VOLUME 44, NO. 1 FALL 2018 t h e LUTIST q u a r t e r l y

The Life and of Anna Bon di Venezia

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DEPARTMENTS 13 From the President 15 From the Editor 16 High Notes 42 Across the Miles 44 Notes from Around the World 26 30 38 46 Passing Tones 50 New Products FEATURES 54 From the Graduate Research 20 The Life and Flute Music of Anna Bon di Venezia Committee Chair by Mary Matthews 56 Reviews: Special Section— The handful of compositions by this young, critically heralded Complete Works by Doppler 18th-century composer are drawing increasing attention among publishers, but her canon has not yet become part of established 74 From the New Music Advisory performance repertoire. Committee 78 Honor Roll of Donors to the NFA 26 The Performer-Composer: Jumping Off by Jane Rigler 82 From the Convention Composing flute music along with playing it might seem too Director daunting to consider. But this composer, and six others, advises 84 NFA Office, Coordinators, giving it a try. Each artist offers insights in the what, the how, and— Committee Chairs most important—the why behind your composing adventure. 88 Index of Advertisers 30 Giulio Briccialdi: The Paganini of the Flute Cover image: Courtesy Naxos of America. by Ginevra Petrucci Born 200 years ago, the “prince of flutists” was a universally praised flutist living at a time of unequalled levels of virtuosity. He also excelled at composition, conducting, and—alongside the work of Theodore Böhm himself—flute design.

38 Robert Willoughby

20 by Robert Bigio A longtime friend describes the roots, life, and work of this beloved The National Flute Association and nationally renowned master flutist and pedagogue. 70 E. Lake Street, #200 Chicago, IL 60601 founded November 18, 1972, in Elkhart, Indiana 55 Excellence in August THIS MAGAZINE IS PUBLISHED QUARTERLY BY THE NATIONAL FLUTE ASSOCIATION, INC., A NONPROFIT ORGANIZATION. THE by Jeremy Benson STATEMENTS OF WRITERS AND ADVERTISERS ARE NOT NECESSAR- ILY THOSE OF THE NATIONAL FLUTE ASSOCIATION, INC., WHICH The outgoing NFA Young Artist Competition chair offers insights on RESERVES THE RIGHT TO REFUSE TO PRINT ANY ADVERTISEMENT. the annual event—and guidance for future contenders. ISSN 8756-8667 © 2018 NATIONAL FLUTE ASSOCIATION, INC.

FALL 2018 THE FLUTIST QUARTERLY 5 NFAONLINE.ORG

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wmshaynes.com BOARD OF DIRECTORS Eva Amsler (2017–2020) Professor of Flute Florida State University [email protected] Cristina Ballatori (2016–2019) Flute Professor OFFICERS University of Wisconsin–Whitewater Founder [email protected] Honorary Life President Jason Blank (2018–2021) Mark Thomas Owner, Bernhard Hammig [email protected] [email protected] President of the Board Lisa Bost-Sandberg (2018–2021) Joanna Bassett (2018–2020) Instructor of Flute Second Flute and University of North Dakota Rochester Philharmonic [email protected] [email protected] Mary Kay Fink (2016–2019) Vice President of the Board Piccolo Penny Zent (2018–2020) Cleveland Orchestra Station Manager KAMU-FM Retired Flute Professor Texas A&M University Cleveland Institute of Music Principal Flutist [email protected] Brazos Valley Symphony [email protected] Jennifer Grim (2017–2019) Flute Professor Secretary University of Nevada, Las Vegas Naomi Seidman (2018–2019) Zéphyros Winds Assistant Professor of Flute [email protected] Penn State University [email protected] Sarah Hollandsworth (2017–2020) Director of Sales and Marketing Treasurer JL Smith & Co./Flute World Maury Wilkinson (2017–2021) [email protected] Accountant Freelance Flutist Stephanie Jutt (2017–2020) [email protected] Professor Emerita University of Wisconsin–Madison School of Music Assistant Secretary [email protected] Nicole Molumby (2018–2019) Flute Professor Caen Thomason-Redus (2018–2021) Boise State University Freelance Performer [email protected] [email protected] Green Tranquil. Peaceful. Organic.

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www.miyazawa.com EDITORIAL ADVISORY BOARD Amy Likar Francesca Arnone Flute, Piccolo, Flute Faculty, Patel Conservatory at the Straz Center for the Arts and Alexander Technique Tampa, Florida Oakland, John Bailey Linda Pereksta Professor of Flute, University of Nebraska Associate Professor of Flute Lincoln, Nebraska University of Wisconsin–Oshkosh Oshkosh, Wisconsin Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Nina Perlove Rice University, , Texas Executive Director, American Hall of Fame “Internet Flutist,” realfluteproject.com Michelle Cheramy Adjunct Instructor of Flute, Northern Kentucky University Associate Professor of Music Cincinnati, Ohio Memorial University of Newfoundland, St. John’s Michael Stoune Wendell Dobbs Professor Emeritus Professor of Flute, Marshall University School of Music, Texas Tech University Huntington, West Virginia Lubbock, Texas Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Paul Taub Seattle, Washington Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Leonard Garrison Seattle, Washington Professor of Flute and Associate Director University of Idaho School of Music Nancy Toff Moscow, Idaho Music Historian New York, New York Julie Hobbs Assistant Professor of Flute, University of Kentucky Michael Treister, MD Lexington, Kentucky Orthopaedic and Hand Surgeon, Amateur Flutist Chicago, Illinois Ellen Huntington Flutist, Lyrebird Ensemble Susan Waller Flute Instructor, Loyola University, Chicago Flutist, Teacher, Coach Mount Prospect, Illinois San Ramon, California Ruth Lekander, MOT, OTR/L, CHT Brooks de Wetter-Smith Certified Hand Therapist, Flutist James Gordon Hanes Distinguished Professor of Flute Burnsville, Minnesota University of North Carolina–Chapel Hill Jeanne Baxtresser ESSENTIAL GUIDES for SCHOOL and ORCHESTRAL AUDITIONS

PUBLICATIONS RECORDINGS (partial list) Orchestral Excerpts for Flute Orchestral Excerpts for flute(with spoken commentary) Great Flute Duos Jeanne Baxtresser—A Collection of My Favorites from the Orchestral Repertoire for Flute Flower Duet from Lakmé Jeanne Baxtresser Debut Solo Recording, Montreal 1977

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A FOND FAREWELL

hirty years ago, my young, hard- Kelly Jocius, you are a president’s dream, of our competitions and scholarships in working father began to lose energy and I’ve learned a lot from your wisdom important ways. Soon we’ll have a new for the job he had always loved. At and demeanor. database and will launch our new website. Texactly the same time, the company had Anne Welsbacher, I love your wit and My thanks to the staff, board, committee a buy-out for their executives, and to my encouraging way. Thanks for pretending chairs, competition coordinators, and amazement, my dad decided to take it. What that the deadlines were flexible every time other appointees for making these ad- we learned two months later is that he had I missed one. vancements possible. been attacked by the most aggressive type of Leonard Garrison and Francesca Arnone, The ermst of board members Elizabeth brain tumor. The disease was responsible for I’ll always appreciate both of you for work- Watson, Diane Boyd Schultz, and Molly his loss of energy and zest for the battles he ing so hard to create fantastic conventions Barth end this year, and they deserve much had always fought so brilliantly. and for the way you handled every detail appreciation. What a pleasure it has been to In his final weeks as plant manager for a along the way. work with them! Tabatha Easley has been division of General Motors, he wrote a se- And to Linda Mintener, the board’s le- a fantastic secretary—thank you! Our ries of letters to everyone in the plant. All gal counsel: You’re a gem, and the proper sponsors and donors have also helped these years later, I remember the letters course of action was always clear after I immeasurably. well, especially the one that began: “Every talked with you. Through my involvement with the NFA one of my favorite memories at Plant 10 The NFA has taken many positive steps over the past 28 years, I’ve come to know revolves around people.” in the past two years. I’m pleased that our many outstanding musicians, and I’m With my term as president coming to membership continues to increase and lucky to feel that I can call on a huge net- an end, I now write the same line: Every that we’re offering more member bene- work of experts whenever I have the need. one of my favorite memories of the NFA fits than ever. We have new statements For all our members, and especially our revolves around people. Without these on ethics and diversity, our cultural out- younger ones, I hope you’ll find that if you people and their good work and friend- reach continues to increase and provide get involved, the NFA will give you the ship, my job would have been much more opportunities for those in under-served same wealth of inspiration, professional challenging and much less enjoyable. communities, we have exciting new com- help, and camaraderie as it has me. Thank you, Zart, for being such a fan- missions, the Roger Mather and Betty It has been my honor to serve as presi- tastic president that I could simply follow Bang Mather Baroque Flute Study Pro- dent, and I know that our new team, led by through on many of the great ideas you gram is flourishing, and we’ve increased Joanna Bassett and Penny Zent, ensures a had. I’ll always appreciate our earlier past connections to regional flute clubs. bright future for our organization. presidents as well: Their leadership is re- We now have efficient onsite convention sponsible for the success we enjoy today. registration and we’ve enhanced several —Kyle Dzapo

FALL 2018 THE FLUTIST QUARTERLY 13 NFAONLINE.ORG Blair School of Music welcomes Molly Barth

Internationally renowned As a founding member of contemporary sextet Eighth Blackbird, flutist Molly Barth has been Barth toured internationally and recorded five CDs, one a Grammy appointed assistant professor of winner. Since establishing herself as a solo artist, Barth has flute at Vanderbilt University’s recorded with the Naxos, Cantaloupe, Innova and Albany labels. Blair School of Music. Most recently, Barth is a founding member of the Zohn Collective, which consists of some of the most engaging and active contemporary music specialists in the field.

Barth is also a celebrated teacher, having held faculty appointments at the University of Richmond, Willamette University, and, most recently, the University of Oregon. She is a Burkart artist. From the Editor

Anne Welsbacher

VIRTUOSITY f you had asked me to devote an is- composers to explore not only how renowned pedagogue, and pioneer, but as sue of this magazine to “virtuosity,” I good music is written but how you—yes, a man—a decorated flyer in World War likely would have politely changed the you—can compose it yourself. Are these II, half of a half-century-long storybook Isubject. The term strikes me as a loaded contributors virtuosi? As noted above, I marriage, and imbued with a grace and one—at worst, overused; at best, elusive prefer measurable proof to shore up su- modesty that belied his prominence as a in both meaning and attainability. It’s not perlative terms, but there’s plenty here flutist. One might consider even his lineage something one can measure cleanly, so I to make the case for them. All, for ex- virtuosic: The year he died, at age 97, was generally sentence it to the same locked ample, claim large portfolios of works also the year that he had decided to retire. vault where I keep excessive adverbs and performed often. I especially appreciate Willoughby picked up this knack for dangling modifiers. the article’s underlying, albeit unstated, living in part from his grandfather, who Yet when I reviewed the contents of this assumptions: Every virtuoso started out in 1861 had been considered too old to issue of The Flutist Quarterly, virtuosity as a beginner; furthermore, virtuosity fight in the Civil War. When you consid- defiantly emerged as its running theme. is attainable if the artist approaches the er the vast number of flutists who studied It’s there in the articles that look back in task with heart and honesty. with Willoughby before teaching their time, in the ones that examine today’s Italian flutist-author Ginevra Petrucci own students—who now teach their own artists, and in those that look ahead. It’s has written a feature story about a coun- students—the breadth of this single per- there in our profile articles about people, tryman about whom she is justifiably son’s influence on the world of flute truly our regrettably lengthy obituaries, even in proud: Giulio Briccialdi, “the Paganini is, well, virtuosic. a how-to piece by an NFA volunteer. of the Flute.” The meaning of the name Speaking of students, and, by exten- Take Mary Matthews’s cover story. It Paganini doesn’t officially equal that of sion, of looking forward: Our departing reveals information—scant as there is the word “virtuoso”…but can you think coordinator of the NFA’s Young Artist available—about a critically heralded of any that come closer? Petrucci makes Competition has written a pithy piece 18th-century composer who was widely her case with compelling evidence that that every aspiring competitor would be admired in her day, but whose work is this “prince of flutists” excelled at a time well-served to read. Jeremy Benson advises rarely performed today. (The author and in history, she asserts, of unequaled lev- on not only the logistics of this prestigious this editor hope that changes soon.) The els of—yes—virtuosity. Briccialdi’s excel- competition but on how to excel in it—in very title given to Anna Bon di Venezia lence was on display not only as a flutist short, how to aspire to virtuosity. (“of Venice”) says it all: she was formally but also as a conductor, a composer, and We hope you enjoy reading this issue of known as the Virtuosa di Musica di Cam- even an instrument designer. your magazine and that you take some- era for the court at Bayreuth. Read all As you will discover upon reading thing away from it that feeds your own about her within. Robert Bigio’s thoughtful profile, the late virtuosity, in whatever form it might take. Jane Rigler has written an inspiring article Robert Willoughby truly was virtuosic, drawing on the wisdom of six flutist- not only as an impeccable performer, —Anne Welsbacher

FALL 2018 THE FLUTIST QUARTERLY 15 NFAONLINE.ORG High Notes News of the accomplishments of NFA members and the flute world

he Frost School of Music at the University of Jennifer Grim, Frost’s new Tis pleased to announce the addition of two new faculty associate professor of flute be- members. Valerie Coleman joined the faculty in August 2018 ginning in fall 2019, received as assistant professor of performance, chamber music, and the 2017 Teacher of the Year entrepreneurship. Jennifer Grim will join the Frost School of Award from the University of Music at the University of Miami in fall 2019 as the school’s Nevada–Las Vegas College of new associate professor of flute. Fine Arts, where she has been Valerie Coleman is a Gram- on the faculty as associate my-nominated flutist, com- professor for 10 years. Grim poser, and entrepreneur. She has given masterclasses across is an alumna of the Chamber the country, specializing in Music Society of Lincoln Cen- both solo and chamber music. ter CMS Two Fellowship and Jennifer Grim Among the institutions at the Concert Artists Guild and which she has appeared are the is a creator of the ensemble Juilliard School, Yale University, Eastman School of Music, Imani Winds. Listed as “one of Brigham Young University, Stanford University, the University of the Top 35 Women Compos- California–Los Angeles, San Francisco State University, Arizona ers” in the Washington Post by State University, and the University of Iowa, among many others. critic Anne Midgette, Cole- Grim has performed with the Chamber Music Society of Lin- Valerie Coleman man has received the Herb coln Center and St. Luke’s Chamber Ensemble and is the flutist of Alpert Awards Ragdale Prize, the award-winning Zéphyros Winds and the New York Chamber Van Lier Fellowship, MAPFund, and ASCAP Honors Award Soloists. She is principal flutist of the Mozart Orchestra of New and nominations from the Academy of Arts and Letters and York and the Santo Domingo Festival Orchestra and has given Artists. Coleman’s “Umoja” was listed by the solo and chamber performances throughout the United States Chamber Music America as one of the “Top 101 Great Amer- and in China, Colombia, Panama, Dominican Republic, Ukraine, ican Ensemble Works.” the Netherlands, and Spain. Coleman has performed at Carnegie Hall, the Kennedy Cen- Grim has performed as a soloist with the Philharmonic, ter, Wigmore Hall, and Chamber Music New Zealand, among Boca Raton Symphonia, the University of Nevada–Las Ve- other venues. Collaborators have included Wayne Shorter, gas Symphony Orchestra, Henderson Symphony Orchestra, Paquito D’Rivera, David Shifrin, Jason Moran, and the Har- and the Summer Music Festival, among others. As lem and Orion string quartets. Commissions include, among a guest artist, she has performed with the Chamber others, the National Flute Association, the Orpheus Chamber Music Society, the Alpenglow Chamber Music Festival, and Orchestra, the Collegiate Band Directors National Associa- the American String Quartet. tion, Chamber Music Northwest, and many universities. She With Zéphyros Winds, Grim performed the American pre- has been broadcast on Sirius XM, NPR, and Minnesota Public miere of the Wolfgang Rihm in at Radio and abroad and has recorded with Naxos, Sony Classi- the Music in Midtown Chamber Music Series. The ensemble has cal, and Deutsche Grammophon, among others. also held residencies at Stanford University, San Francisco State Coleman has given masterclasses in 49 states—including University, Brigham Young University, the University of North with the Eastman School of Music, the Juilliard School, Curtis Carolina School of the Arts, Skidmore College, the University of Institute, the Manhattan School of Music, Mannes College of Maryland–Baltimore County, and Brandeis University. Music, Yale University, Carnegie Mellon, New England Con- A native of Berkeley, California, Grim holds a bachelor of arts servatory, Oberlin College, and Interlochen Arts Academy— from Stanford University and masters and doctor of musical and on more than five continents. She was an adjudicator for arts degrees from Yale University. She is an Ambassador Clini- the APAP’s Young Performing Concert Artists fellowship, AS- cian for Haynes Flutes and serves on the board of directors of CAP’s Morton Gould Award, and other competitions. the National Flute Association and Chamber Music America. In 2011, Coleman created a summer mentorship program The hillipP and Patricia Frost School of Music is one of the in New York City, the Imani Winds Chamber Music Festival, largest music schools located in a private university in the U.S. which has welcomed musicians from more than 100 institutions With more than 700 students and 100 faculty members, it of- nationally and abroad. She was an artist-in-residence at Mannes fers courses in instrumental, keyboard, and vocal performance College of Music, Banff Chamber Music Intensive, and the Uni- as well as composition, music business, music education, mu- versity of Chicago. She is published by Theodore Presser, Inter- sic engineering technology, music therapy, songwriting, , national Opus, and her own company, V Coleman Music. studio music, and more. Visit music.miami.edu.

16 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG uring the 2018–2019 sea- anniversary of the composer’s death. The programs “Pleasure Dson, Mimi Stillman will is the Law” and “Between the Notes,” titled after works by perform with the Orquesta Debussy, included world premieres by Jan Krzywicki and Sinfónica de Yucatán (Mex- Thomas Whitman. In fall 2017, the ensemble completed its ico), Annapolis Chamber “Music in the Second Capital” project exploring the Found- Orchestra, and Temple Uni- ing Fathers’ musical tastes and their era’s music culture in versity Percussion Ensemble Philadelphia and continued its Música en tus Manos (Music in Leonard Bernstein’s Halil in Your Hands) project featuring the chamber and popular in celebration of the 2018 music of Spain and the Americas. Bernstein centennial. Still- man and duo pianist Charles honda Larson was invited Abramovic will give recitals Rto perform at the 12th Mimi Stillman and masterclasses at Michi- Slovenian Flute Festival in gan State University in Detroit May, a bi-annual event in- and Penn State University, and Stillman and the Dolce Suono augurated 20 years earlier Trio will perform in the DSE Presents series and at Franklin & by Artistic Director Matej Marshall University. Zupan. The two-day event Stillman will perform in the University of Pennsylvania’s was presented in the city of celebration of George Rochberg @100 and will return to Ya- Zagorje ob Savi, Slovenia, and maha’s Music for All National Festival in Indianapolis and the showcased eight renowned in- Kingston Chamber Music Festival in Rhode Island. She will ternational performers, among perform the complete Mozart flute quartets with the Jasper them Emily Beynon from the String Quartet. Rhonda Larson U.K. and Jasmine Choi from During the 2017–2018 season, Stillman performed with Korea. Larson was the only the Chamber Orchestra of Philadelphia, improvising ca- performer invited from the United States. denzas in a Mozart and doing improvisation on Larson was this year’s guest artist at the Upper Midwest flute, piccolo, and alto music by Piazzolla as part of Flute Association Flute Festival in April. In May, Larson the orchestra’s “Improvisionaries” theme. She also gave the was guest artist at the 34th annual Syrinx Flute Festival in U.S. premiere of Dirk Brossé’s DNA in Music with the com- Winnipeg, Manitoba, where she performed, taught, and poser conducting. She performed with the University of adjudicated high school and university students during the Pennsylvania Chamber Orchestra and Chamber Orchestra three-day event. of the Triangle and gave recitals and masterclasses for the In July, Larson was awarded the Critics Poll “Rising Star, Texas Christian University Flute Festival, Southern Meth- Flute” from Downbeat Magazine. odist University, and Music for All. Stillman joined the flute faculty of Temple University in 2017. inda Chatterton recently Dolce Suono Ensemble, of which Stillman is founding artis- Lgave world premieres of tic director, was awarded its seventh grant from the National several pieces written for her. Endowment for the Arts for its project “Rediscoveries: Festival Chen Yi’s “Southern Scenes” of American Chamber Music.” It will present chamber music double concerto for flute and by American composers who were at the forefront of post-war pipa was premiered in Hono- musical culture but are under-represented in concert today. with the Hawai’i Sympho- The ensemble’s 2018–2019 season opens with works by ny Orchestra and conductor Mendelssohn and Martinu, ensemble commissions by Zhou JoAnn Falletta. Chatterton and Tian and Jeremy Gill, and Leonard Bernstein selections. A guitarist Maja Radovanlija pre- program of major works for wind quintet will feature solo, miered “Box Gardens” for flute chamber, and orchestral woodwind players. “Rediscover- and guitar by Aaron Travers at ies: Festival of American Chamber Music” will include two Linda Chatterton the Havana International Mu- concerts and a panel discussion and a reprise of Stillman’s sic Festival in Cuba. Chatterton earlier Brandeis University “Tribute to Irving Fine” perfor- and Radovanlija gave concert tours of China and Thailand and mance. “The Lure of ” will highlight works inspired by performed concerts in Serbia and Montenegro this past summer. the City of Light from the Baroque through the jazz age and As a new Powell Flute Artist, Chatterton presented mas- a world premiere by Anna Weesner for Stillman, clarinetist terclasses and concerts last spring at universities in Kansas, Ricardo Morales, and pianist Abramovic. Missouri, and Arkansas along with harpist Rachel Brandwein. Dolce Suono Trio performed at multiple venues and released Their concert program included Yuko Uebayashi’s new “Sonate American Canvas (Innova Recordings). The CD includes pre- Flore” for flute and harp. mieres of works by Jennifer Higdon, Shulamit Ran, Zhou Tian, Chatterton is a Minneapolis-based flutist who performs and and Andrea Clearfield. teaches throughout the U.S. and internationally. She has degrees In spring 2018, Dolce Suono Ensemble presented the from Eastman and the University of Minnesota and studied “Claude Debussy Centennial Festival” marking the 100th with Bonita Boyd and Julia Bogorad.

FALL 2018 THE FLUTIST QUARTERLY 17 NFAONLINE.ORG atherine Ramirez’s CD CShelter From the Storm (Albany Records)—conceived as a program to help oth- ers through difficulties and setbacks—received praise this past summer from the American Record Guide as a “challenging yet therapeu- tic program.” This past July, Ramirez and guitarist Eva Beneke recorded three music Catherine Ramirez videos in with the pro- lific video-recording team of OpenStrings Berlin. The videos, which include a new piece by Beneke, show different areas of Berlin, including a transit area near a Turkish neighborhood and the World Clock. The videos were released this fall and are available on YouTube. Upcoming activities include Ramirez’s debut on the Thurs- day Music Artist Series in St. Paul, masterclasses at Penn State and West Virginia University, and solo performances with the Rochester Chamber Music Society in Minnesota. Visit catherineramirez.com.

usicians of the Old Post Road, with flutist Suzanne MStumpf, celebrates its 30th anniversary season with five programs that explore the impact of the Enlightenment on 18th-century music and culture. Musicians of the Old Post Road is a chamber music ensemble specializing in period instrument performance of music from the Baroque, Clas- sical, and early Romantic eras. Over its 30-year history, it has given special attention to rediscovering lost or neglected works of the past. The season opened with the free outdoor concert “Pleasure Gardens of ” on September 23 at Gore Place in Musicians of the Old Post Road Waltham, Massachusetts. The concert was in the festive posers from the lively Parisian musical scene that Thomas spirit of the famous outdoor concerts held at Vauxhall on the Jefferson experienced while ambassador to France, including outskirts of London in the 18th century. On November 3–4 a by François-Joseph Gossec, a in Sudbury and Boston, “Jefferson in Paris” will reveal com- by Niccolò Piccinni, and works by Maddelena Sirmen and Claude-Bénigne Balbastre. The holiday program December 15–16, in Boston and Worcester, is “Christmas with the Bach Family” and features the rarely performed oratorio “Die FLUTE SOLOS Kindheit Jesu” by Johann Christoph Friedrich Bach and with arias from Christmas cantatas and oratorios by Johann Se- ORCHESTRAL ACCOMPANIMENT bastian Bach, Carl Philipp Emmanuel Bach, and . change the tempo, record yourself On March 15–16, 2019, “Mozart’s Viennese Circle” show- with the accompaniment, and more cases enterprising creativity in 18th-century Vienna in Classical chamber works by Mozart and his musical friends. Bach, Danzi, Devienne, The program includes a quintet for flute and strings by Donizetti, Fauré, Gluck, Massenet, Jan Baptist Vanhal, Haydn’s “Sun” quartet (with a period instrument for flute), a Mozart string quar- Mozart, Telemann, Vivaldi tet dedicated to Haydn, and a quartet by Cark Ditters von for more information, Dittersdorf. “Stars in Their Eyes,” on May 2–3 in Boston, explores rarely heard chamber works by scientist-musicians please visit our web site and Baroque music inspired by gazing at the sky. Works are by William Herschel, John Marsh and Carl Friedrich ClassicalCollectionInc.Com Baumgarten, Jean-Phillippe Rameau, and Johann Christoph Schmidt. Visit oldpostroad.org.

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20 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG The Life and Flute Music of AnnaAnna BonBon didi VeneziaVenezia The handful of compositions by this young, by Mary Matthews critically heralded 18th-century composer are drawing increasing attention among publishers, but her canon has not yet become part of established performance repertoire.

nna Bon di Venezia, the Vir- born while her parents were on a brief leave tuosa di Musica di Camera for from the court at St. Petersburg. Their leave the court at Bayreuth, was an is documented, but their destination, and O 18th-century composer of therefore Anna’s birthplace, is unknown.2 instrumental chamber music Bon published only three opus numbers dents access to some of the most prolific whose work is categorized today as part during her lifetime, but there is a contin- composers and virtuosic instrumentalists Aof a body of neglected and long-forgotten ued search for later unpublished works. 3 of their time. The conservatories were run compositions by women composers of that The first and third published collections by clergyman who expected women to era. Her flute music explores the full range were composed for and conduct themselves with “modesty and de- of the 18th-century instrument, demon- continuo, and the second was written for cency”; therefore, girls at the schools were strating a combination of virtuosity and solo . required to make an oath not to perform elegance not seen in the music of many of Uncertainty surrounds Bon’s early years on stage after finishing their training.4 her contemporaries. and musical training, but several histo- If Bon was indeed trained at the Pietà, Although critical and modern editions rians cite a parish register indicating she broke these rigid expectations in her of her flute works have gradually appeared her admission to the Ospedale della Pi- later career as a vocalist, instrumentalist, over the past two decades, the composi- età in 1743. If Bon did indeed attend the and composer. Her remarkable abilities tions have not yet gained regular perfor- ospedale, this early musical education in the areas of harpsichord, , singing, mance or widespread recognition in the would have had a significant impact on and composition—both new and learned canon of 18th-century repertoire. This her professional development by pro- styles—provide strong evidence that she may be attributed to her limited number viding training uncommon to women was indeed trained at the Pietà. If she did of extant works and her young age at their and girls during her lifetime. not attend the conservatory, however, she time of publication. It is compounded by The Ospedale della Pietà was one of four was most certainly trained by highly skilled the neglect of women composers in the Venetian conservatories that began as or- performers and pedagogues while touring mainstream history of Western music. phanages. They developed over time into prominent musical courts with her parents. Bon forged a successful musical career schools where students, primarily girls, From 1755 to 1759, Bon and her parents uncommon for her age and gender, and would receive the highest quality musi- were employed as musicians in Bayreuth this can be attributed in part to the lives cal training. The ospedali were praised by at the court of Margrave Frederick and and careers of her parents, Rosa Ruvinetti composers, government officials, and his- his wife Wilhelmine, sister of Frederick and Girolamo Bon. Rosa was an operatic torians, including J. J. Quantz, Charles de the Great. Like her brother, Wilhelmine soprano specializing in buffo roles of the Brosses, and Charles Burney. was an accomplished flutist and compos- comic intermezzi style, and Girolamo was At the conservatory, girls were trained in er, and she was an avid supporter of the an artist, stage designer, and performer. conducting, , , , , arts. She employed lutenists, violinists, and other instruments not commonly and flutists as court musicians, and she Life and Times taught to women anywhere else in Europe. commissioned works from notable com- The title pages of Bon’s published collec- Musicians such as Vivaldi, Quantz, Rous- posers such as Hasse, J. J. Quantz, Franz tions list the date and her age, so we can seau, and Hasse worked for the ospedali at Benda, Carl Heinrich Graun, and Johann 1 PHOTO PROVIDED BY NAXOS OF AMERICA NAXOS BY PROVIDED PHOTO assume that she was born in 1740. She was different points in their careers, giving stu- Gottlieb Graun.

