Welcome to this page that provides some photos and commentary from IEI 2005. Participants comments were only edited for grammar and not content. The articles are mixed in with the phtoos. Enjoy and hope you will visit the IEI 2006 for more information and hopefully to attend!!

Also a HUGE thank you to our Sponsors for IEI 2005: Yamaha, Woodwind and Brasswind, Willson, Georgia Council for the Arts, The National Arts Endowment, the Georgia Brass Band, and Emory University!! To view or download the PDF versionof the IEI Program, Click Here!!

Outside the Alpharetta First United Methodist Church. Our midpoint concert of the IEI, they invited us back for IEI 2006 that same night!!

It is SO great to have so many people that it is hard to see everyone, so here is a close up of the left side and the riger side!!

Now once again the big group photo (with names below):

The IEI 2005 Group Photo:

Seated: Kristin Linn, Chipper Brickey, Kennedy Wells, Thomas Ruedi, Adam Frey, Mark Jenkins, Bryan Schwartz, Grayson Holland, Hannah Fernandez, Robert Pendergast. 1st Row Standing: Maggie Shumanova (pianist), Colin Simms, James Smith, Elliot Woodbury, Karen Mullins, Chris Buckley, Tim Brandl, Pat Stuckemeyer, Brett Keating, Eric Miller, Robert Pendergrass, Jamie Lipton, Donald Bruce, Caryl Conger (pianist). Back Row: Ryan Black, Carl Berdahl, Richard Kesner, Robert Bryant, Mike Vallez, Phil Giampietro, William Kelly, Colton Doll.

Three of the featured staff: Mark Jenkins (US Marine Band), Adam Frey, and Thomas Ruedi.

A return performance at Jazz Nite by Marc Dickman and fine company (the mute appears near the piano).

Review of International Guest Artist Recital of Thomas Rüedi

Written by Mark Carlson – Graduate Student, University of Wisconsin – Madison

Thomas Rüedi kicked off the second IEI with a fantastic recital. Those who came expecting the effortless, effective playing of his CD and those who were previously unfamiliar with his playing left impressed – even astounded. Those familiar with his wonderful CD Elegie were not surprised to find a recital program of transcriptions. How exciting to hear a euphonium program that opens with Handel and follows with Schubert! Rüedi’s warm, singing tone lent a special signature to each piece of his diverse program. He brought much attention to the detail demanded by the delicate phrases, making them sound as if they were originally intended for the euphonium. The fiery Martinu displayed Rüedi’s fondness for variation set warhorses and found him using the euphonium’s many colors in the process. The lovely Granados Madrigal and stark Bloch Prayer showcased Rüedi’s sensitivity and flexibility. The delightful ease with which Thomas plays is mirrored by his droll smile and disarming “let’s have a go” attitude onstage.

His lovely tone and impeccable musicianship aside, this is possibly the most attractive aspect of Thomas’s playing - his dedication to uncovering the nature and form of the music and using all his techniques to relay that story to the listener. This was particularly evident on Kroll’s rollicking Banjo and Fiddle, as he subtly shaped each recurring phrase with great care.

Rüedi and accompanist Carol Conger immediately made clear the teamwork they brought to the task at hand. I was reminded of something I enjoyed in Thomas’s playing when I heard him perform at the Lieksa Brass Week last summer - his control and sensitivity are so great that he often plays delicately enough to slip right into the piano’s texture and dynamic. A truly stunning program and great way to start a week of euphonium playing!

The IEI Experience

Written by Dr. Martin Cochran - Assistant Professor of Music, University of Montevallo

Being a teacher of low brass at the university level and having participated in many excellent tuba and euphonium-related conferences in the past several years, I was unsure what to expect from the International Euphonium Institute. After an amazing week, I can honestly say that my expectations, both musical and non-musical, were greatly exceeded.

The aspect of the IEI that immediately caught my attention was the inclusive atmosphere. Many students and amateurs who attend professional brass conferences and competitions often feel a sense of being “left out,” or may feel too intimidated to approach performing artists. The atmosphere of the IEI is completely the opposite. Every participant is made to feel welcome from the very beginning, and all of the guest artists are very friendly and approachable. The first evening was spent at a “social dinner” which consisted of lots of pizza and some ice-breaker activities which made everyone feel right at home, and also provided some of the funniest moments of the week. Without going into too much detail, some of the discoveries made that night were that I cannot say the alphabet fast (despite having a doctorate degree) and Phil Giampietro is the master of the clean joke (I still think I was robbed on that one).

