Interviews

Robert Langevin: Artist Interview/Concert Review

Posted by on Jun 5, 2018 in Featured, Interviews, Issues, June 2018 | 0 comments

Robert Langevin: Artist Interview/Concert Review

With the start of the 2000–01 season, Robert Langevin joined the New York Philharmonic as Principal Flute, in The Lila Acheson Wallace Chair. In May 2001, he made his solo debut with the Orchestra in the North American premiere of Siegfried Matthus’s Concerto for Flute and Harp with Philharmonic Principal Harp Nancy Allen and Music Director Kurt Masur. His October 2012 solo performance in Nielsen’s Flute Concerto, conducted by Music Director Alan Gilbert, was recorded for inclusion in The Nielsen Project, the Orchestra’s multi-season traversal of all of the Danish composer’s symphonies and concertos, to be released by Dacapo Records. The Flute View's Barbara Siesel caught up with Robert Langevin to ask him a few questions about his career and his life. You can learn more about him on the NY Philharmonic’s website. Can you share 5 career highlights? As far as career highlights, one could say that studying with the teachers below was a highlight as well as winning my first orchestra job in Montreal; one always wonders if one will be able to win an audition... Another highlight was taking part in the Canadian premiere of Pierre Boulez' "Le marteau sans maître" in 1985, celebrating his 60th birthday and broadcasted live to all French speaking radio stations in Europe. Another one was playing the complete "explosante-fixe" also by Boulez in 2012 at the Metropolitan Museum of Art and at Symphony Space in New York City with the sound technicians from IRCAM doing the sonorisation and computer electronics. Tell us about your education and your mentors. I studied at the Montreal Conservatory with Jean-Paul Major for 6 years. Upon graduation, I went to study with Aurèle Nicolet for 2 years in Freiburg, Germany and then for a semester with Maxence Larrieu at the Geneva Conservatory in Switzerland. I also studied with him for 3 summers at the Nice Academy. In addition, I attended two summer classes in England and Scotland with James Galway. What pivotal moments were essential to you in creating the artist that you are? The pivotal moments were certainly studying with the gentlemen named above; without them I wouldn't be the player I am now. You can also say that some of the great conductors I have had the chance to work with in the three orchestras I have been in have certainly inspired and guided me as well as some of the extraordinary soloists we have had the privilege of collaborating with over the years. What do you like best about performing? Teaching? What I like best about performing is that every night one has to re-create what is written on the page and adding one's vision of what the composer might have meant while respecting his style. When making a program for a recital or a chamber music concert, I like to find pieces that may be unjustly unknown but which I feel deserve to be heard; it is amazing to find that some pieces are not played or known by the audience but really have value. I also feel that too often, orchestra’s program the same repertoire and that there could be a lot more curiosity on the part of those who are in charge of programming. Share with us a bit about a day in the life of the principal flutist...

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Christina Jennings: Juggling Flute and Family

