mihikim

[mihikim]

Comparative listening

A long time ago when I was in Korea and very young, I always had a “favorite version” of this piece and that one. I cherished them by listening over and over again, on cassette tape in my Sony Walkman(r), and got the tapes totally used within a couple of weeks (really, that much). 

We had this 30LP disc anniversary edition of Deutsche Grammophon at home. I compiled my weekly selection on cassette. The impressions last- no wonder...! I still remember clearly the ritardando of Milstein (Tchaikovsky), the accentuation of Segovia (Albeniz), the vibrato of Zöller (Mozart) although it was almost 30 years ago.

Since yesterday, I am continuing my comparative work by listening one piece by different maestros. I noticed that my hearing became -of course- lot more accurate, but the most important thing that I realize is that since that time, I always knew what I wanted musically, by making abstraction of my technical limits, of myself or the instrument itself.

Music is a language, and it is more than natural that some would prefer one or the other way of saying it. Sometimes, I hear it said in a certain way that I am not familiar with, so I become curious in order to add this “accent” in my own repertoire, like the huge rubato coming out from nowhere of Richter’s in the 1st movement of Rachmaninov 2nd piano concerto. (That must be a Russian thing.)

I am saying: having an idea of how music should sound must be one of the most important requirements to become a soloist. Even at a very young age. And then, once you have it, good guidance can help you through the technical requirements in order to make the ideas become real.

Some of my fellow musicians are very good technicians, but their idea of music still stays only within given boundaries. At a certain period of my life, some told me that I should be more like them. And that coming from very big musicians as well. (To all people who told me that, you were wrong. Looking back, I think this was definitely the most stupid thing I have heard in my life….!)

I always refused to believe when some told me flute should be like this and that. I choose flute because it is my instrument and my life, but for instance, I do have music in my head and this is where I want to live.

You can not fly because you just drive a car? Poor you.

[mihikim]

How to separate thoughts and blowing mechanism (à Conservatoire Niedermeyer d'Issy les Moulineaux)

[mihikim]

Why “Le cavalier bleu”?

Some time ago, I got a nice review of my album “Le cavalier bleu” with Bertrand Giraud, on the American Record Guide (issue July-August 2014) :

Quote : “ “Epic” is the word I’ll use to describe the performance of the Gieseking Sonatine that opens the program. These are world-class players.” - GORMAN

By the end of the article, the critic seems to interrogate himself why the CD is called that way. (see note at the end of this article)

I was kind of surprised, it seemed so obvious to me at that time, but I might have been too subtle. So I am going to try to explain myself.

In order to understand this, you need to know better the background of the german expressionism called Der Blaue Reiter - The Blue Rider.

We have to question ourselves on the role of human beings within this universe. Since we got the means to destroy this beautiful world does not mean that we own the right to do so. Look on the news today. Violence and hatred overall, people do not trust each other, and the wave of negativity goes on and on, making ourselves pawns, allowing this gigantic ulcer of pain to persevere.

The 13th of November 2016, Paris suffered a massive terrorist attack at the Bataclan Concert house. I was watching TV at that very moment. Several days during I was totally frozen, tetanized, and could not play my instrument. I became mute. Only 2 days later I had the strength to move on. And at that very moment, I decided the following.

I do not want to be a pawn to darkness. I don’t want to be used to prosper fear. I want to become the person who is capable of returning the flow, being a shield, so that this ends with me. I want to assure people, and give love. I want to become a tool of humanity and rightness. I want to make people smile again.

So I moved on. I went to my appointments, I tried to be as positive as possible, and to enjoy all the small moments which became so precious during that time of sorrow. 

The journalist Antoine Leiris wrote a book about this state of mind. 

https://www.amazon.com/You-Will-Not-Have-Hate/dp/0735222118

We Parisians totally agree on it. The only way to end this avalanche was, and still is, that each of us to refuses to transmit the bad and wrong. Musicians are blessed with the truth of music, the beauty and the purity in it. We can always turn ourselves onto our instrument when we feel sad. Imagine people who do not have this powerful tool. We have to be strong for those.

***

Anyway.

When Bertrand and I planned to record this disc in 2011, far from the idea of what was going to happen in the following years, we just wanted to create something special with a new repertoire. 

I showed the first concert’s recording to my sister who is an art historian. She immediately told me about the german movement of Der Blaue Reiter : it starts with the questioning of what kind of a living being each of us wants to become. That we have to think about the option of utopia Franz Marc is describing through his paintings : to live with the animals and near their purity and simplicity, far from boiling political interactions aiming violence, made and carried by mankind.

