FLUTE Member Of The Week
May 15 to 21, 2000

I would first like to say that I am proud to be associated with the Flute List and honored to be featured as a "Member of the Week". I offer my sincere thanks to Larry and the List owners for developing and maintaining this wonderful and unique opportunity for the sharing of ideas and information related to all things flute. I truly appreciate all of the discussions and I learn new things everyday through everyone's thoughtful contributions.
I live in Temecula, California, which is inland and about 50 miles north of San Diego. I grew up in Salt Lake City, Utah where I began studying the flute at the age of 9. I can never remember a time when I did not want to play the flute. As a very young child I imagined myself holding the elegant silver instrument that I prayed one day I could play. I never once considered playing another instrument and my obsession with the flute reached a pinnacle when I turned nine years old. I could not enter the school band program for another year, but I promised God that I would never ask for another thing and that I would practice everyday for the rest of my life if I could only have a flute that year. God heard my plea and my parents bought me my first flute, a Bundy, for my ninth birthday.

I was fortunate to grow up in a community that strongly supported the arts and with parents who strongly supported me, so I had private lessons right from the start. God looked after me again when he led me to two of the finest flute teachers in the world: Michael Vance of the Utah Symphony and professional flutist, Jane Morrison (who is now Jane Lyman). Though I found Mr. Vance's serious demeanor and uninterrupted pacing during my lessons terrifying at first, as I was just 11, I grew to really like him and respect him greatly for both his disciplined teaching and beautiful playing. From Mr. Vance, I learned the value of practice and technical proficiency. I also learned that there is no substitute for the Gariboldi scale studies. I will never forget the great satisfaction I felt when one day he told me: "You're pretty good for a girl". Shortly after this, he assisted my parents and me in finding my first professional flute: A handmade Muramatsu (which remained my primary instrument for 20 years). After I had studied with Mr. Vance for 4 years, he recommended a change and referred me to Jane Morrison whose exquisite playing and dedication inspired me to practice 3-4 hours/day with true devotion. Her disciplined, yet loving approach to teaching gave me the strength to play Andersen Etude after Andersen Etude without becoming suicidal. Jane had been a student of Julius Baker, and when I was 16 she took me with her to attend his masterclass in Carmel, California. Though I have attended many masterclasses since, and heard many fine flutists play and teach; meeting Mr. Baker that year, hearing him play, and playing for him will always represent a highlight in my life, as it was during that trip that I decided that I wanted to become a professional flutist someday. I was fortunate to study with Jane during college as well.

I received music scholarships to attend The University of Utah and Southern Utah State University where I studied Flute Performance. I married during this time, and when my husband and I finished college, we moved to Southern California. I taught flute in North San Diego County, played with several ensemble groups, and did some studio work until my first child, Stevie (a girl) was born in 1983. It was during this time that I realized that in order to support my "flute habit" and my family, I would need to get a "real" job; so I went back to college and received a degree in Nursing. I practiced nursing full-time for almost 10 years, working nights; while I continued to teach and play flute during the day. In 1990, I had my second child, Isaac. My first husband and I divorced in 1993, and shortly thereafter I met the man of my dreams, my current husband, Randy Broz, who is a retired attorney and my biggest fan (although when asked "What's it like being married to a flutist?" his reply is "expensive!").

After I remarried in 1996, I was in a position to devote much more time to my flute playing and flute teaching. I have maintained my R.N. license and occasionally do Quality Assurance consultation; but flute is the center of my professional life. In November, my wonderful husband bought me the flute of my dreams, a Handmade Aurumite Powell, which I love!

I am fortunate to have a very active private teaching studio full of wonderful students (including the Principal Flutist for the San Diego Youth Symphony and the Principal Flutist for the San Diego Symphonic Youth Orchestra---can you tell I'm proud?). I do freelance performance work, play with several local ensemble groups and recently accepted a position as Principal Flutist with a local community orchestra.

Currently, I am honored to be receiving private coaching from retired flutist, Claude Monteux, who offers so much of himself as a coach and as a musician. I have enormous respect for his wisdom and knowledge, and I have grown so much recently in response to his teaching.

I have been truly blessed with terrific parents, outstanding teachers, a wonderful husband, and two beautiful children. Without their support I would not have been able to pursue and live my dream: that of being a FLUTIST!

Cindy Anne Broz


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