Posted by on May 2, 2018 in Featured, Interviews, Issues, May 2018 | 0 comments

Christina Jennings: Juggling Flute and Family

Flutist Christina Jennings enjoys a musical career made up of diverse performing and recording, collaborations, and work guiding young musicians. In great demand as a teacher, Ms. Jennings is the director of the Panoramic Flutist and on faculty at CU Boulder and Greenwood Music Camp. What do you like best about teaching?   Guiding young musicians is an extraordinary privilege that fills me with knowledge, humility, and inspiration everyday. Seeing a young freshman through to graduation will be the ultimate thrill of my life. Everything I am and hope to be is encapsulated in the transaction of teaching and I am wildly delighted to call this my job.   What does your schedule look like for the next 6 months?   We have another stellar season of Panoramic Flutist including a Middle and High School day with Viviana Guzman, then off to Greenwood Music Camp- a 5-week chamber music camp for high school students. Greenwood is the highlight of my families' year as we all live in community with like-minded musicians. The luxury of collectively pursuing  (and eating, breathing, and sleeping) chamber music for this intense period is transformative to all. I was a student at Greenwood in the 1980s and that experience shaped who I am in so many meaningful ways. My husband (viola faculty)  and twin boys love being at Greenwood! I will also teach at ARIA- a great masterclass experience for students of all ages. Then I head to Avaloch Farms, an artist retreat in New Hampshire, where I will record a CD with pianist Susan Ellinger- Prokofiev Sonata, Messiaen, Schubert, and lots of other beautiful, heartfelt music. The Fall semester at CU will be busy- I will welcome five new students to the studio. I have Mozart and Griffes Concertos in the Fall; a recital dedicated to the centennial anniversary of George Rochberg, and a New York City trip in November that will include a CU sponsored evening at Carnegie Hall and the recording of another album of Laura Schwendinger including her Aurora for flute and piano that was the Young Artist commission from the NFA last summer.  What are your goals personally?  What are you goals professionally?   I recently had the incredible opportunity to work with Dana Fonteneau, the person behind The Wholehearted Musician. Here she is in her own words: "Dana Fonteneau draws on her diverse background in music, business, finance, and psychology to help her clients attain greater personal and career success. She is part performance coach, management consultant, financial advisor, and therapist. Equally comfortable in the board room and the concert hall, Dana helps individuals and small businesses succeed. Her international practice is centered in the arts where she works with top soloists, chamber ensembles, orchestral musicians, actors, dancers, and educators, as well as with leading administrators, board members, and managers throughout the music industry.” These sessions I had with Dana were astonishingly informative to me in creating next steps and goals both personally and professionally. Her magic lies in helping artists get clear on pursuing goals and activities that fulfill your highest purpose- activities that light you up, projects that you get lost in- that sort of thing. The conversations and homework she assigned were illuminating and have showed me a few common themes going forward. Some of these include...

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Rozalind MacPhail: Artist Interview

Posted by on May 2, 2018 in Entrepreneurship, Featured, Interviews, Issues, May 2018 | 0 comments

Rozalind MacPhail: Artist Interview

Innovative Gemeinhardt Artist/Clinician, Rozalind MacPhail recently took home an ECMA for Electronic Recording of the Year and MusicNL’s Female Artist of the Year. One of the world’s leaders in flute looping and live film scoring, this classically-trained flutist blends effected flute, electronics, voice, omnichord, field recordings and silent film through Ableton Live. MacPhail creates music for film and live performance and has released several albums of original work. She explores new ways to combine image and sound, in works that speak honestly of place, person and the human experience. MacPhail is the first-ever Canadian artist sponsored by the Gemeinhardt family, one of the music industry’s largest exclusive manufacturer of flutes and piccolos. Gemeinhardt President & CEO, David Pirtle says, ”Gemeinhardt is thrilled to sponsor the creative artistry of Canada’s looping flutist, Rozalind MacPhail. She is a dynamic and gifted performer who inspires through her lively audio-visual performances and interactive music workshops.” You call yourself a Flute Looper; what exactly is that? What is your process on creating flute loops, and how do you use them, both live and recorded?     I can’t remember who gave me that nickname first but it has stuck with me over the years. I’ve also been called “Mystery Flute Girl” and “Flutegirl”. I guess I’ve always stood out in the indie music scene as being a bit different and that was the easiest way for folks to recognize me. As a live looping artist, I play melodies, rhythms and harmonies on the flute that get layered into creating a wall of sound, kind of like a one person band. I loop through a digital audio workstation called Ableton Live which is a popular software music sequencer used by electronic music producers. In addition to the flute, I incorporate the voice, guitar, omnichord, field recordings, synthesizer and loads of electronics into my music which I record and program through the wonderful world of MIDI. I often create a bed of electronics in which I can loop to. It’s kind of like my duet partner on the stage. I add a visual element by combining my electroacoustic music to silent film. There’s a magical dance that happens between live music and film which I love. Live looping is quite popular these days in the electronic world and with solo touring singer-songwriters. It gives the musician a way to create the full sound of a band or chamber music ensemble by layering various melodies, harmonies and grooves one by one until you have a full wall of sound. Looped music is present in a lot of film scores, video games and minimalist music. I was inspired to start looping after watching various live looping performers in the Canadian indie music scene. My first introduction was watching singer-songwriter, Craig Cardiff create the sound of a noisy bar scene with his looping pedal and how it captivated his audience in a way I’ve never witnessed before. Then I got to see singer-songwriter, Danny Michel wow his audiences looping effected electric guitar. But the real game changer for me was when I saw Owen Pallett loop his violin live at Osheaga Festival in Montreal. That was it. I thought to myself, “If he can do this on violin, I can do this on flute.” This was in the early...