FALL 2018 THE FLUTIST QUARTERLY 21 NFAONLINE.ORG Bon and her parents were musicians at the court of Margrave Frederick and his wife Sophia Friderica Wilhelmine, sister to . The Bon family left Bayreuth after Wilhelmine’s death in 1758, posers gave her a strong sense of that instrument’s capabilities. and for the next four years, they were involved in the cast and A manuscript copy of opus 1 is located in Copenhagen and ap- production of in Pressburg, , and Eisenstadt.5 pears to be a copy of the original printed edition.7 In May 1762, all three members of the Bon family were offered The collection of flute is strongly rooted in the traditional employment in operatic services at the court of Esterházy, where Baroque style while displaying certain features associated with the they worked with Joseph Haydn. developing Classical style. Each of the six sonatas is composed in The last consistently documented event in Bon’s life was her three movements, four of which follow the slow-fast-fast model marriage in 1767. A few sources claim that she sought a divorce and two that follow the more common fast-slow-fast form. in 1770, something that was quite uncommon for that time, but In V in G Minor, all three movements exhibit defining her life and work after 1770 and her year of death are unknown.6 characteristics of mid-18th-century dance forms such as the While her late years remain a mystery, the details of her career minuet, sarabande, gavotte, bourée, gigue, and contredanse. and personal life that are documented certainly suggest that Bon The first movement, Allegro, is cast in the formal scheme of the broke many expectations of women during her lifetime. traditional Baroque minuet, a dance form typically used in the Classical period to structure first movements, slow movements, Compositions and finales. Bon’s first published collection was Six Sonatas for Flute and Although the movement is longer than traditional minuets of Continuo, op. 1. It was published in 1756 in Nuremberg by the late Baroque, the 3/4 time signature, tempo marking, bina- the widow of Balthasar Schmid, an engraver and printer who ry form, two-measure phrase structure, and repetitive rhythmic worked with many important German composers during the motives are indicative of the dance form. While the use of min- first half of the 18th century. uet in instrumental music was a traditional Baroque practice, The collection, written during Bon’s employment at the court Bon’s decision to replace the typical first movement Adagio with in Bayreuth, was dedicated to her patron, Margrave Frederick, an Allegretto was characteristic of the developing galant style. himself an accomplished flutist who studied with J.J. Quantz and The second movement, Andante staccato, demonstrates an in- . Although Bon’s primary instruments were viola triguing use of dance form and rhythm, encompassing elements and harpsichord, her exposure to these masterful flutist-com- of multiple dance styles. This diverges from Bon’s use of one

22 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG While her late years remain a mystery, the details of her career and personal life that are documented certainly suggest that Bon broke many expectations of women during her lifetime. established and unified form in the first movement. The 3/8 time signature suggests the passepied, a dance form defined as a fast minuet in triple meter. Regarding tempo, however, the second movement of the Sonata in G Minor deviates from the traditional passepied definition. Its Andante marking does not lend itself to the standard definition of the quick and lively dance form. Upon rhythmic analysis, one will find motives characteristic of the French overture form. This ceremonial structure utilizes slow, dotted rhythms and emerged as a popular form in the interior movements of a Ba- roque instrumental suite. At the height of the progressive Classical style, however, French overtures were most often heard in introductory movements to instrumental works. Its placement in the second movement of Bon’s sonata therefore represents a more conventional Baroque practice. While such a traditional use of Baroque dance form would not categorize her as a revolutionary, at a very young age, Bon did exhibit progressive tendencies in her unusual blending of tempo, meter, and rhythmic content. The final movement of the Sonata in G Minor is in the form of a contredanse, a dance in the style of a quickened bourée Bon’s final published collection was dedicated to Carl Theodor Kurfürst, Elector of Bavaria. most often used in instrumental finales. Early during Bon’s training and musical career, the contredanse began to surpass no indication that she was offered employment there. But the the minuet as the most favored dance in French culture, and trio and solo sonata collections earned her recognition as a its popularity spread to other European countries. The form prominent composer of in Johann Georg Sul- and rhythms associated with the contredanse continued to zer’s Allgemeine Theorie der schönen Künste (Theory of Fine gain popularity and widespread use well into the Classical pe- Arts)—regarded today as the best comprehensive summary of riod, and this was demonstrated in the works of Mozart and German Enlightenment aesthetics. Bon shares this honor with his contemporaries. Quantz, Telemann, Kleinknecht, Kirnberger, Benda, and other Her final published collection, Six Divertimenti for Two Flutes and such notable composers.8 Continuo, op. 3, was announced on October 26, 1759, in the Nurem- Stylistically, opus 3 exhibits the most characteristically galant berg Friedens-und Kriegs-Currier. Unlike her first two collections, style elements, including light texture, balanced phrases reflect- the publication bears no date of composition on the title page. ing speech pattern, and a slower harmonic progression. Unlike The collection includes six trio sonatas for two flutes and the opus 1 and opus 2 solo sonatas, Opus 3 movements are not continuo, a favored instrumentation among composers of the explicitly titled as dances, but certain finale movements contain time. Although the title page is labeled Sei Divertimenti a Due rhythmic and melodic content typical of dance forms.9 Flauti e Basso, each individual part in the printed edition is la- beled Trio, marking an inconsistency in editions. Progressive Composer of the Era As with the previous compositions, opus 3 was written in An analysis of the formal, harmonic, melodic, and rhythmic Bayreuth and published in Nuremberg. By the time the works elements present in Bon’s music substantiates her role as a were circulating publicly, however, the Bons had already left progressive composer of the late Baroque style. While she did Bayreuth and were traveling throughout Europe. not fully exhibit the post-galant style of composers such as The collection is dedicated to Carl Theodor, Elector of Ba- C.P.E. Bach, her awareness of these developments is evident in varia, who ruled from the court at Mannheim. Given the in- numerous technical aspects of her solo flute sonatas. strumentation and the use of learned styles of composition Bon’s later compositions exhibit important developments such as the fugue, Bon most likely wrote the collection to be and principals of musical evolution between the Baroque and considered for employment at the Mannheim court. There is Classical periods. Although she was young and just beginning

FALL 2018 THE FLUTIST QUARTERLY 23 NFAONLINE.ORG her career when she composed her works for flute, her three published opus numbers possess the inventive and artistic compositional qualities of a musician beyond her years.

Mary Matthews is assistant professor of flute at Tennessee Tech University, where she is a member of the Cumberland Winds and serves as principal flutist of the Bryan Symphony Orchestra. She has performed on four continents in venues such as Carnegie Hall, Severance Hall, the Sydney Conservatorium of Music, Fundação Universidade do Sul de Santa Catarina, Festival Goethe Institut Música Nueva, and Cité Internationale des Arts. She has present- ed her research at the Women Composers Festival of Hartford; the Music by Women Festival in Columbus, Mississippi; and the College Music Society’s National Conference, among others. She holds a DMA from the Hartt School, a MM from the Peabody In- stitute of the Johns Hopkins University, and a BM from Baldwin Wallace Conservatory of Music.

Endnotes 1. Marina Minkin, “Anna Bon di Venezia: Life and Works with a Discussion of the Bon Family of Musicians” (DMA diss., Boston University, 1998), 1. 2. Minkin, 1. 3. Bertil Van Boer, Historical Dictionary of Music from the Classical Pe- riod (Lanham, MD: Scarecrow Press, Inc., 2012), 88. Van Boer attributes two unpublished sacred arias and an offertory to Anna Bon, but this in- formation has not been confirmed or noted in other sources. Van Boer’s information came from a document found by Laury Gutiérrez in Brescia in 2011. 4. Elke Martha Umbach, liner notes to Anna Bon di Venezia, Virtuosa di musica di camera: Sonatas from the Court at Bayreuth, trans. Monika Wörner and Range Cloyd (Umbach & Consorten, Aeolus 10086, CD, 2003). 5. Minkin, 12–16. 6. Minkin, 18. 7. Barbara Garvey Jackson, forward to Anna Bon di Venezia: VI Sonate da Camera per il Flauto Traversiere e Violoncello o Cembalo (1756) (Fayette- ville, Arkansas: ClarNan Editions, 1989), i. 8. Sally Fortino, “Anna Bon,” Women Composers: Music Through the Ages, ed. Martha Furman Schleifer and Sylvia Glickman (New York: G. K. Hall, 1996), 18. 9. Minkin, 59.

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Lisa Bost-Sandberg Robert Dick Anne La Berge The Performer-Composer: Jumping Off by Jane Rigler Composing flute music in addition to playing it might seem too daunting to consider. But this composer, along with six others, advises giving it a try. Each offers insights in the what, the how, and—most important—the why behind your composing adventure.

ave you ever started humming a tune and wondered, Based on the experiences, advice and stories of seven flutist-com- “Where did I hear that? Did I just make that up?” posers—including myself—this article offers strategies on how to Too often, when we hear music in our heads, we don’t enter into the imaginative world of being a performer-composer. Hbelieve it’s possible that it could be an original tune we just Lisa Bost-Sandberg, Robert Dick, John Fonville, Anne La thought up. As flutists, we are so accustomed to being the in- Berge, Allison Loggins-Hull, and Ned McGowan are each in- terpreter, it’s easy to shrug it off, thinking, “I must have heard spiring musicians who generously spent time with me sharing it someplace else.” their stories about how they became composers. The inter- But what if that little catchy tune actually was all yours? What views revealed shared experiences in which we were either if you continued humming and developing it into something pushed, prodded, or beguiled into composing by friends, more? How might it express your own story? teachers, and inspirational artists. What if it transformed into your own sonata, folk song, quartet, Another important connection between all seven flutist-com- or orchestral concerto? posers is that each started out improvising before composing.

26 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG John Fonville Allison Loggins-Hull Ned McGowan

Personally, I was pressured into improvising in front of others was my peers who encouraged me to program concerts with my during the first semester of my master’s program. In my case, tech- own improvisations, so I gave them titles and performed them nique and curiosity provided just enough confidence to eventually alongside other compositions. pursue composition, but it wasn’t a direct or obvious path. This gave me the confidence to continue creating my own works. After a few years, other flutists started asking to play my pieces, and a few commissions rolled in. It wasn’t until other Jumping Off Point people started calling me a composer that I began to consider In a large, required class, I was put on the spot by the professor, that I might actually be one. innovative contrabassist Bertram Turetzky, who volunteered me to stand up in front of the class and improvise, alone. I was pet- rified! What in the world was I supposed to do? After more than Personally, I have found that getting 12 years of playing the flute, I had never improvised in public. I believed all I could do was interpret other people’s music. started is the most intimidating part At the time, I was learning George Crumb’s Voice of the Whale and Bert Levy’s Orbs with Flute, two of the most contemporary of trying anything new. If I can just pieces I had yet attempted to play. New techniques were just beginning to spark my curiosity, the most compelling of which put away the music stand, close my was the interplay between the voice and the flute. Without any thought, I spontaneously started singing and playing simultane- eyes, and give myself permission to ously. Time seemed to stop: my fears melted away as I listened to the timbral worlds between my voice and the flute. play anything, then usually I’m off For days afterward, the encouragement from the instructor and my peers motivated me to continue improvising. Soon, a and running. group of us would regularly meet in a practice room to play, re- cord ourselves improvising, and talk about our pieces. I often Before this, the only other female composers I knew of were refer to that first petrifying moment as the “jumping off a cliff” Cecile Chaminade and one of my college classmates (who has moment, not just because of the adrenaline rush of not knowing since become a well-known composer). I didn’t think I knew what would happen, but because I discovered that improvisation enough about theory to be a proper composer. was the key to unlocking the essential presence of creativity yet It wasn’t until I met Anne La Berge, John Fonville, and Robert unrecognized within me. Dick (at the Annual NFA Convention in 1988) that I realized the flutist-composer even existed. Now, students can study to Playing with Others become performer-composers at programs like Cal Arts and the Working with other curious, non-judgmental musicians was growing undergraduate program I am co-building at the Univer- the main spark that allowed me and many of the interviewees sity of Colorado–Colorado Springs. Opportunities for perform- to continue exploring music without a score. Because my tech- er-composers are growing fast. nique was strongly founded on the classical tradition, I contin- I asked the other six composers: How and/or why did you start ued to improvise with great dexterity throughout my career. It composing? What compels you to compose? These questions

FALL 2018 THE FLUTIST QUARTERLY 27 NFAONLINE.ORG led to others, which resulted in a variety of answers, sugges- one note a profound sound world of ever-changing timbres, tex- tions, and advice for anyone who wants to start dabbling in the tures, and expressions emerged. It was music but without any pre- art of composing. tense of trying to be music. What if we just play one note and listen? Thistransformational experience demonstrated that when we Redefining the Composer free ourselves from the shackles of judgment (whether self-im- First, we might have to re-envision what a composer looks like. posed or by others), “you are empowered to do what you want As Loggins-Hull says, “It’s hard to see yourself as a composer with your work,” as Dick says. Bost-Sandberg identifies being when you envision Beethoven.” free: “Just dive in without barriers. You have the power to throw Depending on personal experience, a composer might look away or save your ideas. Remember, it may be the start of some- like a classical symphonic composer, a singer-songwriter, or an thing you can use later.” electronic musician. However, everyone I interviewed agreed that anyone can compose. For some of us, it all starts with expo- Take Risks, Share sure and encouragement. La Berge makes a strong point about taking risks. She and I both La Berge credits her first and flute teachers, who “en- agree that something happens when you share your work with couraged musicality rather than the score. Music was not the others. One common experience that all the performer-com- consequence of the score. The score was a code to recreate the posers interviewed shared was that we collaborate with, and are music.” inspired by, others. Dick is thankful to his teachers. He carried on their legacy For several of us, performing with dancers was extremely by instilling imagination and composition in his students— valuable. Cross-disciplinary interaction usually leads to poten- Bost-Sandberg and McGowan—who each have mastered their tially fascinating experiences. own voices. If we are not so lucky to have teachers or peers to en- La Berge suggests hanging around other composer-performers. courage us to redefine the composer, then how might we begin? “Working in teams is valuable. When we share the desire to ex- plore, we also take risks together.” She says, “Many times [a piece] One Note needs to come on stage before we understand how/if that piece Fonville says, “Improvisation is the essential gateway to creativity,” works in certain situations and not in others. If it’s a bigger dare and it seems that all seven of us agree: “Just dive in!” [and you take the risk to play it in front of others] then you really Robert Dick notes that we worry about not being “good.” know! Remember: the composition process is never finished.” However, he encourages all of us to embrace the “beginner in Fonville points out that “there were times while improvising ourselves,” pointing out that, while learning, “there’s a beauty I set up acoustically contradictory things. Or I would purposely when you get to see your progress.” undermine the embouchure. All this is what leads to surprises.” Remember all that music you stashed away because you thought it might not be good enough? Take it out of the trash bin Sometimes our own knowledge and and play it for (and with) your group or ensemble. Play it in front of your peers, put it on stage. Don’t forget that designing strate- familiar experiences can trap us into gies like playing with others and setting up “rules and guidelines” for yourself can lead to extraordinary new music that is distinctly a comfortable complacency in which your musical expression. creativity takes a back seat. Getting Use What You Know back into the beginner’s mind may Some might say, “I can’t compose because I don’t know enough about theory.” Loggins-Hull recommends begining by remind- be the vulnerable/scary road to take, ing yourself how much you do know about music and how capa- ble you are as a flutist. but it’s worth it. “Give yourself an opportunity to record yourself,” she says. “It’s OK if all rhythms are quarter notes. Next time, try something contrasting. So, if you played long tones, then try staccato. Then, Personally, I have found that getting started is the most intim- give it a break for a few days.” Then, after listening to what you idating part of trying anything new. If I can just put away the played, if you like something, “write it down and develop the music stand, close my eyes, and give myself permission to play motif that you made, or try modulating to another key. Just use anything, then usually I’m off and running. For some it might be whatever you already know, even just basic theory.” important to be in a soundproof room, where no one is listening. Similarly, Bost-Sandberg suggests, “once you play something If that’s not possible, perhaps try putting in earplugs and start (really, anything), think about what you liked about it. If there by listening deeply to your own breath. It’s where we all start as were things that you disliked, identify one of these elements clear- flutists. From within the breath, all musical sounds emerge. ly, then improvise something very similar but change just that one One of the most valuable lessons I learned about my breath and thing.” By doing this, one can develop memory skills and begin improvisation came from violinist Malcolm Goldstein when he ex- setting parameters, which leads to the composition process. plored the sound of just one note. Without trying or intending to “If I didn’t like something [I played],” she says, “I figure out make music, without any judgment or expectations, in the most ob- what the parameters are that I’m going to place on myself and jective way, he began by listening to one note that he played. Within then play exactly the opposite of that.”

28 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG When we talk about “parameters,” improvisors will often Further Boost Creativity discuss the concept of giving oneself limitations. As a teach- Here are two suggestions on how to increase creativity. er, such limitations help me and my improvisation students to Listen! Listen to the music you love and ask yourself: How is create a set of “rules” like a game, using time, techniques, and it made? What is the structure? What is going on? Can you play patterns as boundaries. along? Try transcribing even one part of it, just for fun. For example, let’s slightly expand the one-note piece mentioned Listen to as many different kinds of music as you can. Log- earlier. Play a two-minute piece using only three notes. Set yourself gins-Hull: “I didn’t want to focus only on classical music, but I free by exploring all the variations of three notes (in any range). studied that tradition because I wanted to play the flute the best What happens when you do that? What happens to the per- way possible. I love classical music. It’s given me the tools to ex- ception of time? ecute what I play effectively. But I’ve always been a fan of other How about creating variations with different durations: a kinds of music too. There’s so much music to explore. I feel bless- four-minute, three-note piece and then a one-minute, three- ed to have had a strong classical music foundation. It has allowed note piece. Use the same three notes and see how many dif- me to take on the next (more challenging) task.” ferent ways—for example, dynamics, range, articulations, and Dick suggests that if you listen to music you don’t understand, rhythms—that you can develop these pitches. go back to it another day and listen to it again! You might be Again, recording the process really helps when you go back a surprised that upon the second or third listening, you discover few days later to listen. There may be a surprisingly compelling some intriguing aspect of it. musical moment (or many!) that you didn’t even notice before. Learn new repertoire. I strongly encourage learning music “I tell my composition students to write something down that that pushes you to the edge of your technique. This may seem like doesn’t work or you don’t like, because that can help you realize the less easy route, but I started out by learning the music of my what you don’t want,” says Dick. “The process of elimination can peers. In fact, everyone I interviewed pointed out peers they col- also help you make a decision.” laborated with and performed as they branched out to new music. I learned contemporary music by Levy, Globokar, Takemitsu, Fer- Notation neyhough, Saariaho, Czernowin, Cage, and Wolff, to name a few. As you begin to notate, consider writing anything down that Learning new music opens a whole new world of sound possi- you understand, whether it looks like traditional musical notes bilities. For me, working with composers, collaborating with per- or not. We support the idea of using squiggly lines, dots, or any former-composers, improvising with dancers, and learning how to form of notation. As long as you can read it and recreate whatev- interact with electronic music opened new connections to others. er you wrote down, that’s all you need. Many people use what is known as graphic notation, which is a Connect to Your Passions fun way to explore non-traditional musical notation in whatever McGowan states this idea so elegantly: “Playing the flute has way you like. Interpreting graphic notational scores is a wonder- revealed the purpose of music for me, which is to explore the ful way to play with others, get to know your own instrument, human condition. As we love stories because they feed our cu- and find new forms of expression. riosities about how other humans can be, we love music for the same reason. While listening to other people’s music, we get Put Down the Flute a sense of how they feel, think, and express themselves. As we For some performer-composers, composing for other instru- compare that to ourselves, we grow with each piece of music.” ments has been freeing. It was fascinating to discover that all What is it that you are passionate about? What concerns do the flutists interviewed started out exclusively composing for you have about the world around you? As a performer, you bring the flute and were gradually compelled to compose for other your own experiences into every piece you play. instruments. Sometimes, working with other instruments leads to dis- coveries about one’s own relationship to the flute. Playing Your Own Music with electronics has certainly changed my perspective of the La Berge says that, as opposed to being only a performer or only instrument. Back in the ’80s, while I was learning Sequen- a composer, “the deep instincts of the performer-composer are za by Luciano Berio (as an undergraduate at Northwestern different; being both has a different balance in the process of University), I started exploring with analog and bringing artistic material to the world.” oscillators. I began to imagine that the flute was an analog I believe that, as performers, our interpretation skills bring a , forever changing my interpretation of that work distinct embodiment to the process of composing. Have confi- (as well as other works). Ever since, I’ve been hooked on elec- dence that, whatever you already know, in this moment, all you tronics and the relationship between my analog and (now) need is that “song in your head.” digital instruments. All the experience you have is enough to create your own La Berge says her work with electronics has led her to a music right now. Why wait? “friend.” “I have something outside of myself and my flute to explore and develop.” Jane Rigler is a nationally and internationally active performer- Sometimes our own knowledge and familiar experiences can composer and assistant professor of Music at the University of trap us into a comfortable complacency in which creativity takes Colorado–Colorado Springs in the interdisciplinary Visual and a back seat. Getting back into the beginner’s mind may be the Performing Arts Department, where she teaches flute, improvisation, vulnerable/scary road to take, but it’s worth it. electronic and computer music, Sound Art, and Deep Listening.

FALL 2018 THE FLUTIST QUARTERLY 29 NFAONLINE.ORG 30 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Giulio Briccialdi: The Paganini of the Flute Born 200 years ago, the “prince of flutists” was a universally praised musician living at a time of unequalled levels of virtuosity. He also excelled at composition, conducting, and—alongside the work of Theobald Böhm himself—flute design.

he year 2018 marks the bicenten- city in Italy and Europe. At this time in nial of the birth of Giulio Briccialdi Europe, competition—especially among by Ginevra Petrucci T (1818–1881), one of the most in- wind instrumentalists—was fierce, be- fluential artists in the history of the flute. cause a profusion of concert bands had On this anniversary, many international drawn more musicians than open posi- initiatives (including the 2018 NFA Con- tions. But Briccialdi, armed with early vention in August) have taken the occasion prestige and a drive to succeed, was soon to rediscover his compositional output, his sought after by several theatrical agents. multifaceted personality, and his lasting One example of Briccialdi’s early en- influence on the flute world. terprise was his transcription for flute of Armed with charismatic personality, the well-known harp solo preceding the ambitious drive, and virtuosic performance cavatina “Regnava nel silenzio” in Doni- skills during a period of key transformative zetti’s Lucia di Lammermoor. Transcrib- political stirrings in Italy and rich musical ing works was a common practice for the artistry in Europe, Briccialdi combined time, but Briccialdi modified the work to fervid artistic, social, and cultural move- provide for himself, as a member of the ments animating the artists of pre-unitary orchestra, a virtuoso passage during the His constant travels combined with his Italy. He embodied the independent and performance of the .11 famously elegant figure and charming self-made artist balancing his artistry be- personality—which made it easy for him tween tradition and innovation. He grew From Italy to Europe to further develop professional relation- to become “the Prince of the Flutists” in a Briccialdi soon became a sought-after “first ships—quickly increased his fame and historical period when instrumental virtu- flute” who also could be asked to develop prestige. An example of his reputation in osity had reached unequalled levels. intermezzi between acts that guaranteed the musical society of his times is the ex- enthusiastic audience applause. His prom- istence of a piece for solo piano composed The Young Artist inent role within orchestras brought him a by Filippo Fasanotti and published by Born in Terni on March 2, 1818, Briccial- steadily growing income, which gave him Giovanni Canti in Milan. The work’s title di displayed a great talent for music from the freedom to perform as a soloist. is “Briccialdi Jou Jou: La Styrienne.” childhood and began to study the flute His enviable ability to balance economic Briccialdi taught amateurs from the no- under his father’s guidance. After losing safety and full artistic expression is prob- bility, who were often capable and refined his father at the age of 12, he continued his ably the reason he never had a fixed, last- instrumentalists. His work eventually studies with local teachers before moving ing role in any of the many orchestras or brought him into the highly prestigious to Rome to perfect his technique under theatres in which he worked. These were position of teacher to the Count of Syr- the tutelage of Giuseppe Maneschi, who in cities including Viterbo, Perugia, Ascoli acuse, brother of the Ferdinand of Bour- taught at the “Santa Cecilia” Institute.10 Piceno, Città di Castello, Fermo, Florence, bon, the King of . After finishing his private and academic Naples (Teatro San Carlo), Milan (Teatro In 1839, Briccialdi resigned from the studies in Rome, Briccialdi began a pro- Alla Scala), Bologna (Teatro Comunale), Neapolitan Court and moved to Milan, fessional career with the goal of working , Pesaro, Spoleto, Todi, Fano, Seni- where he continued his varied activities with orchestras being assembled for opera gallia, Venice (Teatro La Fenice), and in an area of great artistic ferment. in the numerous theatres of every Rome (Teatro ).12 move also put him in close proximity to

FALL 2018 THE FLUTIST QUARTERLY 31 NFAONLINE.ORG Giulio Briccialdi, above, collaborated with many prestigious musicians in London, among them Carlo Alfredo Piatti, center, and Giovanni Bottesini, right. middle European countries and offered him a doorway to in- berg, Theodor von Döhler, Moritz Strakosch; and the celebrated ternational success. violinist Antonio Bazzini. During this period, at a time when In 1840, at age 22, Briccialdi performed in recital with violinist Europe’s musical society was enthralled with the work and per- extraordinaire Antonio Bazzini at the Ridotto of Teatro Alla Sca- sonality of violinist Niccolò Paganini, artistic competition was la in Milan. The artistic partnership would last many years. After abundant and of excellent quality. this performance, Briccialdi’s solo career grew, and he performed in the cities of Treviso, Pordenone, Udine, Trento, Trieste, Fiume, Böhm and Briccialdi and Ljubljana. At this point of his career, Briccialdi played a 1832 Böhm flute Briccialdi married Rosa Ciampolini in 1841, but his travels model built by Godfroid in Paris. During his stay in and international career did not slow down. The couple left for (June to November 1847), he had the opportunity to experiment Austria and, except for periodic returns to Italy for concerts, with Böhm’s new model13 and received the very first instrument Briccialdi worked for the next decade in the capitals and musical as a gift. In his autobiography, Briccialdi described his genuine centers of Europe: Vienna (where he met Gaetano Donizetti), interest in this novelty. But after months of study, a demanding Graz, Linz, Pest, Karlsruhe, München, Nice, and London. solo concert in Coburg under the direction of Louis Drouet, In London, Briccialdi formed relationships with local music and an engagement by flutemakers Rudall & Rose to exclusively publishers and theatrical agents and became himself a promoter present the new instrument in London, Briccialdi started raising of vocal and instrumental academies with artists of great pres- doubts regarding what he described as “fingering difficulties.” tige and fame, such as cellists Alfredo Piatti and Adrien Servais; Two years passed, and the expected official presentation of the double player Giovanni Bottesini; pianists Sigismund Thal- instrument did not take place. Rudall & Rose, noticing a decrease Teatro di San Carlo opera house in Naples, one of many venues where Briccialdi worked. in interest in the new Böhm system, commissioned Briccialdi and other flutists to develop a system that would have “the sound and intonation of the Böhm flute, but the old fingerings.” Briccialdi later wrote, “This request was borderline impossible—none of us succeeded besides me, after 22 years of tireless study.”14 In 1849, during this period of collaboration with Rudall & Rose in London, Briccialdi conceived the B-flat key operated by the thumb for the Böhm flute, which simplified the finger- ing and was universally adopted. The key is still known as the Briccialdi key. 15 These years were also fruitful for Briccialdi as a composer. Most of his works were written during this English period and definitively affirmed Briccialdi’s influence as a multifaceted- vir tuoso, teacher, composer, and flute system innovator. In London, following a devastating cholera epidemic, Briccial- di suffered from a nagging lip infection that prevented him from playing for some time. His fame, however, was of such caliber that the forced period of rest only increased the public demand for his performances, and he was later featured alongside artists of international renown such as Bottesini and Piatti. The enthusiasm for Briccialdi was such that even the severe critic, flutist, teacher, and inventor Richard Shepherd Rockstro (1826–1906) wrote in his book, A Treatise on the Flute, “I have no

