The Year of the Bard Delaware Style

Delaware is a remarkable state. Just 3 counties, 90 miles long, with an industrial northern county, and agrarian southern counties, Delaware is called "The First State" because we ratified the Constitution first in 1778. Later on, Lincoln dubbed it the Diamond State as it was a microcosm of the United States at the start of the civil war. As a result of being more or less equidistant between New York City and Washington, DC, with Philadelphia and Baltimore nestled between, Delaware sometimes thinks of itself as a cultural backwater. Not so on Sunday afternoon last week! "The Year of the Bard" was the brain child of two of the state's leading cultural arts leaders. Robert Grenfell (First State Ballet Company) and the legendary Lee Kimball (Opera Delaware)happened to chat one day about the possibility of doing a state-wide project involving several arts organizations. So about 200 of us found ourselves in the Grand Opera House in Wilmington on Sunday afternoon celebrating the Year of the Bard with three versions of Shakespeare's balcony scene from "Romeo and Juliet". The first section was expertly acted by the Delaware Shakespeare Festival. Then Opera Delaware presented the balcony scene from Gounoud's opera. And this is where Anne Sullivan and I came in: we accompanied two incredible dancers from First State Ballet. You may wonder what we played? The balcony scene from Prokofiev's ballet, R & J. Do you know that music? If not check it out on YouTube. Then imagine, if you will, that music in all it's complexity and power performed by flute and harp. Umhum. Who could make such an arrangement, you might wonder? NOT me!! Anne Sullivan did it. 7 minutes of music that involved research of the many revisions by the composer of just that scene to align with the Ballet Russe's scene that the dancers had learned. It was a gargantuan task that I feel could 1. only been done by Anne, and 2. only been played by her. I pretty much showed up and played, supported by the thousands of times I had listened to that score in my Prokofiev stage. Which followed my Brahms stage and preceded my Sravinsky stage. But I digress. It was absolutely a wonderful adaptation that worked. The dancers rehearsed with us at 12:30 prior to the 2:00 performance. (I seem to see a pattern here) The audience was amazed by all three segments as well as the informative and entertaining commentary between each by Dr.Jay Halieo. Afterward, cake and sparkling wine. Delaware is NOT a cultural backwater by any means. And to take advantage of the small but mighty size of the state to achieve such a feat is brilliant. The Year of the Bard will feature many performances all tracked on a "Bard Card" which, when presented and stamped by participating arts organizations, can be redeemed for prizes. Anne and I will present a concert entitled "The Tempest" in November (date tba) which will be, well, tempestuous! I cannot wait!

Travel Tips for the Flutist

It was a dark and stormy morning when my harpist, Anne Sullivan and I set off to play one of the first ever live web concerts in Chicago on radio station WMNT. I stowed my flutes in the overhead compartment and settled in for the flight. After a quick stop at Lyon Healy to pick up a concert harp, we headed it the radio station. All seemed fine until I opened up my double flute case, thought, hmmm, these seem cold. No worries, yet. Started to play. No low register. What?? Looked at the flute. All the right hand keys were visibly not covering. Ok, not to panic, I had a lovely back up flute. What? No low register again! Then it hit me: the flutes were very cold from riding for 4 hours in the overhead compartment. The pads had shrunk. In the moments before the concert, I blew as much hot air (apparently I have lots of it) into my principal flute and after the first piece, had a lovely low register as long as I used the thumb Bb whenever possible,and pressed hard with the right hand. Lesson: never place the flute in the overhead compartment! Especially if you will be playing it shortly after landing. I've learned some other lessons while traveling with my personal flutes (I'll save the stories multiple flutes on business trips for later: don't want to make this too hair raising) Learn to love TSA. They are only doing their job. It's ok if they call your flute an oboe or clarinet. Just smile. Correcting them will just cause further delays. If traveling with more than one flute/piccolo, make sure the cases are not stacked. Laying them flat in a bin will lower the chances of a search. If a TSA agent (remember we love them) says (and it is always LOUDLY) Ooooh! Is that real gold?? Deny it!! Call it copper! Speaking very calmly, of course. If you are traveling with say a gold and silver flute, or a gold head joint/ silver flute, your wonderful agent will need to X-ray the darker colored metal. Smile. Ask that the opened case be placed in a bin. Sometimes they will need to gently rub a white square cloth over the surface of the flute. It's OK. It won't hurt the flute. I can sometimes prevent searches by saying to the agent, "These are musical instruments". This happened today, actually, and the agent said, "I know what this is! I played in high school!" and she mimicked playing the flute. I was not searched. I always travel with my flute in a gig bag or briefcase. There is a very good reason for this. Once Anne Sullivan and I were on tour, and I placed my black flute case in its black case cover on the black parking lot as we loaded the car. Arriving at the hotel 4 hours later, I realized my flute was not in the car. Panic! Sleepless night! Fortunately a professor at the university where we had performed knew it was valuable and turned it in to security. Fed Ex saved the day for the next performance. Ever since then I use a large bag to carry flutes, music and so on. Once dubbed "one helluva handbag" the progression of bags over the years have prevented another disaster. I also always travel with two flutes and simple repair tools: a multi tool (combo screw driver and spring hook) a rubber band ( very useful in case of trill key malfunctions) full cleaning supplies, a set of plugs, and pad cleaners. Now you know why I need a large bag! A few precautions and knowing what to expect can make traveling with your precious flute much less harrowing. If you have a travel story, please either comment to this blog, or email your tale of woe to: info@fluteproshop.com. I will compile them in a future blog.