A great deal of time at the IEI is focused on performance. Regardless of your ability level or musical background, you’d better bring your chops with you, because you will play a LOT, and in a wide variety of musical situations. By the end of the week, I had performed as a soloist with piano, as a member of a quartet, in a 12 member double euphonium choir, in vocal and orchestral master classes, and as a member of a 30 person massed euphonium ensemble. A typical day at the IEI began with a physical warm-up session, followed by chamber ensemble rehearsal, master classes by guest artists, quartet rehearsals, and evening performances and activities ranging from solo and group recitals to outreach performances in the Atlanta area. Participants were placed in quartets according to ability and also divided into college and high school ensembles so that they could be challenged but not intimidated by the level of the music. Performance time at all master classes and solo recitals was split evenly among the participants. Also, the atmosphere at all performances was extremely positive and supportive.

The quality of teaching by all guest artists in master classes was outstanding. Though a wide variety of topics was covered, including orchestral and vocal literature, jazz improvisation, and physical aspects of euphonium performance, the overriding theme was musical communication. A common complaint by euphoniumists worldwide is the lack of awareness (and sometimes lack of respect) that exists about our instrument. The guest artists and instructors at IEI were just that: Artists. This was perhaps most evident in the master class presented by Allen Crowell on performing vocal works. It is always refreshing to hear musical insights and critiques from a non-euphoniumist, since their music-making are not inhibited by the physical boundaries of the instrument. Other classes and topics included everything from warm-up and articulation to sessions on career opportunities for euphoniumists.

This along with the review of Adam Frey’s recital is only a small taste of my IEI experience. I believe that all those who share a love of the euphonium owe Adam Frey a debt of gratitude for his vision and tireless work to promote our instrument worldwide. I strongly encourage everyone, regardless of playing ability, to attend the International Euphonium Institute if you have the means. I’m sure that you will have a fantastic experience. I hope to see you next year in Atlanta!

Quartet Performance - (L to R) Martin Cochran, Ryan Black, Robert Pendergast, Jamie Lipton

The Yamaha Corporation was a significant sponsor of IEI 2005. Pictured are the Yamaha Participants Standing (L-R) Tim Brandl, Carl Berdahl, Karen Mullins, Thomas Ruedi, Mark Carlson, Adam Frey. Kneeling: Eric Miller, Kennedy Wells, Hannah Fernandez, Bryan Schwartz, Colin Simms. (Jamie Lipton left our ranks this year...)

Review of the Artist Recital of Adam Frey

Written by Dr. Martin Cochran - Assistant Professor of Music, University of Montevallo

The focus on communication and artistry was strongly reinforced constantly throughout the week through the world-class performances given by Thomas Rüedi, Mark Jenkins, Adam Frey, and Marc Dickman. When listening to these great performers, you immediately get the sense that you are in the presence of a person who has complete control of the instrument and a strong desire to express their individual musical style to the audience. I cannot express in a brief space how incredible the level of music-making was at every one of these performances. Specifically about Adam Frey’s recital on Monday evening, those of us who have had a chance to hear Adam perform are familiar with his aggressive style, his amazing control and physical ability, and his willingness to take chances. Adam also has been known to program recitals that, from a purely physical stand point, would be ambitious to many professional level players. This recital was no exception.

Since one of the major goals of the IEI is to spread awareness of the euphonium, Adam has had several new works commissioned by world-class composers for the event. Two of these, Derek Bourgeios’ Concert Prelude and Kevin Kaska’s Euphonium Concertino, were featured on Adam’s recital. The Concert Prelude holds true to its title, and is an exciting, fast-paced work with a somewhat playful nature that is perfect for the opening of a recital. I’m sure that this work will quickly become popular among advanced college-level and professional players. Adam played with an exuberant style and flair that matched Bourgeois’ writing perfectly. In contrast to the Bourgeois, Kevin Kaska’s Euphonium Concertino is a monster. Kaska’s experience as a composer of film music is evident throughout the piece. He uses traditional harmonies coupled with sweeping lyrical lines and huge climaxes. The physical demands on the player in terms of endurance and range are extreme, calling for several high F’s and some very difficult technical passages. Adam’s sheer ability and strength were put on display here with a performance that was as musically satisfying as it was physically impressive. The only critical comment I have is that I believe the extreme range of the piece makes it unplayable for all but top-level professionals. Even with Adam’s amazing control in the high range, I felt at times that the tessitura took center stage over the melodic content.

