I can’t tell you how many times I “intended” to write a blog this summer that’s now just past. I would find myself in concerts, reading reviewing, grappling with classical music, thinking: “ I should write a blog about this”. But by the time I actually sat down at my laptop, it always seemed less immediate, or perhaps too formulaic - reporting on events rather than reflecting on experiences.
There was the opening concert of the Edinburgh International Festival, Delius’ Mass of Life at the Usher Hall. I so wanted to experience the opening concert, and had high expectations, despite my better half’s protestations. In fact, we both found the work inscrutable and were amused to hear the elderly concert-goer behind us comment to her friend: “He must have been on drugs!" The lesson for me is that choosing concerts, like wine, requires more thought than the title of the work or the colour of the label! Since then, I’ve watched a very interesting BBC documentary on Delius, and am enjoying a burgeoning relationship with some of the more melodic works.
I also spent a few enjoyable but challenging days at the Scottish International Flute School , held at St. Leonard’s School in St. Andrews. So much wonderful flute repertoire! As a result, I’ve been dipping into Aaron Copland’s Duo for Flute and Piano (some ideas very evocative of Appalachian Spring), the Poulenc Flute Sonata and CPE Bach’s Sonata in G minor. Wissam Boustany’s concert was passionate and inspiring, and the vision of how he breathes will stay with me and influence my own playing. Ian Clarke’s concert was astounding, in the way he feels the rhythm of the music, and in his circular breathing, which I have heard of and discussed, but never seen put into action before. Lis Dooner was such fun to work with, and so helpful in our chamber group. I met so many lovely flute players, and many thanks to Yvonne Paterson who organizes it all!
There was the opening concert of the Edinburgh International Festival, Delius’ Mass of Life at the Usher Hall. I so wanted to experience the opening concert, and had high expectations, despite my better half’s protestations. In fact, we both found the work inscrutable and were amused to hear the elderly concert-goer behind us comment to her friend: “He must have been on drugs!" The lesson for me is that choosing concerts, like wine, requires more thought than the title of the work or the colour of the label! Since then, I’ve watched a very interesting BBC documentary on Delius, and am enjoying a burgeoning relationship with some of the more melodic works.
I also spent a few enjoyable but challenging days at the Scottish International Flute School , held at St. Leonard’s School in St. Andrews. So much wonderful flute repertoire! As a result, I’ve been dipping into Aaron Copland’s Duo for Flute and Piano (some ideas very evocative of Appalachian Spring), the Poulenc Flute Sonata and CPE Bach’s Sonata in G minor. Wissam Boustany’s concert was passionate and inspiring, and the vision of how he breathes will stay with me and influence my own playing. Ian Clarke’s concert was astounding, in the way he feels the rhythm of the music, and in his circular breathing, which I have heard of and discussed, but never seen put into action before. Lis Dooner was such fun to work with, and so helpful in our chamber group. I met so many lovely flute players, and many thanks to Yvonne Paterson who organizes it all!
© Corinne Clarke
At the end of July, I played with Shindiggery on the Ross Bandstand as part of the Scottish Fantasia “month long celebration of Scottish musical talent”. It gave me the opportunity to borrow and try out mic’ing the flute with a swan neck mic and the concertina with a similar mic centered over the bellows. While it was very satisfying to play mic’d, the band’s sound wasn’t balanced - for a large band like ours, there just wasn’t enough time allowed for a proper soundcheck and adjustment. I also got together a smaller group, MacReedie, for a small gig at the Spiegel Terrace on George Street. Four of us (smallpipes, whistles, melodeon, mandola, flute and concertina) spent a couple of hours playing together - lovely sound, just a pity about the weather... cold and rain made for a small audience. Unfortunately, timetable conflicts this year mean I'll be taking a break from Shindiggery.
© The Queens Hall, Edinburgh
The wind quintet, Les Vents Français’, concert at the Queen’s Hall was a real high spot, as was their talk at the Hub later that afternoon. Their music, they said, came out of their friendships over the breadth of their careers, a long conversation that changes over time. Their performances are very much of the moment, with things happening spontaneously out of listening to each other.
Malcolm Martineau’s talk about music and accompaniment was similarly inspiring. I was interested to hear that his musical education focussed first on being expressive, with technique coming later (similar to my own experience, although I am only now really grappling with technique). He repeatedly referred to how much fun he has with music - so lovely.
I’ve just started back at Stevenson College as a part-time student, focussing on classical music, flute, theory and composition. It all feels very “grown-up” and I’m so excited about what we’ll be learning this year. The music faculty at Stevenson is so welcoming and so responsive - I’m very luck to have these opportunities on my doorstep in Edinburgh (okay, well not exactly on my doorstep, but only two bus journeys away).
So, at the end of the summer, I have new goals. Developing my classical flute technique is paramount, as well as furthering my understanding of classical music forms, context and theory . I so want to be part of a small chamber ensemble - it’s a question of finding like-minded people to play with. If it’s meant, it will happen. (But if you’re reading this and have similar aims, get in touch!
I’ve just started back at Stevenson College as a part-time student, focussing on classical music, flute, theory and composition. It all feels very “grown-up” and I’m so excited about what we’ll be learning this year. The music faculty at Stevenson is so welcoming and so responsive - I’m very luck to have these opportunities on my doorstep in Edinburgh (okay, well not exactly on my doorstep, but only two bus journeys away).
So, at the end of the summer, I have new goals. Developing my classical flute technique is paramount, as well as furthering my understanding of classical music forms, context and theory . I so want to be part of a small chamber ensemble - it’s a question of finding like-minded people to play with. If it’s meant, it will happen. (But if you’re reading this and have similar aims, get in touch!
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