M E L A

S A R A J A N E

D A I L E Y

&

M A E S T R O

P E T E R

B A Y

A u s t i n s

C r e a t i v e

P o w e r

C o u p l e

A u s t i n , T e x a s

T h e M u s i c & M e d i c i n e C a p i t a l o f t h e W o r l d

W i n t e r

2 0 1 4 / 1 5

I N S I D E

M e l a S a r a j a n e D a i l e y

T o n y M o r r i s

D r . M i c h e l l e S c h u m a n n

T e r r i H e n d r i x

D r . R o b e r t R a d m e r

A m y L e v i n e - T s a n g

B i o n T s a n g

H e a l i n g O u r H e r o e s P r o j e c t

S t . D a v i d s C h u r c h

M u s i c , M e d i c i n e & P h i l a n t h r o p y

C e n t r a l T e x a s

Dear Friends of Music, Medicine & Philanthropy

Welcome to the second edition of Music, Medicine &

Philanthropy Central Texas. Our publication is dedi-

cated to highlighting the talents and work of the great

musicians, health-related nonprofits, philanthropic

minded corporations & individuals and the multitalented

health professionals who do so much for our community.

How We Came About. During one of my dozen or so

week-long trips to M.D. Anderson Medical Center in

Houston, Texas where my daughter Melenie was under-

going cancer treatment, I learned about the Texas Medi-

cal Orchestra. Upon returning home to Austin I launched a Medical Orchestra with

my colleague Dr. Robert Radmer.

Our launch of the Central Texas Medical Orchestra last Fall was a great success.

As a follow-up (and since my wife doesnt like me hanging around the house), this

summer I decided to launch Music, Medicine & Philanthropy Central Texas.

Once again, please excuse my clumsy attempt at this publication since I really had

no idea what I was getting into when I started this project and still havent been able

to find someone with talent in this field who will take it on as a Labor of Love.

As you can see in the box to the left, future editions will be handled by professionals

who really do know what they are doing.

For those of you who give back to our community through your talents both in music

and medicine, THANKS from all of us whose lives and families are made whole by

the work you do!

Walter Laich, Publisher

PS. My daughter got the all clear in February, 2011 and has been

Cancer free since then

M U S I C , M E D I C I N E &

P H I L A N T H R O P Y S T A F F

Publisher

Walter Laich

ewlaich@gmail.com

Editor To Be Hired

Staff Photographer To Be Hired

Freelance Writers To Be Hired

Account Manager To Be Hired

C O M M U N I T Y A D V I S O R S

Classical Music To Be Announced

Pop Music To Be Announced

Medicine To Be Announced

Philanthropy To Be Announced

M E L A

S A R A J A N E

D A I L E Y

&

M A E S T R O

P E T E R

B A Y

A u s t i n s C r e a t i v e P o w e r C o u p l e

A u s t i n , T e x a s

T h e M u s i c & M e d i c i n e C a p i t a l o f t h e W o r l d

F a l l

2 0 1 4

M u s i c , M e d i c i n e & P h i l a n t h r o p y

C e n t r a l T e x a s

Photo by Bette Mayfield

M M & P C T

C L A S S I C A L A R T I S T S

07 Mela Sarajane Dailey

36 Amy & Bion Tsang

P O P A R T I S T S

52 Terri Hendrix

H E A L T H - R E L A T E D N O N P R O F I T S

17 Healing Our Heroes Project

M E D I C A L O R C H E S T R A S P O T L I G H T

43 Dr. Robert Radmer, Conductor

Central Texas Medical Orchestra

C O R P O R A T E & B U S I N E S S P H I L A N T H O P Y

25 Fletch Wiley

M A K I N G A D I F F E R E N C E

27 Dr. Michelle Schumann, Director

Austin Chamber Music Center

61 Tony Morris, Producer /Host

Classical Guitar Alive

P H I L A N T H R O P Y I N A U S T I N

68 St. David's Episcopal Church

SEPTEMBER 20, 2014 NOVEMBER 22, 2014 FEBRUARY 7, 2015 MAY 2, 2015

A N D R E W S O R D S

V I O L I N

A M Y & B I O N T S A N G

C E L L O

R O M A N Y E A R I A N

V I O L I N

K Y O U N G - J O O S U N G

V I O L I N

T E R R I H E N D R I X &

L L O Y D M A I N E S

C H R I S T I N E A L B E R T &

C H R I S G A G E

M E L A S A R A J A N E D A I L E Y & J E F F R E Y J O N E S - R A G O N A

M E L A & J E F F R E Y W I L L P E R F O R M I N B O T H C O N C E R T S !

B E N E F I T I N G

F i r s t B a p t i s t C h u r c h

9 0 1 T r i n i t y

E P I S C O P AL C H U R C H 1 5 0 0 C AP T I AL O F T E

A U T I N , T X 7 8 7 4 6

T B A T B A

2 0 1 4 / 1 5 C O N C E R T S E A S O N

D R . R O B E R T R A D M E R , C O N D U C T O R

2 0 1 4 / 1 5 N O N P R O F I T B E N E F I C I A I R E S

P e o p l e s C o m m u n i t y C l i n i c . PCC's mission is to im-

prove the health of medically underserved and uninsured Central Texans by

providing high quality, affordable healthcare with dignity and respect.

H e a l i n g O u r H e r o e s P r o j e c t . HOHP mission is to

honor and support our military families from all eras and all branches.

S a f e P l a c e . SafePlace is ending sexual and domestic violence

through safety, healing, prevention and social change.

S w a n S o n g s . Swan Songs fulfills musical wishes at the end of life

by organizing private concerts for individuals with a terminal illness.

C e n t r a l Te x a s M e d i c a l O r c h e s t r a

P o s t C o n c e r t R e c e p t i o n

Following each concert guests mingle with the artists and orchestra members

while being serenaded by one of Austins finest youth ensembles during a buffet reception.

Pictured is a post concert reception in the foyer of LifeAustin Church. 6

Photo by Libby Bryer

MM&P. I want to hear about your role as Artistic Di-

rector of Life in the City, but first I would like to know

more about you as an Artist and then talk about

some of the other roles in your life. Lets start with

your career progression. Tell us about your career

path as you travelled to this point in your profession.

MSD. My career path to this point has taken very un-

expected and different turns. I'm drawn to many dif-

ferent styles and genres of music, and I have never

been one to believe that there was only one genre

that was better than another. So I feel the message

of music can be delivered through many different

forms, and from the beginning of of my career at 15,

Ive been interested in gospel music, jazz, and R&B.

It wasnt until college when I was offered a scholars-

hip to study opera that I really fell in love with classi-

cal music. I love the art form and the craftsmanship

and discipline that it takes to raise your voice and

your art to an Olympic level.

So Ive moved around in a million different ways

going back and forth - sometimes in the same

concert - from broadway to pop to classical to opera;

for me that is very fulfilling. One of my teachers once

said there are people who master certain art forms,

but he said that Im a master of variety. I dont know

if that makes me a master but I truly enjoy a varied

experience.

Mela Sarajane Dailey

Artistic Director

Life in the City

M e l a S a r a j a n e

D a i l e y

S o p r a n o

7

M e l a S a r a j a n e D a i l e y

C o n t d .

Over the course of my career I sang back up for country singers, was a

demo singer, sang in different churches all over, and then performed in

Carnegie Hall and as a soloist with opera companies and symphonies.

None of these experiences felt better or more important than the other

performing experiences I've had. I've always just been interested in the

story telling and with collaborating with people who I really admired per-

sonally and professionally.

MM&P. Speaking of travelling I see youve been in performances in

countries around the world. Would you share with us one or two experi-

ences that stand out and what makes them so special to you?

MSD. One of the performances that really stands out was with the Carin-

thian Symphony in southern Austria. I was on a concert called

Hollywood Classics where I sang songs from movies, and I got to per-

form in the manner of Marilyn Monroe and Judy Garland. It was such a

fun event. Outside the hall they actually had a red carpet and search

lights. I had hair and make up stylists which was a girls dream! You

wouldnt expect such a place to be so over the moon about American film

music, so that made it particularly special.

MM&P. In addition to your role as soloist with choirs such as Conspirare

you also perform in musicals and operas.

Regarding musicals and operas what was, or is, your favorite role and

your most challenging role? What about these roles made them your fa-

vorite or most challenging?

