KiwiCelt Wooden Flutes

It’s pretty hard to come across someone who doesn’t like a good story. And I think that if some ‘genius’ did a survey (an activity that seems to be very popular these days), I’m sure we would find that real life stories are the most popular — the life-incidents and words of real people offer us much to reflect upon, laugh about and to learn from. Perhaps we also get joy in the comparison of threads and themes that run through our lives and connect us with others in various ways — small commonalities that create a feeling of community and kinship on some level.

Personally, I’m a huge fan of biographical and personal stories by and about inspiring people past and present. In re-building this site, I naturally read the interviews that we have on KiwiCelt with two New Zealand Irish flute players. One is with Pat Higgins and the other is with Brendyn Montgomery — both great players in their own right and both very involved with the Irish traditional music scene here in New Zealand. They are however from different backgrounds.

Pat is originally from rural County Galway in Ireland and did not begin to play music until he was well into his 20’s. Like many flute players, he began his music-journey playing the humble tin-whistle and was primarily self taught. Pat migrated to New Zealand in the 1970’s where he was introduced to the burgeoning folk scene upon settling in Wellington. As time passed Pat developed a love for playing Irish traditional music on the wooden flute and is now at the forefront of the weekly ITM sessions in Wellington and the annual Ceol Aneas ITM workshops in Nelson.

“Never get one of those cheap tin whistles. It leads to much harder drugs like pipes and flutes.” — Anonymous. (But no doubt an Irish flute player or piper!)

New Zealand born Brendyn Montgomery came to the music at a younger age as his parents and friends were involved with the folk music scene in New Zealand’s South Island. After fits and starts on a variety of instruments, he began playing tin-whistle and, naturally enough, developed a passion for the Irish flute. In 2002 Brendyn auditioned for a masters course in Irish traditional music performance at the University of Limerick in Ireland and became the first New Zealander to be accepted by that institution. After a year at Limerick, Brendyn earned his masters degree with honours and, like Pat and others, has gone on to become a force for promoting, performing and teaching Irish traditional music in New Zealand.

Read more here: Interviews

Another person that I am hoping to interview in the near future is Bob Bickerton. Originally from England, Bob is a man of many talents — a lively and often comedic performer who plays Irish flute, Uilleann pipes, tin whistle, Irish harp, guitar, mandola and sings. He is also a founder and current chairman of the Celtic Flute School of New Zealand which runs the popular Ceol Aneas workshops in Nelson each June (this coming Queens Birthday weekend actually, see: Ceol Aneas 2007: NZ ITM School). Bob regularly tours schools throughout New Zealand and if you ever get a chance to see him perform, I thoroughly recommend the experience.

There are many other great sources for interviews with flute players — both contemporary and from back in the day — on the internet. Two sites that I like visiting very much for their interviews and biographical material are A Guide to the Irish Flute and Rambling House. I find it very interesting to read about the older players of Ireland in particular — to pick up on their background and the history of Ireland and her wonderful music. Musicians offer much inspiration not only through their music but also through their discipline in practice and their enthusiasm in performance — both of which stem from their passion for the music. I thoroughly recommend a visit to these sites and there are some more links to similar sites at the KiwiCelt Links and Flute Playing Help pages as well.

Here’s a little excerpt from an interview with the Irish flute player and teacher Mary Bergin:

She [Mary Bergin] puts a lot of thought into her teaching, as she told Mic Moroney of The Irish Times: “One fear I would always have, even in my class situation, is that the emphasis is on technicality, whereas for me, the whole thing is the feeling and heart and soul, that’s what the older musicians had — something special, an internal rhythm, that nya! or sway, you find yourself moving your shoulders… I don’t think you can teach that, it comes with feeling, and mixing with people that have it, and it’s important to impart that right from the cradle — even from an enjoyment and social point of view, the sharing of the playing.”

Read more: Mary Burgin — on Rambling House.

As with anything in life, association with like minded people is always important and a good way to get inspiration for whatever it is that brings joy to our lives. Not everyone gets to spend time or play music with the Matt Molloys and the Catherine McEvoys of this world, but we can listen to their music and read their words — we can share and be inspired by what it is that has made them good role models and great flute players. And in this way, we can develop the same kind of passion, patience and determination that will one day make us an inspiration to others as well.

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