CHICAGO MUSICAL PATHWAYS INITIATIVE - Key Persons
CMPI Violin Fellow Aiden Daniels calls her work, "folk-inspired but classically trained." Her writing is unique in its combination of traditional African-American spirituals and folk music with modernism, with a special talent for compelling orchestration, lyricism, and richness. Some of her works have titles referencing the Black experience in the South, while others use the melody and rhythms of spirituals and other traditional pieces. Her writing is accessible through its thoroughly American use of melody, but with greater harmonic exploration, rhythmic adventurousness, and a progressively more modern aesthetic.
Amanda Perez is a violist who has dedicated herself to intensive study and seeking opportunities to grow whenever possible. A junior at Northern Illinois University, Amanda graduated from CMPI after the program's first year of work. She was introduced to her collegiate professor Anthony Devroye through a CMPI teaching placement, and after taking occasional lessons with Professor Devroye through high school, decided to join his studio for her undergraduate work.
Amanda's love for classical music has only grown during her studies. She notes her favorite composers of the moment are Shostakovich, especially his second piano concerto, and Hindemith for the repertoire he offered to violists. Amanda has presented two solo recitals thus far in her undergraduate career, neither of which were required, but instead organized by her and her professor because of the amount of repertoire she has been able to learn at a quick pace. She was happy to share that her sophomore year recital featured a program of works by composers of underrepresented backgrounds, highlighting a mission along with her performance.
Along with her successes and goals in classical music, Amanda exhibited her vulnerability regarding the hard work of being a classical performance major in college. She shared that she expected a performance major to include lots of performance and practice, which of course take up much of her time. But, the academic classes such as Aural Skills and Music Theory have required much more studying and preparation than she would have originally imagined. Time management and organization have been essential to her time at school. Amanda is an outstanding student and musician in that she keeps a detailed spreadsheet organizing her time for practice, study, and socializing. She also notes the importance of boundary setting saying, "I make a point of being done with everything at 6pm, so I can have dinner and social time before heading back to my room and having downtime to prepare for the next day."
When asked what advice she would give to current CMPI students, Amanda said simply and directly, "Listen to Adrienne!" She emphasized the experience and knowledge of the CMPI team and strongly advises current students to take the guidance that is shared through CMPI.
Amanda is a prepared and thoughtful musician who is working hard at her undergraduate studies. She is full of gratitude and shared that one of her best friends at school is actually another CMPI alumna, Elianna Nielsen! Amanda's energy is contagious, and we look forward to seeing where her studies take her as she begins preparations for graduate level programs and auditions to come next spring.
Price's output is quite large, and includes four symphonies, two violin concertos, a piano concerto, two string quartets and piano quintets, and numerous vocal, piano, and organ works. Much of her output was nearly lost, found only in 2009 in a run-down house she had used as a summer home. Nearly lost were both her violin concertos and her Fourth Symphony, among other works.
Florence Price is a composer whose works surely need to be played more often. Please enjoy this virtual performance of the final movement of her First Symphony by Chicago Youth Symphony Orchestra, which includes a number of current and former CMPI students.
Sharpe joined TDP at age 10. "From then on, I had everything I needed," she recalled. "I had private lesson support. I could attend Atlanta Symphony Orchestra concerts whenever I wanted. I received support that helped me attend summer camps like Meadowmount, Brevard, and Tanglewood. That's where I really fell in love, because I met other students from around the world who were serious about music."
Robyn's solo work includes a performance at Michigan State University's MLK tribute concert and as a featured soloist on New England Conservatory's Contemporary Ensemble concert. Her awards extend internationally, as she was the winner of the 2018 International Trombone Association's Marsteller Solo Competition. Robyn is an advocate for the dismantling of oppressive structures that contribute to the lack of black and brown faces within high art forms.
