As a classical flutist, I’ve performed in a civic orchestra, at religious services, and in a flute quartet. Lately, I’ve been playing by ear, improvising and composing, on piano, flute, and ukulele.
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.
In partnership with flutemaker Emanuel, 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. Working with our hands and ears, we developed the acoustic identity of these instruments, 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 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 and published several essays on flutemaking (in The Flutist Quarterly).
These days, when not working on and servicing Emanuel Flutes, I spend my time primarily as a poet, a reader, a cook, gardener, and cyclist. My workshop is located in Baltimore, Maryland, where I live with my husband, non-fiction author Robert Kanigel.