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Miyazawa Newsletter - August 2016

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NFA Miyazawa Artist Showcase "Tadeu Coelho - A Virtuosic Performance on His 18k Gold Miyazawa"

World-renowned flutist and Miyazawa Artist Tadeu Coelho will present a recital alongside pianist David Guilliland for the Miyazawa Showcase held at the National Flute Association Convention in San Diego, CA. Please join us on Saturday, August 13th at 9 a.m. to experience the flawless mastery of Tadeu Coelho. His technical genius and lyrical sensitivity are sure to inspire all.

For more information regarding the NFA schedule, please click here.
Miyazawa NFA Promo!

We are excited to share an exclusive promotion for NFA - the first of its kind! Purchase a Miyazawa flute from an authorized dealer at the NFA convention this week and receive a free lefreQue sound bridge! (Value up to $310).

LefreQue is a revolutionary sound bridge that acoustically connects the sections of our wind instrument. The result is an unequaled improvement of your sound quality: purer overtones, accurate tuning, clear response, smooth intervals, extended dynamics and surround projection.

To view our flute models, please click here.
upcoming Events
Interested in attending an event by one of our Miyazawa Artists? Find an event in your area by checking out our Artist Events Calendar on our website for any upcoming performances of our Artists!
For information on other Miyazawa events, please visit the Miyazawa Events Calendar.

f you have certain specifications that you are interested in and will be able to attend any of these events, please contact us in advance. We will be happy to bring something special for you.

44th Annual National Flute Association Convention - August 11-14, 2016
Miyazawa will be exhibiting at the 44th Annual National Flute Association Convention held at the Town and Country Resort & Convention Center in San Diego, CA. Guest Artists include Miyazawa Artists Göran Marcusson, ZAWA!, Tadeu Coelho, Nicole Esposito, Cathy Collinge Herrera, Claudia Anderson, Michel Bellavance,Gina Luciani, Sonja Giles, Adrianne Greenbaum, Hannah Leffler,Areon Flutes, and more.
Learn More
Artist Interview
Mihi Kim
Our Featured Artist for the month is Mihi Kim
Miyazawa Artist Mihi Kim currently teaches at Ecole Normale de Musique de Paris "Alfred Cortot" and Issy-Les-Moulineaux.
As an international soloist in Europe and Asia, Mihi regulary teaches master classes in France and abroad. She has taught in Germany, Korea, Taiwan, Serbia, Japan, Slovenia, Italy, U.S., England and Chile. Her collaboration with the composer Regis Campo led her to produce two CDs, "Autoportraits", published by Mandala/Harmonia Mundi and a second disc on the Aeon label.
She has also been a member of the Ensemble Multilaterale since 2005

We had the opportunity to ask Mihi a few questions.
Check out her thoughts on preparation for major performances, balancing international travel while maintaining a local career as well as advice for upcoming flutists.
Featured Article
"How You Can Clean Your Sticky Pads"
With travel and seasonal weather changes, our flutes are exposed to it all. All of these environmental factors can really have an effect on the wear and tear of our pads. Prevention and proper care are the best tools to avoid sticky pads.

Our featured article for the month of August discusses how to effectively clean sticky pads. Click on the link below to read our featured article.

Visit our Educational Articles
Media Library
Clare Southworth performs Debussy's "Syrinx"
Visit our Media Library
Miyazawa Spotlight
Ask an Artist - Mario Caroli

"Dear Mr. Caroli,
You have played many transcriptions in your recordings. What would you say are the most important factors to keep in mind when creating a transcription of a work not for flute or flute/piano and then when you perform it?"

Thank You,

"Dear Joshua,

First of all, many thanks for your interesting question. My answer is really clear: it's absolutely necessary to try to avoid to imitate the original! The contrary would be just sad and sterile.

To not imitate the original, means to me two fundamental things:

1. Don't follow necessarily and strictly the range of the original
2. Don't try to phrase as the original instrument phrases. This includes the possibility to change articulations too, in case they don't fit the flute and make the phrasing too heavy.

For the first case: sometimes when this is tempted, only the parts out of range will be transposed in octaves, and then will immediately go back to the original octave. This is not always a good idea. For instance, if a phrase is ascending, the fact to suddenly change octave (going down) would break the direction of the phrase and neutralize the tension. So, before deciding how and where to transpose octaves, we should pay attention to the line of the melody and give priority to it.

Concerning the phrasing, two very different instruments can have two particular and unique ways of phrasing. It depends also on the acoustic qualities of each instrument. The flute, for instance, is very intense and powerful in the high register, unlike the violin, which is more palpitant, especially in the first octave.

This important parameter should drive our choice of which piece to transcribe! Not all piece which can be theoreticall transcribed work well, because of many other parameters outside of the range!

It is a good idea to choose highly melodic and medium-high-range pieces (R. Strauss Eb Major Sonata) as well as not too technical of pieces (Mendelssohn, Sonata in f minor, op. 12).

When we transcribe vocal pieces, the situation can eventually get more complicated. The words and some consonant sounds of the text sometime make the legaturas almost virtual, and playing without text can suddenly make the melody too legato. In this case, also, it can be necessary to change some of the text, in order to ensure the rendition does not sound like an empty imitation, but instead like a real transfiguration."


Click here to read more about Miyazawa Artist Mario Caroli.
Featured Testimonial
"Just wanted to let y'all know that I continue to be THRILLED with my new headjoint. I was ready for a change and WHAT a change. It makes my older Miyazawa sound so refreshing for the next decade!
- Adrianne Greenbaum - FleytMuzik and Professor at Mount Holyoke College

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