Flute Pro Shop on the Road

Two Musical Careers in One Household and it Works!

2012-02-29T11:33:00.000-08:00

The great joy of traveling toshows, campuses and studios is meeting so many different people in ourbusiness. This blog features TereasaPayne and Simon Hutchings, a married couple who are very, very busy andsuccessful doublers. And they are happytoo! No jaded musicians, these! Here is their story, and you will find withinit, some real words to live by.

JMS: Tereasa, if I recall, we first met at theKentucky Flute Society Flute Fair in 2009. I remember being struck by your wonderful playing of a great Schockerpiece as well as your fabulous outfit!

TP: Yes Joan, we first met at the KentuckyFlute Society’s Young Artist Competition. I did play the Shocker “Rain and Shine” and yes, I think I got as manycompliments on my outfit as my playing that day! Well, the Shocker just called for somethingdramatic, didn’t it??? But… I didn’t win the competition. I was thrilled with my performance and theaudience gave me a standing ovation after the Shocker. But, I came in Third in the competition. Such is the way it goes with competitions andauditions… you just do your best and be your own judge. You certainly can’t be everything foreveryone, so you just have to play it the way that makes you happy. I think that’s my performance motto, “I’llplay it my way, I’ll have fun, some will like it, and some won’t. But, I always give every performance all theenergy and dedication that I can. I putmyself into it. And, that makes me feelfulfilled and gratified.

JMS: Many would do well to shareyour attitude! How is it to be marriedto a musician, Simon? Do you ever work together?

SRH: Ican't imagine being in a marriage with anyone other than a musician. Everyonemakes sacrifices for what they value in life, but the time and commitmentinvolved in becoming, and being, a professional musician...it's so timeconsuming, and emotionally challenging - I imagine it's like being married toan athlete. That being said, given that we are both woodwind doublers, withdifferent "primary" instruments, our marriage is perfect (in so manyways!!!) in the sense that we are able to advise and support each other to agreater degree than almost any situation would allow.

JMS: Tereasa: How would you describe your career today?

TP: My career today can be described in professionalterms as “multi-faceted.” In reality,it’s just insane! I get to playflute/piccolo in orchestras, as well as flute, clarinet, saxophones, and ethnicflutes with touring Broadway shows, and accompanying world-renowned artists, aswell as teaching as an adjunct flute instructor at Bethune-Cookman Universityand Daytona State College. A typicalmonth might include Mahler, Mozart, “Wicked,” and The Temptations! It’s a crazy schedule, and it takes a lot ofhours of preparation and practice to keep all those horns in shape. A list of the instruments that I performon: Piccolo, Flute, Alto Flute, BassFlute, Clarinet, Bass Clarinet, Soprano Sax, Alto Sax, Tenor Sax, Bari Sax,plus the Ethnic Flutes: Dizi, Quena,Romanian Panpipes, South American Panpipes, Ocarina, Bansuri, Fife, IrishFlute, Pennywhistle, Native American Flute, Recorders, and Shakuhachi.

JMS: How does thescheduling work out for you all? Do youever work together, or share instruments?

SRH: Wehave been known to share/lend instruments on occasion...for instance, we onlytook one tenor sax to Utah last summer - when I returned to Florida a few weeksearlier than Tereasa, she used my instrument in Utah, and I used hers, whichwas back in Florida...or, I'll sometimes use Tereasa's piccolo (her Powell is abetter instrument than mine) if I have a show that has piccolo on, and she'snot using hers. We are able to sub for each other on a fair number of the gigswe do, although the fact that we are hired together on a lot of them means thatsubbing for each other is often not possible.

JMS: Tereasa, how do you play all theseinstruments, and still be an award winning flutist?

TP: I often compare the life of a woodwinddoubler to that of a triathlete. Doesthe triathlete’s running suffer because he/she practices swimming andbiking? No, the extra effort andtraining you put into the other sport improves your overall body and mind forall three events. Has playing theclarinet and saxophone harmed my flute playing? Quite the opposite, my flute playing has improved because I have to bemore away of what I am physically doing to create the flute results that Iwant. In addition, the styles that Ihave learned playing saxophone, like rock and jazz, have broadened both mymusicality and my rhythm immensely.

Everyone always asks how I can manage to playall these instruments at a professional level. The answer is the same thing I tell my students, “Practice!” I practice constantly. A typical day for Simon and I, if we don’thave any concerts, shows, or students, is to get up, start practicing, breakfor a lunch together, go back to practicing, break for dinner together, thanback to practicing. We take one day offa year, December 26…Christmas. LOL, wellwe work on actual Christmas, so we celebrate the holiday on the 26^th! Our “date nights” are usually me giving himflute lessons, and him giving me jazz lessons! For Christmas he gave me a new soprano saxophone mouthpiece… I am headover heels in love with this guy!

Simon and I both start every day out bywarming up on flute. The muscles justdon’t seem to behave correctly if we don’t do flute before playing reeds. Evenif we have to leave early in the morning for a gig or teaching, we get up alittle earlier to get this flute warm-up in. It’s that important. We both playevery family of horn every day: flute,clarinet, one or more saxophones. Theonly instruments that do not get this daily treatment are my ethnic flutes. I try to practice at least one of them eachday, and then whichever ones I need to play for gigs in the next fewweeks.

JMS: So, Simon, how did you meet Tereasa?

SRH:We met in grad school at Arizona State University, where we both were doing ourMasters degrees. I stayed on for my Doctorate, while Tereasa moved to Boston toattend Boston University. It wasn't until about 5 years later, when Tereasareturned to Phoenix, that we started dating, and married.

