President: Dr James Galway OBE Comment 3 Jazz philosophy ~~;~e-presidei~t:Albert Cooper Get to grips \\'it11 the philosophy 21 Chit-n~an:I(ennet11 Bell ...... and history. of -iazz - and Flute news improve your playing while 4 you're about it! ...... Eddie McGuire The Journal of The British Flute Society Art inspired by the flute 7 FOI~musician and composer 22 Volume 20 No. 2 -.mu I Eddie McGuire has bee11 June 2001 influenced by the flute, as well as minimalism, jazz and Editorial Committee traditional music. Clare Roberts Editor Susan Fitzgerald Assistanr Editor Kenneth Bell Ann Cherry Christine Ring Susan Mary Whittalcer

Contctcting the BFS I General enquiries Education page ilnn Cherry Serr~tarjl 8 61 Queen's Drive ...... London N4 2BG The toppleless top Telephone 020 8802 5984 BFS Composition Fas 0208809 7436 10 F sharp key 29 ail: [email protected] Competition The Simmons F sharp Irey improves the tone Menlbership enquiries and stability of top J onn myworth Afrn~h~r~hipSerrernly F sharp with The Noolc, IIow Mill, mechanical simplicity. Brampton ...... Cumbria CA8 9JY Tel: 01228 670306 A mechanical E-mail: [email protected] flautist 35 ill1 telephone enquiries regarding \Taucanson's men~bershipshould be directed to John Ray\\~orth Editorial Clare Rol~ertsEditor its lips, and 2 \Voodlawn Road produce the tune .... London SMT66NQ Obituary: Brian Warren with its fingers k-4 Telephone 020 7385 2071 13 on the Iieys! Fax 020 7385 3276 1 i-/i E-mail: pan@l>fs.org.ulr Concert reviews and Advertising listings 14 Maple Media Ltd. Reviews 411 \\rolcingham Road 36 Earley, Reading, Mental skills training b 'W Berltshire RG6 7EL Learn how to control your nerves. 17 Telephone 0118 926 1669 through visualisation techniques, Fax 0118 966 5611 in the second of Pan's psychology Cover series. Edtlie klcGuire, flautist and composer l -, l *-S- l Design, production and printing * Michaelangelo Design The Fitzpatriclr Building ...... 188-194 Ibrlr Way, London N7 911s ~q idvertiser indel and Telephone 020 7700 4733 d 1 classified 47 Fas 020 7700 3703 ,L ' I E-mail:[email protected] Who's who in the BFS \'icnrs cspresscd by contriht~torsare their own 48 :~nddo not necessarily reflect the official view of thc British Flute Society. All copyrights reserved. The aims of the British Flute Societ to udvn~~r~th~ed~trnt,onnfth~ptthllr iic ?/,P Rcgistercd charity No. 326473 Art nnd Sr~rnreof ~I~IIJICotld rn porncrrlor tlrp .&t %d,~cie~rcrof Flute p/n)lr~~gin ON m aspntr. . ISSN 1360-1563 PAN MAGAZINE 1 i

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Accessories 20% off to BFS members. We sell on commission for you from onlv 10% On site repairs and servicing. Fast Mail orderlmurier service. Approvalfacjlity. I Heacljoints Impartial & independent advice. I Ltd. I John kker 4Tel01823 282386 Fax 01823 337653 mvw. johnpacker..co.uk email info @jo1111packer.co.uk I l Illustrat~onscourtesy of Vlncent Bcli Internahonal Ltd. Yamaha ICemble Muslc (UK) Ltd & krg (UQ Ltd

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PLEASE CALL US ON 020 7636 4481. his month, Pan features an interview of composer and flautist Eddie McGuire, who plays with the Scottish traditional Life Members of the BFS folk group, The \Vhistlebinkies. The flute figures prominently in his music, and we are luclq~ Julian Armstrong Danielle Baron-Janlte enough to have a reproduction of the hlichie Bennett ser's handwritten manuscript for Prelude \Villiarn Bennett try it for yourself \Vissam Boustany Robert G. \V. Brown (see centre pages). hi1cGuire has also been Brian Burgess ic from around the Patricia Clelland Albert Cooper Philornena Cooper Those who attended the BFS event, '100 Paul Dhasmana of flute playing', will I hope share our Elena Durin uge success! big Andrew Edwards A hlichael Enlmerson f thank you goes to David Oliver for arranging Paul Ferguson , such a varied and fascinating programme. A full Daniel Fisher review of the day will appear in the September Carlos Fitzpatrick Dr Angeleita Floyd issue but, in the meantime, you should turn to page ten to find out more about thc Caroline M. Franltlpn winning entry of the BFS Composition Competition, Last Song of a Nightingale by Jarnes Galway Jeanne Cinnante Galway Jenny Could, which was played by lan Clarke cl~~ringthe event. There are f~111details Lucy Gibson of the publisher if you \vould like to order the piece for yourself. Rrian Hamilton Robert B.S. Hamilton Christopher IIamrnond \%at's new? Patricia L. llnrper This month sees the launch of a new occasional education page for teachers who Louis hl. Ilenry want to keep in touch with the latest ideas and share tips and advice. Do write in with Pauline Jaclcson ihne Jaltenlan your comnients; next month, Pan will cover how to approach a first