We’re excited to see women taking the lead on the podiumĚýand in the director’s chair. With that in mind, we’ve asked some of our graduate students in conducting and directing aĚýfew questions about whoĚýthey are, and what they do.ĚýĚý
Join us over the next few weeks and get to know these formidable talents as they build their careers and shape our musical landscape.ĚýĚý
Melissa Tardif (BMus'19, BEd'19, MMus'21) is currently completing her degree in Conducting at the Schulich School of Music of Ď㽶ĘÓƵ.ĚýHaving been trained as a jazz saxophonist, she hasĚýperformed in and around MontrealĚýthroughout her schooling. In addition to performing, she has a passionĚýfor both conducting and education. With a particular interest in film and video game music scores, she hopes to one day direct an orchestra that records these works, where she can be a part of the creative process.Ěý
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In addition to conducting and teaching, Melissa has also recently begun composing and arranging her own music. In 2019, she founded her own orchestra,Ěý. The orchestra specializes in Japanese anime music and performs at conventions around the Montreal area.ĚýMelissa's entrepreneurial spirit and fervent drive for leading others makes her a viable asset to any teaching team.
Melissa's master’s recital leading members of the McGill Wind Orchestra took place on February 19, 2021.
GUSTAV HOLST Second Suite in F for Military Band, Op. 28, No. 2
JEAN FRANÇAIX Huit danses exotiques
DAVID GILLINGHAM Serenade for Winds and Percussion
What do you see as the role and responsibility of a conductor/director?ĚýĚýĚý
The role of the conductor, in my opinion, is to lead and inspire the ensemble in a positive and engaging manner. There are many conductors who believe that being overly demanding and to some extent, “mean” to the ensemble is the way to direct. I absolutely disagree with this. Musicians want to make musicĚýwithĚýthe conductor and notĚýforĚýthe conductor. The conductor’s role in my opinion is to inspire and work with the musicians to create music as aĚýcollective. A conductor may have their own vision for the work, but it must always be shared with the orchestra in a way that is collaborative. Using the word “we” instead of “I” is incredibly important when rehearsing. It brings a sense of collaboration within the ensemble.Ěý
What’s the toughest thing about conducting? What’s the easiest or most fun?ĚýĚý
For me, the most difficult thing about conducting isĚýworking with groups of all levels.ĚýWhen you are tasked to work with a group that you have never worked with before, it is always a stressful experience. The part of conducting that I find to be the most fun is the score studying aspect. Taking your time with a score and getting yourself lost in the mind of the composer is always a very relaxing and exciting thing for me. Finding hidden elements in the music and discovering the composer’s style is an absolute blast.ĚýAs an arranger andĚýcomposerĚýmyself, I find it quite fascinating to analyzeĚýand jump into the mind of a composer. It helps me with my own composition work.
What advice would you give to your starting-at-university self?ĚýĚýĚý
  Attend a lot more concerts and get the instrument injury prevention treatment you needed earlier!ĚýĚý
What was the most surprising thing you learned during your degree?ĚýĚýĚý
How much I love teaching. While doing my degree, I spent a lot of time working with other aspiring conductors and hearing about the career paths they wanted to take. Through those discussions and my studies, I grew to realize that as much as I loved the orchestral performance world, I preferred to give back — toĚýteach and guide aspiring conductors the art of conducting. As an educator first, getting the chance to co-teach MUIT 315 —ĚýInstrumental ConductingĚýwith Professor Alain Cazes — has truly been an empowering and wonderful opportunity. Teaching conducting and educational techniques to future teachers brings me soĚýmuchĚýjoy! It's a field I would absolutely love to be a part of in the future.Ěý
Tell me a little about your recentĚýMaster’sĚýrecital.  What made you most excited about it?
I had an absolute blast! The challenging part about this concert, in particular, wasĚýfinding repertoire for a smaller group because of the COVID restrictions. I had always told ProfessorĚýCazesĚýthat I wanted to conduct both of Holst’s suites, and I am very fortunate that I got to conduct both during theĚýtwo years of my master’s degree. ProfessorĚýCazesĚýhelped me choose the other two pieces by using my own personal musical taste. My interest in film scores and my background in jazz studies guided me to theĚýFrançaixĚýandĚýGillinghamĚýpieces. The repertoire was my favorite part of the concert, for sure.Ěý
If you had a mantra/philosophy/phrase that sums up where you are now, what would it be?ĚýĚýĚý
“The only solution to anything is hard work.” I got this quote tattooed to my ankle, and itĚýhas been my mantra since the beginning of my studies at McGill in 2014.Ěý
Dream piece to conduct/direct?ĚýĚýĚý
This will come as a surprise to many since it is not a classical composer, but I am absolutely in love with the work of Max Richter,Ěýa British minimalist composer. Getting to conduct any of his works would be an absolute dream.ĚýMy runner up would be an Australian composer by the name of KevinĚýPenkinĚýwho is famous for scoring the music for various Japanese animation films. It would be a dream to conduct any of his works.Ěý
Conductor(s)/leaders you admire?ĚýĚý
One of my favorite conductors is Alondra de le Parra. She is a very positive and inspirational leader whose energy and enthusiasmĚýisĚýincredibly contagious. I base a lot of my conducting and rehearsing styleĚýoff ofĚýher.Ěý
What do you want to see/hear more of in your field?ĚýĚý
To be frank, I think there should be an emphasis /Ěýimportance placed on learning to conduct various genres of music besides classical or contemporary. I am someone who has a vast interest in music, which fallsĚýoutside of the realm of classical or contemporary. As conductors, we sometimes get gigs in studios or we conduct the pit orchestra for musical theatre productions. When learning about conducting, we seldom talk about these aspects of the profession, and they are often overlooked or treated as “not as important”. I have conducted a musical theatre production and I must say, itĚýrequires an entirely different set of skills that I did not find myself prepared for. The school of conducting prepares you to become a maestro orĚýmeastraĚýin front of a symphony orchestra. TheyĚýdon’tĚýprepare you for the CEGEP or community youth group that you will face in your career.ĚýSoĚýwhat I would love to see in the field is bringing toĚýlight these OTHER aspects of conducting, so that careers as studio conductors or pit orchestra conductors are not looked down upon.ĚýĚý
Though we're unable to share clips from her recital, Melissa is true to her word, engaging in and with a variety of ensembles and styles of music!
This video was recorded in Clara Lichtenstein Hall in 2016.
Somnium Fantasy: "A Dream Fantasy", composed and conducted by Melissa Tardif, explores the various steps that one must take in order to achieve their dreams. Each movement, rich in beautiful timbres and a tenacious tone, delves into the hardships, determination, and perseverance that come with realizing one’s hopes and dreams.Ěý
A Kingdom Hearts III Mashup: “Face my Fears, Don’t think Twice and Simple and Clean”
Original Music by Utada Hikaru Orchestral
Arrangement by Melissa Tardif
The Montreal New Horizons Band is a bilingual and intergenerational wind and percussion ensemble open to all, offering the opportunity to learn (or relearn) how to play a musical instrument in a friendly and dynamic environment.
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Stay tuned...
Next week you'll meet NilaĚýRajagopal.
Read Leading the Way: Part 1 of 5 — Kelly Lin here
Read Leading the Way: Part 2Ěýof 5 — Angela Hemingway here
Read Leading the Way: Part 3 of 5 — Sawyer Craig here
Read Leading the Way: Part 5 of 5 — Nila Rajagopal here
