What is your career and your current job title? Performer with the Blue Oak Recorder Consort and Village Folk Dance Orkestra. I play mostly recorder, but also renaissance double reed instruments and flute.
Describe in a sentence or two your art. Music is my life. I wake up in the morning with thoughts of possible approaches to playing or possible arrangements. Often I spend hours working with different instruments and researching better ways to perform the music.
How long have you been working in this discipline? I have been playing music for over 50 years. I began playing the flute as a boy, taking lessons and continuing to play through high school and college. I began playing the recorder while I was in the Army, purchasing my first instrument from a music store in Monterey. As I recall that was during 1967.
Why do you do it? It is my life’s addiction. I play one instrument after another, sometimes for hours, trying to become as accomplished as possible.
What do you hope to accomplish? I want to play everything. My newest venture is joining the Village Folk Dance Orkestra, where I am faced with the challenge of learning music from different cultures.
Do you create your art with an exact message you want the viewer to receive and if yes, what is that message? My main message is to share the vision of recorders and other early music instruments as serious instruments, that these instruments can be used to perform surprisingly sophisticated and enjoyable music.
Where do you want to be with your art, in terms of part time versus full-time status, art positions and where your works are seen? I want to be able to perform more. It is an important motivating factor for me. Without performance, without sharing what I have discovered in the music, practice becomes drudgery.
What kind of special training did you take? I have been taking lessons from various teachers since 1956. I studied flute with Paul Renzi of the San Francisco Symphony while I as in college, and worked with professional musicians while performing with the Primavera Early Music Consort during the early 1980s.
What’s your favorite part of your endeavors? It is a wonderful feeling hearing all the parts of a piece of music come alive, especially after all the hard work during practice and rehearsal.
What’s your least favorite part of your endeavors? Rehearsals can be tedious but also necessary. And dealing with the times when the music simply does not flow is difficult.
How many hours a day, or more appropriate, a week, do you spend on your work? I spend hours during the week practicing, rehearsing and working on potential new settings, but I am not certain how much time I spend on music. My criteria is how much I have accomplished during a session, not how long the session lasted.
Do you consider it hard work and could anyone do it? The distinction between work and play becomes blurred. At times I am surprised at home much time has passed while working on a piece of music.
“The Artist” appears each week. To suggest a creative talent who should be profiled in this feature, contact Pam Jung at pamj@the union.com or 477-4232.
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