Jeffrey Khaner-Principal Flute
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- เผยแพร่เมื่อ 8 ต.ค. 2018
- Jeffrey Khaner, principal flute of the Philadelphia Orchestra, shares his thoughts about his career, flute playing, teaching, and orchestral playing in this candid video interview. He talks about studying with his mentor and idol, the great Julius Baker and how his career path took him from Montreal to Julliard to the Cleveland Orchestra and eventually the Philadelphia Orchestra. He explains why studying music at an institution of higher education is not a waste of time, even if one does not win an orchestral position. Always a very thoughtful and introspective individual, Jeffrey is very forthcoming in this hour-long discussion.
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Thank you for this great Video!
These are really special interviews. I learn something to improve my flute playing from each of them. And it's just a joy to hear from these musicians themselves.
Though I don't play the flute it is always a pleasure to hear from the masters. Thanks for being these people to our attention, Ed.
He is absolutely spot on about the value of studying music in other endeavors. This guy is brilliant in his expression of what he is all about. He must play brilliantly as well. Thanks again Ed.
For me, he doesnt play very musically. Even compared to even less famous soloists in my humble opinion. You can look up his solo albums on spotify if you search 'Jeffery Khaner', I hope you enjoy his music and his efforts
@@yishihara55527lol nobody in the world (except for many Khaner himself) thinks that Khaner is a better flutist than Pahud, as a soloist or orchestral principal or in any other setting, and this is coming from a fan of Khaner’s style. Pahud is like an alien, one of the absolute best and most versatile classical wind players in recorded history
@@absidyabsidy2727 That's not entirely true. There are certain cult-like circles that will somehow deny the facts (plug their ears perhaps? LOL). Only Bouriakov, another alien, and Dufour can be compared with Pahud. That said, some former students of Pahud (via the Karajan Akademie) have gone on to become principals of top orchestras in Europe. I can't think of any flutists in the US who can compete with them. The smartest move for them would be to keep the flute in the case.
The level of flute playing in Japan and Korea is very high too, with little high school students playing circles around players in famous US orchestras who are making big money. It's an absolute joke that someone making a few hundred thousand a year sounds so incredibly bad compared to a 145 cm high school student. But the excuse on the American side has always been, "Well they ain't musical." There are certain truths to that stereotype BUT it doesn't apply to all Asian players. Personally, I'd rather sound like a robot than sound like some of these "musical" American players. I think brass is still strong in the US and there are some American clarinettists that can play at international standards. But the flute standards there are very low.
Where is the excerpt of the piece played at the beginning of the video from
Kaleb Zhu That’s the second movement of Liebermann’s Flute Sonata.
"Maybe I can't be on the supreme court" Bahahaha 6:46
At 35:09 "I don't consider it my responsibility to teach students who going to get jobs". Whaaaat? Did he really say that? Then why go to college? This statement threw me for a loop!!! Ok Mr. Khaner, how are these students going to pay student loans payments of $500-600 they borrowed to study with you, when they go to college for 4 years and don't have the ability to go and make a living with their instrument because they haven't had the proper preparation in training, support, mentorship? I stopped the video when I heard that. After teaching for over 40 years I couldn't disagree with you more..
You've clearly never met the man. His goal is to make people better flutist. Good flutists get jobs, but flute greatness should be the goal for a serious musician. There are much easier ways to get a stable paycheck, it's important, but it's not the be all end all.
I agree with you. At first I love his talking, but after awhile I feel this high level talk is bit hollow and doesn't help young musicians to face the cruel reality nowadays.
It's just like you can talk these never ending. If he has to go through the auditions nowadays, he wouldn't talk like this way. Comparing to this, I have watched some other talkings from principal flutists of prestigious symphonies provide more pragmatical advices and high level of artistic mindset at the same time.
To learn how to learn it's very common in other disciplines in university, don't feel this is strong enough to get into very competitive prestigious musical school.
Moreover it reminds me of this article from NY Times: "The Juilliard Effect: Ten Years Later" (By Daniel J. Wakin, Dec. 12, 2004) It didn't shock me that just very few students could have typical career as musician, but no one talked about this to these talented students, so they didn't psychologically fully prepare this and started to struggle or to realize the reality after graduation, and they can barely explain to others, cuz it's so hard to believe, this could be the worst moment of their life. And I don't feel it changes a lot by the way of his talking.
Good luck to those students, however, I see some TH-camrs from Julliard, maybe it's a good way out to get exposure nowadays.
The music worlds of NY and Philly are notoriously corrupt. It would actually be much better if conductors simply selected who they want without holding an audition just like they did in the old days because hearing that a position has opened gives people a false sense of hope. We cannot say that each and every audition is rigged, but on the flip side we can't say that all auditions are legit. Anyone who thinks that a screen makes things fair is smoking crack. Each musician has a fingerprint which makes them easily identifiable. It wouldn't matter even if 500 flutists showed up...Galway and Baker would easily be identified.
Even if the section principal wasn't allowed to sit in due to some policy, they could easily tell a colleague on the audition committee who to listen for. Some orchestra members justify this corruption by saying, "Well we have a tradition of sound and want to preserve this tradition." That would be fine IF there weren't a union. But since a union exists, orchestra audition committees MUST play by the rules. These people want to enjoy union protections but then pick and choose which rules to follow. That's disgusting and shows you the nasty characters that we have in classical music. This kind of shit ruins lives. Let the truth be told!