Category Archives: Uncategorized

“Tea with Mimi” #15 with virtual guest composer Samuel Adler

Today’s episode featured celebrated composer Samuel Adler in conjunction with Dolce Suono Ensemble’s fall season of DSE Presents and “Fall for Chamber Music” online initiatives. I performed his Sonata for Solo Flute and gave the world premiere of Alone, Together: A Monologue for Solo Flute, written for me. It also includes my interview with Adler, an excerpt from our work session on the music, and his introductions to the pieces.

Click here

“Tea with Mimi” #13 & #14 + Dolce Suono Ensemble’s “Claude Debussy Centennial Festival” virtual broadcast

To celebrate Claude Debussy’s birthday on August 22, my Dolce Suono Ensemble and I combined “Tea with Mimi” with our first ever online broadcast of an entire DSE concert. We hosted the virtual “Claude Debussy Centennial Festival” with both concerts from our 2018 project and my introductions to each concert in “Tea with Mimi”. It was magnifique to revisit these exciting concerts!

“Tea with Mimi” #13 click here

“Pleasure is the Law” concert below

“Tea with Mimi” #14 and “Between the Notes” concert below

Tea with Mimi #12 – American-French Connections

In this episode, I perform solo flute works by Franco-American composer Betsy Jolas and American composer Adolphus Hailstork, who studied with Nadia Boulanger. I was honored to work with him on his piece Yuhwa, which I premiered on this Livestream.

Betsy Jolas, Episode #1 (1964)

Adolphus Hailstork, Yuhwa for solo flute (2019) [world premiere]

To see my video of this piece on YouTube, click here.

Samples from Olivier Messiaen, Le merle noir and Darius Milhaud, Sonatine

Click here to watch video on Facebook


Tea with Mimi #11 – Vive la France! – Bastille Day

“Tea with Mimi” #11 – Vive la France! – Bastille Day

My mostly French program in honor of Bastille Day picked up where I left off last week, with British music, before crossing the channel to France.

Gordon Jacob, The Pied Piper 

I. Spell

II. The March to the River Weser

Gabriel Fauré, Morceau de Concours with Charles Abramovic, piano on recording

Jacques Ibert, Pièce pour flûte seule

Joseph-Henri Altès, selected Etudes

The Livestream video got cut off, unfortunately, so I re-recorded the next works on the second video.

Elisabeth Jacquet de la Guerre, Selections in my arrangements

C’est si bon

“Tea with Mimi” #8 – Las Américas part 2 – June 16, 2020

The continuation of my “Las Américas” theme explored over two weeks of my Facebook Livestreams. I had to restart the live video so there are two videos, below.

Video 1
Bach, Allemande from Partita in A Minor, BWV 1013

Ricardo Lorenz, Nocturnos de Medianoche (premiere)

Video 2

Marin Marais, Les folies d’Espagne for solo flute

Ana María Gutiérrez Martínez, Sevillanas Rocieras for solo piccolo (premiere)

Pixinguinha, Vou Vivendo

Leonard Bernstein, America from West Side Story

“Tea with Mimi” #6 – American Music – Facebook Livestream, May 26, 2020

I devoted this episode to American music in honor of Memorial Day, which was yesterday.

Here are the pieces I performed, with start times in the video:

:00 America the Beautiful

Aaron Copland, Duo for Flute and Piano selection from I. Flowing

George Gershwin, “Summertime” from Porgy and Bess

Dana Suesse, “My Silent Love”

Daniel Kellogg, Five Sketches for Solo Flute (recorded on my album Odyssey: 11 American Premieres for Flute and Piano, Innova Recordings)

Ricky Lombardo, Joshua Fit the Battle of Jericho

Vincent Persichetti, Parable for Piccolo XII

Leonard Bernstein, “Maria” and “Tonight” from West Side Story

Watch here:

More of my and Dolce Suono Ensemble’s recordings and videos of American music:

Dolce Suono Trio “American Canvas”: premieres of Shulamit Ran, Jennifer Higdon, Zhou Tian Andrea Clearfield

Jelly Roll Morton, The Pearls and Shreveport Stomp

Samuel Barber, Canzone

Amy Beach, Romance: two performances – DSE and Virginia Tech

Marion Bauer, Prelude and Fugue

Walter Piston, Sonata for Flute and Piano

Griffes, Poem for Flute and Orchestra

Dana Suesse, Night Sky: two performances – Michigan State University and DSE

Click here to watch video on Facebook

“Tea with Mimi” #5 – Music and Literature – Facebook Livestream, May 19, 2020

This afternoon I explored music with connections to literature or the spoken word in different ways. Thank you to everyone who tuned in! I appreciate your comments a great deal.

Here are the pieces I performed, with start times in the video:

Intro + outro = Altamiro Carrilho, Aeroporto do Galeao (Brazilian choro)

3:10 Fang Man, A Folktale of the Four Dragons

17:12 Johannes Donjon, Études de Salon Élégieétude and Le Chant du vent

27:00 C.P.E. Bach, Sonata in A Minor for Solo Flute I. Poco adagio

34:28 Benjamin Lees, Soliloquy Music from King Lear

43:52 Claude Debussy, Nuit d’étoiles and Beau soir

Some of the above repertoire in other performances on my YouTube Channel (please subscribe for new videos!):

Donjon, C.PE. Bach, Debussy

“Tea with Mimi” #4 – Opera, part 2 – Facebook Livestream, May 12, 2020

In this episode, I continued my opera theme from last week. It was so much fun, and opened up many wonderful program possibilities. It was nice to get great feedback on last week’s opera quiz. Very impressed with our participants!