flute lesson. Trevor Janles Readers who have trouble with top F sharp will be keen to read about the Nils-Thilo Kriirner Simmons top F sharp key on page 29. The article includes useful alternative Hannah Lank Ian LlcLauchlan fingerings, as well as a practical guide to the best excerpts for practice purposes, too. Susan Milan I'ou'll also find another article on how modern psychology can help flautists Christopher Paul hloney improve their performance slrills, this time, using visualisation techniques. If you're I-lannah h2loney Alexander blurray prone to daydreaming, this feature will help you focus your powers of imagination. Barbara Noble Developing mental skills to conjure up a particular environment is great for anyone Carla Rees who feels stressed, too! Stephen Robinson David St.John-\Veyers hlary Scudder September issue Sheila Searchfield Richard Shaw Please note that the copy deadline for the September issue has been nloved forward Rachel Sherlock to 8th June, as I am expecting a baby in July and would rather not be proofreading IGrsten Spratt when it arrives! Items that arrive after this date cannot be guaranteed to appear in Andy Thomson Mark Undenvood Pan, so please do try to send in your colltributions extra early next time. Thank you. Jennifer \Velch Lars-Ame \Vennquist With best wishes, Susan-Mary \{%ittaker Emrna Williarns Trevor \\Tye Clare Roberts Membership information 1\1inua1s~1l7scriptions 2000 UK: Individual 920.00 Two members at the same Coming soon in Pan! address (one journal) 925.00 Student (under 25) $13.00 A practical series on preparing for auditions, Pensioners E13.00 each covering a major excerpt Schools and flute clubs 920.00 Europe: The challenges of a deaf flute player Individual 925.00 Student (under 25) 915.00 The alto flute: history, design, repertoire, teaching, Worldwide: practising Individual (air mail) 930.00 Student (under 25) E18.00 The flute as muse: art inspired by a flautist's playing Pensioner 918.00 Schools and flute clubs 925.00 How yoga can improve your performance Life membership: Injuries and how to avoid them Individual 9300.00 Joint 9350.00 John Rayworth, illenrbership Serfwry The Noolr, IIow klill, Brampton, Cumbria C128 9JY. Tel: 01228 670306. E-mail: [email protected]~ PAN MAGAZINE 3 Playing Day Flute tools THE ANNUAL BFS October Treasurer Playing Day with ICate Can anyone recommend Cuzner \\rill take place on a source for flute tools? required Sundav 14th October at the Royal kcademy of Music, The only thing I have I The BFS is correntlv . I London, and the theme is found are the precision The event will start at screwdrivers you find in looking for a new 10.30an1 (tloors open at Treasurer. loam). with activities cheap tool shops. Is ,r contin~~inguntil Spm. Price: there anything more ~f (or you E10 for members; S15 for specific? knonl) are interested, ' non-members (with discounts please contact: for flute groups of five or Mark Hastings, more). Flute choir coaching Periodicals Dept, Kenneth Bell (email: is available for nre-formed groups. ill1 Flutes Plus will be JRULR4,Oxford Road, there. For further details, Manchester M13 9PP. or Clare Mellor contact Jackie Cox, 3 \Vest Tel: 0161 275 3747; (tel: 0118 966 9767). Street, Carshalton, Surrey, SM5 2PT. Tel: 020 8'773 0436 email: hastings@ email: [email protected]. fsl.1i.man.ac.uk

Changes- U afoot on the B FS Council TI-IWE PEOPLE who have of the flute combining to make agreed to carry on managing contributed an enormous a great contribution to the the BFS website. amount to the British Flute BFS is Niclt \Vallbridge, the Society over the past five outgoing Membership New persor~nel years have decided to stand Secretary. Nick, a computer Our new Editor is Clare down from the Council. expert and leading member of Roberts and new Membership the Oxford Flute Club, has Secretary is John Rayworth - Hannah Lang done a splendid job in raising but as yet we still need to find 'Iannah Lang's editorship of BFS membership to an all- a new Treasurer. The Council Pan was perhaps the largest time high. Under his control, of the BFS extends very many single factor in raising the not only did new members thanlts to Hannah, Jeremy and Society's profile in recent join in their hundreds but a Nick for all their hard worlr years. Her publishing and simple and effective system over the past five years and design slrills, combined with for renewing membership was for the tremendous her Itnowledge of the flute instigated. Niclt's expertise in contribution they have all world as a teacher and the world of computers has made to the growth and freelance player, produced a really helped to bring the development of the British highly professional product Society into the 21st century Flute Society. \\re wish them and Pan