32 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Briccialdi’s prestigious collaborators while in London also included Adrien Servais, left, and pianist Sigismund Thalberg, center. Violinist Antonio Bazzini was a longttime partner. hesitation in saying that Briccialdi was one of the finest perform- ers that I ever heard on any instrument. His perfect intonation, “I have no hesitation in saying varied style, and consummate mastery over his instrument are to be remembered but not described, and his tone made such an that Briccialdi was one of the impression upon me that I immediately set it up as a model to be imitated if possible.”16 finest performers that I ever Conducting, the Americas, and the heard on any instrument...” Italian Risorgimento Briccialdi remained in England until 1851, the year of the official — Richard Shepherd Rockstro presentation at the Great Exhibition in London of his develop- ments on Böhm’s flute. After about four years of successes and to research ways to improve his model. In 1869, he obtained a awards, Briccialdi returned to Italy at age 33 to resume his heavy five-year industrial patent for the construction of the Briccialdi solo performance work in major theaters and opera theaters and flute system. During this time, he asked the Ministry of Edu- his work as band director, conductor, and composer. cation to appoint him flute professor at the Music Institute in In 1854, he composed the opera Leonora de’ Medici on a libret- Florence, but no positions were available. to by Francesco Guidi. The premiere, given at Teatro Carcano In 1871, he was appointed the pro-tempore professorship at in Milan the following year, garnered praise from the critics but the Music Institute of Florence and given a second industrial absolute indifference on the part of the public. The work received license for 15 years for the construction of the new Briccialdi only two performances, and the score, preserved by Briccialdi’s Teatro La Fenice opera house in Venice, another venue of Briccialdi’s “sought-after” years. wife after his death, later was unfortunately lost. Briccialdi was among the very first conductors to use the ba- ton and one of the first to come from the woodwind rather than string section. After June 1857, Briccialdi left for Brazil to play principal flute with a theatrical company, but an epidemic of yel- low fever appears to have cut short the success of the undertak- ing. (Because information about what period biographies refer to as “Briccialdi’s concert tour in America” are unsubstantiated and scarce, the “America” tour was likely this trip to Brazil and not to North America.) Upon his return to Italy in December 1857, Briccialdi became involved in Risorgimento, an ideological and literary movement to unify Italy. He committed to several fundraising concerts (in Milan in 1857 and in Florence and Fermo in 1860) to help “the purchase of a million rifles proposed by General Garibaldi.”17

Final Years In 1860, Briccialdi assumed the official position of Maestro of the Civic Band of Fermo in central Italy. Meanwhile, the flute design controversy regarding use of the old versus Böhm system continued. Disputes arose among celebrated Italian flutists, and Briccialdi, while participating actively in the querelle, continued

FALL 2018 THE FLUTIST QUARTERLY 33 NFAONLINE.ORG system flute. The new Briccialdi flute rekindled old controver- of belcanto style drawn from the melodramatic tradition and sies that became increasingly harsh and were a great disappoint- instrumental virtuosity.19 The orchestration for these ment for the artist, who by then had worked on the project for is that of a full operatic orchestra because the works were often 22 years. Hoping to demonstrate the validity of his system, he conceived to be performed between acts to entertain the public increased his concert appearances, playing with famous instru- during often-lengthy scene changes. mentalists and singers, while continuing his professional activity Briccialdi also wrote a charming concerto for two flutes and as an orchestral flutist and professor. orchestra. In 1879, after having trained a large number of excellent flut- Besides the almost 70 paraphrases on opera themes, Briccialdi ists, Briccialdi was officially nominated by Royal Decree to be also wrote transcriptions of works by other instrumental virtuo- flute chair at the Music Institute of Florence, thus obtaining some sos of his time, including Paganini’s “Le Streghe,” Ernst’s “Elegy,” recognition for his flute model. Soon after, his health worsened, and Chopin’s etudes. and on December 17, 1881, at the age of 63, one of the major flutists of the 19th century died. The Prince of the Flutists Briccialdi was an artist who embodied the emblematic expres- The Compositions sions of musical romanticism, from the cult of the personality Some 227 compositions by Briccialdi are currently known, to the variety of his musical roles, simultaneously working as divided into pedagogical, chamber, vocal, symphonic, and virtuoso, pedagogue, composer, and flute system designer—all operatic works. The analysis and assembling of this body of characteristics shared by his virtuoso contemporaries, all pro- work proves challenging, however, because of the difficulty in tagonists of a musical society that was showing its last sparks. finding reliable information about composition dates, opus The legend of “the prince of the flutists” was destined to carry numbers, and manuscripts. on through the true essence of his example: art combined with An element that contributes to such confusion is the author’s craftsmanship, belcanto combined with virtuosity. habit of publishing the same work with different titles and opus numbers several times for different publishers. The true goal Ginevra Petrucci is a concert flutist, professor, and researcher of Briccialdi—and of his publishers—was maximum diffusion based in New York City. She has worked on the rediscovery of of published works to reach a wide audience. Documenting Giulio Briccialdi’s life and compositions through scholarly ma- compositional output for the sake of historical record was not terials, recordings, and publications, including the first world a romantic artist’s pressing entrepreneurial concern, and this edition of the Four Concertos for Ricordi/Hal Leonard. Visit partly explains the almost total disappearance of Briccialdi’s ginevrapetrucci.com. autographed manuscripts; the publishers probably received the only autographed copies. Endnotes Briccialdi’s catalogue for flute and piano includes a large num- 1. Domenico Carboni, “Storia del Conservatorio di Musica ‘Santa Cecilia’ di ber of paraphrases, fantasies, and potpourris on themes taken Roma,” in History of “Santa Cecilia” Conservatory of Music (Varese: Zecchini Editore, 2017), 54. from operas of Verdi, Rossini, Bellini, Donizetti, Mercadante, 2. Giulio Briccialdi, “Solo che precede la Cavatina del Soprano” (Florence: Auber, Meyerbeer, Gomes, Wagner and others; several works Edizione Venturini 592, c. 1860). based on original material; transcriptions of non-operatic works, 3. Gian-Luca Petrucci, Giulio Briccialdi: Il Principe dei Flautisti (The Prince of the such as Paganini’s Le Streghe; and five original works for two Flutists) (Varese: Zecchini Editore, 2018). flutes and piano. His output for flute and orchestra includes four 4. Theobald Böhm, The Flute and Flute-Playing in Acoustical, Technical and concertos on original materials and several operatic paraphrases, Artistic Aspects (New York: Dover Publications, 1964). as well as a concerto for two flutes and orchestra. 5. Giulio Briccialdi, Il flauto e i suoi moderni perfezionamenti (The flute and its Briccialdi’s chamber music production features quintets for modern perfectionment) (Florence: Atti dell’Accademia del R. Istituto Musicale winds and a quintet for flute and strings. Among his other works di Firenze, 1874). are those for solo flute, two flutes, and four flutes; works for voice 6. Richard Carte, Sketch of the successive improvements made in the flute, with and piano; two works for solo piano; several symphonic works; a statement of the principles upon which flutes are constructed; and a compar- ison between the relative merits of the ordinary flute, the flute of Böhm, and and the opera Leonora de’ Medici, unfortunately lost. His activity Carte’s improved Böhm flute with the old system of fingering (London: Rudall, 18 is completed by a plethora of didactic works of very high level. Rose, Carte & Co., 1851). Among some of these are his four concertos for flute and or- 7. Richard Shepherd Rockstro, A Treatise on the Flute (London: Musica Rara, chestra (B-flat Major, A Major, C Major, and E Minor). Com- 1967; first edition 1890). posed for his own personal use and tailored to represent the 8. Concert poster dated 30 October 1859, Teatro Re, Milano. Conserved at the pinnacle of his specific flute virtuosity, those concertos were archive of Istituto Superiore di Studi Musicali “Giulio Briccialdi” in Terni. never published during Briccialdi’s lifetime. The musical mate- 9. Giulio Briccialdi Online Catalogue Project, www.giuliobriccialdi.com. rial, unlike the innumerable operatic paraphrases that Briccialdi 10. The Concertos have been published in 2018 for Ricordi / Hal Leonard in full is known for, is completely original and displays a combination score and piano reduction.

34 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG WIND14375 Mary Karen Clardy 2018.qxp_Layout 1 8/2/18 9:13 AM Page 1

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Copyright © Arizona Board of Regents. All rights reserved. 0918 Robert Willoughby

A longtime friend describes the roots, life, and work of this beloved and nationally renowned master flutist and pedagogue. By Robert Bigio

38 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG obert Willoughby, the much-loved flute player and teacher, died March 27, 2018, Rin his 97th year. Bob was one of the most successful flute teachers in America. His former students include countless first flute players in American orchestras. He was a busy perform- er of solo recitals and chamber music, a tireless promoter of new works for the flute, and one of the pioneers of the baroque flute revival in the U.S. He played in the Cleveland Orchestra and the Cincinnati Symphony Orchestra and taught at Oberlin and Peabody, and latterly at the Longy School of Music in Boston.

Bob had given notice that he was going to retire from Longy at the end of this year but was still at work with his students at the end. His son John put it simply: “To live your life doing what you love, right up to the end, seems to be a good way to live.” Bob Willoughby was born in Grundy Center, Iowa, on June 6, 1921. His mother’s family was of German and Swiss ancestry. His maternal grandfather, as a younger son of a well-to-do family, inherited nothing. He and his wife, then in their late teens, em- igrated to the U.S., where he became a farmer. Grundy Center was a largely German community where at least one church had services entirely in German. Bob’s father’s family, which is of English extraction, emigrat- Robert Willoughby, above, studied with the legendary Joseph Mariano, below. ed to America from Nottingham in the early 18th century. His great-great-grandfather had been a preacher in New York State. His grandfather farmed in Iowa at a time when a farmer did not have a great life expectancy. He retired at the age of 50, typically to face perhaps another decade. But he lived to 94. Bob remembered his grandfather. “He was born in 1834. When , PHOTO BY LOUIS OUZER. ALL PHOTOS COURTESY THE ESTATE OF ROBERT WILLOUGHBY UNLESS OTHERWISE NOTED OTHERWISE UNLESS WILLOUGHBY OF ROBERT THE ESTATE COURTESY OUZER. ALL PHOTOS LOUIS BY , PHOTO S the American Civil War started in 1861, he was considered too old to fight!”

Enter the Flute Bob’s father was a lawyer, and Bob was expected to become a law- ; BELOW RIGHT: CIRCA 1960 CIRCA RIGHT: ; BELOW

S yer himself. In the fifth grade, aged 10 or 11, he began to play the flute. There was no flute teacher at his school—he was taught by band directors—but he did have an excellent mentor who was an oboist. It was not until his later years in high school that he had a flute lesson. Bob then went to the famous summer school at Interlochen. “That was in fact my downfall in terms of becoming a lawyer,” he said. After Interlochen he was offered a full scholarship to study at the Eastman School of Music. “I was still not sure about a career . FACING PAGE, ABOVE RIGHT: CIRCA 1950 CIRCA RIGHT: ABOVE PAGE, . FACING S in music,” he said, “but I loved Eastman. It was the best move I ever made, apart from marrying my wife.” He started at the Eastman School of Music in 1938, where his teacher was the great Joseph Mariano. “Mariano was a nice man,” remembered Willoughby. “He had a huge sound, and he played really beautifully.” Mariano, who died in 2007, was at the time still in his 20s. It is said that he repeatedly refused the first flute job in the Boston

LEFT: ROBERT WILLOUGHBY, EARLY 2000 EARLY WILLOUGHBY, ROBERT LEFT: Symphony Orchestra.

FALL 2018 THE FLUTIST QUARTERLY 39 NFAONLINE.ORG Army Air Corps reservist Robert Willoughby chose battle over a safer spot in a military band, participating in the D-Day invasion missions. Willoughby is fifth from right. Wartime “Laurent made me work my tail off,” Willoughby said. “I prac- Willoughby’s time at Eastman ended after four years, at which ticed four or five hours a day and made as much progress in one time the U.S. entered the Second World War. He enlisted in the year as I had in four years at Eastman. One time, I had worked Army Air Corps, was put in the reserves, and in February 1943 very hard on everything he had asked me to do, except for one began his training as a bomber pilot. thing. Of course, that was the thing he asked me to play. ‘What’s Why, I once asked him, had he not joined a military band? “I the matter—haven’t you been practicing?’ he asked. He really thought every joy I had for music would disappear if I went into gave it to me! Everything else went well, but I left the lesson feel- a band!” he said. “I had always been athletic, so I thought I could ing really down and told myself that was never going to happen fly a plane, although I had never done it.” again. That was a good lesson!” After basic training, he sailed as part of a convoy to Britain, After a year in New England, Willoughby got a job as assistant where he was eventually posted to an airbase in Bungay, Suffolk. principal flutist in the Cleveland Orchestra, then as now one of “I flew my first mission on my birthday,” he remembered. the best in the country. As assistant principal, he doubled the That day, June 6, 1944, was, of course, D-Day. Was he nervous, first part in some concerts and played first flute in others. The or was he too young to even think about that? conductor was George Szell, a famed martinet. “I guess I had a certain amount of anticipation, but that was “He was not hail fellow, well met!” said Willoughby. “I admired what we called a milk run, when we just flew across the Channel him greatly, but you could never love this guy. When he arrived and straight back again. It was quite safe, really. The second mis- in Cleveland, he did some housekeeping—he fired about 20 peo- sion was different, because we bombed an airport further afield. ple. But in his defense, they were mostly players who would not I always remember seeing a sky full of fighter planes, and I had have got in normally except for the war.” heard that they would attack bombers when they were over their The first flutist at the time was Maurice Sharp, who had been target. I have to admit that I was really scared, but it turned out there for 10 years when Willoughby arrived. Sharp remained in they were our fighters. I didn’t know that at the time, but that that position for about half a century. was the most frightening mission I ever had, because I didn’t Willoughby stayed in Cleveland for nine years. For the last know what to expect.” six years, he also worked at the Oberlin Conservatory, where he Bob flew 35 missions in all, with only one almost ending in di- taught for 16 or 17 hours a week. saster. “We had just flown across the Channel when two engines “That was a killer,” he said. “After nine years I quit the orchestra failed—fortunately on opposite sides. We dumped everything and quit Oberlin, too—except they talked me into going full-time.” we could into the sea and headed home. We had just reached the runway when a third engine failed. We were very lucky that day!” Oberlin, Baroque, Recordings Willoughby’s wife, Mac, remembered visiting Bungay with Wil- He had been offered the first flutist job in another orchestra that was loughby many years later. “He stood at the end of the runway,” she not as good as the one in Cleveland, but he said he was worn out by said, “and for a few seconds turned as green as the leaves.” the combination of work. He taught at Oberlin full-time until 1986 apart from a year as first flutist in Cincinnati under Max Rudolf, a Laurent, Szell, Sharp job he took because he wanted the fun of playing first flute. At the end of the war, after his discharge, Willoughby took up Bob liked Rudolf and got along fine but said he once sat in the his flute again, having not touched it for some years. He got a orchestra playing a Brahms symphony that he had played many place as a graduate student at the New England Conservatory in times before and thought, “I don’t want to spend the rest of my Boston, where he studied with Georges Laurent, the first flutist life doing this.” Oberlin made him a good offer, so he returned as in the Boston Symphony Orchestra. Laurent had studied with a full-time professor. “I think I did the right thing,” he said. “I got and at the Paris Conservatoire. to do a lot of chamber music at Oberlin, and I love teaching.”

40 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Bob had known the children’s author Elaine Macmann from his time at the New England Conservatory. They saw one anoth- er occasionally over the years, and in the summer of 1957 they decided they were the right people for each other. Bob and Mac were quite different characters: Bob introspective and even taciturn, Mac lively and voluble. They made wonderful company for anyone privileged to spend time with them. Mac ad- mitted to being Willoughby’s principal cheerleader and was adored for her part in encouraging such camaraderie among Willoughby’s many students. Bob was devastated when Mac died in 2012. After 37 years at Oberlin, Bob and Mac turned in earnest to a plot of land they had bought on the island of New Castle, New Hampshire, just off Portsmouth. Mac lived there while their new house was being built, and Bob stayed in Ohio at Oberlin. This was not a suitable arrangement. Bob had been asked to judge a competition at the Peabody Institute in Baltimore, where changes in staff had led to a flute position becoming available. He was offered the job, which allowed him to live in New Hamp- Among the first of U.S. flutists to play Baroque flutes, Willoughby also collected them. shire and commute once a week to teach for 12 hours. He ac- cepted the job and enjoyed it for 10 years before the weekly flight began to lose its appeal. He was then offered a job at the Longy School of Music in Boston, commuting distance from the house in New Hampshire, where he taught until the end of his life. The Baroque flute entered his life about 1970. Willoughby was one of first U.S. Baroque flute players. He had had a Baroque en- semble using modern instruments, but during a sabbatical year in London (he and Mac were committed Anglophiles), he travelled to Amsterdam to have lessons with Frans Vester and Frans Brüggen. He started buying flutes, initially simply to find a great instru- ment to play on, and built up a fine collection of instruments. He made a number of recordings on the Baroque flute, and his many students include two of the leading American Baroque flute players, Janet See and Jed Wentz. Bob Willoughby’s many years on the faculty of the Oberlin Conservatory gave him the freedom to perform solo recitals and chamber music concerts and to play new music to an extent that few orchestral musicians could manage. He made many fine re- cordings, some of which have been re-released. (Editor’s note: A CD of works performed by Willoughby, curated and produced by the The consummate performer loved teaching, which he continued to do throughout his life. NFA Special Publications committee, is available at the NFA Store.) My first contact with Bob’s playing was on BBC Radio 3 many mentioned. Can there be any greater compliment? years ago, when I turned on my radio at the beginning of a broad- Bob Willoughby’s final teaching position at Longy required him cast of Frank Martin’s Ballade. I did not know who was performing, to employ a driver to pick him up each week at his home in Ports- but I was captivated by the playing. Afterwards, it was announced mouth and drive him to Boston, where he would stay overnight that the performers were Robert Willoughby and Frank Martin before being driven back. His devotion to teaching led him to do himself. This remains my favorite performance of the work, one this job despite the fact that his salary did not cover his costs. in which the musicianship shines through the virtuosity. His son John said, “I enjoy my job, but I have no intention of More recently, Mac Willoughby played me a recording of Bob doing it into retirement, and I certainly wouldn’t be doing it if I performing the Villa Lobos Bachianas Brasilieras number 6 for was losing money. Few would.” flute and bassoon. The playing had the energy of a man in his Bob, however, enjoyed teaching so much he carried on even 30s, but the sound quality seemed much better than one would though it cost him to do so. His students loved him. They all expect for something recorded in the 1950s. I was astonished know he loved them back. when Mac told me the recording was made when Bob was 73. Robert Bigio is a London-based flutemaker, specializing in Greatest Achievement wooden instruments, and is a collector and writer on the flute. I always sensed that Bob Willoughby considered his greatest His two published books are Readings in the History of the achievement to have produced so many fine students, and they Flute, a collection of 19th-century writings on the flute; and were a source of endless pride to him. I have met many of these Rudall, Rose & Carte: The Art of the Flute in Britain, the history students. In every case, their eyes light up when Bob’s name is of this important firm of flutemakers.

FALL 2018 THE FLUTIST QUARTERLY 41 NFAONLINE.ORG Across the Miles by Kathy Farmer News about flute club and activities throughout the United States

The Raleigh Area Flute Asso- program on Friday the 13th. Highlights of the holiday concert ciation and Duke University in December, “Sugarplums & Mistletoe,” included “Umoja” by cosponsored a concert on Sep- Valerie Coleman, “ in 5 Minutes,” arranged by tember 16 by Flute4 (Caroline Judy Nishimura, “Kinda Blue Xmas” by Peter Senchuk, and Ulrich, Carla Copeland-Burns, Melvin Lauf’s “Winter Ride”; the Chamber Choir performed Erinn Frechette, and Amy Ors- Andrew Downes’ tone poem, “Song of the Eagle, op. 71.” The inger Whitehead). The event March 2018 concert was named for “Temperaments” by Daniel also included workshops on en- Kessner and emphasized low flutes, with alto and so- semble skills, musicians’ health, loists and selections for low flute choir. “Suite Spring” last April Laurie Sokoloff mind-games, teamwork, and a featured “Goin’ Uptown” by Valerie Coleman with soloist Alan session with author Sarah Robinson and her book Clubbing for J. Tomasetti, Suite Picaresque by David Uber, and Catherine Musicians. Additional association events this fall include the McMichael’s The Mayflower Suite. July’s “Mariquilla” featured 34th annual Review and Contest, the fourth annual Raleigh Area Latin music, with Ernesto Lecuona’s “Malagueña,” “Alborada Flute Association Artist Competition, and the day-long Raleigh del gracioso” by Maurice Ravel, Antonio Carlo Jobim’s “The Area Flute Association Flute Fair (November 4, 9–10, and 10 Girl from Ipanema,” and “Leyenda” by Isaac Albéniz. DEFproj- respectively). The Flute Fair features guest artist Laurie Sokol- ect at Mesa Community College presented the annual Regional off, exhibits, recitals showcasing contest winners, participatory All-State Etude Master Class for high school flutists with the workshops, the final round of the 2018 Raleigh Area Flute As- Arizona Flute Society in January 2018 and, in November 2017, sociation Artist Competition, and a recital by 2017 Raleigh Area hosted Powell Flutes and a masterclass with Viviana Cumpli- Flute Association Artist Competition winner Krisztina Dér. do Wilson, principal flutist of the Phoenix Symphony. Desert Spring 2019 events include a concert/class with Baroque flutist Echoes Flute Project consists of two larger flute choirs and a Kathie Stewart February 3, the Solo/Ensemble Fest in April, and smaller chamber choir. Visit https://www.youtube.com/DEF- the Raleigh Area Flute Association Members’ Recital in May. project and http://defproject.org. Visit rafaflutes.org. The fourth annual Sacramento Flute Club Festival featured The Chicago Flute Club season Gary Woodward with pianist Miles Graber. The event, held launched in October with “El- April 6–7 at the American River Community College, was a ements of Performance” fea- homecoming for Sacramento native Woodward. A Powell artist, turing pertinent discussions, Woodward was principal flutist for 25 years with the Los An- top pedagogues, and a world geles Opera Orchestra and other musical organizations and is premiere. Teachers and topics a recording artist for motion pictures and television. He was a included Nicole Esposito on tenured professor at the University of Southern California and Baroque ornamentation, Shan- teaches flute at various Southern California colleges. He per- na Gutierrez on contemporary formed on instruments from his collection that were used when Kyle Dzapo techniques, and Meret Bitticks the music was composed: an Arista Böhm system wood flute for on articulation. Jennifer Gunn concluded the event with a world C. P. E. Bach’s “Hamburger” Sonata in G Major; a Louis Lot silver premiere of Jim Stephenson’s new piccolo sonata. In Novem- flute for Debussy’s Syrinx; a Powell platinum flute for Varese’s ber, the club will host its 2018 Annual Student Competition. “Density 21.5;” a 1929 Powell gold flute for Gaubert’s “Ballade”; In spring 2019, the Chicago Flute Club will present the Walfrid an A-flat piccolo; and the flute in which Martinu’s First Sonata Kujala Piccolo Artist Competition; a recital and masterclass us- premiered. For the first time, the Sacramento Flute Club offered ing Andersen etudes featuring Kyle Dzapo, professor of flute at a high school soloist competition. The winners performed at Bradley University; the Chicago Flute Club Member Showcase; the festival final concert and were awarded a cash prize. The and a recital and masterclass by Emma Gerstein, the newly ap- festival featured Powell and Muramatsu-American flute ven- pointed second flutist of the Chicago Symphony Orchestra. Visit dors, Got A Gig flutes, West Valley Music, and other vendors. chicagofluteclub.org. A successful silent auction raised funds for the scholarships. Other highlights were performances of a middle school flute Desert Echoes Flute Project presented five concerts last sea- choir, a high school flute choir, and an adult flute choir. The son, cosponsored two educational events, and presented a festival closed with everyone performing J.S. Bach’s Air on the performance by a 12-member project subgroup at the 2018 G String, conducted by flute choir director and arranger Mar- International Low Flutes Festival in April. “Thirteen,” the sea- tin Melicharek. Contact Vicki Schaevitz at sacramentoflute- son’s opening concert in October 2017, was a slightly spooky [email protected] and visit sacramentofluteclub.org.

42 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG The Florida Flute Association and a narrator at California Lutheran University. The group in- will celebrate its 43rd annual cluded current students, former students, colleagues, and flute convention at Orlando’s Airport society members. Members of the Los Angeles Valley-area Marriott Lakeside Hotel January group, which is always looking for more students and members, 25–27, 2019. The association are from Agoura Hills, Thousand Oaks, Newbury Park, Simi Val- hosts one of the largest regional ley, West Hills, Calabasas, and Northridge. Contact the director flute gatherings in the U.S. The at [email protected]. convention features Marina Pic- cinini, international soloist and Flutissimo! Flute Choir presented a spring 2018 program de- Francesca Arnone Peabody Conservatory faculty spite injuries and illnesses. “An Evening at the Movies” opened member. Friday evening soloists will be Francesca Arnone, 2018 with the 20th Century Fox fanfare followed by the James Bond National Flute Association program chair and faculty member of franchise theme song. Accompanying each piece was a slide Tampa’s Patel Conservatory; and Deborah Heller, flutist with the show with movie posters. Included were “My Secret Garden,” Jacksonville Symphony. Professional and student musicians in “Batman,” “Baby Elephant Walk,” “Pink Panther,” “Beach Par- concerts, competitions, workshops, and masterclasses will per- ty,” “Pirates’ Escapade,” “Mission Impossible,” and “Oklahoma.” form classical, jazz, and world flute music. More than two doz- In late July, a program for the Master Works Series was held by en exhibitors with flutes, music, and more will be featured. Visit the Northeast Tarrant Arts Council. Programming for the fall is floridaflute.org/FFA. “Techno!” and will feature music of technology, from railroads and typewriters to a trip to Pluto. Visit flutissimoflutechoir.com.

The Upper Midwest Flute Association announces its 2019 Young Artist Competition for flutists ages 18–30. Preliminary recordings are due February 1, 2019. Required repertoire is a Baroque piece and a piece from Flute Music by French Com- posers, ed. L. Moyse. Finalists will perform at Upper Midwest Flute Association’s Flute Fest in Minneapolis/St. Paul in April 2019. Prize amounts are $600, $400, and $200. Contact Barb Leibundguth, Young Artist coordinator, at [email protected] or visit umfaflutes.org. Tuscon Flute Club Planning and fundraising are under way for Tucson Flute Club’s UpTown Flutes, a professional flute octet in the New York 50th Anniversary celebration in 2020. A silent auction was held City/New Jersey area founded by Virginia Schulze-Johnson in conjunction with the April 29 concert by the Southern Arizo- and codirected by Karen Demsey and Rebecca Vega, will soon na Flute Orchestra (the club’s performing arm). The venue was celebrate its 20th anniversary. Founding member John Mc- packed, with chairs set up in corners behind the group, and the Murtery composed a new work, “Critical Mass,” which was club netted more than $700 in proceeds of the silent auction and premiered by UpTown Flutes at the 2018 National Flute Asso- almost $500 in donations at the doors. The event was the group’s ciation Convention in Orlando in August. The program also final concert with director Juan Montoya. The program, themed included “Umoja” by Valerie Coleman, “Loch Lomond Theme a trip around the world, included Bela Bartok’s Rumanian Folk and Variations” by Ervin Monroe, and “Raga Das” by Derek Dances, “La Milonga” by Christopher Caliendo, and a medley of Charke. UpTown Flutes, dedicated to promoting new works, Celtic tunes arranged by Ricky Lombardo. During the summer, includes two composers within the group, McMurtery and L. the group held music reading sessions. Visit tucsonfluteclub.org. Elise Carter. UpTown Flutes’ four albums include its most recent, Streaming Dreams.

Send information about flute club activities, and high-resolution im- ages if available, to Kathy Farmer at [email protected].

