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Hitz Academy Blog

A blog about performing music, teaching music and the business of music.

The Incredible Gift I Received from the Late Larry Rachleff

Andrew Hitz

I am deeply saddened to learn of the passing of Larry Rachleff.

I only had the privilege of working him once but that experience had a profound impact on me as a musician and a human and I'd like to share the story.

30 years ago today marked the first day of the final rehearsal cycle for the Boston University Tanglewood Institute's Young Artists Orchestra and it was our first day under the baton of Larry Rachleff.

This was my third summer at Tanglewood but my first in the orchestra (the first two being a part of the Empire Brass Seminar.) The first six weeks had gone really well with rep that included Bruckner 4 and some other heavy hitters. I was full of confidence.

On the final concert was Petrushka and let's just say the rehearsals did not go very well for me. I'm specifically talking about the bear solo. The first crack at it in rehearsal did not go well and it went downhill from there.

This was uncharted territory for me as a tuba player. I had not really faced any adversity in public as a musician and I expected things to go well when there was a tuba in my lap. But the harder I wanted this solo to go well, the worse I did. It was fine in the practice room and then in rehearsal it kept getting worse.

The second to last rehearsal went so poorly that I ate lunch alone afterwards and didn't talk to anyone for like an hour. I was visibly upset and was very much not teachable in that moment. Larry didn't even say a word to me about it. He just kept going.

The dress rehearsal went a little better but still really badly and Larry waited a few bars before stopping for some other reason (I'm sure intentionally to give me and my 17-year-old fear-based ego a wide berth) and then in an almost understated way simply said "Tuba, it's going to be great tomorrow" and then immediately started working on fine-tuning the clarinets.

I sat there in disbelief and thought to myself "What the $@#% have I shown this guy for him to think it's going to be great??!"

Fast forward to the concert with Sam and Chester Schmitz and all of the Empire Brass Seminar tuba students there and you can already see where this is going.

I absolutely *nailed* it. Best I had ever played it - even in the practice room.

The second the solo ended, as my heart was racing at close to 200 bpm, Larry gave me the most subtle nod from the podium that was accompanied with a loving look like "I told you, kid." I will never forget that look.

I give him *100%* of the credit for my success that day. In spite of two weeks worth of evidence to the contrary, I suddenly believed in myself the moment before that solo hit. And it was all because his belief in me, a 17-year-old kid he had just met, was unwavering. He was a magician.

I didn't think about it this way at the time, but after analyzing it, the entire two weeks were a music education master class in my direction:

What to say and what not to say. When to say it and when not to say it. The words. The tone. The empathy. Inspiring the musicians around you to believe in themselves. Giving all of the credit afterwards, even when you played a huge role in what transpired.

He taught me a lesson 30 years ago that you can't buy. That even when you face extreme adversity (which is not a question of if, but when) that if you believe in yourself, you can accomplish anything. And he also taught me that it is possible to help inspire that feeling in others as a music educator.

Larry, you were a gem and you changed my life and affected my career as a musician profoundly.

Thank you. 🙏

Inside the Practice Room with Sergio Carolino

Andrew Hitz

 
 
 

Want to take your practicing to the next level?

What better way to do that than by learning from the best players in the world exactly what they do day in and day out in the practice room.

Don’t miss this opportunity to hear international tuba superstar Sergio Carolino do a deep dive into the practicing routine that made him a legend.

 
 

Use offer code “sergio” to get $10 off for a limited time only!


Here’s an excerpt from Sergio Carolino’s Inside the Practice Room where he demonstrates how he practices extreme dynamics by using scales and arpeggios:

 
 

Topics Sergio Covers:

  • How his approach in the practice room has shifted over the years from tuba technique to musical storytelling

  • Why he programs the pieces he chooses to perform

  • Why the piece of metal is always going to win and how that affects his approach to playing and practicing

  • Demonstrating how he approaches practicing scales and arpeggios

  • Why he doesn’t play exercises (and why he doesn’t use the term either)

  • The two physical things he asks all students to do when playing the tuba

  • Treating the air like a bow playing a string instrument


Use offer code “sergio” to get $10 off for a limited time only!