is now recognised as and we are delighted that, and their families every best the leading specialist while standing down as wish for the future. instrumental magazine in this Membership Secretary, he has Icennetlz Bell country. Hannah also contributed to mall? BFS events with her formidable Thanlis to Kenneth Bell organisational sltills, most Worlt and family commitments have led Ken himself to notably the JS Bach Day at stand down as Chairman, although he will continue to be a St John's, Smith Square, in member of the council. April 2000. Ken was elected to the position of Chairman in February 1997, at the same meeting that Nick \Vallbffdge and Jeremp Jeremy Deelts Deelts were welcomed as Membership Secretary and Jeremy Deelts' professional Treasurer. This meeting marked an upward trend in the sltills as an accountant fortunes of the British Flute Society! ICen had a wonderful ensured a stable and healthy team of officers to worlr for the BFS, and the BFS had an financial state for the BFS enthusiastic, tireless and caring chairman to lead it. during his tenure as Treasurer. The society is now in better It is sad that ICen now feels he would like to stand down as financial shape than it has Chairman, but worlting alongside him has enabled me to see been for many years and the enormous amount of effort and energy he puts into the Jeremy's excellent Society. I-Iis indefatigable determination to further its aims management of our funds has and to enhance its image is inspiring. enabled us to promote large- During his term of office, the BFS has put on not only scale events such as the regular events, such as Teachers' Days, Playing Days (thanlrs Convention in 1999 and the also to Jackie Cox) and Area Reps' Days (thanlts to Susan- Bach Day in 2000. illthough Mary \\%ittalter), but also a Convention (thanlis to Trevor an accountant by profession, \\'ye), a Bach Day (thanlts to Hannah Lang) and other notable Jererny is a highly talented events, with the help of Events Co-ordinators Lisa Nelsen and flautist who plays with Henley David Oliver. Personalities involved in these events have Symphony Orchestra and the included some of the top players in the world. Flute Orchestra of London. \Ve are very luclry that Ken has agreed to remain on the council. ICen is active himself as a player and teacher, and we Nick Wallbridge are fortunate that we will continue to bencfit from his Another shining example of experience and Itnowledge of the art of flute playing in all its professional skills and a love aspects. AIL^ Clteny Flute fiesta in Hitchin IN BRIEF Tallting about exams an expect discounts, be held on Thursday 14th at Baroque nli~sic Clara Taylor, Chief Exami~ler YCfree worltshops, 7.30pm. Bring your flute but Neil McClaren, flautist with the of the i\ssociatecl Board, will masterclasses and recitals at leave your inhibitions at home! Orchestra of Enlightenment, give a talli on exams and the John Myatt \Voodwind and brings the Fiesta to a close. examining, illustrated with Brass Fantastic Flute Fiesta Flute choir Having started the week with videos, at The Kings School from 12th-16th June. VIF tlute quartet love nothing the ultra-modern, Neil will be \\Jorcester on Saturday 23rd more than to get a bunch of holding an informal June at 3pm. Clara will also hmnt garde young aspiring flautists playing masterclass/recital on Baroque explain the new three-tiered Ian Clarlte will get the ball together. Covering many areas, music. Ever wanted to Imow Diplomas of the i\ssociatcd rolling with a masterclass on from improvising the blues to how to tackle those Bach Board, and answer any contemporary flute music and playing in a mass flute choir, Sonatas? Neil is the man to questions. extended techniques on they will be holding their point you in the right i\dmission: 25 adult visitors; Tuesday 12th at 7.30pm - a worltshop (aimed at school age direction. Once again, players 23 members; all children free. must for those wishing to players) on Wednesday 13th at are encouraged to bring their Contact illison Uren on brealr free of the confines of 7.30pm. This is a great flutes, music stands and sheet 01684 567819 for ticltets or traditional classical playing opportunity for youngsters to music. (Courtesy of further information. (sponsored by kliyazawa UK). meet other players and to have Muramatsu flutes/Bill fun while stretching their ow11 Lewington Ltd). Flute competitions The Saying 'no' to nerves abilities without any undue h4ost of these events are Sixth International Flute If you suffer not only from the pressure. Players should bring geared towards interaction so Competition will be held 3-5 roller-coaster of pre- their flute and a music stand. don't be shy, grab your hooter, September 2001 (maximum performance nerves, but