JMS: Did you plan this career, ordid it evolve?

TP: Did I grow-up dreaming of being an insaneworkaholic woodwind doubler? No, Ididn’t. My dream growing up was to be anorchestral flutist. After grad school, Istarted playing my first orchestra job. It was then that I decided I wanted to do more. That was precisely the time that Simon and Istarted dating. He got me on a show,“Meet Me in St Louis” that he was playing. The music was fun, the theater people were wonderful, and I felt like Ihad found a special place that I never knew existed. The book was flute and clarinet. Since it was mostly flute, only a littleclarinet and the music director (who, by the way, is now a well-known Broadwaytour conductor!) knew that a flutist-doubler was a difficult thing to find, sohe decided to hire a straight flutist… me. Well, that made my goal in life perfectly clear… I must become theworld’s first (first in my young mind, anyway) flutist-doubler! So, I bought a clarinet and startedlearning. Luckily, I had a live-inteacher since Simon and I were married shortly after that life-alteringshow! He then bought me a saxophone formy birthday, and a new career was born!

It’s been crazy-hard work, which I have neverminded. It takes every waking moment topractice, learn styles that they don’t teach you in orchestral-flutist world,and to find reeds (flutists, we are SO LUCKY not to have reeds or spit-valves!) I didn’t mind all the hours and the hardwork. What was tough to handle was thecriticism. I heard from so manyflutists, “What are you doing, playing reeds? You’ll ruin your flute embouchure.” Now, I was always a tenacious child (stubborn, says my mom…). But, I took these negative assumptions as achallenge. I WOULD become a flutistdoubler. Thankfully, I had a husband, amom, and an incredibly wonderful flute teacher, Marianne Gedigian, whosupported me whole-heartedly. Theyalways encouraged me, and believed in me. Between their support, my stubbornness, and a whole lot of practice, Iam now a successful, working, incredibly happy and fulfilled flutist-doubler.

JMS: Simon: what is yourbiggest musical influence? Person or event?

Ohwow...that one's impossible to answer in a few sentences. I like to think mymusical influences are pretty varied, and the type of professional situations Ifind myself in basically demand that I'm well aquainted with a very diversecollection of musical styles. My main teachers throughout my educationcertainly shaped my musical sensibilities to the largest degree (James Rae,Hale Hambleton, and Joseph

Wytko.)In terms of working towards my particular musical goals, there are three peopleI have found particularly inspiring, however...firstly, one of the TeachingAssistants at ASU when I first arrived there (I'll spare his blushes) was veryaccomplished musically, and had an incredible work ethic that I very muchadmired....secondly, taking lessons with Dan Higgins and Sal Lozano (bothwoodwind players in Los Angeles) proved extremely inspiring from theperspective of experiencing musicians performing on multiple instruments tosuch an incredibly high degree of proficiency. Hearing them play was a very powerfulmoment for me.

JMS: Where did you go toschool, Simon? Did you feel school prepared you for your career, or didyour career evolve over time?

SRH: TrinityCollege of Music, London, and Arizona State University. I have nothing butpositive memories of my education. There are certainly things I would have donedifferently had I known from the outset the particular direction I would choosein music. That's not a fault of my teachers, or the educational institutions Iattended - just a case of hindsight is 20/20. I feel that to a very largeextent that my education did prepare me well for my career. I feel verystrongly that you're never going to learn all the things you need to succeed inany career (much less a career in music) from one teacher, at one school. It isvital for students to put themselves in as many different situations aspossible, that will allow them to learn and grow, musically (and in otherways,) whether that means attending different schools, studying with manyteachers, or playing with many other musicians....the process of assimilatingwhat they feel is positive about a situation/lesson/teacher and rejecting thenegatives, is the best way to learn music, in my opinion.

JMS: One last question: how have you bothavoided becoming jaded?

Ourmusical lives are so varied, and we get to perform with so many different andwonderful musicians (famous or otherwise) that I think it would be impossibleto become jaded. It's true, not every gig we play is musical nirvana, butthat's okay...that's not a realistic expectation of a career in music. Thesimple truth is that we are making a living doing something we absolutely loveto do, and that's good enough for me!

The Delaware Symphony: Never Better

2012-02-24T21:59:00.001-08:00

Delaware Symphony Orchestra, with guest conductor Eckart Preu. Osvaldo Golijov: Last Round; Jennifer Higdon: Soprano Sax Concerto; Robert Schumann: Symphony No. 4 in D minor op. 120.How can I describe this concert? Technically? Historically? Not tonight. This will be a review that gets to the heart of the music. To be fair, it should be known that for 10 years I was the piccolo player I the DSO. I played for a conductor that was hostile to me and at the end of my tenure I left because no matter what, one can't fight the podium. I played in the orchestra at that time with blinders on my ears: to survive one could not take in all the pitch chaos. I learned how to listen. I learned how to play defensively. I became jaded.And then tonight I heard real music. I heard an orchestra so intent on making every moment count it brought tears to my eyes, this jaded musician. To begin with: the pre concert talk. Mr. Preu had notes! He was prepared! The talk had a beginning, a middle, and an end. And it allowed me to hear the Schumann with new ears, and prepared me for the Higdon and Golijov so I could listen actively. The conversation between Higdon and Preu was full of mutual respect and admiration.One word about Jennifer Higdon. OK more than one. She is essential for this art form. Accessible as a person, humble, fun, and writing music totally germane to our time. Her Oboe/Soprano Sax concerto was captivating and a fascinating exercise in texture. She explored the tonal colors of the blend of soprano sax and all the strings, winds, and percussion. The DSO played it like chamber music. So energetic and driving. And yet, the slow movements allowed for the appreciation of tonal color amassed. I have had the great pleasure of performing many works of Piazzolla, the inspiration of Golijov. He knows his Piazzolla inside and out. The upper strings performed standing in a departure from tradition that worked very well. The work was very effective especially in tonal colors and vibrant rhythms.And then the Schumann. Preu was a magician. His conducting never superfluous, no gesture other than what the music indicated. At least from the audience's view. And I think for the musicians. They all were intense, on the edge of their seats, giving their all. And the effect was...I must admit. I had tears in my eyes. To hear this orchestra play so intensely and cohesively. I stood at the curtain call. I NEVER stand. So many outstanding moments flood to me now. My mind's ear won't let me sleep. But here is one thing to sum it all up. Transitions. I learned in my orchestral playing days that one way to know a conductor's skill was how the transitions from one section to the next were detailed. The not-great-conductors sort of wand their way through. Not Preu. Every transition was prepared and motivated. They were seamless, integrated. Jaded? Me? Yes. But not tonight. Do not miss this performance. There is nothing anywhere better than what I heard tonight.

