Asja Grauf. Flutist, teacher, lover of art and movement. She is in love with summer and warm days, which she would prefer to have all year round. He participates in various musical, artistic and theatrical projects. The musical part of the Libraries under the Canopies program was...
Asja Grauf. Flutist, teacher, lover of art and movement. She is in love with summer and warm days, which she would prefer to have all year round. He participates in various musical, artistic and theatrical projects. The musical part of the program Knjižnice pod krošnjami was her selection, music for puppet shows was created from her fingers, she explores free musical improvisation... Although she is a classically trained flautist, she does not limit herself to genres and explores the wide legacy of world music art in her music creation.
How did you get to know the magical world of the flute?
I started going to music school as a child, and like every girl, I wanted to learn the piano. Since we didn't have one at home, they pushed a flute into my hands. A very handy instrument that you can carry with you everywhere. Over the years, I realized that I might even be closer to strings in terms of sound, but I made friends with my instrument very early on. The flute became part of me, my musical expression.
Has the way of playing the flute changed over the years and how?
Over the millennia, the flute has changed. It was getting new forms and names. This is how it evolved from a simple shepherd's flute into a modern instrument made of precious metals - silver, gold, platinum. In the 14th century, the transverse flute, which was made of wood, was first mentioned in the records. The sound of the flute was completely different because of it. Before that, mainly recorders were played. In the Baroque period, the flute established itself as a soloist and orchestral instrument. The 18th century can be said to be the golden age of the flute. The great composers of this era, such as Bach, Telemann, Händel and many others, gave the flute important literature. Significant changes in flute construction came with the valve system introduced in 1832 by Theobald Boehm. Various implementation options opened up. The sound became more penetrating and powerful.
The flute can be heard in all musical genres. From classical to jazz to rock... Does playing the flute differ in a classical concert or in an ethnic group?
The technique remains the same. The playing changes only in the color of the tone and in what the individual plays. Each artist researches this color on his own. There are modern playing techniques for new soundscapes. It depends on the individual how his music will be heard in a given composition, be it a classical, ethnic or heavy metal concert. We can bring part of our personality and feelings to the fore by using a certain technique or grip.
You improve yourself a lot with various teachers at home and abroad. Which one did you remember the most and why?
I met the Colombian Gaspar Hoyos at the summer school in Grožnjan. His presence, personality and way of presenting music were the reasons he convinced me. Above all, the energy with which the professor approaches the student is important. You are closer to some professors because they evoke something they see in you, but you yourself have not yet reached that point in your musical development. It is a mutual relationship, because even as a student you give a lot to the teacher.
You are a teacher yourself. What learning method do you choose with your students?
I want to bring music to the child in a way that he can understand. As adults, we experience music in a completely different way. Of course, the presentation of some musical material depends on how old the student is. The method according to the Edgar Willems school begins with musical introduction at the age of four. Children develop musical skills and basic musical knowledge through guided play. We direct the child's attention to the perception of sound or what is heard. Sometimes it happens to me that people are talking to each other, but we can't hear each other at all. This is already the case in everyday situations, let alone in music. I want my students to learn to express themselves through music, not just memorize songs. It is a process that cannot be learned overnight and takes a lifetime.
How does improvised music differ from classical music?
Most classical music masters like Bach improvised a lot. Records began to appear because they wanted other artists to perform their works. Improvisation is part of the process of creating a great piece of musical art. Improvising well is not easy. For example, in free, non-genre improvisation, you usually have to coordinate with the other musicians on stage. You never know what will happen. You try to somehow swim in the sea of sound that is created.
Have you had any bitter experiences during your years of performing?
As a child, I had a terrible performance experience where my brain completely shut down. I practiced for days and days, hours and hours, but at the concert I simply couldn't remember the notes. I started again and stopped in the same place again. These feelings are hard to describe. I didn't finish the performance and then it seemed to me that the world would end. But I learned an important lesson. I started learning melody with harmony and not just sheet music. Perhaps it was this experience that shaped me into the musician I am today.
At what concerts can we catch you as a listener?
I really like concerts. Live music always touches me in a special way. It is a moment that you, as an individual, share with other people in a room, and it does not matter whether you are a listener or a performer. I am interested in almost all genres of music. At the beginning of the summer, I was again impressed by Maria João in Križanke, the concert by Marco Ribot in Menza na Metelkova was unforgettable, and if we are talking so much about flutes, the divine concert by the Italian flutist Mario Caroli. I also go a lot to the concerts of my friends who are also musicians, because I think it is important to support their work, and at the same time, bonds are forged that can also lead to musical collaborations.
