Essays, Articles and Interviews

Like many creative people, Elizabeth Petcu is an interesting person whose positive attitude inspires all who come in contact with her. This page features links to two articles about the hearing problems that ended Elizabeth’s orchestral career with the RTÉ Concert Orchestra. These articles highlight the value of a ’never give up’ attitude and a good heart. Also featured is an essay that she completed to gain her Masters Degree in Music Therapy.

An Irish Woman’s Diary

THE ability to hear plays such a crucial role in making music that it’s almost impossible to imagine how a professional musician feels when they’ve been diagnosed with a condition called otosclerosis, or progressive deafness. “I’m in good company, apparently,” says the flautist Elizabeth Petcu with a wry smile. “Beethoven is thought to have had it as well.”  >>  Read more

Beethoven and Me

For most people, hearing loss would be hard to cope with, but it’s almost impossible to imagine what it would be like for a professional musician. Elizabeth Petcu, who was a flautist in the RTÉ Concert Orchestra for more than 25 years, suffers from a condition called otosclerosis, which is the most common cause of progressive deafness in young adults. It is also the most likely cause of Beethoven’s deafness.  >>  Read more

A Flute Maker/Player Dyad

’A Phenomenological Study into the Experiences of a Flute Maker/Player Dyad’ was completed by Elizabeth Petcu in May of 2002 as a final semester essay that she undertook to gain her Masters Degree in Music Therapy from the University of Limerick. The flute maker/player dyad that Elizabeth chose to observe as the subject for this phenomenological study was made up of Martin Doyle (flute maker) and Desi Wilkinson (flute player). An excerpt:

Discovering a flute maker’s workshop in my local town a few years ago enabled me to combine my lifelong fascination for woodwork and wood turning with my love of flutes and flute playing. Under the allure of the atmosphere in the workshop and listening to the philosophising of the maker, caused me to be curious about the “ingredients” contained in the instruments. I wondered if the experiences of the maker, as he worked, could be converted into a more tangible form.  >>  Read more