Dr Noémi Győri is one of today’s most exciting and inspirational musicians. An exceptionally gifted flautist with a dazzling technique, she divides her time between playing, teaching, writing and recording. Born in Budapest, Dr Győri has studied in Hungary, Austria, Germany and Great Britain and has performed as a soloist with leading ensembles such as the BBC National Orchestra of Wales, the Hungarian National Philharmonic and the Turku Philharmonic Orchestra to name but a few. She is also a committed chamber musician, a champion of contemporary music and lives in London with her two daughters and her husband, the conductor Gergely Madaras. In this wide-ranging discussion with Professor Raymond Holden AM that was recorded at her home on 15 January 2026, Dr Győri explores some of the influences that have helped to shape her career and her unique sound-world.
The situation for flautists is very different from that of violinists, because unlike string instruments, the flute is constantly being reinvented, so to speak
The flute and schools of flute playing
Raymond Holden: When chatting to violinists about the influences that have affected their performance styles, they inevitably cite a particular school of playing as being especially impactful. Some will credit that of Hungary, while others might name those of Russia or Germany. Do similar schools of playing exist for flautists, and, if so, how would you best define their respective qualities?
Noémi Győri: Yes, they do, but more historically than perhaps currently. Today, it’s more akin to a musical melting pot, where various styles intermingle and converge. This is largely due to the mobility of players who now study and play in many places. But one school that truly stands out is that of France, which has a tremendously long history. Not only does its playing display great excellence, but because of the very interesting literature that it has produced about styles of playing, musicianship and the various techniques involved with the instrument, it is unique amongst the flute methodologies of previous centuries. The German school is also very important, and it, along with the French, are arguably the two that are most historically dominant. That said, any discussion about schools of flute playing is probably less relevant than when talking about schools of string playing because of the melting pot that I mentioned earlier. Take me, for example. I was born in Hungary, but lived in America and Japan as a child. I then returned to Hungary, before moving on to Austria, Germany and Britain to study. And, in Germany, I trained under a student of the great French flautist, Jean-Pierre Rampal. I was then able to play with the Vienna State Opera Orchestra, which also creates a very distinctive sound-world. These days, I’m really more interested in the sound that an individual musician makes; it’s so important to find a sound that represents you as an artist.
Influences and musical heroes
RH: Like most young musicians growing up, you must have had some artistic heroes who inspired you during your youth. Who were some of the flautists you admired most as a fledgling player, and in what ways did they help to shape your understanding of interpretation and technique?
NG: As a young person, I listened a great deal to the Swiss flautist, Aurèle Nicolet. I loved how he created such a warm and honest sound, and it was because of these qualities that I was ‘hooked’ on his recordings! My later ‘addiction’ was to the recordings of the American-Italian flautist, Marina Piccinini. I listened to disc after disc by her and went on to attend her masterclasses. She is such a bold artist, and is an excellent example of a contemporary female musician who continually reinvents herself. And then there are those from the younger generation who greatly inspire me, such as the French flautist Joséphine Olech, who plays with particular sensitivity and grace on her recordings. All three of these artists have a unique approach to the artistry of the flute which resonates greatly with me.
Choice of instrument
RH: Violinists are also very particular about the instruments on which they perform. James Ehnes prefers aStradivarius, while Julia Fischer opts for a Guadagnini. Presumably, flautists are equally particular about their choice of instrument. That being so, who is your preferred maker, and in what ways do their flutes reflect your sound-world?
NG: The situation for flautists is very different from that of violinists, because unlike string instruments, the flute is constantly being reinvented, so to speak. And while I don’t embrace every new invention, I’m certainly happy to engage with some of them. My own instrument is made by the Japanese firm, Miyazawa, and is constructed from 14-carat gold with platinum-plated keys. I use a handmade head-joint patented by Rainer Lafin, which has ‘angel wings’ on the lip-plate that were devised by him. Then, instead of cork, I have added to the head-joint a little piece of gold, a Hungarian invention. As the flute’s body doesn’t resonate like a string instrument, we are constantly looking for ways to improve it, and this Hungarian discovery is a means to that end. So, it’s fair to say that my instrument is quite unique and is both representative of my musical imagination and the ways in which I think sound should be shaped. To achieve that goal, I was looking for a flute that didn’t necessarily pre-determine my sound, but rather one that allowed me greater flexibility. I wanted a flute that represented me in every way and that offered me a palette and a variety of colours that are not commonly available elsewhere.
Orchestras and their sound-worlds
RH: Having played with leading orchestras such as the Vienna State Opera Orchestra, the BBC Philharmonic Orchestra and the Jewish Chamber Orchestra Munich your work as an orchestral player has been truly pan-European. How would you describe the differences in orchestral technique between those countries, and in what ways did you have to modify your own approach to accommodate local performance styles?