More Pictures of Dave in LA

2012-02-11T06:50:00.000-08:00

As I am adding these photos, it is again snowing. Glad to see it was sunny in CA!! It is also good to see that Dave worked hard at Paul Rabinov's shop. Dave will be back in the shop here in DE on Monday. He has quite a number of flutes waiting for his attention!

And this morning another Muramatsu DS found a wonderful home with A.D., a member of the New Jersey All State Band as a sophomore! Way to go!

Now I am off to Greg Patillo's class and concert presented by the Flute Society of Greater Philadelphia and sponsored by the Wm. S. Haynes Flute Company. Always great to spend time with Alan Weiss of Haynes. He is a source of so much flute knowledge, and lots of stories about flutes, flute players and more!

David Kee's Excellent Adventure in California

2012-02-09T10:39:00.000-08:00

Paul Rabinov (left) and David Kee at Paul's repair shop in LA.

Have you ever known someone and admired their talents, worked in the same space with them, had lots of things in common and then one day you find out how really amazing they are? That's just what has happened here at Flute Pro Shop.

Let me explain. Several months ago, I had an email from Val at Muramatsu America saying that they were starting a new program that involved the certification of repair technicians for work on their instruments. My response was: Finally! The number of times we have repaired "repairs from other shops" indicates that this kind of certification and regulation is badly needed in this field. Fortunately, Dave Kee, our FPS repair technician, was in agreement and as enthusiastic as I was of the idea and the opportunity it represented.

This is why Dave is having an Excellent Adventure in California as I am writing this blog and looking out at a snowy parking lot. I digress....

Dave is in (sunny) CA studying advanced repair techniques with the legendary Paul Rabinov, repair technician to the stars of the LA recording industry, orchestras, studios, etc. Paul has been to Japan a couple of times to train with the flute makers at Muramatsu, and is recognized as the leading technician of Muramatsu's in the US. Dave's training involves a week of working at Paul's bench and being coached by him in the Clean, Oil and Adjust repair service. Muramatsu shipped two "victim"flutes for this training, and upon his return to Delaware (in snowy February), Dave will complete two more COA's which then will be assessed by Muramatsu. Once all of this is satisfactorily completed, Dave will receive a certificate, FPS will be listed as a certified Muramatsu repair shop, and we will join the handful of shops in the US offering repair services of this caliber.

As he finished the first flute yesterday (a day ahead of schedule) Dave reported: "I finished the first flute, and a big studio player in LA tested it out. He seemed really impressed and Paul was quite happy with it."

I know Dave is a great technician: he works on my flutes. But isn't it great that the top guy in his field recognizes his abilities, and places him among the best in the US of A. Flute Pro Shop is proud to offer this level of service to all of our customers. Great job-as always-Dave!!!

Looks like Dave is enjoying his excellent adventure in LA!

Florida Flute Association's Conference and more

2012-02-01T17:53:00.000-08:00

The Florida Flute Association has its act together, and the FFA Conference this weekend showed it. Several aspects made it very dealer-friendly: the location in the Marriott Orlando Airport was very convenient because car rental was not necessary.   The hotel room rates were extremely reasonably priced for the show, and the rooms were very comfortable. Brunch was provided on Saturday morning for exhibitors: free food is always a highlight for yours truly. Attendance was up 150 over last year and it showed. Security was provided by uniformed guards who came into the exhibit space if someone entered without a badge. Very comforting. The attendees were happy, glad to see new things, and supported that with purchases. It was a great show for FPS!

This is what I noticed in my Florida travels: people take the time to care. I visited two college campuses on my way to FFA: UNF and Stetson Universities. On both campuses students voluntarily helped me with the three enormous bags I had that held instruments and accessories and the 5 crates of music. I didn't even have to ask! They just said, "Ma'am, do you need help?" When I gratefully said "I really do!" they not only took one load, but several. Now, I love my home state of Delaware, and I love the Northeast. But: this has never happened to me north of the Virginia/Maryland border. I kid you not. So to all of the young people who helped me: THANK YOU! And you made this adult woman, traveling on her own, feel as if it was not her against the world. My faith in humanity, and your generation, has been greatly restored.

Then there is the whole politeness thing. Gee whiz! People call me Ma'am, Miss Joan (which I love), they talk to me on the street. The say hello with a big smile. The give the right of way in traffic, the way it said in the drivers' manual. The men treat you like a lady: open doors, carry things, tip their hats (really.)   I am charmed.   Is it the sunshine? Vitamin D? More lithium in the water? Whatever it is, I am ready and willing to open a FPS branch office in, let's say, Del Ray Beach. Really.

