Boston flutes

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Custom Handmade Flutes

Every Haynes instrument is a delicate balance of art and precision engineering. Each flute must first be designed and constructed to the strictest of tolerances, then the artisans at Wm. S. Haynes bring the instrument to life, creating the ultimate catalyst for an exquisite musical experience.


10K gold

Brilliant & Dramatic

The 10k Rose Gold flute offers a luminous quality that will elegantly complement solo, chamber and orchestral needs.

Available with either silver or 14k tone holes, ribs, posts and mechanism.

14K gold

Virtuosic & Supple

The Haynes 14k flutes offer astonishing and effortless projection.

The Haynes 14k Rose Gold flute is the epitome of the definitive Custom Handmade Boston flute and the 14k White Gold flute offers warmth, creativity, and a sparkling immediacy of attack.

19.5K gold

Intense & Expressive

The 19.5k Rose Gold Haynes flute offers a deep, rich sound that is unparalleled.

Visually stunning, the instrument offers an acoustic that must be experienced to be understood.


Dark & Dazzling

Sometimes, only a truly extraordinary instrument will do.

These dazzling masterpieces are one-of-a-kind, and are made only to special order.

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Custom Handmade Flutes

SILVER & 5% Gold

Grace, elegance, refinement

The defining qualities of the Haynes Silver flute. Available in a variety of tubing thickness, the Silver flute can be customized to meet the demands of the most discerning flutist.

The 5% Gold Alloy is a favorite for those who are looking for the response of silver and a touch of the warmth and depth offered by gold.

FUSION IN & FUSION OUT (discontinued from 2021)

Imaginative & Invigorating

Haynes Fusion flutes offer a unique blend of metals enabling a personal, sophisticated musical voice.

These captivating instruments feature two tubes of 14k Rose Gold and a silver and platinum alloy (95% silver, 5% platinum) fused together.

Aesthetically enchanting, artistically enthralling.

Custom flutes feature a standard or lightweight pinless mechanism, the Haynes A-442 Scale, 10k white gold springs, offset or inline G keys, B or C footjoint, French pointed arms, open or closed cups and Straubinger™ pads. Standard accessories are included.


Custom Handmade Headjoints

The first breath of air that touches the flute establishes the relationship between the player and their music. This is the beginning of a partnership that should bring soaring joy, profound passion, and lasting artistic satisfaction. The subtlest of nuances in a headjoint can affect the delicate balance of sound, response and projection that every headjoint maker strives to achieve.

The master headjoint makers at Haynes are highly trained flutists, who have the focus and tenacity required to handcraft every Haynes headjoint into an architype of the Haynes sound. This is not a task for the faint-hearted. The end results are artistically stimulating headjoints which offer flutists color, response, depth, imagination and vibrancy.

Haynes offers two styles Custom Handmade headjoints, the P Cut and the N Cut. These siblings have much in common, yet each has its unique traits. Each style is available in a variety of material combinations including silver (.014, .016”), Fusion Inside, Fusion Outside, 10k rose gold, 14k rose gold, 18k white gold (wall only), 19.5k rose gold and platinum.


The P Cut was named in honor of Piedmont Street, in the center of Boston, where Haynes workshop was located from 1953 to 2010. Like its namesake, the P style provides a stable road for the flutist to travel and discover new aspects of sound.

The N Cut is named after the Nagog wetlands that surround the current Haynes workshop in Acton, Massachusetts. In nature there is beauty and complexity, which is reflected in the N style. The N encourages flutists to move off the beaten path and explore.

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Four years later, after learning to craft the body, mouthpiece, keys, and other parts of a flute, Burkart became one of the few women in the world to launch her own company to make and repair high-end flutes. Today, Burkart Flutes & Piccolos in Shirley employs 26 people, and each year manufactures more than 300 flutes and piccolos that it sells worldwide. (Burkart declined to disclose revenue and profit figures.)

Burkart is part of a cluster of privately held companies outside Boston that have made Massachusetts a boutique center of high-end flute making: The others are Powell Flute, Brannen Brothers Flutemakers Inc. in Woburn, and Wm. S. Haynes Co. in Acton, started in the late 1800s and today under Chinese ownership.

