpts in my life!” By the

time she was finished, the conductor responded with one word: “Ottimo.”

“I had no idea what that meant,” Abbie continued. “I thought, ‘Uh-oh.’ But it turned out ‘ottimo’ meant, ‘Excel-lent.’” She got the job there and started in early September, 1979, performing for the 1979-1980 season. Meanwhile, like most European classical musi-

cians, she kept her eye on the ads in Das Orchester magazine – the Ger-man union publication.

While in the opera orchestra,”We played the same opera for several weeks at a time. I attended and subbed at symphony orchestra rehearsals and concerts at the radio orchestra down the street because they did new things with different guest conductors each week. I made it a point to play for every visiting radio orchestra conductor. I’d simply approach them right after a rehearsal and ask, “Can I play for you? I would really like your feedback.” The conductors were curious about her. Many were downright flattered to have an attractive young female trombone player ask for their advice and replied, “Sure. Why not?” she said. “I usually played right on the stage after the rehearsal.”

Blink! In 1980, Abbie successfully auditioned for theMunich Philharmonic and played there for 13 years. Winning that audition proved to be a double-edged sword, because 11 of those years were shadowed by an ugly court case against “the orchestra’s egregious sexual discrimination practices,”

Abbie said. Malcolm Gladwell documented her experiences in the last chapter of his bestseller Blink. (Further details can be found in You Sound Like a Ladies Orchestra, http://www.osborne-conant.org/ladies.htm).

Battling so much adversary for that much time was eye opening to sexist attitudes in the work-place at best, and fatiguing at worst. Abbie is a very strong woman and ultimately survived her difficulties in Germany. She did not emerge unscathed, but her strength carried the day. In 1992, she won a highly coveted professorship at the State Conservatory of Trossingen in the Black Forest.

“It was a very competitive audition,” she said. “Plus I was playing in the first professional all-woman trombone quartet, Prisma. I had a role in a now classic German film, Die Zweite Heimat. I was soloing with orchestras and do-ing our music theater pieces, etc.” With her husband’s unending support, she stood up to ignorant bias because she had to. “Being a musician is not something you do,” she said. “It’s someone you are.” She felt that the mo-ment she decided to fight was the real moment of victory.

Abby Conant, Part 3 Continued - from page 3 -

“I had always played a Conn 88H,” Abbie said. “I still love them. But then I found out about Gary Green-hoe’s trombones. He’s been a lover of 88H forever, and he studied a lot of old Conns and basically made a Super-Conn. I tried one of those and fell in love with it, so I’ve been playing a Gary Greenhoe custom tuning-in-slide trombone ever since, in addition to my Conn 88H and Conn Alto. The tuning is actually in the hand slide, so there’s no inter-ruption whatsoever.” Gary retired re-cently and isn’t making instruments anymore.

Abbie plays “pretty much every day,” she said. “I have an Alphorn. Very often, I start with that because it is relaxing – pure and uncomplicated. I find it soothing and healing.”

10


Professional Positions: Third horn, Houston Symphony

Hometown: Waterford, Connecticut

Education: Bachelor of Music Degree from the Eastman School of Music, Master of Music Degree from Northwest-ern University

Biggest Influence(s): I am grateful to many people for their musical gifts to me, includ-ing: Thomas Bacon, for teaching me about a singing vocal sound; Julie Landsman, for teaching me the Carmine Caruso method, which

still influences me today, and for being a shining example of warmth of sound and ease of playing; Don Greene, sports psychologist, who taught me the tools with which to perform in spite of nerves; and our former Music Director, Christoph Eschenbach, for teaching me to reach deep in my soul and find meaning in every piece of music.

Most Memorable Musical Moment:

There have been many memorable musical moments in my career, but one that jumps into my mind is the Houston Symphony’s performance of Mahler’s Symphony No. 5 in Vienna in 1996, at the Musikverein with Christoph Eschenbach. The orchestra was of one mind and spir-it. It was such a moving experience to play an incredible piece of music in a hall with so much rich history. Also, I have had many memorable moments performing with incred-ible colleagues at the Grand Teton Music Festival.

Favorite Pieces of Music: It is hard for me to name my favor-

ite pieces of music because there are so many that are meaningful to me. As an orchestral player, my favorites tend to be symphonies that I have played. Often, whatever we are playing at any given time be-comes a favorite. If I had to narrow it down, though, I would say some of my favorites are Prokofiev’s Symphony No. 5, Rachmaninoff’s Symphony No. 2, the symphonies of Brahms, and Mahler’s symphonies.

Greatest Accomplishments: I consider my greatest accomplish-ments to be my kids. Yes, I know this was probably a musical ques-tion, but if I have instilled a sense of honesty, integrity, and imagina-tion in them, then I have accom-plished a lot!

Words of Wisdom (optional): I would say, especially to young players in new situations, keep your ears open and your mouth closed! There is much to learn if you listen and are aware of what is going on around you. And sometimes, the less said, the better!

