Interviews

Erica Peel: Artist Interview

Posted by on Oct 1, 2017 in Featured, Interviews, Issues, October 2017 | 1 comment

Erica Peel: Artist Interview

A versatile flutist and piccoloist, Erica Peel enjoys an exciting career as an orchestral player, chamber musician, soloist, composer and teacher.  Piccoloist of the Philadelphia Orchestra, she is praised for her “effortless” & “authentic” performances.  Erica has held positions with the Honolulu Symphony, Omaha Symphony, San Diego Symphony, and has been seen in performances with the Los Angeles Philharmonic, Chicago Symphony and Houston Symphony. What was the process to audition for the Philadelphia Orchestra? The audition process was fairly typical for an orchestral position.  There was a preliminary round, where all applicants played for about 5 mins behind a screen.  Although I'm not sure exactly how many candidates there were, my guess is around 100.  This round lasted over 2 days, I believe, and they narrowed it down to about 10-15 candidates for a semi-final round.  This round was still screened, and each person played for around 20 mins.  The committee then narrowed the pool further to only 3 applicants. We each played a final round, which was unscreened, and had a concerto (w/pianist) and solo (chosen by the candidate) component.  After the final round, two of us were chosen to do 2 trial weeks with the orchestra, which means we would rehearse and perform with the orchestra during 2 weeks of their season.  This is also pretty common, especially for a solo instrument like the piccolo.  They want to hear how you fit in with the sound of the orchestra, feel what the chemistry is like in the section, and see how you respond to the music director - all crucial for long term happiness in an ensemble!  At the end of my second trial week (but before I played my last concert of the week), they called me in to the green room, and the entire committee, including Yannick, was there to congratulate me. How did you feel? During the audition, I felt more relaxed than normal.  I had a job that I adored in San Diego, and had low expectations for this particular audition... I mean, it's THE Philadelphia Orchestra!!  I didn't think I was worthy, but it's one of those auditions that you take no matter what.  The farther I advanced, the more shocked I was.  I mostly tried to keep reminding myself how lucky I was to play in that hall "as a soloist" THREE times (in each round), and really attempted to enjoy each moment I was there. During the trial weeks, I felt much more pressure, as I was hyper aware that people were judging me - not maliciously, of course, but it's what they are supposed to do!  That being said, the musicians were very warm and welcoming, which was a relief.  Those "pinch me" moments were plentiful, and again, I just tried to soak it the experience, fully expecting that this would be the (potentially only) chance of a lifetime to play with the Philadelphia Orchestra.  The musicians were magnificent... I had never felt a unity in musicianship like that before.  Everyone breathed and moved together, and gave 150% every time.  I almost cried during every rehearsal and performance, just overwhelmed with what I was hearing/feeling and grateful to be a part of it, even if just for a couple of weeks. "When they told me I got the job, I definitely cried." When they told me I got the job, I...

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Audrey Emata: The Flute View Young Artist Competition Winner

Posted by on Sep 1, 2017 in Featured, Interviews, Issues, September 2017 | 0 comments