Franz Marc, Rote Rehe II, 1912

Historically, Franz Marc (1880-1916) lived in a period as difficult as ours, preceding the first world war and right into it. Actually, he got killed during the war, just before being released, what a tragedy... His fears and state of mind describe a society similar to ours. Every day we hear about some news, some people getting killed, some crazy person harms their next. The general population is a lot better informed than back in the days and now we would never follow blindly a fascist without any counter arguments... hopefully. 

So. What has my CD in common with all this?

Franz Marc, Die weisse Katze 1912

First of all, it is about time.

We never take time. Enough time. We fear silence and boredom. We know what to do when we are in a hurry with this particular adrenaline kick, but be are so uncomfortable when we get 5 extra minutes, we immediately have to fill this "whole" and imagine a ton of things we might do right now.

Listen to : Taktakishvili Sonata, 2nd movement https://play.spotify.com/track/5198TTXWay0tyPgGbLbCFI 

Franz Marc, Der Turm der blauen Pferde, 1913

The art of contemplation.

Seeing a beautiful phrase and do nothing but just keep looking. This was (and still is) one of my most important philosophy of interpretation. For me, it is the music itself which sings and expresses, and I am just a friendly tool serving it to be expressed and to exist.

Listen to : 2nd movement of Pierné Sonata https://play.spotify.com/track/72VChB2R2DPvbtPNEbHIsj

The non-violent coexistence within primary colors.

Any other art movement using that much primary colors would want to provoke and surprise. There would be a strong will behind. Thus, in Der Blaue Reiter the colors simply co-exist without any particular will, just linked together by a wonderful harmony.

Listen to : 3rd movement of Gieseking Sonatina https://play.spotify.com/track/5lgmtAwsGlqnGjVSthSXle

Wassily Kandinsky Winterlandschaft 1909

Movement of immobility.

The eyes wander, but in a microscopical, perpetual way. It's just like observing water on a lake, immobility with minimal movements. Every living being is in constant movement, even the steady ones. Life is vibration, life is sound.

Listen to : Gieseking Sonatina, 1st movement https://play.spotify.com/track/6h1nLFmRIUMaiUW437JPkE

***

If I may say.

Le cavalier bleu is not about any historical time stamp, neither in art or music.

It is all about the philosophy behind. 

And, in my opinion, this is exactly what we need today, more than ever.

***

Quote : “So who is the blue rider, or where is the horse? The blue horse in on the cover, in case you were wondering where it is, or how it fits into the program. (...) Since there’s no German expressionism on the program, nice try”

[mihikim]

How about being French

Yesterday I gave a lesson to my new Brazilian student about the book Flute Music by French Composers (Louis Moyse) So, of course, he went all, I must do this, I must do that.

(Here is what a typical lesson of mine look like)

"You like France. You intend to live here. What do you like most? How would you describe french music?" "It is very rigorous. Very straight." "... it surprises me what you say, it sounds more like German.” “Why?” “French people are most known as free, inconstant, moody”

Several minutes later, he says he doesn’t know, and I finally started explaining him.

Despite my origins, French people think I am french. Even when I say that I am not French, they get upset and tell me that I am, and not to jerk around.

I mean, okay, I can always say that I am French and nobody could agree, but it is quite the opposite, actually. So I am actually one of them. Not because I married a French guy, not because I speak fluently the language, but because I share something more important, and absolutely original.

THE LOVE OF DETAILS

Observe some french people at a dinner party at home, trying out some wine. They find this good, but that might be better, and try this out, and it is fruity, but it reminds me that, and this, and those... it never ends. Because, in my opinion, French people always seek for better.

So, when somebody is happy, they suddenly panic. Because it means that there is any better, the goal is reached, and you just lost your sense of life.

French to french : "Why do you look so funny?" "I am happy!" "Oh, my god. Are you okay?"

French to foreigner : "Why do you look so funny?" "I am happy!" "uh huh."

It is not and was never about origins, neither the language. It is about culture, the ambition to reach for the stars, and living with the never-ending frustration of nonaccomplishment.

(The Art of making a face - the french actor Jean Gabin)

ALWAYS LETTING A DOOR OPEN

Therefore, the notion of an end is very discussable. In each phrase of french music, you will always find this "ambiguité". You don't say "adieu"(farewell), you always say "au revoir"(see you again). French people can not live without this hope of more, better, and again.