Quotes from Sergio Carolino’s Inside the Practice Room:

  • “I work mostly on scales and arpeggios. I work on dynamics a lot, like extreme dynamics. I try to go real extreme… it might seem that it's very mechanical, but I try to be always musical. So I try to use scales, arpeggios, all this technical stuff in a musical context that I'm going use in real life.”

 
 

Also Available from Hitz Academy:

Jeff Nelsen of Canadian Brass

Don’t miss this deep dive by Jeff Nelsen of Canadian Brass into his daily practicing routine!

TBJ186: Beth Wiese

Andrew Hitz

This conversation with Dr. Bethany Wiese, Professor of Tuba and Euphonium at Appalachian State University, was incredibly engaging.

We had a deep conversation about things like how applying restrictions to the creative process can actually free you up to be more creative, the value of being “intelligently unpredictable” and separating the output of you as a musician with you as a person.

It’s a wonderful and thought-provoking conversation.

You can watch the episode on YouTube below or head over to Pedal Note Media for all of the links to where to find it.

Enjoy!


TBJ185: Sylvia Alimena

Andrew Hitz

Sylvia Alimena is a gift to the brass world and the music world in general!

As you will hear, she has an incredibly refreshing outlook on performing, teaching and on life.

The work that she does with Brass of Peace will have a ripple effect on the world for many years to come.

I’m so glad we were finally able to make this interview happen!

You can watch the episode on YouTube below or head over to Pedal Note Media for all of the links to where to find it.

Enjoy!


On This Episode of The Brass Junkies:

  • Sylvia’s incredible 29-year run in the National Symphony Orchestra

  • What it was like playing under Rostropovich

  • The energy and passion that was captured in the National Symphony Orchestra recordings under Rostropovich

  • The one-liners that Slava used to deliver in rehearsals

  • A memorable concert of Shostakovich 8 in Orchestra Hall in Chicago where they really went for it

  • The National Symphony’s transition from Rostropovich to Slatkin

  • What she learned as a conductor from Leonard Slatkin

  • Slatkin’s ability to convey everything in rehearsal with his hands rather than his word

  • Rostropovich’s ability to motivate every single person in the orchestra and make them feel loved and how she has tried to bring that to all of her conducting engagements

  • What she saw coming from the podium that she intentionally tried not to emulate herself as a conductor

  • The benefit of an orchestral horn section that isn’t all playing the same brand of horn

  • How Sylvia took over Brass of Peace from its founder

  • Why it’s never too soon to talk to students about artistry

  • Working through a common problem with “Guinea Pig Time”

  • Why she stopped teaching for a while and why she felt a calling to come back to it

  • Why the key of saying no to things is putting yourself and your health first

  • Her need to convey strength and where she thinks that might come from

  • What life was like as a female horn player in an orchestra early in her career

  • How she has seen kids evolve mentally to be more human towards each other than they were 30+ years ago

  • Lance teaching his studio to tango

  • “Hold the torch high”

  • Sylvia’s job as an educator is to give students the skills to differentiate themselves in college

  • The three-step audition process for Brass of Peace and what a typical season looks like

  • How COVID has changed whether some kids are looking to go into music for a career

  • Fractured Atlas and how they help to support Brass of Peace

  • Sylvia visits The Practicing Corner with two really good pieces of advice


An Incredible Quote from Naval Ravikant

Andrew Hitz

The following is an excerpt from TEM253:

Here's this week's quote. Four words and it is powerful. This is from Naval Ravikant and it is:

"Escape competition through authenticity."

That is brilliant. The number of times in my life where I've said this much in only four words is exactly zero.

The only way to escape competition is to not be fungible or interchangeable. And the only way to not be fungible is to be yourself. That's the only thing you've got over the rest of the world and the only thing that I've got over the rest of the world is that I'm me. Double down on whatever it is that makes you, you.

