Early Music America Fall 2012 - (Page 58)

JANET SEE Continued from page 39 happy marriage of the two skills in one person! Do you prefer chamber music to orchestral playing, or vice-versa? I like to play both. Each requires different skills. These days, most orchestral playing is on the Classical flute, and chamber music is on the Baroque flute. Moving to orchestral playing on a sixkeyed flute was an interesting transition from years of Baroque flute. The flute’s role changed from being the mid-range, lyrical voice to riding on top of the orchestral sound but then returning to being a lyrical voice. As a flutist in a Classical orchestra, one has to be very versatile, one minute pounding out high As, then playing a sweet melody. What are your current projects? My biggest project for the next couple of years is to make several solo recordings. I’ve done a lot of orchestral recording, but not so much solo. I’m looking forward to this and think it’s a good time now to do it—to in a sense document my life’s work of the past few decades. I also trained as an Alexander Technique teacher in London, and that continues to be a source of well-being and interest. Lost in Time Press New works and arrangements for recorder ensemble Compositions by Frances Blaker Paul Ashford Hendrik de Regt Harold Owen and others Inquiries: Corlu Collier PMB 309 2226 N Coast Hwy Newport, Oregon 97365 www.lostintimepress.com corlu@actionnet.net Do you teach Alexander Technique? Since I trained, I’ve always taught the technique in conjunction with teaching flute. I’m just now starting to teach AT apart from flute or music. For me, the Alexander Technique has been the means for “getting out of the way” in playing an instrument. You learn to use your body in the most minimal way. You learn not to inadvertently, habitually pull more tension into your way of playing. Tension invariably leads to a lack of fluidity, a more strained sound with less air. Alexander Technique has been absolutely key in creating my best performances. What are the two things you’d like to tell young musicians to do that would help them become better managers of the art they’re pursuing? If the person wants to embark on a 58 Fall 2012 Early Music America http://www.brandywinebaroque.org http://viseltearviolins.com http://www.lostintimepress.com

Table of Contents for the Digital Edition of Early Music America Fall 2012

Editor’s Note
EMA Competition
Sound Bytes
Musings: Listening Forward
Profile: A Classical Playlist on Your Cable Television
Recording Reviews
Reconstructing Spanish Songs from the Time of Cervantes
Janet See: Traversist on Two Continents
Musical Mosaic Explores “Perspectives of Interspersing Peoples”
Book Reviews
Ad Index
In Conclusion: Conducting Early Music

Early Music America Fall 2012