Overall, I felt that the most impressive aspect of the recital was Adam’s musicianship and versatility. In addition to the commissioned works, Adam chose two duets that were very different in style. Francois Glorieux’s Travel Impressions, performed with trombonist Tom Gibson, consisted of four short musical episodes ranging from Spanish influenced dances to New Orleans jazz. Rolf Wilhelm’s Duett Concertino, performed with Atlanta Symphony trumpeter Kevin Lyons, is a more traditional three movement work. Each duet required both players to show a great deal of personality and sensitivity, both of which Adam accomplished with ease. For me, however, the most memorable moment of the recital was the performance of Benjamin Britten’s gorgeous setting of The Last Rose of Summer. Adam performed this simple melody with a level of sensitivity and maturity equal to that of any great musician I have heard, and was one of them most moving performances of the IEI. The final selection was John Hartmann’s traditional Rule Britannia, which Adam performed flawlessly, ending the evening with a bang. The variety of programming coupled with Adam’s incredible physical ability and passionate musicianship made for an incredibly satisfying experience.

Brett and Tim of the fun and enjoyment of IEI!!

The High School IEI Experience

By Tim Brandl – High School Student, Wisconsin

You should have Thomas ever year!! I really liked how the high school, college, adult players, and the teachers were integrated. I feel like I learned a lot about euphonium from these people. I also learned a lot about colleges…where to go, what to prepare for, etc. I think THAT was the best aspect of the week. Age difference was not a problem. We had the ability to talk openly with the instructors like Mark Jenkins and Thomas Rüedi. It was so cool! Thank you for arranging this and I hope to be back next year! – Azmaria.

Another High School IEI Experience

By Hannah Fernandez – High School Student, North Carolina

Thank you so much because this really was the best week I have had musically. It game me a whole new outlook on the euphonium world and I learned so much about improving my playing skills and also how to become more active in my own community. One high point for me was playing with people of all different age ranges. I was able to watch them and see how the college students have gotten to where they are now. The opportunities to grow at this camp were plentiful and we had fun while taking advantage of these. I can not wait to back next year (and bring friends!).

The bus ride back from Alpharetta and Adam's Ice Cream Social. Maybe next year Mike can be the bus captain.

The bus in front of the Ice Cream social...my neighbors were asking questions.

Heading to England from Los Angeles, but I hope to be back next year

Written by Carl Berdahl – Undergraduate - UCLA

IEI 2005 was the best thing I have ever done for my playing. As a euphonium player from California, I have only rarely met and played with serious euphonium players. At IEI, the level of playing was far beyond anything I expected, and playing in quartet and large ensembles with the other partipants was very rejuvenating for my playing. Also, it was a blast to hang out with like-minded musicians and talk about the goals and impediments specific to our instrument.

My favorite aspect of IEI 2005 was the unrelenting focus on musicality. Thomas Ruedi, the guest Swiss euphonium soloist, was one of the most insistent proponents of this specific mentality. He taught us during master classes to treat anything we played with the utmost style and grace. Emphasizing that exercises were no different than any other kind of music, he encouraged us to find and bring out the unique musical character of every phrase. And, quite simply, his playing embodied his teachings, for he continually demonstrated his mastery of everything from beautiful arias to virtuosic showpieces.

Thanks a lot, Adam. I really appreciate all the effort you put into IEI before, during, and after! I will be very bummed if I can't come back for it next summer -- it might be hard if I'm still in England!! But if I can't come next year, I'll definitely be back the year after that.

The Ice Cream Monster...our friend Nathan (son of Karen Mullins).

Mark Jenkins with the red velvet sound and the Velvetone mute!!

Alan Crowell – Arias and Songs - Beautiful music-making made easy!

Written by Mike Vallez – Undergraduate Student – University of Wisconsin-Eau Claire

I’ve always been amazed by world-class musicians that can take one note and use it to make an impression upon our very souls. Alan Crowell is definitely in this group of talented artists. I’ve heard numerous instrumentalists speak of having a complete evenness of sound, etc., but after Dr. Crowell’s master class, the idea was reinforced in me that the key to good music is flexibility in sound, and an appropriate amount of “give and take” in the areas of rubato, dynamics, vibrato, accented “syllables,” etc.

He started the masterclass by speaking about his experiences, and giving us a general idea of what he wanted to accomplish in the 90-minute session. We were then given a special treat by hearing him perform with our wonderful accompanist, Caryl Conger, who was always wonderful to work with and listen to. Then, something crazy happened: He had everyone take out her or his euphonium, and play along with him! It was amazing, having ~30 euphoniums (not forgetting our one tubist, Grayson) play a vocal piece, and then get critiqued by a master. Within minutes we were beautifully singing an aria as a choir of 30!

