Pointers for choosing a Flute Head Joint (1)

One way to upgrade your flute and keep to a budget is to substitute the head joint for one of the many head joints produced by Powell Flutes. The variety available is truly amazing, from different materials: sterling silver, Aurumite® 9k and Aurumite® 14k, yellow, rose and white gold of different weights, platinum and grenadilla wood! Furthermore, there are now four different "cuts", all of which produce the famous Powell projection and colors, but have slight differences that appeal to each player in a very personal way.

The best way to try out head joints is to make an appointment, and then experiment on every head joint you can possibly try—even ones that are out of your price range—in order to get an idea of what you like. Because there really are no "shoulds" in choosing a head joint: there is no point in choosing a head based on what your teacher or a famous flutist plays or what you think you should like. The only important things is how you feel playing it, and how it sounds TO YOU as you play it. Ideally, you can also get important feedback about projection from me or another musician, standing at some distance from you as you play.

You should play passages in all registers and dynamics, legato and articulated, in order to get a feel for the response in these different musical situations. Take your time and have fun in the process—with luck and a relaxed, experimental frame of mind, you're likely to find just the right head joint FOR YOU! 

Powell Head Joints - gorgeous!

Bruckner - an unexpected pleasure

The season begins! First concert features Bruckner Symphony #4, "The Romantic" (1878-80), which is an indulgently long, warm work that grows on you! While it may lack the fire and wildness of Mahler or Strauss, you just have to sit back a little and enjoy the "landscape" slowly passing by, the wonderful evolution of the harmonies, the occasional asides into Viennese tenderness, and of course the remarkable glow of the big brass writing. Sublime. And a good excuse to use my Powell Grenadilla flute; just the right colors!

The concert will be Sunday, Sept. 18th, at 5pm at the C.C.B. in Lisbon, and features the much more modern Lutoslawski Cello Concerto (1970) with Johannes Moser as soloist on the first half of the concert. I'm looking forward to working on that tomorrow—playing the piece, and hearing some wonderful cello playing! Two very complimentary/contrasting works to make a very balanced program—a great start to the season! Lutoslawski in black and white; Bruckner in color—

Flutes left in cars… :(

The other day I heard of a flute stolen from inside a car, and it makes me so upset that I just want to give some simple advice: NEVER LEAVE YOUR FLUTE IN THE CAR!

Yes, sometimes it's a drag to carry one's flute around (be grateful you don't play tuba…) but consider the risk involved: most insurance companies either charge more (a lot more) for this coverage or will not reimburse for an instrument stolen from a car. I believe the reason is that it must be pretty easy for thieves to break into cars. Sad but true. 

So every time you're tempted, just think of how you'd feel discovering that your flute has DISAPPEARED, along with the investment it represents. And then, just tuck it under your arm, or put it in a fun bag, and hang on tight! (PS, let's hope this stolen flute is recovered!)

“Better safe than sorry!”

Back in the saddle!

I've been enjoying the last gasp of Summer, before things really get rolling next week! Of course practicing anyway, but also had a short trip out of town to catch up with my European cousins and stock up on inspiration!

As we all get "back in the saddle" (Wild-West terminology still in the language!) here's some advice I even hope to follow myself: spend not too much time in the "comfort" zone, nor too much time in the "impossible, panic-inducing" zone, focussing instead on the "learning" zone in between these two extremes, where we push ourselves without causing panic (and extra tensions). Go steady, enjoy even the mistakes, and progress will come!

Here's a little angel to watch over us all, found on my travels:

Bas-relief by Eleonore Blount

Congratulations, Aldo Baerten!

Great news from the fabulous flutist Aldo Baerten, our guest teacher at the 4th Summer Flute Academy:

Aldo Baerten will leave the Münster Musikhochschule and replace Professor Marina Piccinini at the Hochschule für Musik, Theater und Median in Hannover, Germany. He will keep his positions as Principal Flute with the Royal Flemish Philharmonic and at the Music Universities in Antwerp and Utrecht.

As we saw during his recital and master class at the Academy, Aldo is a wonderful musician, flutist and teacher, inspiring and warm, so the Hannover Hochschule is very lucky to get him! Aldo, a Powell Flute Artist, was sponsored at the Academy by the generosity of Powell Flutes in Boston. BRAVO, Aldo, from your fans in Portugal!

Professor Aldo Baerten working with Constantino Dykiy at the 4th Summer Flute Academy.

Gabrieli for flutes!

Here's the link to another video from the Summer Flute Academy, with the most incredibly beautiful music by Giovanni Gabrieli (1557-1612). It is rare to find pre-baroque music on a flute program, but the loss is definitely ours!

This "Canzon" in 8 voices features two groups of 4 players, facing each other from opposing sides of the room in this performance. Had we had the luck to "beam ourselves" to St. Mark's Cathedral in Venice, Italy, where Gabrieli was the chief composer, the design of the church with its opposing choir lofts would have amplified the antiphonal effect. Gabrieli was famous for using the spectacular acoustics of St. Mark's to the benefit of his compositions. These influenced early Baroque composers such as Schütz and indirectly Bach, bringing the Italian style into the German high-Baroque. More globalization!

Congratulations to the Academy students who performed—it was a joy to hear live, and a joy to hear again through the magic of YouTube!

Master Italian composer Giovanni Gabrieli, with lute