NG: I have to exercise a little caution here, as I don’t really see myself primarily as an orchestral player. That said, when I do perform in an orchestra, it’s a very important experience, as it allows me to remain in contact with that aspect of my musicianship. And it’s true to say that playing with the Vienna State Opera Orchestra was very different from working with the BBC Philharmonic. I was fortunate enough to play with the Austrian orchestra on a number of occasions, but my experience of British ensembles is rather more limited. What was immediately apparent, however, was their different tunings and their sound-worlds in general. The culture within each of those orchestras is also very different, particularly when it comes to the ways in which each of their respective woodwind groups think, both collectively and individually. And you have to remember that woodwind sections operate very differently from string sections. How you might respond musically as an orchestral flautist often depends on the person sitting beside you, and the ways in which they are reacting to the music. If you are working with truly great colleagues, it becomes much easier; it’s rather like speaking a language. I speak five quite well, but if I talk to someone who is struggling with one of those languages, I also find myself beginning to struggle. Conversely, when someone speaks eloquently, I also start to speak eloquently. I very quickly raise my linguistic game, and it’s the same when it comes to music-making. It’s a very interesting phenomenon. When this happens, I notice that my stress levels begin to fall away, and I find it much easier to perform.
New music
RH: As a soloist, you have been a great champion of new music and have recently premiered works by Christian Mason and Mieczysɫaw Weinberg with groups such as the Orchestre Philharmonique Royal de Liège, the Kodály Philharmonic and the BBC National Orchestra of Wales. How closely did you collaborate with these composers in bringing their works to performance, and how important were those collaborations to you, both artistically and personally?
NG: Weinberg died in 1996, but when it comes to living composers, I’m extremely keen to collaborate with them personally. I’ve done this since the beginning of my career and have always been interested in it. By associating very closely with them, I not only quickly realised that it allowed me access to their thought processes, but it also affected the ways in which I now approach earlier music. I very much enjoyed working with Christian Mason, because of how he uses texture in his music. His sensitivity, and the ways in which he plays with colours in his works, continues to astound me, and it’s true to say that our collaboration has been particularly significant to me.
Chamber music
RH: Taking part in a chamber ensemble is one of the great joys of being a performing musician. But for artists who also have busy professional lives as soloists, orchestral players and teachers, the ability to find time to commit to chamber music can be quite challenging, if not prohibitive. What attracts you to this genre, and what professional compromises and adjustments have you had to make to accommodate this most intimate of art forms?
NG: The opportunity to work with outstanding chamber musicians, and the chance to exchange ideas with them, is extremely important to me. It really is food for my artistic soul! As I work a great deal on my own when preparing recordings and recitals, the prospect of interacting with colleagues at festivals and other events is vital musically. I’m often lucky enough to travel with my two daughters to these festivals, and they, too, have an amazing time. The Festival Academy Budapest is particularly exciting, as it attracts some of the world’s greatest musicians. It’s a feast of chamber music! I’ve participated in it every year, and have always found it extremely uplifting. I will also be playing with the Quatuor Danel at the University of Manchester shortly, and as I look up to them immensely, that will also be a fascinating experience. In short, I simply have to make time for chamber music, as it’s the best way for a flautist to converse artistically with other performers.
The Afternoon of a Nymph
RH: You have recently made a number of highly successful recordings that have left critics searching for superlatives. The Afternoon of a Nymph on Rubicon was a particularly exciting disc and one with a fascinating backstory. How did this project come about, and how might you best describe its unique blend of mythology, poetry and feminism?
NG: I have always loved the music of Debussy because of the colours that he creates, and his Syrinx has been a career-long companion. It’s a very short, but an incredibly deep, composition, and I played it at my Carnegie Hall debut and at the Paulskirche in Frankfurt when I received the European Cultural Prize for Young Artists. So, it has since become extremely meaningful to me. This led me to programme a concert devoted to French flute works that were inspired by mythology, and, of course, both Syrinx and the flute and piano version of the Prélude à L’après-midi d’un faune were central to that project. Even though I knew the stories of these pieces inside out, I decided to re-read them and to explore their narratives further. This then prompted me to question what the Nymph is actually doing in Syrinx. We know the story from Pan’s perspective, but what was the role and the feelings of the Nymph, and was she even interested in him? I quickly realised that I’d never thought of these issues, and knew very little about them. The more that I explored these themes, the more I became interested in them. I wanted to know: why the Nymph turned into a reed, precisely why Pan cut that reed and what did this actually mean for this female figure?
RH: So, what did you discover and how did it affect you?
NG: I was a little shocked as a female artist that I hadn’t considered these issues earlier, but was determined not to approach them in a judgemental manner. And this exploration was also my first step towards my collaboration with the Hungarian poet, Anna T. Szabó, whose work not only has female narratives, but also considers the concept of nymphs. I was very keen for her to write about these themes, and to reflect on Debussy’s music and some of the other pieces that I was then working on, all of which were inspired by Greek mythology. And by coming to the music through her poetry, the original compositions took on a greater complexity and intensity. Then, there was the second part of this project, the concerto that Christian Mason composed for me: the Thaleia Concerto. In that work, he examines the role and the world of the Nymph, rather than that of Pan. When I first thought of the concerto, I had considered working with a female composer, but I soon realised that it might be more interesting to discuss these issues with someone from the opposite sex. This meant that I was able to transcend gender boundaries, and to consider the various tropes collectively. It also meant that I might be better placed to explore why some powerful voices were generally overlooked and why they failed to be placed in the aesthetic forefront. The flute, itself, is rather like that, as it’s not like a violin or a piano, instruments that are more often than not given primary roles.