MSD. The most challenging performance I've had was in he Verdi Req-

uiem. I love and adore that piece of music I think its his very best opera

without being one. I find it difficult and challenging because there is so

much emotional content there. Verdis writing is so rich and expressive

but requires the soprano in particular to perform some pretty athletic

feats which one has to make sound easy. Just like in "La Traviata" where

Verdi writes for three different types of soprano within the one role of Vio-

letta, you are asked in the Requiem to do much the same. You must be

ethereal, so transparent, and angelic in some movements especially to-

wards the end, but you also have to be fully dramatic in a vocal range

which requires some very low notes and very present high cs. Its a feat

to be able to pull this off but also so rewarding and worth every bit of time

and energy that any soloist puts into it.

Mela, Peter & Colin

out on the Town

MM&P. Since our publication focuses

on Music & Medicine has there ever

been a time where the medical profes-

sion played a significant role in your

life or the life of a loved one?

MSD. Medicine has played and con-

tinues to play a significant role in my

life and my familys life. When my

son was 14 months old I suffered a

series of several neurological at-

tacks and for about a year I strug-

gled to identify a clear diagnosis

which was MS. It has been some-

thing that I am always aware of whe-

ther its what Im going to eat or how

Im going to take care of my body or

how much sleep Im going to get. I'm

fortunate to have spent the last five

years of my life appearing and fee-

ling like someone who doesn't have

MS. I have an incredible team to

manage my symptoms and I can still

live a happy, very fulfilling and vi-

brant life.

P i c n i c k i n g o n t h e l a w n o f A u d i t o r i u m

M e l a a n d f r i e n d s

P h o t o b y

X x x x x x x x x

That wouldnt be the case if not for

the tremendous help. I do believe

its been a mind/body/spirit continuai

healing for me.

I dont know that I will ever be healed

from MS but I know that it cannot be

the main focus of my life. I believe

there are very gifted people in the

healing arts that with cooperation

can make life better for people like

me who have the challenge of an

auto-immune disease

M E L A

S A R A J A N E

D A I L E Y

S O P R A N O

J E F F R E Y

J O N E S -

R A G O N A

T E N O R

CCC E N T R A LE N T R A LE N T R A L TTT E X A SE X A SE X A S MMM E D I C A LE D I C A LE D I C A L OOO R C H E S T R AR C H E S T R AR C H E S T R A B E N E F I T C O N C E R T

F O R

S A F E P L A C E

F E B R U A R Y 7 , 2 0 1 5

F E A T U R I N G

MM&P. Tell us about Mela as instructor at the

University of Texas. What courses do you teach

and what has been your experience as an in-

structor?

MSD. I'm enjoying my new role as a voice

teacher for the musical theater division in the

Department of Theater and Dance at UT. I have

14 students and we really dive into how they

can become the most efficient and effective

communicators.

I come from the school that great singing

comes from being consistent and being able to

genuinely communicate. Many things can get

in the way of that, so we really focus on elimi-

nating any muscle captivity from the phonating

or singing process. I love their enthusiasm, and

since many of them have not studied voice be-

fore this is a chance for them to be successful

on their own and to turn their singing into a real

craft.

M e l a

S a r a j a n e

D a i l e y

C o n t d .

MM&P. In addition to your Ar-

tistic career youre also Artistic

Director for Life in the City.

Tell us about Life in the City,

how it came about, what it

does, who you serve and your

professional role with this or-

ganization?

MSD. One of the biggest joys

and passions of my life has

been to be the Artistic Director

of Life in the City, a United

Methodist Church which is

really progressive, involves all

aspects of the arts,welcomes

creativity and critical think-

ing,and a whole mind/ body/ spirit approach to

your spiritual life. Its been evolving since 2012.

It started out at First United Methodist once a

month as one of their services in the evening

and has grown to the point where it is now its

own United Methodist Church with an incredible

pastor, Valerie Sansing, which meets at

11:00am at the Long Center in Rollins Theater.

We are so fortunate to have this great commu-

nity of actors, singers, dancers and instrumen-

talists,and I feel like this position gives me a

chance to use all of my training to do something

much more important than to entertain but to

use the arts to heal and inspire and to move

through all kinds of life situations like moving

through grief.

Moving through any sort of difficulty that I feel

that we as a community can do together means

no one has to be alone. I was really drawn to

this because its not a church not based on ru-

les of whos in and whos out of this club but

really based on relationships and meeting peo-

ple where they are in the present moment. Life

in the City is a great beacon of hope for me and

my family and is a great source of community

and friendship that Im able to have with 120

people and growing. In one service we could do

Make Our Garden Grow from Bernstein's

"Candide, sing a Sting song, a Katy Perry

song,and sing a traditional hymn all in one

worship service.

MM&P. Has any past instructor in your life influenced the way you teach? What made these individuals so special and how do you incorporate what youve learned from them in your instruction to your students?

MSD. I've been so fortunate to have been

able to work with the best conductors in-

cluding my husband conductor Peter Bay,

and my dear friends Bob Bernhardt and

Craig Hella Johnson who have helped to

shape me as a musician. Even just

spending time with that caliber of musician

has informed my musical study and proc-

ess.

I've also been extremely lucky to have

worked with some of the best vocal techni-

cians including Martha Deathrage at the

University of Texas, Robert White at Juil-

liard, and most intensely with Dale Dietert

at Southern Methodist University. Each

have helped me in different ways both mu-

sically and technically.

I still take my most challenging pieces to

Dale and within the span of an hour we

can work through an entire opera. He is a

particularly gifted communicator and has a

tremendous ear. The best a vocalist can

hope to accomplish is to know how to get

out of their own way in order to access the

best and most free sound.

I couldn't be more grateful for the thought-

ful guidance I've received which makes

my singing experience consistently free

and dependable.

M E L A S A R A J A N E D A I L E Y

P E R F O R M I N G

H A N D E L S S E M E L E

MM&P. Artist, Teacher, Artistic Director, wife and

Mother -- quite a few roles and demands on your

time. Do you ever feel overwhelmed and how do you

manage to successfully accomplish and balance all

these roles? Is there ever any time just for Mela?

MSD. With all of my roles, each of which is very im-

portant to me, especially that of wife and mother,

there are lots of demands on my time. But Im grate-

ful for those demands. Im grateful for the opportuni-

ties -to be an artistic director, an artist,and a teacher.

Even with having a beautiful family that I treasure so

much, there are times when I feel overwhelmed.

My best way to try to work through those feelings has

been to be honest with myself and recognize when

I'm starting to feel overwhelmed. I acknowledge that

I'm not capable of doing x, y, or z at this very moment

so I must make different choices and have some flexi-

bility on what I'm able to do.

I also try not to over-schedule, but make time for me-

ditation. I do have time to turn off all technology to

just be in the world and really appreciate each place

whether thats spending time with Life in the City, ap-

preciating my time with my son or with my husband,

appreciating my study in whatever performance Im

working on. That has been a great gift for me to just

acknowledge and be in the present moment. It also

helps to have a great therapist. It's another great

component to mental and spiritual health to have a

professional who is able to help me navigate what Im

feeling and how can I work through this in the best

possible way.

Mela Sarajane Dailey

& Scott Kluksdahl

MSD. Im really excited about all aspects of my

life and what the future holds for personal and

professional growth. Im excited to see how

Life in the City can make a difference in this

city and how it can make a difference for peo-

ple who are struggling with mental illness,

with addiction, with depression and anxiety.

Our focus is to try to heal the mind, the body,

and the spirit.

So seeing how art can play a role in that, how

we can bring joy and art to kids and teens and

equip them to be the future leaders who ac-

knowledge art as a part of how we connect to

one another, how we develop our own person

and soul and how we can express all the depth

that is inside each of us - these are our goals.

Im so honored and excited to be part of all of

this. Im excited to see what I can do to be a

better performer, to become a better communi-

cator and medium for whatever composer is

trying to say.

I'm excited for all these opportunities and I look

forward to each new and different avenue I

travel.

M E L A S A R A J A N E D A I L E Y

W I T H J A M E S L A R T H &

H E AT H R I D D L E S

MM&P. One final

question. Tell us about

your vision for the future

in all of your

various roles?

DID YOU

KNOW?

Studies have

shown that

Music Majors

have the highest

acceptance rate

to Medical

School of any

College

Major!

Think about it!