Audrey Emata: The Flute View Young Artist Competition Winner

Audrey Emata, 16, debuted as soloist with the Philadelphia Orchestra in Verizon Hall at age 12, and has also soloed with the Allentown, Lansdowne, Ambler, Warminster, Old York Road, Delaware County, and Juilliard Pre-College orchestras; she will be performing with the Kennett Symphony at Longwood Gardens in August 2017.  Audrey is a three-time winner of the New York Flute Club and Philadelphia Flute Society competitions, a two-time winner of the Mid-Atlantic Flute Fair competition, and has also won first prizes at the Pocono Flute Festival and the Asian-American Society International Competition, as well as a Yamaha Prize at the Julius Baker Master Classes in Danbury, CT.  She was a finalist at the 2016 NFA high school competition in San Diego, was featured on NPR’s From the Top (Show 299), and has performed with Sir James and Lady Jeanne Galway at the Kennedy Center. When did you start playing music?   I started taking piano lessons from my mom at the age of four.   Why did you choose the flute?   When I was six, my mom was accompanying for Rebecca Simon’s flute studio.  She had a full day of rehearsals, and she couldn't find me a babysitter.  I sat and listened to hours of flute music, and I was entranced.  My mom got me a cheap rental flute for the summer, and accompanied for Becki in exchange for lessons for me.   Who is your primary flute teacher?   After six years with Becki, I entered Juilliard PreCollege where I have studied with Brad Garner and Demarre McGill.   What grade are you in?  Where do you go to school?  What are your plans as a musician?   I am a rising eleventh grader at the University Scholars Program in the Pennsylvania Leadership Charter School.  After I graduate, I hope to attend conservatory.   What are your goals in the next year?    Next year, I want to learn a lot of repertoire.  I really want to learn Schubert’s Trockne Blumen variations, as well as the Bouriakov transcription of the Saint-Saens Introduction and Rondo Capriccioso.  I would also like to chop about ten inches off of my hair (it’s really long and heavy).   What do you like best about the flute?   I have always loved the sound of the flute.  In my opinion, it is the most beautiful and singing instrument.   Please give us 5 quirky fun facts about yourself (don’t think too much about this!)   I have a pug named Lorelei (and am thus always covered in pug hair). I love to eat but I wish every meal came in a bento box.  I hate when my food touches and mixes together. I love shoes.  The taller, the better (I’m very short). I am addicted to coffee and chocolate. I have a weeping cherry tree named Cherry that is exactly the same age as I am.  Clearly, I named the tree when I was quite young with great originality. Favorite YouTube Link: https://www.youtube.com/watch?v=gpXB4Q_AAXU&t=6s...

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The Flute View Competition Winners

Posted by on Sep 1, 2017 in Featured, Interviews, Issues, September 2017 | 0 comments

The Flute View Competition Winners

  The 3rd Prize and Audience Favorite Winners of The Flute View Young Artist Competition are Joanna Kim and Jennifer Huang. Joanna Kim is a 16 year old flutist from Austin, TX. She currently studies with Jennifer Keeney. Some of her achievements are: 1st at the Donna Marie Haire, 1st at the Austin Flute Society Young Artist, 3rd at the MTNA National Competition, and a finalist in the 2017 NFA High School Soloist competition. Jennifer Huang was introduced to the flute through her school band six years ago and began private study with Ms. Teresa Orozco four years ago. She is currently seated as first chair flutist in the Valley Christian High School Wind Ensemble and Symphony Orchestra, participates in the Woodwind Quintet, and serves as a drum major in the marching band. She was honored to debut as a featured soloist with the San Jose Chamber Orchestra in May 2015. Joanna Kim 3rd Prize Winner When did you start playing music? I started to play the piano at age 4 and the violin at age 5. I stopped playing both of them before I started middle school because I wanted to play the flute. I joined band and started playing the flute in the beginning of 6th grade. I absolutely loved playing the flute and being in band because it was such a fun and positive learning environment, full of amazingly talented musicians and directors. I felt like the band hall was my second home. Also, I loved that band was a challenge that pushed me past my comfort zone (in a good way), enabling me to accomplish goals that I once thought were too far-fetched and maximize and reach my potential.   Why did you choose the flute? My best friend in elementary school inspired me to played the flute. Every time I went to her house she would play for me and I was just in awe and fell in love with the sweet sound of the flute. Throughout middle school we would go to each other’s houses, play duets together, and have such a fun time learning from each other. I continue to play the flute to this day because I love the tonal palette of colors the flute produces.   Who is your primary flute teacher? Jennifer Keeney is my primary flute teacher. She is a very encouraging, caring, intelligent, and thoughtful mentor. She has helped me accomplish many of my goals and dreams. Also, she has taught me so much about really opening your heart and expressing yourself in different ways through music.   What grade are you in? Where do you go to school? What are your plans as a musician? I am a sophomore at Vista Ridge High School in Austin, Texas. My plan as a musician is to become a world-renowned flautist. My dream is to go study at a great music conservatory, be in any of the top orchestras, and tour around the world and perform concerts and give lessons and masterclasses. Also, I hope to make a difference and impact on people’s lives by inspiring people to play music and making people happy with my music.   What are your goals in the next year? My goals are to perform in front of my community more, learn a variety of repertoire, prepare for college, enter and do...