But of course, some things did go very wrong. Like driving between Jacksonville and De Land and having your GPS conk out. Yikes! I didn't even have a map! Then, up ahead, a Target...And there it was, the next generation Garmin with a bigger screen. (For people my age, a bigger screen is necessary) It has life-time maps, the whole nine yards. No more motoring down I-95 at the speed limit ;) trying to reset the GPS which you realized had been non-functional for the last 50 miles. How do you spell relief? G-a-r-m-i-n.   Now that I think of it, there was the comical scene loading all those 3 enormous bags at the Ft. Lauderdale airport with my car at the curb: Steering a "Smartecart" with two bags on it with one hand, and pulling a third. Worked like a charm until I hit the curb cut. Then I was pulled out into the road with the "Smartypantscart"...a very observant Southwest curb agent steered me straight with aplomb. I spelled relief a little differently that time. And finally, taking a nice, slow swan dive in back of my booth as I tripped over a suitcase for the third time: which was the charm, and down I went, taking a stack of music with me, accompanied by a chorus of stifled guffaws.

I am glad to be home, welcomed as thoroughly as only two Labradors can, basking in the 66 degree high temp today, and sharing trip stats with my husband. I am more than glad to see the crew at FPS. And now: getting ready for Mid-Atlantic in Reston VA. More fun on the horizon!

Packing up the shop for Florida Tour

2012-01-23T09:42:00.000-08:00

Here I am, in Wilmington, Delaware, over looking the parking lot for the shop which is icy, drizzly, and foggy, and packing up the shop for a trip to sunny Florida where I hear the high is going to be 76 today!

The schedule is: Wednesday the 25th at University of North Florida in Jacksonville, Thursday the 26th at Stetson University in Deland, FL, and the Florida Flute Convention from the 27th through the 29th, in Orlando. And then a swing to Delray to visit my daughter and West Palm to visit friends. A week away, so no way can I do this in two checked in bags!!

Last week, we shipped 4 cartons of music and one big box of flutes to the first venue. Yesterday I packed up the accessories in one large case, and today the display items and signage, and then the handmade flutes that I will carry on board with me. My third bag is for me! How can I pack 4 show outfits, 3 pairs of shoes, flip flops, FL clothes, exercise clothes, and makeup and cram all that stuff in one of the show bags?? Then there are all the charging cords and their items: I-phone, Kindle, laptop, et al. I love Southwest Air, and one reason is that I only pay for one checked bag.

And then there are all the FPS items clamoring to be taken to Florida!! Must take Fluter Scooter bags, Wiseman cases, Altieri case covers, Lyricraft pegs, Flute Flags, BG France flute care items, all the point of sale items, display items like the table cloth, handmade flutes, step-up flutes, consignment flutes and piccolos....let's see, what did I forget?? Wristies for sure: I think all I am packing are spoken for. Thumbports in all colors...

Headjoints! Two 8-headjoint display cases: lined in violet velvet, leather exterior, and brass catches. All metals look good in these cases.

How to avoid panic? Not quite sure, but I will be on that plane at 8:00 Wednesday AM and then what is packed is packed!

Now it is time for some real panic....

Winter flute maintenance

2012-01-18T08:23:00.000-08:00

My back yard during the February 10, 2011 blizzard

There have been several emails regarding flute maintenance in the winter months recently.
Two questions come up: how to avoid costly repairs and how to avoid re-infecting oneself after a cold or the flu.

The winter months are especially difficult for our flutes because of the frigid temperatures (which here in Delaware we haven't really seen yet-and no snow!?!) and the very low humidity in our homes and work places. Did you know that the average concert hall has the same humidity levels as Death Valley when the lights are up? And then, as the lights remain on, the temperature rises, making for a double whammy for the flute. Conversely, in frigid temperatures, some of the glues used to hold corks, felts, and shims in place can become brittle and fail, which will put the flute out of regulation. Keeping your instrument at a constant temperature can significantly lessen your trips to the Flute Doctor.

How to protect your flute from this devastation? Invest in a good case cover and insulated "gig" bag in order to lessen the impact of huge atmospheric changes. Think of it as the same kind of layering you would do for yourself in the winter. I recommend the Wiseman case as both case and cover because of the insulating properties it offers. For those of you with French Cases, the Altieri case covers afford wonderful protection, as do the new Fluter Scooter bags, which offer protection AND fashion!! You know what I would go for...

As far as a gig bag goes, you really can't beat the Altieri Deluxe Double bag, which can be used as a back pack, or with a shoulder strap. These bags are superbly insulated and will keep your precious flute free from the stress of difficult weather conditions.

Flute Pro Shop carries all of the above mentioned items, by the way ;)

So what can you do without spending money? The flute must go in its case at the end of the day. Make sure you swab it out frequently during your practice times, at least every 45 minutes, which is actually the frequency of breaks you should take. Thoroughly swab it out before putting it away at the end of the day, cleaning up against the cork plate with your swab. Flute Flags are superior in this area. As carefully as you clean your flute, don't worry if droplets remain in the headjoint. They will help keep the humidity at the right place while the flute is inside the case. If you are like me, and practice throughout the morning, and teach in the afternoon, keeping the flute out is a very practical way to go. A flute peg is a great way to keep the moisture away from the pads and at the same time keeping it available for you to pick it up on an as-needed basis. Find a studio peg that has a weighted base and a solid peg, lined, like the Lyricraft pegs. These pegs are decorative as well: they multi-task! At FPS we prefer the filigree pattern.

