Thursday, October 21, 2021

October Concert

Coming on October 29th this year! Happy to announce a solo appearance at a concert at the Palais Wittgenstein in Düsseldorf. I am contributing two solo pieces, Laconisme de l'aile by Kaija Saariaho and Dreisam Nore by Younghi Pagh Paan

Palais Wittgenstein Düsseldorf, 29.10.21 at 19.30


The organizers write:

Zu Gehör bringen wir das Stück „Quatre instants“ von Kaija Saariaho, das Psychogramm einer vor Liebe wahnsinnigen Frau. Dazu kontrastieren die zarten impressionistischen Klangwelten des früh verstorbenen Ausnahmetalents Lili Boulanger, „Claireries dans les ciels“.

Darüber hinaus wird die international gefeierte Flötistin Camilla Hoitenga mit dem Stück Laconisme de l´aile von Kaija Saariaho zu hören sein. Der Abend wird eingebettet in eine eindrucksvolle Lichtregie.

Palais Wittgenstein Düsseldorf, 29.10.21 um 19.30

Mit Alexandra von der Weth Sopran, Jan Rusko Tenor, Camilla Hoitenga Flöte, Roland Techet Klavier, Ivana Kleinertz Lichtkunst, Frank Schablewski Inszenierung

Wir freuen uns auf Sie! Ihre Alexandra von der Weth und Roland Techet

Monday, July 26, 2021

September Concerts

 Septermber 12, 2021 Bielefeld, Germany Trio Ariel (with Anne-May Krüger, Mezzo-Soprano and Héloīse Dautry, harp) in the Zionskirche series


September 18, 2021 Saariaho opera ONLY THE SOUND REMAINS, Teatro Malibran, Venice, Italy

August concerts: FINLAND

August 19 Helsinki, Amos Rex

August 20, 21 Tampere, G-Lab Live

Visual Concert "Ekstasis" solos with live electronic and video by Kaija Saariaho and Jean-Baptiste Barrière, with Raphaële Kennedy (soprano) and Aliisa Barrière (violin)

Calendar update for 2021

What's been happening in 2021 so far (my web support is on vacation and the Calendar page is a mystery to me!)

The first concerts began in June -- in Tokyo, JAPAN after a two-week quarantine.

June 1: Workshop "Soundscapes of Kaija Saariaho" Tokyo Bunka Kaikan Recital Hall , Japan


June 6: New Production of opera ONLY THE SOUND REMAINS by Kaija Saariaho 


June 21 - 22: I was honored to be asked again to adjudicate the final recitals of the flute students at Ecole Normal de Musique: Here are most of the candidates waiting to speak with me personally.


June 21 - July 16: Flute Expansions Sonic Immersion  -- an intensive course for flutists to go deeply into the world of contemporary flute-playing and interpretation, together with Shanna Gutierrez (USA) (organizer), Matthias Ziegler (CH), Anne LaBerge (USA/NL), Melody Chua (USA/CH), Carla Rees (GB), Jane Rigler (USA), and Eric Lamb (USA/AUT)


July 1: "Light Still and Moving" and "Sombre" with Kantele (Eija Kankaanranta) in concert in Festival d'Aix, France



July 4 - 14: Rehearsals with harpist Héloïse Dautry on a new piece by Christophe de Coudenhove



And now I have a break before the next concerts in Finland!

Wednesday, May 19, 2021


 Greetings from my modern, well-equipped little apartment-with-a-view in the Shinagawa district of Tokyo. 

I'm in quarantine (in spite of completing my vaccination two months ago and testing negative three times in the last 6 days!) but it's not such a bad thing, since I have needed the time to get over jet-lag, review the Japanese alphabets, look up long-lost friends in the area, and to revisit the substantial flute parts for Kaija Saariaho's opera Only the Sound Remains.

Since I'm long overdue for discussing the more recent flute music of Kaija Saariaho I thought I'd begin by sharing in detail the thoughts and tips that occur to me in my daily practice here. The opera calls for all four flutes, from piccolo to bass, with the most prominent parts going to the low flutes in the first part of th opera and to the piccolo in the second part.

Bass Flute Warmups

Today I'm concentrating on the bass flute. Yesterday I reacquainted myself with the instrument with the help of Marcel Moyse's trusty exercises in de la sonorité,  particularly the second set  -- for suppleness and breath control (!) and the third set  -- for pizzicato attacks in all registers. I set my metronome at 60 and go through a complete number every time (yesterday was number 3 for the 2nd set, number 11 of the 3rd set). Today I just started out with whistle tones, first noodles around on overtones, then improvising on Harold Meltzer's beautiful Bel Canto

I find myself reminding myself that "less is more" -- less air, less "normal" flute embouchure -- to produce clearer whistle-tones. Today I was experimenting with really bringing my lips to a pucker and gently moving my tongue around inside my mouth to direct the airstream up and down. The goal for me is to remember not only the mental instructions, but also the physical sensations that bring the results I want. This is crucial, since a panorama of bass flute whistle-tones based on the low C is called for in the opening bars of the opera, creating an eery mood for the magical story of Tsunemasa, which continues with a gesture ending with more whistle-tones, this time on a low F. 

Four bars later is an interjection of one measure of piccolo (mid-register --no great embouchure pyrotechnics required here :) ) before we continue with bass flute through the end of the second movement.

 Details to follow.

October Concert

Coming on October 29th this year! Happy to announce a solo appearance at a concert at the Palais Wittgenstein in Düsseldorf. I am contribut...