Robyn is a mentor with CMPI. She continues to feel fulfilled being a mentor and wants to give back to CMPI through her supportive role with our CMPI fellows. In my conversation with Robyn, here is how it went:
Simón Gómez Gallego is one such example. A percussionist, timpanist, and educator, Simón lives his passion for music and community with students in CMPI and other music organizations who share similar values. Most recently accepting the role of Percussion Ensemble conductor with the Chicago Youth Symphony Orchestras, he also teaches at the Percussion Scholarship Program of the Chicago Symphony Orchestra (CSO), the Chicago Academy for the Arts, and the People's Music School. "They are very demanding and expect excellence, and they have a diverse set of alumni and students," Simón noted, highlighting the similar drive toward hard work and dedication that he sees in the students who are part of these organizations.
The recommendation of colleagues brought Simón to CMPI. His first assignment as a mentor reconnected him with one of his students that he met while he was working in an El Sistema program. "This particular student showed a lot of promise when I was first working with him," Simón recalled, "so I encouraged him to apply to the Percussion Scholarship Program of the CSO, which is a program that partners with CMPI. Unsurprisingly, the student was accepted in the program and has done very well. It is very special to be in touch with him and through my role at CMPI, as I can be there to support him along his musical journey."
A graduate of DePaul University and the University of Miami, the story of Simón's music journey started in Colombia. "I grew up in Medellin, Colombia, and I was lucky to join a small, but very special performing arts school, the Instituto Musical Diego Echavarria, at an early age," Simón shared. "Even though my parents were not musicians, they were architects who appreciated the art form. They quickly realized the benefits of having a good music education, so they encouraged me to develop as a musician. Even though I was exposed to music very early on, it was not until my later days in high school when I started really considering going into it and taking it more seriously since I had a competing passion in tennis at the time. During my senior year of high school, I came to the United States to visit a relative for vacation. It was during that trip that I suddenly thought of the possibility of coming to the United States for college. I was very impressed with the music school and the campus at the University of Miami, and I decided then that I wanted to see if I could get into that impressive and fancy school. It was not until my second try applying to the school that I got a good scholarship that allowed me to come to the US and pursue a career in music."
Simón's musical accomplishments began from an openness to possibilities, and the necessary perseverance and hard work to accomplish his goal, highlighting a connection with the aim of CMPI. "I really connect with CMPI's mission because music has clearly opened wonderful doors and opportunities for myself. I think CMPI is doing some great things by illuminating the pathways young musicians can take. The support they are providing is crucial in the effort to offer opportunities for musicians from underrepresented backgrounds."
As an educator, Simón points to some of his own teachers as inspirations for the kind of teacher and mentor he continues to become. "I have been very lucky to have had not one but a few wonderful teachers and mentors throughout my studies and career. One of them was a teacher that I had during my master's degree. He was very demanding yet also encouraging, and he had this ability of giving me confidence when I needed it. I not only learned from him in our lessons but also from observing his professionalism. He had a full-time orchestra job but he would always show up to teach prepared, well dressed, and with enthusiasm and high energy. He truly inspired me to have more determination towards pursuing my dreams. Those values of discipline, professionalism and confidence are some values that I aim to instill in my students, whether they end up pursuing a career in music or not."
Simón reiterates that relationships with teachers or mentors, and learning to become a better musician, do not end after graduation. "To this day, I still have mentors and teachers who I play for and learn from. Even though I am out of school and have some performing jobs, I still check in with my last most influential timpani teacher every now and then. Music is this wonderful career in which we are constantly learning, and having mentors along the way certainly helps have a fulfilling career."
Having benefited from the example of excellent teachers has inspired Simón's own style and love of teaching. "I love teaching because I love seeing people grow and seeing what they can achieve. In particular, I like working with CMPI students because they tend to be motivated, and when motivation meets hard work, special results ensue."
