Review of my Miyazawa flute by Andrew Nicholson
Principal Flute of the Royal Philharmonic Orchestra – London

As you can imagine, I have played many different flutes made in a variety of different materials from various makers in my career.   Trying to find ‘the’ instrument has always been elusive.  Don’t get me wrong, I’ve owned some really good flutes, firstly as a student and then now as a professional, however when I am on tour I often find myself popping in to the local specialist flute shop to try the ‘latest thing’!  As for my long suffering orchestral colleagues, they are often subjected to me trying these out in the orchestra and as usual, they are always forthcoming with their opinions and never frightened to hold back if they dislike something.  

When I was invited to try the latest Miyazawa flutes on a visit to London in early 2006 by Masashi Yamamoto – President of Miyazawa flutes Japan, I was of course interested to learn more as to their detailed work with precious metals and their latest developments with the new Brögger System.  We arranged to test some sample 14k, 18, 24k and Platinum flutes at Cadogan Hall, home of the Royal Philharmonic Orchestra in London.

After what seemed like an endless few hours testing the instruments on the stage I decided to make a choice as to which one I would like to try in the orchestra.  To be honest, I liked them all as they all had different characteristics which I could definitely work with,  however I finally decided to play two flutes, the 24k and the Platinum flutes in the orchestra with the intention of gauging the feedback from the section and also those around me.

When I took the flutes to work I was overwhelmed by the positive feedback from my colleagues and finally decided to take the ‘plunge’ and order the Platinum with 14k mechanism model as I found the instrument to be particularly easy to blend with other instruments, particularly within the woodwind section.   

Taking delivery in May 2006 I was delighted that my new instrument arrived with all the fabulous tonal qualities that I remembered during the testing earlier in the year.  My flute has a plethora of nuances, making it a real delight to play the extensive variety of repertoire that I cover as a Principal flutist in London.  Notably it has been suggested, that it can sound almost like a wooden flute, as the timbre of the instrument has such deep resonance.  I also particularly enjoy the power of the instrument in the larger symphonic repertoire.

As for the scale, on all Miyazawa flutes it is excellent whilst the new Brögger System and Brögger Thumb key is very light, and most certainly helps in making for a more even feel across the instrument.  It is of course totally reliable, and I really do look forward to playing it each day. 

Andrew plays on a Type II handmade Miyazawa with Platinum body and 14k mechanism.

Andrew Nicholson is also frequent guest principal with many top British orchestras including the London Symphony Orchestra, Academy St. Martins-in-the-Field, English Chamber and City of Birmingham Symphony Orchestra, Opera North, Royal Liverpool Philharmonic  Orchestra, Bournemouth Symphony Orchestra, Royal Scottish National Orchestra, Scottish Chamber Orchestra and the  Philharmonia.  He has recorded a solo CD of John Rutter’s music with John Rutter and the Royal Philharmonic Orchestra and has also recorded the Mozart flue concerto in G major.