Let's talk about the cold and flu season and your relationship with your flute. When you have recovered from whatever nasty bug you have picked up, take a few minutes to rinse your headjoint out with Listerine. Avoid flavored or sweetened mouthwashes!!! You want good, plain old fashioned Listerine, like my Granny used. (Really) Rinse out the headjoint over a sink, run warm water through it, and then swab it out carefully. Take a Q-tip, dip it in the Listerine, and very very gently swab the Riser (the little piece of metal that attaches the lip plate to the tube.) Is your Riser 14 or 18 Karat Gold? DO NOT use any pressure from the Q-tip on the riser!!! The metal is very soft and you don't want to alter its shape in any way.

Then there is the regular maintenance of taking your flute to a qualified repair technician on a regular basis. Make sure this person is your friend!!! You want them to respond immediately if the unthinkable happens! I regularly bring in coffee for Dave, our technician, and give him Christmas presents. At FPS we recommend that if a flute is used heavily, or an average of 2 hours of playing a day, 5 days a week, the minimum is to bring it in every 6 months. This way you will avoid the last minute disaster right before the big concert or audition. Think of it this way: if you are under stress for an event, so is your flute.

Just wait till Spring! Lots of advice for that seasonal change will be forthcoming....

The black patent leather Fluter Scooter bag. If you look closely, you will see the bag matches her shoes! A woman after my own heart....

Ellen Fisher-Deerberg's Concert: Cherry Hill, NJ

2012-01-16T10:11:00.000-08:00

Ellen (standing on the right) accepts flowers and applause after her concert, Sunday, January 15 at Jacob's music store in Cherry Hill, NJ.

This delightful concert presented many of the standard pieces of repertoire for the flute, along with other works new to me. Presented by Ellen Fisher-Deerberg, accompanied by Dr. Chiu-Ling Lin at the piano, and including guest artist, flutist Lisamarie McGrath, the afternoon was filled with musical discoveries and delights.

In the interest of Full Disclosure: Ellen was my student while she was in high school, and we have remained friends ever since. She went on to Temple University and studied with my teacher, Murray Panitz. She has been an active freelance flutist in the mid-Atlantic region, and has just recently been appointed principal flute of the Bravura Philharmonic Orchestra based in central New Jersey.

The room, as you can see from the photo, had a very low, sound proofed ceiling with exposed beams that gave the feeling of an very closed down space. There was a nice, thick carpet on the floor. Admirably, Ellen did not try to overplay this horrible acoustic, so there was no forcing or any unpleasant sounds at all. Hats off to her for dealing with this difficult situation in a professional manner!

The concert opened with a lovely performance of the Faure Fantaisie, Op. 79 filled with all the excitement that the Allegro movement provides. Ellen changed the mood decidedly with a wonderfully shaped reading of the Schumann Three Romances, op. 94. She was joined next by Lisamarie in a fascinating work by the Japanese composer Yuko Uebayashi entitled Au-Dela Du Temps for two flutes and piano. The four movements of this work sparkled with virtuosic figuration and stunning melodic lines that were shaped beautifully by the performers. The harmonic language was fresh, open sounding, and not necessarily tonal. This was a new work for me and I will seek out a flutist to join me on it!

The second half included music of Ravel, Piazzolla, and Godard. The set of three Piazzolla works occupied the center of the half, and all three were new to me. Fuga Y Misterio, transcribed for flute and piano, gave a new twist to the art of the fugue. Two solo works for piano followed: Milonga del angel and Retrato de Alfredo Gobbi allowed the audience to enjoy the artistry of Dr. Lin. It seemed as if her hands pulled the notes out of the piano in a spirited and energetic performance. The Godard Suite, Op. 116 ended this recital with a "flutey" and exciting finish.

This was a completely enjoyable concert from the quality of the playing, to the thoughtful selection of music, to the informative verbal program notes. But a word to the presenters: this is not a pleasant place to hear a concert especially of such professional caliber. Aside from the acoustical problems presented to the performers, the piano shop downstairs was tuning the pianos!! The sound of which intruded on the concert. The parking lot was very difficult to find with no signage of any value around. Filled with 50 people, the small space quickly became over-heated. And, the food was put out for the reception, which was in the back of the hall, during the Godard!! Someone like me spent 2 hours traveling, and paid the $20.00 admission. I feel the audience and myself deserve a more professional setting and handling of the stage/hall management from the part of the concert presenters.

Melomanie Concert-Magical Music!

2012-01-14T21:06:00.000-08:00

Tonight was a magical night of music from the unique and provocative chamber music ensemble, Melomanie. (The setting is shown above.) This ensemble has it all: top drawer performers, an active and informed board, and enthusiastic followers. They fill a niche: all performers are equally virtuosic on Baroque era and modern instruments. Co-directors Tracy Richardson, (harpsichord) and Kimberly Reighley (flutist) design programs that combine modern, often world premiere works, with music from the Baroque. The combination works very beautifully.

Tonight we heard works from Telemann, Couperin, and Boismotier, all from the Baroque, and Mark Hagerty and Kile Smith (world premiere) who are both very much alive and among us!

