Innovative Percussion, Yamaha, and Zildjian Cymbals artist, Benjamin Toth is a Professor of Percussion at The University of Hartford’s Hartt School, and recipient of the 2021 Roy E. Larsen Award for Excellence in Teaching. Before coming to Hartt, he served on the faculty of the University of Cincinnati’s College-Conservatory of Music as a member of its ensemble-in-residence, Percussion Group Cincinnati. Professor Toth holds a Bachelor’s Degree in Percussion Performance and Jazz Studies, in which he double majored, from the University of Akron, and a Master’s Degree from the University of Illinois. He has studied classical percussion with Thomas Siwe (University of Illinois), Larry Snider (University of Akron), and Donald Miller (Cleveland Orchestra); drum set with Bob McKee (Cleveland, Ohio); and world percussion with John Amira and Johnny Almendra (Cuban and Haitian percussion), Joseph Galeota (African drumming), Rogerio Boccato (Brazilian percussion), Shane Shanahan (hand drumming), and Glen Velez (frame drumming).
As a performer, Professor Toth has been globally lauded by numerous music critics from such publications as: Gramophone, the New York Times, the Beaumont Enterprise, the Louisville Courier-Journal, Die Rheinpfalz, Kornwestheimer Zeitung, the Washington Post, the Westfalen Blatt, the Marburger Neue Zeitung, BBC Magazine, the Saginaw News, and the Cleveland Plain Dealer; and has presented concerts, radio and television broadcasts, master classes, and children’s programs in dozens of countries, spanning six continents. Furthermore, he has shared the stage with such notable artists and ensembles as: the Jovan Percussion Projekt, Illinois Contemporary Chamber Players, Myriad, Conundrum, duo performances with marimbist/composer Nebojsa Jovan Zivkovic, bassist Robert Black, violinist Catherine Tait, and soprano/composer Susan Botti; concerto appearances with the Cincinnati, Lake Forest, Greensboro, Midland (MI), Peoria (IL) Symphony Orchestras, as well as with the Symphony of Southeast Texas, and the Eastman Wind Ensemble; orchestral work with the Sinfonia da Camera, Akron Symphony Orchestra, Cleveland Chamber Symphony, Brass Band of Battle Creek, and the Milwaukee Ballet; percussion and drum set work for regional theaters and national tours of Broadway musicals for the Goodspeed Opera House, Hartford Stage, Kenley Players, and Bushnell Theater, as well as for many touring artists, including Red Skelton, William Warfield, Mitzi Gaynor, Carol Lawrence, Bob Crosby, and the Jimmy Dorsey Band. Moreover, Professor Toth has recorded for the Albany, Arabesque, Bis, Centaur, Chen Li Music, Equilibrium, GIA, Hartt, Innova, Musica Europea, Naxos, TNC, Yesa, and Impermanence Records labels.
In addition to having amassed more than 40 years of experience performing, directing, and arranging for steel drum bands, he has performed at such venues as: Ravinia, the Walker Arts Center, Carnegie Recital Hall, Symphony Space, Hong Kong Cultural Centre, Dagbe Arts Centre (Ghana), the Encontro Internacional de Percussao (Brazil), the Fifth International Percussion Workshop (Poland), the Festival Bicich Nastroju (Czech Republic), the June in Buffalo Festival (with composer Steve Reich), Schleswig-Holstein Musik Festival (Germany), Glasbeni Maj v Pomurju Festival (Slovenia), Nomus Music Festivities (Serbia), the Lithuanian National Philharmonic concert series, the inaugural Australian Drum and Percussion Festival, the Gudong Guoyin International Percussion Festival (Beijing), the John Cage Centennial Festival (Washington, D.C.), the College Band Directors National Association National Convention, Percussive Arts Society International Conventions (sixteen appearances, including collaborations with composers Herbert Brun and John Cage), and the Trinidad Panorama. Furthermore, Professor Toth served as either host, coordinator, conductor, and/or performer for: A John Cage Retrospective for the 1999 PASIC New Music/Research Day; Out of Africa: Exploring African Influence in Contemporary Percussion Music for the 2008 PASIC Focus Day; and at PASIC 2012 for the John Cage Centennial Celebration.
When did you begin studying music?
I began studying percussion in 5th grade and have studied it ever since. My dad was a weekend gigging drummer so I was excited when he offered to give my brother and I lessons.
Who were your primary teachers?
