By Melissa Hendrickson- So what was it like to be in a Rural Residency? I get that question all the time and it still gives me pause. How do I describe the totality of the experience in just a few words? It was certainly unforgettable and I look back on it as life-changing.

In May 1999, QUADRE, one of my favorite “gigs,” was plunged into full-time ensemble-hood when we were chosen by Selma, Ala. as their resident chamber group. It was an exciting opportunity to grow and have an impact on an entire community. But for some of us, the decision to go was not an easy one. I had been married for only two years and the prospect of nine months away did not appeal to me or my husband. Ultimately, we decided that the long-term benefits coming from such an experience would be worth the separation. That didn't make it any easier at the time, but two of my colleagues were in the same position. We all managed to fly back about once a month for a visit, and each of our spouses had a chance to visit us in Alabama.

Melissa practices her socialization skills.

Having lived in California all of my life, I found the South very different. I had no idea what was in store for me:

“I can't believe it's hot AND raining!”

“What do you mean the pipes freeze here?”

“Sweet or unsweet tea? Huh? I just want some iced tea.”

“Dirt roads? Not in my car!”

“Do you have anything that's not fried?”

“Wow! This house has held up well for being built in the ’50s. Oh, you mean the 1850s — now that’s historic, dude.”

Believe it or not, we stayed here.

Once there, we were provided living space in a large Victorian house that had to be seen to be believed. It looked, and felt, like something out of the movies. Living in close proximity with my fellow music-makers made rehearsals easy to schedule, though it sometimes felt like “The Real World” with horns instead of cameras. Office space was also provided in another interesting historical residence.

Our toughest interview yet.

As for our daily routine, a typical day might go like this. At 8 a.m., we’d have a school outreach. Often this would be in one of the surrounding counties, perhaps 45 minutes away, so we would have to leave by 7 a.m. in order to get set up in time. We would play a 50-minute program for the entire school or for just a few grades. Our school outreach, like any of our programs, can’t be done halfway. The energy must be there from the moment we start, and this is sometimes hard to achieve at 7 a.m.! And we don't just play. Each of us takes a portion of the program to engage the audience in an activity that teaches them about elements of music, teamwork or the artistic thought process. After the concert, we’d visit classrooms at the same or a different school, working more in-depth with the students.

Working the crowd.

Once back home, we’d have a little time for lunch before our afternoon rehearsal. The dining room proved to be an ideal practice space, with its high ceilings. In the evening, there would be a community function where we’d provide a brief concert. Other weeks we’d be out of town all day as part of our state tour, doing educational outreach during the day and concerts in the evenings. In addition, some of us taught at Wallace Community College once or twice a week doing music theory, music history or music technology.

A typical rehearsal in Alabama.

Overall, we reached out to the community in every way. It was not the easiest job, but many of the most rewarding jobs aren’t. We saw the results in the faces of students who recognized us at the market or in audience members who were moved by a piece that reminded them of a happy memory. We saw it in the look of a student who finally understood a concept in history or math that was clarified through music and the arts. A local restaurant began having live music, and we’d like to think that this was an indirect result of our frequenting the establishment. Being part of the Chamber Music America Rural Residency program was a privilege and certainly an experience I will never forget.

Melissa considers her endorsement options.