Interviews

Yu Yuan: Artist Interview

Posted by on Dec 1, 2017 in December 2017, Featured, Interviews, Issues | 0 comments

Yu Yuan: Artist Interview

Yu Yuan is a student at the Conservatoire National de Musique et Danse de Paris in the class of Professor Philippe Bernold, assisted by Florence Souchard-Delépine. In 2012, he won first prize in the children's section of the inaugural China Flute Association Competition and in 2015, he was given an honorable mention at the 67th International Prague Spring Music Competition. This year he was the winner of the 7th Krakow International Flute Competition and the 9th Kobe International Flute Competition. How did you feel during the Kobe Competition? I came into Kobe from France, so one problem I had was jetlag. I was really tired after I arrived, so I think I played quite badly in the first round. I played better after that, but there were always things in each piece I wish I had played differently. I was also very stressed throughout the competition as the level was really high and I knew I couldn’t make too many mistakes. How did you prepare? Due to high school and conservatory classes, I didn’t have that much time, so I really had to focus while I was practicing. I dedicated five months of practice for the Kobe pieces, working with my teacher, Professor Philippe Bernold. One of his suggestions was to go to museums and listen to concerts during this time, to keep my mind open and ideas alive. This also helped to release stress. Which pieces did you have to play? I had to choose between the pieces set by the Kobe organizers. For me the most interesting pieces were in the second round. The piece by Michel Blavet is a typical French baroque piece that is not very well known, but is so rich and beautiful. My second piece for this round, Andersen’s ‘Ballade et Danse des Sylphes’ is also not well known. The most common choice for this round was Jolivet’s ‘Chant de Linos’, so perhaps playing this piece allowed me to stand out. What was the most challenging part? One challenging problem was that I took part in the Krakow competition in April, with Kobe starting in May. I had to prepare all the pieces for both competitions, with only one piece used in both, and I wanted to play as many as I could by heart. Learning and preparing so many pieces was exhausting, but the results made it worthwhile. Any advice for young flutists who’s dream is to win Kobe? While participating in competitions, they should aim to win first prize. I think some people are too modest, feeling that they could never win, and therefore don’t perform as well as they could. Young flutists should look for the teacher who is most suited to them, someone who they like to listen to and like to study with. Everyone’s ideal teacher will be different, so choose the person who is best for you. I think it’s also important to play in front of others, performing your music. It is on stage that you become a musician. Finally, never be discouraged! Keep taking part in competitions, concerts and orchestras. Yu Yuan's YouTube channel:...

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Cathi Marro: Artist Interview

Posted by on Dec 1, 2017 in December 2017, Featured, Interviews, Issues | 0 comments

Cathi Marro: Artist Interview

Cathi Marro is a professional free-lance musician, educator and artist in Miami, FL. She specializes in flute and alto flute, playing in several ensembles ranging from classical symphony orchestras, to flute choirs, rock bands, sacred ensembles and even a performance art troupe, Kunstwaffen 1918. Daily Cat-Hi paintings are an important part of her day. What inspired you to start painting? My friend Pip Brant, an art professor at Florida International University, challenged me to draw one cat a week.  It sounded like a good idea but I didn’t do it right away.  A few months later I saw some paint on sale so I bought it.  Perhaps out of guilt for waiting so long to act on her suggestion I began painting a cat EVERY NIGHT! When did you paint your first cat? I’ve been painting these cats for over 3 years now. How many cats have you had in your life?  names? and a brief sentence about each. Spike and Jazz were my first two cats.  They were litter mates. Then Mufasa had to live with us since he got separated from his mommy somehow at a very young age. JP I adopted from The Cat Network (an organization for which I volunteer and donate art and $) 18 years ago.  He still lives with me.  Scooter was found under a copy machine at my Sunday AM gig, but had to be re-homed to another flute friend’s house 12 years later. My tortoise shell, CC came with my husband and much tortitude (yes it’s a real thing!!)  My baby INKY is my gorgeous black house panther. Does your cat enjoy your practicing? CC used to love music.  She was even seen crawling into my lap while I played piccolo!  The others all tolerate my playing except JP who can’t stand high notes.  He cries and cries when I play piccolo or when my students or I play the upper range of our flutes. I love your cat pin!   Where can we get more of these? Thanks.  If you see me at a flute convention I might have some on me or try my website www.cat-hi.com I now have a couple different pin designs as well as T shirts, pillows, baby onesies, prints and original paintings. Where did you study, with whom, and what are you up to? Growing up in the Greater Boston Area, I was fortunate to study with Laura Heiss (daughter of composer John Heiss) as a child.  I went on to earn a Bachelor of Music in flute performance.  My husband surprised me a couple years ago with a bunch of Skype lessons with Robert Dick! These days I am a freelance musician.  I play in a couple orchestras and several flute choirs as well as chamber ensembles.  I teach private lessons in Miami.  My favourite things these days are working and performing with local singer-songwriter Maria Murawka and my newest adventure Kunstwaffen 1918 which is an extremely creative performance art...

