Coreisa's Conservatory

Coreisa trying her new Powell Conservatory. Photo courtesy of NBCUniversal/ "The Meredith Vieira Show."

Last Friday, Coreisa Janelle Lee experienced many surprises -- including the gift of a new flute -- on national television!  Ms. Lee is a sophomore at the Manhattan School of Music and had dreamed of owning a Powell Handmade Conservatory Aurumite^® 9k flute.  Coreisa had been playing the same student flute since the 8th grade, and ownership of a Powell seemed like a mere dream given her economic circumstances.

Luckily, Ms. Lee shared her dream with The Meredith Vieira Show and the show's producers contacted us here at Powell.  We agreed to help Coreisa with the gift of a Powell
Conservatory built to her exact specifications.  It was a bit tricky to get the specs from her without spoiling the surprise, but with the help of the show's producers who were in contact with Coreisa, we got them!  The flute was made and hand-carried to the show's producers at NBC Studios in Rockefeller Center just a few days before the taping.

The day the show aired, September 26th, we gathered around to watch the clip here in the office and were thrilled for Coreisa.  If you missed the clip, follow this link to view it.  Amidst all the excitement, we were anxious to get in touch with Coreisa and find out how she liked her new flute!  In the section below, she described some of the qualities she enjoys about it the most -- and the story behind its name...

My new Powell Aurumite Conservatory Flute, which I have yet to name - some say name it Meredith, some say name it Ferrari because my last flute was named Mercedes. I'm not sure. - it's one of a kind. I have tried many flutes but never felt as natural as I feel when I'm playing the one that I received from Powell on the Meredith Vieira Show. I can not seem to stop playing on it. It just makes me so very happy!

On October 6th, I will be performing at the Harmonie Club here in New York City. For that performance I will be playing Benjamin Godard's "Valse" from his Suite of Three Pieces. In this piece there are moments where I have to play scalar runs starting from the low register all the way to the high third register. When ever I get to these moments, I get this sense of soaring. It really feels as if I'm playing on two flutes - feeling the warmth of a gold flute, while having the brilliance of a silver flute - this flute is amazing! The low register is very warm and so well spoken, while the high register makes me feel as if I am Anna Netrebko beautifully/brilliantly singing my high notes. Gosh, it's just a wonderful flute!

You know, I think I will name my flute Cadence because a cadence is a very important/special moment in a classical piece of music. It is the most highlighted part of a phrase as well as the most important because it establishes the key. This makes me think of how I acquired my new flute. Being surprised by coming on The Meredith Vieira Show and receiving an amazing flute will forever be a special moment in my life. It will also be the most important moment because I feel unstoppable. I just established myself as an aspiring professional musician and that is what I will be! Every time I play "Cadence" I will be filled with so much joy! Thank you so much Powell for working alongside Meredith Vieira and giving me the flute of my dreams!

Roberto Alvarez Interview

Classical music may be considered an art form that is, well, not "fun," but rather "serious."  Is this true?  Many disagree, and with good reason.  Powell artist Roberto Alvarez sheds light on this topic in his very jovial, inspiring, and engaging manner in this interview with Glen Oliver for Sound Off Asia.  Make sure to watch the entire interview, because at the very end, Mr. Alvarez also shares advice for the future generation of musicians...

Tools of the Trade with Aldo Baerten

We all know that flutists are different and have various preferences when it comes their flutes.  That being said, we are starting a series of posts here with Powell artists and players, highlighting the specs and options of their particular "tools of the trade." 

We begin with Powell artist Aldo Baerten, who prefers Powell Custom gold flutes.  He feels that gold flutes “blend well, have loaaaaaaaaaaaaaaads of colors, and are sooooooooooooooo beautiful to see!”  Aldo eventually discovered the Venti  headjoint, which was designed in collaboration with fellow Powell artist Paul Edmund-Davies.  He chose the Venti for himself because he admired the design and commented that  it has “a lot of depth and richness.” 

As for options, Aldo 's choices are offset G, split-E, and C# trill. He says:

I have offset G, because it fits my hands better. I only had one flute inline, and I always had pain in my hands and arms. So, I’m definitely an offset G player, but that is of course a very personal thing!

