Anne and Chuck play Duos!


  • June 4th 7:30pm  
  • Third Life Studios
  • 33 Union Square, Somerville, MA
  • Suggested admission $10

Works by Scelsi, Jolivet, Kerekes, Kirsten and Johnson.



Anne Dearth (making her Boston debut!) and Chuck Furlong are presenting an evening of modern works for flute and clarinet, interspersed with the Counting Duets by Tom Johnson. A very diverse program, performance art works such as Pirouette on a Moon Sliver by Amy Beth Kirsten are contrasted with European avant-garde works Sonatine by Andre Jolivet and Ko-Lho by Giacinto Scelsi.

Chuck Furlong is an active performer in the Boston and New York areas. He has performed with Boston Modern Orchestra Project, North End Music and Performing Arts Commission (NEMPAC) Opera Project, and Boston Opera Collaborative. In the fall of 2014, he co-founded Soundry, an ensemble dedicated to performing contemporary music rarely heard in Boston. His most recent project, Rested Field, is a free improv trio exploring acoustic and electroacoustic soundscapes.

In New York, Chuck has performed with Contemporaneous, played Pierrot Lunaire as part of the Austrian Cultural Forum’s Arnold Schoenberg series and performed in the Nouveau Classical Project’s In & Around C at Gallery 128. Chuck has also been involved with Bang On A Can, performing as a fellow at the 2013 and 2014 Summer Festivals and playing at the 2012 marathon. With two other 2014 Summer Festival alumni, he helped to create Exceptet, an ensemble using the instrumentation of Igor Stravinsky’s L’Histoire du soldat. Most recently, Exceptet performed at Merkin Concert Hall as part of the co-presented Ecstatic Music/MATA Interval Festival.

Spring Events

It’s finally SPRING!
IMG_0889I took this picture of my neighbor’s tree this week. The cherry blossoms knew this beautiful weather was coming😉

I’ve come out on the other side of winter application season mostly unscathed, and I have some events coming up. I’m really excited to be playing at The Owl this weekend. I finally got to check it out this past Sunday and it’s beyond amazing, so happy it’s in the neighborhood. And that it lets me play in the hood too!

Later this spring, I’m trekking up to Boston to play a concert with the wonderful Chuck Furlong. He’s been doing a lot of exciting things in Boston and New York, check them all out here. It’s been way too long since we’ve played together (2011?!) and it’ll be my first time in Boston. (Yay new cities!)

April 23, 8pm at The Owl
Trash Mountain a night of Storytelling curated by Ivey Long
I’ll be playing a short set of speaking works
$10 suggested admission

June 4, Third Life Studios, Boston
Anne and Chuck play Scelsi and Jolivet
I’ll be joining Chuck Furlong for a night of new music for flute and clarinet.
More details to come!

This summer, I’ll be zipping off to Michigan and the Darmstadt Summer Course for New Music where a lot of exciting things will happen, keep an eye out for more details!

Pop-up Recorder Class at Play Kids

I’m teaching a beginning recorder class at Play Kids at 4pm on Monday Dec. 14th. The class is for kids ages 7-10.

We’ll learn a song or two, and the basics of learning to play. I’ll provide recorders to borrow or purchase.

Recorder Class at Play Kids 4-4:30pm
676 Flatbush Ave
$12, space is limited, RSVP to to reserve your spot!



Fall Events

I’m super excited to be performing quite a bit this fall.

First up, I’m performing a recital as part of the Metis Concert Series on Oct. 25 at 3pm. The program includes works by J.S. Bach, Aaron Copland, Robert Dick, and Gabriel Faure.

Next, I’m going on the road, performing Monologues, a program featuring works that are all for speaking flute. Almost half of the works are brand new, commissioned by me. The program includes works by Jesse Diener-Bennett, Chris Van Voorst Van Beest, Toru Takemitsu, and Amy Beth Kirsten.

Monologues at North End Studios
November 6th, at 7pm
Admission by donation, suggested donation $10
4264 Grand River Ave, Detroit, MI

Monologues at Canterbury House
November 7th, at 8pm
Admission by donation, suggested donation $5
721 E Huron St. Ann Arbor, MI

Monologues at Bleak House Coffee
November 8th, at 7:30pm
Admission by donation, suggested donation $5
612 Adams St. Toledo, OH

Back in NYC, I’ll be performing the Monologues program at Spectrum.

Anne Dearth: Music for Speaking Flutist
November 12th, at 7pm
$15 general admission, $10 students
121 Ludlow St. Second Floor, New York, NY

Hope to see you there!


This past year, I started down the orchestra audition trail. I’ve learned a lot and gotten better for it.  I’m not an expert but I wanted to share a few of those things.

Lesson 1: You really do have to prepare that exhaustively.

I always knew the level of preparation it took to succeed at an audition in my head, but in my gut, I thought it was overkill. I didn’t think anyone would really be sitting behind the screen with a tuner, making sure all the notes are in tune. Turns out people really do that. Contrary to other types of performances, there aren’t really forgivable flubs in the first round. You get 5 minutes to prove that you’re a person they should hear play more, so those 5 minutes need to be the best you’ve ever had. This gets me into mock auditions. Plural. One isn’t enough. You should do a mock audition everyday for a couple weeks before your audition. Playing an audition should feel as natural as playing your scales.

Lesson 2: Really know the whole pieces.

This is more of a one-time thing, but you need to know the pieces the excerpts are from like the back of your hand. Play through the entire piece, with the recording, even if only a ten bar excerpt is on the list. Listen to the recordings for the entire work, not just the movement you’re doing. Excerpts are often solos where phrasing and style can be informed by what was happening before the solo starts or by the accompaniment. Sometimes, the solo brings back a previous theme, and you can show that in your playing. The more informed you sound, like you’ve actually played all the pieces before, the better.

Lesson 3: Listen to recordings that are at the tempo you want to play the excerpt

Picking your tempos is a bit of a job all in itself. Rob Knopper has a great post about how to do this. After you’ve picked your tempos, listen to recordings that are at the tempo you want to play. This should be obvious, and maybe it is to everyone but me, but I just picked the best recordings I could find, and generally played the tempo they took, but for the major excerpts, like Leonore 3 or Mendelssohn Scherzo, I had set tempos I played them at already, and didn’t take the time to find reference recordings at my tempos. And of course, in the moment, I tried to play both the tempo in my head and the one I had practiced, and was all over the place. Don’t do that, listen to recordings that will help you.

Lesson 4: Auditioning is a full time job.

Looking at above lessons learned, you might be thinking, this is a lot of time put into taking one audition.  And it is. It’s hard work, and while some of it you do once and then have forever, (like finding good reference recordings for major excerpts, or getting parts and scores), there are always a couple random excerpts that you’ve never had to prepare before. Just looking at how much music you have to prepare, (usually over an hour of notes) to such a high level, of course it’s time consuming. This is hard for those of us who have to work for a living, but not impossible. It won’t be fun to work all your normal jobs, and then spend 5 or 6 hours working on audition repertoire (practicing, listening, reading scores, finding recordings, etc.), but it helps knowing that it’s only for 6 weeks.

Happy musicking!