As I mentioned, it started for me with my father when I was nine years old. Then, at age 14, I began studying with a legend in the Cleveland music scene, Bob McKee. I studied with Mr. McKee through high school and all the way through my undergraduate years at the University of Akron. Our lessons focused on drum set and snare drum. He remains a source of great inspiration. During my senior year in high school I studied with Don Miller, percussionist with the Cleveland Orchestra. He helped me prepare for college auditions, and in retrospect I realize that he helped me prepare for life as a music major in general. My lessons with Mr. Miller were a perfect complement to my studies with Mr. McKee and I feel fortunate that he took me under his wing. My two university teachers were Larry Snider (University of Akron), and Tom Siwe (University of Illinois). It seems that each day I find myself reflecting on the countless lessons they taught me: musically, pedagogically, and administratively. I also consider Jim Culley and Al Otte to be mentors, as I spent about six years with them as a member of Percussion Group Cincinnati – which began in the middle of my final year of MM studies. My approach to playing percussion and teaching was hugely influenced by them, and I must say that they taught me how to play chamber music properly. Lastly, I will mention my most recent teachers, as my studies have focused on world percussion: Joe Galeota, African percussion; John Amira, Cuban and Haitian percussion; Rogerio Boccato, Brazilian percussion; Glen Velez, frame drumming; and Shane Shanahan, frame drumming and hand drumming. All of these musicians have taught at The Hartt School as part of our rotating guest percussion faculty. It is through this program that I continue my percussion studies.
When did you decide to pursue a career in music?
I think I made the commitment in my junior year of high school.
Did you have a specific goal: teach, compose, etc.?
Originally my dream was to be a drum set player, having been blown away by Steve Gadd. By the time I finished undergraduate school I knew I would love to be a percussionist with a broad skill set, and to also direct a collegiate percussion program.
Do you focus on a specific area of percussion, if so, did you always?
No, I don’t focus on a specific area of percussion. Though at times I may focus on one thing or another. I think I am attracted to percussion precisely because there are so many instruments and types of music for me to explore. There was a time when I focused on drum-set, then marimba became a favorite; I have always loved steel pan, etc., etc. And as I mentioned, I feel fortunate to have the ongoing opportunity to study various world percussion traditions. Sometimes it’s an instrument itself that inspires me to practice; I never played as much snare drum as I did when I obtained my first Radio King. Of course, a teacher’s own musical journey is reflected in their teaching, and though there is a certain practicality for a budding percussionist to be versatile and perhaps more marketable, I believe that the true advantage of a well-rounded percussion education lies in the “cross-fertilization” of seemingly disparate percussion instruments, playing techniques, and styles of music. Each percussion instrument and musical tradition studied can inform and influence another.
Who impacted your musical growth the most?
That is a tough question. I’ve always been inspired by my percussive heroes: Keiko Abe, Andy Narell, and Steve Gadd may be at the top of the list – and I suppose my first musical hero was my teacher, Bob McKee. I studied with him at a crucial moment in my journey, and I think the joy and commitment that he exhibited in his playing and teaching had a huge influence on me, and it still does.
What teaching positions have you held?
During my third semester of MM studies at the University of Illinois, I auditioned for Jack Brennan’s spot in Percussion Group Cincinnati (PGC), which is an ensemble-in-residence at the University of Cincinnati, College-Conservatory of Music (CCM), and joined the Group and CCM faculty during winter break that year (1986-87). I was able to complete my degree that spring, albeit long distance, while playing in PGC, and teaching at CCM, thanks to the support of my teacher, Tom Siwe. All told, I taught at CCM, and was a member of PGC from January 1987 until the summer of 1992. I joined the faculty at The Hart School, University of Hartford in the fall of 1992, replacing Percussive Arts Society Hall of Fame member Al Lepak, and have been there ever since. Al Lepak’s studio and curriculum reflected his varied musical interests. Though many know him as an exceptional timpanist, he was also a world-class drum set player and all-around percussionist. In addition to his method books, he was a prolific composer, an active conductor, and a long-time big band leader. His list of former students reads like a who’s-who, and all of them speak glowingly of their time with him. Though I was never officially a student of his, he has had a profound influence on my teaching – not just in terms of repertoire and curriculum, but also in the way he connected with and inspired his students. Maybe it sounds a little corny, but I strive each day to uphold the tradition of excellence that he established in the Hartt Percussion Department from 1950-1991.
Is there a specific genre you enjoy performing the most?
Though I enjoy playing orchestral repertoire and solo literature, I suppose I get the most satisfaction from playing chamber music, regardless of the instrumentation or style of music. And though I most often play chamber music for percussion, I have learned a great deal from working with string players, wind players, pianists, and jazz groups.
What composers do you identify with and why?
