Teaching is an enormous passion for me. As Professor of Flute at Mount Holyoke College and at my home studio in Fairfield, CT, decades of teaching has served as a cornerstone of my continual committment to being a serving musician, one that is well-rounded, that can share with others what I've learned through years of practice and research in order to keep improving, be it at my current top professional level or coaching students to be the musician they strive to be. Master classes are a way to reach many at once; I encourage you to contact me as I guarantee every student will come away with a lot more than when they entered the room. It's a promise and commitment to students and myself. CONTACT ME
MASTER CLASSES and WORKSHOPS
Workshops in klezmer
flute technique are given at all levels of experience on the flute,
either on Boehm system or simple system flutes, wood or metal. Working
with the melody, learning to break it down to its simplest form, then
adding ornamentation, addressing the use of the wind stream that creates
the overall emotional basis, and how the embouchure is best formed for
the best tonal results, are key elements. Introduction of the dance
forms allow for additional understanding of tempo and energy behind
High School level workshops focus on how our eastern European Jewish
music tells the story of the life of its people. Some say that klezmer
music is in its third revival and continuing at its strongest, most
vibrant level. From the crying and laughter that the klezmer evokes
on the instruments to the life cycle events that are the impetus for
the many kinds of tunes played, the students will gain an insight into
a culture nearly lost but now quite present in their world. Presentations
are interactive; dance and historical re-enactments are popular activities
for all ages. CONTACT ME
Below is about BOTH general music-making and or klezmer. Residencies are the best way to achieve both.
master classes in the art and technique of klezmer flute performance.
Attention to adaptation and fusion of folk idioms and the intent behind
the music to achieve a more spirited performance of traditional classical
repertoire. Going beyond the printed page is the goal, so plan on discarding
(for the moment...) some of your good habits as you move through the
process of deactivating clean slurs, even eighth notes, and solid pitch
control to achieve the true folk essence of klezmer and other music
that incorporates many of the same folk idioms.
All demonstrations and performances are on antique simple system and Boehm system wood flutes as well as on the new Verne Q. Powell “B” and “P” headjoints on the wood body. Classes may be eligible to receive assistance from the Powell company; please inquire.
"Adrianne's class was warm, unique and special. She has so much to offer, not to mention the energy she exudes. The initmate setting was perfect affording indicidual attention to all. For me, it was a wonderful learning experience." MaryAnn Tu
Here is a sample Itinerary and Schedule for one of my Master Classes:
The 21st Century Flutist: BeyondTheNotes,
Here are a few comments from colleagues, friends, and students:
From classroom responses:
The flute's notes were painfully beautiful.
Even playing long, fast phrases, the notes felt natural.
With each song, I felt as though all four musicians had a very powerful story they all knew, but only one person was telling it at a time.
The stories could be very conversational,and hence some of the direct interplay between the flute and violin.
Dear Flute List,
Let me tell you of an extraordinary day I had yesterday. My good friend for over 30 years, Adrianne Greenbaum, was invited to Wesleyan University with her "Fleytmuzik" as the season's opener for our Crowell Concert Series-our University's major artists series. She gave quite an informative and inspiring masterclass in the afternoon. Besides sharing a great amount of both historical and practical stylistic knowledge, Adrianne totally infected our students with her passion for the music. It was great to see her endorse and demonstrate how playing traditional music can add such an important dimension to the playing of us musicians who are for the most part so thoroughly trained to play from the page. Ironically, I had to run out and play a Jewish wedding gig between Adrianne's masterclass and evening performance. I found myself trying out the byop and krechs that she just taught us in some of the traditional music that our group was contracted to play. Those ornaments were probably totally inappropriate and in the wrong places, but I had fun.
The evening's performance by Fleytmuzik was something very, very special. It started out with an introduction by Mark Slobin, a senior professor in the Wesleyan Ethnomusicology Department. Dr. Slobin is one of the world's most published and acknowledged scholars of traditional music from those parts of the world where Klezmers originated. By way of his opening remarks during both the masterclass and concert, I learned some quite interesting facts. The flute had always been an important, core instrument among the Klezmers. For various reasons-one being the original primitive recording process that required loud instruments to blast into a metal funnel-the flute was ignored during Klezmer revival. Professor Slobin acknowledged Adrianne for not only being today's premiere Klezmer flutist, but for having done major important work with her research, study, performance, teaching, recordings and publications. Adrianne is recognized among today's Klezmers and scholars as being a main component in bringing the flute back to the position it originally had among traditional Klezmers.
