Carlota Garcia

traverso, chamber music

Born in Spain into a non-musical family, my earliest memories are immersed in the music of J.S. Bach. My father, an ardent admirer of the master of the fugue, would return from work and fill our home with the resounding trumpets and organ, often exceeding recommended volumes. Influenced by this musical atmosphere, I commenced my early musical education at the Conservatory of San Lorenzo de El Escorial.
Despite the persistent recommendation from my music teacher, who advocated for the violin—a sound that, to my ears, resembled a dying cat—I remained steadfast in my determination, steering myself towards the flute. At the conservatoire, all the children, rather than being placed in a brass band, as was common elsewhere, were integrated into an orchestra. Perhaps this is why I feel completely at home when part of such an ensemble.
For a decade, I received guidance from María Ángeles Grau, a teacher who became my musical mother. While I cannot recall a time without music shaping my life, my curiosity extended to various subjects, particularly science. Mathematics, aeronautics, and architecture often occupied my thoughts. However, everything shifted during my final year in high school.

On January 17, 2001, I received an invitation to perform Schubert's 5th Symphony with a semi-professional orchestra in Madrid. By the end of the rehearsal, I felt as if I were floating on a cloud. In that moment, I couldn't fathom any other profession providing as much satisfaction as playing the flute. This unforgettable experience solidified my decision to pursue a career in music.

Following the completion of my flute studies, I had the privilege of working with several renowned symphony orchestras in my country for many years. While the experience of performing Mahler, Shostakovich, or Ravel in a large orchestra is undeniably one of the most enriching experiences for a musician, I couldn't shake the feeling that something was missing.

I then embarked on a journey to Brussels, delving into the realm of early music with the traverso, guided by Jan de Winne at the Royal Brussels Conservatoire. My connection to the instrument and its distinctive approach to music became so profound that I couldn't part with the traverso. And so, here I am now, feeling completely at home in Brussels.

I have always been fortunate to have exceptional teachers. They not only imparted technique, style, and musical language but were also individuals with profound emotional intelligence, guiding me through challenges on both musical and personal levels. From Pablo Sagredo and Alberto Rosado at the Conservatorio Superior de Salamanca (Spain) to Gunhild Ott at the Folkwang Hochschule in Essen (Germany), via Jaime Martín and Stewart MacIlwham for flute and piccolo at the Royal College of Music in London (UK), to Jan de Winne for traverso at the Conservatoire Royal de Bruxelles.

I mention each one because every teacher has been and continues to be a profound source of inspiration for my career as a musician. A huge thank you to all of you!


  • Linn Records: Henri-Jacques de Croes. La Sonate Égarée. BarrocoTout. 2019
  • Glossa Music: ORLANDO amore.gelosia.follia. The New Baroque Times. 2020
  • ETCETERA Records : Leemans : The Symphonies. Terra Nova Collective. 2021
  • ETCETERA Records : Leemans : Chamber Music. Terra Nova Collective. 2021