CORRECTION A review in the summer 2018 issue of this magazine stated that Walfrid Kujala premiered

Conejo Valley Flute Club the Rautavaara concerto at the 1990 NFA Convention. That performance was the U.S. On June 4, 2017, the Conejo Valley Flute Society performed premiere; Gunilla von Bahr gave the world “Peter and the Wolf” by Prokofiev, arranged by Amy Rice-Young. premiere in 1975. The choir, founded in 2002 and directed by Toby Caplan-Stone- field, performed with 15 flutes, an oboe, a clarinet, two percussion,

FALL 2018 THE FLUTIST QUARTERLY 43 NFAONLINE.ORG Notes from Around the World by Christine Erlander Beard Conventions, festivals, competitions, and other global flute activities

The hanghaiS Orchestra Academy is a two-year post-graduate program designed to address the need for advanced orchestral training in China. It is a joint effort of the New York Philhar- monic and the Shanghai Symphony Orchestra in partnership with the Shanghai Conservatory of Music and under the leader- ship of founding president Long Yu. Other international partners have since offered practical training opportunities to academy students, among them the NDR Elbphilharmonie Orchestra, Sydney Symphony Orches- Participants in the Flute Festival hosted by the Shanghai Orchestra Academy. tra, Singapore Symphony Orchestra, Hong Kong Philharmonic The Shanghai Orchestra Academy, with support from Orchestra, China Philharmonic Orchestra, Guangzhou Sym- AEP-China, hosted a Flute Festival June 27–29. Robert Lan- phony Orchestra, and Hangzhou Philharmonic Orchestra. gevin, principal flutist of the New York Philharmonic, and Zhe Starr International Foundation is the presenting sponsor of the Hu, principal flutist of the Shanghai Symphony Orchestra, led New York Philharmonic–Shanghai Orchestra Academy and young flutists from all over China to celebrate the “art of flute” Residency Partnership. during the three-day festival. The academy’s instrument festival began in 2015 with the first Festival, co-led by New York Philharmonic principal trombonist Joseph Alessi and Jay Hao, principal trombonist of the Shanghai Symphony Orchestra. The Horn Festival and String Festival followed in 2016 and 2017, respectively, and the list con- tinues to grow under joint efforts from both orchestras. During this year’s Flute Festival, more than 30 young flutists performed an all-flute version of Mozart’s Flute Concerto in D Major and Franz von Suppé’s The Light Cavalry Overture, among other works. The ensemble was comprised of Shanghai Orches- tra Academy flute students and flutists invited from the public. “This is the first time we opened the audition to the gener- Ludwig Böhm spoke at the Fifth International Flute Festival in Taipei, Taiwan. al public,” said an academy spokesperson. “Once we posted the information online, we received a lot of phone calls and vid- TheFifth International Flute Festival was held April 24 to May 7 eos from young flutists. The final team was selected by the two in Taipei, the capital of Taiwan. The event was organized by Man- coaches.” The flutists chosen represented 15 provinces, cities, Nong Fan, president of the New Aspect Company, which was and areas of China, including teachers and students from music founded in 1979 to present cultural events. In 2006, a triennial schools, musicians from professional orchestras, and others. flute festival was added to the company’s roster of events. Shansheng Huang, a teacher from the Music School of the The utefl festival took place over the course of two weeks in the National Taitung University, flew from Taiwan for the flute National Concert Hall, sharing the space with other activities during festival and participated in all the activities, including rehearsals, that time. Overall, the event encompassed nine evening concerts, an masterclasses, lectures, and concerts. “Flute is one of the oldest afternoon concert, a morning concert and several masterclasses. My instruments,” said Huang. “It can produce a wonderful sound slide lecture about Theobald Böhm featured Chih-Wei Hu perform- in all types of performances, no matter if it is solo or with ing Böhm’s Souvenir des Alpes, Andante pastorale, op. 31, and Lorna an orchestra. The festival arranged performances from solo McGhee performing his Walzer-Potpourri, op. 18. to quintet to chamber music with 30 flutists, fully demonstrating Guest artists included Philippe Bernold, McGhee, Andrea Oliva, the infinite possibilities of flute in various compilations and and Gabi Pas-Van Riet. Many Taiwanese flutists also performed. genres. This was my first experience performing in such a large — Ludwig Böhm flute ensemble. Every rehearsal experience was unspeakable, amazing, and precious.” The VII International Flute Competition “Severino Gazzelloni” Xue Wang, the vice president and principal flutist of Guizhou will take place November 1–5 at the Auditorium of Conservatory Song and Dance Theater Symphony Orchestra, said, “I got to “L. D’Annunzio,” Pescara, Italy. The registration deadline is Octo- know musicians from many orchestras. We talked about music ber 5, and the competition is open to flutists from any country, any and our impressions. Next, we will deepen the exchanges be- chamber group including the flute, and flute ensembles. The com-

tween provinces, learn from each other, and improve.” petition is divided in categories for those born in the years from BÖHM LUDWIG COURTESY PHOTO ZHENG YI; TAIPEI BY PHOTO ACADEMY SHANGHAI ORCHESTRA

44 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG 2002 onwards, between 1997 and 2001, between 1987 and 1996, Hariprasad Chaurasia Turns 80 and before 1987. Visit concorsogazzelloni.it/en/regolamento. by Peter Westbrook The European Flute Council’s “Flute Ensembles Across Europe” international event will be held in Poznan, , April 5–7, 2019. The event will include concerts for participants as well as those showcasing guest artists; workshops and lectures; spe- cial events focusing on low flutes; and vendor exhibitions. Visit http://flautists.eu/feae2019.

The14th Adams Flute Festival is scheduled for April 12–14, 2019, at the Adams European Flute Centre in Ittervoort, The Nether- lands. Visit the Facebook page at facebook.com/FluteCentre.

The finals of the Dutch International Flute Competition will Hariprasad Chaurasia, right, in June 2018. be held April 12, 2019. Search for “Dutch International Flute Competition” and then select the “Students & Young talent (In- ariprasad Chaurasia, the best-known flutist of present day ternational)” tab or visit fluitconcours.nl/en/dutch-international HIndia, celebrated his 80th birthday July 1, 2018. The flutist -flute-competition-engels/informatie-students-engels. and teacher’s influence on the north Indian, or Hindustani, flute tradition has been inestimable. The flute division of the International Anton Rubinstein Com- Chaurasia, known affectionately to friends and associates as petition will take place April 13–14, 2019, in Berlin. Flutists of all Hariji, does not come from a musical lineage. His father want- nationalities and ages may take part in the competition, which will ed him to follow in his trade as a wrestler, but as a teenager, be comprised of two rounds. The first round will be completed Chaurasia was already learning vocal music under a teacher via video link on YouTube, and the finals will take place at the in his home town of Allahabad. When he happened to hear a Mendelssohn-Remise in Berlin. Visit rubinstein-akademie.de/en/ woodwind recital by Pandit Bhola Nath of Varanasi (Banares), cmp/6227/. he turned his studies to the , or bamboo flute. Hariji joined the staff of All India Radio, Allahabad, in 1957 at The IV Toronto Latin American Flute Festival will take place the age of 18 and began a steady rise to fame, working intensely May 6–11, 2019, in Toronto, Ontario, Canada. Events include over many decades. At that time in North Indian classical mu- masterclasses, artist recitals, clinic sessions, private lessons, and a sic, the flute was not fully accepted on the concert stage, having festival flute choir. Competitions for all levels of flutists, an integral been regarded for centuries as an instrument for accompanying part of the festival, include three categories of solo competitions singers. Chaurasia’s precursor, Pannalal Ghosh, a great pioneer for youth flutists, a professional chamber music competition with of woodwind music, had made major inroads in the tradition no age limit, and the Toronto Latin American Flute Festival Inter- until his sudden death in 1960. national Concerto Competition for flutists up to age 31. Visit tlaff. Chaurasia turned to Annapurna Devi, daughter and disciple of ca or canadaflute.wordpress.com. the great teacher Allauddin Khan (and first wife of Ravi Shankar). Initially she refused to accept him as a student, preferring to TheXI Festival Internacional de Flautas de Costa Rica is tenta- develop artists from the very beginning. But after Chaurasia tively scheduled for July 1–6, 2019, in the capitol city of San José, began playing the flute left-handed in order to re-learn everything, Costa Rica. Visit facebook.com/FlautasCostaRica/. Devi took him on. Under her tutelage, Chaurasia developed the style that has captured the imagination of India and established The eighth bi-annual Australian Flute the bansuri as a major part of Indian classical music. Festival will take place at the Sydney More than 150 recordings and countless concerts later, Conservatorium of Music in Sydney July Hariji has become an institution in India and has received the 6–8, 2019 (with a “professional learning country’s greatest national honors, the Padma Bhushan and day” preceding the conference on July 5). Sangeet Natak Akadami awards. He has not only mastered The invited guest artists include Denis and extended the classical idiom but also adapted the flute to Bouriakov, Wissam Boustany, Ian Clarke, lighter forms while moving, with great success, into scoring Marina Piccinini, and Matthias Ziegler. music for Bollywood films. Visit australianflutefestival.com/main.html. Denis Bouriakov In his later years, Chaurasia has devoted himself to the revival of the traditional gurukul, or music academy, where The Canadian Flute Society is making tentative plans to hold students live in and work intensively with a guru or teacher. its third Canadian Flute Convention in summer 2019. Neither Already responsible for several successful careers among his firm dates nor location have been announced. Visit canadaflute. first students, Hariji is now creating a whole generation of ca and search on Facebook. bansuri artists to follow in his footsteps. Send information about international flute events and high-res- olution images, if available, to Christine Erlander Beard, Notes Peter Westbrook studied with Hariprasad Chaurasia in Bombay

DENIS BOURIAKOV PHOTO BY BRIAN COVINGTON; HARIPRASAD CHAURASIA PHOTO BY SHASHI KANTH BY PHOTO CHAURASIA HARIPRASAD BRIAN COVINGTON; BY PHOTO DENIS BOURIAKOV from around the World editor, [email protected]. and at the Rotterdam Conservatory.

FALL 2018 THE FLUTIST QUARTERLY 45 NFAONLINE.ORG Passing Tones In memoriam Peter Lloyd: 1931–2018 The renowned soloist, orchestral player, and beloved teacher was a lifelong student, studying his craft long after achieving success. eter Lloyd, former principal flutist of the London Sym- phony Orchestra, professor of flute at the Royal Northern College of Music, and renowned soloist as well as recipient Pof the NFA Lifetime Achievement Award, died April 15, 2018, in Bristol, England. He was 86. Lloyd performed a concerto written for him by John Wil- liams—later performing the solo of Leia’s theme in the soundtrack for Williams’s Star Wars—and played with many conductors, among them Sir Colin Davis, Leonard Bernstein, Claudio Abbado, André Previn, Bernard Haitink, and Sir Georg Solti. Works he premiered included, with Previn, Nielsen’s Con- certo in 1972, Malcolm Arnold’s Concerto in 1973, and Cristobal Halffter’s Fibonaciana in 1974. Lloyd also was “adored by his students and colleagues” as a teacher and credited with stimulating the college’s positive and supportive atmosphere during his tenure, as noted by writer and flutemaker Robert Bigio in his profile of the distin- guished flutist. A lifelong student himself, Lloyd took lessons long after having established a career in which he was widely “I love my life,” Peter Lloyd once said in an interview article. considered the leading flutist of his generation, studying with , Jean-Pierre Rampal, and . Kenneth Shenton of the Independent called him “without doubt one of the greatest British flautists of the second half of the 20th century.” Peter John Lloyd was born at Broadstone, Dorset, on Septem- ber 9, 1931. He was educated at Dauntsey’s School, Wiltshire, where he took up flute at age 14 over the disapproval of his fa- ther, an influential financial analyst. Lloyd suffered from asthma, a condition that persisted throughout his life. At the Royal College of Music, Lloyd studied with Edward Walker and, after three years there, joined the National Youth Orchestra. Bigio’s profile describes Lloyd’s brief tenure: “ ‘I didn’t last long,’ he says. ‘I got chucked out straight away because the flute teacher, Gareth Morris, didn’t think I was good enough. And he was right, too.’ (A couple of decades later, when Peter was first flute in the LSO and Gareth Morris was still first flutist in the Philharmonia, the two men shared a smile about this incident.)” Lloyd played second flute with the (now Royal) Scottish Na- tional Orchestra. Again from Bigio’s profile: “ ‘It was the most incredible thing in my life,’ he remembers. ‘I sat between two Louis Lot-playing former students of Fernand Caratgé. There I was sitting with my old wooden flute, listening to the way these people could play—the technique and the colours and what they wanted to do with the music. I was stunned, and I decided that I had to save up my money and go to Paris.’ Two and a half years

later, he did. The SNO gave him a year off.” Undated photo of Peter Lloyd from the London Symphony Orchestra archives. SUSIE MAEDER BY PHOTO BIGIO; BOTTOM ROBERT BY PHOTO TOP

46 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG In Paris, Lloyd studied with the legendary flute pedagogue Caratgé, an “extraordinary” experience for him during which time he perfected technique under a demanding regimen and heard renowned flute players, including Fernand Dufrène. Upon his return to England, Lloyd rejoined the Scottish Na- tional Orchestra for a year and then moved to the BBC Northern Orchestra (now the BBC Philharmonic) in Manchester, where he was required to sight-read large quantities of music, training that helped his later freelance career. In 1958, craving large orchestral repertoire, Lloyd returned to the Scottish National Orchestra. He went back to the BBC Northern when it grew to a full-sized symphony orchestra. “I knew Peter first as someone I would sometimes pass in Geoffrey Gilbert’s house when going for lessons,” said renowned flutist William Bennett. “Later I heard him quite often on the radio, playing with the BBC Northern Orchestra. I remember hearing him performing the Frank Martin Ballade, which was superb! I recognized that he was one of the players I really ad- mired. When Peter left the BBC Northern to play in the Scottish National Orchestra, I slipped into his place in Manchester. Three or four years later, I met him again in Scotland when I was on National Flute Association Lifetime Achievement Award recipient Peter Lloyd. tour with Sadler’s Wells Opera.” Lloyd joined the London Symphony Orchestra in 1967. “I was particular emphasis on neglected French 20th-century flute sharing the LSO job with Jimmy Galway, who suddenly rocketed repertoire. off elsewhere,” Bennett said, “and on being asked who I would In 1987, Lloyd joined the faculty of Indiana University, initially like as a co-principal, I instantly asked for Peter, because I both basking among renowned musical colleagues, but soon becoming admired his playing and also liked him very much.” disenchanted because of the university’s sports priorities and, During Lloyd’s tenure, the London Symphony Orchestra was re- consequently, its musical emphasis on marching bands. cording film scores with John Williams, and many of the composer’s In 1993, Lloyd accepted a position with the Royal Northern flute parts were written with Lloyd in mind. He remained with the College of Music, where he was made an honorary fellow in orchestra for 20 years, sharing the principal’s chair with Bennett. 1999. In 2007, he received the National Flute Association’s Life- “We shared the LSO for five or six years very happily, and we time Achievement Award. continued to enjoy a happy friendship for the rest of our lives,” Because of increasing problems with asthma, Lloyd had with- said Bennett. “I am very lucky to have had such a special col- drawn from performing when he returned to teaching in 1993, league and consider it as a special privilege to have known him and in 2012, after suffering a bout of pneumonia, he retired. and enjoyed his company.” Lloyd was twice married and divorced, to Geraldine Purser During this period, Lloyd also taught at the Guildhall and Thelma Handy, and is survived by six sons, three from School of Music and Drama and played with Sonar Ensemble, each marriage. A remembrance concert at the Royal Northern the English Taskin players, and Barry Tuckwell’s wind quintet. College of Music is being planned, tentatively to occur in He performed and recorded with pianist Rebecca Holt, with March 2019 and to be live-streamed. Details are pending.

Peter Guidi 1949–2018

azz flutist and educator Peter Guidi died from the effects of department of the Amsterdam Muziekschool, where he led sev- Creutzfeldt-Jakob disease in Amsterdam on April 17, 2018, eral ensembles and big band workshops for students of all ages, at the age of 68. beginning with students as young as 9. J Guidi was born in Scotland to Italian parents on September In 1988, he cofounded the Junior Jazz College, a collaboration 14, 1949. He was raised on the British Channel Island of Jersey. A between the Muziekschool Amsterdam and the Amsterdam Jazz self-taught musician, he began his musical career in Italy, perform- Conservatory. The college has won 87 prizes in national and ing with many leading jazz musicians. He settled in Amsterdam international competitions. In 2008, Guidi cofounded the first in the mid-1980s and appeared at major jazz venues and festivals, edition of the Netherland National Youth Jazz Orchestra, which leading both his quartet and his big band. His principle instruments performs biennially. were alto and soprano , flute, , and bass flute. In 2010, Guidi was included in the Dutch Queen’s Birthday Once settled in the Netherlands, Guidi soon noticed that Honours List and received a Dutch Knighthood (Ridder in de youth in Amsterdam lacked opportunities to learn jazz music. Orde van Oranje-Nassau).

PHOTO BY ROBERT BIGIO ROBERT BY PHOTO He became a prominent jazz educator as the head of the jazz —Peter Westbrook

FALL 2018 THE FLUTIST QUARTERLY 47 NFAONLINE.ORG Claire Soubeyran: 1949–2018

laire Soubeyran, one of the few women to make wooden flutes, died March 7, 2018. Soubeyran was particularly known for the key work on her conical Böhm flutes and Cmight have been the only modern maker of these flutes. She also specialized in restoration of old French flutes and made a simple-system French flute copy based on the design by Jean-Louis Tulou. “I was very saddened to hear of the passing of Claire Soubeyran, fellow flutemaker and a good friend,” said Boaz Berney. “Claire had been helpful and supportive since I started making flutes, and I still remember going over to her shop to show her my very first flute. She was always generous to me with her time and help.” Soubeyran was born April 26, 1949. She studied with a maker and learned to use tools and machinery by Claire Soubeyran reading signals from a device for measuring tenon size. visiting mechanics (where she studied milling machines, drills, and metal tunings), dental offices (to learn about making im- A specialist in woodwind conservation, Soubeyran consulted for pressions), and cabinet makers (to learn about wood). both private and public collections, including the Musée de la Soubeyran opened a flutemaking shop in Boissy l’Aillerie, near Musique in Paris, the Smithsonian Institution in Washington, Paris, in 1979, specializing in historical flutes of the Baroque and and the Metropolitan Museum in New York. Romantic eras, one of a very small number to do so. (A 1998 arti- In 1994, she received the Musicora Award for her creation of cle in a French publication noted only four such shops in France a student traverso and, in 1998, received both the Musicora and and about 20 worldwide.) She made her own tools and worked a craftsmanship ministry award for her recreation of a conical exclusively with rough boxwood or ebony. Böhm flute.

Betty Hensley: 1923–2018

lizabeth Austin (“Betty”) Hensley, life member of the NFA, collector of antique and world flutes, and active in the Inter- national Flute Orchestra, died May 11, 2018, at the age of 94. E Hensley was born October 12, 1923, to Allen Charlton Austin, DDS, and Ruth Cady Austin in Kansas City. She studied the flute as a young girl, and it became her lifelong passion. While at the University of Kansas, from which she graduated Phi Beta Kappa with a degree in chemistry, she met and married Cline D. Hens- ley, Jr., who had served as a physician in the Army of Occupation following World War II. Betty joined him in Augsburg; after a stint in the New York area, they settled in Wichita, Kansas. Betty was active in the community and her church. She maintained a private flute studio, teaching flute until she was 90. Hensley’s collection of more than 400 ethnic and antique flutes now resides at the University of Kansas. Using her collection, Hensley developed a variety of programs demonstrating how the flute was used both musically and culturally throughout the world and over time. As a member of the National Flute Association’s International Flute Orchestra (initially the American Flute Orchestra), Hens- Betty Hensley collected more than 400 world and antique flutes. ley toured the Soviet Union, Austria, Italy, England, and Spain. In addition to her NFA life membership, she was a charter member Bill (Dana), Andover, Kansas; and Larry (Cindy), Hoover, of the American Society and a life member Alabama; as well as nine grandchildren and eight great-grand of the National Federation of Music Clubs. She was also active in children. several local music organizations. A memorial has been established with the Tack Flute Founda- Hensley was predeceased by her parents and husband. She tion. Donations can be sent to the Tack Flute Foundation, 422 E.

is survived by her sons, Doug (Pam), College Station, Texas; Pine Meadow Ct., Andover, KS. 67002. CONSERVATIONPHYSICS.ORG/FLUTE/FLUTEPHP PHYSICS, CONSERVATION FROM PHOTO

48 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Lloyd Gowen: 1932–2018

loyd E. Gowen, who played flute and piccolo with the San teacher for the most formative years of my life: junior high and Francisco Symphony for nearly four decades, died Thurs- high school. He guided me through mounds of major repertoire day, June 7, 2018, in Walnut Creek, California. He was 85. and prepared me to realize many of my dreams as a flute player.” L Gowen was born July 26, 1932, to Lloyd E. and Alice (née Gowen engaged in a variety of artistic activities, among them Baker) Gowen. His family enjoyed competing and games, and, cabinetry, wood carving, photography, calligraphy, and working while a young man, Gowan played in badminton tournaments with inlaid wood. He had passion and curiosity about a wide throughout the country, once placing in the nationals in doubles. range of topics, and his pedagogical skills shined whether teach- Card games led first to his interest in chess and then to the Jap- ing online gamers how to play or advising on fiscal matters. anese game of Go, taking him to the San Francisco Go club and “He gave me financial advise (‘open a 403B now!’),” said tournaments. He played games online for the rest of his life. McKee. “We talked about politics, he gave me tips on piccolo In 1954, Gowen graduated from the Curtis Institute of Music; playing, we spoke of metaphysics. He was a delight.” during and following his years as a student, he played with the The rogramp for his memorial service noted that Gowen was Buffalo and National Symphonies. He joined the San Francisco an artist with a passion for doing things well. Symphony and Opera Orchestras 1956, retiring in 1994. “One year, playing Beethoven’s ninth, the conductor had “When I arrived at the San Francisco Symphony as associate the piccoloist sit in front of the flute section, with the second principal flutist in 1984, I was the ‘young one’, the only female ,” said McKee. “Lloyd sat there in his meditation pose in the section with four ‘old’ men,” said Robin McKee. “I imme- for the full three movements, hands splayed on his knees, diately picked up [flutist] Paul Renzi’s, [clarinetist] Gary Gray’s, palms up, eyes closed. He moved not a muscle until it was and Lloyd Gowen’s funny things that they would do in rehears- time to play the Turkish march. I believe the symphony got a als—and we carry them on in our section today.” few letters about that.” Gowen met Lois Marie Auclair while she was a music student Lloyd was predeceased by his wife Lois on August 10, 2017. He is at San Francisco State College, and they were married in 1958. survived by his children, John (Rose), Ralph (Robin), and Sharon They had three children. (Ken) Rizzato; his grandchildren, Jeffrey, Ron (Alona), Estephanie Gowen taught flute privately and at the San Francisco Con- and Lloyd, Erin, and Mario and Nicholas (Denicha) Rizzato; three servatory of Music, Mills College, and Stanford University. His great-grandchildren, Maer, Brennan, and Marco; sisters Patricia former students perform in symphonies around the world. Weller and Constance Coling, and many nieces and nephews. “I first met Lloyd Gowen in about 1963 when I began studying A memorial celebration of Lloyd and Lois Gowen was held in with him as a young teen,” said professional flutist Maquette Ku- Danville, California, August 25, 2018. In lieu of flowers, donations per. “I stayed in touch to the very end. He was my treasured flute may be made to the Curtis Institute of Music; visit curtis.edu. LITTLE PIPER FL UTE MUSIC

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FALL 2018 THE FLUTIST QUARTERLY 49 NFAONLINE.ORG Recordings, music, and other products by New Products and for NFA members Michael Geoghegan, inno- I needed to be strategic about adjusting the lip plate, so as not vator, maker, and owner of to compromise the embouchure cut. With computer modeling Geoghegan Company, has and my precision CNC machine, I cut a wax for a new riser released The Twist, an er- casting that would allow the lip plate to twist enough to change gonomic option for every the angle of the flute player’s arms and head, bringing them Geoghegan headjoint model. both forward a bit more and offering flutists more relief in the This advancement grew from neck, back, and shoulders.” a request by Lisa Garner San- Curiosity about the design’s off-kilter lip-plate twist on the ta, professor of flute at Texas headjoint tube has drawn flutists of all abilities and back- Tech University, to design a grounds, with or without existing discomfort, to test the new custom flute headjoint ad- design. Many have adjusted to it in only one or two minutes dressing nerve compression of testing. Many also comment that it feels more relaxed and in her cervical spine related natural and is more comfortable to play. to degenerative disc disease. “Michael’s twist allows me to maximize the expressive po- After visiting with her team of medical professionals, Santa tential of my flute by assisting with the release of unnecessary determined that the problem was related to turning her head tension in the neck and shoulders,” said Santa. “Not only does repetitively to the left. Since developing The Twist, Geoghengan my body feel better, the resulting release of tension has freed has discovered that many flutists not suffering from pain or in- my musical voice beyond expectation.” jury find The Twist to be more comfortable and easier to play. The ermont-basedV Geoghegan Company, founded in 1980, “I knew I needed to offer relief by adjusting only the lip plate, offers a patented solderless headjoint assembly to utilize head- since I could not compromise the third register intonation of joint tubes drawn in metals that cannot be soldered. Contact the headjoint tube by bending it,” said Geoghegan. “I also knew [email protected].

Presser Company has released six new works for flute from distinct singing style of the instrument in this important new Gary Schocker, hailed as “the most published living composer addition to the piccolo repertoire. of flute music.” These new works join more than 180 previous The popular final movement of Schocker’s Three Dances for Schocker publications in the Theodore Presser Company and Two Flutes is now available in the composer’s own adaptation Falls House Press catalogs. for flute quartet, Coffee Nerves for Four C Flutes. This version The title of Extreme Sports: 11 Virtuosity Etudes reflects divides up the original flute parts and accompaniment in fun, the difficulty level in Gary Schocker’s third book of etudes. surprising ways. Each etude targets specific techniques, composed by a flutist Airspace for Flute, Oboe, B-flat Clarinet, and Piano is an with the knowledge and understanding of these particular de- 11-minute work commissioned by the Monmouth Winds, for mands. In addition to serving as concert fare, the etudes will whom Schocker’s Sextet for wind quintet and piano was also help train and lengthen the breath, develop speed and fluidity, composed. Evoking four contrasting outdoor spaces (Atrium, and provide beauty as well as challenge. Parterre, Court Yard, Barnyard), the music offers persistent Sonata No. 9 for Flute and Piano, which was composed melodies, unexpected moods, and a joyous virtuoso finale. in memory of Schocker’s brother, is a serious, tender work Odd Bedfellows for Flute and (or Bassoon) contains with four movements: Affettuoso, Arioso, Marziale, and four movements. At the Hippo Watering Hole is full of scenic Ondeggiando. imagery. Among the Pine Barrens features tuneful tuba writ- Sonata No. 3 for Piccolo and Piano eulogizes the late Carl ing in its tenor register from middle C up to G. In and Out the Hall, piccoloist of the Atlanta Symphony. Schocker’s third Window is a game leading to Under the Big Top. sonata is serious without being somber, fully realizing the Visit presser.com.

50 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Alice K. Dade’s debut solo flute and harpsichord, was recorded on this album with mod- album of new chamber mu- ern flute and piano. Elkies is the youngest-ever tenured profes- sic for flute, Living Music, sor at Harvard University and a virtuoso keyboardist. He has has been released on Naxos. taught at Harvard’s Department of Mathematics since 1990. Dade is joined on the CD by Dan Coleman’s Pavanes and Symmetries was written for pianists John Novacek and flute and , later arranged for flute and piano Noam Elkies, violinists Scott by Benjamin Loeb. The piece alludes to Bach but employs a Yoo and Erik Arvinder, vio- modern language. list Maurycy Banaszek, cel- Jennifer Margaret Barker’s Na Trí Peathraichean has quick- list Jonah Kim, and double ly become one of Dade’s favorite pieces to perform. The ti- bassist Susan Cahill. tle is Scottish Gaelic for the Three Sisters of Glencoe, each Living Music includes four world premiere recordings, in- movement referring to the different mountain ranges of the cluding Air by Aaron Jay Kernis, arranged for flute and string Scottish Highlands. quartet by the composer. The work was dedicated to the com- Dade performs in concerto and chamber music concerts, re- poser’s wife and premiered by the violinist Joshua Bell. cording projects, and TV appearances. She is the assistant pro- Michael Fine was inspired to write “Skipping Stones” on a fessor of flute at the University of Missouri and artist faculty of train ride from Rotterdam to France. Looking out the win- Flutes by the Sea and PRIZM International Chamber Festival. A dow as the train crossed a beautiful body of water, Fine was graduate of the Juilliard School and former acting co-principal reminded of skipping stones in his childhood. In addition to of the Swedish Radio Symphony Orchestra, she is a recurring being a composer and clarinetist, Fine is a conductor and a guest star on Now Hear This, a new TV series about classical leading classical music producer. music that will air on PBS in 2019. A Powell Artist, Dade The E Sonata by Noam Elkies, originally written for Baroque plays a handmade 14K Powell with a platinum headjoint.

Amy Porter presents a new Molly Barth has released downloadable and hard-copy In Vento Appassionato, on study guide on the music and which she presents her in- artistry of French composer terpretations of 10 of the Philippe Gaubert. The pack- most influential 20th-cen- age includes a DVD, a print- tury compositions for solo ed edition, and a CD. The flute in the repertoire, chron- DVD’s contributors are pia- ologically spanning from nist Tim Carey and historian 1913 to 1966. The works Penelope Fischer, the latter of are Debussy’s Syrinx, Karg- whose thesis and subsequent book’s materials are featured. The Elert’s “Sonata Appassionata,” printed edition, entitled Treasures and published by Carl Fisch- Hindemith’s Acht Stücke, Varèse’s “Density 21.5,” Bozza’s er, includes 11 pre-World War I works. Ballade, the CD, features “Image,” Berio’s “Sequenza,” Fukushima’s “Mei,” Muczynski’s Porter performing Gaubert’s final five works (including three Three Preludes, Elliott’s “Scrivo in Vento,” and Takemitsu’s “Air.” sonatas, a ballade, and a sonatine). Barth is a Grammy Award-winning soloist, clinician, and Gaubert was a champion of all things flute related. His rich chamber musician. She has performed in Australia, Korea, musical life spanned the late 19th and early 20th centuries, liv- Mexico, and the United States. She is a founding member of ing, teaching, and performing in the cultural mecca of Paris. the new music ensemble Eighth Blackbird and won first prize His artistry was held in high regard in all areas of his music at the 1998 Concert Artists Guild International Competition. profession—as a flutist, conductor, composer, and editor. Barth is on the faculty at the Blair School of Music, Vanderbilt Amy Porter is a Distinguished Professor at the University University, and is a graduate of Oberlin, the Cincinnati of Michigan. She has produced five video study guides and Conservatory of Music, and Northwestern University School has more than 20 solo recordings. She is an alumnus of the of Music. Visit mollybarth.com. Juilliard School. Visit amyporter.com.

