How Three Musicians Became Co-Directors

There are a few questions that I have always found troublesome. Not that there is anything wrong with the questions themselves, but it’s my answers that get me into trouble. In short, I just don’t know how to say “no,” particularly when it involves an opportunity to collaborate with my musician friends.

So when my friend, composer Louis Anthony deLise, asked me what I thought about creating a flute-harp-composer workshop, naturally I was all in.

I first knew Louis as a percussionist, and we performed in the same musical circles in the Philadelphia area for many years. Over the last number of years, though, I’ve been privileged to work with him in his role as composer. 

It all began in 2019 when my long-time friend and musical partner, flutist Joan Marsh, asked Louis to write some short pieces for flute and harp. These miniatures would be accessible for players of both instruments at differing skill levels. As I became involved in the project, I added one more important factor: the pieces needed to be possible for lever harpists, too.  Our idea was to release the pieces one per month through out an entire year. As is often the case, the timeline for that project had to be adjusted, but the pieces - there are thirteen in all -  were completed and published in four separate volumes: Passagio, Seminare, Giocara and Celebrations!. 

Joan and I have collaborated with many composers and commissioned numerous works during our forty-plus years of duo concertizing, but this level of collaboration with a composer was truly special, so special, in fact, that we have continued working together.

So when Louis approached us with the idea of creating a collaborative workshop, there really was no reply from either of us other than, “When do we start?” And Chrysalis was born.

Our aim with this workshop is threefold. First, to provide an opportunity for flutists and harpists at all levels to work together and to work directly with composers, an opportunity that is rare, even for professional players. Second, to give composers access to flutists and harpists and to workshop their ideas in dialogue with the instrumentalists in real time. And third, to make the experience one that will inspire and motivate the participants to continue collaborating after the workshop is over.

If these goals sound exciting to you or if this sounds like the kind of musical environment you've been looking for, we'd love to have you join us. Chrysalis Music Workshop runs September 24–27 in Wildwood, NJ. You can learn more and register here.