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.

Technique vs. Expression?

by Katharine Rawdon

Katharine Rawdon

We flutists have been taught to organize our daily practice into categories such as sound, technique, studies, and repertoire. This is a great starting point, as it keeps us from concentrating too much in one area at the expense of another. The famous classic books from the French School, such as Moyse’s De la Sonorité and Tone Development Through Interpretation or the Exercices Journaliers of Taffanel and Gaubert, contain exercises for sound or technique, respectively, suggesting that these are separate issues.

But does this separation lead us to the integrated, organic performance we hope to share with our audience?  Do they experience our playing separated into categories, or is it the integration of these aspects that can either move them or leave them flat?  Perhaps we could prepare more thoroughly by being aware of the overlap, rather than the separation of these categories, aiming to integrate all elements into an expressive whole, a highly communicative musical experience that will reach the audience and touch them to the core?

My suggestion is that there is a lot to be gained from integrating your work on sound and technique to the greatest extent possible. While keeping the basic structure of the practice session, you can enlarge your awareness, bringing attention to technical issues while “practicing sound”, and inversely, bringing attention to sound and expression while “practicing technique”.

While ostensibly working on sound, and using the classic materials mentioned above or other more recent books, you can simultaneously pay attention to “technical” elements, such as the use of your body, an easy balancing of the weight of the flute, articulation, and efficient finger movements. While playing slowly and working on sound, expand your attention to include an awareness of these elements—it is much easier to attend to these issues while practicing long tones or lyrical passages, than while zipping through scales. Slow work will lead to fast scales before long! Use a large mirror to observe yourself, since what we think we are doing and what we actually are doing can often be quite different! Additionally, slow work on “sound” in patterns moving through all keys will eventually lead to greater fluency at faster speeds, better sight-reading, memorization and improvisation. A rather good return on your investment of time and practice energy!

Likewise, when practicing scales and so forth, it is essential to listen carefully to the tone quality and to play expressively, since the ultimate goal of all our work is to perform

music expressively!

According to brain research, if you learn a musical figure, let’s say a D Major scale, robotically, without any emotional meaning or expression involved, your brain will not even recognize that figure when you come across it in an expressive context such as the delightful opening gesture of the Mozart D major Concerto:

So avoid practicing scales and technical patterns mechanically, and don’t wait for your solo pieces to “turn on” the musicality!  Be creative with your “technical practicing”, inventing a variety of dynamic patterns to challenge yourself, perhaps starting with the pattern of rising crescendo—falling diminuendo, which is natural for the flute, and advancing (during the practice session and over time) to its less natural opposite, to other more complex dynamic patterns, and to playing with different colors or color changes.

Practicing in this integrated way, with musical goals first on your list of priorities, will make your practice sessions not only more productive and efficient, but far more entertaining and creative. Considering the many hours we flutists devote to practice, why not make them as fulfilling as possible? Our increased pleasure in playing and our more integrated musicality will surely pass into our performances, connecting more deeply to the musical pleasure of our audiences.

© Katharine Rawdon, 2014