That's what being authentic means.

But keep in mind that as soon as you have the courage to be authentic, people will come for you. There will be downvotes on YouTube and 1-star ratings on Apple Podcasts and replies to your tweets questioning why you had the audacity to think that anyone else needed to hear those thoughts.

This is because people who are authentic and true to themselves and have the courage to actually show that to other people are a direct threat to people who don't have that courage. So know this is coming, but also keep in mind that it is truly the only way to escape competition and to get traction in the music business and in the world in general.

So as Seth Godin likes to say, go make a ruckus.

You can listen to the entire episode below or wherever you listen to podcasts.

TEM254: Monica Ellis of Imani Winds

Andrew Hitz

TEM254

Monica Ellis has been the bassoon player for Imani Winds since founding it 25 years ago and is a creative force in the musical world.

Apple Podcasts
Spotify
SoundCloud

Stitcher

TEM254: Monica Ellis of Imani Winds

Monica Ellis has been the bassoon player for Imani Winds since founding it 25 years ago and is a creative force in the musical world.

On Today's Episode of The Entrepreneurial Musician:

  • The past collaborations between Imani Winds and Boston Brass and how special it was to combine so many seasoned chamber musicians

  • The importance of bringing a point of view when making music

  • The people, the mission and the “badassery” that have enabled Imani Winds to survive and thrive for 25 years when so many other groups don’t make it a fraction of that time

  • How a group having a strong foundation and premise helps things to always be moving forward when adversity arises

  • How each time Imani Winds has brought on a new member they have brought their own authentic selves to the group (and why they always look for strong personalities)

  • Why the backstage relationship is what brings the magic to the stage in a chamber ensemble

  • The enormous amount of opportunities presented to Monica and Imani Winds and how they decide when to say no

  • How Monica is able to be so present in her family’s life while also being so involved with Imani Winds (note this is NOT the how can you be a mother and have a career question!)

  • Why “turning the switch off” is important as a musical entrepreneur since there is always something else still to do

  • How the mission of Imani Winds has evolved over time (and how their mission started by knowing what they didn’t want to do)

  • The musical storytelling that Imani Winds has done over the last 25 years

  • Why no matter how young you are, you don’t need to wait to tell an interesting story

Show notes for all episodes of TEM including topics discussed, links to all books and websites referenced can be found at:

http://www.tem.fm/shownotes

Monday YouTube Fix: Mahler 2 with The Cleveland Orchestra and Leonard Bernstein

Andrew Hitz

I was today years old when I learned that Leonard Bernstein only conducted the Cleveland Orchestra once in his career! At least it was a phenomenal performance…

Here he is conducting them in 1970, filling in for George Szell who was in the hospital.

The story goes that Bernstein went to the hospital to visit Szell and that Mrs. Szell wouldn’t let him in because he was wearing a white leisure suite and told him he looked like an ice cream cone.

This is one of those stories that may not be true but I choose to believe it is because it is awesome!

Enjoy!


The Case for One Person Calling the Shots in a Chamber Group

Andrew Hitz

I have been in chamber groups with one person calling the shots artistically. I’ve also been in chamber groups where everyone had an equal say in what was played and how it was played.

It’s seems to be a common belief that a true artistic democracy is the more desirable of these two models. That everyone putting their vision forward will always end up with a richer artistic product.

But in my experience, each model has benefits.

Jeff Curnow, former member of the legendary Empire Brass and current member of the Philadelphia Orchestra, talks in the clip from TBJ182 below about the benefits of playing in a group where one or two people are calling the shots.

It’s just food for thought if you’re ever considering starting a group.

Artistic democracies are good! But so are groups that are formed to realize the vision of just one or two people!

For episode 182 of The Brass Junkies, come for thoughts on how to set up a chamber group artistically and stay for the Empire Brass road stories. This interview was one of my favorite hours in quite some time.