Since I'd first heard Chris Norman and discovered he ran a workshop called The Boxwood Festival, I dreamed of going to it. What stopped me? The usual - not enough time, fear of the unknown, feelings of inadequacy as a musician. This year I gave up on excuses and just went. It was an incredible experience. Across the board, the faculty and attendees surpassed my most hopeful expectations.
Here are some photos courtesy of Lars Johannesson.
I recorded many of the class sessions and some of the after class sessions. Using a small Sony ICD-SX25 recorder - the results were overall quite good, better for the music than for the spoken word. I'll put up snippets here according to time, inclination, and requests.
One great goal of mine at Boxwood was to learn how to play all of the notes on my 1835 Rudall and Rose to best advantage. Particularly in the upper register where I could reliably get D, E, and F#, but nothing in between or higher. And many notes below could perhaps have better intonation with a different fingering. These old flutes are individuals.
I went to the right place. Marten Root, an extraordinary baroque player, was on the faculty, and graciously spent the time to get to know my flute and to write down suggestions and alternates for me, all the way up to high high C, saying it was all there in the flute and could even go higher. Thank you Marten! Here is what he charted for me.
Back to California. By a weird coincidence, a few weeks later, Paddy Keenan played a house concert nearby with Pete Grant, a regular at the Auburn session. Pipes and dobro - the new Irish. Paddy, kind and inclusive soul that he is, remembered me. At the end of the formal concert he called out - "Hey Lunenburg, get up here and play!". And I did. Thank you Paddy.