Photo by Leslie Knowlin

Multiple sclerosis and the MS movement

everyone engaged in addressing the chal-

lenges of MS today while moving toward

long-term solutions for tomorrow become

better known each year.

BUT MORE MUST BE DONE. Every connection

counts when it comes to increasing aware-

ness and support of our cause. Every indi-

vidual we connect with personally, every

letter we write to an elected official, every

person in our Facebook network, every

poster we put up, every dollar we raise,

every video viewed each connection has

the opportunity to change the world for

people affected by MS.

A W A R E N E S S E V E R Y C O N N E C T I O N C O U N T S

LaTronda

Humphries

CEO

17

H e a l i n g O u r

H e r o e s P r o j e c t

LaTronda Humphries is the Founder & CEO of

Healing Our Heroes Project (HOHP). HOHP is a

nonprofit organization that facilitates 5day/4night

therapeutic recreational retreats for military families.

LaTronda is the wife of 17 years to a disabled vet-

eran and she knows firsthand what it takes for mili-

tary marriages and families to succeed. She has a

true passion for marriages, especially those of our

nations heroes.

LaTronda has a dual masters degree in Marriage

and Family Therapy as well as Counseling and is

currently pursuing her Doctoral degree with a spe-

cialization in military families and culture.

Healing Our Heroes Projects concept was birthed

after LaTrondas family attended a Project Sanctu-

ary recreational retreat in Colorado. LaTronda be-

lieves that if HOHP can get the family reconnected

as a unit, then they can understand that their

strength lies within their family bond. That strength

alone will help them cope with another deployment,

illnesses, unemployment, or long VA waits.

Her husband Prince had previously deployed

numerous times to Iraq and Afghanistan and

was diagnosed with Posttraumatic Stress Disor-

der (PTSD). With all the medication Prince

was prescribed and all the counseling he at-

tended nothing had more of a lasting impact on

the family than the retreat. After the retreat La-

Tronda knew that she had to assist other sol-

diers reintegrate into their families and commu-

nities. In December 2012 Healing Our Heroes

Project was founded.

MM&P. Who are the people you serve, and

what are the services you provide for them?

PH. We serve a mix of active duty, veterans,

and wounded warriors and they are from all five

branches of the military.

Retreats are structured to give the family

adequate time to begin to decompress, de-

stress and really commence the healing cy-

cle.

Retreats include the entire family (children

and spouse)/support system. This enables

the family to heal together with everyone un-

derstanding their role and importance to the

overall process. Childrens programs at the

retreat address the specific needs of each

child while the parents are engaged in

courses more appropriate for them, such as

Healthy Marriage and Financial Peace

classes.

No chain of command reporting eases pro-

fessional concerns and allows for open and

honest discussion. The candor allows for

more truthful assessments of needs and cur-

rent status and facilitates the identification of

more appropriate needs-based solutions.

Families that

create together

stay together

H e a l i n g

O u r

H e r o e s

P r o j e c t

C o n t d .

H e a l i n g O u r H e r o e s

P r o j e c t . c o n t d .

Retreats are held in a secluded environment, without

the interruption of cell phones, TVs or internet. We cre-

ate a sanctuary, a place of healing outside of day-to-

day responsibilities for families to relax and begin the

process of self-improvement.

Encouragement is offered from individuals who can em-

pathize with what the family is going through. Most vol-

unteers are returning family members who are able to

give peer-to-peer understanding and support while

growing the network of families.

Only a small number of families are allowed to attend

each retreat to ensure that each familys specific needs

are met and to provide each family dedicated time for

their situation and needs.

A comprehensive eighteen month follow-up program

provides a continuity of service and support to give

these families the best chance of navigating through

ever growing statistical problems such as divorce,

suicide, and child and spousal abuse.

To Make an End-of-Year

Tax Deductible Charitable

Donation visit:

www.hohproject.org.

A dog is a mans

best friend even

while bowling.

H e a l i n g O u r

H e r o e s

P r o j e c t .

c o n t d .

MMP. What do you see as the im-

pact on the families and individuals

who use your services and why is it

so important for Central Texas to

have a Healing Our Heroes Project?

PH. It is important to have Healing

Our Heroes Project here in Central

Texas because one of the biggest

military, Fort Hood is right here. Not

to mention all the other bases here in

Texas.

MMP. What do the next few years

look like for Healing Our Heroes Pro-

ject both in terms of physical growth

and in the services you provide?

PH. HOHP future is extremely

bright. We have hundreds of families

currently on our wait list and between

us and Project Sanctuary there are

over 1600 families waiting to begin

their healing process. Our ultimate

goal is to facilitate one retreat a

month.

Headed to Heroes Night Out Dinner

where the couples enjoy a

4 course meal of their l iking

Came as individuals but leaving

as a member of their

comrades forever family

Photo by Leslie Knowlin

H O H P

c o n t d .

I realize that every family has

a unique story and in two

years I imagine there are a

great many stories that are

very special. Respecting cli-

ent confidentiality is there a

particular story that you

would be able to share?

We had a family from Ari-

zona (Tom) and one from

Fort Hood (Jerry), these

names are just for the story.

Come to find out Tom and

Jerry were in Afghanistan

together. Tom was shot in

combat and suffered life al-

tering injuries.

Jerry had to make a split

second decision to save

Jerrys life. Tom currently

has 40% of one lung and

always wished he had the

opportunity to say thank you

to the medic that saved his

life.

What are the chances that

we would get Tom and Jerry

together again, Fate? They

both were at a HOHP retreat.

The moment Jerry saw Tom

he remembered him.

After combat, its

the smallest but

intimate things that

causes a family

to reconnect.

Prince Humphries is a disabled veteran who

served in the U.S Army for over 10 years as

an infantry soldier and earned his place as a

Bradley Fighting Vehicle Gunner, and Infantry

Team Leader. During his time in Ft. Hood, he

was appointed as driver for the Battalion

Command Sergeant Major and leader of com-

mands personal security detachment.

Prince completed peace keeping missions in

Kuwait and Korea. While serving in the

Army, he completed tours during Operation

Iraqi Freedom and Operation Enduring

Freedom. Throughout his career Humphries

earned the Combat Drivers Badge, Army

Commendation Medal, Army Service Ribbon

and Combat Infantry Badge and other awards.

Following his last tour in Afghanistan, he was

diagnosed with Post Traumatic Stress Disor-

der (PTSD). Having had difficulties reconnect-

ing with his family, Prince understands the

importance of reintegration of the family as a

whole.

After attending a therapeutic retreat in Colo-

rado in 2012, Prince realized being out in na-

ture without the big city distractions created

the perfect atmosphere to bond with his family

again.

Feeling inspired, in December 2012, Prince

and his wife LaTronda of 17 years founded

Healing Our Heroes Project (HOHP),

Although Prince will never be 100% healed

from the PTSD, he receives healing by help-

ing other military families start their ongoing

healing process.

P r i n c e H u m p h r i e s

O n e S o l d i e r s S t o r y

Prince receiving the

TX-17 Congressional

Veteran Commendation

from Congressman

Bil l Flores at the

Pfluger vil le

Rotar y Club

Photo by

Dell Holl ingsworth

Laich Financial Planning Group Laich Financial Planning Group

Pleased to Suppor t

The Central Texas Medical OrchestraThe Central Texas Medical OrchestraThe Central Texas Medical Orchestra

Business Planning Fund Raising

Medical Entrepreneurs & Nonprofit Organizations

Your Trusted Guide Through all Lifes Financial Jour neys!

MM&P. Lets start by talking about

your multifaceted career as a per-

former, Instrumental Director, com-

poser and music orchestrator (if that is

the correct term). How and when did

you get started and what was your ca-

reer progression.

I grew up in Seattle, and since I was

ten years old I knew I was going to be

a musician (started out on piano since

my older brother played, but hated it.

All I wanted to do was play baseball,

until I got a trumpet. Everything

changed!). I had great leadership in jr.

high and high school, playing in band,

orchestra, and stage band (big band). I

knew I wanted to learn how to play

jazz, so at age 18 (in 1965), I started

attending the University of North

Texas.

It was a great time to be at North

Texas: tremendous musicians coming

off the road to escape the draft; ex-

tremely gifted players; a very challeng-

ing but rewarding time. As a high

school student I also went to the Stan

Kenton Clinics, where Stan brought his

entire big band for a week of clinics

and playing. During college I attended

the Aspen Music Festival, which was

challenging but so rewarding.