Here are the pieces I performed, with start times in the video:

0:00 Gabriel Fauré, Après un rêve opening for composer’s birthday
3:32 Saverio Mercadante, Theme and Variations on Mozart’s “La ci darem la mano” from Don Giovanni
12:22 François Borne, Fantaisie Brilliante on Bizet’s Carmen
24:39 William Schuman, XXV Opera Snatches
32:48 Giacomo Puccini, “Mi chiamano Mimi” from La bohème
39:30 Pixinguinha and Benedito Lacerda, Naquele tempo

Click here to watch video on Facebook

Debussy’s “Syrinx” en blanc et noir at Kingston Chamber Music Festival

Before rehearsal on stage at Kingston Chamber Music Festival at the University of Rhode Island, I noticed that my black and white outfit mirrored the acoustic shell and floor. I thought of Debussy’s En blanc et noir for two pianos! After Syrinx, we gathered for Aaron Copland’s Appalachian Spring.

I had a thrilling week at KCMF and am very grateful to Natalie Zhu, tremendous pianist and artistic director, for including me in her 10th anniversary season. Below are photos of our wonderful ensemble that performed the Copland: me on flute, Igor Begelman, clarinet, Rose Vrbsky, bassoon, Hilary Hahn, Ayano Ninomiya, Juliette Kang, Zachary DePue, violins, Che-Hung Chen, Ren Martin-Doike, violas, Priscilla Lee, Clancy Newman, cello, Nathan Farrington, bass, Natalie Zhu, piano

Copland at KCMF

Mimi’s speech at Curtis commencement

Dear friends,

I was very honored to have been invited to speak at commencement at the Curtis Institute of Music on May 12, 2018. Curtis has been my musical home since I first arrived as a student when I was 12 years old, so it was particularly meaningful for me to give the welcome to the new alumni. At Curtis, we share transformative experiences and rich traditions, and come away with a sense of belonging to a community.

I was in august company at graduation, with Joseph Polisi as keynote speaker and George Walker as honoree, in addition to Curtis President Roberto Diaz and Deans Bryan and Grady.

I’m pleased to share my speech below.



Congratulations to you all on your graduation from Curtis. I am honored to have been asked to address you as you join the ranks of Curtis alumni, and it is my privilege to welcome you to the Curtis alumni family.

When I was thinking about what I’d like to say to you today, I decided to share with you something that happened as I was preparing to perform as soloist with an orchestra in North Carolina last weekend. As I reviewed the score for one of the pieces I was going to perform, Charles Tomlinson Griffes’s Poem for Flute and Orchestra, I saw the handwriting of my teacher at Curtis, the legendary flutist Julius Baker. I learned the piece my first year at Curtis when I was 12 (so I’ve had the score a very long time!). Mr. Baker had corrected an accidental in my part, changing a B natural to Bb. In the performance history of this piece that note is actually somewhat controversial, but those of us who are Baker students play Bb there because Baker’s teacher at Curtis, William Kincaid, told him it’s a Bb which he had learned from his teacher Georges Barrère, for whom the piece was written. As I practiced the passage with the Bb, I felt an enormous sense of the significance of this note and what it represents for me – a strong feeling of tradition. The lineage that we feel as Curtis-trained musicians, knowing that we are continuing and adding our voice to rich traditions of interpreting music. I felt a profound sense of loss about my beloved teacher while feeling connected to him through this fond memory.

This one note made me reflect on what tradition means as a Curtis alumna. The tradition we are part of is alive, and is constantly evolving. To graduate from Curtis is a major achievement and a milestone, and you are going on to do great things. This step is an ending and it is also a beginning – a deceptive cadence? – no, more like a phrase that dovetails into the next. With the impeccable training and transformative experiences you’ve had at Curtis, you are poised to forge your own path in music, to hone your craft and pursue your individual artistic vision.

As you well know, being a musician involves intense attention to detail – getting us back to that one note – while never losing sight of the big picture and music’s unique power as a universal form of communication. Thinking about the way I sometimes obsess over the tiniest details of the music I’m playing – I suspect you can relate – I thought of the 17th– and 18th-century Dutch scientist Antoni van Leeuwenhoek. He was one of the earliest developers of the microscope and the first to observe bacteria and other microscopic organisms. It’s hard to imagine the world around us without his discoveries. He wrote of the time he spent in scientific experiment, saying that “on these observations I have spent more time than many will believe, but I have done them with joy.”

Just as Leeuwenhoek is known for illuminating the world contained in a drop of water, you as musicians get to seek the meaning in every note, striving for understanding of the organic whole. As you take this momentous next step in your lives, I encourage you to work tirelessly, to bring your talent, your intellect, your creativity to bear on every note – from the smallest detail to your grandest dream. And to do it with great joy – go forth and make the world a more beautiful and illuminating place! Thank you. – Mimi Stillman