Teaching, masterclasses and competitions
RH: In recent years, you have been increasingly active as a pedagogue and have taught at the Junior Royal Northern College of Music and at the University of Manchester. What do you look for in a prospective student, and how would you describe your approach as a teacher?
NG: I’m always conscious of the individual needs of the particular student with whom I am working, and I very much like exploring a wide range of ideas and extra-musical matters with them. But I most definitely have no fixed methodologies, as this would deny me the ability to respond individually to each young flautist with whom I work. What I look for in my students is that spark of interest that drives their curiosity. And the older I get, the more I understand the importance of that spark! Of course, a student must have talent, but that will take them just so far. It’s curiosity that will help them succeed, and it’s my job to ignite that curiosity.
RH: As one of today’s leading flautists, you are now in great demand as an adjudicator and as a masterclass leader. What’s your advice to any young musician who is thinking of entering a competition or taking part in a masterclass, and what should those young musicians hope to gain from such events?
NG: When you’re young there’s nothing quite like winning a prize for your work. And even as we get on in life, we are still keen for our achievements to be recognised. We all like a pat on the head! But for me, the importance of competitions lies in what you can learn from them, rather than the prizes that you might be awarded by them. And the feedback that you receive can also be very useful. I would suggest to those who take part in competitions that they should not get too involved emotionally. Of course, that can be very difficult when you are young and are still searching for the right route ahead. Never take negative criticism too personally, it’s simply not worth it.
Research and the Baroque flute
RH: In 2020, you were the first flautist to be awarded a doctoral degree in performance practice from the Royal Academy of Music and will soon be recording an album of works by Telemann. Does this mean that you will now be exploring the flute from a more historical perspective, and, if so, what possibilities might this new direction offer you as an artist?
NG: While my doctoral dissertation considered how keyboard works by Haydn, Mozart and Beethoven could be translated into flute and guitar duos, the Telemann project will focus on the Baroque flute, a completely different sound-world from that of the modern instrument. I started playing the earlier flute while working on my dissertation, and it was due to that research that I became interested in it. This then prompted the question: what does the flute really mean to me? I quickly realised that it was simply a means to an end, and that music should always transcend the instrument itself. I want to work on pieces that go beyond both the flute and the medium, and I have since found it fascinating how I change artistically when applying these principles. You quickly learn more about such things as technique and phrasing as a consequence of these changes. In short, it has made me a more intelligent and flexible musician.
The ‘Noemi Collection,’ motherhood and future engagements
RH: One of the more unusual projects that you have embarked on is the ‘Noemi Collection’. Launched in 2018, this venture has involved you in a series of fascinating collaborations with a number of leading designers and has produced some beautifully crafted dresses, bags and jewellery. What inspired you to establish these collaborations, and how do you see the collection developing in the future?
NG: I have always loved design, and I find it important to wear on stage things that are related to the music I play. The Nymph project is a good example. I was involved in the creation of the dress and the accompanying jewellery that was used at those concerts. I have also collaborated with the Transylvanian designer, Adél Zsigmond, who fashioned a dress that was inspired by the music of Arvo Pärt. And then there was the gown for my Roots project, which was created to accompany my exploration of my Jewish heritage. It used a type of luminous ink that reflected the complex nature of my origins and that also showed the letters of my name in Hebrew. Even though I really adore beautiful dresses, I have always questioned how I appear on stage. So, I was very keen to explore the message I was sending through my choice of clothing. I realised that whatever I did on the concert platform had to be meaningful and that whatever I wore had to reflect that sense of importance. And, as a female artist, I was also determined to find a way of communicating that was both bold and exciting. This meant that whatever I did when performing had to have an extra-musical resonance and direction. Consequently, this has helped to free me artistically and to inspire me to connect still further with different art forms.
RH: Being a parent of two young daughters, time management must be an ever-present challenge as a performing artist. What advice would you give to others who might find themselves in a similar situation in the future?
NG: Put simply, never give up! It’s very easy as a mother to buckle under the enormous pressure that is commonplace in the music profession. But I really hesitate to give advice, as that might seem arrogant and presumptuous of me. Yet, what I have learned over the years, and especially from writing my doctoral dissertation, was to keep plugging away at it one step at a time. You must simply just keep going, and after a while, you will be surprised by the progress you’ve made. And if you are constantly reflecting on whatever you do, that will also help to shine a light on the way ahead.
RH: What can we expect from Noémi Győri next?
NG: I am very much looking forward to a series of recitals with the pianist Suzana Bartal and the Austrian DJ, Erich Berghammer, who uses scent to complement music. This will involve solo works for both flute and piano, and some pieces for those instruments together. As the music is being played, Erich will release carefully chosen fragrances to interact with it, which will then enhance the audience’s olfactory and aural experiences. These fragrances will change according to what is being heard in a precisely timed manner, and if the listeners close their eyes as we play, they will literally be able to hear and to smell the music. I find this very exciting indeed!