After graduating college, I continued

playing, but I was increasingly more

involved in arranging and producing

records. Everything in my playing days

seemed to prime me for this. I am

pretty much a self-taught arranger, us-

ing my ears (and yes, all those years

of theory).

MM&P. Tell us about a particularly

challenging time in your career. How

did you overcome the challenge and

either turn it into a learning experience

or a success?

When I was in college in the 60s,

drugs became more prevalent on cam-

puses across the country, and I found

myself using all kinds of drugs, almost

as an experiment. Drugs took over my

life for a time, but after I was married

and our son was born, I was over-

whelmed by Gods love for me, and

that love allowed me to abandon drugs

with no withdrawal whatsoever. It was

a miracle; becoming a Christian

changed my life forever.

F l e t c h W i l e y

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M u s i c O r c h e s t r a t o r

F l e t c h W i l e y

C o n t d .

MM&P. I see youve travelled worldwide in your performances. Was

there any one tour or concert that was particularly special and what

makes it stand out for you?

Ive had the privilege of travelling to Turkey several times to play and

share my life. The Turks are very caring and hospitable people, and

they love music! Their history is rich.

Recording with different orchestras in London is also very special to me:

great players (with great instruments!), studios, and engineers.

MM&P. What is your current music focus at this time?

Being a musician in the 21st century requires a certain nimbleness and

the ability to wear many hats. I arrange and sequence music for artists

at my home studio, while also playing around Austin and traveling a bit

and enjoying a resurgence of songwriting.

MM&P. What do you see the next five years looking like for you in each

of the different areas of your career?

Some more traveling to perform, teach, and mentoring young musicians.

Being a multi-faceted player/arranger/producer with over 40 years in the

music business gives me a special perspective on where weve been,

and where we might be headed.

People love music more than ever, and sometimes they dont mind pay-

ing for it!

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D r. M i c h e l l e

S c h u m a n n

D r . M i c h e l l e

S c h u m a n n

S o l o i s t , Te a c h e r

A r t i s t i c D i r e c t o r

A u s t i n C h a m b e r

M u s i c C e n t e r

MM&P. Youve been successful in sev-

eral different areas concert pianist, Ar-

tistic Director, and University Professor.

In this interview Id to touch on each of

these areas. So lets start with concert

pianist. Tell us about your career path

from the first time you touched a piano to

where you are today.

MS. Music has been a part of my life

since I was a baby. While I didnt have

any professional musicians in my house,

my mom was involved in community

choirs, singing in the local German choir,

and my parents often had classical mu-

sic playing in the house. I have four

older siblings (and one younger sibling)

and everyone played an instrument. So,

as I grew up, I knew playing an instru-

ment would be a normal aspect to my

life. When I was four, my parents

bought a piano, and at age five I started

taking lessons.

27

Its funny, because I completely

remember being in the kitchen

with my mom when she called the

local piano teacher to see if she

had room in her studio. It was so

exciting! I dont remember a lot

about my early piano lessons.

I do remember my very first recital

piece a sweet little piece in a

minor called, Have You Seen a

Bird Today?and I DO remem-

ber the amazing piano cake that

was served at the reception!

I really loved playing the piano, right

from the beginning. I loved feeling

my fingers fly on the keyboard, but

mostly I loved being able to express

myself through music.

I loved to close my eyes while play-

ing, and just drift of into another

world, letting the music overtake me.

I felt a powerful connection to music

and to the imagination that could be

ignited inside of me through the fan-

tastic repertoire I got to learn and per-

form.

I was always a real practicer and

diligently did what my teachers told

me to do. Nevertheless, my studies

didnt become really serious until I

was 13 years old and my family

moved to Cleveland, Ohio.

I began piano lessons in the prepara-

tory department of the Cleveland In-

stitute of Music and later was a mem-

ber of the exclusive Young Artists

Program at CIM.

It was a fantastic program where I

went to high school for only the morn-

ing and then had intensive music

training every afternoon. I had multi-

ple lessons a week, regular chamber

music, theory, history, pedagogy, and

dalcroze eurhythmics.

I am grateful every day for the fantas-

tic training I received at CIM. It was

great to be surrounded by serious

musicians and it really set the stage

for me as I began a life in music.

I was 14 years old when I first got the

opportunity to play chamber music. I

was at a summer piano camp (at

CIM) and there were two pianists at

the camp who also played violin and

cello. My teacher put us together to

perform a Mozart Piano Trio (in B-flat)

and it was a hugely meaningful ex-

perience. I could not believe how fun

it was to play music with other peo-

ple. The piece was great and I loved

learning my part and seeing how it fit

together with the other parts.

I equally enjoyed being the soloist

and being the supporting role and

loved the feeling of making music

with other people. After this experi-

ence, I knew that chamber music was

my destiny! Nothing had ever been

more exhilarating, emotionally gratify-

ing, and intense and I knew that I

had to have more, more, more!

Although all of my degrees are in

piano performance (I have a Doc-

tor of Musical Arts from The Uni-

versity of Texas at Austin), collabo-

rative piano and chamber music

always played a huge role through-

out my studies. I knew if I wanted

to be a chamber musician, I had to

become the best pianist I could

be and I felt that studying solo

piano was the smartest way to get

there.

I had GREAT teachers throughout

my schooling (Olga Radosavljevich

at Cleveland Institute of Music,

Marilyn Engle at the University of

Calgary, and Gregory Allen and

Anton Nel at The University of

Texas), plus I had tremendous op-

portunities to work closely with

great teachers at summer pro-

grams (John Perry, Gil Kalish, An-

ton Kuerti, Emanuel Ax, Peter

Serkin, James Dick, and Anne

Epperson).

I feel like I draw on the great teach-

ing of my mentors everyday and

my playing is a wonderful combina-

tion of so much of their expertise.

D r . M i c h e l l e

S c h u m a n n

C o n t d

I always did a lot of playing

and performing while I was a

student. In addition to de-

gree recitals, I had many op-

portunities to perform with

orchestra (both as a soloist

and as a pianist within the

orchestra) and I played and

organized more collaborative

recitals and chamber music

concerts than I could proba-

bly count.

When it was time to embark

on a professional career, my

life didnt really change all

that much. I was always

working towards similar out-

comes a life that included

performing (both solo and

chamber music), new music

(I was always involved in

new music ensembles

throughout my schooling),

teaching, and organizing

events.

The Austin Chamber Music

Center is Active Year Round in our

Community in a Wide-Range of

Educational & Performance

Activities

M i c h e l l e S c h u m a n n h o s t s

A C M C s 2 0 1 4 F u n d r a i s e r

A M i d s u m m e r ' s N i g h t M u s i c

a t T h e M a n s i o n

In 2002, the year before I graduated with my DMA from UT, I got a job

as Assistant Professor of Piano at the University of Mary Hardin-Baylor,

and four years later, I was appointed as the Artistic Director of the Aus-

tin Chamber Music Center.

While both of those positions keep me super busy and deeply engaged,

I also do special collaborations with other organizations (Ballet Austin

and Conspirare) and I performed at other festivals and music series

across the U.S. and abroad.

D r . M i c h e l l e

S c h u m a n n

C o n t d .

MM&P. Share with us your

experiences as Artistic

Director of ACMC.

MS. When I took on the

position, I had no idea what

it would all really entail. I

knew a lot about program-

ming repertoire and I had a

bunch of connections to

great players. The one as-

pect of the position that I

didnt know very much

about was the concept of

community engagement

and connecting our great

artform to many different

kinds of people.

It has been so gratifying to

connect through music so

many Austonians. Through

concerts, our education

programs, and outreach, I

am able to have incredible

experiences with people

from all different walks of

life. Ive had so many very

special experiences and

hope to have many more in

the future!

M i c h e l l e

w i t h A C M C s

B u s i n e s s M a n a g e r

O r a S h a y & F o u n d e r

F e l i c i t y C o l t m a n

M i c h e l l e S c h u m a n n i n P e r f o r m a n c e

P h o t o b y

O r a S h a y

MM&P. I believe youre a professor at Mary

Hardin Baylor? Tell us about this part of your

career in terms of courses you teach and why

you teach these particular courses.

MS. Well, teaching has been a part of my life

since I was fifteen years old. I began by teach-

ing some of my high school teachers chil-

dren and I never looked back.

