字幕表 動画を再生する 英語字幕をプリント Hi, my name is Mindy Kaufman, and I play solo piccolo and flute with the New York Philharmonic. My job is to play piccolo when there are piccolo solos. Most piccolo solos are written from Beethoven on. Before Beethoven there really weren't, the piccolo wasn't used much in symphony orchestras. Sometimes I play third flute and piccolo depending on the orchestration. Sometimes I'll play second flute and piccolo, like in "Mother Goose" Suite, and sometimes I'll play first flute and piccolo according to whatever the composer's written. The piccolo is an instrument you can hear above the whole Orchestra, so everybody can be playing, the brass and percussion, and you can still hear the piccolo. It really does project. A lot of times, when you're a piccolo player patience is a really good quality, because we sometimes sit and don't play for a while, and then the first entrance we play as a solo. So Tchaikovsky Fourth is like that. I sit for 30 minutes, and I don't play anything, and then the first thing that I come in on is a very exposed — well it's a tutti passage and then a few measures later the famous piccolo solo. I like to make things, so I like to sew, I like to knit. I also like the outdoors, so I like hiking, I like being outdoors. I do get called — a few times a year, usually — to play some outside jobs, mostly movies. So I've done — over the decades I've done a lot of movies, a lot of things, blockbuster hits. And that's a really fun thing to do and to be challenged in a different way than the Orchestra. One of the big ones I did was "Julie & Julia," and "Extremely Loud and Incredibly Close" and "Moonrise Kingdom," and a long time ago I did "The Untouchables" and "The Cotton Club." I must say when I go see the movies that I've recorded I usually think, "I can't hear myself — the dialogue is too loud." I've had so many great experiences. I remember Zubin, I came into the Orchestra with Zubin Mehta and I remember playing "Rite of Spring" with him. That was just a great piece for him, and then going to North Korea with Lorin Maazel, and playing some of the Ravel music with Maazel, like the "L'enfant et les sortileges" and complete "Daphnis and Chloe" with Maazel. I've been in the Orchestra now I think this is my 38th season. Over the years I've gotten to play in small ensembles and big ensembles with my colleagues, and you really get to know your colleagues, and it's such a special experience to play with them and to make music together and to develop friendships through our music, and I think that's why I went into music in the first place. When I was in high school it was the same feeling, that I was making music with my friends, and that was a very, it was just such an emotional experience to play great music and to be sensitive to the people around you.