“Having a Boston location signifies a heritage that’s survived today,” Burkart said. “We all stay here because our history began here.”

Burkart’s own story began at Powell, where she met James Phelan, a graduate of the New England Conservatory of Music and former principal French horn player for the Monterrey Symphony Orchestra in Mexico. First working as colleagues, then teachers training other flute makers in the company, the two were soon developing an idea for manufacturing a better flute; by 1982, two years before they were married, they had started their own company.

Today, some of the most accomplished musicians in the world — including Jim Walker, former principal flutist of the Los Angeles Philharmonic and founder of the Free Flight ensemble, and Carol Wincenc, a soloist who performs internationally and teaches at the Juilliard School in New York — visit the Burkart showroom to test and buy flutes and piccolos made of silver, gold, and platinum.

Wincenc owns four Burkart flutes and one piccolo.

“For me, to play an instrument, it has to be like I’m breathing into my own vocal cords,” Wincenc said. “It’s like [the Burkart flute] plays itself. It’s effortless. I’m hooked.”

The company is owned by Lilian Burkhart and her husband, James Phelan.

The company also has a loyal customer base among serious students and older amateurs with the time and money to pursue their music. Prices depend on materials: $9,000 for a silver flute; $48,000 for gold; and $50,000 for platinum. A piccolo with sterling silver key work sells for $7,000.

The Burkart factory is a quiet, clean space. A huge American flag hangs from a wall inside the production area; benches are set up in rows under fluorescent lights.

And assemblers, with hands as agile and confident as a surgeon’s, fit together dozens of complicated pieces for each flute.

Many of the instruments are made to order, but typically a musician will pick a base model and order options to customize it.

When the company started, about 90 percent of work was done by hand. The factory now combines craftsmanship and technology, using computerized machining tools to produce components manufactured to the tightest tolerances — so precise that it’s impossible for even a speck of dust to get inside a part, Burkart said.

“Machining enables us to build an instrument even better than any produced in history and be profitable,” Burkart said. “Without those efficiencies, we could not preserve the art.”

Silvane DePaula is one of Burkart’s 26 employees.

On a recent weekday, a single machinist sat by her machine, measuring parts being shaped into piccolo mouthpieces, known as headjoints. These are made from African grenadilla wood, a material that is imported and cured in the attic upstairs for several years before it is ready for production.

The instruments are designed by engineers using software to make and refine 3-D computer models. The lead machine operator uses the engineer’s drawing, downloaded as instructions into the computer; the other machinists perform quality control, measuring tolerances, making corrections where necessary, and overseeing production of parts.

Those parts are assembled by craftspeople who solder and hand-fit each key on the flute. Many of the assemblers bring dexterity and skill from other crafts. One, for example, repaired antique watches before joining the company. Another was a quilter and furniture maker. Others have been painters, sculptors, and knitters.

After the flute is assembled, it goes to finishers, classically trained flutists who insert microfiber pads that form seals to make the instrument playable. Then, they test the instrument by playing it, make adjustments according to the sound, and test again.

In the workshop, machines hum all day, a low sound that’s often punctuated by a burst of notes, as a finisher makes an adjustment to a flute or piccolo. These instruments will go through other tests as well, including ones by clients considering a purchase.

And there is one ultimate test. No flute or piccolo carrying Lillian Burkart’s engraved signature leaves the building until she has held and played it.

“Having a Boston location signifies a heritage that’s survived today,” Burkart said. “We all stay here because our history began here.”

Hattie Bernstein can be reached at [email protected]

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In Boston, the Great Flute War Takes a New Turn

See the article in its original context from
June 7, 1987, Section 3, Page 16Buy Reprints

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LAST July 4, world renowned flutist Jean-Pierre Rampal flew to Boston from Montreal for a Glorious Fourth clambake near the ocean. Why Boston? To see his old friend and flute maker of 30 years, Lewis Deveau.

