Where Artistry Meets Impact: A Conversation with Cassandra Eisenreich
Cassandra Eisenreich is a dynamic force in today’s flute landscape. As a professor at Slippery Rock University, a member of the boundary-pushing Beta Quartet, and a nationally recognized advocate for innovative music education, she brings a multifaceted approach to performance, teaching, and collaboration. In this interview, Eisenreich discusses her evolving definition of success, the value of student-centered learning, and how she continues to challenge both herself and her field through creativity and connection.
Teaching & Leadership
As a university professor at Slippery Rock, what do you love most about working with college-level flutists?
What I love most about working with college-level flutists is witnessing the incredible growth that happens during this transformative stage of their lives—not just as musicians, but as people. College students are in a unique place where they’re beginning to define who they are artistically, intellectually, and personally. I find it deeply rewarding to help them discover their individual voice on the flute and guide them toward meaningful, authentic artistry.
At Slippery Rock, I have the privilege of working with students who are not only dedicated and curious, but who are also open to exploring a wide range of musical styles and ideas. Whether it's interpreting a standard concerto, engaging in free improvisation, or collaborating across disciplines, I love supporting their creative risk-taking and helping them build the confidence and tools they need to thrive—both in music and in life.
You’ve received national recognition from both Yamaha and the GRAMMY Foundation for your work in education. What do those honors reflect about the kind of teaching you care most about?
These recognitions reflect a broader affirmation of the kind of teaching that centers students as active, creative agents in their own learning. I care most about creating spaces where students—whether college flutists, general music students, or members of a modern band—can take risks, develop their artistic voices, and experience music as something personal and meaningful.
My teaching is grounded in the belief that every student has something to express, and that it’s our role as educators to help them access the tools, confidence, and community to do so. I’m fortunate to collaborate with students and colleagues who continually challenge and deepen that work.
Honors like these aren’t simply about recognition—they’re a reflection of the power of student-centered, inclusive, and relational teaching. They’re a reminder that transformative learning is built not just on outcomes, but on curiosity, connection, and shared growth.
You wear a lot of hats: flutist, professor, ensemble member, educator, and mom. How have all these roles shaped the way you lead, teach, and create?
Being a flutist grounds me in the discipline and joy of making music; being a professor challenges me to think critically and constantly evolve; being an ensemble member reminds me of the importance of collaboration, listening, and shared vision. Each role brings its own perspective—but becoming a mother has added a dimension that has reshaped how I understand presence, time, and care.
Motherhood has taught me to lead with patience, to listen more deeply, and to meet people where they are. It’s helped me see that growth—whether in music or in life—isn’t always linear, and that consistency, empathy, and trust often have more impact than any single moment of achievement. I’ve come to deeply value process, progress, and the emotional landscapes that shape learning.
In every space I occupy—studio, classroom, rehearsal, or stage—I try to bring a sense of groundedness, flexibility, and care. These roles continue to remind me that leadership isn’t about having all the answers, but about creating conditions where others can thrive. For me, artistry and authenticity are inseparable, and my goal is to foster environments where students feel safe to explore, take risks, and connect with music in ways that are meaningful to them. I want them to know that their unique journey—messy parts and all—has value and power.
How do you help your students navigate the demands of music school while still discovering who they are as artists and humans?
Navigating music school can be intense—there are high expectations, long hours, and a constant push to improve. I believe growth doesn’t have to come at the expense of wellness or identity. My goal is to help students find balance, build resilience, and stay connected to the why behind what they do.
I start by creating a supportive environment where students feel safe to ask questions, take creative risks, and be honest about what they’re experiencing. We talk a lot about setting realistic goals, managing time and energy, and honoring both discipline and rest. I also encourage students to explore beyond traditional paths—whether that means improvising, composing, interdisciplinary collaboration, or blending genres—so they can begin to define what artistry means to them, not just what they think it’s supposed to look like.
