Travel to New York City...

...and the suitcase known as Yellow Submarine is not big enough.

Celebrity Series Features Maxim Rubtsov, Flute, and Pamela Penick, Piano, with University of Alabama Dance Students

"I was completely mesmerized by Maxim's playing. So much so, that I moved to the third row to capture the full extent of his coloristic and artistic magic."  Dr. John Ratledge, Professor of Music

University of Alabama Residency, Crimson Tide Meets Golden Flute

Photo by Sarah M. Barry

9am Choreography Workshop with Professor Sarah Barry's students.  She emphasizes the qualities of live music that inspire movement and express emotion--rhythm, phrasing, dynamics.  She asks a question of her dance students that Maxim often asks of flute students, "What idea will you give the audience?"

12 o'clock David Duff of Alabama Public Radio interviews Maxim on air. 

Maxim:  "It's GREAT to be in Ah-lah-bah-mah!"

Photo by Pamela Gordon

1pm rehearsal with accompanist Pamela Penick. 

Maxim, "We are a TEAM."

2pm to 4pm

Flute Studio of Professor Diane Boyd Schultz poses with Maxim Rubtsov following his master class.  Maxim tells the students, "You need a good sound and mastery of all skills, but performance is 90% attitude, feeling, passion."

Photo by Sarah M. Barry

6pm to 8pm Rehearsal with dancers Sharra Coley and Laramie Tyson in Yun's Etude for Flute

Choreographer Rita Snyder, "Maxim has an excellent natural sense of what to do with dancers."

Photo by Sarah M. Barry

Maxim with Bryant Henderson in Debussy's Syrinx.

Photo by Sarah M. Barry
Did you do all that in one day?!

Maxim:  "Plus I ate Dreamland BBQ and went out to a piano bar."

Fourth Presbyterian Church in Chicago Flute-Organ Prelude at Two Morning Services

Organist John Sherer and Maxim performed Four Psalms by American composer Moonyeen Albrecht in the magnificent acoustical space of Chicago's Fourth Pres Church at Michigan Avenue and Chestnut Street. 

About Maxim and Moonie, John said, "Four Psalms is a delightful piece that conveys the meaning of each psalm in a poignant manner.  Max has a tremendous talent and gives his all to the music, which is very inspiring.  He brings out the best of the music.  He shapes each note and each phrase with great artistry.  Many people in the congregation commented on how much they enjoyed hearing him."

Find more more views of the church and information about its history here.

Maxim's Day Off--Well, Almost...

The Family Band

Maxim, Anna and Matthew

How to Count Three Beats per Bar

FAQ Maxim Rubtsov

Photo:  Tema Bryansk

Why do you take a wide stance when playing the flute?

Maxim:  For better breathing and balance.  During a long performance your body, chest and throat must be open.  You become like a breathing machine.  For me this is a natural way to stand.

Why don't you stand in the well of the piano, as most soloists do?

Maxim:  This has to do with sound and what I hear.  When I stand by the piano strings, especially if the lid is open, I hear too much of the piano sound and not enough of my flute sound.  Also when I turn toward my accompanist, my flute sound goes to the back of the stage.  If I stand on the other side, my sound goes out to the audience.  I can hear my sound and the piano better--and get a better balance.  Then I feel more as if I am playing as an ensemble with the pianist, not as a soloist.  We have a closer connection, and actually on most pianos the music stand has a reflective surface and the accompanist can see me, as if in a mirror.

How does dance training affect your music?

Maxim:  Well, I guess I feel the music with my whole body and I'm not afraid to move.  Mainly, I just understand how much dancers want to perform on stage with live music, and I like to be there with them--dancing a little bit with my flute and my feet.

Northwestern University, Road Signs, Weather Signs and Eyebrows

Some days ago a road sign offered the option:  West to Chicago or East to Cleveland.  "Hard choice," said Maxim at the wheel of the little red car, "both good orchestras." After bowing in the direction of the great Cleveland Orchestra, we headed for Chicago with the anticipation of meeting CSO's legendary flutist and principal piccolo Walfrid Kujala.

Read about Kujala’s life and publications.

Professor Kujala and his experienced Northwestern administrative team had prepared all details of our visit.  Time Out Chicago posted the concert on its web site, and the Chicago Tribune announced, "Maxim Rubtsov Flute Recital and Master Class."  Posters on campus highlighted the Thursday concert of "Maxim Rubtsov, Flute, with Yoko Yamada-Selvaggio, Piano." 

Maxim took the stage on a dark and stormy night that seemed to foreshadow trouble.  It came in the form of a sticky key on the piano, B above middle C--a note you can hardly avoid in the repertoire of a recital and master class.  With Yoko struggling to deal with the troublesome piano, Maxim added to the challenge.  He stepped forward at mid-point in his recital and announced, "Thank you for coming out tonight!  I decided to add one more beautiful Russian song to the program.  After Red Sarafan I will play The Nightingale by Alexander Aliab'ev.  They managed to finish with a near record-breaking one-minute Flight of the Bumblebee.  Before the students played, Wally Kujala offered a modest assessment.  “Most of you are too young to realize this," said Professor Kujala, "but I can observe that Maxim has the stage presence of Jean-Pierre Rampal from his eyebrows to his feet.”