Oregon State University professor of music Rachelle McCabe was recently among 100 Juilliard graduates to be profiled in an anniversary edition of the school's magazine. She spoke with the Gazette-Times about her life as a musician, and her times at the Juilliard School.

1. When did you first discover your love of music? Do you come from musical parents or was it something you came to on your own?

Our house was always filled with music. My older sister Robin seemed destined to be a concert pianist (she was gifted with perfect pitch, a precocious talent and intellect) and her endless hours of piano practicing filled the house with Bach to Bartok day after day. Our parents, although not particularly musical themselves, were fully engaged in our musical activities - I began lessons at 6 - and thus began my mother's endless hours of driving to and from my countless lessons, music festivals, etc., sometimes across the entire state of Washington. I grew up in Puyallup, about 30 miles south of Seattle. My mother sat at my side every day while I practiced until I was 12 years old! I give all the credit for my early successes to the wisdom and encouragement of my parents, especially my mother, who knew exactly how to get me to practice.

2. Was it clear early on that you wanted to pursue music as a career, rather than just a passion?

I sometimes thought I might follow in my father's footsteps and go into medicine, but I became very focused on piano studies by the age of 13 or 14. In high school I practiced three hours a day and as an undergraduate student, between four and six hours a day. I also listened to a great deal of classical music and went to classical music concerts constantly. I also loved the solitary work of practicing and still do, although real time to practice is a luxury item. But now I am able to draw upon my rich background and strong foundation and I'm efficient in my work habits. The process never changes and you can't cut corners - the preparation required to perform the Schumann Concerto or a Beethoven Sonata today is as demanding today as it was when I was 18 years old. But at the same time, we musicians are so lucky because there is always more to do, more to strive for. I will never have to "retire" and I can constantly build upon what I learned 10, 20, 30 years ago. I gradually grew into the life of a musician and I guess you could say that music "chose me", rather than the other way around.

3. How was your experience at the University of Washington? Did you have mentors that helped propel you toward Juilliard?

The University of Washington School of Music has always been an outstanding institution. I studied with the great Hungarian pianist Bela Siki, who had been my teacher all through high school. Siki was a fantastic teacher for me and of all my teachers, I am the most thankful to him - his impeccable attention to detail and style remains with me to this day. He completely prepared me for the rigors of Juilliard and instilled in me a fierce conscientiousness toward the score.

4. At Juilliard, who did you work with? How did you change as a performer during your time there? Do you still keep in touch with some of your professors? Was attending Juilliard a dream of yours?

Being accepted for graduate study at Juilliard was indeed a dream come true, and as a student there it was terribly inspiring to be amongst so much raw talent and artistic energy. My favorite teacher was my piano repertoire teacher, Joseph Bloch. At Juilliard I studied piano performance with the legendary Russian pianist Madame Ania Dorfmann. She was a formidable and intimidating teacher who chain smoked and had the disconcerting habit of cursing at me in Russian when she was disappointed in my playing - and that was often. I would practice and practice for my lessons, and nothing ever seemed to please her. Madame Dorfmann was a great teacher, a real "grande dame." By the time I left Juilliard I was an emotional wreck after two years of trying to please her. I wasn't alone at Juilliard in this respect. Many of the "old school" teachers did emotional damage to their students by tearing them down week after week.

5. What have been some of your more memorable experiences as a performer, perhaps a concert that stands out, or a tour?

A few weeks ago I performed the Schumann A Minor Concerto with our orchestra, the OSU Corvallis Symphony Orchestra. I'm thrilled at the level the orchestra has reached in its 100th year - they are terrific and Corvallis can be very proud. Other highlights include performing a solo recital at the National Gallery of Art in Washington, D.C. Also, I would include concertos with the Pittsburgh Symphony Orchestra and Seattle Symphony.

6. Who have been performers you've loved working with? Do you have musicians in mind that you'd love to work with in the future?

My favorite musicians are those who understand true collaboration and how to play chamber music - the art of listening and responding to one another for the creation of the whole. In the best situations, a lot of discussion is not necessary. My sister Robin and I play duo piano concerts, and we are so used to each other that the musical process - decisions, problem-solving, results - come very easily. I have performed with many wonderful musicians and the element of trust is essential. Some of the most magical performances happen with longtime friends, like old classmates from Juilliard or colleagues from summer festivals, such as the Victoria Festival, where I performed for many years and now Corvallis' Chintimini Festival each June.

7. How did you end up at Oregon State University and what has kept you here?

I applied for the opening at OSU as I was completing my doctorate at the University of Michigan in 1984. I wanted to return to the Northwest and I had always loved the natural beauty of Oregon. I wear many hats at OSU. … I'm a teacher of piano performance and music history, I direct the piano program and I am a strong "piano presence" in the community at large. I think I speak for all of us who practice, teach and perform classical music in Corvallis. We feel a great sense of accomplishment in contributing to the cultural life of the community. In turn, Corvallis audiences give much back - they are an enlightened group, very educated, enthusiastic and supportive. This is an unusually supportive community for its size.

8. You emphasize interdisciplinary work as a teacher. Why is this important to you? In what ways can music add to a student's understanding of other studies, like philosophy and literature?

I strongly believe that music is a fluid connecting medium and some of the most exciting, untapped forms of creativity and discovery come about when we venture out of our specialized areas. The possibilities are endless and our students are very receptive to connections between seemingly disparate subjects. Last month I put on a successful program for the Corvallis Arts Center called "The Meaning of Music" with my OSU colleague Kathleen Dean Moore, a brilliant author and naturalist philosopher. A few other musicians joined us and while Kathy read her essays, we wove a tapestry of classical and jazz music around her words. It was a challenge to put together a program like this, but both the music and the essays were enhanced by the connections we made, and we think we got a little closer to finding an answer to the question, "What's the meaning of music?"

9. How do you feel about being included as one of the Juilliard graduates to be featured in their anniversary publication?

I'm honored and delighted! I believe I'm featured alongside the likes of huge stars such as Yo Yo Ma, Robin Williams and Leontine Price because of the interesting diversity of my life in music.

10. Any exciting projects, tours or other work coming up that you'd like to highlight?

The culture of piano in Corvallis. In early May, I will be flying to New York to select a brand-new nine-foot Steinway Concert Grand Piano for the La Sells Stewart Center, our principal performance hall in Corvallis for classical music. The community is currently raising $150,000 for the new Steinway and a maintenance endowment and we have made strong headway in the campaign, led by former OSU president John Byrne. The selection will be made at the Steinway factory on Long Island and this promises to be a fascinating experience. Steinway will put out six to eight brand new nine-foot concert grand pianos and my job will be to select the right piano for the hall. I also have a long list of exciting plans for next year revolving around the new Steinway, beginning with a celebratory concert to unveil the piano for the public in grand fashion next fall.

At a glance

Name: Rachelle McCabe

Family: Husband Phillip, children Alexander and Elizabeth

Born in: Puyallup, Wash.

Current hometown: Corvallis

Current position: Full professor in the music department at OSU

Fact you might not know: She plays duo piano concerts with her sister, Robin.