also take a deep breath and go for it! age: 32). For further extra vibrato in front of an Recital information, brochure with audience, and then also post- Friday evening, 15th June, sees Further details programme, music and performance blues, there is a recital by Paul Edmund- 1\11 events start at 7.30pm. application forms. contact: help in sight! Jean-Paul \Vright, Davies, principal tlute with the hiost will be held in the Music Filarnlonica 'Banatul', therapist to many top London Symphony Orchestra, Recital Hall, North I-Ierts B-dul C.D.Loga 2, musicians, actors and accompanied by LSO lteyboard College, IIitchin Campus. RO-1900 Timisoara, sportsmenlwomen (and a fine player John Alley. Paul and There are no ticltets but places Romania. Email: flautist to boot) will be holding John have played together will be allocated on a 'first [email protected] workshops on Performance extensively both on tour and in come first sewed' basis. For Psychology. The first of these the recording studio and enjoy further details, contact Des The Third International informal sessions will be held a wonderful rapport. \Vorlts to Taylor, who will hold a guest Flute Con~petitior~'1,eonardo on Tuesday 12th at 4pm and be performed range from the list to which you can be added De Lorenzo' This I>iennial will be angled towards 17th century to a piece written by contacting the shop. Tel: competition, held in \'i&iano, performers of school age. The for Paul in 1999. (Sponsored 01462 420057; email: Italy, 11-16 September, is second phase, for adults, will by Yamaha Kemble). [email protected]. open to all flautists under the age of 35 on 11 September 2001. The deadline for applicatio~lsis 31 July. Learn mentoring skills on-line For further information or --- - . . .,-v-"Zw- an application form, please MENTORING PROGRAMME very real need , Maestro, recently launched by within the industry t ,,., contact Comune di [email protected], .hlDi.aDsl *D/ D.1= fax: 00 (39) 0975 61137; the hilusicians' Union, means for experienced W,.".,"-V 3".s8v,v-w c-uw,he- .v.6 ,,~.emh,, am#.nu.d --...,.1" 1 ,, .",,.n.Q,. ..,-..",.,".,"., .,""*" .,,. "" email: sportellounico@ that flautists will now be able musicians to pass .*,...c m"-. -" ,"".*-"n.*<,~- ".,.,-,.a" tiscalinet.it; website: to gain a vocational on the benefit of . , U.o .p: .-me-- ," . -m,.. --* 8 a www.con~une\[email protected]. qualification in music that experience to .,?," ,*.~p,-.,--,.--*.*m.-*" . ~.,,.,, <,", ".*Le young people in -.S,.,. , .,,, -,..,,,-..m-, ,.c". us,- mentoring without being tied ",,,..,,",,,*..",mm ' . ,... Music for UNICEF their local areas, . .... ,. 1 ," -,h", down to set classes and times ..".,.v. ", -. "".. ,".,,.,, ..,* keen to malte it in -."*".wT I'lute concerts, school plays, - all the resources necessary 7%. .-m.!d -".W" "- <- c-.,s9. .",," t". .d".."e,"" -h~,,-"t, talent competitions and other to complete the qualification the music business'. "~...*-"~,.,,,.,,me-,,. ,-,. wv~vn.t.mQ~,~~...,mcs.,"., ,"., -,~ ,- ,.,","q..,,,.,,.,,,w """.~ . ..-. Maestro is the musical events can all hrlnr to-- are available on-line. raise money for chari ty. Aimed at experienced second of the MU'S .. . In Zambia, almost :I quarter musicians who want to extend online learning initiatives. The first, MUSE, Learning roadshows for of children have been their sltills and effectiveness by orphaned, forced to fe:nd for was launched to assist teachers musicians worlting in the offering advice and guidance to then~selvesand often for young people, Maestro has working in outreach and community, education or community music and offers younger family members, too. been devised by industry outreach' programmes, or as UNICEF supports projects practitioners, training learning units ranging from tutors or workshop facilitators. facilitating group learning, which help children by consultants and Metier, the Their aim is not only to offering them food, shelter and National Training Organisation evaluating and Own information about practice, to health and safety education, as well as practical for the Creative Industries. Its training opportunities and training to help street children component parts have been issues. Additional material such as CD-R~~~and written fllnding, but , learn a trade, to give them a . cleveloped from the best practical information on topics chance of a future. relevant NVQ courses and paclts are also available, ~h~ MU will also occasionally run from managing stress ad Your regional UNICEF ' Metier training units. h4entoring \Vorkshops. conflict to health and safety officer can provide you with Sue Borland, Lifelong publicity and fundraising ~~~~~i~~ for the TO help musicians find their issues. They are planned at way through the huge number Leeds (27-28 June), Gateshead advice as well as quality MU, commented: 'it had support materials for events. become increasingly apparent of training courses available, (September), Exeter the Union has teamed up with For further information, -. that there is a range of (December) and London phone 01245 476315. .. skills through which teachers the (March 2002). For further community music \my not have a go? - and can add huge value to their details, contact the MU, tel: send a review of your event students' success. Maestro has agency, a 020 7582 5566. Web: series of five two-day Lifelong into Pan? ,- been launched to answer a InW. musiciansunion,org~u~t