Mr. Deveau, 62, the affable president of the William S. Haynes Company, flute makers since 1888, loves to tell this story, and show the accompanying snapshots. Mr. Rampal's name has excellent promotional value -and in recent years Mr. Deveau, like his competitors, has had to scramble for every advantage.

Since the 1920's, the world's premier flutists have come to Boston for the handmade gold, silver and platinum flutes produced to special order by Haynes and a second company, Verne Q. Powell Flutes Inc., spun off from Haynes in 1927. A third concern, Brannen Brothers-Flutemakers, Inc., joined these exclusive ranks after Bickford and Robert Brannen left Powell in 1977.

Until 1980 or so, this triumvirate dominated a cozy world, sharing customer lists and trade secrets. At their peak, the trio turned out about 1,000 instruments a year - far below customer demand. With waiting lists of up to seven years, business was good for everyone.

Too good, as it turned out. Enter the Japanese. Sankyo, Muramatsu, Yamaha and other companies who were already mass-producing student flutes, flooded the high end of the market with silver flutes priced at least $1,000 below the Boston competition.

Sales of the Japanese flutes boomed, first among students and, as the instruments continued to improve, among professional musicians. Boston waiting lists shrank to almost nothing, as the Japanese took advantage of frustrated customers eager to get good flutes in a hurry.

Unable to cut prices, the Boston flute makers were caught in a painful squeeze. ''We didn't want to kill the goose that laid the golden egg,'' said Steven Wasser, a co-owner of Powell, explaining that the ''goose'' was the quality of the handmade instruments.

Instead, the American companies fought back on the marketing front. They scored an initial coup by carefully definining the term, ''handmade:'' According to the American makers, the Japanese assemble the various components of their flutes separately and bring them together only in a final stage. By contrast, Powell, Brannen and Haynes stress in their advertising that each of their instruments is worked on as a unique entity by a concerned craftsman. Every custom-made flute is tracked after it leaves the shop.

''People like to be able to identify an instrument with the person who made it,'' said Bickford Brannen. ''You can do that with a custom-made instrument. The Japanese companies sell through distributors and dealers, very far removed.''

All three concerns recognized the need for less expensive products to meet the Japanese competition head-on. Haynes began production of the $2,500 Regular French Model, to supplement its $4,100 Handmade French Model, and Mr. Deveau says the cheaper flute accounts for fully 50 percent of his sales. Mr. Brannen founded a separate company to produce the Osten-Brannen flute for $3,000. Powell introduced the Conservatory flute. All emphasize that the cheaper flutes are still handmade, but their manufacture differs slightly from the higher-priced models.

With this strategy, the Boston flute makers appear to have engineered a turnaround. In the last 18 months, the Japanese incursion has lost its momentum and the waiting lists for Boston-made flutes are slowly building again.

In part the rebound can be ascribed to the rising yen, which has made Japanese instruments less of a bargain. But the Boston companies give themselves credit, too, for sharpening their marketing skills and improving their techniques.

Having fought the Japanese to a standstill, Haynes, Powell and Brannen are taking a closer look at the competition they pose to one another. Gone is the camaraderie of former days. Instead, each company is trying to convince the music world that it alone is producing the world's finest flutes.

THE privately owned companies are stingy with financial details, but they appear to be fairly evenly matched. All three report revenues in the $1 million range with profits ranging from 10 to 20 percent of sales. But they are fighting for share in a shrinking market: The companies are turning out only 650 to 750 flutes a year, 250 or so less than their peak.

Silver flutes, which take 130 hours to make, and sell for around $4,000, continue to dominate the top-of-the-line market. Gold flutes, which can require up to 400 hours, retail for $8,000 to $17,000; platinum flutes -only a handful are made each year -sell for upwards of $20,000. Gold flutes take longer to make, Mr. Brannen explained, because the metal is dense and does not machine well. Musicians like gold for its fuller, deeper tone. Platinum is even denser and carries the properties of gold one step further.

Much of the most time-consuming work has no effect on the sound of the flute but, because it makes the instrument more beautiful, ''does have an influence on how well it sells,'' said J. James Phelan, a co-owner of Powell.