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Freewriting the Future: Flute Blogs. By Rachel Taylor Geier

Posted by on Sep 1, 2017 in Articles, Essays, Featured, Interviews, September 2017 | 0 comments

Freewriting the Future: Flute Blogs.  By Rachel Taylor Geier

According to the National Science Foundation, our brains produce 50,000 thoughts per day. Some of these thoughts may be individual interpretations of the world around us, and many, delivered in the proper form, may be valuable to audiences far and wide. Social media platforms have made it possible to share ideas across oceans with the click of a mouse or a single swipe across a screen. One of the most effective ways to communicate ideas is to host a blog where concepts may be explained in detail using photos, diagrams, and videos (aka the fun stuff!). A blog is essentially an online journal that you create for yourself. You are the designer, editor, writer, and marketing department, and it is up to you to develop content that resonates with readers within your particular niche. A blog is an extraordinary place for performing flutists to share interpretations of popular works and tips and tricks for executing difficult passages. An instructor, on the other hand, may use a blog to capture lesson plans or share unique pedagogical concepts with the rest of the flute-playing world. What makes a good blog? Where does a first-time blogger start? The first step is to simply dive in. All great blogs have 3 things in common; consistency of posts, diversity of topics, and unique ideas. Before setting up your blogging platform, it is best to make editorial decisions regarding these 3 key components. Will you post once a week? Twice a week? Once every other week? What day will you upload new posts? When I began my own flute blog, I made the mistake of uploading new posts only when I had free time, which turned out to be roughly once a month at odd times. I did not have a readership because I was inconsistently adding new content, making my blog unpredictable and difficult to follow. That all changed when I retitled my blog, “Flute Friday.” I now upload new posts every Friday and readers know when to expect new content. This has expanded my readership tenfold and helped me to develop new, and far more entertaining, posts for wider audiences. Developing your opus of topics will come with time, but deciding what types of posts will initially appear on your blog is an important component of the set-up process. Are you a performer? Would you like to create a tips and tricks blog? Perhaps you would like to use your blogging practice to analyze pieces you are working on or to review new music and recordings. Would you rather combine your teaching and performing practices, discussing how to both perform and teach certain pieces? Once you have determined an overall theme for your blog, grab a cup of coffee and begin brainstorming at least 10 topics falling under that theme. Keep the topics simple (a 1-word title is sufficient) and make sure you can write concisely about each subject. A blog post is not a book. Limit your writing to a predetermined word-count range (1200-1400 words, for example) to prevent yourself from getting carried away. I have sacrificed too many Friday evenings and Saturday mornings creating posts that really could have been packaged in a shorter format, at the expense of spending quality time with my family. Do not let your blog mess...

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Barbara Kortmann: Artist Interview with Barbara Siesel

Posted by on Sep 1, 2017 in Featured, Interviews, Issues, September 2017 | 0 comments

Barbara Kortmann: Artist Interview with Barbara Siesel

Flutist Barbara Kortmann was born in Munich in 1985. She completed her studies with Andrea Lieberknecht at the Hanover University of Music, with Felix Renggli at the Music Academy of Basel in Switzerland and at the Mozarteum with Michael Martin Kofler in Austria. Her concert debut at the age of 14 at Hamburg’s Laiszhalle was followed by an active concert career in Europe and the U.S., where she gave her American debut at Carnegie Hall in 2013. With her vibrant presence, exceptional creative drive, and remarkable flute-playing skills, Barbara Kortmann has won national and international acclaim. She is the prizewinner of several competitions, including the International Music Competition Jeunesses Musicales Bucharest, Aeolus International Competition for Wind Instruments, and Märkische Cultural Conference Competition – which she was the first flutist ever to win, earning her the prestigious 2010 Märkische Music Scholarship.  In 2016 she was appointed instructor at the Hanover University of Music, where she leads her own flute class. Her solo debut-album ‘Inner Lights’ was released by the famous German label GENUIN in January 2017 and is highliy commended since then by musical and non-musical journals worldwide.   Tell us about your general education and what you’re doing now.   I started to play the flute at 12 years of age, I had the desire to play the flute from age 5, but was too small to play! The desire to play became stronger and stronger until finally I received a flute and became totally addicted. One year later I won a youth competition and decided – yes-- I want to become a flutist!! I heard Sir James’ CD’s and knew I had to meet him – in fact it was a childhood dream to meet him personally. Now I teach at the Hochschule fur Musik, Theater and Median (media) in Hannover, Germany, where I have 10 students in 90 minute lessons, 4 private students, lead master classes and woodwind sectionals. I love teaching different people, with strong personalities, who know what them want so that they can develop their own sound and style.   What is your philosophy of playing?   You must truly love the music and your instrument because it’s a high mountain and there are so many stones on the way. If you don’t truly love it then the mountain is too high and the stones too big, the love of flute must be(and is) bigger than every stone!   Also, it’s important to only look at your own way of playing, if you’re not focused on your own way it can take longer to develop and you must believe in yourself. You do have to listen to others to help define your direction, but you must do it for yourself. I practice 2-3 hours a day, I try to really concentrate with no distractions.   How do you approach a new piece of music?   First know how it sounds and then learn all the technical places – as you’ll need the technique for making the music. After you’ve mastered the technique of the piece the music comes from above or inside of me, it comes in the moment and I just let it happen, at that point I’m not thinking about the technical things. Although I do need to find time to practice- I have a warm-up routine where I work...

