By Gail Powell Dearing
After decades of living in the dark, the legendary Spoon Flute was heard in recital on Friday, Oct. 14, in Los Angeles, CA. Paul Edmund-Davies played “And everything is still…..” by Andy Scott on the Spoon Flute to “demonstrate just how interesting the tone was,” he said. The occasion was a reception held for him at the home of Cynthia Kelley, Powell technician and owner of Flutacious, Inc.

The evening marked the beginning of Edmund-Davies’ tour of the western U.S. and Canada sponsored by Powell Flutes. He established his international reputation as flutist and soloist in the 20 years that he was Principal Flute of the London Symphony Orchestra. Conductors with whom he has performed concerti include Leonard Bernstein, Mstislav Rostropovich, Pierre Boulez and Kent Nagano, and he has played in Chamber Music ensembles with André Previn.

For the last ten years Paul has toured extensively, giving recitals, classes and performing concerti in America, Europe, Canada, Australasia, the Middle East and the Far East. He has also co-written and performed on cross-over projects with Neil Percy, principal percussionist with the LSO. Paul is also a director of The Champagne Guild, a company devoted to introducing previously unavailable Champagnes into the United Kingdom. After five years as Principal Flute of the Philharmonia Orchestra, he now holds the same position at English National Opera.

This month, one of our flute finishers will be headed out of the office but not out of the Powell family. Ed Kwityn has been at Powell since 2007 and will be moving to Elkhart, Indiana to begin working on the new Powell Silver Eagle Saxophone. He came to Powell after spending several years working in instrument repair at a music store in his home state of New Jersey.

During the NAMM show in Anaheim, we had the pleasure of speaking with Powell/Sonaré artist Kate Prestia-Schaub.  This Colorado native made her way to Southern California eleven years ago to study with Jim Walker and attend graduate school at the University of Southern California.  She began teaching privately while studying at USC and now enjoys a busy career as an educator and performer.  In addition to coach

We recently spoke with Powell’s Repair Technician, Rachel Baker, about the importance of tenon fit in woodwinds.  According to Rachel, there are three main reasons why proper tenon fit is so critical: (1) creating a proper seal and avoiding air leakage (2) keeping the joints together and fitting properly so that the instrument does not fall apart, and (3) keeping the instrument mechanisms in proper adjustment (particularly with clarinet and oboe bridge mechanisms).

We were featured as part of a story called "Made in Massachusetts" on a New England news show called Chronicle last night!  Check out the video here, our portion starts at about 3 minutes in.  Thanks so much to Stella Gould and Chronicle for including us in the story!

Windworks Studio of Philadelphia was established in 1997 by Beverly Bizup Hawkins to provide professional instrument repair services in the Philadelphia area. Over the last 14 years she and her partner have created an atmosphere of encouragement, life-long learning and enthusiasm for the arts in their community. Both Bev and Linds have a deep passion for music and are strong advocates for all of the arts.

Most recently, they have been involved in an ongoing project, envisioned by Alfred and Ellie Hurd who have launched the first performing arts complex in the United States dedicated solely to community music groups (The Performing Arts Complex of Delaware County, Inc). Their work on this project includes everything from machining a rare key for the theatre, to fundraising and refinishing the stage floor! Currently, they are both in the process of getting a certificate in non-profit management as board members of the Suburban Community Music School, now relocated within the Community Arts Complex, in a building called “Stage One”. They are also on the advisory board of the Flute Society of Greater Philadelphia.

As musicians, we are presented with a variety of outlets for teaching and performing. Powell artist Barbara Siesel shared her musical history with us, highlighting her path to developing a program for some of the youngest members of the musical community.

When I was ten, I decided to become a professional musician. I told my mom that music was the only thing I wanted to do in my life - and thank goodness she was actually happy about it. My path was clear, I was fortunate to get a great musical education with some wonderful teachers: Harold Bennett in High School and Samuel Baron at the Juilliard School (BM,MM). Thomas Nyfenger, Gerardo Levy, Julius Baker, and Jean Pierre Rampal also contributed greatly to my playing.