I am also a split E person!  I think it is so good.  Why would you make it complex?  The E mechanism is ideal for making the top E round, more in tune, speaking better and being more beautiful. .................... I NEVER played a flute without it and probably never will! It is great!  Mine has a c sharp trill, which helps some trills and fingerings, but it is not totally necessary!  You can live without it, and I have had flutes without it...but it IS a great invention!

Flutes need to make you play the way you want and feel, and mine does – definitely! Colours should flow, articulation should work, and you should be able to express what you want and feel.....

For more information on Aldo Baerten, click here to visit his Powell artist page and here for his website.

Thoughts on Split-E: Morgann Davis

Morgann Davis performing with sttuden.

In last week's Flute Builder blog post, we took a closer look at the split-E mechanism option, focusing on mechanical differences in its construction.  But what differences do flute performing and teaching artists note?  Well, we thought it might be an interesting question for our professional players and will have a series of posts on their equipment options.  This week, we begin with Powell player Morgann Davis, who shares her thoughts particularly in reference to her experiences teaching young students:

In regards to student flutes with split-E mechanisms, most of my beginners have flutes without. I don't find it too difficult to learn high E for my young students, but I am careful not to give them the hint that E is a hard note. We treat it just like any other high note, and address any problems in producing it by analyzing what is happening with their air and embouchure. Many young flutists begin on a "hand-me-down" flute, and frequently the flute hasn't been cleaned or repaired for many, many years. Occasionally when a young student is really struggling in a particular register, it may be that their flute needs to be seen by a repairman.  

Through my experiences, my preference has become that students learn on a flute that doesn't have one. I'd like for them to learn to produce their best effort without the assistance of the mechanism. If, when they are ready to purchase a new flute, they find through trials that a split E feels better, I believe that is a good time to use it. Certainly each person is different, and for some, the mechanism will not feel like a good fit. Occasionally students will want the split-E because they feel it will fix their high E problems. It's especially important for these students to try flutes with and without the mechanism, and for them to analyze what is different about the Es on both. If you're not used to having it and are switching, you might notice that you can feel the extra mechanism on your right hand and have to adjust your position a bit. Also, since the high Es are easier with the split-E mechanism, you may need to work harder at keeping them from "popping" out if you are used to having to do some extra work to play a good E. I've never owned a flute with a split-E, so I find the right hand feels "clunky" on flutes that have one. Again, each of us is different, and that's certainly just based on what feels comfortable for my hand position. 

For more on Morgann Davis, visit her website and Facebook pages: 

www.morgannelycedavis.com  www.facebook.com/DavisFluteStudio 

The Road to Portugal - An Interview with Katharine Rawdon

By Rebecca Weissman

Communications Director, Verne Q. Powell Flutes, Inc.

Katharine Rawdon

Last week, we had the pleasure of speaking with Powell player Katharine Rawdon during her visit to the Powell office in Mayanrd, Massachusetts.  Katharine is a California native and is currently living in Portugal, where she is Principal Flute of the Orquestra Sinfonica Portuguesa.  We were curious to learn more about the path that led Ms. Rawdon to Portugal and discovered that her experience with European countries and cultures began after she completed her undergraduate studies at Pomona College.  Katharine was awarded the Thomas J. Watson Fellowship based on her proposal to study the “Woodwind Performance Styles in the Major European Orchestras,” which was a topic she conceptualized and finalized under the guidance of some of her professors.  She was first chosen for the Watson Fellowship program within her college and then went through the national process, where she was selected to study her proposed topic.

Katharine told us that she “grew up on the Beethoven symphony recordings with the Berlin Philharmonic Orchestra” when James Galway was Principal Flute.  At the time she prepared to embark on her study of the European orchestras, Galway had been out Berlin for about seven years, but his legacy carried through in the recordings.  She hadn’t expected to see too much diversity from orchestra to orchestra, yet her findings during the fellowship year were quite different.  She shared, “Every culture has a very different idea about everything, including the function of music in society,” adding, “the study was essentially a sociological story within the construct of music.”  During the study, Katharine noted one could “hear immediately that he approach of each orchestra was different,” and this was apparent within the woodwind sections as well.