One way I help students stay connected to their personal voice is by giving them autonomy in choosing their repertoire. As long as the music challenges them in ways that promote growth—technically, musically, or expressively—I fully support their choices. This helps them take ownership of their learning and explore what truly resonates with them.
To make sure they’re also exposed to a wide range of musical styles and eras, I design themed studio recitals that cycle us through different time periods and genres. This approach not only broadens their musical vocabulary but often surprises them—sometimes a piece they never expected to love ends up becoming a turning point in their journey. Music is deeply personal, and you never know which work will speak to someone in a way that changes everything.
Ultimately, I want my students to leave music school not just with strong technical skills, but with a deeper understanding of themselves as whole people—musicians, yes, but also thinkers, leaders, collaborators, and creators with something unique to offer the world.
Artistry & Collaboration
You recently joined the Beta Quartet, a group known for its innovation and energy. What drew you to this ensemble, and how has it stretched you as a performer?
What drew me to the Beta Quartet was their fearless creativity and deep commitment to pushing boundaries—not just musically, but in how they connect with audiences. From the very beginning, I was inspired by the group’s blend of high-level artistry, collaborative spirit, and willingness to take risks. They’re not afraid to reimagine what a flute quartet can be, and that energy is both contagious and motivating.
I genuinely want to surround myself with people like them—the energy, the drive, the love, the expectation, the fun. Being part of BETA fills my artistic cup in ways that are both grounding and exhilarating. We challenge each other to show up fully, support each other unconditionally, and hold a high standard while still finding joy in the process. That kind of environment pushes me to be my best self—not just as a flutist, but as a collaborator and creative human.
Joining the ensemble has stretched me in so many ways. We’re constantly exploring new repertoire, extended techniques, improvisation, and bold programming ideas that demand presence, flexibility, and imagination. It’s reminded me that performance isn’t just about precision—it’s about connection, curiosity, and being open to the unexpected. It’s been both humbling and invigorating to be part of something so collaborative and forward-thinking.
Is there a particular performance—solo, chamber, or otherwise—that’s stuck with you? What made it memorable?
There are so many performances that have stayed with me, but some of the most meaningful have come from finally getting to perform the orchestral excerpts that flutists spend years—sometimes a lifetime—learning in lessons, masterclasses, and practice rooms. As the principal flutist of the Butler Symphony Orchestra, I’ve had the incredible privilege of bringing these iconic moments to life on stage. Works like Debussy’s Prelude to the Afternoon of a Faun, Bizet’s L’Arlésienne Suite, Prokofiev’s Peter and the Wolf, Hagrid’s Friendly Bird, Princess Leia’s Theme, Holst’s The Planets, Stravinsky’s The Firebird, and Rimsky-Korsakov’s Russian Easter Overture are all pieces I once dreamed of playing. To sit in the center of the sound as a member of a full orchestra and contribute to these masterworks has been electrifying. I don’t take a single moment for granted.
Beyond orchestral performances, I enjoy collaborating with composers to bring new music to life. The creative process and the synergy that develops between composer and performer is one of my favorite parts of being a musician. It’s thrilling to help shape music that has never been heard before and to contribute my voice to the evolving flute repertoire.
I also enjoy playing commercial music and doing recording work, as each experience offers distinct challenges—whether adapting to the dynamic energy of a sold-out live show or honing the precision and focus demanded in the studio. These diverse opportunities continually refresh my artistry and fuel my ongoing growth.
One particularly unforgettable experience was performing with Evanescence during their Synthesis live tour. Sharing the stage with Amy Lee—whose music I grew up listening to—was completely surreal. To hear her voice live from just a few feet away, and to play as part of a full orchestra supporting her cinematic sound, was one of those rare and powerful moments where everything clicks. It was a fusion of classical and rock, nostalgia and artistry, and it reminded me how deeply music can move across genres and generations.
Ultimately, the joy of performing—whether it’s a solo, a chamber piece, a symphonic masterpiece, or a crossover collaboration—comes from connection. Connection to the music, to the audience, and to the people creating beside you. Every performance is a fleeting moment where everything we’ve practiced, imagined, and felt becomes real. And for me, that’s where the magic truly lives.