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Nicole Chamberlain: Composer Interview

Posted by on Apr 2, 2018 in April 2018, Featured, Interviews, Issues | 0 comments

Nicole Chamberlain: Composer Interview

Nicole Chamberlain (b. 1977) is a composer and flutist living in Atlanta, GA. In 2010, Nicole won "Audience Favorite" at the Atlanta Opera's first 24-Hour Opera Project for her opera "Scrub-A-Dub Raw" which resulted in the the Atlanta Opera's first ever commission of the children's opera, "Rabbit Tales", which received over 50 performances and kicked started her career as a composer. Nicole has also been commissioned by groups such as the Georgia Symphony Orchestra, Oklahoma Flute Society, Atlanta Flute Club, Flute Choir of Atlanta, Cuatro Puntos, Dahlia Flute Duo, Clibber the Jones Ensemble, and Hopewell Middle School Symphonic Band among others. She has had works performed at the 2013, 2015, 2016, and 2017 National Flute Association Conventions. She also won the 2013 Areon Flutes International Composition Competition, 2nd place in the 2014 and 2016 Flute New Music Consortium, and 1st place in the 2015 The Flute View's Composition Competition. Nicole received her Bachelors in Music Composition from University of Georgia where she studied with Dr. William Davis, Dr. Leonard Ball, Dr. Lewis Nielson and Dr. Roger Vogel and was selected for masterclasses with Charles Wuorinen and Joan Tower. Nicole, as a flutist, she has appeared with such groups as Georgia Symphony Orchestra, LaGrange Symphony, Gwinnett Ballet, duoATL, Mercury Season, Terminus Ensemble, Chamber Cartel, Perimeter Flutes, neoPhonia, Capitol City Opera, and Orchestra Atlanta. Nicole has participated in Masterclasses with Bradley Garner, Paul Edmund-Davies and Dr.Gordon Cole. Nicole's former flute teachers have included Donna Orbavich (Hong Kong Symphony), Lisa Wienhold (Alabama Symphony), Dr. Ronald Waln (University of Georgia) and Atlanta Symphony Orchestra's principal flutist, Christina Smith. Currently she balances her time composing, teaching students, performing, and avoiding graphic design work as much as possible. Nicole lives in Doraville with her husband, guitarist and composer Brian Chamberlain. For more information visit her website: www.nikkinotes.com How has your journey been as flutist and composer? I think like most musicians, its been a meandering course. I got two undergraduate degrees, a BFA in Digital Media and a BMus in Music Composition. The original plan was to create my own animated films and compose the soundtracks, and I did do some of that for a time after college for a children's multimedia before I realized it wasn't for me. I fell in love with working with live performers and teaching young students. Its easy to want a fixed path about how my career should have played out. But what did I know as a child!?! My tastes have changed and opportunities presented themselves to me that I could have never imagined possible. If I hadn't been open to them, I don't think I could be as happy as I am now. I make choices, and sometimes I re-evaluate my goals and make adjustments. I'm sure 18 year old Nicole would be surprised about how things have turned out, but I can't wait to see what changes may be ahead. Let's face it, its hard. If it was easy, everyone would be doing it. What do you like best about composing? There's many aspects to composing that I love. I love my alone time, and there's quite a bit of that as a composer. I love starting a piece and getting a plan figured out. I love problem solving transitions. However, my favorite part is getting...

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Henrik Wiese: Artist Interview

Posted by on Apr 2, 2018 in April 2018, Featured, Interviews, Issues | 0 comments