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Starting a Flute Choir. By Ray-Michael Kauffman

Posted by on Nov 1, 2017 in Articles, Essays, Featured, Interviews, Issues, November 2017 | 0 comments

Starting a Flute Choir.  By Ray-Michael Kauffman

  What inspired you to start a flute choir?   I love playing the flute, and I love performing. I had played in flute choir ensembles growing up as well as in college and even now, in many flute choir groups I play with. I also believe that flute choirs have such a unique and special sound, with all the timbres of different flutes coming together making something magical. I concluded that there needs to be a choir closer in my area. The area I live in is an hour to a major city such as Philadelphia and Harrisburg, but there was no ensemble for adults like myself that had formal music training, but were not professional flutists and worked in other career paths. And I concluded that a lower key, “not-so -serious” group in my area would be well received. With my experience in different ensembles, I had a strong feeling what would work and what would not. I live in a thriving and quickly growing area (Lancaster County, PA), especially culture-related with many wonderful galleries and art studios. There’s a true need for varied musical groups that are not as professional as an orchestra in many areas across the country. Many of the average citizens in these areas tend to be more down-to-earth and people who really do not have exposure to classical music, and these citizens may find the traditional classical music stuff boring. Audience members who attend symphony concerts are geared especially for that. Smaller non-traditional adult musicians who are not professionals, can play various genres of music exposing the public to a diverse and entertaining program. I also knew that due to the high demand and all the responsibilities the adult hobbyist or non-traditional flutist had in their lives (such as children, working and working overtime, taking care of family, and other priorities) that the more low-key model would be well suited for this area. How did you find the members of your flute choir?   Kismet. I had returned to flute playing after many years of not playing due to adult life changes, and started taking lessons with Morgann E Davis Parrish many years ago. Through Morgann I met Dot Lippart, a wonderful flutist who also wanted a choir locally. We had talked about starting one, but it didn’t come in to fruition until meeting Jenny Fritsch at an adult flute summer program by The Pocono flute society. Marta Oberlin, who is the president of the Pocono Flute Society, had so much great advice and experience with starting a flute group. Jenny, Dot, and I started talking there and we all wanted a choir in our area. We enlisted William Hoff, who had worked as a professional flute player to help our group. With continued input and advice from Marta O., Morgann D., and from former flute professor at Drew University Dr. Virginia Schulze-Johnson, who William and I both knew, the four of us, William, Jenny, Dot, and I met several times and brainstormed about starting a choir. We thought it was prudent to post info about the flute group forming, in new papers, stores like grocery stores, libraries, at churches and with the social media (which is a big help) as well word of mouth. I learned that by being a musician, I know...

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Hélène Boulegue: Artist Interview

Posted by on Nov 1, 2017 in Featured, Interviews, Issues, November 2017 | 0 comments

Hélène Boulegue: Artist Interview

Having studied under renowned masters of the French School of Flute, graduated in Germany, and played for seven years in the multicultural Luxembourg Philharmonic Orchestra, Hélène Boulègue is a flutist born from numerous influences. This is what makes her sound color and musicality so personal. Three months after getting the First Prize at the Kobe International Flute Competition, Hélène just got appointed Solo Flute at the Stuttgart Radio Symphony Orchestra, where she will start next spring. What was the process to audition for the Kobe Competition? It was quite a long one. First, we had to send a recording which would serve as a preliminary screening. We had to send it with the application almost a year before the actual competition was to take place. We then got the results of this preliminary audition in December 2016, six months before the competition. Out of 240 applications, the jury decided to keep 53 contestants, and I was very happy to learn I was one of them. Then, the actual competition was divided in four rounds with very different repertoire. The first round was composed of works for solo flute, and from the second round we had pianists as well (who, by the way, were awesome!). And the final round was with a well prepared orchestra and a very attentive conductor. It was a long process, but a very well organized one! How did you feel? I can't say I was feeling good or bad. My mood was constantly changing from being confident to utterly desperate, from believing in myself to doubting everything I had practiced so hard for. I stopped sleeping after the second round, and from then I was either practicing or lying in my bed trying to fall asleep or eating, because with the stress I couldn't eat more than three bites at a time, which made me hungry quite often... I was a mess! But I had my very own team of cheerleaders back home (my friends and family), and they were here to write messages to me the whole time, and I think they are what kept me going through all four rounds.   How did you prepare? I am a morning person, so I woke up at 6 every weekday and went to the concert hall to practice at 7, so that I could practice two hours before the orchestra rehearsal. When I would still be able to concentrate at the end of the rehearsals, I would practice some more, but it was not that often. That's why my early practice session was very important to me. During the whole preparation it was of crucial importance that I went to bed early, in order to get enough sleep to wake up more or less refreshed the next day. I went to see my former teacher once to play part of my program, and I also went to a course one month before the competition. This course was a life-changing moment for me, because I met the very positive person that is Julien Beaudiment, and both his amazing playing and heart warming comments inspired me anew in the last weeks. Which pieces did you have to play? The first round was composed of the following works: -Bach, Partita, first and second movement -Bozza, Etude arabesque Number...

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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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