Kile Smith's musical voice is unique and compelling. His world premiere of "The Nobility of Women" was a total triumph. The 20 minute work takes its name from the 1600 dance instruction manual Nobilta di Dame by Fabrito Caroso. But the connection ends there. Captivated by the sound of the Baroque instruments, Kile set out to create a sound world based on this, with the expanded harmonic palette of our current time. The result is entrancing. This is not simply "accessible" music, it is music that meets you on a common musical plane, and then goes from there. The eight movements (Overture, Allemande, Branle, Musette, Canario, Sarabande, Branle Reprise, and Ciaccona) each feature one of the instruments (Baroque flute, oboe, violin, harpsichord, Gamba, and cello.) All movements were characterized by Smith's fresh harmonic language, and counterpoint (this is counterpoint that is not always imitative-very interesting!) and instrumentation which reminds me of operatic ensembles in which each character retains their personality.

What fun it was to realize that the Mark Hagerty's piece, "Variations on a theme by Steely Dan" had been written for The Modern Harpsichord Ensemble, of which I was a member many years ago. This seemingly lightweight work (note: none of Hagerty's music is lightweight) combines so many traditions: Charlie Mingus, the Viennese School of the 1930's, Baroque-style ornamentation, and then the best: the layering of L'Apres midi d'un Faun, Syrinx, and the Girl with Flaxen Hair by Debussy, and earlier on, Chanson Medicasses. It made many of us in the audience shake our heads in memory or humor, and share the cleverness of the composer. Mark Hagerty's music opens so many doors to musical adventure.

The rest of the program was beautifully performed and included a stunning Suite in d minor of Bousmortier performed by viola a gamba-ist Donna Fournier and Tracy, the Telemann Quartet in G Major from Tafelmusik 1 of Telemann, and the Quartet in d minor of Couperin. See what I mean about provocative programming!

Note to chamber music ensembles: DO WHAT THIS ENSEMBLE DOES!!! They have created a niche and are becoming a force in the cultural life of Delaware and southeastern PA.

THE RULES

2012-01-14T11:52:00.000-08:00

As promised, here are the rules for the flute games mentioned in the Snow Day Survival Guide. The idea with these games is to have fun and improve flute technique at the same time. The rules are flexible and can be adjusted for any level of player.

NAIL THAT SCALE

At Flute Pro Shop, we use a wheel of fortune, pictured here.

This is dry-erase board material. We write in the scales du jour, and spin the wheel for each contestant. Depending on the age and experience of the players, each one gets one, two, or three chances to Nail That Scale as indicated by the wheel of fortune. If a player cannot perform the scale in the agreed-upon chances, then they sit out the rest of the game. A player can re-enter the game if they can perform a scale that another participant is unable to nail. To increase the degree of difficulty, use a metronome, and increase the tempo each round. Generally 5 rounds (each person spinning and playing 5 times each) will result in every one having plenty of chances and getting a good flute work out. If you don't have a wheel of fortune, it works out very well to write the scale names on little pieces of paper and draw them from a basket. If you, too, would like a "Spin to Win," send us an email and we will be happy to sell you one! I use this to jazz up swim practices for my adult swimmers...

LAST FLUTIST STANDING

This game is great fun for all flutists. The degree of difficulty is governed by the piece.
Everyone stands in a circle, with a metronome in the center, preferably one with a very loud click. The group starts the piece, playing it all the way through, to the tempo on the metronome. The metronome speed is increased by one notch and the piece is repeated. This process is repeated until no one can play the piece at the tempo!

Repertoire suggestions: Advanced J. S. Bach: Allegro from C Major Flute Sonata; Paganini: No. 5 from the 24 Caprices, Op. 1, the middle section known as perpetual motion; J. S. Bach: Badinerie, from the Suite in b-minor;the flute solo from the scherzo of Mendelssohn's Midsummer Night's Dream. Intermediate Rondeau from J. S. Bach's Suite in b-minor; first movement of the Pergolaisi Concerto in G Major; Allegretto from the Godard Suite, Gossec's Tambourin.

SCALE ROULETTE

This game works best with a large number of flutists.

Stand in a circle. Starting with the leader of the group, the person on their right to play a scale. That person gets 3 tries to play the scale perfectly. If they can't play the scale, they sit down. The game continues around the circle, until it gets back to the leader. At this point, the scale requests are reversed, with everyone asking the person to their left to play a particular scale. The game continues until only one person is standing.

Some interesting points: because the direction is reversed, if you have been nasty and asked the person on your right something like g# melodic minor, that person can "return the favor" on the next round, and ask you something like Eb melodic minor....

This game can be simplified to include only a small number of scales, such as 3-b's and 3-#'s. Or, it can be made more difficult by including all Major, minor, chromatic, and whole tone scales. To add yet another degree of difficulty, do the scales to the extreme ranges of the flute, going past tonic to the highest and lowest notes, and finally resolving to tonic. Implementation of a metronome is another way to make it extra challenging. Use your imagination!

Have fun with these, and please be in touch with any ideas you have to make these games more entertaining!!

Chili Recipe!

2012-01-13T09:26:00.000-08:00

Chili Recipe!

Now, before I start, you should know that I am not a very organized cook. I have been known to start a recipe and then make sure I have the ingredients...so this can be a free-form type recipe. Fortunately I play the flute better than I cook.

CHILI
2 large onions, diced
2-4 large garlic cloves
2 lbs ground beef or turkey (my friend Donna uses lentils)
2 32-oz cans of crushed tomatoes
1 6 oz can tomato paste
1 15 ox can chili beans (optional in our house)
1 tbs oregano
1 tsp basil
2 tsp Tabasco Sauce
2 tbs Chili powder (or more as desired)
Dash or two of cinnamon
Dash of Coca

Saute the onions and garlic until translucent. Add the ground beef and brown. Stir in the crushed tomatoes and tomato paste. Add beans and spices. Simmer for as long as you like, probably at least 2 hours. The longer it simmers the better it tastes. Salt and pepper to taste.

