Adapted from an article by Michelle Flowers; Excerpts reprinted with permission from the International Trombone Association Journal

The International Trombone Association Journal recently profiled the Saskatoon Symphony’s low brass section for their  “Perspectives on Longevity” column. The full article is available to ITA members; here are some highlights: 

The “Saskatoon Four” consists of:

• Principal Trombonist Don Schmidt, who joined the orchestra in 1977;
• Second Trombonist Brian Unverricht, who joined the orchestra as principal in 1967;
• Bass Trombonist Dawn McLean Belyk, who also joined in 1977; and
• Tubaist Brent Longstaff, who joined in 1991.

On friendship and collegiality

Longstaff: When we started playing together 32 seasons ago, we already had a close relationship, [because] I had taught with, and been taught by, all three of my trombone colleagues in the past.

Schmidt: When I first joined the orchestra, Brian played principal. We all learned to appreci-ate each other’s opinions and strengths. We are all friends first, and we would never let musical differences get in the way of our friendship.

Belyk: We are truly family and care deeply about each other. We learn from each other, suggest dynamics or articulation styles. But, for the most part, we just sit down and play. It’s that easygoing.

Unverricht: I believe our individual strengths and weaknesses overlap each other and complement everything we do onstage and in rehearsal. We have always been civil, kind, encouraging, and positive; yet feel free to express our opinions openly in the pursuit of excellent music-making.

On managing change and crisis

Longstaff: When I started playing in the SSO, I was only 20 years old. I was a competent player but had never played in an orchestra before or held a professional playing position. As such, I had a steep learning curve. The other members of the section were quite patient and gentle with me, offering suggestions and guidance when necessary. I wasn’t always gracious, but as I gained experience and learned to look past my own ego, I benefitted from their help.

Unverricht: My toughest time came when my wife died suddenly and I became a single parent overnight. It’s important to have many trusted friends and colleagues who you can rely on for support beyond trombone playing. These will actually make it possible for one to continue performing under difficult circumstances. Hold your friends and colleagues close, strive to be positive but honest, and be ready to both give and receive support.

Advice for younger musicians

Belyk: As a busy single mom, [full-time teacher], and symphony musician back in the day, I wish I had taken the time to learn how to relax more, work on techniques to help with that in my playing, and to appreciate the small things more. Time moves so quickly, so take time to appreciate what is good around you and allow yourself to enjoy things more. [Don’t] be in such a hurry to get to the next adventure. Live in the moment more.

Schmidt: Exploring studies, duets, and solo literature with students has kept me up-to-date and motivated. I am very excited to be teaching trombone to my 13-year-old granddaughter. She is already a better player than I was at her age!

Longstaff: Playing careers are, if you’re lucky, long. It’s important not to stress out too much over a couple of missed notes or a concert that didn’t go as well as you had hoped. The success and longevity of your career depends on attitude, collegiality, willingness to work, and a desire to make the best music you can. Breathe deep and relax; the music is what matters most.