'Tips from the Top' - Interview with Demondrae Thurman

On this weeks 'Tips from the Top' we welcome one of my Euphonium Heroes Demondrae Thurman, Professor of Music at Samford University, Demondrae is one of the leading international exponents of the Euphonium.

1.      When did you start to play the euphonium?

 I started playing euphonium at age 12. I had no musical training before then.

2.      What is a typical day/week like for you?

I teach at Samford University where I teach around 10 low brass students per week.  I also conduct the Wind Ensemble which is the top wind group at the school. Lastly, I’m Director of Graduate Studies which is an administrative position. My workday is filled with lessons, classes, and email. I practice a small bit once my two children are settled in bed. There isn’t a moment of my day that isn’t scheduled!

3.      What has been your most interesting/unusual concert performance?

One that comes to mind right away just happened in August. I was a guest artist for the 6^th Annual Gravissimmo Festival in Alcobaca, Portugal. We played a concert in a Wine Museum. It turned out to be amazing venue that had a wonderful acoustic and beautifully lit.

4.      What skills/personal attributes are most important to being a successful Euphonium Player?

I don’t know how to answer question really. I believe strongly that mastery of the instrument (in this case euphonium) is only a vehicle to better express oneself through the music. The music is so much more important than the instrument for me. I invest my intellect, skill, and soul into every piece (especially solo and chamber music).

5.      What personal advice would you offer to the average Euphonium player?

My advice is to continue to develop mastery of the instrument. The repertoire has gotten much harder to obtain in recent years therefore, it is important to study the recordings and performances of our greatest players in order to hear what’s possible. Lastly, do your best to find a voice. Copying a great player is a great start but should not be the goal.

6.      What are your favourite Euphonium Solo’s?

I really like the Ellerby Concerto, the Jan Bach Concerto and Concert Variations, Variations by Jerry Owens, and anything written for me including Soliloquies by John Stevens and the Heritage Concerto by Anthony Barfield.

7.      Tell me about your rehearsal schedule?

I don’t practice as much as I’d like. My practice these days consist of preparing for each upcoming performance. I average under an hour per day. Sometimes it’s two hours this day and none for the next two days! I tend to practice more consistently in the summer months when the demands on my time are less. I use that time to learn new repertoire.

8.      Tell me about your experiences with the Euphonium in the USA?

I’ve been extremely fortunate to play euphonium in every manner possible in our country. I’m fairly active as a recitalist. Outside of that, the Sotto Voce Quartet tours regularly. I’ve also been fortunate to play as a soloist with wind band, brass band, and symphony orchestra. Lastly, I have the good fortune of being one of the top calls for euphonium/valves in the symphony orchestra setting. Most recently, I toured with the New York Philharmonic this past summer.

9.      Who would you say is the one euphonium player who has influence you the most?

Steven Mead has had the most influence on me. In the early 90’s much like today, he was the most prolific soloist on the planet. His flair for the stage and passion for the instrument were contagious. I would be remised if I didn’t give a nod to Brian Bowman who was the first professional that I heard give a solo performance. It was the initial spark for me.

10.   One of my favourite recordings of you is playing the ‘Barfield Concerto’, What is your approach in preparing big solo pieces and concertos?

As I mentioned earlier, I dive into new repertoire during the summer when I have more time to focus. I start with trying to simply execute what I see on the music. After that, I try to get inside the head of the composer to find the true intent of the music. That makes me study the form of the piece, analyse the harmonies (if applicable), and take a holistic view of the piece. After that, I feel as though I can search for and acquire the skills necessary to bring to life my vision of the piece.

11.   What are your 3 top tips for ambitious younger player?

I love music, compete with yourself rather than others, and listen and study performances by non euphonium players.

I would like to pass my thanks onto Demondrae Thurman for such an informative and inspirational chat. I look forward to meeting you in the near future and look forward to experiencing a lesson with you.