Teaching at UMHB has been extraordinarily

gratifying. You learn so much about your own

artistry when you have to discover ways to

communicate that to your students.

I mostly teach applied piano (one-on-one) to

performance and education major, and also

teach a few classes (piano literature, piano

pedagogy, form and analysis, and theory). I

enjoy working one-on-one with young pian-

ists that interaction is such a great energy.

But, I also enjoy leading a classroom of stu-

dents. Its wonderful to be able to react to the

needs of a classroom observe students and

respond in the moment to what they might

need, or how they might need things to be ex-

plained. Its a very dynamic process, and I love

being kept on my toes.

D r . M i c h e l l e S c h u m a n n

MM&P. Recently you took on another role as mom. I see from

your Facebook postings how exciting this is for you. Talk about

this new chapter in your life.

MS. Oh, thats the best role ever! I like the way you call it a

new chapter, because it really feels that way. Im a relatively

old mom I had Ivy when I was 39 years old, but I really feel

that the timing was absolutely perfect. I had so many wonderful

performing opportunities leading up to her birth and Ive had

great experiences performing in fantastic places. Ive loved my

experiences at ACMC and UMHB, and motherhood was the

next horizon for me.

Raising my daughter has been a pure delight I just love see-

ing the world through her eyes and love that everything is so

wondrous to her. It gives me a huge respect for everything hu-

man beings do from eating, to walking, to talking to laugh-

ing, to singing, to crying. Watching her grow up makes my life

richer everyday, and I honestly feel that being a mom has made

me a better pianist, artist, and teacher.

MM&P. Finally, a question that Im especially interested in

hearing is what do the next five years look like for you in all of

your varied roles, as concert pianist, Professor, Artistic Director

and mom?

MS. You know Im funny when it comes to making goals. I

was a big goal setter when I was younger, but I was always dis-

appointed by the glass ceiling. I discovered that my job wasnt

to predict where I was going my job was to work really, really,

hard and take responsibility for creating as many great experi-

ences along the way.

So I really have no idea what the next five years will look like!

I hope for great music making, meaningful community engage-

ment, students who have profound experiences, and tons and

tons of loving experiences with my family.

D r. M i c h e l l e

S c h u m a n n

( M o m )

34

C e n t r a l T e x a s M e d i c a l O r c h e s t r a E n s e m b l e s

A v a i l a b l e f o r

C o r p o r a t e C o m m u n i t y N o n p r o f i t

E v e n t s & G a l a s

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i n f o @ c t m o r c h e s t r a . o r g

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36

A m y L e v i n e Ts a n g

C e l l i s t

MM&P. Tell us about your career path from the time you first decided to

become a musician to where you are today.

ALT. My parents are/were both professional string players. I always kind of

figured I would end up in "the family business." I grew up on Manhattan's

Upper West Side with my parents and piano playing older sister. All of my

parents' friends save a very few were musicians. The same could definitely

be said for me until Bion and I moved here 12 years ago!

MM&P. Your spouse is also a celebrated artist. Tell us about the advan-

tages to being married to a classical artist and also any special challenges

this creates.

ALT. Well, if I were married to a stock broker I certainly couldn't roll over in

the middle of the night and say, "I'm stressed about measure 7, can you

help me find a better bowing, or do you think I'm just shifting too late." It's

one more thing Bion and I have in common. I think it's great. It may be es-

pecially comfortable for me since I came from a family of musicians. It's very

hard for me to imagine being married to a non- musician. The two cello mar-

riage is probably easier than most twin instrument marriages. Cellist are

known for getting on very well together- sort of like brass players, but qui-

eter.

MM&P. Tell us something about yourself that the previous questions failed

to address that doesnt normally come out in interviews about you.

ALT. I've devoted a lot of time over the past twelve years to raising our kids.

It's really fun for me to put aside music for a bit and just be on "planet kid." I

love hosting play dates and making a huge arts and crafts mess. But now

that the youngest of our three has just started Kindergarten, I'm looking for-

ward to having more freedom to pursue bigger projects and commitments

as a cellist. It's an essential part of who I am.

A m y L e v i n e

Ts a n g

B i o n Ts a n g

C e l l i s t

MM&P. In your many travels does any one location or concert tour

stand out and if so what made it so special to you?

BT. 2) One of my frequent summer stops is Napa Valley, CA. There,

Amy and I have had the wonderful opportunity to travel together with the

family as we both perform at the chamber music festival. We have the

privilege of staying at the guest house amongst all the rows and rows

the vines at Silverado Vineyards. From Napa, weve gone on to the Bay

area to spend time with cousins as well as catch up with one of our clos-

est friends (who was in our wedding party). Theres nothing quite like

being with the entire family in an idyllic setting, enjoying exquisite wine

and food, and making fabulous music with friends!

MM&P. Is there a special story or history attached to your cello?

BT. I play on a Workbench Series cello made by Wayne Burak from

Dallas in 2011. For years, I had heard from my colleague Andrs Diaz

that he had stopped playing on his priceless 1698 Mateo Goffriller cello

because he preferred Waynes cellos. These are essentially instru-

ments made in a Chinese factory to Waynes specifications, imported to

the US by Wayne, and then modified by Wayne to his standards.

Three years ago, I asked Wayne to bring some of his instruments down

to Austin for my students to try. He brought about 15 cellos

down. Upon first hearing, I was hooked. They all sounded great, were

so easy to play and are so affordable. (Wayne used to be Principal Cel-

list of the Fort Worth Symphony orchestra, so he knows a thing or two

about how cellos should sound and feel.) I ended up taking one from

that gathering, playing on it the next week with the Saint Paul Chamber

Orchestra, and buying it when I returned home to Texas.

My 1746 Giovanni Bianchi has been in my closet ever since!

B i o n

Ts a n g

P i c t u r e d i s t h e D r e s s R e h e a r s a l a t

S t . M i c h a e l s E p i s c o p a l C h u r c h t h e

N i g h t b e f o r e t h e C o n c e r t .

T h e C o n c e r t w a s f o r t h e B e n e f i t o f H e a l i n g O u r H e r o e s P r o j e c t .

O n o n e o f t h e S t o r m i e s t N i g h t s i n C e n t r a l Te x a s H i s t o r y

B i o n & A m y Ts a n g P e r f o r m e d

P i a t t i s S e r e n a t a f o r T w o C e l l o s &

V i v a l d i s C o n c e r t o f o r T w o C e l l o s

w i t h t h e C e n t r a l Te x a s M e d i c a l O r c h e s t r a

F a m i l y T i m e

f o r A m y

B i o n &

t h e i r

T r i o

S a n F r a n c i s c o

B a y

N a p a Va l l e y V i n e y a r d

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P u b l i c a t i o n D a t e s a r e 1 / 1 5 ; 4 / 1 5 ; 7 / 1 5 & 1 0 / 1 5

M M & P C T P u b l i s h e r

W a l t e r L a i c h : e w l a i c h @ g m a i l . c o m

C T M O S T A F F

Executive Director Walter Laich Music Director

Dr. Robert Radmer

Development Director

Personnel Director

Business Manager Craig Miller Music Librarian

B O A R D O F D I R E C T O R S

President Riz Majumder President-Elect

Treasurer Secretary Lana Morris

Medical Relations Director

Wendy Brockett Community Relations Director

Jerry Chapman

Corporate Relations Director

Media Relations Director

Julie Carr

Special Events Director

Libby Bryer Government Relations Director

Liliya Spinazolla

A D V I S O R Y B O A R D

John Aeil l i

Peter Bay

Dr. Robert Freeman

Dr. Clay Johnston

Randy Phil l ips

Dr. Michelle Schumann

Dr. Lisa Wong

Johannes Brinkmann

P E R F O R M A N C E C A P T U R E

B Y

M I K E K O E T T I N G

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c a p t u r e @ k o e t t i n g s . c o m

MM&P. I understand that you have had an exceptionally varied ca-

reer thats taken you to locales throughout the world.

First though, tell us first about your early career. Start with when you

originally decided to become a musician and then when you decided

to focus on being a conductor. Take us through the years to where

you are today in your career.

RR. My father was a musician and music teacher, and he felt that

his three sons would be better prepared for future careers if they

studied the violin. Interestingly, the only field that he made us prom-

ise that we would not pursue was that of music!