Henrik Wiese: Artist Interview

Flautist Henrik Wiese is descended from a merchant's family from the city of Hamburg, but he was born in Vienna in 1971. He received his musical education from Ingrid Koch-Dörnbrak and Paul Meisen. In addition he took his degree in Indo-European and general linguistics as well as in musicology at the Ludwig Maximilians University in Munich. Henrik Wiese won 1st prizes in several competitions, such as in the German National Music Competition (1995), and in the international competitions of the city of Kobe/Japan (1997), Markneukirchen/Germany (1998), Odense/Denmark (1998), and Munich/Germany (2000). As a substitute he gathered first experience in orchestra playing at Munich Philharmonic Orchestra and their former chief conductor Sergiu Celebidache. From 1995 to 2006 he was principal flautist at Bavarian State Opera in Munich (chief conductor Zubin Mehta). Since 2006 Henrik Wiese is principal flautist at Bavarian Radio Symphony Orchestra (chief conductor Mariss Jansons). Henrik Wiese is a synesthete, e. g. he hears colours. The rare gift of nature is an important source of musical inspiration to him. He played flute concertos not only with the Bavarian State Opera Orchestra and the Bavarian Radio Symphony Orchestra, but also with the Radio Symphony Orchestra Berlin, Radio Philharmonic Orchestra Hanover, Polish Chamber Philharmony, Prague Chamber Orchestra, and Munich Chamber Orchestra. His widespread musical activity is particularly established by chamber music recordings. Currently, Henrik Wiese is the Solo-Flautist of the Symphonie-Orchester des Bayerische Rundfunks and teaches at the Hochschule for Künste Bremen.   Can you give us 5 career highlights? This is a difficult question to answer. I have experienced so many highlights of different types. Winning at the German National Music Competition in 1995 and Munich International Music Competition (ARD) in 2000 was an honour I didn’t expect. Musically I was overwhelmed by performances with Carlos Kleiber or Zubin Mehta in my early years at the Bavarian State Opera (Munich). When I started there in September 1995, without any professional experience as a principal flutist, I performed “Lucia di Lammermoor“ with Edita Gruberova, the queen of coloratura in that time, without a rehearsal. We only went through the cadenza in her dressing room once. At the Bavarian Radio Symphony Orchestra (BRSO) the Shostakovich Symphonies with Mariss Jansons inspired me very much or projects with Sir Simon Rattle (e.g. Mahler “Lied von der Erde“). Playing “Der Ring des Nibelungen” with Kirill Pretrenko in Wagner’s Festival Theatre in Bayreuth, Germany was an outstanding highlight in my professional career as an orchestra musician. Moreover, I will never forget the Nielsen concert I played with Herbert Blomstedt, and the Schulhoff Double Concerto with my colleagues, Lukas Kuen and Mariss Jansons. As an editor, I had the honour of editing three Mozart symphonies in Urtext editions for Breitkopf & Härtel.  Two of them are already published, K. 385 “Hafner” and K. 550. How about 3 pivotal moments that were essential to creating the artist that you've become? (1) To win the above mentioned competitions which opened so many doors for me, that I got the chance to play all the flute concerto repertoire with fine orchestras. (2) Entering the Bavarian State Opera. By listening to the world’s best singers I have gained innumerable insights about music. (3) With editing and essay writing, I widened my musical background and found (and founded) my musical personality. What do you like...

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Your Career Starts NOW! Interview with DMA student, Jeiran Hasan

Posted by on Feb 1, 2018 in Articles, Featured, February 2018, Interviews, Issues | 0 comments

Your Career Starts NOW! Interview with DMA student, Jeiran Hasan

7 Tips to Jumpstart Your Career While in School Jeiran Hasan, DMA student at University of Iowa   In today's musical landscape, transitioning from a student to a professional real world musician can be a challenge.  But it doesn't have to be!  I had the opportunity to sit down with 26 year old Jeiran Hasan, who is completing the last year of her DMA at the University of Iowa, and chat with her about her 7 tips to jumpstart your career while in school.  Having a varied skill set and always building on it is key for success while both in and out of school.  Here are Jeiran's tips:   1. Competitions Competitions are a great way to keep playing in front of a jury and also to work on recording and listening to yourself both in recorded and live rounds.  Do as many as possible, and don't get discouraged if you don't pass.  Playing for a varied group of jurors and peers is important, because you never know what connections can come from it in the future. It is also important for networking with the guest jurors and other flutists at the competition, and especially getting valuable feedback from the jurors.  Plus, the more competitions you do, the more repertoire you have learned, and then you have a wider variety you can program on a recital or concert.  Jeiran organizes all the competitions in a detailed Excel list, so she knows the deadlines, application fees, and repertoire list. Be as organized as possible, always!   2. Teaching Teaching is not only a great source of income (hello, competition application fees!), but it also builds experience working with a wide variety of ages and levels, as Jeiran does.  She teaches at a local senior center, a high school (where she conducts sectionals), and also privately.  The senior center was originally a temporary position through the university, but she really enjoyed it and kept it up because of her passion for teaching, and then some of the students wanted private lessons, so she is constantly building her studio through these outlets.  Of course, her love of teaching helps a lot!   3. Masterclasses Similar to teaching, Jeiran enjoys giving as many masterclasses as possible.  Starting regionally and reaching out to local teachers and colleagues at universities is a good way to start.  Her first real masterclass was at last year's NFA masterclass competition, where she was given 15 minutes with a student in front the public and a panel of professional flutists.  Of course, it was a valuable experience (and also ties into doing as many varied competitions as possible), and a good start to get confident giving masterclasses.  Jeiran recently was in her native countries of Azerbaijan and Russia, where she conducted masterclasses in their respective languages (WOW!), which forced herself to think differently in her teaching style.  It is important to keep as active as possible and get as much experience as you can.  And always keep updating your CV.   4. Research As a DMA student, a research and dissertation project is required, and Jeiran's project is quite interesting, as she incorporates her roots and family from Azerbaijan and Russia, and the music and composers of Azerbaijan, which are relatively unknown. (Amirov's "6 Songs" is the most...