Albany Records has released Rough Wind/Smooth Wind, featuring the Scott/Garrison Duo (Leonard Garrison and Shannon Scott, clarinet), pianist Rajung Yang, and percussionist Stuart Gerber. The CD includes premiere recordings of Robert Brownlow’s “Bric-a-brac,” Pierre Jalbert’s Triple Set, Eric Mandat’s Togetherness, and Meyer Kupferman’s Four Con- stellations. Also featured are Elliott Carter’s Esprit rude/esprit doux I & II and Alec Wilder’s Suite for Flute, Clarinet, and Piano. This si the fourth release on Albany for the Scott/Garrison Duo. Garrison, former NFA president, treasurer, secretary, and program chair, is professor of flute in the Lionel Hamp- ton School of Music at the University of Idaho, and Shannon Scott is assistant professor of clarinet in the Washington State University School of Music.

FALL 2018 THE FLUTIST QUARTERLY 51 NFAONLINE.ORG The new CD Costas features Canadian flutist Sara Hahn new works for flute and clas- has released the CD I Close sical guitar performed by My Eyes in Order to See on Duo Beija-Flor: Marie-Noëlle her Navona debut. Joining Choquette and guitarist Hahn, who is principle flutist Charles Hobson. The Mon- with the Calgary Philhar- treal-based ethno-classical monic Orchestra, are pianist duo explores the Spanish Laura Loewen and alto flutist and Portuguese influence on Sarah Gieck. in its Big Round The album features a Records debut. highly personal selection of The album’s 22 tracks span a wide and varied repertoire, from pieces. The title track, which opens the piece, is dedicated to Astor Piazzolla’s only non-tango piece, “Escualo,” to traditional Hahn by composer Arthur Bachmann. The work was written Spanish folk songs (Siete Canciones Populares Españolas), to to commemorate Hahn’s mother’s difficult, but eventually motion picture soundtracks (Summer Garden Suite). Experimen- successful, battle with cancer. tal elements include the modernist dissonance of “Boulevard San The CD’s compositions center around perhaps the greatest, Jorge” and the jazz harmonies in “Havana Street Parade.” and most universal, challenge of the human condition: over- Two works reference Brazilian candy, “Pé de Moleque” and coming the hardships of life. The pieces represent a range of “Quebra Quiexo.” The album’s finale is the multifaceted Four emotions including fear, anger, depression, and efforts to Sephardic Songs. Visit bigroundrecords.com. bargain; the album ends with works reflecting acceptance and optimism. Compositions included are by Bachmann, Kent Melissa Keeling has released Kennan, Harry Somers, Henry Wolking, André Jolivet, Gabriel SUPERSONYQ, an album of Fauré, and Efraín Amaya. original works and arrange- Visit sarahahn.net and navonarecords.com. ments for solo electric flute, piccolo, and alto flute. The CD features the use of effects Theodore Presser has re- pedals and the Glissando leased Lift Ev’ry Voice and Headjoint. SUPERSONYQ Sing, arranged for flute includes of and piano by Evelyn Simp- Van Halen’s rock guitar in- son-Curenton. A lifetime of strumental “Eruption” and experience in gospel sing- Debussy’s “Clair de Lune” plus Keeling’s original composi- ing and formidable classical tions, which incorporate effects such as looping (“Kings of the talent is brought to this ar- Sky”) and delay (“Ephemera”). All tracks were recorded in a rangement, going beyond a single take with no over-dubbing, except “Solar Flare,” and all simple transcription. effects were activated in real time. Visit melissakeeling.com. The poem of the same name, written in 1900 by James Weldon Johnson, was Canadian jazz and Latin set to music by his brother, flutist Bill McBirnie has re- John Rosamond Johnson, leased The Silent Wish, fea- five years later, and was soon adopted as the Black American turing McBirnie and pianist National Anthem. The powerful song of affirmation has been Bernie Senensky in an inti- frequently sung at notable occasions, recently at the opening mate duo setting integrated ceremonies of the National Museum of African American by a “minor theme” inspired History and Culture. Simpson-Curenton has now arranged by McBirnie’s wife, Svetlana. the piece with her own variations as a concert-level entry for Works include the Latin/ flute and piano. swing “Reflection” by Ray From her beginnings in the Philadelphia-based family gos- Bryant; Luis Bonfa’s slow bossa nova “Black Orpheus” from pel/spiritual performing group The Singing Simpsons (father, Morning of the Carnival; “Saber Cair (“Knowing How to Fall”), mother, and children, including NFA Young Artist winner by Louis Simão and David French; Michele Mele’s bossa nova Julietta Curenton), Evelyn Simpson-Curenton has established “Cabana Boy”; Cole Porter’s “My Heart Belongs to Daddy”; a career in music as a composer, arranger, pianist, organist, ’s ballad “First Song (for Ruth)”; “Recado Bos- vocalist, and educator, now based in Washington, D.C. She sa Nova,” by Djalma Ferreira; the relaxed samba “Dança da has been commissioned for new works by the American Guild Solidão” by Paulinho da Viola; David Mann’s “No Moon At of Organists, George Shirley, and Duke Ellington and has ar- All”; the rhapsody “Away from Home” by McBirnie and Bruce ranged music for Kathleen Battle, Jessye Norman, and others. Jones; “Blue Bossa,” by Kenny Dorham; and Alan and Marilyn Her own works have been performed by the National Sym- Berman’s classic “What Are You Doing the Rest of Your Life?” phony and the Minnesota Orchestra. Visit extremeflute.com. Visit evelynsimpsoncurenton.com and presser.com.

52 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Duetüden fur 1–2 Querflöten, Three Songs with Flutes edited by Adrian Wehlte and from Orpheus Britannicus published by Franz Biersack by Henry Purcell, edited by Edition Walhall, contains 18 Cedric Lee, for voice, two etudes in the range of the ba- recorders, and basso con- roque traverso. The music’s tinuo, includes “Charon the exercises lead systematically peacefull Shade—A song in and methodically through the Prophetess,” “The Bash- elementary skills such as ful Thames,” and “Why, why playing scales and triads, shou’d men quarrel?” double tonguing, intonation, The Green Man Editions overblowing, and other chal- publication is available from lenges. To ginger up practic- the publisher Franz Biersack ing and playing the etudes, Edition Walhall. each etude includes a second part, which can be played by the teacher.

Telemann’s Sonata di chiesa, Jim Snidero, jazz musician à diversi stromenti g-Moll and best-selling author, in- TWV 41:g5 for a high- or troduces The Essence of the low-melody instrument and Blues (Advance/Alfred). The basso continuo has been ed- book requires moderate ited with the facsimile and technique but is instructive as a new edition with con- for virtually any level of tinuo realisation by Leonore ability. It features 10 solo et- and Günter von Zadow. This udes inspired by jazz greats, highly recommendable con- providing authentic jazz and trapuntal church sonata blues language, with exact from Telemann’s Getreuer articulation played by Jamie Musikmeister can be played Baum notated on an included on , oboe, transverse play-along recording. Basic flute, or recorder or also an blues theory, analysis, vocab- octave lower on bass or tenor viol. The Edition Güntersberg ulary studies, and recommended listening give guidance for work is available from Franz Biersack Edition Walhall. improvising on the blues. Visit jazzimprovisation.com.

FALL 2018 THE FLUTIST QUARTERLY 53 NFAONLINE.ORG From the Graduate Research Chair

Julie Hobbs

GRADUATE RESEARCH COMPETITION: 2018 WINNERS

he NFA’s Research Committee is pleased to announce the Additionally, a comparison between the first Brazilian flute winners of the 2018 Graduate Research Competition, Fa- method, Celso Woltzenloegel’s Metodo Ilustrado de Flauta, and biana Magrinelli Rocha Dahmer and Kelly Nivison, both the important French method, Taffanel-Gaubert’sMethods Tof whom gave presentations on their work at the convention. The Complete de Flute, is presented as the fundamental evidence of competition, which is overseen by the NFA’s Research Commit- the French influence on Brazilian flute pedagogy. tee (John Bailey, Michelle Cheramy, Lindsay Hansen, Jennifer Parker-Harley, Mihoko Watanabe, and myself as chair), seeks The Flute in Transition: A Comparison of Extant Instru- to honor and recognize important new contributions to flute ments circa 1650–1715 research. Dahmer’s dissertation on the influence of the French —kelly nivison, indiana university, 2017 Flute School on Brazilian pedagogy and Nivison’s dissertation on historical flutes were selected as this year’s winners among an During the mid-17th century the flute underwent a signifi- impressive pool of submitted entries; their abstracts below give a cant change in construction, aesthetics, and sound. The Re- sample of their work. naissance-style cylindrical flute is well documented in treatises through 1636 culminating with Marin Mersenne’s Harmonie The Influence of the on Brazilian universelle, and the three-piece early Baroque-style flute with a Flute Pedagogy D-sharp key is first depicted in Marin Marais’s Pièces en Trio in — fabiana magrinelli rocha dahmer, university of 1692, but what happens in between is still ambiguous. Many flute southern mississippi, 2017 historians have pieced together hypotheses regarding who made the changes and where they occurred during this time, but these In the second half of the 20th century, flute teaching in Brazil remain only hypotheses. improved considerably. The immigration of French flutists to The rimaryp purpose of the document is to prove a French Brazil and the exchange programs where Brazilian flutists went connection to each extant transitional and early three-piece Ba- to study in France made a significant impact on the flute pedagogy roque-type flute from circa 1650 to 1715 in an effort to support in Brazil. This dissertation traces the influence of the French Flute the hypothesis that the design transition from the Renaissance School in Brazil by presenting the careers of the four most influen- to the Baroque design did indeed occur in France. A secondary tial flutists living in Brazil today and how they can be traced back purpose is to document all extant transitional and early three- to the legendary flutist and teacher Paul Taffanel. Two of these piece flutes through color photographs, when available, basic flutists, Odette Ernest Dias and Jean-Noel Saghaard, are French measurements, and biographical data of the makers in an effort but moved to Brazil in the second part of the 20th century to join to have, for the first time, all available information on all known the Brazilian Symphony Orchestra. They performed and taught specimens in one document. The flutes are divided into three in distinguished universities and festivals over several decades, categories: transitional flutes showing design elements of both perpetuating the teachings of the French Flute School. Fur- Renaissance and Baroque-type flutes, flutes made in France, thermore, along with Dias and Saghaard, two Brazilian flutists and flutes made outside of France. Each category of flutes is are presented. Celso Woltzenloegel and Antonio Carrasqueira compared with one another, and the known history of the de- both studied in France with important teachers of the French velopment of the flute in this time period is also compared Flute School and subsequently returned to Brazil to teach at with the similar histories of the oboe and recorder in an effort major universities and festivals. Moreover, this research de- to prove the hypothesis that the three-piece conical-bore flute fines the characteristics of the French Flute School and how its with a D-sharp key was developed in France. development was paralleled in Brazil prior to the influence of these four flutists. —Julie Hobbs

54 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG From the Young Artist Competition Chair

Jeremy Benson

EXCELLENCE IN AUGUST: WINNING THE NFA YOUNG ARTIST COMPETITION

t has been an honor to serve as the were late; consider time zones, and don’t The final round is always interesting Young Artist Coordinator for the past trust technology to go perfectly by up- and enjoyable. Be thoughtful about select- five years. During this adventure I loading your recording at the last minute. ing the repertoire for this round. It will be Ihave met many wonderful people on both Make sure the recording meets all of the chosen and submitted many months in sides of the jury table, learned more about rules and regulations described in the advance of the live competition. Be com- being a better musician, and found more competition rules. mitted to this repertoire—find ways to keep inspiration for playing the flute. Over the it interesting. years, I am repeatedly asked how to be Live! With a different jury for this round, be a successful performer in the YAC. I am The live solo round presents a great opp- sure to demonstrate creativity and control happy to share my experiences and hope ortunity for each performer to demonstrate of the flute in all aspects of lyricism, tech- that someone reading this might one musicality and artistry. The repertoire is nical facility, and artistry. Consider the day be the next Young Artist Competi- designed to allow individuality and creativ- 25-minute total time for this round, and tion winner. ity, so each performance can be different rehearse each selection as you will perform among the 15 quarterfinalists. it in the final round, with appropriate time The First Round Thejury hears each performer individ- between each piece. The recorded round is the toughest. The ually no matter the order of performances. judges hear every submission. They are Jury members want to have a great musical Musical Moments encouraged to listen for potential win- experience, and they want to be supportive of This is a solo artist competition. As a ners through this process. The judges hear each performer. The recurring, construc- painter brings brush strokes, textures, and some of these recordings several times to tive comments that I have heard after this colors to life on canvas, take full advan- confirm their decision on who to advance round address tonal colors and rhythm. tage of each musical moment to bring the to the live rounds at the convention. The The semifinal round hosts several chal- music to life through the flute. recordings of those who stand out in this lenges and opportunities. When working Most importantly, remember we play round have a little something “extra.” with a pianist for this round, be confident the flute because it is fun! At times the Carefully review your recording to with tuning and ensemble balance. The veil of competition can cast a shadow on make sure all of your musical ideas come newly commissioned piece is always the purpose of why we love to do what through clearly. Work hard to bring the fun to hear. This past year, the compos- we do. Never stop looking for ways to in- music to life through contrasting dynam- er mentioned that she heard the piece as spire, engage, and encourage everyone— ics and intentional musical phrasing and she envisioned it in her mind and also, including yourself! shaping; find the magical moments within through a different performance, heard the music that can separate your submis- it come to life in a different way. This sion from the others. Find a recording experience was wonderful for her—and Jeremy Benson is professor of flute and space that creates an equal partnership made the jury’s decision even tougher! the director of orchestral activities at within the ensemble. The remaining pieces in the competi- Jacksonville State University in Jacksonville, Make sure the recording is submitted tion's repertoire serve to demonstrate Alabama, and was a first prize winner in advance of the deadline. Recordings contrast, so make sure listeners can hear at the 2011 Alexander & Buono Solo have been disqualified because they your musical ideas clearly. Competition at Carnegie Hall.

FALL 2018 THE FLUTIST QUARTERLY 55 NFAONLINE.ORG Reviews of flute-related recordings, Reviews books, and other items of interest

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known works serve as a window into the lost world of the : Complete Works 19th-century salon (see the article by Ernst Kobau in volume Franz & Karl Doppler: Complete Flute Music four) and thus should be judged by a different standard than most concert music. These works would not hold up on the modern concert stage, as they were conceived for the amuse- ©2017 Capriccio ment of amateurs in middle-class homes. Below, the first five volumes are reviewed by, in order, myself, here is more to Franz Doppler than his Hungarian Danilo Mezzadri, and Linda Toote. Claudi Arimany’s achieve- TPastoral Fantasy, op. 26, perhaps the most popular ment in this gargantuan project is to be commended and serves work for solo flute every written. Polish-born Doppler as a valuable reference for all flutists. (1821–1883) was the principal flutist of the opera in Bu- —Leonard Garrison dapest and later of the Vienna Court Opera. His brother, Karl, played second flute to him and toured Europe with VOLUME ONE him. Together they wrote many well-known works for For the first volume of this two flutes and piano. comprehensive Doppler Spanish flutist Claudi Arimany, a self-described successor to brothers collection, Claudi Jean Pierre Rampal, has recorded the complete flute music of Arimany joined forces with both Dopplers in 10 volumes, of which seven have been released János Bálint, Andreas Grim- to date. This monumental undertaking, a major contribution to inelli, and Shigenori Kudo; the flute world, provides a complete picture of the Dopplers and pianists Alan Branch, Márta offers many revelations. Gulyás, and Michel Wage- Arimany favors projects encyclopedic in scope; he previously mans; violinist Joan Espina; recorded the complete concertos of François Devienne in four and the Orquestra Sonfónica volumes. His new undertaking took 10 years to complete. The Cidad de Elche, under the direction of Leonardo Martínez. Ari- set—each CD is a separate release—features more than 90 works, many organized this CD in a concert format: two well-known many recorded for the first time. Arimany collaborates with a host pieces envelop six obscure works. of distinguished performers, writes informative liner notes, and The CD booklet contains brief program notes by Arimany, includes essays by various experts, historic photos, and images of the first installment of Franz Doppler’s autobiography, Carl manuscripts and first editions. Unfortunately, the valuable book- Doppler’s autobiographic notes, and two interesting essays by lets are not available on iTunes—buy the CDs! Rudolf Schier and Fábián Tímea. All these texts, along with The usicm is not presented in chronological order or grouped pictures of the Doppler brothers and cover pages of the original by genre; rather, each volume features an array of different types editions, provide a wonderful context to the music presented in of pieces drawn from the following categories: this album. • Works for flute and piano The peningo and closing works, Hungarian Fantasy, op.35 • Transcriptions of piano pieces for flute and piano and Rigoletto Fantasy, were written in 1852 and 1853. They • Short works for flute and piano were conceived as virtuosic pieces for two flutes and orchestra • Four Books of Czardas for flute and piano and performed by Franz and Carl during their concert tours • Opera potpourris for flute and piano around Europe (1853–1863). When Franz was at the end of his • Operatic “Morceaux favoris” for flute and piano performing career and more focused on publishing his music, • “Works devoted to F. Doppler or on motifs of his Operas” he arranged these works for two flutes and piano. Hungarian • Works for two flutes and piano Fantasy, op. 35 is here featured in the well-known version for • Operatic potpourris for two solo flutes two flutes and piano and Rigoletto Fantasy in the original ver- • Works for flute and other instruments sion with a more elaborate ending. • Works for flute and orchestra This volume also features a duo for flute and violin with • Works for two flutes and orchestra piano accompaniment based on American themes, a fantasy • Works for flute and other instruments and orchestra based on Beethoven’s Kreutzer Sonata for flute and piano, a flute duo based on Weber’s opera Preciosa, book one (of four) Some of the Dopplers’ music was written for themselves as of Hungarian czards compiled by Carl Doppler, and two other traveling virtuosos modeled after (see the essay on pieces for flute and piano based on opera themes. virtuosity by Alicia Loveland in volume five). Most of the lesser- —Danilo Mezzadri

56 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG VOLUME TWO Dazzling displays of virtuosity come very naturally to Arima- Musicians recruited for the ny. Breaths, which potentially present hurdles to flutists in these second volume are (along pieces consisting of whole constellations of notes, are easily and with Arimany) János Bálint, elegantly executed. While one cannot but be impressed by his Shigenori Kudo, Clara Nova- fluency, one must also make the choice not to listen too closely kova, and Karl-Heinz Schütz; to the intonation. Arimany can succumb to the typical pitfalls of pianists Alan Branch, Márta our instrument. However, interpretively (artistically?), what we Gulyás, Robert Lehrbaumer, hear in these offerings cannot help but make you smile or even and Michael Wagemans; so- chuckle at times. The music is indeed a window into both the prano Ingrid Kertesi; and the style of music composed in the mid- to late-19th century and the Orquestra Sonfónica Cidad de Dopplers’ take on the music of the Roma people. Elche, under the direction of Martínez. This volume is arranged What consistently delights the listener in all of these works is in a similar programmatic fashion as volume one, with previ- the simpatico rhythmic bending of gestures, which is a well-un- ously unrecorded pieces sandwiched between the widely known derstood but not always well-executed feature in nearly every Andante and Rondo, op. 25 (the version for two flutes and piano) phrase to flow from the pen of the Dopplers. It is the auditory and the lesser-known Souvenir de Prague, recorded in the origi- equivalent of having a great dance partner. Arimany and Kudo nal format of two flutes and orchestra. might be mistaken for the Arimany brothers. The CD booklet contains brief program notes by Arimany, Worthy bonus features included on all of these CDs are the part two (of nine) of Franz Doppler’s autobiography, two obitu- liner notes and historical essays by Arimany and others report- aries honoring Carl Doppler’s life, and a memoir written by Ben- ing on the life and times of the Dopplers and the cultural origins jamin Schier, Franz Doppler’s only grandchild. of much of their music. Besides the previously mentioned works, the second vol- While it is unimaginable to program an entire concert of these ume also features book two of Hungarian czards compiled by light-hearted works, I am heartily in favor of their hearing at Carl Doppler, two pieces for flute and piano based on opera least in small doses on a recital program. They are characteristic themes, a wonderful duet based on Mozart’s , works of a certain time and aesthetic. Even though they may be a transcription for flute and piano of works for solo piano considered “sentimental salon tosh,” as described by some, who by Henri Cramer, and an extraordinary piece for two flutes, doesn’t want to leave the hall whistling the tunes? soprano, and piano entitled “Pásztorhangok” (“Shepherd’s —Linda Toote Tune”). This particular piece is a hidden gem written by Carl Doppler. Lyric coloratura soprano Ingrid Kertesi sings with VOLUME 4 impeccable intonation and world-class artistry in this world Arimany is the perfect advo- premiere recording. cate of the Dopplers’ music. —Danilo Mezzadri Avoiding overblown inter- pretations, he plays with an VOLUME THREE elegance and charm suited to Volume three continues in this the style. His tone is always vein with virtuosic solo and vibrant and sweet, never harsh. chamber music pieces alter- Arimany’s musicianship is nating with operatic material occasionally marred by faulty less ornamentally rendered, intonation. Such is the case the most recognizable being in his rendition of Hungarian Pastoral Fantasy with piano (the Mozart’s The Marriage of Figa- version with orchestra is in volume seven). Those looking only ro. Material is also drawn from for a recording of this war horse might look elsewhere—my other operas including The personal favorite is Philippe Gaubert’s 1920 recording on ’78— Daughter of the Regiment by but the entire project brings context to this well-trod work. Donizetti and the little-known works Casilda (Gilbert and Sulli- The various styles presented in this piece have echoes all across van) and Martha (Friedrich von Flotow). Doppler’s vast output. The enormity of this Doppler manifesto is evidenced by the On the other hand, Arimany’s recording of “Nocturne, op. 17” sheer number of forces required to produce this 10-volume set. is meltingly gorgeous. Every flutist’s repertoire should include At final count, the soloists of international renown number 19 this work and its companions, “Berceuse, op. 15” and “Mazurka flutists (on this CD, Kudo), eight pianists, three violinists, three de salon, op. 16.” These gems are rarely performed but are perfect cellists, two harpists, and then one each of soprano, viola, double recital or contest pieces for advanced high school students and bass, , one horn quartet, and four orchestras who all professionals. Each is around four minutes, written in ternary partner with Arimany throughout these discs. Obviously, Arima- form contrasting lyrical and technical playing. ny has many like-minded friends. (In addition to Arimany and Bookends for this volume are two duets with piano. The Con- Kudo, the other musicians in volume three are pianists Branch, cert Paraphrase, op. 18 on Schubert’s opera Die Verschworenen Gulyás, J.S. Ritter, P.J. Rodríguez, and Wagemans; harpist Chris- provides technical display even more impressive than in the bet- tine Icart; cellist Nabi Cabestany; and the Orquestra Sonfónica ter-known Rigoletto-Fantasy, op. 38. Schubert’s operas are rarely Cidad de Elche, under the direction of Martínez.) performed, but this piece demonstrates his unparalleled melodic

FALL 2018 THE FLUTIST QUARTERLY 57 NFAONLINE.ORG gift. Arimany and Kudo make great partners; their ensemble is Books perfect, and their sounds are well matched. In the final track, Arimany collaborates effectively with Walter Auer in the Valse Flute Secrets de Bravura, op. 33. Trevor Wye Most of the works based on operas are not like operatic fan- ©2017 Novello tasies by Taffanel, Borne, or Demersseman, where melodies serve as fodder for expanded lyricism and virtuosic display; This excellent book, written by rather, these works are merely medleys of tunes strung to- Trevor Wye and edited by Susan gether, more gratifying for players than listeners. Such pieces Maclagan, is essential reading for on this CD are based on the operas Zampa, The Barber of any curious flute player. Aimed Seville, and Robert le Diable. at students, there is also plen- Similarly, book four of Csardas (others are in volumes 1–3) ty here to occupy teachers and are straightforward arrangements of Hungarian folk dances for professional players, helping to flute and piano. Among them is the same melody as the famous fill in gaps of knowledge and of- “Hungarian Dance No. 5” by Brahms. Arimany performs them fering sage advice on a number with a tasteful flexibility of tempo. of flute-related topics. Wye has a Additional musicians heard in this CD are Massimo Mercelli lifetime’s experience of all things and Auer; pianists Branch, Gulyás, Ritter, and Wagemans; and flute; as well as being a perform- the Orquestra Sonfónica Cidad de Elche, under the direction er and teacher with best-selling pedagogical publications to his of Martínez. name, his interest and background in engineering allow him to —Leonard Garrison explore the workings of the flute in a more technical way. Have you ever wondered why or how (scientifically speaking) VOLUME 5 particular things work or don’t work on the flute? For example, Arimany and Kudo again what is actually going on in the sound when we change tone col- shine in Souvenir de Prague, or, and how exactly do we do that? How can you tell if your flute op. 24. The Fantasy on “Mut- is out of tune with itself? What are the technical names of the terseelenallein,” op. 41 is an different parts of the flute? Many of these questions are even- effective recital piece for flute tually demystified with experience and intellectual enquiry, but and piano in the form of an this book contains many of the answers, presented in a way that introduction, theme, and vari- is clear, concise, and easy to understand. ations. Arimany’s interpreta- The book is organized in five main sections, each covering a tion of “Mazurka de salon, op. different aspect of flute playing. Following a helpful annotat- 16” is fetching. This volume ed diagram of the flute’s mechanism, Section One deals with also features medleys from , Norma, and the the instrument itself and includes excellent advice on choos- Hungarian opera, Hunyadi László. ing a headjoint and a new flute. Wye provides a good range of The Fantasie über Motive aus der Opera “Casilda” von Ernst practical tips, including, perhaps most importantly, checking II for flute, harp, and orchestra is a full-blown fantasy, pre- the allegiances of the people offering advice to avoid any kind senting opportunities for each soloist to shine. The delightful of bias. Choosing a new instrument can be daunting, and the work is recorded for the first time, and the score is not avail- suggestions and helpful exercises given here will be particu- able except in manuscript. (A duet version without orchestra larly useful to anyone without access to an experienced teach- is on volume three.) er when making important (and often expensive) instrument A novelty is a recently discovered nocturne for flute, , decisions. All of the different key work options are explained, and harp. This piece is also presented in alternate versions on making this book equally useful as a reference resource. volumes seven and nine but is especially appealing for this rare Section Two, “Educational Assistance,” includes tips on playing combination of instruments. and practicing and an extremely helpful list of special fingerings Additional musicians heard in this CD are Robert Aitken; pi- and trills, plus a list of useful further resources. Wye includes his anists Branch and Wagemans; cellist Lluis Claret; harpists Icart own publications in the latter, but many other useful sources are and Kateřina Englichová; and the Orquestra Sonfónica Cidad de suggested, too. Elche, under the direction of Guerassim Voronkov. The third part of the book alone makes this book essential read- —Leonard Garrison ing for undergraduate students. “Professional Strategies” offers Save the Date: NFA Annual Convention

Salt Lake City, Utah Dallas, Texas Washington, D.C. 50th Anniversary August 1–4, 2019 August 6–9, 2020 August 12–15, 2021 Chicago, Illinois Salt Palace Hyatt Regency Dallas Marriott Wardman August 11–14, 2022 Convention Center Park Hilton Chicago 58 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG practical advice (for example, how to make your own short stick The book’s final part covers the mechanical side of the flute, in- for the piano), commonsense insights on performance situations, cluding a detailed but useful discussion on the calculation of the invaluable tips based on Wye’s experience as an international com- flute’s scale. Wye instructs us in how to check our instruments for petition judge, and intelligent advice on intonation. tuning problems—and how to correct them. His hands-on ap- Notes on stylistic approaches to repertoire form fascinating in- proach might seem daunting to many, but even if you make no troductory material on performance practice in different eras, with physical changes to your instrument, having a detailed knowledge pointers for where to go for further information. Here Wye reveals of your own flute and its intonation idiosyncrasies can be invaluable. an impressive depth of knowledge and shows great encouragement Despite being technical in approach, this section is easily readable toward exploring all areas of the flute’s repertoire, including extend- and doesn’t require a detailed understanding of math and physics. ed techniques and early music. His message is that it is important Much of the information in this book is aimed toward orches- to become a rounded musician, and that involves careful study of tral playing but can easily be applied elsewhere, and any interested every part of our instrument. He stresses the importance of being flute player will find fascinating tidbits of information. While there part of the flute community by attending conventions and joining is some repetition, these are usually cross-referenced, meaning flute societies. Attending flute recitals, he says, is also an important this can be used equally well as a reference book or for reading part of being a flute player, as an opportunity to learn, be inspired, cover to cover. and discover new repertoire; this is essential for students and their Overall, this is an excellent book with much to offer. It is teachers alike. This section also includes business advice on topics written with a sense of generosity, and the opportunity to ben- such as tax and copyright and a short section on musician’s health. efit from Trevor Wye’s vast experience, knowledge, and inquis- Section Four is about how to teach and the communication of itiveness is well worth the cover price. This is essential reading ideas in this context. It includes thoughts on setting up a teaching for students in particular and would be a welcome addition to business and help with solving some of the common problems any flute player’s library. found in flute playing. —Carla Rees