Ms. Rawdon’s study took place in the 1980s and was one-year in length, but it was only the beginning of her time in Europe.  She returned to the United States, where she completed her Masters in Music at the Manhattan School of Music (MSM). She also performed in the National Orchestral Association (NOA) Orchestra for one year, after which she joined the Manhattan Wind Quintet with fellow classmates from MSM.  When Katharine was a member of the NOA Orchestra, the ensemble was led by a Portuguese conductor.  The conductor later organized his own orchestra in Portugal and extended an invitation to Katharine and the entire Manhattan Wind Quintet to serve as the core players in the orchestra’s woodwind section.  Although this particular assignment was only supposed to last 6 months, Ms. Rawdon became very fond of the Portuguese culture and the environment, which led to additional teaching and performance engagements. 

We enjoyed our visit with Katharine and encourage you to read her previous post on this blog, “Technique vs. Expression,” which you can view by clickinghere to follow the link.

"Frenchy"

Sue Amstutz

We always enjoy seeing Powell instruments come through the shop that have had a long life and history.  This week, we were very pleased to have heard from Powell player Sue Amstutz, who has owned two Powell flutes over the course of her career.  In the account below, she shares her Powell story:  

My name is Sue Amstutz.  I have been playing on a Powell flute since the spring of 1956, my senior year in high school. My Powell is French style, with open keys, gold embrochure and extended B foot joint.....its model number is 1390. When "Frenchy" was most recently sent to the Powell factory for one of its periodic overhauls, I was told that its age classifies it as an "antique". It still plays beautifully and rarely needs any adjustment.

I was already playing on an American model Powell when the opportunity back in 1956 arose for my parents to purchase "Frenchy."  Its former owner was upgrading to a more professional Powell with overlaid keys and was willing to sell his older instrument which my parents bought for me for the grand sum of $435.00!   It was only a year old at that time, and after being renovated at the Powell factory, was presented to me in mint condition.

All I had to do was learn how to cover those open hole keys, which was rather essential since I was occupying first chair in our high school band and orchestra. I remember our high school conductor joking that someone had failed to finish Sue's new flute since it had big holes in the keys!  (I never did resort to hole plugs but determined to quickly figure out how to get my fingers in the correct position to cover the key holes, which I did.)

I will be 76 years old in December, and "Frenchy" and I are still going strong making music.  I am currently principal flute in the Celebration Orchestra of First Baptist Church in Tulsa, Oklahoma, a position I have held for the past 25 years. Thanks to the excellent workmanship of the folks at Powell who produced my flute a half a century ago and even though "Frenchy" and I are now both "antiques," my flute is still one of my most prized possessions.

Care and Feeding of Your Piccolo….How to Maintain Your Instrument in Good Working Order

By Cynthia Ellis

Every instrument needs to have some TLC in order for it to remain in the best working condition for optimum performance.

BASICS

First of all, make sure that your piccolo fits snugly inside the case. The purpose of the case is to protect the instrument from the elements and to keep the instrument from sliding around when the case is shut.  As time goes on, the blocking inside the case (as well as the velvet lining) can become worn and compressed, allowing the instrument to move.  If you can hear your piccolo bouncing around in its case once you have closed it, it is time to look inside to see where the problems might be. Check to make sure that the body of the piccolo cannot slide back and forth horizontally, and also, that it cannot rotate forward or back. If your case is worn, you can get some fabric remnants and test out the proper thickness to bolster the worn spots.  As a quick fix, even a cigarette paper folded over several times might be the right thickness to prevent a bit of movement. Severely worn case blocks can be replaced entirely or just re-covered with new more plush velvet or fabric. Make sure that the case locks are secure and remain locked when the case lid is shut.  Another option is to replace an old case if it is too worn for refurbishment: you can contact the manufacturer of your piccolo and have them ship you a replacement case, or contact a case maker directly.  You should always keep your case inside of a case cover in order to provide a back up if the case locks accidentally open, and also to insulate the instrument further against harsh temperature extremes. Speaking of temperature extremes, never leave your wooden instrument inside your car: in warm climates the inside of a closed car on a warm day soars to over 100 degrees in a few minutes. In cold areas, the reverse is true. Protect your instruments from temperature extremes by keeping them indoors as much as possible. 