Many musicians say that the only real factor in choosing among the superbly crafted instruments is personal preference.

Mr. Rampal, for example, has bought nothing but Haynes gold flutes since his first one in 1958. (He also owns the only gold flute ever made by Louis Lot, the famous French flute maker of the last century.) Yet he conceded in a telephone interview from his home in Paris that playing a Haynes ''doesn't mean I don't like others. There are lots of wonderful flutes out there. I happen to like this one very much, and once I find something very good I don't like to change.''

Too often, Mr. Rampal points out, the idea that one flute is better than another ''is mostly in the brain of some players.'' He added, ''It is very easy to complain about the instrument, I know from experience, when it is you who is not in good shape.''

FLUTE making came to Boston in the late 19th century when William S. Haynes, a 23-year-old silversmith apprentice in the Rhode Island jewelry industry, opened a shop with his flutist brother, George, in an era of decline for European flute makers. Their first flute, of grenadila wood with pewter keys, was beautiful to behold but badly out of tune. Later efforts were more successful and today there are nearly 50,000 Haynes flutes in circulation.

Mr. Haynes hired Verne Q. Powell, a Kansas jeweler and engraver, in 1913 on the strength of a silver flute that Mr. Powell fashioned out of seven teaspoons, three watchcases and some plugged silver half dollars. (The middle initial Q. stands for nothing. As an engraver, Mr. Powell liked the look of it and incorporated it into his name.) Mr. Powell quit 13 years later over a patent dispute and founded his own company; in 1977 general manager Bickford Brannen and his brother left Powell to go on their own.

As the internecine competition heats up, so far Powell has been the most aggressive player.

''Others in the industry have been a bit shocked that we are doing things more selfishly than has been the case before,'' said Mr. Wasser, the 35-year-old Harvard Business School graduate who joined Powell as a co-owner last July. A former management consultant, he is himself an innovation - the first non-craftsman or non-musician to run one of the three Boston companies.

Mr. Wasser claims that new products, a streamlined production process and improved productivity have enabled Powell to ''eliminate the cloud of doom hanging over the business.'' Several years of break-even sales of $700,000 gave way in the last fiscal year to a 10 percent profit on sales of $1.2 million. The company made about 200 flutes, a 50 percent jump from the previous year.

Powell now offers flutes made of a material called Aurumite, a laminated gold-silver combination of a quality and price that fall between silver and gold flutes, Mr. Wasser says. In another metallurgical experiment, Powell is working on a silver alloy that could be used to make tarnish-free flute keys.

Brannen, as the youngest of the flute makers in Boston, boasts of its modern facility - a custom-designed building featuring a 150-seat concert hall - and up-to-date production techniques. The company has just introduced a new flute mechanism, the Brogger mekanik, designed to make certain keys move more easily.

Haynes is the company that continues to trade largely on tradition, not innovation. The silver-haired Mr. Deveau was a 16-year-old high-school student from East Boston when he was hired by the Haynes company to sweep floors. He rose through the ranks, learning all aspects of flute making - he was recently at work restoring a 1926 piccolo - and bought Haynes in 1976.

Mr. Deveau sees little need to change the way the Haynes flute is made. ''I don't need a yacht,'' he said mildly, when asked about profits. ''I just want to say I make the finest flute in the world.''

Флейта Levit (Levit Flute Company Boston) изготовление коронки флейты

WELCOME to the Boston Flute Academy, a world-class flute community for all ages and abilities!


THANK YOU to all who attended theBFA OPEN HOUSE on Saturday April 10th, 2021 !   With 1300 attendees from more than 54 countries around the world, it was a very special day!   Here is the e-news with detailed information on Open House:

NEW!   The BFA Ensembles Program Contrabass Flute Fundraiser!   Here is how you can help!   Donations of any amount or by simply sharing and spreading the word!  Thank you!

CLICK HERE for details!  Help-BFA Ensembles-Buy-Contrabass-Flute

You may find more information about our all BFA programs and weekend classesHERE.