CDs American Premieres difficult to discern, but this is an aberration in an otherwise Cosmos Trio beautifully recorded CD. ©2017 MSR Classics The two pieces that are most likely to capture listeners’ at- tention and perhaps linger in the ear are Sweet, Beautiful, and We are indebted to flutist Kath- Delicate by Andrew Boysen, Jr., and the Columbus Triptych of erine Borst Jones, longtime flute Stephen Main. Boysen’s composition begins with dramatic flute professor at Ohio State Univer- glissandi but then moves into a more ethereal and meditative sity, and her colleagues in the terrain evocative of the East. The players are asked to multitask Cosmos Trio (Mary E.M. Har- here, doubling on triangle and a bowed crotale lending a wel- ris, viola; and Jeanne Norton, come hint of color and texture. Late in the eight-minute piece, harp) for releasing a CD of the flute executes fingered glissandi with just the headjoint. It relatively recent compositions, American Premieres: New Music is an eerie, striking moment, calling to mind the timbre of an for Flute, Viola, and Harp. When programming for this combi- ethnic flute. At its best, Sweet, Beautiful, and Delicate allows the nation, the beloved and time-tested Debussy Sonata is nearly al- flute to do what it can do so well: sing beautiful legato lines. Borst ways the go-to piece anchoring a recital. However, flutists often Jones certainly does so with skill and élan. search endlessly for suitable companion pieces to fill out a pro- The Columbus Triptych is an optimistic, energetic collage of gram. While nothing to date has equaled the Debussy master- popular Americana. The outer movements are quick and seem work, the collection of new works presented here by the Cosmos to have a destination in mind. Unhurried with Profound Calm, Trio features six disparate pieces. Although each composer cer- the middle movement, features an ostinato harp figure that is tainly speaks his own language, it is difficult for the listener not to mesmerizing, lending itself to the composer’s title. hear small evocations of the Debussy Trio, perhaps in homage, in Overall, the composers could have made use of more of the nearly all of the compositions on this disc. many varied colors and effects available to the three instruments. Stephen Paulus’ Petite Suite is a charming amuse-bouche. The Much of the writing is episodic and imitative, keeping each voice writing is delicate and politely scored, each instrument taking distinct and therefore in the spotlight. The harp seems to per- turns and residing in its distinctly separate register, allow- form the function of serving predominantly as a harmonic base, ing for clarity of line and texture. Libby Larsen’s Trio in Four adding rhythmic and textural structure while the other two in- Movements is at times hypnotic, pale, or keening, while Dale struments take the fore as the predominant lyrical voices. Warland’s “Arise my Love” offers open and affectionate music, With one exception, all of the pieces performed here by the which the program notes describe as written in memory of Cosmos Trio have also been commissioned by its members. The departed loved ones. “Letter from Home” by Donald Harris is trio has put its considerable talents on display in the performanc- scored for the instrumental trio and two sopranos (here Lucy es recorded on this CD, providing their flute-playing colleagues a Shelton and Christine Mortine). The recorded balance is un- welcome increase in repertoire for a popular ensemble. fortunately biased toward the sopranos, their text sometimes —Linda Toote

FALL 2018 THE FLUTIST QUARTERLY 59 NFAONLINE.ORG CDs Bridges Jazz artists have benefited from working with the rhythmic The Jamie Baum Septet+ complexities of Carnatic (South Indian) music. But the form’s ©2018 Sunnyside melodic subtleties—particularly in the North Indian or Hindu- stani tradition—can be incompatible with Western musicians A number of jazz artists, and instruments and require specific, strict performance rules many of them flutists, not and standards. only excel in performance but In Bridges, while the central work of the collection is dedicated also help to extend the jazz to Siva, and other compositions draw on the Siva Puranas, a central genre through insight and scripture of the Vedic tradition, Baum has focused on a wide spec- innovation. A case in point is trum of influences from throughout South Asia, such as the work New York flutist Jamie Baum. of Pakistani Muslim/Qawwali vocalist Nusrat Fateh Ali Khan and Known for her compositions as much as for her performing, she other Muslim/Arabic and Hindu/South Asian music. She goes so has produced a series of recordings that have not only found new far as to link this with her own personal tradition of Jewish music, ways to blend the flute with more traditional jazz instruments revealed on the second track, “Kol Nidre” (not the Max Bruch com- (her own ensemble, The Jamie Baum Septet+, matches her flute position). She states, “This music represents a bridge highlighting with trumpet, saxophone, , French horn, guitar, pi- the similarities found in diverse religious music tradition that con- ano, bass, and drums) but also to draw on influences outside of nect us, expressed in a modern jazz improvisation reformat played the jazz canon, including composers Bartok, Stravinsky, and Ives. by musicians of those various backgrounds.” In her previous CD and again now in Bridges, she has turned to This CD epresentsr great artistic achievement. Beautifully the music of South Asia. articulated by the ensemble, with top-quality solos by its mem- Bridges was produced under a grant from a 2014 Guggenheim bers—led by Baum herself on concert and alto flutes—and re- Fellowship, a commission from the Rubin Museum of Hima- corded with great depth and clarity, this is a landmark record- layan Art designed to honor Nepal, and a series of other grants ing that belongs in the collection of anyone interested in the and fellowship listed in the CD notes. artistic barriers being breached by visionary jazz artists such as I am always wary of attempts of fusion of jazz with a mu- Jamie Baum. sic tradition that has been under development for centuries. —Peter Westbrook

The White Labyrinth: and linear structure. To be engaged in his music requires deter- Harvey Sollberger mination and commitment, but the benefits justify that effort. at Eighty This is not music to be casually encountered. One is gripped by the variety and complexity it offers. It is at times confrontational, IWO Flute Quartet contrapuntally dense, sensuous, lyrical, and light-hearted, and it ©2018 Albany Records is always compelling. The Grand Quartet for Flutes (1962) is a wonderful intro- Having grown up musically duction to much that epitomizes Sollberger’s compositional in the 1960s and 1970s, I was syntax. The textural interplay of cross rhythms, colors, slow constantly surrounded by the lines competing with dense, pointed rhythmic utterances, magic of Harvey Sollberger, and extremes of range and dynamics works to pull the listen- who, in 2015, received the er into an intimate understanding of what makes Sollberger NFA’s Lifetime Achievement Award. For decades, Sollberger was tick artistically. His voice is his own; the music must reach the considered at the very forefront of the avant-garde movement listener on its own terms. for flutists. I suspect that many were filled with awe and per- Two Pieces for Two Flutes (1958, rev. 1960, 1962) is dedicat- haps not a small amount of intimidation in his presence, despite ed to Betty Bang Mather, but, as Sollberger reveals in his pro- his wonderful, informal, and creative warmth. The Flute Farm, gram notes, the second work is inspired by Hindemith. The first which he established in the mid-1970s, was for almost a decade piece (Largo – Andante – Largo) is moody and introspective. the center of the world for flutists exploring “new” music and Its lyrical foundation is immediately recognized. The dialogue in technical skills. Supplementing his accomplishments as a flut- Largo—quasi Hindemith—is a great study in counterpoint. The ist, Sollberger’s contributions as a composer and conductor have conversation between both flutes is uncanny in its mischief. It is been monumental. immediately accessible, yet fiendish in its demands, and is one of The White Labyrinth, presenting six flute compositions created the CD’s most approachable works. between 1958 and 2015, is a vibrant tribute to his lasting lega- Hara for solo alto flute (1978) should be standard repertoire cy. Performers are Sydney Carlson, Leonard Garrison, Jennifer for all flutists exploring major solo works for this instrument. Rhyne, and Paul Taub—members of the IWO Flute Quartet— Garrison’s playing is gripping, not to be missed! The tonal and pianist Roger McVey. and technical demands are significant, and the work is filled Sollberger’s music, never easy listening, challenges both per- with extended techniques that can no longer be considered formers and listeners, and the six compositions here affirm that avant-garde—harmonics, pitched air, percussive attacks, key reality. They are at times dense in sound and complex in vertical clicks, microtones, multiphonics, and vocal techniques. It

60 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG CDs avoids the temptation to become a catalogue piece designed tively negotiates the counterpoint in range and dynamics of the to include every possible extended technique; everything feels alto flute against Garrison’s flute lines. Acoustically, this work totally organic. Sollberger seems to have explored the full ex- might be even more effective with the spaciousness of a live per- pressive range of the instrument. This extraordinary work formance. Neither voice dominates; each complements the other might have a vital life among flutists for generations to come. with equal presence. This is a wonderfully balanced performance Sonata “Charlie Hebdo” for flute and piano (2015) found of a very satisfying work. its ultimate compositional inspiration in the 2014 murderous Second Grand Quartet for Sixteen Flutes, “The White Labyrinth” attack on the offices of the Parisian magazine Charlie Hebdo. (2015) presents each member of the IWO Flute Quartet playing It is stark, sensitive, at times chaotic and, as Sollberger de- flute, piccolo, alto flute, and bass flute—16 flutes. This “grand scribes, filled with rage. The first movement, Stele, is bleak, quartet” is a sonic kaleidoscope, constantly evolving, weaving, almost minimalist in its severity. The edgy Scherzetto Dia- and dodging through a soundscape that is pure Sollberger. In his bolique, filled with attitude, offers a florid contrasting middle program notes, the composer attempts to explain what is not hap- section that is modal and exotic before returning to a rather pening in the work and also its rather curious sense of structure chaotic close. The final movement, I volatile del Beato An- (or non-structure). Perhaps his final comments explain (or don’t gelico, blends lyricism with restlessness, which leaves one explain) his objectives (or non-objectives): “…you needn’t listen disturbed and a bit on edge by a final flute line that ascends here for some sort of teleological unfolding leading to a convinc- into thin air. Can such criminal violence that is experienced ing conclusion (that doesn’t exist) or that adds-up into the prover- worldwide ever find resolution? bial ‘well-made piece’…. I like music that’s a little off-balance, even In Aurelian Echoes for flute and alto flute (1989), Sollberger a little ‘off.’ That’s what I’m reaching for, I think.” succeeded in blending both flutes such that they interact with Such remarks indicate in a very concrete fashion the extremely one another with almost mathematical logic—yet each succeeds personal way in which Sollberger approaches all his music. It is at maintaining individuality, albeit with similar material. The idiosyncratic, creative, following its own muse, highly person- work progresses steadily in its sense of musical destiny, some- al—and worthy of serious listening. times whimsical, yet with seriousness of discipline. Taub effec- —Brooks de Wetter-Smith

Sweet Dream: Gordon Jacob’s skillfully written “Introduction and Fugue” World Piccolo, Vol. 3 for piccolo, flute, and alto flute is an undiscovered treasure. Jean-Louis Beaumadier Worthy of inclusion on the CD, it is masterfully played by Beaumadier, Montero, and Itzés. ©2017 Skarbo While the liner notes list William Bardwell’s Little Serenade as a “gem worthy of becoming more widely known,” it wasn’t the Jean-Louis Beaumadier con- top musical highlight of the CD for me. Bardwell’s work does tinues, in this third volume, merit credit for its clever and rare instrumentation of piccolo, his exploration of piccolo rep- , and xylophone; by including Little Serenade in this ertoire from around the globe. project, Beaumadier brings attention to a distinct color palette Composers from Brazil, Brit- that warrants further exploration. ain, France, , Belarus, and Guadaloupe are represented Sweet Dream is a worthy addition to any flutist’s library as a in a wide variety of works of varied instrumentations. model of great piccolo sound in both solo and chamber music Bringing to Sweet Dream his trademark effervescent sound contexts. It brings wider attention to admirable, unsung repertoire and lyrical presence, Beaumadier generously shares the spotlight and should inspire new works of similarly varied instrumentations with many colleagues, demonstrating the wide capabilities of the that include the piccolo. piccolo as a chamber music instrument. Collaborators are Jor- —Laurel Swinden danian Torrent, piano; Carla Rees, alto flute; Vincent Beer-De- mander, mandolin; Gergely Itzés, alto flute; Magik Malik, flute NFA membership benefit: and voice; Rodolfo Monterey, flute; Matthieu Schafer, xylophone; NFA members may stream thousands of and Peter Verhoyen, piccolo. CD standouts include the opening track “Estudio” by Carman- recordings for flute, including many reviewed guo Guarneri. The piece is syncopated, fun, and full of color, and in this department, absolutely free through Jean-Louis Beaumadier portrays this with clarity and ease. Naxos Music Beaumadier and Torrent present Mike Mower’s Piccolo Sonata Library, the most with style and personality. The opening movement in particular comprehensive has great groove and ensemble interaction. The motivic passage work passed back and forth between piano and piccolo is su- collection of perbly presented as an uninterrupted conversation. The third classical music and fourth movements of Veronique Poltz’s Midnight with Pan in available online. particular highlight the effective blend of two distinctly colored nfaonline.org auxiliary flutes, the piccolo and alto flute.

FALL 2018 THE FLUTIST QUARTERLY 61 NFAONLINE.ORG CDs Blue Landscapes II: they have tried to go even more deeply into this esthetic in the Discoveries second volume. Damjan Krajacic As 1995 winner of the Gold Medal at the International Prokof- iev Competition in St. Petersburg, Russia, Thies is recognized for ©2016 Gentle Rain his prowess as a concert pianist, while Krajacic, originally from Croatia, has degrees in both classical flute and Afro-Latin mu- Blue Landscapes II: Discov- sic and has studied with jazz and Latin masters James Newton eries—Music from a Quieter and Danilo Lozano. The common ground they sought, emerging Place, following the 2012 first from the “quiet place,” brings forth music of great sensitivity with volume of the same name, moments of great beauty, while Krajacic demonstrates the New once again offers very good Age capabilities of the flute, an instrument strangely rare in the music indeed. Unconcerned New Age catalog. with genre (distributors and radio stations often classify it as If there is one weakness in this genre, it is a certain sameness New Age), Damjan Krajacic and pianist Robert Thies have con- that creeps in when works no longer have fast-slow-fast move- tinued to spend hours working together to create music out of ments or the tempo contrasts of jazz pieces. However, in a world their joint improvisations, using various devices—melodic and where people rarely play recordings from beginning to end but harmonic, compositional and spontaneous—to impose form on tend to sample individual tracks on YouTube or SoundCloud, their musical ruminations. Only one requirement on the CD’s this is no longer a major issue. When discovering Thies and Kra- repertoire remained throughout: that it should offer, as they jacic in their browsing, New Age enthusiasts will encounter the put it, “Music from a quieter place, inspired by the beauty of highest quality within their favorite genre. nature…but always grounded in human emotion.” If anything, —Peter Westbrook

Visitor Pass Polyconic Projection for flute, , and hi-hat was Peterson/Hayes Duo commissioned from Luke Gullickson, a musician and writer ©2016 Peterson/Hayes Duo based in New Mexico. The Chicago Tribune describes Gullick- son’s musical style as a “sonic wash of various intensities and allusions.” His chamber music compositions showcase a wide The Peterson/Hayes Duo, variety of standard and non-standard instrumentations. with Kristin Hayes and vibra- David Asher Brown’s Postcards from an Imaginary Travelogue phonist Eric Peterson, expand (2013) is the composer’s second chamber work involving flute; the flute and percussion rep- the first is a from 2006. The work’s varied movement ertoire with five new commis- titles include Crux, Miniluv, Ishtar Gate, Orient Express, and sioned works presented in this Pablo Casals in . debut recording. Featured are young emerging composers with a Pierce Gradone’s Scattering Bright is inspired by John Donne’s wide range of stylistic interests. If there is a central theme, several poem “Angels and Air” and is scored for flute vibraphone and of the works have minimalist qualities in the writing style. . The final work, “Isla,” incorporates a remix of “Isla de Steven Snowden’s Mobbing Calls explores three different Niños” by Elsa Ferrari with flute and vibraphone. animals that respond to predatory behavior using a mobbing Program notes are not included in the liner notes or on the technique to drive away their attacker, each with their own duo’s website; however, I found information on each compos- movement. In addition to the vibraphone, the composer uses er’s website. Centralizing this information for the CD (which is trashcan lid, metal mixing bowls with marbles, metal pipes, available both in hard copy and by digital download) would have , wood block, opera , water bowl, and crotales in provided helpful background for this new repertoire. the percussion palette for this work. —Laurel Swinden

Del Caribe, Soy! This houlds come as no surprise—Torres’ training was at Néstor Torres the Mannes School of Music, the New England Conservato- ©2017 Naxos Rights US, Inc. ry, and the Berklee College of Music. His career includes 14 solo recordings and collaborations with jazz and Latin artists Since 2009, I have maintained Gloria Estefan, Herbie Hancock, Tito Puente, Michael Camilo, lists of jazz artists who have Paquito D’ Rivera, and Arturo Sandoval, and he has appeared made high-quality classical in performance with the Cleveland, Singapore, and New World recordings—and vice-versa. symphony orchestras. Overall, he states his purpose as “tran- As of now, there is still no one scending [my] role as a jazz flutist to that of an agent of change on the second list, but the first through crossover multi-media productions, compositions, list continues to grow. The lat- and performances.” est addition is from Latin Grammy Award-winner Néstor Torres. In keeping with this goal, Torres has now produced an album

62 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG CDs that falls squarely into the classical category, although it could ing that is alternately tender and fiery. Again, the composer is only have been produced by an artist with a dual jazz/classical at the piano. background—perhaps a triple one including Latin. The result is Three other pieces balance out the CD’s program. Torres’s something that brilliantly captures the contemporary music aes- own, Marta y Maria, “blends Aramaic scales with Western Eu- thetic but with an essentially Latin-American dimension. ropean romantic and contemporary musical styles, with Latinate The project was initially spurred by Torres’ belief that it improvisations built around Afro-Caribbean rhythmic patterns.” was time for him to do something in the classical genre. This The remaining works on Del Caribe, Soy! are transcriptions of impulse was substantiated with the help of producers Julie two sweet arias from the opera Cofresi by beloved Puerto Rican Williamson and Julio Bagué, who introduced Torres to the composer Rafael Hernández Marin. work of two composers with Latin American roots, Tania Recorded live in 2015 as part of the St. Martha’s Yamaha con- Léon from Cuba and Miguel Del Águila, originally from Uru- cert series in Miami and beautifully performed by the multi-tal- guay, each of whom has built a distinguished career in the ented Néstor Torres, this CD’s collection makes a major contri- U.S. around their own vision of where Latin forms and genres bution to the contemporary Latin in general and the fit into contemporary music. These are featured among the flute repertoire in particular. composers in the CD. To facilitate this, the two pieces written expressly for this Léon contributes two pieces to the program. The first, Del performance and recording have been published by Peer Mu- Caribe, Soy! (Caribbean, I Am!), blends Caribbean rhythms sic Classical. Each of them presents definite challenges to both and bird calls with intricate passages from the pianist—the flutist and pianist: Miami Flute Suite has sections in 5/16, 9/16, composer herself on the recording—and extended techniques and 13/16, for example, while Tania León’s title piece requires and sections of improvisation from the flutist, all of which improvisation in several places. Both of them require some Torres executes with grace and aplomb. Léon’s second piece, feeling for South American genres and some facility with con- which ends the recording, is a lighter and gayer dance- temporary Western performance practices, although they can like piece that evokes a Cuban festival atmosphere while, also be used to develop these skills, so the rewards to those who again, calling on improvisational skills from the performers, persevere with them are considerable. featuring Torres with a full rhythm section of piano, bass, Both of these pieces, as well as the recording, belong in drums, and percussion. any serious conservatory or music school library. The whole Three-time Grammy-nominated composer Miguel Del package, even though beautifully produced, is very reasonably Águila, whose works have been performed by hundreds of or- priced, so it should be within reach of most music schools. chestras and other ensembles and recorded on more than 30 The flute repertoire is extensive, but there is little material of CDs, wrote Miami Flute Suite specifically for Néstor Torres. this quality or of this importance. The pieces in this collection The composition’s three movements are built around Latin move Latin American flute music forward. They demand our genres from Brazil, Argentina, and Uruguay—chôro, tango, attention. and milonga—with a touch of jazz and some passionate writ- —Peter Westbrook

Salute Our Soldiers Strauss has added two horns and , played in this Rachel Smith/Eroica recording by the alternative bass tuba. This is one of Strauss’s ear- Wind Ensemble ly works, reminiscent of German Romantic opera. Suite Persane (Persian Suite) by Andre Caplet contains three ©2015 primafacie dance-like movements for double quintet. Written in 1900, it is a stunning reflection of the dominant musical influences of its Salute Our Soldiers offers 58 time—exotic “orientalisms” from non-European cultures and delightful minutes with four lush motivic overlays from French Impressionism. stylistically distinct works, all Noumenon by Michael Csanyi-Wills was arranged for scored in some relationship to woodwinds (plus tuba) from an orchestral work premiered the double woodwind quin- in 2014. The harmonic structure of this piece, translated as tet—pairs of flutes, , “something that is thought,” portrays the process of thought , , and horns. in slowly shifting chordal clusters. After sections of tonal am- Petite Symphonie in B-flat Major for Nine Winds by Charles biguity, the patient listener is rewarded by beautifully unfold- Gounod follows a standard four-movement symphonic form. ing resolution to a single D-major chord. While each movement is distinctive in its melodic interplay Salute Our Soldiers is performed by the Eroica Wind En- between instruments, the second movement contains an ex- semble—superb musicians from five different British Guards tended solo for the single flute, written as Gounod’s tribute to Bands—and conducted by Mark Eager. A portion of sales from Paul Taffanel, who commissioned the work in 1879. the recording will be contributed to “Help for Heroes,” an orga- Serenade in E-flat for Thirteen Wind Instruments, op. 7, by nization providing aid to soldiers injured on the battlefield. The post-Romantic symphonist Richard Strauss is a single movement CD is a win-win for both listeners and wounded soldiers. marked Andante. In addition to the standard double quintet, —Keith Weathers

FALL 2018 THE FLUTIST QUARTERLY 63 NFAONLINE.ORG CDs Returning to Heights performer, giving the player many opportunities for expression.” Unseen The first minute or so of “Separation Logic” sounds almost like Lindsey Goodman organized chaos, but patient listening will reward one with many colorful musical phrases that ultimately emerge. ©2018 Parma Track 2 is David Stock’s “A Wedding Prayer.” This flute duet was Stock’s wedding gift to Lindsey Goodman and her husband, At the 2018 NFA Conven- Chris Carmean, and—full disclosure—performed at their wed- tion, I attended “The Future Is ding on June 26, 2004, by myself and Sherry Kujala. Goodman Now: Electroacoustic Flute,” comments: “Chris and I both earned degrees at Duquesne Uni- with very impressive perfor- versity, where we played in David’s Contemporary Ensemble and mances by Leszek Wisniows- took his courses. He was also a mentor and adopted family mem- ki, Ivana Ugrcic, Sarah Jane ber to us both, doing everything he could to support us person- Hargis, Nicole Riner, Krisztina Der, and Lindsey Goodman. This ally and professionally.” Stock passed away in 2015. On this track, well-attended concert was indicative of a strong and growing in- Goodman covers both parts to great effect. terest in electronic assisted music and bodes well for its future. For Tony Zilincik’s I Asked You, “I asked Lindsey nine ques- At this concert, Lindsey Goodman performed Judith Shatin’s tions and asked her to record her responses. I then analyzed the “For the Fallen” for amplified flute and electronics. Having recordings to find motivic and rhythmic material in her words, recently heard the work from Goodman’s new CD, I was sur- manipulating sections of her recorded voice to create electronic prised how emotionally moved I became while listening to instruments. I also utilized recordings of her playing and some her live performance. Sad memories of World War II were of her favorite nature sounds to fill out the instrument list.” enlivened by the recorded sounds of one of the largest ringing Elainie Lillias’ Sleep’s Undulating Tide takes its inspiration from bells in the world, which is rung daily in memory of the fallen Margaret Atwood’s poem, “Variations on the Word Sleep.” Lillias in all wars. That Bell for the Fallen (Campana dei Caduti) is describes Atwood’s imagery as a lover’s progression through var- located in Rovereto, Italy, and was cast from cannon melted ious dreamlike states. This track also includes beautiful singing after World War I. by mezzo-soprano Lindsey Goodman. One hopes that more re- “For the Fallen” is on track 9 of Goodman’s new Returning cordings of Goodman’s singing will be in the offing. to Heights Unseen; her CD’s title is from Stéphane Mallarmé’s Linda Kernahan’s “Demon/Daemon” begins with teasing hints quote: “The visible breath, artificial and serene, of inspiration to the opening phrase of Afternoon of a Faun. The Demon, as Ker- returning to heights unseen.” It is an apt description of the nahan explains, is the counter-productive force that lives inside us music included in this captivating album, available as a CD or all. It feeds on us like a parasite but stops just short of destroying digitally. Goodman, a phenomenal flutist, has included eight us. The Daeman is the authentic inner voice that supports our vi- works by American composers, all of whom she has collaborat- tality and creativity. The two aren’t enemies so much as contrasting ed with. The diversity of sounds and compositional styles are characters in a drama we are all obliged to act out. They long to be quite remarkable. acknowledged and understood, and if we ignore them, they stir up Roger Dannenberg’s goal in his “Separation Logic” for flute and trouble. In this piece Goodman again vocalizes to great effect. live computer processing is to “extend the sounds and capabili- Randall Woolf’s The Line of Purples and Roger Zahab’s “Suspi- ties of instruments by capturing and digitally manipulating their cion of Nakedness” bring this terrific CD to a satisfying close. sounds. All of the sounds in this piece are derived from the live —Walfrid Kujala

Music Lift Ev’ry Voice and Sing with soaring lyrical lines, utilizing both a classical idiom and the J. Rosamond Johnson, influence of world music. The result is a work that is challenging arr. Simpson-Curenton enough to keep a good player engaged but accessible enough to be entertaining for audience members who might struggle with ©2018 Theodore Presser enjoying strictly traditional classical music. Pianist/composer Evelyn Simp- The source material, an early 20th-century spiritual hymn, was son-Curenton, active as both a written by activist brothers James Weldon Johnson (words) and classical and a gospel musician, John Rosamond Johnson (music). They were part of the Harlem has created an exciting, vibrant Renaissance in the 1920s, and they were influential leaders on a na- setting of “Lift Ev’ry Voice and tional level as well as in their local communities. “Lift Ev’ry Voice Sing” for flute (with optional and Sing” is still sung in many congregations on a regular basis. alto flute) and piano. Written Simpson-Curenton’s writing is rich with multi-layered texture, for her daughter, prominent all while keeping the melody of the theme audible. The introduc- flutist Julietta Curenton, Simp- tory passage is reminiscent of great Baptist piano players—full son-Curenton’s composition is substantial, blending beat boxing of octaves, tremolos, and bombastic power. Within the first 12

64 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Music measures, she establishes a rhythmic ostinato that drives the first inventiveness as a composer, and her expert knowledge of both half of the piece. The middle section is quicker, suggesting a sam- instruments makes “Lift Ev’ry Voice and Sing” a showstopper ba, and a long passage of chromatic scales in the piano support addition to a recital program and best of all, they make it look the flute as it lays out the melody clearly in the third octave. like a lot of fun! The technical demands of the flute part, Simpson-Curenton’s —Jessica Dunnavant

Court Dances: Suite for The first movement, Courante, reflects the lively character and Flute and Piano triple meter typical of its Baroque namesake. Playful yet driving, Amanda Harberg Harberg’s writing reflects harmonic depth and demands from the performer rhythmic precision and close attention to chang- ©2018 Theodore Presser ing articulation patterns. American composer Amanda The yricall and flowing second movement, Air de Cour, offers Harberg continues to earn acclaim an introspective contrast to the more gregarious first and final for her charismatic, energetic, movements. The dynamic final movement, Tambourin, opens and sensitive approach to writing with running 16ths exchanged between the flute and piano. across all instrumentations and Accents, syncopation, and sparkling runs, as well as percussive genres. At 14 minutes in length, effects and flutter tonguing, further develop the excitement al- Court Dances is Harberg’s lon- luded to in the opening. gest work featuring the flute yet Clean and easy to read, the score and flute part feature clear holds up to the high standard of flute composition she’s set for instructions, excellent page turns, and carefully prescribed ex- herself, demonstrated by recent works such as Feathers and pressive indications, dynamics, and articulations. Virtuosic in Wax, Poem and Transformations, and Prayer for flute and pi- nature, Court Dances explores the full range of the flute, from 0B ano. Commissioned by a consortium of 57 flutists organized to D4. Based on the criteria published in the National Flute Asso- by Cobus du Toit, Court Dances was premiered by du Toit ciation’s Select Flute Repertoire and Studies: A Graded Guide, this and Harberg at the 45th Annual National Flute Association work falls within the grade “J” and is most suitable for collegiate Convention in 2017. and professional flutists. This substantial work makes an excel- Blending old and new, each movement of Court Dances refer- lent addition to any recital program. ences courtly dances and songs of the 16th and 17th centuries. —Shelley Martinson