Love of hard work and perpetual learning, Simón believes, are things that are essential in a musician's life. "Aspiring musicians really must love the process of getting better. Practicing is not always fun, but I do love working hard at something and seeing the improvements later on. Whether it's a hard musical passage or a specific technique in one of the instruments I play. Aspiring musicians and professional musicians will most likely have periods of time in which they don't win competitions or auditions, but they must persevere if they want to reach their full potential. It is during those moments when loving the process of improvement will pay dividends in a musician's career, keeping them going."
Simón ended our recent interview with these wise words of advice derived from his own journey: "A musician's career can have many shapes. It would have been hard to imagine when I was 18 what my career would look like right now. I maintain a busy schedule performing with orchestras, chamber music, and teaching wonderful young students. My career is very diverse and fulfilling. There is no one path to follow. I encourage young, aspiring musicians to keep an open mind and to enjoy the process!"
Simón Gómez Gallego head shot, Simón with CMPI fellow Wanye Williams at the El Sistema program, and Simón with students and teachers at The People's Music School. All photos by Todd Rosenberg.
Vincent Rosse was the guest conductor of Gooden's District Honor Band in sixth grade. He was also Gooden's first exposure to an African American conductor. "I remember him very well because of being able to relate to him. I felt connected seeing someone who looked like me up [on the podium]," Gooden recalled. "I was one of the few black students in a sea of white faces. Mr. Rosse was the first director who really noticed me and took the time to talk to me."
While working with Mr. Rosse was an inspirational moment for Gooden, he never lacked motivation as a young musician. "I got into playing clarinet in fifth grade," he recounted. "Everybody wanted to be in band, and there was a cute girl who signed up to play clarinet, so I chose the clarinet so I could sit near her."
Gooden found the instrument challenging at first. "I was a small kid and my fingers didn't fully cover the holes, so I would squeak all the time. My parents signed up for private lessons at the local music store with a guy named Kevin Tant, who started working with me on the fingering chart at the back of the clarinet book. I was so impressed with how much I learned in one lesson, so I started practicing," he recalled.
Gooden continued to work hard, and was never one to be discouraged by a temporary setback. "My band director encouraged me to audition for All State and District Honor Band. I practiced hard for the audition and thought that I sounded just awesome," Gooden laughed. "Clarinetists needed to score an 85 on the audition to pass the first round, and I got a 61. I practiced harder for the next audition and got an 84.5. The next year, I passed the audition with flying colors, got first chair in District Honor Band and earned a spot in All State."
It was during the District Honor Band weekend that Gooden first met Vincent Rosse. He was also inspired by his high school band director, Kenneth Beard, whose career has served as a model for Gooden. "[Mr. Beard] drew on his strong background as a performer in his teaching, which is something I bring to my students as well. I coach students on how to produce sounds, and they naturally gravitate to sounds that are pleasant and rewarding. I believe that knowing how to make a bad sound can be as educational as knowing how to make a good sound. Starting that exploratory process younger, I believe students have more artistic freedom and don't feel ‘stuck' later. They don't feel confined in a box," Gooden explained.
As a CMPI mentor, Gooden brings tremendous energy, determination, and positivity to his work. It's not accidental. "I teach students that their mentality influences their playing. Mentality is one of the most important things I teach - making sure students know how to overcome barriers, which develops their confidence," he explained. "I don't want students to be afraid to play in front of people. I want musicians focusing artistically on what details they need to communicate to the audience through a phrase instead of thinking that people only care about the mistakes they make."
As a teacher, mentor and role model, Gooden is very cognizant of the way his influence can ripple through generations of music students. He spoke proudly about bringing one of his clarinet students to see the CYSO Symphony Orchestra's recent concerts, where the concerto soloist and 3/5 of the clarinet section were students of his. "It feels very rewarding to be a Vincent Rosse or a Kenneth Beard in the music education world," he stated. "There have been a lot of students in my 18 years of teaching who share great joy and appreciation for what they do, which keeps me going now, knowing that they can continue to inspire the generation after them. That's the cycle that I'm trying to promote."