THANK YOU for your patience while we update the BFA website!  You may visit the Boston Flute Academy FACEBOOK page for a bit of current news and activities for 2020-2021.

BFA has been holding all our 2020-2021 private lessons, recitals, ensemble classes, masterclasses and workshops online during the pandemic.  Our world class Guest Artists since March 2020 have included:  Geralyn Coticone, Elizabeth Rowe, Lea Pearson, Sir James and Lady Jeanne Galway, Jasmine Choi, Emmanuel Pahud, Jennifer Grim, Grammy winner Nestor Torres, Dr. Sarah Shin, Dr. Timothy Hagen, Zach Sheets, and more.  Many thanks to Wm. S. Haynes Flutes for sponsoring Dr. Jennifer Grim (Baroque Style) and Nestor Torres (Latin Jazz) classes this season.

To inquire about enrolling in our private lessons or ensemble classes for all ages, you may reach us at email address:  [email protected]

To learn more about BFA Founder and Artistic Director Judy Grant, simply click here.   To reach Judy Grant directly, the email is:  [email protected]

Thank you for your interest in BFA.   Stay safe and be sure to save the date for the BFA OPEN HOUSE on Saturday April 10th, 2021.  Info is below! Everyone is invited, it is free to attend, and virtual events run all day from 9am-8:30pm.


Thank you to all who attended and participated!BFA OPEN HOUSE on Saturday April 10th, 2021, from 9am-8:30pm.  FREE for all.

Simply register to receive the Zoom link and PDF materials for the classes. Here is the link to register:

Here is the most updated information & details for Open House:

BFA OPEN HOUSE – Check back for more updates!  GUEST ARTISTS and Faculty Presenters & Performers:

You are invited!  So far we have flutists attending the Open House from more than 24 countries around the world!    Hope to see you there!



NOVEMBER 2016 BFA GUEST ARTIST —  Example of BFA Special Event!BERLIN PHILHARMONIC PRINCIPAL FLUTE, MATHIEU DUFOUR in RECITAL and MASTERCLASS on Friday, November 11, 2016 from 4pm-6pm at the Maliotis Cultural Center, 50 Goddard Ave, Brookline, MA.  Mathieu Dufour bio 

Guest Artist Recital program:  Mr. Dufour played a gorgeous solo flute program including JS Bach Partita in a minor, Boulez Memorial, Debussy Syrinx, and Karg-Elert Sonata Appassionata in f# minor.  His inspiring Masterclass covered  John La Montaine Sonata and standard orchestral excerpts (Daphnis, Brahms 4, Leonore, Dvorak 8), performed by 3 high school and college students.  Great day at BFA!  Event photos to come…

Questions for BFA?  Email us at:  [email protected]








AUDITIONSfor BFA ensemble classes along with private lesson interviews will be held by appointment at the Maliotis Cultural Center in Brookline, space permitting.   You may email us with any questions:   [email protected] may find more information about our programs and weekend classes here.  Thank you for your interest in BFA!

LISTEN to the BFA Young Artist Flute Ensemble perform “Children of the Wind,” by Catherine McMichael (II. Moel Fammau) performing with their flute teacher Judy Grant and BFA 2014-2015 Artist-in-Residence Brendan Ryan.


BOSTON FLUTE ACADEMY SPECIAL EVENT:  Recital and Master Class with Guest Artist LEONE BUYSE took place on Sunday, May 8, 2016, from 10am-1pm, at the Maliotis Cultural Center in Brookline, MA.   Professor Buyse performed to a standing ovation and taught a spectacular class.  An inspiring day at BFA!  Recital and Master Class programs below.

BFA Guest Artist Leone Buyse, May 8th 2016

BFA Recital Program with Leone Buyse

Leone Buyse14_May 2016

BFA WELCOMED JULIEN BEAUDIMENT, former Principal Flute of LA Philharmonic, for a very special concert at Boston Flute Academy.  Program below.





Cynthia Meyers


Paula Robison


BFA Kicked off the 2015-2016 school year with BSO Principal Flute Elizabeth Rowe!