Flute Collection great. The volume itself is lovely, with a minimalist design on the Ludovico Einaudi cover and nice, thick pages within. ©2017 Chester Einaudi’s music is gorgeous. Texturally and harmonically there is much variety, from the gentle groove of “Nuvole Bianche” to Ludovico Einaudi is an Italian the more complex lines of “Divenire,” where the flute’s smooth pianist and composer famous opening line morphs with every new section into something that for his beautiful, moody works, more closely resembles the energy and rhythm that the piano and perhaps for the video for part has from the very beginning. “Night,” with its contrasting his composition “Elegy for the sections, seems to suggest that the night in question is anything Arctic,” a darkly evocative vi- but calm, and “Primavera” brings to mind all the blooming of sion that was shot in the Arctic spring as it transforms from a slow, sheer, minor beginning into Ocean. The Flute Collection con- something far more active and awake. There are several more tains arrangements of some of works in the volume, including “Crane Dance,” “Elegy for the his works for flute and piano. The arrangements were created Arctic,” “L’Origine Nacosta,” and “Una Mattina.” by Einaudi himself along with Alistair Watson and Sam Lung. These pieces would work individually or grouped together on There is additional material in the form of a free digital version, a recital program. The level of difficulty, on a strictly technical interactive feedback through SoundCheck, and audio examples level, is not high, but a high level of musicianship is required of both the flute and piano parts, separately and together. These to pull them off with the simplicity and expressiveness they are extras come through an account with SoundWise, which can be intended to display. Einaudi’s music is haunting and compelling, used via the web or a downloadable app. The SoundWise app is worth listening to in its original solo piano format and worth not terribly intuitive at first glance, but the value added by the considering in these arrangements for flute and piano. inclusion of the electronic components with the sheet music is —Jessica Dunnavant

FALL 2018 THE FLUTIST QUARTERLY 65 NFAONLINE.ORG Music Colors & Moods These volumes would be suited for the advanced beginner Sandra Engelhardt flute student. The range consists of the first two octaves of the 4 5 ©2017 Breitkopf & Härtel flute: D –C . Dynamics and phrase markings are not written, creating ample room for expression and creative thought pro- The three volumes of atmospher- cesses by young students, ideally with the aid of their instructors. ic pieces in Colors and Moods, The uthora includes quite useful tips for practice: for example, composed by Sandra Engelhardt suggestions to play every other measure with the full CD version or with arrangements by Martin to play just the first notes of each measure with the CD. These ideas Schulte, fill a gap in the devel- would help to reinforce the rhythmic stability and consistent ensem- oping flutist’s repertoire. These ble playing that are such useful skills for the developing player. colorful and playful works prog- The iecesp range from lyric and melodic works to character- ress in difficulty very gradually istic dances such as Irish dance, tango, and salsa. The variety of throughout all three volumes. mood and expression gives the young player more choices of Each volume contains 10 short pieces that can be played with the style and a chance to experiment. The pieces could be used in given piano part or with the more orchestrated CD as accompa- conjunction with any method book. The print is extremely clear niment. The CD extra contains the printable piano part. Each of with well-designed pages for clarity and ease. I highly recom- the three volumes also contains several works with an additional mend these three volumes. second flute part for added interest and ensemble practice. —Andrea Kapell Loewy

2 Salon Pieces: entirely fluent) progressions. Similarly, “Gruß an Ungarn” is some- Student Edition what repetitive throughout and therefore not entirely convincing. Wilhelm Popp, ed. Wächter However, I highly recommend this little collection to any ear- ly-high school player and her teacher. The works have the same ©2017 Schott excitement and flair as Böhm’s Grand Polonaise but are signifi- The enormous output of flute cantly easier and shorter. Trills, 32nd notes, mordents, turns, music by 19th-century com- appoggiaturas, and several mini-cadenzas make them challeng- poser Wilhelm Popp included ing enough without being overwhelming, and they introduce or numerous treatises and instruc- confirm many standard musical figures and ideas: repetition, se- tion books for practicing and quences, accents, staccatos, fermatas, and a wealth of dynamics. developing technique. Popp The highest note—the final note of Gruß an Ungarn—is a high was one of the earliest propo- A and the lowest a C sharp, meaning the full, but not extended, nents and players of Böhm’s re- range of the flute is used. designed flutes around 1865, and his music clearly reflects the “Gruß an Ungarn” is available on IMSLP (the International mid-19th-century flute style that we have come to recognize and Music Score Library Project), but for ease of reading, practic- appreciate: virtuosity, surprise dynamics, and fluid scales along- ing, and marking, I strongly suggest students purchase this item. side large interval leaps. The hard-copy price is reasonable, and there is a less expensive The two pieces in this collection are probably not Popp’s best. download option. For a bit more, students can also download a In “Chanson d’amour,” the Tempo di Mazurka molto moderato is recording of the piano part with which to practice. a little awkward harmonically, making some unexpected (and not —Abigail Sperling

Passages anced and skillfully written for this somewhat unusual combi- Julie Thornton nation. The trio performs it with confidence and style. Changing ©2018 Albany Light by Chris Rozé is possibly the most imaginative work on the CD, with much tone color interest and fascinating compositional The core performers on Passag- ideas. Combining flute and alto flute with varied uses of mute on es: Music for Flute & Horn—Julie horn and an equally colorful piano part captures the listener’s Duncan, hornist Michael Thorn- attention throughout. ton, and pianist Susan Grace—are Adrienne Albert’s War Stories in three movements is some- fine musicians, and the CD’s pro- what less engaging but, again, well played. Three works by Franz duction quality is excellent as well. Doppler—“Nocturne, op. 19” (with violin); Souvenir de Rigi; and (Collaborating musicians are violinist Yumi Hwang-Williams and “L’Oiseau des Bois” (for flute and four horns, no piano)—are in hornists Carolyn Kunicki, Kolio Plachkov, and Austin Larseon.) Doppler’s familiar style, and these are solid performances. Paul Basler’s title track, for flute, horn, and piano, is well bal- — Rebecca Dunnell

66 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Music Portraits of Richka haps a bit long and repetitive; one senses the same thing could Peter Senchuk have been expressed more succinctly. ©2017 Forest Glade The third movement, Litya (Memorial), again begins freely, al- though the piano provides steady rhythm. The mixed meter this Portraits of Richka was com- time includes 5/8 alongside 2/4 , 3/4, 4/4, and 5/4. missioned and premiered at the The final movement, Arkan (Hutsul Dance), is the most tech- 2017 National Flute Association nically challenging of the four. Gaining in momentum (the final Convention in Minneapolis by tempo marking is “As fast as possible, 152+”), the movement’s Pamela Youngblood, profes- final note is a high D (sixth leger line) with a high C-sharp grace sor and chair at Texas Woman’s note. Again, mixed meters make this movement rhythmically University, and pianist Gabriel challenging, including isolated bars of 7/8. Bita. Four movements make up This si a great piece for an advanced high school student; there the approximately 14-minute are plenty of opportunities to demonstrate one’s musical expres- piece: ’s Song, Vesillya, sion, and numerous gestural execution decisions can be made by Litya, and Arkan. An homage to the village of Richka in western a savvy performer. At 14 minutes, it might be too long for some Ukraine, where the composer’s father grew up, the programmat- instances, but picking three of the four movements would allow ic work draws on “different places, events, and musical traditions for a piece that feels complete and is under the 10-minute mark. from the village and region.” Players can expect to hear tradition- The orkw overall is a little awkward and has several repetitive al folk melodies including ornamentations used by the Sopilka, motives that can feel somewhat tiresome. The second movement the traditional Ukrainian flute. in particular feels as though it could have been half as long. There The first movement, Sopilka’s Song–Between Two Mountains, are also what appear to be several editorial slips: the suggested does indeed feel like a free-form work. The opening seven bars harmonics before bar 8 in the first movement don’t work as well are like a cadenza, with the piano entering at bar eight. In the as some alternatives do (although this may be intentional); there plaintive first bar, one can almost imagine playing across a val- are groups of five 16th notes that are sometimes marked as a ley between two large mountains. Lyrical scales and short repe- quintuplet and other times as a triplet with two 16ths left over, titions are often in unexpected harmonies. This is clearly music and this definitely could have been beamed differently. with Eastern-European influences. Overall, however, this is a great new work to add to the reper- The second movement, Vesillya (Wedding Celebration), is toire. It is accessible, interesting, and expressive. rhythmical and in an oft-changing meter: 4/4, 3/4, 2/4. It is per- —Abigail Sperling

The Flute Audition when possible, both parts and scores were consulted for accura- Ed. Henrik Wiese cy. In addition, metronome markings are included as indicated ©2017 Universal Edition by the composer. The“Critical Notes” section in the appendix addresses in- Henrik Wiese, principal flutist consistencies of editions as well as other possible and more ap- of the Symphonieorchester des propriate tempo indications. The editor states that “the result Bayerishen Rundfunks and pro- is the most comprehensive collection of international audition fessor of flute until 2017 at the excerpts in a single volume yet published. I hope the user will Salzburg Mozarteum, has com- excuse the omission that naturally results from such a selection piled and edited a wonderful vol- process!” Indeed, the principal flute solos chosen and so clearly ume of flute audition pieces. The printed encompass an incredibly wide range of materials, from aptly titled The Flute Audition the Baroque to the modern era. (The New Essential Companion) In the body of the works chosen, Wiese also includes the im- has an excellent preface detailing the pieces selected and a very portant second- and third-part solos in an ensemble format. The valuable critical report at the conclusion of the volume. These student can thus prepare these solos in context and even with introductory and concluding notes are written in German, En- colleagues to work out crucial ensemble issues. In the appendix, glish, and French. Wiese lists the excerpts in chronological order with dates giv- Weise used a variety of methods for his choices of excerpts, in- en and also includes a list of important excerpts for second and cluding many lists compiled by students, online advertisements of third flute. He even includes a list of possible required interna- particular auditions, lists compiled by renowned performers avail- tional-level solos for auditions and competitions and alternate able online by pedagogues such as Marc Stein, Trevor Wye, and fingerings for particularly difficult excerpts. Elizabeth Buck, and selections in other editions such as the books I find this volume to be incredibly useful, offering new insights of Durichen/Kratscch, Baxtresser, Wye/Morris, and Parloff. concerning various flute parts and editions. Importantly, Weise Letter numbers, measure numbers, and bar lines are very clear- also gives very helpful performance comments. I highly recom- ly printed and taken from the actual parts. Manuscripts, first and mend this book for the advanced student. original editions, and current urtext editions are included, and, —Andrea Kapell Loewy

FALL 2018 THE FLUTIST QUARTERLY 67 NFAONLINE.ORG Music Chester Flute Anthology a little deeper, however, and this anthology is a treasure trove of Trevor Wye lesser-known complementary works, including a movement of ©2017 Chester Richard Rodney Bennett’s Six Tunes for the Instruction of Sing- ing-Birds, a movement of Malcolm Arnold’s Sonatine for Record- A casual observer could be easily er and Piano, and a movement of Lennox Berkeley’s Sonata for forgiven for wondering whether Flute and Piano, op. 91. Trevor Wye, author of the forward and the flute world needs any more performance notes, points out that those three works are by Brit- anthologies of music for ad- ish composers, so perhaps they are only lesser known to Ameri- vanced performers. A quick scan can eyes and ears. of the table of contents often Wye’s introduction and notes are thorough and well written, yields the usual suspects: one of and they alone are worth the cost of the anthology. He gives the Bach sonatas, a French con- biographical information on the composers along with back- servatory piece, an unaccom- ground information for each piece, all written with the humor panied piece like Syrinx or Bozza’s Image, and perhaps a more and wisdom that devotees of his practice books for flute have modern sonata or more esoteric work still within the realm of come to expect. regularly performed, popular pieces for flute. So, does the flute world need another anthology of music for At first glance, this Chester anthology is no different; it con- advanced performers? Maybe, maybe not. Still, this volume is a tains two movements of Bach’s E Major Sonata, the first move- worthy addition to the canon. ment of Poulenc’s Sonata, Fauré’s Fantasie, and, yes, Syrinx. Dig —Jessica Dunnavant

Musetta Steps Out which is based on La Bohème, an plays this famous theme. Dorff takes the melody and turns it into a jazzy swung ©2014, 2018 Theodore Presser version. My students and I absolutely loved reading this quartet. Daniel Dorff’s 2014 “Musetta Most flute students are classically trained in reading music Steps Out,” based on “Musetta’s first and then turning to jazz later, if at all. Consequently, my Waltz” from Giacomo Puccini’s students initially had trouble swinging the eighth notes in the La Bohème and written for mixed theme. We are very excited to program this piece in the fu- flute quartet—piccolo, C flute, ture, and I cannot stress enough how much fun any quartet alto flute, and bass flute—has will have learning and performing this piece, which could been reissued in a 2018 printing. be played by high school students but is appropriate for any Many people who know noth- advanced quartet. ing about music are familiar with Expect this work to be a crowd pleaser when you perform it. the “Musetta’s Waltz” tune. In Jonathan Larson’s musical Rent, —Ronda Benson Ford

Angelus! Prière aux . The score and parts are extremely clear with ap- Anges Gardiens propriate page turns. Franz Liszt, arr. Long The first and second flute parts are often treated homophonical- ly. The lower flute parts create the work’s over-arching harmonic ©2017 Falls House Press drive and rhythmic clarity. In the score’s historical notes section, Paige Dashner Long’s wonder- Long quotes a beautiful statement by Liszt regarding his com- ful arrangement of Liszt’s Ange- position: “In early October, there was the holiday of the Holy lus! Priere aux Anges Gardiens Angels. I wrote a hundred or so measures for them…and wish I (Prayer to the Guardian Angels), could better express my intimate devotion to the divine messen- for flute choir or flute quartet, in- gers.” This quote and the detailed historical explanation help to cludes well-written performance give performers both the inspiration and the drive to create the notes providing details on how essence of beauty that the composer first imagined. the piece should be played ei- This si a beautiful work with very expressive harmonic motion. I ther as a larger ensemble piece or as a smaller quartet. Notes also highly recommend this transcendent arrangement for advanced instruct the players on how to find the correct pizzicato effect intermediate flute ensembles or advanced and professional flute found in the original string quartet. The instrumentation of the ensembles or quartets. arrangement is for two C flutes, alto flute, bass flute, and optional —Andrea Loewy

68 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Music Universal Accompaniments by Heinrich Soussmann (Grosse praktische Flötenschule, 1839), Carol Wincenc, ed. Wagorn Jean-Louis Tulou (Méthod de flûte, 1852), and Joseph-Henri Al- ©2017 Lauren Keiser Music tés (Célèbre Methode Compléte, 1880). While not a method book, Publishing Louis Moyse’s The Flutist’s Primer (Schirmer, 1979) is in the same spirit. It is good to have recent materials to reinvigorate this style Carol Wincenc’s Universal Ac- of teaching. companiments: Second Flute Ac- Be aware that the nature of the teacher’s score can look decep- companiments Compatible with tively simple on the page. Don’t let that fool you: in practice, the All Standard Editions is a must- addition of the teacher part can be very comprehensive. have for flute teachers. This con- While the accompaniments for the etude books (Andersen tribution to the Carol Wincenc and Berbiguier) are complete unto themselves, the accompani- 21st Century Series for Flute is a ments for the Mozart concertos serve “as a useful tool in lessons collection of Flute 2 accompa- at which no pianist is present” (Wincenc and Wagorn). Once a niments previously published for Andersen’s Etudes op. 15 and pianist is in the room, the flute accompaniment has served its 33, Berbiguier’s 18 Studies, and Mozart’s Concertos K. 313 and most important function and will likely stay on the shelf. 314. The previously published individual volumes include both These scores were created with the teamwork of Bryan Wag- student and teacher parts, whereas this volume contains all of orn, assistant conductor of the Metropolitan Opera and touring (and only) the teacher flute parts. Students may use any standard pianist. Depending on the volume and the page within the vol- edition of the work, and the instructor has all the accompani- ume, he is credited as editor, “assistant composer and editor,” ments in one handy volume and at considerable savings rather “arranged and edited by,” listed in equal billing with Wincenc, than purchasing five separate volumes. or sometimes not mentioned. Suffice it to say he has been an Wincenc channels Marcel Moyse’s teaching to create these important partner in this grand venture. publications, duplicating his practice to sing (or play) harmonic In keeping with other Lauren Keiser publications, the produc- underpinnings, countermelodies, or rhythmic gestures with stu- tion quality is first rate: high-quality paper, excellent typography, dents to heighten their awareness of implications of the score. thoughtful layout, well bound, and attractive covers. The practice of “teaching by duet” goes back to the flute methods —Rebecca Dunnell

Ballabile di Concerto, flutes today. This key makes it possible for flutists to play with op. 15 more fluidity in flat keys. Giulio Briccialdi, Briccialdi is also known for his most famous composition, the Theme and Variations on the Carnival of Venice. The Bal- arr. Dunkel labile is not quite as hummable as that work, but it will not ©2018 International Music disappoint someone looking for a virtuosic solo. To perform this work, the flutist must have a great deal of technical ability The composer Giulio Briccialdi and endurance. is known for creating the thumb I highly recommend this piece. B-flat key, which is still used on —Ronda Benson Ford

Elegy, op. 119 to performers who may not feel prepared to tackle the Sonata’s Lowell Liebermann technical aspects. However, the expressive demands are high, ©2017 Theodore Presser Co. largely due to the Elegy’s genesis as a piece for clarinet and piano, written in memory of famed clarinetist Jon Manasse’s father. The The Elegy for Flute and Piano is final fading note in particular, as effective as it is, feels as though immediately recognizable as the it may never end on flute, whereas it would be much more man- work of Lowell Liebermann. Its ageable on clarinet. long, arching, haunting melod- Clocking in at eight minutes, the work provides an effective ic line is reminiscent of the first contrast to finger-busters in a recital, especially for players seek- movement of the composer’s ing contemporary works written within a more traditional har- popular Sonata for Flute and Pia- monic structure. no, though this piece is accessible —Timothy Hagen

FALL 2018 THE FLUTIST QUARTERLY 69 NFAONLINE.ORG Music Fantaisie Brillante Wiese also gives a highly detailed view of the sources and Francois Borne, ed. Wiese backgrounds of both pieces. For example, he includes a thor- ©2017 Universal Edition ough chart of which movements from Bizet’s Carmen are used and where (in exact measures) that same melodic ma- I highly recommend this new- terial occurs in Borne’s Fantaisie. This gives the performer ly published scholarly edition of greater direction for interpretation of mood and style of the two works by Francois Borne ed- Borne rendition. ited by Henrik Wiese: Fantaisie Also of great interest is the inclusion of the very first publi- brillante on Themes from Bizet’s cation of “Scene” from Adolphe Adam’s opera Giraldo. Wiese “Carmen” and (in the first edition explains its origin as a single manuscript copy that exists at of this piece) Scene from Adolphe the Netherlands Muziek Instituut in The Hague. This work Adam’s opera “Giraldo.” In both is an arrangement of a vocal scene from the opera divided the preface and the works them- into four sections: Entr’acte, Recitative (declamatory), Aria, selves, Wiese provides a wealth of information regarding these and Cavatina. The words from the opera are included in full two gems, including vocal texts where appropriate, publisher’s in the preface, and the operatic words are inserted in the notes in square brackets to separate those from the urtext, notes flute and piano music to give the performers context and me- from the original sources in round brackets, and metronome lodic direction. Again, this is a great tool for an informative markings from the operatic sources. interpretation. In addition, the preface contains biographical information Importantly as well, the musical print is extremely clear about Borne and his life in Toulouse. Wiese provides details and the page turns are very well thought-out in this new edi- on how Borne experimented with the Böhm flute mechanism, tion. I highly recommend this very interesting and highly working with flutemaker Djalma Julliot, and published the inno- researched edition of two of Borne’s stunning and engaging vations in 1905. Perhaps his interest in the mechanical workings works for flute and piano, and a first publication of the Giral- of the flute spurred on both his virtuosity as a performer and his do scene is a wonderful addition to the flutists’ repertoire. highly technical compositional style. —Andrea Kapell Loewy

Duets for Fun making it a superb teaching tool for musicality with middle Ed. Gefion Landgraf school and high school students. ©2016 Schott Music Not to be overlooked are the short biographies of the com- posers, appended to the end of the book. These can serve as Duets for Fun: Easy Pieces to Play launching points for encouraging students to learn about the Together is a terrific collection of historical context of the music they play. duets, ranging from the French —Timothy Hagen and German Baroque to com- posers who are still alive and ac- tive. Perhaps the best quality of the volume is its combination of a wide range of styles with inter- mediate-level technical demands,

Prayer long melodic lines that start gently and become increasingly Amanda Harberg powerful. Written for viola and piano, the work exists in sev- ©2017 Theodore Presser eral forms now: for violin and piano, as the second movement of a viola concerto, and as an orchestral work, in addition to Amanda Harberg’s works have this version for flute and piano. In transforming the piece for been gaining in popularity for flute, Harberg has made adjustments, largely in register, that the last several years, and for lead it to work beautifully in a variety of settings, from church good reason. Her lyrical writing services to concert halls. is heartfelt and expressive, while —Timothy Hagen her up-tempo music is full of verve and rhythmic drive. “Prayer” falls into the former category, as a brief piece with

70 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG Music Methodical Sonatas, Vol. II the appropriate florid embellishing interpretation. , The 1732 volume was published four years after the first, arr. Kostujak and there are some significant differences between the two. The second volume has more variety in the choice of move- ©2017 G. Henle ments and tempi. Instead of the strict four-movement form of Wolfgang Kostujak’s realization the found in Volume I, sonatas in the second of Georg Telemann’s Methodical volume have three, four, five, and even six movements (Sona- Sonatas (Volume II) is an excel- ta I in B Minor). lent scholarly edition with an In addition, Sonata II in B-Flat Major, with five movements, informative preface and an ex- breaks the usual mold of the expressive slow movement tensive comments section that occurring at the start. Instead, Telemann begins the sonata focuses on notation details of the with a fast movement after which there is a slow and embel- volume’s six sonatas. This urtext lished lyrical second movement. In these sonatas (especially edition consists of the flute or violin part, continuo with figured Sonata III in E Major), there are also compositional areas bass, and the basso part. in a more galant style and large segments with syncopated In the comments, Kostujak states that there is no autograph rhythms. These newer pre-Classical practices did not occur or manuscript copy of this music. This new publication is in the first volume. based on the copies of the first edition in 1732, a very reliable The preface and comments are very well written and should source, as Telemann himself did the edition’s engraving and be helpful to the performer. The score is printed clearly printing. The composer became involved with the techniques with amazing folds for appropriate page turns. I recommend of engraving and printing due to the monetary rewards of Volume II of Telemann’s Methodical Sonatas most highly. self-publishing and taking multiple subscriptions in advance This is a wonderful addition to the flutists’ library, both for for copies. This volume presents slow movements both sim- informed stylistic performance and for study of the art of ply and with concurrent elaborating ornamentation—very embellishment through brilliant primary source material by beneficial for the modern performer, constituting another an esteemed composer of the time. important primary source for understanding and performing —Andrea Kapell Loewy

lections of works at a lower price point than any one of those works may have cost just 10 years ago. Many of these volumes contain works of varying styles and difficulty levels, so they are perfect for rapidly growing intermediate and advanced students or professionals on a recital tour who want to pack lighter. Perhaps most importantly, they stand the test of time much better than photocopies. Schott’s Best of Flute Classics: 10 Famous Concert Pieces is an excellent example. It contains works by J.S. Bach, Handel, C.P.E. Bach, Mozart, Donizetti, Reinecke, Taffanel, Fauré, Chaminade, and Roussel. Likewise wonderful is Durand’s French Music for Flute and Piano of the 19th and 20th Cen- turies, which includes works by Saint-Saëns, Godard, Ca- Best of Flute Classics French Music of the plet, Pierné, Gaubert, Barrère, and Koechlin. Each collection Ed. Gefion Landgraf 19th and 20th Centuries costs around $20 and features clear printing on sturdy paper along with unedited continuo parts in Schott’s volume and ©2016 Schott Ed. Bruno Jouard reproductions of original editions in Durand’s. Moreover, ©2016 Éditions Durand both books contain works that are currently without reliable The rise of IMSLP as a publicly available repository of public IMSLP editions in some or all parts of the world (e.g., Doni- domain musical scores has made it easy for musicians at every zetti’s Sonata for Flute and Piano in the Schott and Koechlin’s level of experience to access printed music for practice and Sonata for Flute and Piano in the Durand). performance. It is especially a godsend for many without the I have performed from both of these volumes, and as a pro- resources to borrow or buy professionally printed scores and fessional with a large music library that has been transported those who have temporarily misplaced an expensive score. around the country several times over the years, I appreciate how Another byproduct of IMSLP is that its popularity has attractive and well made they are. I recommend them highly. prompted many publishers to release beautifully printed col- —Timothy Hagen

FALL 2018 THE FLUTIST QUARTERLY 71 NFAONLINE.ORG Music Play Now! which requires a delicate balance between theory and practice. Stephanie Wagner Jazz is an improvisatory art that requires knowledge of scales ©2014 Schott and chords. Many students become excellent performers of the classical repertoire with minimal attention to this level of theory, Although I sometimes call jazz which is why they are often shy of engaging in jazz studies. “America’s classical music,” this Wagner has achieved a valuable balance between theory and genre, for the most part, has practice for the intermediate years when the flutist could be tak- not yet reached the level of the ing her first steps into jazz performance. Described by the pub- classical tradition’s consistency lisher as “just a little theory and many practical examples and of pedagogy about curriculum duets,” the book’s limited coverage of theoretical foundation and repertoire. This is apparent is intentional. It offers just enough to support examples given in the growing number of jazz of various jazz genres—blues, swing, bossa nova, funk, modal method books; as traditional jazz—and just enough, one hopes, to keep students interested jam sessions offering on-the-job without overwhelming them. The time for more theory comes training become ever more rare, method books and play-alongs later, but with Wagner’s approach, by that time the student has, are becoming a cottage industry. Many of these resources are ex- it is hoped, used her many examples and exercises to build con- cellent, but they largely reflect each writer’s teaching methods. fidence with jazz phrasing, understanding different jazz genres For example, many are technical and aimed at college-level play- and periods, and taking the first steps into improvisation. ers, while others are slanted toward intermediate-level players. Backed up with a brief overview of the history of jazz flute and Stephanie Wagner, in her Play Jazz Flute Now! A Step-by-Step an excellent set of play-along examples on CD, this volume is an Approach to Styles, Phrasing and Improvisation for Flute, pub- excellent starting point for the jazz flutist. lished in both German and English, aims for the latter group, —Peter Westbrook

Rainer Mühlbacher’s arrangements of 50 Kinderlieder für zwei Flöten (Children’s Songs for Two Flutes), broken into two volumes, is a delightful teaching tool for beginning students. Rhythmic and metric challenges, tessitura, and length are all limited in ways that will allow teachers to focus on tone color and expressive playing in each duet. Furthermore, students will be charmed by the adorable il- lustrations that accompany the music. Perhaps the only drawback is that the title and lyrics includ- ed for each duet (except “Old MacDonald Had a Farm”) are in German, requiring the extra step of translating. However, this has not stopped my English- and Spanish-speaking students from enjoying the pieces, and the translation can even turn into a game of “who can figure out the words?” between lessons. —Timothy Hagen 50 Kinderlieder Bd. I 50 Kinderlieder Bd. II Arr. Rainer Mühlbacher Arr. Rainer Mühlbacher ©2016 Bruno Uetz ©2016 Bruno Uetz

The Carnival of Venice, formance notes to accompany the sheet music, and he has al- op. 78 tered or added dynamics and tempo indications occasionally Guilio Briccialdi, ed. within the piece. Suggested breath marks work quite adequately, and articula- Galway tions are clarified as well in this edition. The measure numbers, ©2017 Southern variation numbers, and typesetting is quite clear, and courtesy accidentals are appreciated. The Carnival lives on! The Southern Music Compa- —Molly Barth ny Sir edition of “The Carnival of Venice” by Guilio Briccialdi will serve as my new studio teaching refer- ence edition. Sir James Galway has a comprehensive set of per-

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EXPANDING POSSIBILITIES Robert Dick’s Glissando Headjoint, inspired by a device used on the electric guitar, allows flutists to explore new musical worlds. Tammy Yonce by Tammy Evans Yonce

he Glissando Headjoint, Repertoire-in-Making invented by flutist, com- Besides the Glissando Headjoint’s use in improvisational con- poser, improviser, and texts, more and more repertoire for the instrument is being writ- TNFA Lifetime Achievement ten every day. Working with composers in this pursuit is a treat; Award recipient Robert Dick, since we don’t have centuries of Glissando Headjoint repertoire substantially expands the flute's tradition to guide composers’ decisions, some of the pieces they expressive, experimental, and come up with are quite inventive. Composers are able to work timbral possibilities. When the from their imaginations and aren’t necessarily influenced by pre- headjoint is in “home position,” conceived ideas of what the flute should sound like. it behaves and sounds exactly Currently, there are works for Glissando Headjoint in many of like a standard C flute. However, the same configurations used with standard C flute—solo works, the headjoint can slide to the left chamber music, flute with electronics, and flute with large en- in a special carrier tube, which sembles, for example. Works recently written specifically to uti- Robert Dick allows true glissandi to be cre- lize the Glissando Headjoint include: ated. Two wings that extend out from the lip plate and fit on either side of the player’s face are • Jay Batzner’s Dreams Grow Like Slow Ice, which pairs the flute used to maneuver the headjoint along the carrier tube. with glassy, droning electronics. The opening lullaby becomes more abstract as the work progresses and utilizes the Glissan- Timbral Variations do Headjoint to extend the flute’s range down to a low A. It Inspired by the electric guitar’s whammy bar, the headjoint can also includes instances of sliding the headjoint while changing slide seamlessly from one pitch to another. Depending on which fingerings, resulting in smeared sounds. note is being fingered (and therefore how long the air column is), the headjoint, fully extended, can slide down between a ma- • “Highways” for solo flute with Glissando Headjoint by An- jor second and a major third. Any pitch (including microtones) drew Rodriguez, which uses harmonics, timbral contrasts, and between those two can also be achieved. extreme contrasts in tempo to create exciting effects. Timbral variations are some of the most exciting possibilities with the Glissando Headjoint. Composers and improvisers can • “Urban Legends X: Mothman” for Glissando Headjoint and experiment with sounding the same pitch; timbral differences trombone by Wes Flinn, which plays on the similar effects are fascinating between a pitch created with the standard finger- possible between the two instruments. ing and the same pitch created using the extended headjoint. The Glissando Headjoint is comfortable to play and not TheGlissando Headjoint is gaining popularity and provides difficult to coordinate. Learning how to find specific pitches a brand new layer of expression to our beloved flute, which has that lie somewhere between “home position” and fully ex- seen many changes from its humble beginnings. The headjoint tended does take some practice. However, this is extremely has applications in a variety of circumstances, including impro- effective ear training practice, an unintended consequence of visation, solo works, and chamber music and is a versatile piece using this equipment that can be seen as a bonus. of equipment appropriate in many flutists’ toolkits.