Serve over noodles or rice. Top with sour cream and/or shredded cheese.

Enjoy!

Flute Pro Shop's Snow Day Survival Guide

2012-01-12T17:42:00.000-08:00

Hello all you fans of snow, ice and days off! But then there are times when we all have had enough. Enter Flute Pro Shop with our exclusive Snow Day Survival Guide. A sure fire cure for a dose of cabin fever.

Circuit Training

Start this early in the A.M. and you’ll feel saintly by the end of the day. Comfortable clothes are recommended.

PowerLung®
1 set of 10 reps at your most comfortable setting.
*
1-mile brisk walk on the treadmill (or ‘dreadmill’ as my friend calls it.) No treadmill?
Walk up and down a flight of stairs 20 times.
•
30-minute flute practice:
Long tones and chromatic scales/an etude/a new piece for you!
•
Upper body stretches
•
15-minute flute practice:
Any etude that is a challenge, or orchestral excerpts/standard repertoire that may have become rusty for you.
•
Repeat an additional 2x.

Guaranteed to make you exempt from shoveling! (At least that’s how it works at Flute Pro Shop.)

No snow in your region of the country? No problem! Choose a location that gets lots of snow—like Buffalo, NY or better yet for this year, Alaska—and ‘adopt’ it. When they get snow, you do too—virtually, of course.

Celebrate the Snow!

My neighbor invites us over for Brandy Alexanders the evening of the first real snowfall (it being Delaware, we haven't had one yet: snowfall or Brandy Alexander...) and it has become one of my most-cherished traditions. Take this opportunity to meet or get reacquainted with your neighbors.

Comfort Foods

I always keep the ingredients for chili and cornbread on hand for the above occasion. Check out the next blog for a copy of my favorite chili recipe, and by all means, use it to create your own tradition!

Advice from the Animals

There is nothing more enjoyable than watching dogs frolic in the snow. My two Labradors love it!
Watch your pets and try not to smile. Better yet, throw a bumper for them and give them a piece of puppy heaven. Take a Nap. Enough said!

Power Outage?

What a mess.
Once the generator is running and you have a little light, read that travel book you’ve had on the coffee table since 2006 and enjoy pictures of the Caribbean!

Learn New Music

Prepare for the inevitable with the purchase of some exciting music.

Here are some of my favorites to get started:

Joseph Jongen: Sonata for Flute and Piano, Op. 77 Fabulous, and your technique will improve from the practice of this fine piece.

Boosey & Hawkens: Anthology of Flute Music (Composers include Harty, Lees, Gorecki, Del Tredici, Alwyn & Butterworth.) Some wonderful works that are not always in the standard repertoire.

Pizzolla: Histoire du Tango for Flute and Piano, Guitar, or Harp. Wonderful, evocative works that will make you think of warmer climates.

Khachaturian: Concerto for Flute and Piano. Originally for violin; fabulous for low-register articulation.

Geisiking:Sonata for Flute and Piano, editied by Trudy Kane. A real gift to the repertoire and destined to be a standard.

Gaubert: 3rd Sonata for Flute and Piano. Not for the faint of heart!

All of this music is in stock at Flute Pro Shop. Please email: info@fluteproshop.com to order!

Snow Day Flute Party — Woot!

Invite your flute friends over and play fun games like
~Nail that Scale,
~Scale Roulette, or
~ Last Flutist Standing!
Look for all the rules in the next Blog!

Here are Blitz and Maverick having a great time! Last year.

Now that you are all set and prepared for your next snow day, share some of your snow survival stories with us. Comment on this blog, or post them on the Flute Pro Shop Face Book Fan page.

New Photos for Joan

2012-01-04T17:48:00.000-08:00

I have never been one that the camera likes. You know how some people, well, the camera just loves them? They look better, much better through the lens than in real life? That is NOT me.

The industry standard "head shot with instrument" is a problem in itself. How can you make a flute look interesting? No curves, no real physical presence, and yet it must always accompany you in publicity photos. Let's face it, how many interesting flute-holding angles are there??

I've had photos that make me look like I haven't slept in days, or much older than I really am (a total travesty.) I remember once, early on, when we still had black and white photos taken, I came home from the shoot, my kids took one look at me, and ran screaming from the room. For b/w photos, your face was made up in reverse, and the colors were shades of brick red. Wicked Witch of the West must have been their impression.

Then there was the make up artist/hair stylist that used so much hair spray I had to shampoo my head 3 times to get it out!

Photos with the harp were fun, too. Getting both flute, harp, and 2 musicians in a photo made for hours of contortions sitting on a stool, shouldering the harp, getting just the right hand angle on the flute. Not fun.

Then December 29 happened, and I had FUN in a photo shoot.

Make up Artist extraordinaire, Kristen Lober, came to the shop, expertly applied make up that let me look my age (don't even go there!!) and at the same time polished and professional. See for yourself:

And we had FUN!! Lots of conversation about flutes and flutists, since Kristen herself is a talented flutist. But also chatted about make up, fashion, accessories, all that really fun stuff that makes me glad I am a girl.

But what was so wonderful about this session is that she listened to me, really understood what was important to me and my shop, and came up with photos that make me very happy. Such a relief. And my kids, now grown, recognize me.

Need a good photo? Shoot me an email (pun intended) and I will give you Kristen's contact information.

The new Piper Piccolo!

2011-12-28T07:39:00.000-08:00

On Friday, December 23, as I was closing up the shop at 5:30 PM (after a successful Christmas gift flute showing) and about to leave for the long Holiday weekend, there came a knock at the door, and there was our Fed Ex driver with a package for me. I wondered if Santa had morphed into a Fed Ex guy?