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Yossi Arnheim: Artist Interview with Barbara Siesel

Posted by on Sep 1, 2017 in Featured, Interviews, Issues, September 2017 | 0 comments

Yossi Arnheim: Artist Interview with Barbara Siesel

Yossi Arnheim is Principal Flutist of the Israel Philharmonic Orchestra and head of the wind programs at the Jerusalem Music Centre.  He is a frequent soloist with the Israel Philharmonic and other orchestras in Israel, and has performed as soloist and recitalist in the USA, Canada, Brazil, China, Singapore, Japan, Taiwan, Austria, Switzerland, France, Germany, Hungary, Poland, Romania, the Czech Republic and the Ukraine. Mr. Arnheim gives Master Classes for flute players all around the globe, and his career as an active chamber musician includes performances with world-renowned artists. He has released 12 recordings for international CD labels, which feature a variety of styles from Baroque to World Music. Yossi Arnheim teaches at the Buchmann-Mehta School of Music and at the Jerusalem Academy of Music and Dance. He is also Music Director of the Haifa International Flute Competition.   How did you get involved with flute- how did you start?   I was studying in school, and the teacher in the school noticed my talent and tried to convince my mother that I should study an instrument. After a couple of years trying to get me to study it finally worked out and we went to a music school to pick out an instrument. They asked me, “which instrument would you like to study” and I said “I’d like to study the oboe” because I liked the sound of the oboe. And they said, “well we have an oboe here but we don’t have an oboe teacher you would have to go and study with someone from the Israel Philharmonic” ,and my mother said, “stop here –we don’t have the money for that”. And so he said “if not the oboe what instrument would you like to study?” and I said. “OK – flute!” And this is how I started to study the flute. Then after studying a couple of years my teacher said to me well you are making great progress but you will make even greater progress if you go to another teacher who is the principal flutist of the Israel Philharmonic. Back then this was Uri Terplitz and we spoke with him and he accepted me, (and my mother had no choice), so we went for it. I studied with him for a few years and I played in youth orchestra, band and the National Youth orchestra and then it was time to go to the army (after high school.) They didn’t accept me into the army band because they didn’t have a place for any more flutists, it’s always a problem for the flute, always too many of them!! So I went to the normal army and after some time I found myself in the position to be able to take lessons again. In my last year of army service towards the end, my teacher asked me, “what are you going to do after you finish,” and I said –“I’m going to study micro-biology because I love that.” He said, “Have you considered studying music’? I said, “Yes, but you know it’s not my top priority." “Well, why don’t you try one year in the music academy and if you don’t like it you can switch to something else,” and I said “OK.” In the meantime he spoke to people in the field who would invite...