Information in this article, and much more, is available at Find it at FQ Plus robertdick.net.

Visit FQ Plus in the Publications section at nfaonline. Tammy Evans Yonce, an Atlanta native, is a flutist, collaborative org for links to audio and video performances using the musician, writer, and associate professor at South Dakota State Glissando Headjoint and for a list of works written for University. She is a dedicated new music performer who is partic- Glissando Headjoint. ularly interested in the commissioning and teaching of new music.

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2018 New Releases 2018 New Releases BRICCIALDI Three Duos for Two Flutes and Piano 281287 .....$24.95 GALWAY Serenades du soir: Chopin, Satie & Faure 281639....$14.95 Co-edited by GINEVRA PETRUCCI LE THIERE Maritana Fantasy: on Wallace's Opera 281640 ...... $12.95 PAGET Romania! Fantasy for Flute and Piano 244893...... $19.95 TITL Serenade 281641...... $6.95

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The PARIS CONSERVATORY ORDER TODAY Edited by NANCY ANDREW from your favorite FLUTE ALBUM Co-edited by Clifford Benson & R.J. Miller music retailer, or at 16 Short Lyric Pieces for Flute and Piano halleonard.com “It is my great pleasure to present this collection of pieces...Nancy Andrew has done a magnificent job of preparing them for publication. I look forward with great joy to include them in my future recitals.” R Sir James Galway MUSIC

Honor Roll of Donors to the National Flute Association

The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings, and flute choir), and endowments. The list reflects donations received from September 1, 2017, to September 1, 2018.

CONVENTION Katherine Borst Jones* David Cramer Debra Silvert Harriet Coppoc SPONSORS Peter Katz* Linda Crisafulli* Patricia Spencer Steven Couch Martin Melicharek III Richard L. Dalton* Alexa Still* Michael Cox* Partner ($10,000–$19,999) Lois E. Schaefer Brooks de Wetter-Smith* Mimi Stillman Linda Cykert* Wm S. Haynes Co. —Presenting Sponsor Nancy Schneeloch-Bingham Sanja deGarmo Cynthia R. Tate* Susan M. Davis Verne Q. Powell Flutes, Inc. Diane Boyd Schultz* Judy Diez d’Aux Rae P. Terpenning* William R. Davis, Jr. Laurie Sokoloff* Kathryn Dorrough* Judith & Mark Thomas Karen B. Demsey* Benefactor ($5,000–$9,999) Sydnee Stein* Colleen Dougherty Leslie Timmons* Kendall Dinwiddie Gemeinhardt Musical Nancy E. Toff* Darlene Dugan Phiroze Titina Christopher R. Dranchek Instruments, LLC Nancy M. Vinson* Brian Dunbar Joel Toste Mia M. Dreese Yamaha Corporation Claire Durand-Racamato* Keith Underwood Ann Droste of America SUPPORTER Tabatha Easley* Julia K. Vasquez Sophie Dufeutrelle Advocate ($2,500–$4,999) ($250–$499) William J. Egnatoff* Connie & John Wachala* Romina Echalar ALRY Publications Altus Flutes Ellen Ramsey Flutes* Susan Waller* Mary H. Emberley Brannen Brothers Eva Amsler Emanuel Flutes LLC Elizabeth Watson* Arthur J. Ephross Flutemakers, Inc. Frances Lapp Averitt* Ann Fairbanks Anne Welsbacher* Lisa Ann Fahlstrom Keefe Piccolos Cristina Ballatori* Jackie Flowers* Jean Ohlsson West Jill Felber Straubinger Flutes, Inc. Joanna Bassett Cynthia J. Folio* Carol Wincenc* Flute Asylum Claudia H. Brill Carmen Freeman* Alan Zaring* Julie Darling Frederick Patron ($1,000–$2,499) Andrew D. Callimahos* Mariana Stratta Gariazzo Laurel Zucker Donna Lynn Gambino Flute Specialists, Inc. Beth Chandler & Jim Cahill* Marianne Gedigian* Patricia Gambino* Contributor ($500–$999) Mary Kay Fink Joseph Gioe FRIEND Patricia George The Abell Flute Company Noreen B. Friedman Susan Greenberg ($1–$99) Alvin Gibson Levit Flute Co. Leonard L. Garrison* Penny Griffy* Patti Adams Debbie Gilbert Carolyn Nussbaum Music Aaron Goldman* Lindsay Hager Alison Addie Diane Gold-Toulson Company Susan S. Goodfellow Courtenay Hardy* Alexandra Aguirre Maximilian Goolsbey JL Smith and Company Jennifer Grim* Linda Hartig* Lori Akins Lynne Green Matthew Johnston John C. Heiss Marcelo Alvarez Adrianne Greenbaum BENEFACTOR Marie Jureit-Beamish Jill Heyboer* Claudia Anderson Melissa-Kay Grey* ($5,000–$9,999) Eva K. Kingma Sarah L. Jackson Francesca Anderson Karrie Griffiths Carol Dale Christopher Krueger Gay Kahkonen Nancy Andrew Gaile Griffore Sherry & Walfrid Kujala Trudy Kane Marines Aviles Eileen Grycky ADVOCATE Betty Bang Mather* Robert Katayama* Federico Baez Ann Gullion ($2,500–$4,999) Townes Osborn Miller* Linda Kirkpatrick John R. Bailey Christine Gustafson Angeleita S. Floyd* Edith K. Nishimura Karl F. (Fritz) Kraber Lindsay Baker* Timothy Hagen* Matthew Pineda* Kathryn A. Prinz* Beth Kruper Laurie Baker Flavio Hamaoka Patti & Paul Smith Deborah L. Ragsdale Joanne Lazzaro Jessica Banks Patrice K. Hambelton* Mark Shrode* Dorothy Tutt Lee Mike Barbour Patricia Harper* PATRON Mary T. Stolper* Marlee Lindon Molly Alicia Barth Sally Ann Hart* ($1,000–$2,499) Paul Taub David Love* Diane Barton-Brown* Wilda M. Heiss* Anonymous* Linda Toote* Ann Jacqueline Martelle* Heidi Kay Begay Delia Helpingstine* Eleanor D. and Dan C. Martha Uhey Danny Mattingly* Vicki Bell Kate Henry Armstrong* Alice Kogan Weinreb* Thomas Mease* Jennifer Benddelstien Ellen Hinkle Laura Benning* Maury Wilkinson Christopher B. Merritt Sandra Benke* Elizabeth Hodnett Sue Blessing Penny Zent Catherine Miller Patricia Bennett Jacqueline Hofto* Patrick & Shirley Campbell Linda Mintener* Laurie Benson Judith von Hopf Foundation* DONOR Donna Moore Gail Blackburn Dawn Hoppe* Gerald V. Carey* ($100–$249) Mary Beth Norris Kay K. Borkowski* Wenxuan Hu Zart Dombourian-Eby Robert Aitken* Lisa Norton Lisa Bost-Sandberg Ching-ya Huang* Kyle Dzapo* Cheryl Albright* Nancy Nourse* Wissam Boustany Al Hunter Jr. Joel Horn* Rebecca Tryon Andres* Laura Paarmann* Jean-Luc Bouthemy E. Morgan Jenkins Marjorie Koharski* Francesca Arnone* Pamela Perkins-Dwyer* Margaret P. Bowles Rebecca R. Johnson Marti Lewis Deborah Rebeck Ash* Irene Pruzan Erika Boysen Rose V. Johnson* Gail E. Looney* Verna B. Balch Judith A. Ranheim Sarah Brady Adah Toland Jones Peter Middleton* Karl Barton* Doris Underwood Reinhardt Danielle R. Breisach Rhoddy (Rod) Jones George S. Pope Teresa Beaman* Aprell Robinson* Morgan M. Bresett-Brown Suzanne Bunker Jordheim Christine E. Potter Jean-Louis Beaumadier Steven Della Rocca* Ruth L. Brooks* Stephanie Jutt Bruce Price* Janet Becker* Wendy H. Rolfe Catherine Bull Ellen Kaner Beth Behning Ginger (Virginia) Regan Burnham Jonathan Keeble CONTRIBUTOR Judith Bentley Rombach-Adams Jeanine Cariri Katherine Kemler ($500–$999) Jacob Bruner Geri Rotella Rotter Ben Carlee Amalie C. Kempton* Joni Beetem* Lillian Burkart Sue Rudholm Michelle Cheramy* Hannah Kim Leone Buyse* Jimmy Carmenate Sandra Saathoff Rosa Chi Wes Kimata Steven Finley Nancy C. Clew Naomi Seidman Marilyn J. Chohaney Janice S. King Flutistry Boston Jenny Smith Cline* Helen Ann Shanley* Deborah Coble Allison Kobayashi Alexandra Hawley Shelley Collins* Angela Allen Sherzer* Sheryl Cohen Darla Korrey Kelly Jocius* Diane Couzens Sign of the Silver Birch Music* Carly Cohen Wendy Webb Kumer

78 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG

Phillip La Gro* Phil Smallwood Kris Lamb Bryan Morgan Smith NFA Endowment Lindsay Leach-Sparks Lucille Snell Barbara Leibundguth John Solum* Wm. S. Haynes Co. Challenge Harvey Leikind Dianne Spitalny* James P. Leiter Stacey Steele In celebration of “125 Years of Exquisite Flutemaking,” the Jane Lenoir Jody Stein Wm. S. Haynes Co. has made a $125,000, 10-year commitment Cecilia Leskowicz* Wendy Stern Brenda (Bonnie) Levy* Sioux Stoeckle* to the National Flute Association for the years 2013–2022. Rita Linard Cynthia C. Stokes* The intent of this donation is to help the NFA present fine Teresa Lind Vicky Suarez international flutists to attend and perform at the NFA Caitlyn Lucy Patrice-Celeste Sweriduk Victoria Lupinek Sue Swilley* Annual Conventions. In addition, the Wm. S. Haynes Co. Julie Martin Maisel Natalie Syring has joined with the NFA to sponsor a matching challenge to Myra Malamut Margit Tagliaferri raise an additional $125,000 in member donations to the NFA Mancke GmbH Catherine W. Tetreault* General Endowment Fund by 2022. The General Endowment Leslie Seid Margolis Kevin Thomas Megan McCafferty Caen Thomason-Redus Fund enables the NFA to provide compelling new music Carolyn McCarty* Barbara Thrasher commissions for the flute family, historical recordings Katherine H. McClure* David Tickton and special publications for the flute, and funding of Julie McDonald Gina Torbett* diverse scholarships and competitions. Lorna McGhee Henri Tournier Karen McGill* Megan Trach* Olivia McKenna Ariel Traver $125,000 Audrey McPherson Michael Treister Corinne McVee Katelynn Turney-Rudisill Dorli McWayne Karin Ursin* Wendy Mehne David Valderrama Kathy Melago James Lee Vatter* Mary V. Miller* Rebecca J. Vega Janice Misurell-Mitchell Susan Voges Caleb Mitchum Albert Vreeland $103,270.15 Ruth Ann Modic Nancy Wakkuri* Nicole Molumby Carolyn Ward Miriam Duell Moore Cornelia W. Watts Ellen C. Johnson Mosley Kristin Webb Christine Fish Moulton Kristin Weinhoffer Muramatsu America Sarah Weisbrod Patricia Nagle Arnie Wernick $75,000 Virginia Nanzetta Stephanie A. Wheeler Merryl D. Newler Joyce A. Wilson T. Richard Nichols Leszek Wisniowski Barbara J Nicoletti Nancy Wolf Mary Ann Normark* Frederic Work* Joyce Oakes Trevor Wye Julia Omarzu Annette Zastrow $50,000 Deborah Sinacore Parker* Yinzi Zhou Marcy Parykaza Ann C. Pearce *Donors to the NFA Endowment Lydia Perry Wm. S. Haynes Co. Challenge Cathy Pescevich Kreplin* Mary Peterson The NFA ENDOWMENT is supported Rolfe Pitts* by the David Hart Fund, the Frances $25,000 Mary Planten-Krell* Blaisdell Fund, the Myrna Brown Fund, Amy Porter* and the Wm. S. Haynes Co. Challenge, Ronald Prechel among additional sources. As of Sep- Peggy Preusch tember 26, 2018, the NFA Endowment Linda M. Prior* stands at $1,998,098.30. Thank you! Catherine Ramirez* Eugenio Ranevsky LEGACY CIRCLE/ $0 Raven Bear Flutes PLANNED GIFTS Gwyn Roberts The NFA Legacy Circle honors individ- Jan Robison uals who help to ensure the future of the Rosene Rohrer NFA through planned gifts. It is with Gabriel Rosado deep appreciation that we recognize David Ross these members: Toby Rotman Linda and Harry Fegley Cynthia Rugolo Leonard Garrison Brendan Victor Ryan Katherine Borst Jones Sankyo Flutes Carol Kniebusch Noe Amount donated by members to date: Lisa Schroeder Virginia Schulze-Johnson* For attributions for gifts made in honor $103,270.15 (83%) Paul A. Scott or memory of someone, please visit Mary DeLano Sholkovitz nfaonline.org/Giving/Contributors.aspx Amount to raise by 10.31.2022: $21,729.85 (17%) FALL 2018 THE FLUTIST QUARTERLY 79 NFAONLINE.ORG SOUND YOUR BEST.

www.flutistry.com

From the Convention Director

Kris Mayo

ACCESSIBLE AND VIBRANT f you’ve never been to Salt Lake City, The convention district is located only tical excellence and is an architectural or if you haven’t been for several years, seven miles (an eight-minute drive) from icon in the City. The Hall is adorned with you will be pleasantly surprised with the airport. The light rail Green Line runs more than 12,000 square feet of hand- Iall the city has to offer! from the airport to the convention district brushed 24-karat gold leaf, and its grand, Located in the center of the American (a 20-minute ride) for $2.50 one way, and four-story lobby offers stunning views West and surrounded by mountains with within the convention district (downtown of the city. The newly redesigned public a vibrant, compact, clean, and safe down- Salt Lake City), the light rail line is free. plaza and lobby complements the origi- town area, Salt Lake City is a destination The light rail stops within one block of nal architecture while modernizing the not to be missed. The lively downtown the Salt Palace Convention Center, where space. Abravanel Hall is also the home of entertainment district has more than 170 convention activities will be held. Hotel the 27-foot-tall Olympic Tower statue by restaurants and clubs in a clean and com- reservations can be made at the two clos- renowned glass artist Dale Chihuly. pact setting. est hotels: the Marriott Salt Lake Down- Salt Lake City is spectacular in the sum- Downtown and surrounding areas fea- town City Creek (directly across South mer, with high temperatures in the 80s and ture museums, sports, outdoor activities, West Temple Street from the convention pleasantly cool evenings in the mid-60s— historic sites, concerts, shopping, and center’s north entrance) and the Hilton all with low humidity. The combination dining. Salt Lake City has an exceptional Salt Lake City Center (diagonally across of genuine hospitality in the community, public transportation network, including South West Temple Street from the con- a vibrant culture, and an amazing natural free light rail in the downtown area. vention center’s south entrance). setting ensure you will enjoy and cherish The Salt Lake International Airport You won’t want to miss performances the time you spend in Salt Lake City. We (SLC) is served by all major U.S. airlines. that will be scheduled at Abravanel Hall, look forward to seeing you there August With 700-plus daily flights and service to home to the Utah Symphony and part of 1–4, 2019, for the 47th Annual National 90-plus cities (some with non-stop service), the Salt Lake County Center for the Arts. Flute Association Convention! SLC is ranked first in the nation by the Located next to the convention center, DOT for on-time arrivals and departures. Abravanel Hall is celebrated for its acous- —Kris Mayo

82 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG 47th Annual National Flute Association Convention

Salt Lake City August 1-4, 2019 NFA Office, Coordinators, Committee Chairs Please check the NFA website for any changes and updates to addresses, phone numbers, and e-mail addresses: nfaonline.org

NFA OFFICE Flute Choirs Coordinator Development Research Newly Published Music 70 E. Lake St., #200 Darrin Thaves (2021) Marcela DeFaria Casaubon Julie Hobbs (2021) Carlos Feller (2021) Chicago, IL 60601 [email protected] (2019) [email protected] [email protected] 312-332-6682 [email protected] Frances Blaisdell Convention fax: 312-332-6684 Special Publications Orchestral Audition Scholarship Coordinator Endowment John Bailey (2019) Masterclass Executive Director Jonathan Borja (2020) Zart Dombourian-Eby (2020) [email protected] Martha Long (2021) Kelly Jocius [email protected] [email protected] [email protected] World Music [email protected] Gala Awards Dinner Chair 50th Anniversary Jessica Valiente (2019) Convention Director Wendy Mehne (2020) Catherine Miller jessicalynnevaliente@ Piccolo Artist Kris Mayo [email protected] [email protected] gmail.com Zachariah Galatis (2019) [email protected] [email protected] Local Arrangements Chair Finance Youth Engagement Marketing and Sally Humphries Maury Wilkinson (2021) Timothy Hagen (2022) Development Associate [email protected] Professional Flute Choir [email protected] [email protected] Kate Blair Shauna Thompson (2019) Myrna Brown Dine-Around [email protected] [email protected] COMPETITION Coordinator Flute Clubs COORDINATORS Elizabeth Robinson (2020) Kelly Sulick (2021) Membership Manager General Coordinator Young Artist [email protected] [email protected] Victoria Pampe Pamela Youngblood (2019) Daniel Velasco (2022) [email protected] [email protected] [email protected] Myrna Brown International Historical Flutes Barbara Hopkins (2021) Publications Director Scholarship Coordinator [email protected] Baroque Flute Artist ARCHIVES Anne Welsbacher Erika Boysen (2021) Leela Breithaupt (2021) AND LIBRARY 661-313-8274 [email protected] [email protected] Archivist/Historian [email protected] International Liaison Program Book Bios Editor Carla Rees (2019) Nancy Toff Collegiate Flute Choir Lisa Van Dusen [email protected] [email protected] Publications and Online Deanna Little (2020) [email protected] Advertising Representative [email protected] Glenn Karaban Jazz NFA Librarian Stage Manager Sarpay Özçağatay (2021) Karaban Media Services, Inc. Convention Performers Michelle Monroe-Menjugas Paula Gudmundson sharpeyemusicpro@ 212-840-0660 Jennie Brown (2022) NFA Music Library [email protected] gmail.com [email protected] [email protected] [email protected]. Volunteer Coordinators arizona.edu Web Consultant Low Flutes Townes Osborn Miller C.R.E.A.T.E. Project Brian Covington Paige Dashner Long (2022) Margaret Haik Michelle Stanley (2022) NFA Library Liaison [email protected] [email protected] volunteercoordinator@ michelle.battystanley@ Brian Luce (2022) nfaonline.org gmail.com [email protected] CONVENTION Membership Program Chair Katherine Isbill Emeneth (2019) 2020 Program Chair Flute Choir Composition Rebecca Johnson [email protected] Debbie Gilbert (2019) OTHER Jennifer Grim APPOINTMENTS rebecca.johnson.nfa@ [email protected] [email protected] gmail.com New Music Advisory Flute Events Reporter Sarah Brady (2022) Graduate Research Emlyn Johnson (2022) COMMITTEE CHAIRS sbrady@ Assistant Program Chair Adult Flutist and Amateur Julie Hobbs (2021) [email protected] bostonconservatory.edu Kate Henry Resources [email protected] [email protected] Barbra Fairman (2020) Instrument Notice Nominating [email protected] High School Flute Choir Coordinator Opening Flute Orchestra Penny Zent (2020) Dan Parasky (2019) Ashley Shank (2020) Coordinator [email protected] [email protected] Archives and Oral History [email protected] Kathy Farmer Meg Griffith (2021) [email protected] [email protected] Past President’s Council High School Soloist Katherine Borst Jones (2019) John Lane (2019) Jobs Editor Equipment Manager Career and Artistic [email protected] [email protected] Julee Kim Walker (2022) Kimberlee Goodman Development Pedagogy [email protected] equipmentmanager@ Shelley Martinson (2020) Cassandra Eisenreich (2021) Jazz Artist nfaonline.org shelley.martinson@ cassandra.eisenreich@ Ernesto Fernandez (2019) Legal Advisors to the Board swosu.edu gmail.com [email protected] Linda Mintener Exhibitors Concert and [email protected] Showcase Performance Health Care Jazz Flute Big Band Commercial Members Karen Wolfgang-Swanson Danielle Breisach (2022) Penny Zent (2020) Angela McCuiston (2022) Dominique Gagne (2022) [email protected] [email protected] [email protected] [email protected] [email protected]

Maria Guglielmina (2018) Cultural Outreach Piccolo Masterclass Performers Public Relations Coordinator Assistant Coordinator Mariana Gariazzo (2021) Laurie Sokoloff (2022) Rebecca Dunnell (2021) Lish Lindsey (2022) [email protected] [email protected] [email protected] [email protected] [email protected]

84 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG This is... Crusader Galway ~ Gemeinhardt

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Musical Instruments, LLC Music...Passion...Life 800.348.7461 gemeinhardt.com SUBSCRIPTIONS articles (see above) and news about member achievements are encouraged and Receipt of The Flutist Quarterly is a benefit of membership in the National Flute may be sent at any time for consideration. Submissions to Across the Miles and Association, Inc. Subscriptions are available to libraries and institutions at a charge Notes from Around the World should be sent to those departments’ editors at of $75 per year. Personal subscriptions are not available. least one week prior to deadline dates to be considered for inclusion. Send mate- rials to time-sensitive departments for the fall issue by June 1; the winter issue by September 1; the spring issue by December 1; and the summer issue by March 1. ADDRESS CORRECTIONS Bulk-rate mail is not forwarded. Send address corrections to Membership Services, 70 E. Lake St., #200, Chicago, IL 60601; 312-332-6682; 312-332-6684 (fax); Please send all editorial submissions except Across the Miles and Notes from [email protected]. The NFA will be responsible for one missed magazine in the Around the World to: event an address change crosses in the mail. Missed issues due to bad addresses are Anne Welsbacher available for purchase through the membership manager. 661-313-8274 [email protected] BACK ISSUES See text in the departments noted above for submission and address information. Members and nonmembers may purchase back issues of The Flutist Quarterly through the NFA Store at nfaonline.org/NFA-store. Please send all physical items for review consideration to:

EDITORIAL GUIDELINES Attention: Reviews Please visit nfaonline.org to find complete writers guidelines in the Flutist Quar- National Flute Association terly section under the Publications tab. If unable to go online, please contact 70 E. Lake St. #200 the editor. Queries via e-mail or phone prior to submission are encouraged Chicago, IL 60601 and welcome at any time. The Flutist Quarterly retains all copyright on articles published in the magazine; however, upon request, authors may retain copyright. No submissions will be returned. By submitting work, author agrees to allow the work to be included in the print and online versions of The Flutist Quarterly in perpetuity. ADVERTISING GUIDELINES For review consideration: E-submissions of sheet music PDFs and audio files Guidelines, deadlines, and fees are available at nfaonline.org in the “Publications” sec- are encouraged; send files or queries to [email protected]. Mail phys- tion, or contact Glenn Karaban at the address below. The following dates are deadlines ical CDs, sheet music, and books to the NFA office at the address noted below. for The Flutist Quarterly: fall issue, August 1; winter issue, November 1; spring issue, Posted quarterly deadlines (see below) pertain only to time-sensitive department February 1; summer issue, May 1. submissions, not feature articles, which are reviewed throughout the year. Accepted manuscripts will, when appropriate, go through a review process. Authors might Please send advertising submissions and queries to: be asked to revise manuscripts during this procedure. The editor reserves the right to edit all articles for style, content, or space requirements. The Flutist Quarterly Glenn Karaban budget does not include honorariums for authors. Karaban Media Services, Inc. Editorial deadlines for The Flutist Quarterly apply to time-sensitive departments 212-840-0660 providing news of interest about flutist activities and products. Unsolicited feature [email protected]

Take the Next Step in Your Musical Journey 2019 Competitions

The 47th Annual National Flute Association Convention will feature 15 competitions in solo, masterclass, flute choir, and non-performance categories—offering almost $30,000 in total prize money and other opportunities.

Competitions open in December. View the repertoire online, and get practicing!

*NEW in 2019* Alto Flute Artist The Alto Flute Artist competition is for outstanding players of the alto flute. Competitors may also choose to include work(s) performed on the bass flute.

47th Annual National Flute Association Convention Salt Lake City August 1–4, 2019

nfaonline.org /Annual-Convention/Competitions/

86 THE FLUTIST QUARTERLY FALL 2018 NFAONLINE.ORG

Index of Advertisers

Abell Flutes...... 24 Arizona State University School of Music...... 37 Baxtresser, Jeanne ...... 10 Blair School of Music...... 14 Brannen Brothers Flutemakers, Inc...... 2 Bulgheroni USA...... 91 Burkart Flutes and Piccolos (2)...... 6, 89 Carolyn Nussbaum Music...... 25 Classical Collection, Inc...... 18 Drelinger Headjoint Co...... 73 Fluit...... 53 Flute Specialists, Inc...... 76 Flute World Company, Inc...... 6 Flutistry Boston...... 80 Gemeinhardt...... 85 Geoghegan Company...... 8 Guzman, Viviana...... 4 Keefe Piccolos ...... 24 Keiser Southern Music...... 75 Kemler, Katherine...... 89 Little Piper (see also Piper Piccolos)...... 24, 49 Lynn University...... 11 Miyazawa (see also Sankyo)...... 9, 77 Muramatsu America...... 19 My Music Staff...... 73 Nagahara Flutes...... 87 NFA...... 49, 61, 83, 86 North Bridge Winds...... 81 Ogura Flute Works...... 49 Pearl Flutes...... 92 Piper Piccolos (see also Little Piper)...... 24 Sankyo...... 77 Schmitt Music...... 12 Sunderman Conservatory of Music at Gettysburg College...... 36 University of Miami, Frost School of Music...... 12 US Army Band Recruiting...... 3 Verne Q. Powell Flutes...... 90 Wm. S. Haynes Co...... 7 Yamaha Corporation of America ...... 35

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