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Juliette Hurel: Artist Interview

Posted by on Feb 1, 2018 in Featured, February 2018, Interviews, Issues | 0 comments

Juliette Hurel: Artist Interview

Juliette Hurel is known in both the French and the international music world as a famous flautist. She was unanimously awarded the first prize for flute and the first prize for chamber music at the Conservatoire National Supérieur de Musique in Paris and obtained prizes in different competitions such as those in Darmstadt, Kobé, Boekarest and the Jean-Pierre Rampal concours. In 2004 she was nominated for the “Discoveries of the year” in the “Victoires de la Musique Classique”. Juliette is in much demand for chamber music and then performs beside musicians such as Gary Hoffman, Youri Bashmet, Schlomo Mintz, Marielle Normann, Jean-Guihen Queras,Stephen Kovachevich and the Wanderer trio. As a soloist she can be regularly heard with l’Orchestre d’Auvergne, l’Orchestre de chambre de Toulouse, l’Orchestre de Bretagne, l’Orchestre de l’Opéra de Rouen, l’Orchestre Symphonique et Lyrique de Nancy, “Les Siècles” and the Tokyo Metropolitan Symphony Orchestra, as well as at well-known venues such as La Cité de la Musique, Grand Théâtre de Provence, la Roque d’Anthéron, les Folles Journées de Nantes, Festival de la Meije, Colmar, Auvers-sur-Oise and les Flâneries Musicales de Reims. Through her fondness for contemporary music she has had the opportunity to work with composers such as Pierre Boulez, Pascal Dusapin, Philippe Hersant and Eric Tanguy. Since 1998 Juliette has been solo flautist with Rotterdam Philharmonic Orchestra, first conducted by Valery Gergiev and since 2008 conducted by Yannick Nézet-Séguin. Juliette Hurel has made various recordings with pianist Hélène Couvert. The recordings which won prizes and were warmly received by the critics include : Martinu/Prokoviev (Lyrinx) ; French repertoire XXth century for (Naïve-Valois); Haydn Flute Sonatas (Zig-Zag Territoires). Further, she recorded the concertos for flute and orchestra by C.P.E. Bach with l’Orchestre d’Auvergne under the baton of Arie van Beek, “Impressions françaises” -works with piano by Debussy, Fauré, Poulenc-, both for Zig-Zag Territoires, Her album “Dawn of Romanticism" has been released in 2014 for Naïve. Her last CD is dedicated to the Mozart complete Flute Quartets with members of Quatuor Voce. This recording which appeared last June for AlphaClassics was also highly acclaimed and welcomed by the French and international press.   Can you give us 5 career highlights?   February 1998 : won the position at Rotterdam Philharmonic orchestra (20 years ago!!!) Each of my CD releases! Première of "Love songs," Mantovani concerto with Yannick Nézet Séguin and my orchestra (feb 2016) How about 3 pivotal moments that were essential to creating the artist that you've become?   Winning the position in Rotterdam gave me confidence and stopping having lessons allowed me to become really me! Working with great musicians as Hélène Couvert (pianist with whom I play for 25 years),Valery Gergiev,Yannick Nézet-Séguin who gave me (still give!) so much inspiration. What do you like best about performing?   I love the contact with the public! Teaching?   To hear the progress of the students! CD releases?   March:"Inspiration" JS Bach (alpha) Programme Bach (CD) Partita pour flûte seule BWV 1013 (10') Sonate en trio BWV 1038  (8') Suite n.2 BWV 1067 (19') Easter Oratorio, BWV 249:Seele, deine Spezereien (9’) (soprano,flute,orgue portatif,cello,contrebasse) Kaffee cantata BWV 211:Ei wie schmeckt  (4’30) (soprano,flute,clavecin,cello) Cantata, BWV 82a : "Ich habe genug" (7’30) (soprano,cordes,flute,clavecin) Matthäus-Passion BWV 244:Aus Liebe  (4'30) (soprano,flûte,cors anglais) What does your schedule look like for the next 6 months?   Of course, orchestra with great musicians (David Zinman,Truls Mork,Lahav Shani,our new conductor from next september) Concert in North of France with Hélène...