Spotlight on…Nancy Goodearl

11


Bravo Circle $1000+ *Susan Slaughter

Benefactor’s/Patron’s Circle $200-999*Laurel Bennert-OhlsonBlackburn TrumpetsStephen Chenette*Amy Cherry*Jan DugaJoan Fann*Lin Foulk*Maureen HorganFred Irby IIIAnn JohansonJames King (In honor of the Laurie Frink memorial)Nancy MarronJan Owens*Ginger Turner

Supporter’s Circle $100-199 Kevin CobbRobert CoilDonald DuncanGE FoundationBetty GloverMargaret HamiltonSteven HendricksonDawn & Boyde Hood*Sharon HuffJohn LeipprandtMary NewbauerLeigh PilzerJudith Saxton*Faye-Ellen Silverman*Marie Speziale*Jan Tracy

Donor’s Circle Up to $99Kelsey AnthonMariah AveryAdam BaileyMatthew Barker

Stephanie BeattyCarolyn BeckerBonni BeebeEthel BeisekerHana BeloglavecLaren BernofskyErika BinsleyBlake BirminghamJerry BishopAlexander BlazekAmy BlissMark BorenMary BowdenSarah BraunKevin Joel BroomCynthia BrownDaniel BrownSteven BryantJaclyn BurroughsCarol CaldwellLauraine CarpenterJanell CarterRyan ChenGenevieve ClaksonLinda CookRichard CorbetKatherine CosgroveKatie CoxMark CoxCatherine CreasyBarton CummingsSuzanne D’AmbrosioTiffany DamiconeBenjamin DarneilleHelene DauertyJean DavisKayla DavisBriana DeiblerKaitlin DeReesMary Jo DouglassJessica DucharmeMartina DuperretDeb EastwoodLauren EberhartCristina EscuderoHeather EwerSusan Fleet

Carrie FowlerCraig FreemanStephanie FryeErin FuttererJanine GabouryLisa GalvinSamuel GardnerRachel GasperSusan GessfordSean GreeneBrian GriffinSonja GuthrieRebecca HainesHonami HasegawaChristine HayesMarcus HerndonBetty HilbrantLaurel HinkleCarolyn HowardChris JalilevandGrant JamesonDr. Carly JohnsonKatie JohnsonKristen JohnsonBetsy JonesJean KautzmanSamantha KeehnCasey KellerSean KennedyJunpei KinoshitaLoretto KleykampSheila KlotzElisa KoehlerKatrina KralDebra KuptzDonna KwasinskiSusan LaFeverCarina LamAudrey LampreyAndrew LarsonIsabelle LavoieMonica Leal Jeanie LeeGail LewisCampbell LongworthHannah LorberLaura Elena Perez

LuevanoCharles LukkariErik LundquistEmily LyngholmWilliam Mann*Jennifer MarottaNancy MartiDaniel MattsonKeenan McKirganMarcia MedranoPatrick MelvinRenee MenkhausEileen Meyer RussellStacie MickensCaitlin MiekstynHeather MillerKana MiyashitaElizabeth NataliAnnika NatsewayDenise NelsonTraci NelsonSarah NietupskiMaggie NiroHiroko NishimuraRisa NishimuraCarole NowickeMarilyn O’DonnellAbigail PackT. PelonMarylou PerhacsJessica PerkinsLaura PettigrewJanice PhilippusMichael PostLaura PotterJane and Milt RandSusan ReiglerCarole Dawn ReinhartGretchen RenshawSusan RiderMichelle Rivera*Gail RobertsonRaquel RodriquezVictoria RomanenkoDenise Root PierceAlejandro RosasMichael Ross

Andrea RowlisonDr. Shara SandTodd SchendelLori SchiffMichelle SchleevogtDonna SchneiderMaureen SchneiderAdrienne SchroederCatherine SchuleLeah SchumanLaura Shea-ClarkMathew ShipesRobin SiskPhil & Charlotte SlaughterJanet Carol SmithKimberly SmithDaniel SpencerJonathan StaubSharla StearnKimberly StephansSarah StoutDaniel StullAmanda TataraDebra TaylorLouise TitlowJulia TownerJulia Tsuchiya-Mayhew- in honor of Susan SlaughterErika Tyner GrodrianChristopher Van HofTheresa Van HyningLauren Veronie*Kelly WatkinsErin WehrSharon WeyserMelissa WilliamsKate WohlmanCharles WoodwardRyan WussowYukina YamazakiErin YanacekMarisa Youngs

*Denotes Board Member

Contributors

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

Non-Profit Org.U.S. Postage

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

108 Cheltenham Drive • Normal, IL 61761-2733Return Service Requested

You can now join IWBC online, see Page 1 for details.

Documents

OFFICIAL NEWSLETTER OF THE IWBC · Nancy Goodearl Abbie Conant Hello IWBC members, With the holiday season nearly upon us, brass players are very busy. So is the IWBC! We are moving