I am Australian but acquired Dutch nationality too after living 25yrs in The Netherlands. Highlights of performing career are too many to name, but I have experienced tremendous highs playing with  Marc Minkowsky, Konrad Junghänl and Ton Koopman, also with the Australian Chamber Orchestra and the Australian Classical and Romantic Orchestra. I have experienced sublime highs performing with my own ensemble, The Attaignant Consort and lutenists Nigel North. 
Teaching has always been a very demanding element in my work, but it brings deep insights, humility and sometimes profound satisfaction, especially when a student finds greater clarity and confidence as to their own aesthetic goals and personal  musicianship. 
The baroque flute became the central vehicle of my musical life when I was about 19 (after many years of playing only modern flute). That has never changed! The renaissance flute joined it many years ago, so that there are meanwhile two main vehicles. On a good day, I feel that I was made for this – for making music by blowing through simple wooden flutes. 
Instruments are means to make wordless music, to imitate speech and song by suggesting phrases, and meaning, but indirectly - by conjuring up colours, and light and dark, brilliance and sorrow, tears and laughter…
Future perspectives and projects are all about just continuing the exploration that began decades ago for me. Renaissance and baroque music will always be my musical ‘mother tongues’, but late classical and early romantic symphonies offer me thrilling vistas of their future. To enjoy being in a position to make – or take – only projects that offer me a high level of musical interest in the company of musicians who share the same level of aspiration, dedication and skill.

Kate Clark on YouTube
The first thing you do when you pick up your traverso to start the practice day, and why?
I play a low D and then go out from there to make various arpeggios up and down – all slurred. I do this to orient myself in the main tones of the instrument. I usually go from bright to dark keys (sharps to flats).
Any recurring piece to play every day, and why?​
No, I don’t.  
Do you have a daily routine?​
Yes, though it is not quite the same each day. In particular it may vary according to the piece/s I am about to work on. It always involves a series of exercises, including long notes, slurs, messa di voce and some articulation exercises.
What kind of goals do you set for your practice?​
Generally, a resonant sound and a lot of flexibility in the embouchure are always goals of my practice. Secondly, my warming-up will mostly include exercises designed to help me master passages within pieces that I am going to be working on. I find it important to aim for maximum mastery of tuning in all exercises – whatever their specific goal. I enjoy inventing my own exercises, and encourage students to do the same.  This often means that I invent some little ornament or phrase that includes the difficult passage I want to work on, but also transpose it onto other notes, eg all the notes of the scale of that tonality. This way, exercises become moments of improvisation and ‘play’, rather than just a repetitive drill.
Do you do any systematic warm-up?
Yes, more or less. Sound (plus tuning) and tonguing are always the main focus. Fingers will be trained if more challenging keys or passages are awaiting me in the rest of the practice session. Awareness of the body – its spaciousness, finding ease in producing the sound, and balance in standing or sitting, are always close to front of mind.​
Do you have a specific structure for warm-up and practice sessions?​
More or less. I progress from slow (long notes and combinations of 2-4 notes) to faster (chordal exercises of all kinds) and in articulation exercises the same, e.g. from di-di, to di-ri, to tu-ru to di-dl).
Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?​
More emphasis on sound and tuning with harmonic awareness, and more emphasis on fine details of tonguing; less emphasis on whole suites of scales, arpeggios etc, and less emphasis on speed as a general goal.  
What are the key elements and unmissable points of daily practice?​
Resonance and flexibility throughout the range. This means (for me) well-controlled messe di voce, elegant slurred octaves and other large intervals. Scales ad arpeggios are used to master resonance and perfect tuning throughout a tonality, rather than for speed of fingers. Good tuning for 18th century music requires a good sense of harmony, modulation, harmonic destination… Since we all play more than one type of historical flute, this requires care on each of them.​
How long and distributed should warm-up and practice be?
This varies very much. I can spend an hour or more warming up, especially if I have had to change flutes recently. When things go easily and time is short, warming up may take as little as 10-15 minutes.
Any  specific tip to address difficult technical passages during daily practice?
I have several tips:
  • slurring everything first; analysing which particular transition makes the passage difficult (it’s very often only one!); 
  • analysing whether a particular finger needs to relax/ lift less/ be more alert, and practicing for that; 
  • making slurred loops of the passage with different rhythms; sometimes tonguing (or slurring to) one particular note will make it easier. It’s worth experimenting with that as long as it doesn’t destroy some higher aesthetic purpose.
Are there any tools that are particularly useful for practicing?
A tuner is very handy sometimes, though mostly just for general orientation in the diapason. Also useful for practicing diminuendos, without losing too much pitch. Metronome occasionally, as a basic guide to tempo in case of unfamiliar music, otherwise to find out where one might be rushing or slowing down. I never use it for more than a few minutes.
Any other general advice, suggestion, tip?
Stretching and relaxing often during practice. 
Using each breath to feel spaciousness in the body - ‘the chamber’ within the body that receives the sound. 
How do you advise your students as far as structuring their daily practice?
It depends very much on where they are and what they themselves want to focus on.
I generally mention that one of my modern flute teachers used to recommend spending one third of each session on technique, one third on etudes and one third on repertoire. This is not really necessary for baroque flutists since etudes play a lesser role for us.
But one third to one half the time on sound and articulation exercises often makes good sense. 
Do you suggest or teach a warm-up routine?
I always recommend starting with long notes, and consider practicing diminuendo technique absolutely essential to developing flexibility and good tuning. Articulation warm-ups are generally indispensable too, but which ones and for how long varies enormously according to the student and their own goals at that point.​
Are there any specific pieces particularly beneficial to be played regularly in daily practice?​
Yes, and they are all for general improvement:
  1. Quantz’ little exercise from the Solfeggi – combining repeated notes with the tongue ‘closing’ each note (“dit” or “deet”), followed by a scale in which the tongue does not close each note is an absolutely excellent exercise – almost 300 years later! It encourages economy in use of breath and also a smooth transition between ‘spoken’ and ‘sung’ notes. By that I mean that some notes need a specific length – rather like words that end in a consonant, while others need to flow from one to another. The latter are more like a sung melisma, with only a gentle touching of the tongue to mark the beginning of each tone.
  2. Quantz’ other etudes and caprices and exercises include many useful things but I do not stipulate that people must use these. I generally prefer to make up my own etudes around any passage or task I find difficult.
  3. For the multi-keyed flute, by contrast, there are many valuable etudes.