Our Flute Masterclass with BSO Flutist Elizabeth Rowe was held on SUNDAY SEPT 27th from 10am-12:30pm at the Maliotis Cultural Center in Brookline.    Performers included high school and college members of the BFA Sunday Studio Class.  Lots of orchestral excerpts, some Bach and Bloch too!  Last 30 minutes of the event was a special Question & Answer Session where audience members had the opportunity to ask Ms Rowe questions about her life in the Boston Symphony Orchestra!    She was so gracious in sharing many of her philosophies on what it means to be a musician.  We had an insider’s look into what life is like for a principal player in one of the world’s top orchestras.   What is it like to play for the world’s most famous conductors, including the new Maestro at BSO?   Flute students of all ages and their families attended this free event, taking  home invaluable ideas for how to improve their own flute playing and approach to musicianship.   Elizabeth Rowe is a phenomenal teacher, and we were so lucky to spend the morning with this amazing flutist!

Elizabeth Rowe

BFA Guest Artist Elizabeth Rowe, BSO Principal Flute

INTERNATIONAL GUEST ARTIST – Barthold Kuijken, October 13th, 2015

Private BFA Masterclass and Presentation on BACH Partita in a minor, with Baroque authority Barthold Kuijken from Belgium!

Barthold Kuijken (photo credit: Dany Neirynck)BFA Guest Artist Barthold Kuijken (photo credit: Dany Neirynck)

Breithaupt_Leela-2011_Head shots femBFA Guest Artist Leela Breithaupt, October 13, 2015

Lorna photoBFA Guest Artist Lorna McGhee, Principal Flute of Pittsburgh Symphony, October 25, 2015

Linda_Chesis.IMG_9857_ppBFA Guest Artist Linda Chesis, Manhattan School of Music, November 7, 2015


We are delighted to announce that Boston Flute Academy faculty and students were invited to perform, present, and teach at the 2015 National Flute Association Convention:

BFA teachers and selected students traveled to the National Flute Association Convention in Washington, DC, from August 12th-16th, 2015.  BFA Director Judy Grant taught a Flute Masterclass and sat on a College Audition Panel where she gave advice to students and parents about how to succeed in the college admissions process.  BFA faculty David Houston conducted our Maliotis Chamber Players in a stunning flute ensemble performance.  BFA Young Artists Katie Scholl and David Lassila both performed in Masterclasses at NFA, congratulations to these young stars!  BFA Faculty Geralyn Coticone sat on a panel providing advice on piccolo playing.  Maliotis Chamber Players ensemble performers included the following 10 BFA flutists, college age and above:  Serge Paul-Emile, Earl Grant Lawrence, Philip Trackman, Barbara Wall Lobosco, Grace Huang, Jenny Davis (our Teaching Assistant), David Lassila, Katie Scholl, Peter Kussell, Roel Contreras.

CONGRATULATIONS to everyone on your invitation to perform at NFA and thank you for representing the Boston Flute Academy in Washington, DC!







ENJOY this Facebook VIDEO of the BFA CONSERVATORY ENSEMBLE & SEMINAR CLASS playing Nutcracker:

ENJOY this Facebook VIDEO of the BFA Adult Ensemble & Seminar rehearsing the end of SLEIGH RIDE:



  • 100% of the students from Judy Grant’s private studio who auditioned for the 2015 Massachusetts Senior Districts were accepted, many with principal chairs and all state recommendations!    CONGRATS to:  Cassie Bailey (9th), Sam Chestna (11th), Elizabeth McCormack (9th), Sarah Peng (9th), Olivia Iverson (11th), Katie Scholl (12th), Ina Suresh (10th).
  • 100%  of the students from the BFA Conservatory Ensemble and 100% from the BFA Advanced Repertory Ensemble who auditioned for the 2015 MA Senior Districts were accepted!  A total of 9 students!  CONGRATS TO ALL!
  • BFA has four students accepted to the 2015 Massachusetts Junior Districts Festival!  Congrats to Kailash, 8th grade student of David Houston, who won Principal Flute with the 2015 MA Junior Districts Band!   Congrats to Irene, 7th grade student of Judy Grant, who won a spot with the 2015 MA Junior Districts Orchestra!  Congrats to Antonio and Mina, both from the BFA Sunday Ensemble & Seminar class, who were accepted to 2015 MA Junior Districts Festival!