Consequently, after beginning violin study at the age of three

(against my better judgment) and ten years of daily questioning

from me about the wisdom of such study, we agreed that I could re-

tire from my music training. At the same time I began my career in

the field of popular music as a singer and guitarist. At 13 this

seemed like a fine idea, and of course it was made simpler because

of the decade of musical experience I already had under my

belt. The ideal at the time was of musicians who wrote their own

songs, and at the age of 25 I entered music school as a composer.

The skills I developed under that discipline evolved into my multi-

track approach to music of performer, teacher, composer and con-

ductor in both popular and classical genres.

D r . R o b e r t R a d m e r

M u s i c D i r e c t o r

C e n t r a l Te x a s M e d i c a l

O r c h e s t r a

43

Dr. Rober t Radmer

In a Familiar Pose

MM&P. Tell us something about your touring

career as an musician both in the United States

and in Europe.

RR. Our band toured for several years in the

Upper - Midwest in an ancient bread

truck without a functioning heater, while I imag-

ined that I was a budding singer-songwriter-

guitarist with a fine career and a great future.

We played every imaginable kind of place and

event, and we kept at songwriting and re-

cording, covering the latest hot songs as well as

fine oldies, and sending our creations off to

mysterious addresses in Los Angeles and Holly-

wood who never responded.

After I entered the classical field things contin-

ued - I was part of a violin and viola duo that

toured the US on various states artist rosters,

and I continued to compose for the needs of

that ensemble. We toured Europe several

times, performing in England, Scotland, Hol-

land, France, Spain, Italy, Germany and Aus-

tria, and did a three week tour of Southeastern

China.

MM&P. Does any tour or locale stand out in

your memory, and if so what makes it so

memorable?

RR. I have so many memories of performing on

tour that I could bore you for hours - days,

probably. Eastern Wisconsin seemed to be

Paradise, but then I got to Spain and I began to

realize that there might be more to the world. I

really cant single out a particular performance

or tour - the profound cultural variety and intel-

lectual challenges, even within the States but

amplified when traveling across other countries,

is simply indescribable and overwhelming to

consider.

However, let me tell one tale. We were invited

to perform in an 800 year-old church in northern

Italy. It was tiny, seating perhaps 50 people,

made of the plainest stone including the very

low ceiling. The interior was very dimly lit,

seemingly just by candlelight. In this atmos-

phere our 18th century Mozart seemed outlan-

dishly modern, and our newly composed mate-

rial felt as though from another planet alto-

gether.

The small space contained and focused our

sound, giving power to our duet while at the

same time enhancing its chamber-music inti-

macy. The listeners were packed standing

shoulder-to shoulder, and all seemed breath-

lessly entranced, so deeply that it felt that they

were channeling a religious intensity from a

time eight centuries ago. Being part of that

special performance gave us a tremendous,

tremendous thrill.

Dr. Rob performing

with Austin ar tist

Will Dunlap

and friends

MM&P. Lets talk about your

founding of the Balcones Commu-

nity Orchestra. How did you come

to found this group 16 years ago;

what where some of the major

growth benchmarks and where

you are today with this group?

RR. In 1999 I was approached by

a group of public school music

teachers and asked to organize a

string orchestra. These folks had

studied their instruments for many

years and achieved a great deal

of proficiency, but their many

hours of daily instruction were de-

voted, of course, to drilling the

fundamentals of technique and

musicianship. Their wish was to

have a group to rehearse and per-

form among a group of like-

minded adults with an absolute

minimum of discussion.

I was happy to help out, and over

the years we added more con-

certs each season (now eight be-

tween September and June) and

included wind instruments gradu-

ally, growing the orchestra in the

same manner as it developed be-

tween about 1700 and 1800. This

time period is still the focus of our

repertoire. Corelli, Bach, Handel,

Haydn, Mozart and Beethoven are

our staples, but we frequently ven-

ture into the 19th and 20th centu-

ries, and each season we present

newly composed works, and even

world premieres.

MM&P. I believe youre also the

Orchestra Director and a profes-

sor at St. Edwards University? Tell

us about the orchestra and the

courses you teach.

RR. The SEU Orchestra is a col-

lege/community group of about 45

players. It is a class, and we sup-

plement the enrolled students with

community players to fill out the

various sections in the orches-

tra. It presents four concerts each

academic year, two of which are

combined with St. Eds choral

groups. In addition, the group

presents two concerts during the

summer, although fewer students

participate. I teach one class

each semester, a survey of music

in Western culture, and I coach

chamber music ensembles and

give private lessons on the vari-

ous string instruments.

D r . R o b e r t R a d m e r

Dr. Rob with Classical Guitarist

Susan McDonald during a Concert with the

Balcones Community Orchestra at an

Event Honoring Texas Music Legend

Freddy Powers

MM&P. The St. Edwards position is not your

first experience teaching at a University. Where

else have you taught and what did you learn at

these prior positions that makes you a better

teacher today?

RR. I have been fortunate to teach at several

schools: the University of Southern Missis-

sippi, the College of St. Scholastica in Duluth,

Minnesota, Eastern New Mexico University,

Southwest Texas State University, Texas State

University, and now St. Edwards University. I

have had the experience of working with young

people from many different cultures who are

dedicated to exploring the world, to dreaming

of possibility, and beginning to effect change in

their own lives and in the world around them.

I dont attempt to make them into professional

musicians, but instead I see my role as giving

them the intellectual tools and discipline to set

and achieve appropriate goals, and to help the

student envision and fulfill their own poten-

tial. And, of course, helping them see the

value of growing their musical skills so that

they can enjoy and share the pleasures of mu-

sic-making throughout their lives.

D R . R A D M E R S t e p p i n g

D o w n f r o m t h e

C o n d u c t o r ' s P o d i u m

d u r i n g a C o n c e r t o f

T H E B A L C O N E S

C O M M U N I T Y

O R C H E S T R A

t o P r e s e n t a

V i o l a S o l o

MM&P. The past few years a portion of your

summers has been spent as conductor of the

Austin Chamber Music Centers summer or-

chestra. Tell us about this experience and the

people who attend this summer program.

RR. The ACMC hosts a wonderful, intensive

summer program of chamber music coaching

for young people as well as adult amateur mu-

sicians. The value of chamber music, and its

pleasure, revolves around the responsibility

and thrill of being the only person playing a

particular part within the musical whole. The

player has to accurately perform their part in

real time within a framework of constantly

changing parameters of rhythm and pitch,

working through their own physical problems

while being acutely aware of everyone elses

varying solutions to their difficulties.

It is a remarkable example of the human brain

operating on many levels at once, simultane-

ously operating, evaluating, predicting, react-

ing, and (most importantly) enjoying. Conse-

quently, it is a joy to teach, and a rewarding

pleasure to hear. The chamber orchestra is a

similar sort of experience, being less intense

because of the moment-to-moment guidance

of the conductor, but rewarding because of the

more colorful repertoire performed.

The folks who enroll for this experience come

from all walks of life, and share the desire for

improving their skills and enhancing their

chamber music.

Photo and Concert Video Courtesy of Mike Koett ing Performance Capture

Dr. Radmer &

The Central Texas

Medical Orchestra

with guest artist

Francesco Mastromatteo

in a concert to benefit

Ronald McDonald House

P h o t o b y

Libby Bryer

MM&P. Share with us your experiences as Mu-

sic Director of the Central Texas Medical Or-

chestra. Have you found being Music Director

of a medical orchestra to be different in any way

from the other groups youve directed?

RR. The Central Texas Medical Orchestra has

been a delight to organize and con-

duct. Getting together with folks al-

ready successful in very demanding fields who

in their free evenings are accomplished musi-

cians playing just for the love of music is a

proven recipe for musical pleasure. It is an

auditioned group, and the level of performance

is very high.

The repertoire format of the CTMO is very un-

usual, and this contributes to the excitement

and musical response of the players in re-

hearsal and in performance. Experiencing a

professional-sounding orchestra, a nationally-

renowned classical soloist and a local Austin

pop artist (or two!) during a mere 75 minutes is

delight not to be found anywhere else, I think.

In addition, the CTMO is the only group that I

conduct that throws a marvelous receptions

Dr. Radmer

Jeffrey Jones-Ragona

& John Aielli

following a radio

interview to talk about

The Central Texas

Medical Orchestra

MM&P. Has there ever been a time in your ca-

reer where the medical profession played a sig-

nificant role in your life or the life of someone

close to you?