How do you personally define success as a flutist today? Has that definition shifted over the course of your career?
Today, I define success as being able to use my flute and other creative talents to connect deeply—with music, with other musicians, and with audiences—in a way that feels authentic and meaningful. Success isn’t just about technical mastery or accolades; it’s about continual growth, curiosity, and the ability to communicate something true and compelling through sound.
Over the course of my career, that definition has definitely evolved. Early on, success felt more tied to external markers—winning competitions, performing difficult repertoire flawlessly, etc. The list goes on and on. While those goals were important and motivating, I’ve come to realize that the heart of success lies in the relationships I build and the impact I have as a musician and educator.
Now, success is less about reaching a particular milestone and more about sustaining a thoughtful engagement with the art form—remaining open to change, embracing complexity, and finding meaning in both challenge and reflection. It’s a quietly evolving process that asks me to be present, honest, and vulnerable as an artist and as a human.
Inspiration & Inner Work
What’s something you’ve unlearned in your career that ended up being freeing?
One of the most freeing realizations I’ve had is that, while some aspects of music—like technical fundamentals—have clear right and wrongs, much of music inhabits a subjective and colorful space. Early in my training, I attended numerous masterclasses, receiving diverse guidance from brilliant teachers and pedagogues around the world. It was often confusing trying to reconcile these differing perspectives and figure out the “right” way to approach the music.
Over time, I came to understand that many interpretive choices don’t have a single “correct” answer. Instead, multiple valid interpretations coexist, opening space for personal expression and creative freedom. Embracing interpretation as a living, evolving conversation rather than a fixed set of rules has been profoundly liberating. This mindset encourages vulnerability and exploration—qualities I believe are essential to authentic artistry.
This insight also shapes how I teach. I strive to create a supportive environment where students can explore and discover their own voices, while offering the structure and feedback they need to grow. By fostering this balance, I hope to empower students to trust their instincts and make bold, honest musical choices throughout their artistic journeys.
Who or what inspires you most, musically or otherwise, when you’re in need of a creative reset?
When I need a creative reset, I often return to the music that first shaped my journey—albums, pieces, or artists I’ve loved throughout my life. Interestingly, only a small part of that playlist features flute music. Hearing those familiar, cherished sounds reconnects me to the joy and instinct I felt when I first fell in love with music—before the pressures and expectations that can come with a career in the arts.
Beyond music, I find deep inspiration in visual art. Spending time in museums or simply noticing the art embedded in everyday life nourishes my imagination in a unique way. The interplay of color, composition, and symbolism invites me to think beyond sound and offers space to breathe, reflect, and reconnect to creativity without any expectation of performance.
Collaboration is another vital source of renewal. Working closely with composers, students, and colleagues—especially those who bring fresh ideas and diverse perspectives—consistently challenges and energizes me. These experiences often leave me feeling more grounded and inspired in my own artistry.
Above all, my students are among my greatest inspirations. Witnessing their willingness to take risks, ask honest questions, and grow into themselves musically reminds me of the beauty and importance of the creative process. Their openness and passion continually bring me back to what matters most.
You’ve been recognized for encouraging social-emotional growth through music. Why is that piece of your work so important to you?
Supporting social-emotional growth through music is at the heart of my work because music uniquely fosters deeper understanding—of ourselves, others, and the world around us. It’s more than notes and rhythms; it’s a language of emotion, empathy, and connection. When students engage with music in ways that honor their feelings and lived experiences, they cultivate essential skills like self-awareness, resilience, and authentic communication. This, in turn, enriches the stories they tell through their instruments.
I’ve witnessed how creating safe, supportive spaces for authentic expression transforms students—not just their musicianship, but their confidence and sense of belonging. Music becomes a vehicle for healing, community, and growth, especially during difficult times.