PAN MAGAZINE 5 All Flutes Plus moves house SUMMER COURSES fter 21 years at their which benefits from Awell-known store in Dorset a bright, open plan 19-29 July Street, London \V1, ill1 Flutes showroom, will be Musicfest Plus moved to new premises much more modern Aberystwyth Arts Centre on 29th May. The UK's original and comfortable for Flute Tutor: Lisa Nelsen specialist flute centre has staff and customers Summer School Courses: relocated to a former art alike, as well as Strings, Wind, Piano, gallery in Warren Street, also having a great Composers, \local, Saxophone, London W1, talting with them location and , Choral, Conducting. their world renowned escellent transport Plus free daily concerts reflecting the wide range of worltshop and huge selection links.' of flutes, piccolos, head joints, All Flutes Plus music composed for thc was founded with , chamber repertoire. accessories, CDs and sheet To boolr a place, contact Gwen music. the then ground breaking aim of Stimpson, Administrator, tel: The mo\fe will be 01686 430468. particularly poignant for providing a Managing Director Nigel James, specialist service br professional 22-27 July who founcled the shop in 1980: Tuttiflutey 'Having become an institution flute players, based on an expert St Mary's Preparatory School, in Dorset Street, moving ill1 Alelrose, Scottish Borders Flutes Plus to new premises is worltshop offering the UI(. The shop soon added repairs and custom work. The student flutes, sheet music and In the March issue, Par1 going to seem very strange,' he omitted to mention that the range of instruments for sale - to its portfolio to said. 'llowever, we outgrew our regular Tuttifutey tutors, three storeys long ago, as those rapidly expanded, in response offer a complete service, talting to the denland for a retailer tlute players from their very Michelle McCabe, Laura Bailie who have visited us over the and Sopllia Duncan, as well as last few years will be aware.' with a specialist knowledge first note to the top of their and understanding of flutes profession, Louise Allatthew herself, will be 'Many of our customers teaching on the course, as well travel long distances to see us and flute players. All Flutes Plus welcomes i\ll Flutes Plus has been visitors to its new shawl-oom as special guests David and \ve feel it is vital to provide Nicholson and Elisabeth space and comfortable proactive in building at: 60-61 \\larren Street, relationships with makers London IVlT SNX. Tel: 020 Dooner. surroundings for flute players Contact: Louise Matthew. Tel: to test instruments or browse throughout the world, 7388 8438; fas: 020 7388 significantly improving the 7438; email: 020 8374 0199107970 484281. sheet music at their leisure,' Email: availability of cluality flutes in afp@all~~utesp~us,co,Llli he continued. 'Our new shop, louisematthew@ultgate~.net Website: tuttifutey.co.uk Birmingham -- 25 July - 5 August Rdfaele Trevisilni Flute Day Inte~ilatio~lalSr11111iier Flute The Birmingham ~chool's~i~l1usicCourse Service is running a free flute Villa Bernocchi, Premeno, day for all players on Sunday (Verhania), Italy. 8th July. The event \vill include TeVfax: 00 (39) 02 55 211069; classes in Irish flute, jazz, email: raffaeletrevisani@ 19 - 29 July 2001 piccolo, instrument care, and 1ibero.it flute choirs. The guest tutors Aberystwyth Arts Centre are Julie Wright, Xndrew Lane I Early copy date I (piccolo, CBSO), The Flute Due to the fact that I am Musical Director David Campbell Cocktail (Flute Quartet) and expecting a baby in July, the Residetial summer shools for strings, woodwind, Top \Vind. deadline for the September composition, saxaphone, vocal, choral and conducting led The event, which runs from issue has been moved by leading international musicians. 9.30am to around Spm, will forward. Please ensure that take place at Newman College, all material reaches me by Daily programme of free concerts - lunchtime, early evening Northfield, Birmingham. and evening. 8th June to ensure Contact Sandy IIay on 0121 inclusion! Many thanks. Wind Course: Lisa Nelsen (flute), David Campbell 442 6213 for more details.

