Jan Kinmonth
One would never know from Jan Kinmonth’s cheerful demeanor that she wakes up to a long to-do list every day and keeps to a schedule that would leave many others exhausted. The Boston Philharmonic’s second flute player devotes her time to her family, her own piccolo making business, and of course, the Boston Philharmonic, rarely missing a concert in the more than twenty years she has played. She stops in for a coffee and a chat with Boston Philharmonic Program Book Editor Pamela Feo, yet though she is running on a tight schedule between engagements, she remains completely unruffled and focuses on the moment as she shares how she makes how she makes her priorities work together.
“The key is balance. I think I have found the perfect balance,” Jan says as she outlines her various commitments. Over the years Jan has learned the value of this piece of wisdom and clearly lives by it; she laughs easily and would sooner make a joke about her full schedule rather than lament the lack of time with which it leaves her, and says she is always aware that the busy lifestyle she has chosen is the only way to include everything that is important to her.
Jan came to Boston after earning a master’s degree in performance in Toledo, and worked at Brannen Brothers Flutemakers for fifteen years before the company decided to sell their piccolo branch. She signed on with coworker Jim Keefe to take over, and their resulting business, Keefe Piccolos, is now in its tenth year. Her work ever at her fingertips, Jan pulls out a brochure and talks pleasantly about the production process and the unique properties of her instruments, describing them as having “a darker, warmer tone than most.” As she delves into the intricate details of how the instrument works, it is clear that her knowledge sets her apart from the typical orchestra player, and both her performance and her technical skills gain strength from each other. “I have been looking at these instruments under a microscope for years now. The longer I spend making piccolos, the better able I am to detect subtle differences in tone color and pitch when I play, and when customers test out an instrument, I am able to imagine how they will sound in an orchestra.” Such quality service from an actual performer is rarely found in the mainstream instrument making companies, and Jan enjoys comparing performance stories with her customers. “I love working together with them to find an instrument that meets their needs.” Perhaps this personal touch is part of what keeps her business thriving, with instruments in fifteen countries and in several major orchestras.
One of Jan’s creations can also be found in the Boston Philharmonic in the hands of piccolo player Rachel Braude; Jan jokes that “the doctor is in” whenever Rachel has a mechanical question. The camaraderie Jan feels with the flute section is part of what makes her orchestra experience so valuable to her. “I have never played in a flute section like this before. Besides being so professional and gracious, everyone gets along so well and we have a lot of fun together.” In spite of the difficulties she encounters in managing a rigorous rehearsal schedule on top of running her own business, she is grateful for the Boston Philharmonic for providing her with the opportunity to not only keep up her playing at a professional level, but to do so with such an extraordinary group. “I first heard the BPO from the audience when I moved to Boston, and I thought, ‘Now here’s an orchestra I would be interested in playing with!’ ” she recalls. “And the fact that it worked out the way is still amazing to me.” Thinking back on her first impressions of Ben Zander, Jan bursts out laughing and exclaims, eyes widening, “He was a bit of a wild character! I just don’t know where he gets his energy from. He bounces around like a twenty year old!” She says that he has always been very appreciative of her efforts to stay committed to the Boston Philharmonic throughout her shifting responsibilities outside the orchestra, and he does all he can to ensure she can easily make every rehearsal. “I try to be there for everything, but there are days when I have to stay home for the kids. Ben will call up and say, ‘I’ll pay for your babysitter! Please do whatever you have to do to be there!” Jan laughs
Having studied performance before ever considering a career in instrument making, the Boston Philharmonic allows Jan to stay connected to her original pursuits by giving her something she cannot find elsewhere. “A lot of the music we play in the orchestra feeds my soul. I never get tired of Mahler, and this April will be my third time playing The Rite of Spring, but I am still so excited about it.” She thinks that November’s Wagner program is “a great opportunity for the orchestra” as well as an adventure as the Boston Philharmonic embarks upon new territory together. “When Ben said this would be the first time he has ever conducted Wagner, I said, ‘What were you thinking?’ ” Jan jokes, “But he said ‘It’s now or never!’ ” It is also thanks to the Boston Philharmonic that Jan can partake in the shared experience between performer and listener, and the orchestra has given her some of her most poignant moments in performance. “One of my favorite memories is of the time we went to Carnegie Hall to give a benefit concert for the firemen after September 11th.” Thinking back, Jan’s voice drops as she is visibly moved. “It was a wonderful gesture and just a great time. To in a big hall like that is great, but to do it for such an occasion—it was special. The audience reaction was kind of overwhelming—there were a lot of people crying. When you make an impact like that you know that you’ve done something, that you’ve moved them through the music.”
Between the Boston Philharmonic and her piccolo business, it might appear that Jan is not left with any time for personal commitments, were it not that her anecdotes are woven with frequent references to what is clearly the most important part of her life. With a single word Jan sums up what her role is outside of the world of the orchestra and piccolo making: “Mom!” she exclaims, imitating one of her children calling her. “When three o’clock comes and I leave work, I might as well jump into a phone booth and change into my superman costume!” she laughs. “It’s a great puzzle, trying to fit all of our schedules together and keeping everyone organized.” Jan took a couple of years off from playing and cut down on work hours—“to get some sleep!” she says—when her children were little, but returned as soon as she could. “I decided to go back to the BPO because I missed it too much. I knew it would be difficult but we just said, ‘We’ll figure it out.’ ”
Perhaps it is this attitude of taking challenges in stride that enables Jan to achieve the balance she deems necessary. “There are times when you find yourself between a rock and a hard place and you just can’t do it all,” she acknowledges. Yet though she speaks of “juggling” in order to make everything work together, the management of her schedule is less a haphazard circus act then it is a smooth blending of priorities. Jan has clearly found a path that works for her; she has discovered over the years what is most important for her and works hard to keep her commitments. Not least among them is the Boston Philharmonic, as the one place that provides her with the rich performance opportunity she cannot be without. As she says, “I just love to play. I can’t imagine what my life would be like if I weren’t playing. There would definitely be something missing.”
Written by Pamela Feo