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Paolo Taballione: Artist Interview with Barbara Siesel

Posted by on Sep 1, 2017 in Featured, Interviews, Issues, September 2017 | 0 comments

Paolo Taballione: Artist Interview with Barbara Siesel

Tell us how you came to be a musician.   My family were amateur musicians, not professional, but they all played music. At 8 I started playing the violin, and stopped after 2 years. In Italy you chose your next school at 11 and I picked a school that focused on music. I wanted to play guitar but that class was full, then the piano class full too, but the flute class had an opening – so I chose the flute and – great luck – the flute professor was really fantastic as professor and person and we had a great and joyous relationship!!   I noticed you have a wonderful philosophy of flute playing- can you share your philosophy with us?   When we play we have to think two different ways – there are two parts of playing. One part is the physical part, be good with our body – we need air, we need resistance, a good technique. The other part of playing we have to go with our feeling into another dimension. It’s difficult to coordinate – one part –is really practical –you relax, your body feels good, you can control in the flute in the moment and be present with your body, at the same time a part of us should be in another place, the creative, artistic place and these two different strands should work together every time. When it’s good it’s good… sometimes it’s not working that well!! I try to be present with my body, my technique, so it is automatic, but not thinking of the technique with my mind, with my mind I want to be open and in another dimension, so I can think about the music. We should support the music with the body and be an artist with the music –this is playing. If you are just an artist – maybe you can think of a lot of beautiful ideas but you can’t make them happen technically – but if you just take care of the body, the technique and can make anything happen, you can miss connecting and making the music, it’s difficult to balance these two things.   How do you get yourself to be so relaxed in your playing- so that anything you think of or are inspired to do musically comes through your playing?   When I was young – I did a lot of things – I played football, I was a painter, I played the violin and I saw that the most important thing was to be relaxed, the body and mind when relaxed can function better. This is the first thing for me – in all things, in relationships, with myself, with the world we can always do better when relaxed. I work to be relaxed for example, I know I have a concert – I’ll be nervous and what can happen when I’m nervous? My breathing can be faster, my fingers tense, so I practice to be calm and practice the control I need to be relaxed. We must think about it in our practice – how to be relaxed in our practice in anticipation of the performance. I studied how I will feel on the stage, for example, in this concert (at Galway Flute Festival 2017) I knew...

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Ernesto Fernandez: Artist Interview with Barbara Siesel

Posted by on Sep 1, 2017 in Featured, Interviews, Issues, September 2017 | 0 comments

Ernesto Fernandez: Artist Interview with Barbara Siesel

Cuban-born Ernesto Fernandez is currently an Adjunct Professor of Music at Miami Dade College and Director of Bands at Rockway Middle School. He earned a degree of Doctor of Musical Arts in Instrumental Performance with an emphasis in Music Business from the University of Miami. His dissertation provides a methodology for learning to play and improvise in the Cuban charanga style, examining the structural differences of the five-key flute and Boehm flute. A versatile musician skilled in both classical and Latin genres, Ernesto has performed in Italy, Mexico, Grand Cayman, Nicaragua, Toronto, Cleveland, New York, Washington D.C., Las Vegas, Chicago, Charlotte, and New Orleans. Ernesto Fernandez is endorsed by Gemeinhardt Musical Instruments, Inc. He is a regular clinician and performer at state and national flute conventions, and gives flute masterclasses throughout the United States. Ernesto currently serves as the Jazz Competitions Coordinator for the National Flute Association and maintains a balanced musical career as a performing artist and educator. His career objective is to guide and develop the artistic, intellectual, and professional growth of students while maintaining an active role as a performing artist in the community, state, and country.   Last night you performed an amazing jazz concert, and then, this morning you performed the Ibert Concerto for Sir James Galway; you have your feet in two different worlds. Our readers would love to know what it’s like to be in both worlds and how you came to that decision?   I started playing the flute when I was 7 years old, and it was always through music schools and institutions. My training has always been classical in nature, including my degrees all the way to my Doctorate. I’ve had the ensemble background, the orchestral playing, chamber groups and all of that stuff, really in a way because Jazz departments in the schools that I went to they didn’t really have any room for flute players or any kind of degree involving jazz for flute. So that was one reason, and the other reason is that I’ve always believed in the importance of classical music as a foundation for any other style that you might want to play and I always wanted to maintain that going forward. The other type of music, and I consider that I play more Latin Jazz, and more traditional Cuban music, that came about almost coincidentally, when at the age of 10 years old I met Nestor Torres for the first time, and it’s a neat story, and long story short, he invited me to play and be part of this concert (in the DR) given that year. All the sounds, improvisation and Latin Music that I was learning and being exposed to were very appealing, you could say because of my roots and growing up in my Cuban family. I always heard Cuban music, dance music and my family always made it a point to cultivate it in me even though I left the country when I was 6. I played with Nestor and I loved it and I loved the feeling I loved the freedom to do things that were maybe not present in the Classical side. After that experience ended Nestor left me a list of players, Cuban, Brazilien and also American that I should listen to who would give me more ideas...