I keep my piccolo fully assembled at all times, storing it in a ‘one piece’ case. This ensures that my alignment remains as consistent as possible. It is wise to occasionally put on a bit of cork grease or plain, unscented Chapstick onto the cork tenon for all instruments, especially one that is not reassembled all the time. If you are playing a metal piccolo, there is no need for cork grease (because there is no cork) but in this case, make sure the tenon is free from all dust and debris by wiping it off occasionally with a clean, dry cloth. Treat metal piccolo tenons exactly the same as you would those on the flute: if they get a bit stiff or sticky feeling, use plain alcohol to clean off both sides of the affected joint. 

DAILY MAINTENANCE

It is important to swab out the piccolo often when we play: for wooden instruments, it becomes even more critical.  Swabbing prevents bubbles from forming (excess moisture that acts as a seal which will prevent a key from opening or closing…which causes wrong notes to sound…are called bubbles).  Moisture can be drawn to the same pathways in wood grain over and over as excess moisture builds up. The grain can become ‘eroded’ over time much like a river bed, if extreme amounts of water are allowed to build up.  This ‘erosion’ causes the water to be attracted to the same places each time, which often results in bubbles in the same spot over and over again.

The piccolo’s small conical bore also presents a challenge:  The player needs a swab that works quickly, does not get stuck and of course, one that dries out the instrument.

There are two kinds of swabs to discuss: those to be used during a performance (the instrument will remain in one piece) and those to be used when the headjoint is separated from the body, such as when returning the piccolo to rest in a traditional two-piece case.

Swabs that can be used when the instrument is in one piece include the piccolo flag style, and the traditional cleaning rod (with extender) with a cloth swab attached.  The piccolo flag is a small rectangle of chamois material attached to a long slender stick.  The length of the swab, if kept in one long piece, is often too long for storage in most piccolo cases, so a threaded section in the middle affords a break apart option.  This is an excellent swab to use:  it really can’t get caught in the bore and the chamois end is flexible enough  to get into the closed end of the headjoint.  The traditional cleaning rod is effective, but the bulk of the cloth can sometimes impede the process of cleaning the instrument: I find using a slender silk triangle is the best fabric and shape to use.  Silk compresses beautifully, is lint free, and absorbs very well.  Both of these swabs work well when the piccolo is taken apart in two pieces but there are other choices to use when the instrument is disassembled: there are plush swabs that will work beautifully to clean out the end of the headjoint near the cork, but many of these will not work on a conical bore instrument when assembled. It is important to dry this area out carefully after use. It is also a good idea to remove moisture from the backwall or ‘blow hole ‘ of the headjoint: I use my little finger to keep this area dry, or a cotton swab. If you have a whitish buildup in this area, it is most likely dry residue that was not caught in the preventable ‘wet’ stage. Your repair technician can help remove this for you.

I always wipe off the keys before I put my instrument away for the day using a micro fiber cloth: it removes skin oils that could possibly leach into delicate paper shims used for adjustments. If you play a metal headjoint or entire metal instrument, wipe that down every day as well. 

SEE YOUR REPAIR TECHNICIAN

A yearly COA is a ‘must do’ for your instrument: your technician will clean, oil and adjust your instrument from top to bottom. He/she will remove all the keywork, check for any pad adjustments that need to be made or replaced, adjust spring tensions, make key to key adjustments, check the headjoint cork, and check the wood body for any cracks. They will put new oil in the rods and your instrument will feel good as new. If you are playing a school instrument for the marching season, make sure the headjoint cork is fitting correctly in the headjoint. Corks can often shrink if the instrument is not played consistently, and this can cause intonation problems as well as response issues. A tight fitting cork is a must!  If you play piccolo infrequently, perhaps this schedule can be every 18 months: if you play a lot, you may find yourself needing adjustments more often. A complete overhaul can be considered necessary after heavy use or many years depending on the player and the amount of piccolo playing.

Keep up with Cindy Ellis -- Follow her online!  
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