– Email Interview with Peter Sheridan –
HOW DID YOU BECOME INVOLVED WITH THE LOW FLUTES?
Many years ago I decided to work on the JS Bach Allemande from the Solo Sonata on alto because it would be harder than on c flute. Since my school had only a straight tube alto and I have short arms, I never thought of pursuing the alto until I went to my first NFA convention and saw there were curved head altos. I feel in love with the sound. Once I was able to buy one, I then had to find out what I could play on my new alto. There was no available compilation of repertoire, so I spent hours in the back room of a music store making a list of pieces from publishers catalogues.
AS AN ACTIVE COMMISSIONER OF LOW FLUTES MUSIC, WHAT MOTIVATED THIS DESIRE?
I wanted more fun pieces to play and conduct!
YOU HAVE BEEN AN ACTIVE EDUCATOR OVER THE YEARS, WITH A SUBSTANTIAL BODY OF PUBLISHED PEDAGOGICAL BOOKS, REPERTOIRE LISTS AND ARTICLES. WHAT ATTRACTED YOU TO THIS MEDIUM?
My first book was a scale book that can be played as a duet, trio or quartet. I wrote this when I scheduled myself to perform a duet with Carol Wincenc at a Festival I was organizing. I needed to find time to practice and scales were something I played with my students, so I turned scales into duets. That book was hugely successful at the NFA convention, and from there, I wrote books that filled other needs. I wanted to play Halloween Duets with my students at a Halloween studio recital, and nothing existed, so I arranged some. There needed to be a book teaching people about vibrato, so I spent three years writing one. It has definitely been a labor of love, I figure I have earned about .05 an hour with all the time I spend.
My need to make lists of
I attribute to a personality disorder!
YOU WERE INSTRUMENTAL IN STARTING THE INNOVATIVE NATIONAL FLUTE ASSOCIATION ‘LOW FLUTES’ COMMITTEE SOME FIVE YEARS AGO NOW.
PLEASE TELL US ABOUT THIS EXCITING OPPORTUNITY.
The NFA Board approached me with the idea, I can’t believe I didn’t think of it first. I made it my mission to spread the word about low flutes, to enrich the available repertoire and show that low flutes were not just for simple repetitive parts in a flute choir, but were capable of being expressive solo instruments. Many more events for low flutes are now programmed at conventions, and the music written for these events is blossoming, spreading out into the world and popping up in many wonderful places.
WHAT WAS THE INSPIRATION FOR YOUR ANNUAL ALTO/BASS FLUTE RETREAT IN THE USA?
My father died several years ago and it made me think about what I wanted to accomplish while I still could. The first Retreat in 2004 was actually in a masterclass format that did not work very well since most of the people who came were not solo performers. Now I focus on chamber music that makes everyone happy, and I include two workshops that change topics from year to year. This year I have two Retreats, one in Colorado and one in Asheville, NC.
WHOM ARE SOME OF YOUR FAVOURITE LOW FLUTE ARTISTS
Matthias Ziegler is terrific! Then there is this guy in Australia . . . . . .
COULD YOU TELL US YOUR FAVOURITE WORK FOR THE LOW FLUTES?
Katherine Hoover’s Two for Two, Daniel Rhone’s Bethlehem Pastorale, Matthias Ziegler’s Low Flutes at High Tides, Mike Mower’s Obstinato and Scareso.
WHAT DO YOU SEE FOR THE FUTURE OF LOW FLUTES?
I would like to see alto flute taught at the college level equal to the piccolo and included in undergraduate and graduate recitals. I would like to see an international competition for alto flute and bass flute soloist. We have the repertoire to make this a reality, but would need to find some funding sources for the prizes, plus a suitable venue. I hope it will become commonplace for world renowned artists to include alto or bass pieces in their programs.
How does being Flute Choir Coordinator and Low Flutes Choir Conductor at the Galway Festival fit into your dream of world domination?
When I was asked to perform Matthias Ziegler’s Low Flutes at High Tides at the Galway Festival in 2013, I was thrilled. I was given top students to work with and the Galway’s were so pleased, they created a job for me and asked me to return the following summer. I will be returning again this summer with permission to program even more low flutes pieces. By including these works in their Festival, the Galway’s are recognizing the value and quality of the repertoire that is being created for low flutes and sending that message to the rest of the flute world.
About Dr Christine Potter
Dr. Christine Potter has performed in London, Paris, Mexico City, Toronto, Chicago, Los Angeles, New York, Seattle, Washington D.C., Phoenix, Dallas, Boston, and Atlanta. She is an internationally recognized alto and bass flute virtuoso and has performed at many conventions of the National Flute Association (NFA) as well as British Flute Society conventions (BFS). Chris spent five years as Chair of the National Flute Association’s Low Flutes Committee and developed the low flutes portion of the annual NFA conventions with numerous performances, world premiers and workshops. She directs a low flutes choir at the James Galway Festival in Weggis, Switzerland, where she is also the flute choir coordinator.
Her CD, Flute Menagerie, features solo works for alto and bass. Chris has commissioned and premiered many works for alto and bass, including Low Flutes at High Tides for low flutes choir and Voices for solo bass by Matthias Ziegler, Voices From the Deep and The Alchemy of Earth by Alexandra Molnar-Sujahda, Deep Space Heat Wave by Jonathan Cohen, Stone Suite by Sonny Burnette, Baikal Journey by Catherine McMichael, Obstinato and Scareso by Mike Mower, Two for Two by Katherine Hoover, and Ani Ma’Amin by Paul Schoenfeld.
Chris has appeared on the cover of Flute Talk magazine in with the 10-foot high sculpture of a bass flute in her front yard. She is a frequent contributor to Flute Talk as well as The Flute View and The Quarterly, the magazine of the National Flute Association.
Chris has been organizing and teaching Alto and Bass Flute Retreats since 2004. In 2015 there will be two Retreats, one in Asheville North Carolina, one in Boulder, Colorado. Both will be in June. Chamber music is the focus of each Retreat. Go to the “Retreat/Events” tab for information on the Retreats.
She has written and arranged fifteen books. Her latest contribution is Tres Ratoncitos Ciegos (Three Blind Mice) for flute choir premiered at the 2014 convention. Her books Halloween Duets and The Alto and Bass Flute Resource Book were both winners in the National Flute Association’s Newly Published Music Competition. Her best selling book is The Vibrato Workbook published by Falls House Press. All her books are available on this website.
Chris is known for her clever and innovative performances. She has organized concerts in planetariums, recorded a soundtrack in sea caves from a kayak for an improvised bass flute solo titled SplishSplash!, includes a movie in her performance of Lunar Mural 1, and organizes audience participation, including sing-a-longs.