nbsp You were once the piccolo player with the Metropolitan Opera. Why did you leave a position like that to go into flutemaking?
From the time I started playing the flute, I was curious about how the flute worked and how they were made. Long before I learned to make flutes, I had begun to formulate ideas for improvements and changes. Although I was (and like to think I still am) an excellent player, I think that there are others who can do an equally fine job interpreting the piccolo parts in operas. It seemed, though, that my ideas about the flute were more original. If they were to become a reality, it was clear I would have to be the one to make it so.
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