I’m going to use many quotations, because I thought everything Dr. Crowell and Caryl said was incredibly important!

“Language has accented syllables and unaccented syllables…should you emulate that in your playing? I think so! …Keep in mind the natural even flow of syllables…” Good advice, from a master. He even suggested doing the same thing with pieces that have no words, saying that variety is key. To quote Mr. Ruedi, “There’s nothing more monotonous than monotony!”

“It’s so obvious that when you do a transcription of a song…the main thing you’re lacking is that text—the communication of words themselves! …So what do [we] have to do? [We] have to portray that spirit…so that you grasp the [tone] of the text itself.”

He then spoke about making music within notes: “You have to shape that long note.” If it’s sustained without shape, it’s boring! “Musical phrases don’t go in straight lines…they go in arcs, and curves.”

A great deal of time was also spent on vibrato. “The use of [vibrato], and the width of it, will be determined by the passion of the phrase itself.” Caryl, our resident accompanist, chimed in with: “I think one of the things from the pianist’s standpoint, and from playing a musical phrase….not only does it need vibrato, but it needs a variety of speeds of vibrato, and when you change the speed of the vibrato, it brings us forward in the phrase, and for any kind of chamber music or duo music, [the variety in vibrato] lets we pianists know when you’re going to move and what you’re feeling, and it allows us to feel it with you, and allows your listener to be carried through the phrase.” Basically, variety is key!

From wonderful quotes like “Does this phrase have a story?” to Dr. Crowell’s hilarious improvised lyrics for the opening cadenza in Jim Curnow’s “Rhapsody,” to the whole of IEI playing an aria en masse, the time that Alan Crowell spent with us was amazing. His devotion to the art form he loves and his interest in the euphonium are quite admirable.

As far as a general comment about the IEI, I don’t hesitate one bit in saying that Adam Frey put together a wonderful institute. Socially, there was never a lack of things to do, and there was always something musically challenging every day that kept you on your feet! The chamber groups, massed ensembles, master classes, individual attention, and recitals were thoroughly engaging, and the amount of participation on all levels was exceptionally good.

Overall, the International Euphonium Institute is an event not to miss! The things that happened during that week were so educational and inspirational, that there is no doubt in my mind that it’s the best place for a euphonium player/enthusiast to spend a summer week! (The food at Emory was quite good, too!)

Tom Ruedi in one of his master class sessions.

Thomas and Mark at the Gala Concert with the Georgia Brass Band.

My IEI Experience Year #2

Written by Richard Kesner, Amateur from Boston, Massachusetts

In looking back on IEI 2005, I can honestly say that it was the most extraordinary learning experience of my life. It will take me a full year (at least) to truly incorporate what I learned last June. Three major factors contributed to this remarkable outcome. First, the faculty of IEI were all outstanding and their teaching and playing transformation. Adam Frey, Thomas Rüedi, Mark Jenkins, Mark Dickman, and of course Caryl Conger helped me to grow in my skill on the instrument through provide both direction and insights into my playing. They did all of this with kindness and supportive sensitivity. Second, the playing opportunities were extraordinary - in one week I played in two master classes, two student recitals, and two concerts as well as lots of rehearsals with my quartet, accompanist and various larger euphonium ensembles. I also took three lessons and plan to take that many or more next time. Lastly, the comradeship was wonderful. I have never been thrown together with a nicer more open group of intensely committed musicians....very few were actually wacko!!! (-:

Thanks Adam!!!!!!!!!!!!!!!

Adam conducting the massed ensemble. Wow what a sound!!

The IEI in Total

Ryan Black – Graduate Student – The University of Alabama

From the opinion of a person who has been at the International Euphonium Institute since its start in summer 2004 and with the constant improvements even after a year, it is bound to go from the premiere euphonium camp in the south to the euphonium camp in the nation. This year's activities and events surpassed the IEI 2004 and will continue to do so for years to come. Adam Frey has done a fantastic job of providing such a variety of events and guest artists, that one could not possibly get tired of this virtual 7 day Euphonium Heaven. Besides the various master classes, there were also many opportunities to gain performance experience in a stress-free environment in such ensembles as euphonium choir, quartets, solos and other ensembles in the Emory University Performing Arts Studio as well as at an outreach concert at the Alpharetta First United Methodist Church. The outreach concert provided everyone with an opportunity to bring the performances to the public and participate in a service to the community of Alpharetta, GA. We were very lucky to have something new this year. We performed a New Works recital where all the students premiered new works for the euphonium. What a great time it is to have such a plethora of composers writing for our instrument.