When I was writing my essays at the Conservatory, some of my french friends helped me with my phrases. It was quite impossible to be efficient. On each phrase, everybody was correcting, changing, reading over and over. After almost one hour, we were only getting through 3 phrases instead of a chapter, as I had planned. 

The detail is always so important, sometimes they get lost in time.

HOW TO PARTY FRENCH

From my Korean background's point of view, having a party is letting ourselves go, loosen up and having fun. Sometimes with excessive alcohol.

French people do not understand this well. Some of them do, of course - this is a global influence. But usually, a well-raised french person would always say “No, thanks” at the right moment. (and secretly snob some foreign partying styles)

A party is about transgressing the standards for only a limited time. It is about the art how to enjoy luxury.

Doing it excessively would make it totally out of context.

I don't drink Champagne every day. That's why drinking Champagne is a party on itself. And If I would drink Champagne every day, I would destroy a big opportunity of partying. Therefore, I will save it for special occasions, on my own standards.

I went to a bakery. At the cashier, there were some broken Macarons for free. I was so happy because, for me, it was an improvised mini-party. Because I was not supposed to have them at that moment (I was on a diet), but it happened, and I was grateful of my helplessness and let myself go. 

Every French person in the bakery nodded. Every foreigner showed me pity, thinking maybe that I was poor...?

(Pierre Gagnaire, 3-star Michelin chef)

Do you understand why French people offer themselves a 600€ dinner? Not because they have money. It is because they do not do it at normal occasions! For a limited time, they experience something which is above their standard. It creates a souvenir which will last and stay unique. The greatest party ever.

The perfect moment on a Café Terrasse, with the perfect sunshine at the perfect moment. Pure Luxury, pure party - because you can't control it. In this meaning, every French is ready to party, at any moment of the day.

French people always listen to life. And sometimes, there are some gifts. It is about catching these moments, and being there because it won't last.

LET’S GO BACK TO FLUTE.

How to play the fast movements? A little more than everything. Play a little faster than you can. A little louder than you intended to. A little more diminuendo than appropriate. 

Just PARTY. It will be over soon - enjoy while you can. And be grateful.

So.

I am not saying that everybody should be french.

Just saying, as a flutist/flute teacher, when you play, do it right. Make the piece alive. Bring perfume to your notes, make the notes french, just for the 5 or 6 minutes of play.

Speaking for myself, I love being French.

And maybe I was French even before being here. Or I learned to be French.

All my friends think that I am more french than French. What a fortunate coincidence. 

I guess they are right.

[mihikim]

Personal message

First of all, I would like to apologize for my absence this past academic year. Some of you would remember that I have lost both of my parents successively, and I was seriously considering a change of life (still including the flute, of course). So, in order to get out of this difficult period, I wanted to work a lot to bury all doubts, and I got sick twice this year, including one surgery.

Now all went back to order. I played flute again since one month, and I am very proud to be in shape again and make plans for the next year and ongoing.

Some of them had to be written down.

1) I was, and am, a very serious supporter of living composers and their work. This will not change, though, I will focus my activity on solo music - we, flutists, are so blessed with this. Therefore, I will pursue my project from a long time ago, of a solo disc of modern to contemporary pieces.

2) I am quitting my seat of Piccolo at the Ecole Normale de Musique de Paris. I have to reconsider my agenda since my new plans will be quite time-consuming. My flute class is flourishing, and I will not be able to spend more time teaching than today, so this becomes a reasonable choice. I always love this instrument, and I will probably play it a lot in my concerts. But teaching it as well will not be my priority anymore. (therefore, I am also quitting my seat at the Paris 5th arrondissement conservatory)

3) I will concentrate myself to publishing and performing. I got a very interesting offer from a management and logistic company based in Germany. I hope this will help me to get endorsements of my work, and get more visibility. My engagement to the brand Miyazawa stands, and I have a lot of exciting plans with Miyazawa France for the next season. 

4) After having some time for deep reflexions while my recovery, I am certain of my role in the music/flute business and what I would like to accomplish. For some reasons, I am performing a different style than many other flutists. Some will sense the difference, some won’t. Time is precious, and for me, from now on, my absolute priority is to meet those people I was able to touch, and meet new ones. I want my music to be free, clear, and sincere even if it disturbs. I totally understand and respect criticism, other thoughts, other aesthetics, but I will not change my path.

I have a very supportive husband and a steady next generation among my pupils. So I feel totally serene and ready to work again.