(clarinet), Melanie Ragge (oboe), Martin Gatt (horn), - - Stephen Stirling (horn) Led by members of the Campbell Wind Ensemble, the course will work in two ensembles during the day (eg wind octet, quintet) and will study selected items of repertoire in detail. The afternoon session will focus on large scale repertoire and individual work with tutors, masterclasses A ltoflu tes Bassflzt tes and technique workshops. Saxaphone Course: Gerard McChystal Gerry directs his class with a mixture of group playing, individual tuition and technique workshops. The repertoire will be extremely varied, ranging from arrangements of baroque music through to classical, jazz, pop and cutting edge contemporary. Kingma-System Flutes Contrabasses For information call 01686 430468101970 622889 or email [email protected] 1 IlaQaber.ac.uk Hoofdstraat 10 - 9444 PB Grolloo - The Netherlands Musicfest is an Aberystwyth Arts Centre festival Telephone & Fax: + 31 592-501659 - Email: [email protected] Music: Mirror of the Arts he ISAl Performers and Kennetli 1-larl-y Putt \\'as paintings and scuptures in a images she relates to playing TComposers Conference on responsible. As columnist of slideshow to pieces of music, Nocturne by ilaron Copland. 25 Aiarcli at the Courtauld the ISM Music Journal, suggesting in her vibrant, i\ magnificent performance Institute of Art in Somerset director of the \\line and Food infectious style that we should concluded her lecture. House, London was an i\cademy and husband of an all take time for the arts: 'you It was an inspiring day, for inspiring day chaired by Janet opera singer, lie \\?asthe ideal need to do this so it can which Janet Canetty-Clarlte Canetty-Clarlte. choice for both the catering change you. Get your and her staff had brought i\s \Varden of the ISM'S and the next subject, Food, inspiration from other together a group of Performers and Composers \\Tine and AIusic. \\re sang all artforms', she stated. outstanding spealrers. Section, she opened the the parts of operas in wliich In the last lecture, Robert Pot conference with a passionate wine a~id/orfood plays a role. outstanding violinist Madeleine plea in favour of its subject: IZennetIi concluded that there Mitcliell toolr us through a set Robert Pot stzicliecl+flute the exploration of the are barely any composers who of canvases loosely inspired by with Tlzies Roorda and I

I MUSICAL INSTRUMENT I FLUTES & FLUTE MUSIC REPAIR COURSES flutes piccolos alto flutes bass flutes Sunzmer 2001 Full range! of models from student to professional (Mid-Wales location) I Free music + 1 year's free insurance with purchase Train as a woodwind andor Short / long term hire Starter Packs for new students I brass repairer: I Repair service Referral incentives for teachers No previous experience necessary Flute music mail order Most exam music in stock INTENSIVE COURSES FROM TWO DAYS TO ONE WEEK Studio65 Limited for further information send an A5 SAE to: TelJFax: 01280 84111 3 Trevor Head, MSMIR, e-mail: musicQstudio65.co.uk PO Box 6565, Brackley 11 Church Place, Mitcham, Surrey CR4 3HY Northamptonshire. NN13 6YE l

PAN MAGAZINE 7 Teacher's day overflowing with enthusiasm and commitment

lare - you'll write a tremendous (though I expect of the Performance Creview won't you? This not financially). As we Plus competition. was not really a question, but recovered from creaking 1 suspect that not a gentle command! So I tried Itnees, fishy kisses, hissing many of LIS have to look at the wildly varying snaltes and rice spitting (you. the chance to stuff going on during the day had to be therb), a huge work with so (17th February) with this chocolate bar suddenly much talent, so it review in mind. There .was so appeared - the two 'magic' was wonderful to IIILICII happening with helpers had answered my witness such seemingly effortless fervent wishes and my blood enthusiasm and organisation. sugar came off the danger comnlitrnent (yes, There were 27 teachers and level. those words again) helpers, the Performance Plus After a brief lunch we had a and ability. Simon competitors, their friends, Bill fascinating discussion, led by Hunt (the Lewington representatives and Clare Southvvorth, about how adjudicator) had a Top \\:ind. This seemed an to teach embouchure - 40 difficult choice optimum number of people: no minutes was all we had and we and I was so glad queues for trying instruments, could have spent all day. not to be in his or the loos, or tea and coffee! shoes. Many The main impression I have Courtly dancing thanlrs go to Bill of the day was the enthusiasm The day continued to be one Lewington for and commitment