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Thomaz Tavares • Flutist

@thomaz_flute

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🇫🇷 flute stories, teaching, classical life
🎻curating @le_petit_noyau salon series
📖 spring teaching at @csuf_flutestudio
📩 [email protected]

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🎫 PREMIER CONCERT - LUNDI 2 NOVEMBRE
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Un lancement de saison placé sous le signe du quintette à vent, avec cinq jeunes musiciens aux parcours riches et variés :

1. Thomaz Tavares – flûte 🎶
Soliste et chambriste à la carrière internationale, @thomaz_flute est cofondateur de l’Ensemble IMAGO et flûtiste de l’Orchestre de Chambre Nouvelle Europe. Professeur à la California State University Fullerton, il a joué de la Salle Gaveau au DiMenna Center de New York. Un interprète salué pour son élégance et son sens inné de l’esthétique musicale.

2. Quentin Chartier – clarinette 🎶
Lauréat du Concours international d’Amiens (2019 et 2021) et du Concours Parc Hosingen (2025), @chrt_quentin est membre de l’Ensemble Symphonique de Genève et de l’Orchestre de Chambre de Genève. Passionné de musique de chambre, il a fondé en 2024 le festival Musicimes avec la pianiste Eva Viegas.

3. Joseph González – hautbois 🎶
Né à Caracas, @jg_hautbois a été premier hautbois du mythique Orchestre symphonique Simón Bolívar du Venezuela. Il se produit dans ce cadre aux Philharmonies de Paris et de Berlin, enregistre pour Deutsche Grammophon à Abbey Road. Joseph se perfectionne aujourd’hui au CRR de Boulogne-Billancourt et enseigne à Drancy.

4. Manaure Marín – cor 🎶
Corniste franco-vénézuélien diplômé du CNSMDP, @manaure.photo a joué à l’Opéra National de Paris, avec l’Orchestre National de Radio France et le Paris Mozart Orchestra. Du symphonique à la création contemporaine avec Le Balcon, il séduit par sa précision et la chaleur de son timbre.

5. Laure Thomas – basson 🎶
Prize winner du prestigieux Concours de l’ARD en 2026 et premier prix du Concours Gillet-Fox, @laurethomas_bassoon est passée par le CNSMDP et la Musikhochschule de Munich. Elle joue avec l’Opéra national de Paris, le Philharmonique de Radio France et cofonde en 2020 le quintette à vent Pentagone.

🌬️AU PROGRAMME :
- Paul Taffanel (1844-1908) : Quintette à vent en sol mineur
- Maurice Ravel (1875-1937)
Le Tombeau de Couperin (1914-1917), transcription pour quintette à vent
- Antonín Dvořák (1841-1904)
Quatuor « Américain » en fa majeur, op. 96 (1893), transcription pour quintette à vent by @thomaz_flute

Behind the scenes of Le Petit Noyau : the well tempered staircase. by @thomaz_flute

Chers amis, on vous attend lundi 2 novembre pour un concert en quintette à vent à la Maison de l’Île-de-France, dans le cadre de la série Confluences de la Cité internationale universitaire de Paris.

Au programme :
Taffanel, Quintette en sol mineur
Ravel, Le Tombeau de Couperin
Dvořák, Quatuor « Américain » (transcrit pour quintette à vent)

Un voyage entre le Paris de 1876, les danses du XVIIIe siècle revues par Ravel et les grands espaces de l’Iowa où Dvořák a écrit son quatuor.

📅 Lundi 2 novembre 2026, 19h30
📍 Maison de l’Île-de-France, 9D boulevard Jourdan, Paris 14e (RER B / T3a Cité universitaire)
🎟️ Entrée libre dans la limite des places disponibles, venez un peu en avance ! by @thomaz_flute

Every evening brings with it a new room, a new host, and a new musician. We’re thrilled to have Iori Hayashi be our first guest musician of the series. by @thomaz_flute

Do you know where this solo comes from?

A little preview of what we’re playing on November 2nd in Paris 14th arrondissement. You’re invited, save the date! by @thomaz_flute

“Your tone problem is a pitch problem” one of my old teachers used to say…”instead of chasing sound, think pitch, think frequency, think airflow, and the sound will take care of itself!”

This is another way I love to use solfège and singing in my practice. In pieces like the Bach partita we have a wonderful opportunity to sing the bass notes into the flute and then solfège the melody above it - allowing us to further dissect and interiorize the music in an engaging way.

#flute #solfege #bach by @thomaz_flute

The name originally comes from Marcel Proust, who in Search of Lost Time, describes a salon hosted by Madame Verdurin in Paris where a pianist plays for a loyal circle of regulars, and that novels called that circle “le petit noyau” . In French noyau it is also the heart of a fruit and a close circle of friends. We loved that all three fit into one evening : a few people, a room, and music.

Painting : a Schubert evening in a Viennese House ( Julius Schmid 1897 )

Follow along for the Salon I program and to discover our first guest artist! by @thomaz_flute

If there’s one magic bullet, one technique that helps with sound, technique, interpretation, memorization, and just about everything else, it’s singing before you play.

It has changed the way I practice and teach every day. I spend less time woodshedding and the phrasing develops naturally as I learn the piece, instead of the dreary “notes first, interpretation later” approach.

The problem is that most students won’t do it. They feel self-conscious, or they think it’s silly, or they tell themselves “I’m here to play the flute, not sing.” But it’s the most reliable tool I’ve found in all my years of playing and teaching. No wonder kids who learn solfège early have such an advantage later in their professional lives. ( I learned it late in life )

As a student in Paris, I had three teachers who were completely different musicians, but every one of them made singing an absolute requirement.

there’s so much more to say about this, perhaps it requires a full essay …but for now here’s another hint about the program for our first @le_petit_noyau concert happening this Autumn!

#flute #flutist #flutepractice #solfege #practicetips by @thomaz_flute

A glass of wine, great conversation, and music written for these rooms. Not to mention that these spaces provide a place to experiment and take risks that I feel the concert hall sometimes can’t afford. by @thomaz_flute

Coming back to playing after a long break - I feel like everyone has their one “thing” that if they neglect for over a few days, they feel like it’s gone…for me it’s always been articulation. Have you experimented with using LUGU for double tonguing that doesn’t require staccato/detaché? It feels very nice and gives that « je ne sais quoi » almost inégale feeling. by @thomaz_flute

Logging back online > ( souvenirs from Normandy)

Took an extended break from all social medias for the last several months. Partially because I burned out a bit( turns out burnout is for suckers until it happens to you ) but also because I’ve spent the last few months working on onganizing my new concert series @le_petit_noyau .

Thank you for many of the encouraging private messages I’ve received, and the many of you who have already followed it. I’m looking forward to building this series slowly, with good friend and collaborators, and WITHOUT AI.

Amitiés by @thomaz_flute

Something is taking root, follow along to watch it grow.🌱 by @thomaz_flute