  • Scroll down this page to check out photo highlights for some of our amazing GUEST ARTISTS!
  • BFA Young Artist Elizabeth Sperry wins 2nd Prize in the 2014 National Flute Association High School Soloist Competition in Chicago, which follows her 3rd prize win in the 2012 NFA High School Soloist competition in Las Vegas!Elizabeth was also selected to the prestigious 2014 National Youth Orchestra of the United States of America. Elizabeth studied with BFA Director Judy Grant in Grades 9 – 12.  To watch and listen to Elizabeth play Perilhou’s Ballade with BFA Staff Pianist, Deborah DeWolf Emery –  TO LISTEN just click here.   For a nice article in the Boston Globe on Sperry:  TO READ click here.

galway_0082-masterclassElizabeth Sperry at BFA with Sir James Galway

  • BFA Young Artist Alum Ji Weon Ryu is the 3rd Prize Winner of the 2014 National Flute Association Young Artist Competition, where she competed in four rounds of competition with flutists up through age 30!    Ji Weon studied with Judy Grant in Grades 9-12, winning first prize in the NFA High School Soloist Competition.  She now studies at Juilliard.  Congrats to Ji Weon!

Ji Weon Ryu Photo 2Ji Weon Ryu


  • BFA GALWAY FLUTE WEEKEND — A BIG SUCCESS! BFA proudly presented the Galway Flute Weekend on March 8th and 9th, 2014.  Concert featuring performances by Sir James and Lady Galway along with BFA Young Artists was SOLD OUT!   Events included masterclasses by both Sir James and Lady Galway, a warmup session for all flutists with Sir James,  a Q & A session with the Galways, a drawing of free prizes from our exhibitors, and the awarding of a Nagahara headjoint.  Attendees were able to see and meet the Galways in the intimate setting of the Boston Flute Academy.  Boston-area flutemakers and flute vendors exhibited instruments and accessories for all to try.  What a great turnout from flutists all around New England!  Special thanks to Nagahara Flutes and the Wm. S. Haynes Co. for their generous support of this event. For more information about the BFA Galway Flute Weekend, and to see a list of our exhibitors, please clickhere.

Visit Sir James Galway’s website here.     Visit Lady Galway’s website here.



  • Eleven BFA flute students in Grades 9-12 were selected for the 2014 Massachusetts Senior Districts Festival, many with principal chairs and 9 with All State Recommendations!  Congratulations to  Sam Chestna, Michelle Chung, Yumi Lee, Amy Lipman, Ned Martenis, Molly Meath, Natalie Ramesh, Katie Scholl, Elizabeth Sperry, Ina Suresh, Sophia Zeng.
  • Three BFA flute students in grades 7-8 were selected for the 2014 Massachusetts Junior Districts Festival:  Congratulations to Isadora Loftus, Elizabeth McCormack, Sarah Peng, all members of the BFA Repertory Ensemble & Seminar classes.
Elizabeth McCormack and Sarah Peng at MA Junior Districts 2014

Elizabeth McCormack and Sarah Peng at Junior Districts 2014


  • BFA’s 2013 graduates secured fantastic college acceptances. Congratulations! Austin Hopkins was accepted to study at Boston University’s College of Fine Arts with John Heiss. Hyo Jin Jamie Park was accepted to study at the Peabody Conservatory with Marina Piccinini. Gretchen Herdrich is studying composition at the Boston Conservatory.  Angela Koh is studying at MIT.  Intensive Immersion Program graduate Oliver Villanueva is studying at the Oberlin Conservatory with Alexa Still. 
L to R: Austin Hopkins, Hyo Jin Jamie Park, Gretchen Herdrich