of everyone of contrasts, because we then their continued there to do the very best they entered the world of French support and can for their students. Baroque dance. So much suonsorshi~of this The first guest speaker, information to absorb! Clare Southworth, has Madelaine Inglehearne got us winner, Katie Soutlrwortl~,j7r111tist: Sin~or~ Ilccnt. obviously studied our sul~ject all gently, gently moving in a Bedford, receives a ctrljlc~licato~of the Pearl Flute 1twn1-[l. Below: thoroughly and approaches courtly style and we were all CUP to lreep and a the three.finrtlists, ZoE Chnpn~nn.Ihtie teaching with such openness facing the right way round cheque for Beclford (winner) ctnrl Benjnjnin AlrzcDo~cgnll, to new ideas that we were all every time. It all made so with Charles Gilbnnk from Bill Lewington. galvanised into re-thinking our much sense and meant we A great day own methods. If you have not could now take menuets and All too soon, really organised by one person had the chance to hear and gavottes back to the classroom people were saying their who has to bring all the ideas see her, take the next available in some form or another. goodbyes and it was time to to fruition. So well done and opportunity. And this was just Another aspect of teaching put chairs awa!: clear up the thank you Jaclrie Cos. the warm-up session. Teaching for many is exams and it was rubbish, collect lost property I'd lilre to end this with tips were to follow after lunch. Trinity Exam Services' turn to (why is there always lost quotes from two of the BFS property?), turn off the lights members attending: "I find this talk to us, in the shape of an ancl review the day. I Fishy lusses? examiner, a pupivcandidate so useful, meeting people, new personally feel that the ideas.. . Being self-employed For a lesson in enthusiasm and a sales person. By the end professional set-up and the (and conversion ability), we of the short session, at least 30 ~OLIcan be so alone." slrills of the guest speakers "I came last year and then heard Sarah Manley talk per cent of the audience were meant that this day could about her work teaching set to give their exams a try. couldn't see how today co~~ld easily have been a commercial Suzulti flute, and combining Another example of be better but it was. \Vhat on event open to the public. \Ve earth are they going to do nest this with 'traditional' teaching. commitment and enthusiasm. are so lucky as BFS members IIer explanations and year?" Clnx i&llor to have this opportunity for so The BFS October Playing demonstration showed that Performance competition little money.. . and it's tax Then finally to the point of it Day will take place on 14th you need to be really deductible. This day comes October 2001 - rnalte a date in - dedicated, but also that the all the students. \Ve were under the BFS banner but it is your diaries no\"! potential rewards are privileged to listen to the final Perennial problem with the right hand 1 I New education page I TI-IE PROBLEM of students resting their and will not damage the silver plating on This month sees the launch of a new right hand on the lteyworlt crops up again the flute, but stays firmly in place, and :ind again. Here's one idea for solving it. the student can then place the thumb occasional education page. Please Part of the problem is often the position with confidence, and will be aware if they send in any comments or of the right thumb. There is a commercial move it. In any case, the thumb then contributions to the editor. device on the market for locating the tends to stay put, because the plastic isn't thumb, but I often use a cheap and simple slippery. After that it is just a case of alternative. For f l or less, one can buy a nagqing about keeping the pads of the 1 September: first flute lessons I car tax disc holder, or a plastic decorative fingers on the keys! I suppose one could window sticker made of electrostatic always put similar patches on each of the What do you do in a first flute plastic (not the adhesive kind). right hand keys as well, but as yet I lesson? This first contact between 'Repositionable' stickers of the ltind used haven't needed to go that far! teacher and pupil is vitally important in some books for small children are also Incidentally, a strip of the same plastic for establishing rapport, firing on the lip plate of my own flute, without made of this. Cut a patch of the right size, enthusiasm and getting across a and place it on the flute body where the the sticking plaster, has solved the right thumb should be. Then sticlr a problem of the flute slipping on a sweaty few basics. slightly