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Galway Flute Festival: Concert Reviews

Posted by on Aug 1, 2017 in Articles, August 2017, Featured, Interviews, Issues | 0 comments

Galway Flute Festival: Concert Reviews

Opening Gala Concert with Sir James and Lady Jeanne Galway   The gala concert featuring Sir James and Lady Jeanne Galway was the perfect opener to a week long of concerts, and it featured the "classics" such as Chaminade's Concertino, Widor's Suite, Faure's Fantasie, and Doppler's Andante and Rondo.  It is always refreshing to hear these pieces played, as they are some of the first flute pieces many of us learn, so the opportunity to hear them played by a master is very special. Pianist, Catherine Rechsteiner was the dazzling pianist who provided an elegant support to Sir James Galway's ravishing flute. Sir James' Chaminade was sparkling and energetic, and the public really enjoyed listening to his beautiful execution of the Widor Suite. Of course, seeing the couple play together as a duo is always something special. Their performance of Doppler's Andante and Rondo was beautifully flowing and perfectly in sync with each other, much like the couple in person!       --Andrea "Fluterscooter" Fisher         Juliette Hurel and Lorna McGhee Recital   Juliette Hurel  www.juliettehurel.com  concert soloist and solo flutist with the Rotterdam Philharmonic Orchestra  opened the concert, accompanied by the excellent pianist Catherine Rechsteiner.  She played  two works by Saint-Saens, the Romance and the Odelette, op.162 The Odelette is new to me, a very lovely piece and Ms Hurel played it with the perfect combination of sounds-- projecting, shining and molding the music and with beautiful color and shape within the lines. The second piece on the program was the Poulenc Sonata, which she played with just the right balance between playful and serious, in perfect style for this piece.  The tempo in the 3rd movement took my breath away!! Hurel is a beautiful, imaginative player, who connects with her audience with beauty and joy. Lorna McGhee- www.lornamcghee.com Scottish born Lorna McGhee is the principal flutist with the Pittsburgh Symphony, and before immigrating to the US was the co-principal flute of the BBC Symphony Orchestra. She performed (with wonderful pianist Kamelia Miladinova) a very interesting and unusual program.  The opening piece is by Dick Kattenburg, a Dutch, Jewish composer who died at age 24 in Auschwitz. To learn a bit more about him check out this article: http://www.allmusic.com/blog/post/collateral-damage-dick-kattenburg-1919-1944/ It’s a great addition to the repertoire of Entartete Musik (degenerate music). The piece is a terrific, with jazz and movie music influences, idiomatic for the flute and full of joy and good cheer. Lorna brought the work to life with her powerful sound and joyous playing. The next piece by Maurice Ravel was Sonate, Opus Posthume,  which was published posthumously but written when Ravel was 22 years old.  Ravel here seems to be just finding his voice, you can hear little buds of his later music in this lyrical piece. The final work on the program was Chaconne by Tomaso Antonio Vitali, a work for violin, transcribed for flute.  McGee brought down the house with her stellar virtuosity, beautiful, powerful sound and amazing violinistic “downbows”. The two closed the concert with a Mendelssohn duet, and it was a joy to hear these two players matching their sounds and musicianship in this quiet, lyrical work.   --Barbara Siesel   Philipp Jundt, Shengqi He, and Paolo Taballione   With the first notes of Enesco’s "Cantabile et Presto," flutist Philipp Jundt and pianist Catherine Rechsteiner...

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Galway Flute Festival: The Students

Posted by on Aug 1, 2017 in Articles, August 2017, Blog, Featured, Interviews, Issues | 0 comments

Galway Flute Festival: The Students

  The students of the Galway Flute Festival were not only fantastic flutists, but also great personalities! We asked them about the festival, working with Sir James Galway, their goals, inspirations, and advice they would offer to younger students.      Katy Wherry 2017 Rising Star  Amy Gillen 2017 Rising Star  Audrey Emata The Flute View Young Artist Competition Winner Lucas Martins Pedro Brazil Valerie Henning Germany, Festival Translator Albert Pae Former Rising Star, Festival Team, and technical assistant Amy Pribuluck...

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