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The Gonjiam Flute Festival

Posted by on Jan 2, 2018 in Featured, Interviews, Issues, January 2018 | 0 comments

The Gonjiam Flute Festival

Interview: Soohyun Paik   Can you talk about the purpose of GMF?   We are welcoming the 3rd Gonjiam Flute Festival in February 2018 at the same time the XXIII PyeongChang Olympic Winter Games will be held in Korea.   The main philosophy of Gonjiam Music Festival is making heritage in music. It is not only for the glory of the world’s top artists. There are respectable artists who are legendary flutists and amazing young artists who are flying over to be part of the best flute festival in Korea. We are very proud of all the splendid artists from the past, present, and future who gather at the same time and at the same place to make our heritage and legacy in flute and music.   Gonjiam Flute Festival is not only a big flute festival all of the flute world's stars participate in. It is a collaboration of the world's top artists to learn about the lives and dreams of the next generation of artists and create a future through music. Music is an inspiration, and it enriches our lives and all others thereafter. As musicians we wish to share our role and our value, made together.   Gonjiam Music Festival also believes in serving our community, so we are donating funds towards cancer treatment and research at Seoul National University Hospital and the International Diabetes Federation (IDF) for the treatment and research of juvenile diabetes.   What kinds of difficulties did you experience when working on the festival? Do you have some fun stories to share?    As a matter of fact, the process of preparing for this big festival was not easy at all even though GMF has the best team. There are two directors, a chief operations officer, a project manager and 10-15 staff members plus our agency BomArts, who is organizing the gala concert at Seoul Arts Center. Personally, I cannot forget the episode we had with the Sir James Galway Flute Festival on our first day of the camp. We realized we had made a huge mistake 30 minutes before masterclasses were supposed to start. The room arrangements were not ready at all for holding all the masterclasses. It was really hectic, and we spent much of our time just pointlessly blaming each other. We were only amateurs then, we still believe we are, but every year we are more becoming relaxed and able to solve problems without things getting hectic because things are always happening all over the place .   Our internal communication mostly goes through Messenger. You can find everything in our company chatroom from business to personal matters, jokes, fights, musical issues. We sometimes have up to a hundred messages per day. Sometimes we joke that if we ever publish a book about our festival, we should just fill it with our online chats. We’re sure it would make us a fortune and be more famous than the festival itself Philipp and I always say that we are so happy to have Charles and Ilkoo to mediate things between us, as we have different opinions quite often. Usually our big fights are about small things like poster design. We hope to share these hilarious memories from the history of GMF someday.   Special point?   Many people ask what makes us special. We believe it...

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Nicolas Duchamp: Artist Interview

Posted by on Jan 2, 2018 in Featured, Interviews, Issues, January 2018 | 0 comments