L to R: Austin Hopkins, Hyo Jin Jamie Park, Gretchen Herdrich

  • Congratulations to BFA’s 2012 graduates on their outstanding college acceptances!  Brendan Dooley is now studying at Curtis Institute of Music with Jeffrey Khaner. Nicholas Fitton is studying at Peabody with Marina Piccinini. Emma Huelskamp was accepted to study with Susan Milan at Royal College of Music in London. Michelle Peters is studying at Yale. Jinji Zhang is studying with Timothy Day at the San Francisco Conservatory.
Nicholas Fitton, Emma Huelskamp, Michelle Peters, Brendan Dooley, Jinji Zhang

Nicholas Fitton, Emma Huelskamp, Michelle Peters, Brendan Dooley, Jinji Zhang

  • Congratulations to the 2011 graduates of BFA for acceptances to top conservatories, in the U.S.and abroad! Jiweon Ryu is studying with Carol Wincenc at the Juilliard School in New York City. Catherine Jones was accepted to the Royal Academy of Music in London. Madeline Aiken is studying at the University of Michigan with Amy Porter. Mayuko Akimoto is studying at the Hochschule für Musik in Freiburg, Germany.
L to R: Jiweon Ryu, Catherine Jones, Mayuko Akimoto, Madeline Aiken

L to R: Jiweon Ryu, Catherine Jones, Mayuko Akimoto, Madeline Aiken


Carol Wincenc, Season Opening Event, Sept 20, 2014

Carol Wincenc, BFA Season Opening Event: Masterclass & Performance, on Saturday September 20, 2014

Tracy Harris, October 4, 2014

Tracy Harris: Flute Clinics on Saturday & Sunday October 4 & 5, 2014

Suzanne Teng -- October 18, 2014

Suzanne Teng — World Flutes Clinic & Performance, on Saturday October 18, 2014

Flying Flutistas

Flying Flutistas – Body Mapping Workshops on Breathing and Body Awareness, on Sunday October 19, 2014

Jean-Louis Beaumadier, October 2014

Jean-Louis Beaumadier, Boston Debut Concert, October 25th, 2014

BFA Guest Artist Catherine Payne, Solo Piccolo with San Francisco Symphony

Catherine Payne, San Francisco Symphony, Nov 17th, 2014

Goran Marcusson, Masterclass and Concert, March 14, 2015

Goran Marcusson, Masterclass and Concert, March 14, 2015


Dr. Na’ama Lion, Baroque Flutes Presentations, April 11 & 12, 2015



JamesGalway_PaulCoxJeanne Preferred

Sir James Galway  &  Lady Jeanne Galway — March 2014


Catherine Ransom Karoly  —  Eyal Ein-Habar  —  Laura Barron


Trudy Kane  —  Aldo Abreu  —  Vanessa Breault Mulvey


Emi Ferguson  —  Nicole Rabata  —  Geni Skendo


Jean Ferrandis


  • Founded in 2008 by Boston flutist, Judy Grant.
  • Offering ensembles, masterclasses, workshops, private flute lessons, concerts and more! Click here for our brochure.
  • See our 2013-2014 Events & Masterclasses page and our News sectionfor BFA program highlights.
  • Check out our 2014-2015 Guest Artist event highlights here.
  • Located in Brookline, MA at the beautiful Maliotis Cultural Center.  We also offer private lessons in Framingham, Chelmsford, Newton Upper Falls, and Jamaica Plain.
  • For a summary of our 2016-2017 programs and class schedules, click here.
  • Listen to and watch some of our alumni perform by clicking here.
  • Please browse our website for information on our programs and classes, event schedules, our students’ accomplishments, general resources on flute and piccolo, and more! 
  • Advertise yourconcerts and instrument sales using our free listing forms!
  • AUDITIONS for admission: We are currently accepting applications for study at BFA, space permitting. Click here to contact us about scheduling a consultation or placement audition for any of our Ensemble & Seminar classes (youth and adult) and private lessons.   
  • BFA email address:  [email protected]

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Meet the Flute: Clint Foreman


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