Thank you so much for all your support, from nearby and far away. I would be very grateful if you keep following my publications and tour schedules.

Meet you soon !

XO

Mihi

[mihikim]

Water dropping out.

(explanations to the tweet of mai 2nd 2015)

Everybody knows that the water in the flute can't be crystal clear.

We talk about condensation water and no saliva, sure. So the water inside of the flute which drop out after playing a while, is not direct body fluid, of course, but the assemblage of moist in your breath, which gets condensate by touching the tube and/or the temperature gap with whatever...

When I was little, my teachers told me to keep this residue where it is, inside the mouthpiece and never clean it, because they believed that this deposit shapes the sound. But that was at a time when flutes were not laser cut, and when the skill of the flutist was primordial to compensate the weakness of the instrument itself.

Nowadays the flutes are quite perfect at purchase date. I do not really believe in talks like "the sound will be made later" or "you got it tamed". Of course, since the metal (silver, gold, or palladium/platinum) is very thin at the sweet-spot (cf golf-player-terms) and we blow repeatedly on the same place, it might move slightly.

NOTE : So, when you choose a new flute, don’t buy one in the hope that it WILL get better, but WHICH SUITS YOU IMMEDIATELY. (Of course, you will have 2 major criteria for it, 1) who you actually are : your immediate style, and 2) who you might become in the near future, if you are still developing yourself..; >> this could become a good subject for a new post o_O ... noted ! )

Anyway, this is a very good reason to tell again to NOT PUSH NOR SQUEEZE THIS VERY AREA AT ALL in any case, so swab your cotton bud VERY GENTLY and, still not too often, once every 2-3 month is fine (except if you have the bad habit to eat immediately before playing, without brushing your teeth… :$)

Why the alcool? It dissolves grease and evaporates quickly. Since the flute is often made in precious metal, alcool does no harm to it. NO ALCOOL FOR WOODEN HEADJOINTS. Never.

You have chosen a good flute for you. You love your flute. So keep it that way by taking care of.

[mihikim]

When I was little, I always asked everybody for the “why” more than the “how”. For those who are like me, and who follow my daily flute trick tweets, I want to share here my “why”’s with more explanations and space for you to ask questions.

**********

#dailyFluteTrick from Mai 1st, 2015 Today: keep the rhythm while sound exercise! M.M. 60 on 4/4 

The sound exercice should help you getting these following points :

1) soften your lips and making them more reactive, after a night’s sleep 2) activating your diaphragma for exhaling and inhaling power and -control 3) getting used to correct intonation through half-tone interval thinking  4) open your throat and getting used to use the inner-throat space for optimal resonance 5) feel the different resistance of the instrument by notes

Therefore, having the rhythm steady helps with

1) improving the reaction time laps of the lips, the rhythm gets you a time unit to respect and control the speed

2) keeping your respirations on time, also to control the inhaled quantity (visible on the length of your breath compared to the previous sequence)

3) keeping log for unstable intonation, falling ends, huge attacks

4) having a countdown for the uncomfortable throat position at the beginning of your exercise ;)

5) making the note develop in a controlled manner, or just keeping it steady - excellent for crescendi and diminuendi

I suggest

Take every bar twice for optimal conditioning + repeat once for perfect memorizing

Do the whole exercise 3 or 4 times (it depends on the time you have for practicing, at least 7 minutes, max 15% of your total practice time) or more.

DON’T FORGET THE 3RD REGISTER - you can not expect having a nice sound in the 3rd register if your have only 200 notes ever played in your life…!!! Separated tweet upcoming.

So, have fun, do something great for your flute+body+mind+soul, enjoy the time of sound exercice ! I call it “my private time-bubble" :)

[mihikim]

ERRATUM OCTAVE 1 : La = 123|5 et Do = 2|5 Nouveau fichier corrigé ici: https://files.acrobat.com/a/preview/28325327-a1d7-42ed-9b68-79bf6858dfb8

((Oo__ Il faut s’habituer au code couleur __oO))

Les tons chauds pour la main gauche Les tons froids pour la main droite

Dans l’ordre 1-2-3-4-5 à gauche comme à droite Pouce-Index-Majeur-Annulaire-Petit doigt

A pour la première clé de trille B pour la deuxième clé de trille

Précision pour la(les) clé(s) de la patte inscrit sur la case du petit doigt droit

Via Flickr : Tablature flûte traversière, C-Footjoint Flute Fingerchart

[mihikim]

1 photo par mihi kim