The first composer that comes to mind is John Cage. As a member of Percussion Group Cincinnati, I had the chance to learn about, and play, most of Cage’s music for percussion (thanks to Jim and Al’s tutelage). I also had the opportunity to meet Cage and collaborate with him a bit in conjunction with a PGC performance at the 1990 PASIC (Philadelphia). Over the years I have often collaborated with composers, not just in terms of premiering or playing their works, but sometimes performing with them – most recently with composer/soprano, Susan Botti, whose percussion writing I find to be exacting and highly rewarding. The two composers I have worked with the most are David Macbride and Nebojsa Zivkovic – their musical aesthetics are almost diametrically opposed, yet I find their respective pieces challenging and fun to play, albeit in very different ways. My work with David Macbride, lasting from 1992 until his passing in 2018, was a unique experience for me in that I was typically involved in his compositional process. It seemed I was constantly (and happily) reading through sketches/drafts of his pieces, as he often used our partnership (our duo was called “Conundrum”) as a laboratory for his ideas. Ultimately, he wrote countless pieces (solo, chamber, and a concerto) for me and/or my students.
Do you get nervous before you play – if so, how do you deal with it?
Yes I get nervous to various degrees. A majority of my performances have been with chamber music groups, and I am most comfortable (and the least nervous) in this setting, whether it be a percussion group or a mixed-instrumentation ensemble. I tend to be more nervous when presenting a solo recital or while playing a concerto. Recording sessions can be intense as well. I find some players particularly comfortable to work with, which also eases the nerves – Jim Culley comes to mind. His consistency, stellar sense of pulse and sub-division, and ability to listen make him a pleasure to work with. In general, when I feel anxious before a performance, I seek a quiet space and do my best to fine-tune my focus (something I learned from Keiko Abe a long time ago). I also try to slow my breathing. I often remind myself of the importance of conveying the composer’s intent, which can make a solo performance feel collaborative. If I feel anxious during a performance I do my best to stay in the moment, which is easier said than done.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Of course, mistakes (within reason) are an aspect of live performance. Explaining how one resolves a mistake when performing is difficult to articulate. Basically you seek a path to get back in the flow of the piece, as quickly and seamlessly as possible – and the more relaxed (and focused) one is, the better the result. Sometimes I simulate a performance in the practice room: challenging myself to play the entire piece, including recovering from a mistake (rather than stopping to fix it). I suppose that one’s ability to resolve mistakes improves with experience.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
Yes, my practice regimen has become more efficient, and my practicing has become more productive, which is a necessity as one progresses in his/her career. In fact, I think I have been learning how to better practice my whole life, and it seems that my teaching can, in a sense, be distilled down to helping my students learn how to practice more thoughtfully, efficiently, and productively. I do practice on a wide variety of instruments. This week, for example, I am practicing pieces or exercises on djembe, tenor pan, vibraphone, drum set, and marimba. I’ll also be performing Cage’s Amores in a few days. My practice routine might shift next week, and certainly will shift (because of upcoming projects) next month. I simply keep a list on my studio wall of all current projects; always being mindful of the culminating performance, recording, or lesson dates for each project. This helps me decide how to best allocate practice time each day, each week, and each month.
How do you define a good musician and a good teacher? And has your definition of both changed from when you were a student to the present?
I think being a good collaborative musician starts with being a good listener. It’s all about listening to the other players more than yourself. I think a good musician approaches all projects: solo repertoire, collaborative projects, even a lesson – with sincerity, honesty, and some humility. I think being a good teacher also requires sincerity, honesty, and some humility. For me, the art of teaching is about identifying what each student needs and responds to; always remembering that no two students are alike. I think great musicians and great teachers can also inspire. Therefore, my definition of a good musician and a good teacher has become more refined over the years, but hasn’t really changed.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
Absolutely. I believe that one’s effectiveness as a teacher is directly analogous to his/her level of musicianship. In other words, if you aspire to help your students achieve a high level of playing, you need to have experienced that level of playing yourself. If you expect to teach your students how to practice, you must have spent some time in the practice room yourself. Conversely, one’s teaching also helps boost his/her level of musicianship for it involves a very focused level of listening, which naturally translates to being a better, more focused listener while performing. Furthermore, as a teacher, one is constantly analyzing and breaking down repertoire and advanced playing techniques with students; thus remaining sharp for when it’s time to dig into a piece on your own. And of course, as teachers we can learn quite a bit from our students, as they each bring their own experience and points of view to our studios.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
I don’t think I would change a thing, though I should say that I have been very fortunate along the way. To answer your question in another way, I feel that I have never stopped preparing for my career. There is always something new to learn and always something to improve upon. Being a “lifelong learner” was not a conscious choice, it was inevitable. I have always worked hard, striving to become a better musician, with the goal usually not to land a particular gig, but rather to improve. I’d like to think that my career path has been an example of the old saying: “Luck is what happens when preparation meets opportunity.” (Seneca) Or as Branch Rickey put it: “Luck is the residue of design.”
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
Always be respectful of your colleagues, your students, and your art. Focus your energy on what you have yet to learn, rather than on what you have already learned. And stay the course. I recall naysayers, speaking with my father, who questioned my decision to pursue a career in music, eager to remind him of the challenges inherent in that field. My dad, ever supportive, would respond: “There’s always room for one more good one.”