Nicolas Duchamp: Artist Interview

This past fall, I had the opportunity to interview flutist Nicolas Duchamp about his life, flute playing, and his Gaubert project. It is a wide ranging interview touching on many flutistic matters.  -Barbara Siesel   B: How did you get started on the flute?   N: I was born in Bordeaux – Bordeaux has two great traditions, wine and flute! George Barrere was born in Bordeaux, as was the father of Paul Taffanel, Jule Taffanel, who was a fantastic flutist too.  Paul Taffanel was born there too, so the French flute tradition was born in Bordeaux. The great tradition of French flute playing is connected to the Louis Lot instruments from Normandy, so many flutists and French flute music of the early 20th century were influenced by these flutists and the Louis Lot instruments. I was extremely lucky and realized at the age of 3 that I wanted to be a flutist. My grandmother was an opera singer and she said—If you really want to play the flute then you will study music and music theory with me until you are 12 years old and then you will start learning the instrument. Eventually at age 11 my parents brought me to the Bordeaux Conservatory to study with Stefan Boudot, who was a student of Moyse. He was a great teacher, very serious and very serious with me. We had a love/hate relationship, since for him it was not entertainment, or fun; flute was a tradition and people took it very seriously, so I had to learn to practice and work hard. I studied for 4 years at the Bordeaux Conservatory, and at 15 I played for Rampal in Paris and went on to the Creteil Conservatory near Paris and studied with Maurice Peurot who taught me how to use the instrument, to really be in tune with the music, and finally at 19 years old I studied with Maxence Larrieu at the Lyon Conservatory.   B: What is your philosophy of playing the instrument?   N: Flute is the most natural instrument! It’s unique in that when you play you don’t see the instrument, don’t see the air, or your fingers. You must listen carefully to what you are doing and have a great ear to develop your sound. This means that your sound becomes a reflection of your personality, so don’t try to imitate others as it won’t work!! You find your sound and you find yourself on the instrument. There’s a lot of confusion about sound projection, big is not 100% of the character of the instrument. The flute is colorful, resonant, so use it that way with the help of your body – this is the most organic way to create your sound.   B: Tell us about your Gaubert project.   N: In 2008 I was teaching in one of the Paris Conservatories, and a new student entered the class; she was very gifted, someone special, and 2 years later she came in with an old case in bad shape. She said – “I want to show you something, I heard you playing and thought you should see it.” It was Louis Lot flute #1986 made in 1874 and she said “it’s from my husbands family and was the flute of Phillip Gaubert.” The flute had...

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Guilherme Andreas: Artist Interview

Posted by on Jan 2, 2018 in Featured, Interviews, Issues, January 2018 | 0 comments

Guilherme Andreas: Artist Interview

Guilherme Andreas is Brazilian flutist currently studying with Professor Emily Skala at the Peabody Institute of the Jonhs Hopkins University. Prior to moving to the USA, Andreas served as principal flute with the Brazilian Marines Wind Symphony in Rio de Janeiro. He also holds degrees from James Madison University and the Brazilian Conservatory of Music.  Please give us 3 pivotal moments that were essential to creating the artist that you've become?  There were three important moves that changed the course of my development as an artist. First, I won a position to perform with the Brazilian Marine Wind Symphony and I moved to Rio de Janeiro from my family home in Brasilia. This was the first occasion I had to work in a professional ensemble. A really profound part of this experience was the six months of boot camp required to begin employment. Here I met and worked with people from all different kinds of backgrounds which was important because it was an opportunity to learn to be compassionate and understanding and to study human behavior. And in many ways it was truly like survival camp. We learned a lot of self-sufficiency skills, some of which were very unpleasant! This experience changed the way I see myself relative to others, and certainly it enhanced the way we played together in ensemble. When we concertized, we travelled the entire country. Some of the trips lasted three months. Many people do not realize what an enormous country Brazil is!  Living in Rio brought me the opportunity to perform many recitals in some very beautiful historical venues. In this way I mastered a lot of repertoire.   Another pivotal experience in my musical pursuits came when I won the Música no Museu National Competition for young musicians. The reward for this success was a full scholarship to attend James Madison University in Harrisonburg, VA where I earned my Masters in Music Performance and Pedagogy. This was the first occasion I lived in a foreign country, which taught me how different social conventions are in these two countries. For example, something that's very different is the interaction between professors and students. In Brazil we are not formal at all and students and teachers are on a first name basis. We don't use titles. The learning environment is much more friendly, casual and supportive in Brazil than I find it to be in the States. But the institutions here are extremely well-organized by comparison.   Most recently, I moved from the Appalachian mountains of Virginia to the city of Baltimore on the Chesapeake Bay. I was happy to be back in a cosmopolitan environment but it was not the city life I expected, it is so very different from Rio and São Paulo. Here I was given the opportunity to learn about the racial divide that I have so often heard of in the United States. It was a very different form of culture shock than I anticipated. Although my goal of studying in a prestigious music conservatory was finally being realized and I expected to be able to focus 100% on my flute playing, in some very real and interesting ways the socio-political environment in Baltimore served as interference in my studies and as a hard lesson in reality. On the bright side,...

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