It’s Okay to Toot Your Own Horn

Time was, one could reasonably assume that seeing the classic film musical The Music Man would launch a new generation of trombonists (after all, they did lead the big parade, with 110 cornets right behind). Nowadays, not so much. But Music Academy of the West trombone fellow Sarah Roshani Goldberg had a more circuitous, if more traditional, path to the big slide brass instrument, even before she hit double digits. 

“As a younger kid, I would sing to Lady Gaga, Selena Gomez, and Britney Spears – and I wanted to be one of them,” Goldberg recalled. “But then we had our recorder class in fourth grade.” 

It turned out that not only was it fun, but she excelled at the little flute-like woodwind. 

“I always felt like I was just really bad at a lot of things,” she said. “But with music, even though I wasn’t the most naturally gifted, I put in a lot of work, and I saw results. That showed me that anything could be possible with it, so I wanted to keep moving forward. 

Two years later, Goldberg settled on the trombone at her Texas elementary school’s band fair, selecting the instrument over bassoon, tuba, and euphonium.

“I have a low voice, and I think that’s why I naturally resonated with all those low instruments. It wasn’t a conscious thing. I just liked them the best. I’m so glad I chose the trombone because it’s such a versatile instrument that works in a lot of different styles and music.” 

More recently, Goldberg earned her bachelor’s degree at Juilliard, studying with New York Philharmonic principal (and former MAW faculty) Joseph Alessi. She’s headed to Colburn School in the fall. But in between, there’s the 2025 MAW festival, which just five weeks in the trombonist called “already the best summer I’ve ever had in my life.” 

And that doesn’t even have anything to do with winning the 2025 Yamaha Young Performing Artist Competition in Indiana at the end of June, after the first orchestra concert at MAW. 

“I played for Jaws, then got an Uber to LAX and took a red eye, and went straight to the competition, then flew back here,” she said. “It was a crazy weekend.”

She called her time so far at the Academy a refreshing experience partly due to an “environment conducive to being inspired, where I’m learning something new every single day.” 

An early high point came at another orchestral concert where Goldberg played the solo trombone passages in a movement of Andy Akiho’s “Sculptures.” Another memorable time was a recent private lesson with faculty member Weston Sprott that was scheduled for 80 minutes but ran more than twice as long. 

“We just kept working on things, and I also got to learn more about him and the life of playing an instrument for your career,” Goldberg said. “There are so many life lessons about trying to choose your path and making decisions based on your priorities. He’s got a life that’s balanced with lots of performing but also making an impact on students, which is what I want, too.” 

Goldberg is slated to serve in the spotlight as trombone soloist on Mahler’s “Third Symphony,” which closes the festival on August 9 at the Granada, an honor she earned at auditions on the Miraflores campus. 

“It’s one of the greatest pieces in the repertoire,” she said. “We performed it a few months ago in Carnegie Hall when I was in the ensemble, and it was a big reminder of why I want to play music. To have the opportunity to play the solos – the biggest in the trombone repertoire – I’m so excited and grateful. I think that music is life changing.” 

Meanwhile, this Saturday morning, July 26, Goldberg, the three trombone fellows, and the rest of the 14-strong brass section at this year’s summer festival will perform at a special Brass @ the Bandshell community concert at Plaza del Mar across from Los Baños pool by West Beach. 

The free 45-minute concert opens with Kevin McKee’s “Full Tilt”and selections from Bernstein’s West Side Story suite (arr. Jack Gale), with Goldberg slated to play on Koetsier’s “Symphony for Brass, Op. 80,” and handle the principal part for Jasmine Barnes’ “The Boroughs.” The latter work premiered just a year ago at Juilliard, which commissioned the piece through the Composing Inclusion program. 

“It’s two brass quintets mirroring each other, like a conversation between them,” she said. 

The concert portion is followed by an Instrument Exploration Station @ 11:45 am in partnership with the Santa Barbara Symphony’s Music Van Program, where kids can get to know the brass instruments up close. 

Who knows? The concert plus the chance to handle a trombone just might spark some current youngster’s imagination. 

Thursday, July 24:

New bassoon teaching artist William Short – principal of the Metropolitan Opera Orchestra since 2012, faculty member of both Juilliard and Manhattan School of Music – earned his master’s at Rice studying with MAW’s recently retired Benjamin Kamins. Now Short makes his debut with a master class – (1 pm; Weinman Hall; $10)… Tonight’s X2 concert “Living in Color” boasts a bevy of fellows and faculty members – more than two dozen in all – performing works by Florence Price, Luciano Berio, and 2009 MAW alumna Sarah Gibson, plus the West Coast premiere of Samuel Carl Adams’ “Lighthouse.”(7:30 pm; Hahn Hall; $55-$60)

Friday, July 25:

Fellows competitions continue with the finals of the Duo Competition, in which nine collaborative pianists paired with 14 other instrumentalists vie for the title, cash award, and the chance to perform at the end of the summer (10 am-5 pm; Hahn Hall; $55-$60)… Kamala Sankaram and Huang Ruo are the focus of the Concert & Conversation series (née Composers in Context). The colorful event features two vocal works each by Sankaram and Ruo, as well as pieces by Ravel and Max Bruch performed by mix of fellows and faculty. These musical interludes are sandwiched around a conversation with LVI co-director/mezzo-soprano Sasha Cooke. (7:30 pm; Hahn Hall; $55-$60)

 Saturday, July 26:

Tonight’s Teaching Artist Showcase, which once again mirrors the X2 concerts in combining faculty and fellows, has only two (but quite estimable) works on the program in Brahms’ “String Quintet No. 2 in G Major, Op. 111,” and Schubert’s “Piano Quintet in A Major, Op. 114, ‘The Trout’” (7:30 pm; Lobero Theatre; $45-$70).

Tuesday, July 29:

Fellows furiously vying for prestigious titles comes to a close with the Marilyn Horne Song Competition, which has no preliminary rounds. That is, all of the 20 vocalists (who absolutely shone in the breathtaking production of Mozart’s Don Giovanni at the Granada last weekend) and most of the vocal pianists get three songs each to impress the judges and take home the honors. Prizes include cash compensation and a performance at the end of summer. (11 am-5 pm; Hahn Hall; $55-$60)

Wednesday, July 30:

Cellist Ani Aznavoorian, the longtime principal of our hometown chamber ensemble Camerata Pacifica, makes her MAW debut with today’s master class (1 pm; Lehmann Hall; $10)… Tonight’s more casual, wine-fueled soirée known as the Salon Series, with works by Schumann, Mendelssohn and Chausson, is sold out.