As a classical flutist, I’ve performed in a civic orchestra, at religious services, and in a flute quartet. These days, I focus on playing by ear — jazz or folk, usually — on both the flute and piano.
My entree into the Boston flute-making world was with a company that made French-style cases for top-of-the-line flutes. This led to a four-year apprenticeship at Prescott Workshop, makers of renaissance- and baroque-period flute and recorder reproductions. Post apprenticeship, I helped establish and run two small businesses: making copies of a German baroque flute, and contributing my voicing and tuning skills to the prototype design of a new piccolo.
With flutemaker Emanuel Arista, I helped to create Emanuel Flutes in 1991, now an atelier that builds exquisite concert flutes, one at a time, for professionals and soloists around the world. I helped to develop the acoustic identity of the instrument, the sound that shapes its niche in today’s concert halls. As flute-finisher, for more than 10 years I padded, tested, and played every Emanuel flute and headjoint produced.
Doing business as Syrinx Flute, I have worked on most of the popular flute brands available today as well as antique flutes. I’ve given conservatory-level talks on the flute mechanism, published essays on flutemaking (in The Flutist Quarterly,) and am available for consultation on flute-related questions. Please contact me for more information.