RR. From the time I was born until I was in my

fifties I suffered terribly from asthma

and other allergies, and I was intimately familiar

with pills, syringes, pharmacies, doctors offices

and emergency rooms. I am proud now to be

professionally associated with those in the

medical field, and honored to be raising funds

to support health-related organizations.

MM&P. I believe you also do some performing

both with classical and rock groups. Share with

us some of your experiences in performing in

these very different musical genres.

RR. I still do keep a hand in the pop music field,

being part of what I like to think of as the

worlds smallest, quietest pop-rock band - just

two guys playing acoustic guitars and singing

without amplification.

Though differences exist between the classical

and pop worlds, I feel that the similarities are

more important - clarity of line, crisp rhythms,

clear meaning, constant energy, conviction of

intent, and confident delivery. Although the

creation of a musical work is serious business,

the word used to describe the activity of per-

forming is Play."

MM&P. Finally, what do the next five years look

like for you in all of your varied roles, as con-

ductor, university professor, artist and teacher?

RR. God willing, simply more of the same, on

higher and higher levels of vision and perform-

ance.

D r . R a d m e r &

T h e C e n t r a l Te x a s M e d i c a l

O r c h e s t r a w i t h

g u e s t a r t i s t

S a r a H i c k m a n

i n a c o n c e r t

t o b e n e f i t

T h e M u l t i p l e

S c l e r o s i s S o c i e t y

w w w . c t m o r c h e s t r a . o r g

C e n t r a l T e x a s M e d i c a l O r c h e s t r a

H E L P W A N T E D

D o ct o r s , Nu r s e s ,

A l l i e d H e a l t h P r o f e s s i o n a l s &

P r e - M e d / Me d i c a l S tu d en t s

Wi th M u s i ca l Ta l en t s

Te r r i H e n d r i x

M u s i c i a n , S o n g w r i t e r

A u t h o r , &

E x e c u t i v e D i r e c t o r

O w n Yo u r O w n W o r l d

MM&P. Lets start by talking about your career. You

are involved in a wide range of creative endeavors in

addition to being an onstage performer. Tell us the

path you took to get to where you are today and how

each endeavor from song writer to author fits in with

who you are now.

TH. In 1996 I started my own record label. I received

rejection letters in the mail and put my records out on

my own. Ive never looked back. Ive always loved to

write.

Mark Twin said it best though, Everything about writ-

ing is easy except for the words. Ive always loved

language. I feel I can communicate best when I write.

I have the time to think about what I say. As I ma-

ture, so does my writing. Everything Ive done has led

me to where I am today: Still writing. I enjoy perform-

ing, but theres something about being in the moment

of creativity that keeps me lit up inside. Performing

has outside variables that I have no control over:

Sound, lights, time, entertaining.

When I write, its just me, discipline, and time.

Te r r i

H e n d r i x

52

MM&P. I see from your Facebook postings that you travel extensively. Are there any tours or

places that were especially memorable and what

about them are so special to you?

TH. New Mexico is always memorable. the way

the rain hits the sage and makes the air smell like

perfume. They way the sun sets and paints the sky

a multitude of colors. The history of the land. The

way the terrain looks against the sky. Adobe walls

and still floors. It just appeals to me. but, Ive writ-

ten most of my songs in low-scale hotel rooms in

rural areas off Texas backroads.

MM&P. You perform a great deal with Lloyd

Maines. How did this partnership come about and

how has it evolved over the years?

TH. Lloyd heard a demo tape of mine. It was given

to him by Bobby Arnold at the famed Firestation

Studio in San Marcos, Texas. Lloyd heard the tape

and became interested in my music. It was 1997.

We recorded Wilory Farm in 1998. My career was

taking off on a grassroots level. I had released a

record independently called, Two Dollar Shoes. It

had sold well.

Lloyd came on board as a business partner with

the release of Wilory Farm. In lieu of management,

agents, and labels, weve surfed the ins and outs

of the industry on our own terms. Its been hard,

but weve made it. Him and his wife are family to

me. I am very lucky. Hes in the Austin City Limits

Hall of Fame for a reason. Hes simply one of the

best living musicians in the world. And there would

be very few who would argue with that fact. So

me? Having a chance to work with someone his

caliber for this many years? I am very very lucky.

Te r r i H e n d r i x &

L l o y d M a i n e s

Photo by Kathleen

Hil l

Te r r i H e n d r i x

C o n t d .

MM&P. I understand that youre the Founder and Executive Di-

rector of the nonprofit organization Own Your Own Universe.

Tell us first what OYOU does and follow up by telling us how you

came to develop this group and what your goals for the future are

for OYOU.

TH. The OYOU stands for "Own Your Own Universe." It's a lyric

taken from a song of mine called "Wallet." It's my belief that all

things are possible with a sense of purpose, a work ethic, and a

mission greater than ourselves.

My mission with the OYOU is to bring music, painting, pottery,

dance, and nature, to those who would otherwise be unable to

participate and enjoy the arts.

The Own Your Own Universe (OYOU) will be a fully functioning

sustainable arts center in Hays County. That's the goal and that

will be the reality.

Imagine a venue where people with physical disabilities enjoy

music, arts, crafts, and shows alongside everyone else; without

the worry of social or mobility issues within the facility. Imagine a

venue where anyone regardless of income can attend work-

shops or learn a musical instrument.

Imagine placing an instrument into the hands of an underprivi-

leged or at risk child.

Imagine an all ages arts center with a creative space for group

discussion to enhance physical and mental health.

Sing. Dance. Write, Act. Create. Learn. Can you see it? That's

the OYOU. The future home for the "Own Your Own Universe"

arts center will be in Hays County, Texas.

Te r r i H e n d r i x a t

H o m e i n t h e

Te x a s H i l l

C o u n t r y

i n H e r

S i g n a t u r e

O v e r a l l s

MM&P. Being a musician can be challenging.

Is there any time in your career that was more

challenging than others? What did you do to

make this either a learning experience or turn

it into a success?

TH. Booking has been the most trying on my

nerves. I needed an agent when I was 19. By

the time an agent came on board, I was 28.

Most agents want to work with you when they

can make money off of you. By the time the

agent came on board, I didnt really need one.

I thought it would save me time having one.

They took a percentage off of my existing in-

come. They brought nothing new to the table. I

think differently about my career than most

musicians and it takes a different perspective

to understand it.

One thing for sure, the Star of David ap-

proach to lining up dates on my tour calendar

does not appeal to me. It never has and it

never will. Travel is very expensive and as a

businesswoman, it has to all make sense. This

is not a hobby, its my lifeblood. And I aint

paying a percentage to anyone unless they

earn their keep.

Ive learned from my mistakes in judgment, but

continue to have this aspect of my career

causing a thorn in my side. Success is often

being able to delegate tasks. However, if I

delegate a task, it needs to get done correctly.

If i get back contracts and everything is wrong

on them, then why have help in the first

place?

MM&P. Following up on that question about

challenges. Is there a time when the medical

community played a significant role in your

life?

TH. I was diagnosed with Epilepsy in 1989. I

kept it hidden from my colleagues until 2003. I

swam in the Blue Cross Blue Shield High Risk

Pool until the costs pulled me under. Ive been

under medicated, over medicated, and all

roads in between. I eventually found a team of

doctors through HAAM and the Seaton Health

System.

With diet, rest, and the proper medication, I got

my life back. I got my career back even

though it took a hit with cancellations and en-

suing questions as to whether Id be able to

play a show or not.

Te r r i H e n d r i x &

L l o y d M a i n e s

i n P e r f o r m a n c e

a t T h e F i s c h e r

H o u s e C a n t i n a

Te r r i H e n d r i x

C o n t d .

MM&P. Lets change gears and have you tells us about the album

or any special project your currently working on.

TH. Im working in the studio on several projects at once. Its an-

other juggling act, but its just how the creative process is these

days. I have a little home studio, so I dont rack up studio time. Im

wring new songs and immersing myself in both piano and harmon-

ica. Ive always wanted to learn to play the piano. Its never to late

to learn an instrument to here I am. Twinkle, twinkle, little star!

Its slow going, but its going.

MM&P. Finally, tell us about what the next five years look like for

you in both as an Artist and Director of OYOU.