The best Tuesday morning ever!

Here is how you know you are working with a real pro.

You show up at 8:30 to the university recital hall (which is set up for the announcement of the new university president in a scant hour.) You are there to record a video (which you have a general idea about.) Once on stage, you pull out two Muramatsu flutes for you and your colleague to play (neither of us had touched them prior to this.)  You both choose a duet, sight read it, and record it in one take. You high five each other, and then chat about the experience for the rest of the video.  It's all over by 8:55.

That's Nina Perlove for you.

I have long admired her online videos, her skill, and teaching abilities.  I first met her 3 years ago on a mid-western tour I was doing: showing flutes and teaching masterclasses.  We had a great deal of fun. This year, as I was setting up another such tour, we planned the event described above.  The announcement of the university president was an unanticipated event, so our carefully scheduled 1.5 hours in the hall to shoot two videos  was not going to happen.  With the press clamoring to get into the hall,  we knew we had to get in and get out.  Fast.

So, at 9:00 we began shooting the second video.  It was finished at 9:25, went to have coffee before the masterclass I was to teach.

All this before lunch.  We musicians know how to pack in a day!

Nina and I had only ever played a duet before: Kuhlau for a video we did on the previous trip.  So we did have some knowledge of each others playing.  But in retrospect, a great number of things went well that may not have!!  We each listened to the others playing and picked up on style, articulation, when the other had the more important part and so on, all completely unspoken.  Was it necessity?  Yup.  Was it because we both have done extensive playing?  Of course. Were the flutes we played for the event without ever touching them before outstanding instruments?  You bet!* But I also think it is because Nina is a fine musician, our values lined up musically, and we both were there to have fun and make music.

Can't think of a better way to spend a Tuesday morning!!

*A mid-western phrase I picked up on this trip.

Greetings from Dayton, Ohio!

Photo: Me at Central Ohio Flute Association Flute Festival at OSU.


Hello all!  Such a busy travel season and I am afraid I have not posted as much as usual. Right now I am in Highland Heights, KY getting ready to visit the amazing Nina Perlove and make a video with her.  Should be a real adventure!

The first visit was to Indiana University of Pennsylvania, where I visited the flute studio of Dr. Therese Wacker.  Terri is a fine flutist and wonderful teacher who has a studio of 12 students at IUP and a private studio as well.  The students had a great knowledge of repertoire and  the music sold like hot cakes! (my dad's expression-means they bought lots!)  This gave me an opportunity to get to know Terri which was a real treat.  Her rapport with the students and their positive relationships with each other gave me a glimpse of a very supportive and positive studio.  We had a great time over dinner, and shared flute stories and laughs.

Then it was on to OSU and the Central Ohio Flute Association's Flute Festival featuring Jean Ferrandis.  First off I must say that the campus of OSU is something to be seen to be believed.  No wonder the Buckeyes are so proud of their school!  After moving in, however, I was in the choral rehearsal room for the duration, sharing that space with Flute World, Flute Specialists, Burkart and Weait Music.  Erin Torres did a fabulous job organizing the students to help with moving in and out.  And the students did the hard work of lugging all the stuff willingly and cheerfully.  Unfortunately the exhibits were far away from the flute events, so I missed some of my friends.  But all in all it was a great day, in spite of the weather.

The next day, after meeting up with friends, I went to the University of Akron to visit George Pope.  We had a great conversation about flute playing and pedagogy, and it was a real treat to visit with someone I have long admired.  Earlier today I went to Dayton to meet a favorite student for lunch and had another surprise at just how lovely and big that campus is!! My student is thriving as a Music Therapy major.  What a wonderful, giving career choice.

I spent a year in Oxford, Ohio, at Miami University where my husband finished his Architecture degree.  So, as I was in the neighborhood I swung by.  What a difference a few decades make.  The school is HUGE, and all the buildings are red brick so they look contextual.  Busy, busy place.

I hate to admit it but it will be great to get home.

Another angle at OSU!