The participants of the IEI 2005 had the chance to enjoy many soloists of different backgrounds in music as well as from the international guest artist Thomas Rüedi from Switzerland. Each guest artist led a warm-up class, a master class and played a recital. There were also guest artists who lead a master class in their specialty, such as Michael Moore's orchestral class, Mark Jenkin's military excerpt class, Dr. Marc Dickman's jazz master class and University of Georgia's director of choral studies Allen Crowell's Arias and Songs class. Besides the specialty master classes, Thomas Rüedi and Adam Frey lead classes such as: "how to practice", phrasing and musicality and an articulation enhanced class. We were treated to the resident composer, Sy Brandon's class about composing. There were also guests such as Kevin Lyons from the Atlanta Symphony, The Georgia Brass Band and Georgia State University's Dr. Tom Gibson playing in the various recitals. You would think that there couldn't be any more than what has been listed, but there was a lot more.

The ensembles were split into a high school ensemble and a college ensemble. The college ensemble was very fortunate to have Georgia State University's Director of Bands, Dr. Robert Ambrose, conducting and to also be premiering a work written specifically for the IEI 2005 from the resident composer Sy Brandon. The high school ensemble played challenging but well known music conducted by several of the IEI's guest artists. The college ensemble was challenged daily with lyrical and technical pieces that motivated all of us to practice.

Of course the IEI wouldn't have gone on without two guests that deserve a great deal of respect, resident pianist Caryl Conger and assistant pianist Magdalena Shumanova. Caryl Conger returned from last year's IEI with a new enthusiasm that motivated us to play our best and to think of the music in a different way. Her skills on the piano were unmatched and provided us with the stability some of us needed or haven't experienced before. New comer Magdalena Shumanova came to her first IEI with a huge amount of excitement, ready to learn and get her first taste of a euphonium fest. Magdalena provided an unwavering sense of musicality and assisted with some of the participant's musical dilemmas. Both accompanists complimented each soloist in a way many have yet to experience and I think I speak for all the participants in saying that we readily look forward to their return to the International Euphonium Institute next year and in future years.

One thing that hasn't been stated is the camaraderie that developed between everyone at the IEI this year and last year. Having high school students, college students, college professors and soloist there, you would think that there would be some separation between each group. No, there was none. Everyone got along well and we created contacts and friends from all over the country that will last a lifetime. From the video game playing in the dorms to the nightly outings at Taco Mac and the Brick House, everyone talked among each other like old friends. There were soloists talking casually to high school students and college students talking to amateurs. Through word of mouth of the high school students and the college students attending the various competitions and conferences around the world, this camp will surely become the one must-go-to event. We have to be able to appreciate the tremendous amount of work and time that go into planning an event this colossal. From all the participants, we want to thank Mr. Adam Frey for providing us this fantastic opportunity to learn and create music in such a nurturing environment and to Emory University for providing us with facilities to work in this year and last year. We look forward to the years to come and to promoting this event as well as the euphonium to the general population. One would think that all this is a mere impossibility, but it CAN happen…only at the International Euphonium Institute.

The Career Panel Discussion provided some great insights especially to our younger participants. Ideas from soloists, arrangers, pianists, retail, freelance performers, and university professors.

Ryan Black (staff assistant) and Maggie Shumanova (staff pianist)

And the IEI funny photo. Can you guys think of something funny they should do for next year (nice shoes Donald. I did not photoshop that shine).

The Next Mission of the IEI - SPREAD THE WORD!!

By Adam Frey

We learned a lot during this week and are making plans to further enhance the IEI for the future. Participant feedback was great and we plan to incorporate many of their ideas because this camp focuses on the needs of the participants. The one thing that makes me proud revolves around the massive steps forward people made IN JUST ONE WEEK, especially over problems/issues they had been working on regularly. And of course we do not know about all the other triumphs that occurred that are not written about in this limited space. I am sure every person had quite a number, including myself.

Just to get your mouths watering, interest piqued, and marking dates on your calendars, start saving and look for these future IEI opportunities: we have confirmed Tormod Flaten from Norway as our International Artist and will be updating information regularly. The dates will be June 11-17, 2006!! Make plans to attend.

Share the joy of the euphonium with your friends, students, and audience members.

Join us in Atlanta in June 2006. Visit the webpage for IEI 2006 here.

Adam Frey

Euphonium Soloist

Director, The International Euphonium Institute