The performance itself was absolutely magical. The audience could not sit still in their seats. In fact, with Adrianne's encouragement, one student sprung up and started dancing. Later Adrianne even lead participants in a line-type dance in front of the stage while she was playing. Adrianne's flute playing was imaginative, dazzling, playful . . . you name it. She used several different period instruments to achieve the various colors, techniques and feel that she was after.The spirit and soulfulness of the playingand the music was fantastic. I can't remember ever having experienced two solid hours of music going by so fast, and the audience would have stayed for more, I guarantee.
If you ever get a chance to hear Fleytmuzik, GO! Better yet, if you're in a position to bring Adrianne and Fleytmuzik to your community, DO IT! The experience is transformational.
Right on! I have had the good fortune to experience Adrianne's magic as teacher, scholar, and performer at a few KLezKamps and KlezKanada, and your description is perfect. An my home-town amateur Klezmer band had Adrianne come last year to do one coaching session and play with us for a Klezmer dance evening, which was, indeed, a stunning experience. Our band improved enormously with that one session, and the dance evening even had my 93-year-old mother dancing the first two (long) dances!
Adrianne is a national treasure.
The University of South Alabama had the good fortune to hear her wonderful
playing, as well as getting a masterclass. She's an INCREDIBLE player,
both in the classical realm and in the Klezmer idiom. It inspires me
when I see such a great musician who's so capable in both the classical
and folk idioms of their choice. If you ever have a chance to hear her/talk
shop with her, DEFINITELY go for it!
The klezmer group, FleytMuzik, showed Portland, Oregon what klezmer is all about! From heartfelt ballads and waltzes to rollicking dance tunes, Greenbaum and FleytMuzik presented an interesting, exciting and all around fantastic program of klezmer music to an enthusiastic audience. Ms. Greenbaum swayed to the beat on the slower tunes and got the audience up to dance on the faster ones. Both young and old and in-between (as well as one audience member with purple hair) joined in the fun. Adrianne's technical energy, technical facility, musicality and stamina are amazing-if you ever get the opportunity to hear her play, do not miss it! The program was structured with the songs presented in sets, like one would find in a performance of Irish music. The play list featured music from many countries, including Romania and the Ukraine, as well as original music written by Greenbaum in the klezmer style. The following day, Adrianne taught a masterclass combined with a participatory klezmer workshop at Portland State University. The participatory part of the class was great fun. We learned that much of klezmer music is based on two modes taken from the 4th or 5th degree of the harmonic minor scale (we used G minor). We played a G minor scale starting on D, otherwise known as the "D Freygish" mode, and voila! It sounded like klezmer music! We improvised just playing notes in this scale, always coming back to D, (we also did the 4th degree, "C") and it sounded like we were making up our own authentic klezmer tunes! We also learned two different forms of ornamentation used in klezmer music: the "boyp" and the "krechts"-the names are almost as fun as actually getting to play the ornaments.
Phyllis Avidan Louke
Yesterday I attended the Ohio State University klezmer workshop and concert by our own lister friend, Adrianne Greenbaum. Wow! She's a very high energy and affective instructor and certainly an incredible musician. She has a deep love of her klezmer music and conveys that in every single note she plays. We think irish trad music is fast...... Ha!! you should all have the chance to see her fingers fly over the keys of her flutes. Klezmer music tells a story of huge emotion that's done with her effortless ornamentation and accents that come from within her soul. Her tools of her trade are a wonderful collection of 19th and 20th century wooden flutes (boehm and simple systems) which she alternates throughout her performance. It's so breathtaking!So folks, spread your wings a bit. Go outside the irish trad lines......... if you get the chance, try to join her, meet her, enjoy her klezmer music. It will bring a very beautiful and different light to your music world! Karen