Ultimately, my goal is to nurture not only skilled musicians but compassionate, collaborative individuals who carry these values beyond the classroom and rehearsal hall. Integrating social-emotional learning into music education helps cultivate thoughtful, responsible human beings alongside artistic growth.
Looking Ahead
What do you think emerging flutists, and especially women balancing multiple roles, need most right now as they build careers in today’s landscape?
Navigating a career in music as a woman, especially while balancing multiple roles such as motherhood, teaching, and performing, requires resilience, self-awareness, and a redefinition of what success and balance mean. From my experience, the idea of a perfect balance is a myth; rather, it’s a dynamic negotiation of priorities, energy, and personal boundaries that shifts over time.
The music profession, like many fields, sometimes carries unspoken assumptions about availability and commitment that can unintentionally overlook the realities of those balancing caregiving and other responsibilities. I’ve seen how pregnant musicians and mothers are sometimes met with doubts or assumptions about their interest and/or availability to perform or teach—attitudes that can feel discouraging, even though they don’t reflect the true circumstances or choices of the individual.
It’s essential for emerging flutists—especially women balancing multiple roles—to cultivate self-trust and agency. Only you can determine what is feasible and meaningful in your career and life. It’s equally important for colleagues, employers, and institutions to recognize this and foster inclusive practices that value diverse experiences and working styles.
Above all, I encourage women to extend themselves grace, seek out supportive communities, and embrace flexibility. Embracing oneself as a complex, whole person, complete with evolving needs and ambitions, is foundational to building not just a successful career, but a sustainable and fulfilling one.
What upcoming projects, performances, or collaborations are you especially excited about right now?
There’s so much I’m looking forward to, and the upcoming NFA Convention is definitely at the top of the list. I’m honored to be involved in several events this year that reflect the many dimensions of my work as a flutist and educator. This includes participating in the Choosing to Have It All panel, where we’ll explore the realities and possibilities of balancing career and life, especially for women in our field. I’ll also be performing with the BETA Quartet in the Sound Connections concert, playing with the Under One Sky Flute Choir, and taking part in a reading session celebrating new music for flute.
One of the most meaningful moments for me will be the Healing and Remembrance concert, dedicated to my beloved former teacher, Stacey Steele. Her influence continues to guide me, and I’m grateful to contribute to a tribute that honors her legacy.
I’m also excited to engage with young musicians through two events at Youth Flute Day, aimed at inspiring and empowering the next generation of flutists, an especially rewarding part of my work.
Beyond the NFA, I’m looking forward to the BETA Quartet’s debut album, set for release in fall 2025. This project features bold repertoire and the creative chemistry that makes chamber music so exhilarating.
I’m equally enthusiastic about the 2025–2026 season with the Butler Symphony Orchestra under our new Artistic Director, Moon Doh, whose vision is already invigorating our programming.
And in early 2026, I’ll direct the SRU Honors Flute Ensemble with guest artists Melissa Keeling and Sarah Steranka. We’ll premiere new works by Federico Bonacossa, Erin Spencer, and Greg Lutz—each bringing a fresh, vibrant voice to contemporary flute music.
Each of these projects reflects a different facet of who I am as an artist, and I feel incredibly grateful to be in a season filled with meaningful and multifaceted collaboration.
Praised for her “tonal sweetness and fleet execution” (South Florida Classical Review) and described as “technically clean and precise, musically expressive, and stylistically satisfying” (The Flutist Quarterly), Dr. Cassandra Eisenreich is Associate Professor of Flute and Music Education at Slippery Rock University, principal flutist of the Butler Symphony Orchestra, and a Trevor James Alto Flute Artist. A sought-after performer and clinician, she has premiered over 50 new works across solo, chamber, orchestral, and conducting settings. She previously chaired the National Flute Association’s Pedagogy Committee and is recognized as a Yamaha 40 Under 40 music educator, a PMEA Citation of Excellence recipient, and a GRAMMY Music Educator Award quarterfinalist.