TH. Ill be 47 in February 2015. Ill be bringing my new projects

out in 2015. I feel I have 2015 and part of 2016 to tour as the

OYOU builds momentum. In order for the arts center project to

take hold, Im going to have to draw in my tour calendar. Im al-

ways going to perform as long as I can maintain my health in

doing so. However, Im going to begin to curtail my travel so that

my time can be invested in the OYOU. I need to build it while I can

and while I have an active support system thats excited about it.

By the time I turn 51, the OYOU will be an inspiring tourist destina-

tion in Central Texas. Oh, and Ill be able to play everything on the

piano from Cole Porter to Supertramp.

Right: Cover of Terris First Book Cry Till You Laugh, The Part

that Aint Art.

Terri Hendrix & Lloyd Maines Rehearsing with The Central Texas Medical Orchestra

at First Baptist Church the Night before their 9/22/14 Performance

to Benefit Peoples Community Clinic

Av a i l a b l e a t A m a z o n . c o m

42

P h i l a n t h r o p y i n

A u s t i n

S t . D a v i d s C h u r c h

MM&P. St. Davids Church is certainly a beautiful

landmark in downtown Austin. Would you share with

us the history of St. Davids from the early years to

where you are right now covering an entire city block

- including the parking garage?

St. Davids has a long and rich history in Austin. St.

Davids was formed when Christ Church Austin

(founded in 1847) merged with Church of the Epiph-

any (founded in 1851). On April 4, 1853, the corner-

stone of our current building (which was Church of

the Epiphany at the time) was laid at Bois dArc (7th

St.) and San Jacinto across the street from the two-

story mansion where President Lamar had lived. The

first service in the new church was held on October 8,

1854.

Over the years, additions and changes to the building

were made. In 1966 the new parish hall was com-

pleted adjacent to the Church and was named

Sumners Hall to honor the rector, Charles Sumners,

who remained steadfast in his determination to keep

the church in the heart of Austin.

The church dramatically expanded its physical pres-

ence in downtown Austin, completing St. Davids

Parking Garage in 1988 and a major addition to the

church, completed in 2001. The four-story addition

provided much-needed office space, classrooms, day

school space, choir and musicians facilities, meeting

rooms, and a large and dramatic new worship space,

which was named Bethell Hall in honor of the rector,

Jim Bethell.

F a t h e r

D a v i d B o y d

R e c t o r

S t . D a v i d s

C h u r c h 60

St. Davids

Historic Downtown

Austin Church

MM&P. In addition to your traditional church services, St. Davids

is also well known for your social services programs including feed-

ing and clothing the homeless and hungry in our community. Could

you elaborate on these and other programs that most Austinites

are probably not aware of? Also, please talk about your partner-

ships with Austin social service nonprofits.

SD. St. Davids Episcopal Church has been in the heart of down-

town Austin for more than 150 years. In addition to offering daily

worship services, we are a gathering spot for all those in the down-

town community, including our homeless neighbors through Trinity

Center and as a school for children 18-months old thru Kindergar-

ten.

St. Davids is a member of the Episcopal Diocese of Texas. Our

affiliations and partnerships are vast and wide. Locally we are affili-

ated with and/or have partnerships with the following: Downtown

Austin Alliance, Rotary Club of Austin, Next-to-New, Warm Heart

International, AISD, and Downtown Cluster of Congregations and

Social Service Agencies. Our certifications and accreditations in-

clude: being a GreenFaith (environmentally certified) Church, a

certified National Wildlife Habitat, and NAEYC (National Associa-

tion for the Education of Young Children) of our Day School.

St, Davids Church

About 1925

St. Davids Church

Today

MM&P. St. Davids opens its door to community groups from the Rotary

to local artists. Tell us something about St. Davids community outreach?

At the heart of St. Davids mission is the commitment to serve the least

among us. Thats reflected in our eternal connection with Trinity Center,

which serves the downtown homeless, in the annual grants that the Next-

to-New Shop awards to local non-profits and in our support of our broth-

ers and sisters in Malawi .

In addition, we organize community outreach projects for members of our

parish to participate in. Currently, those ongoing opportunities include:

Foundation Communities Brunch: Volunteers help cook and serve

brunch to people transitioning out of homelessness.

Bedtime Story Brigade: Volunteers take milk and cookies, crafts

and bedtime stories to the Salvation Army Family Shelter.

El Buen Samaritano Food Pantry: Volunteers help stock the food

pantry at this local Episcopal mission.

Laundry Love: Volunteers turn a mundane task into an evening of

joy and generosity when they bring quarters, soap, snacks and crafts

to a local Laundromat.

S t . D a v i d s

L a u n d r y L o v e P r o g r a m

42

S t . D a v i d s C h u r c h

MM&P. I believe St. Davids has a strong relationship

with St. Davids Hospital and St. Davids Foundation.

Tell us how this came about and what your relationship

with these great Austin institutions is at the current

time.

In the fall of 1924, St. Davids church purchased the

Physicians and Surgeons Hospital at 17th Street and

Rio Grande from the Hospital Aid Society. The facility

was chartered and renamed St. Davids Hospital.

Women from St. Davids Church stitched pillowcases

and sheets for the hospital. Daughters of the King vis-

ited the sick.

The hospital was moved to its present site at 919 East

32nd street. In the beginning, the church had a manag-

ing role. In the present day, the board of St. Davids

Hospital has a permanent role for the rector of St.

Davids Church.

MM&P. If you have anything Ive left out please feel

free to add.

The Grants Committee for Community Outreach

(GCCO) of St. Davids Episcopal Church annually se-

lects and awards local non-profit with grants. Grant

funds come from proceeds of the Next-to-New Shop, a

consignment, resale, and antique store that also serves

as an outreach ministry of St. Davids. St. Davids Epis-

copal Church has a long history of helping people in

need in the Austin community, and that tradition contin-

ues with the awarding of the 2014 outreach grants.

S t . D a v i d s

H i s t o r i c S a n c t u a r y

I n P r e p a r a t i o n f o r

E a s t e r S e r v i c e

http://www.next2new.org/

42

S t . D a v i d s

B e t h e l l H a l l

H o m e t o C h u r c h

P r o g r a m s

& C o m m u n i t y

C o n c e r t s

42

St. Davids Church

An Integral Par t of

Austins

Downtown

Community

Children from St. Davids

Church help with the Easter

Egg Hunt for the kids at The

Salvation Armys Shelter

Congratulations to the Peoples Community Clinic and Thanks! To

St. Davids Foundation for stepping up to meet a critical need in

our Austin Community!

Members of St. Davids Foundations Board of Directors

Hold Up a $10 Million Check that will help Fund

The Peoples Community Clinics New Facilities in Northeast Austin

Earl Maxwell

CEO, St. Davids

Foundation

SAGE LEE, cellist, is 13 years old and at-

tends LASA as a 9th grader. Sage has stud-

ied cello under Dr. Francesco Mastromatteo

and Mr. Douglas Harvey, and is currently

studying under Mr. Jun Seo. She has been an

active member of CMFW and school orches-

tras. She enjoys arranging and composing

music.

CHET FAGERSTROM, violinist, is a 9th

grader and has been playing violin for 8

years. He is currently studying under Megan

Canney. He plays with the AYO Symphony

and in several ensembles as both a violinist

and a violist.

NICK HAMMEL, violinist, is a 9th grader at

LASA. He has been playing violin for 6 years

and is studying under Dr. Robert Radmer. In

addition to the 2x2 String Quartet, Nick plays

with his school orchestra, CMFW's Chamber

Orchestra, and the St. Ed's Community

Orchestra in the summer.

T H A N K S !

To T h e

N e w t o n i a n S t r i n g s

For Giving of Their Time and

Very Special Talents at each of

our Concerts

R A D M E R M U S I C S T U D I O

D R . R O B E R T R A D M E R

Private Lessons on

V IOLIN & V IOLA

Beginner to Pre-Professional

Special sessions on The Art of Conducting

Any Age - Lapsed" Adults a Specialty

Expand the M ind o f You o r You r Ch i ld

r radmer@mac.com

To n y M o r r i s

P r o d u c e r / H o s t

C l a s s i c a l G u i t a r

A l i v e

MM&P. Youve taken a different career

path in classical music than any other

guitarist. Tell me how Classical Guitar

Alive came about?

Yes, my career/life in music has taken

some unusual and unpredictable twists

and turns, that's for sure! Classical

Guitar Alive is the name of the radio

program I have produced since 1993,

and it is also the name of the nonprofit

organization I founded in 2003 to fund

the radio pro