Biography:

Flutist Laurel Ann Maurer has been lauded by The New York Times as "A secure technician and an assured, communicative interpreter." Fanfare Magazine states that "she is technically superb in every way. Her tone is consistently attractive even in the most treacherous passages, and she plays with great rhythmic drive and impeccable phrasing." American Record Guide says that "Maurer has a strong, colorful, full sound and a sure technique" She has been described by The Salt Lake Tribune as "Utah's flutist par excellence...a consummate musician and a master of coloration and interpretation." The Deseret News has described her playing as "lush, luminous, expressive, dramatic and exquisite."

Ms. Maurer began her musical studies in Seattle, Washington under the direction of Dorothy Bjarnason. She continued her musical studies in New York City, studying with esteemed flutists, Jeanne Baxtresser, Samuel Baron and Julius Baker who stated that she is "one of our outstanding and gifted flutists."

As an award winner from such organizations as the National Association of Composers-USA, the National Flute Association, the National Orchestra of New York, the Chautauqua Institute and the Utah Arts Council, Ms. Maurer has concertized throughout the United States and Europe. She has appeared as concerto soloist with the Monte Carlo Philharmonic Orchestra, the Armenian Philharmonic Orchestra, the Salt Lake Symphony and others. She has performed in many of the world's most famous concert halls including: Khachaturian Hall, Monte Carlo Opera House, Kennedy Center, Lincoln Center, Carnegie Hall and Merkin Concert Hall. National Opera Orchestra of Armenia,

At the forefront of Ms. Maurer's career is her dedication to contemporary music. She has commissioned, performed and recorded numerous premieres for the flute compelling many important composers to comment, among them Otto Luening, who wrote "She projects composer's ideas with authority and elegance." Joan Tower has written, "Thanks so much for doing such an outstanding job! This performance (was) one of the best I've received." Augusta Read Thomas said, "Bravo! We composers need you." And Meyer Kupferman has called her playing "Truly sensational."

Ms. Maurer began her Suzuki teacher training in 1988 and has studied with Rebecca Paluzzi, Toshio Takahashi, Kenichi Ueda and June Warhoftig.

Laurel Ann Maurer has recorded for Albany, CRI, Soundspells and 4-Tay records.

Interview:

We had the opportunity to ask Laurel a few questions. Take a look at her thoughts on teaching talented students, the Suzuki Method, as well as advice for upcoming flutists.


1.How did you achieve such a high level in the Suzuki Teaching Method and what was involved?

After finishing graduate school and my internship as a fellow with the National Orchestra of New York, I began teaching and freelancing in the New York area.  I was teaching at a community music school in Queens, New York and was introduced to the Suzuki Method by the school’s director, Sydell Roth.  The other faculty members - teachers of piano, violin and cello - were all Suzuki trained.  I had the opportunity to observe their teaching and their results.  Sydell encouraged me to seek out Suzuki training in the flute.  This was the late 1980’s.  For the next several years, I attended many Suzuki Institutes, which are held in various locations in North America, usually at college campuses, in the summer months.  A person can be a certified Suzuki teacher after taking Book 1 (the courses are about a week long and cover each book individually), but it is recommended to continue to the highest level possible.  (There are 14 books in the Flute School.)  Suzuki training is a long process and the method is still evolving and growing.  Teachers are encouraged to continue their training and even repeat courses occasionally.  My first teacher was Rebecca Paluzzi.  I also took courses from June Warhoftig, David Gerry and Toshio Takahashi, the founder of the Suzuki Flute School.   All of these teachers were excellent and dedicated to training future teachers. 

After 20 years as a Suzuki teacher, I realized that I was ready for the next step: to become a trainer myself.  The application process is quite intensive.  Video tapes of examples of my teaching at various levels and with various ages had to be recorded.  They had to meet specific criteria as did tapes of my performances and my student’s performances.  These tapes took months to compile.  I also had to write a paper and prove my involvement in the Suzuki Method and music in general at a high level.  I officially became a teacher trainer in April 2007. 

I am truly honored to be a spokesperson for Dr. Suzuki who was a great humanitarian.  I encourage anyone who is interested to read his wonderful books, especially “Nurtured by Love."  His insights and philosophies are very inspiring and enlightening.  This past November I had the opportunity to go to Japan and visit the original school, the Talent Education Research Instititute, that Dr. Suzuki founded.  In some ways, going to Japan helped me understand the Suzuki Method even more.  The careful attention to detail that pervades the ordinary lives of the Japanese is astounding and refreshing.  I enjoyed experiencing this fascinating culture.

2. We understand some of your greatest influences were your teachers Jeanne Baxtresser, Samuel Baron and Julius Baker.  What were your most inspiring moments from each of these teachers?

I think that a great teacher provides years of inspiring moments.  Of course there are great moments of realization, for instance, when Julius Baker said to me “change your tone," that truly take your playing to a higher level.  But there are also the other comments that come back as you need them as you proceed in this musical journey.  Sam Baron was a great analyst and his approaches to understanding music and working on music are still with me today and are passed on to my students.  Precision and perfection are the qualities that Jeanne Baxtresser embodies in her playing and she continues to inspire me to play at the highest level that I can.

3. Your student, Helen McGarr, one of our Miyazawa Young Artists, has been recognized as an outstanding young performer.  How do you recognize talent at such a young age and do you teach those students differently?

Well, first let me address the concept of talent.  Dr. Suzuki believed that all people have talent; it’s the environment that makes it possible to develop the talent or not.  I share this philosophy.  Imagine if a child is born into a family where there are older siblings practicing classical music and classical music recordings are listened to.  Imagine that the parents have the time and energy to assist their children with their practicing, making sure that all of the teacher’s directions are completed.  Imagine a teacher who is experienced and involved and teaches in a positive manner.  This student will probably do very well.  This was the environment for Helen McGarr and she has done very well.  Now imagine that very same child growing up in a house where there is no exposure to classical music.  The student has the talent, but without the exposure and interest, the talent will not get developed.  So, in a way, I teach everyone the same in that I am positive; I teach in progressive steps and I have high expectations.  But, in a way, I teach everyone differently too.  Each student is an individual with different strengths and weaknesses and I tailor my teaching to each person according to what they need.

4. How did you come to choose the Miyazawa as your flute of choice?

It was 1984 and I went off to my repairman’s studio because my flute needed some work.  He said:  “Hey, you gotta try these new flutes, they just came in.”   I picked up a Miyazawa and played one note - a B and I knew.  I experienced the sound as magical and I turned to him and said,  “I have to have this flute!”  In the years that have followed, I have tried just about every brand of flute out there and I am happy to say that I have not found anything that I love better than my Miyazawa!!

5. If you had one piece of advice to give an upcoming flutist, what would you tell them?

Always know what you are doing and why.  It is not good enough to play a certain way because someone told you to.  There must be a reason and you must know it.  Otherwise, your playing will be lacking in conviction.

Upcoming Performances:

Green Mountain Suzuki Institute
July 11-16, 2010
Rochester, VT

International Music Festival
July 25-July 31, 2010
Bay Village, OH

Brookline Suzuki Flute Institute
August 2-6, 2010
Boston, MA

For more information please visit: http://www.laurelannmaurer.com/

Laurel plays a Classic RH-8k Gold Flute with 14k Gold Headjoint