Why have a conference for women brass players?
Cynthia Brown went to St. Louis last May to find out. She attended the International Women's Brass Conference in her role as representative of Robert King Music Sales, so much of her time was spent in the exhibit area. Even so, she came away with great enthusiasm for the experience.
With over ninety percent of both participants and clinicians women, their interests, goals, and ideas were paramount. They had a chance to express themselves, and they did so from the heart, in a way they certainly would not have in a male-dominated environment. Performances covered a wide spectrum of styles (jazz, classical, contemporary) and group combinations. Comments from listeners included, "I didn't know women were so talented," and "I'm astounded to see how much these women are involved in music."
The conference allowed women to choose the materials and to emphasize what women do in brass playing. In addition to sessions on performance, breathing, orthodontics, etc. there was a discussion on pregnancy led by women who had gone through it while pursuing their playing careers.
The recounting of history -- through formal tributes to "Pioneers" at a banquet and through informal discussions -- was inspirational and eye-opening to the younger women and affirming to the pioneers. Most pioneers were so focused on the music that they hadn't gotten involved in politics. They loved what they were doing, but were usually in the background, not getting much recognition, as the establishment was run by men. Talking about their experiences made their eyes light up.
Cynthia has her own story to tell about playing in the Boston Women's Symphony in 1964. The musicians were all women, union members, conducted by Reuben Gregorian (Boston Conservatory). Mostly they were promised pay but didn't receive it, and one concert at Symphony Hall was held up because many of the musicians refused to go on until they were paid something. The manager was eventually black-balled from the union.
Cynthia's observation from attending many horn workshops is that there is greater parity for women horn players than for the other brass. She imagines that the IWBC must have had a greater impact on those other brass players, but even for herself, she was "glad it happened; it was good on all levels."
Cynthia teaches brass in the Westwood Public Schools and plays in the Cape Cod and Plymouth Symphonies. She studied with Paul Keaney and Willem Valkenier at NEC and did graduate study at Peabody while working on repairs at Lawson's. She has also played with the Boris Goldovsky Opera Theatre on tour.
IWBC web site