Passion Meets Passion

By Adrianne Greenbaum

Adrianne Greenbaum

Sometimes we flutists are comfortable saying that we’ve had a great ride, reached a level we’re not likely to surpass, and are basically content or, better yet, joyous and happy with our professional accomplishments. I can honestly say that I can’t complain. Seriously, can’t complain. 

In college – way back when – I was turned on to baroque period music in a big way. Played everything I could lay my hands on, learning to ornament freely and easily along the way. Stuff was also quite sight-readable. Perfect. Also began a minor in harpsichord. On to Yale for grad school and my harpsichord prof suggested I learn traverso. No clue what that was but a month later, I played a concert, albeit all in easy keys of G, D and e minor.  I loved it.  Traverso became a huge reason for being in grad school (other than studying with Nyfenger and finding a husband).

Fast forward 20 years, about 15 years ago.  I heard a kind of music that I was yet unfamiliar and fell instantly head over heels.  It was dance music with modes I had never heard before. Turns out that what I was hearing was that of klezmer music, music that comes from Eastern Europe and played for Jewish celebrations – and even somber occasions as well.  I was hooked, bonded to it forever. I whisked myself off to Klezkamp (located in the Catskills of New York, where else?) to learn more.  I apologized for being a flutist since I thought clarinet was The Instrument I should be playing. Not so. Flute was first before clarinets were invented so I’m good to go but was the first flutist to embark on the journey so I studied with the trumpet teacher.  

Thankfully this trumpet guy was smart and talented; could teach anyone. First assignment was to ornament a tune. I returned the next day with a stellar composition with “perfect ornamentation.” “How did you do that so easily?”  "Dunno, sounded baroque to me so I just ornamented figuratively like I’ve done so with the likes of Telemann." It was instinctual. I do lots more research, listening to old guys of the early 20^th c. play klezmer. We have four recordings. That’s it. But they are masterful. With newly-gained knowledge and technique I began to give masterclasses on klezmer techniques and ornamentation. I’m loving my new-found love.

Fast forward to present. I hear for the first time an ensemble combining baroque works with eastern European dances.  Unreal to me. Incredibly exciting to listen to – played well – and to play. I found out where these 18^th c. dances were published, ordered the interlibrary loan book of tunes of 1730, and I’m off and running.   My two passions of baroque and klezmer?  It’s a wow moment for me. Researching further I find that Telemann himself was passionate about the music that the klezmer played.  He mentions klezmer! I get very busy arranging tunes after baroque pieces for my faculty recital coming up. Happy with my new-found passion? Indescribable!  Passion meets passion!

(Recital, collaboration, with Katherine Kemler, Professor at LSU: November 2 at Mount Holyoke College. “Eclectic Flutes: Connecting the Dots” )

Adrianne Greenbaum

Professor of Flute, Mount Holyoke College

Happy Owner of Wood Powell since 2000