The package, from Little Piper, carried the new Piper piccolo.

Indeed, an early gift from Santa.

I put down all my stuff, opened the package, and played the little darling. Ahhh-quick response, lovely centered sound, ease in all the ranges, and articulation of great variety and clarity. The scale was even and seemed to correct all the typical piccolo difficulties.

The paperwork that came with the piccolo informed that the piccolo is made from "Piperwood", a new, trademarked, special composite consisting of grenadilla wood and other exotic materials. In the Piper piccolo we now have the sweetness of tone associated with more costly wooden piccolos, combined with the durability and dependability of resin: they will not crack or warp.

What will this piccolo set me back, you might ask? I'll tell you: $1,450.00. A very competitive price.

Come to Flute Pro Shop and audition this little beauty for yourself. I know you will agree with me that this is a great instrument at a very reasonable price useful for a wide variety of atmospheric conditions!

Christmas music even I want to hear!!!

2011-12-18T15:15:00.000-08:00

Christmas Music. Sigh. My students, family, and colleagues know that I have a very low tolerance for it. I am happy, content, to hear "White Christmas" once a year. I would be very glad to never again hear "Grandma Got Run Over By A Reindeer." Pllleeease.

And then, today, Anne Sullivan (she and I are the flute/harp duo SPARX) gave me her new solo harp CD of....Christmas Music....and I must retract my position on music of the season.

The 12 tracks are all music that she herself has arranged: itself a Herculean task. Then there is the stunning execution of the project. The playing is flawless, clear, a breath of fresh air in an over-populated genre. The recording engineer, Dave Lock of Audio Visions in Wilmington, DE, has done his usual brilliant job of understanding how the performer hears the music, and sets it up so that the listener hears it in the same way. The clarity of the sound, unprocessed, makes every note stand out in an atmosphere of warmth and clarity.

(Above: Anne Sullivan tunes her harp in preparation for her series at the Shade Mountain Winery.)

My personal favorites are Es ist ein' Ros' entsprungen (Praetorius) and Divinum Mysterium (XIII century Plainsong.) If you are like my husband and want to hear Christmas music you can recognize-no worries! Greensleeves, I Wonder as I Wander, In Dulci Jubilo, and Two Italian Carols, are all recognizable and give you that happy feeling of comfort and joy.

Look for "Break Forth: Music for Christmas and the Season of Light" on CD Baby, and soon on the Flute Pro Shop web site. And treat yourself to music of light and clarity. It will clear your mind and soul.

2011-12-12T17:30:00.000-08:00

Above: Renae Bloch tunes her students prior to the Holiday concert.

Renae Bloch is a organizer par excellence, and she showed her talents fully yesterday as she coordinated her studio and the Greater Flute Society of Philadelphia representatives in a holiday concert for the residents of the Wiley Home in Evesham, NJ. My student Miranda and I headed up 295 to Renae's studio to rehearse with a quartet from FSGP, have some lunch, meet with Renae's students, and then head over to the concert close by. There, Renae set up stands, tuned flutists, organized seating, let us know our places, MC-ed, and conducted/played the whole concert. Someone's metal stand started sinking, and there was Renae, manipulating the lock. The alto flute curved head not in sight? There she was, taking it out and using sanitizing spray on it.. Stand kicked over-she was there. All with a calm and professional air. I simply did what I was told. We started with the quintet, then the high school students joined us, then the middle schooler's, and finally the little ones. The long song list was in each folder, and Renae even had the words to the carols printed in big type so the residents could join in the carol sing-along.

The residents clapped along, sang, rocked, smiled, and generally enjoyed the music, the young vibrant performers (I was not in that category-I was the old and vibrant player...) and the joy that filled that room. To me, this is what the holidays are about. Sharing the joy of music with people that otherwise would not hear it. I left moved and grateful to be part of such an event. I will do it next year and bring more students.

So I wish you all a holiday season filled with moments of joy and sharing such as this, with gratitude for the Renae's around us that can put events like this in motion.

Joan's Bucket list entry No. 1

2011-12-09T03:27:00.001-08:00

Have you ever had an original musical thought? I haven't really unless I am helping a student write a Mozart cadenza. But I have always been curious about those who hear in their imagination something that has not yet been written.

So, when I came across Rhonda Larson's Flute Weekend, "So you think you can't write your own music?" I ran for the date book, only to find out that I am booked for March 9 to 11 this year. I know from my reaction that this was something I need to do, and so it was added to my "Bucket List."

Held in an 1887 one-room school house near Kalamazoo, MI, the class features group and individual sessions. Each participant (class size is limited to 14) will bring an original 8-bar melody to the class, in any tempo or style-something that means something to the performer. (If you feel you cannot yet come up with a phrase of your own, Rhonda will supply you with your own melody for individual work in the class)

This melody will be crafted during participants' individual masterclass in which Rhonda will work with you in front of the class. This individual work will include expanding your musical ideas. Other elements of the course include work on the fundamental elements of flute playing such as sound, posture, and the overall Art of Performance, including performance anxiety issues and proper ergonomics in playing the flute.

All other class activities are GROUP participation, led by Rhonda.

Recording devices are highly recommended in this inventing process, so you do not forget what you just made up....

For more details, visit Rhonda's web site: http://www.rhondalarson.com/workshops.htm.

Meanwhile, watch for Rhonda's music in the Flute Pro Shop music catalog. You will want to add these lovely works to your library! I sure do.