smaller piece of ordinary fabric lip completely. It is virtually invisible as Please send in your ideas to the sticking plaster onto the plastic. The well. It's all a bit 'Blue Peter' but it worlts! editor (details on page one). plastic patch can be removed at any time, Alison Tl~ompson From our legendary 800 Series Handmade flutes, chosen by many of the world's leading flautists, comes the inspiration for a new breed of instrument. The 500, 600 and 700 Series, benefit 1 from the same scale as I the 800 Series and feature the acclaimed EC headjoint. Their freedom of expression and tonal control is I breathtaking. Each instrument is handcrafted, with keywork 'Nightingale song' wins BFS Composition Competition enny Gould was the overall Guildhall School of Music and Nightingale, as J winner of the BFS Drama and the London . the flute is Con~positionCompetition, College of Music, often takes representing a with her Last Song of a her inspiration from literature particular Nightingale for flute and piano. - novels or pogtry. character'. This composition received its 'I began by copying out a After leaving first performance in Ian couple of lines of text from the college, Jenny Clarlte's recital at the GSMD story at the top of my piece of (whose musical on 29th April, as part of the blank manuscript paper to give q~~alifications 100 Years of Flute Playing 20th me a starting point,' she include Grade S century music day. Jenny explained. 'As the piece grew piano and voice received a cheque for E250, as it became the Nightingale's -both with well as a winning certificate, at dying song.' distinction, the this BFS event. Performance Jenny, only 24 years old, Authenticity and originality Certificate from originally wrote Last Song of a Con~poserStephen Dodgson, Trinity College of Nightingale for piano, as a one of the conlpetition Music, and the template for a much larger adjudicators, commented on I-Ienry Purcell work - a half hour opera the authenticity and Prize for adaptation of the short story originality of the Last Song. Composition 'The Nightingale and the Rose' 'This is a very genuine piece,' from the LCM) by Oscar IVilde. he said. 'Several entries relied started playing in 'The Last Song is essentially rather heavily on structured a trio. She plays the central piece of the opera, devices, very probably with a flute and I i during which the Nightingale computer assister, but there an oboe and has sings her dying song,' was no fabrication here'. come to know Jertny Gottlrl was thrillecl to receive the prise. explained Jenny. 'I always I-Ie also rated practicalit). these instruments wanted it to be able to work as highly: 'It is important that the (and their players!) very well. and hopefillly will give me a stand-alone piece, not just as winning entry is nice to play 'Through playing different some more exposure as a l part of the continuous music and nice to listen to. Last Song repertoire in the trio, and also composer,' she said. 'And,' she of the opera, so when I found of a Nightingale has a lot of in a duo with Rachael, the concluded, 'the boost to my out about the competition I charm - it is an attractive flute player, I've learnt a lot confidence in myself as a thought this was the ideal piece. It also has an open about what is possible on the composer that comes from opportunity to rewrite it for texture, and makes good use of instrument. We've winning this competition is flute and piano. the central compass of the experimented with different absolutely invaluable.' 'The scoring of the opera flute, and the characteristic things, and I've found answers Last Song of a Nightingale is being published by Hunt 1 was already very much flute- colour of the instrument.' to even basic questions such based, with the Nightingale Dodgson also commented as "how quietly can you play a Edition and distributed in the being represented in the that the piece had a good top Bb?" Playing with the UI< by Spartan Press (tel: orchestration by solo flute,' sense of form, with the music instrument for which you are 01528 544770); in Germany she continued. 'The growing organically from one writing is invaluable.' and by European Nightingale's theme, which is end to the other. 'It is hilusic Centre; in France by almost like a leitmotif, opens evocative of its chosen subject Other compositions Leduc; ancl in the US by the piece and indeed the and the sections follow each Jenny, who has worked as Theodore Presser Co. whole opera.' other pleasingly,' he said. Musical Director, performer can Jenny Jenny found the Jenny's first instrument is and composer in various Gould on 07775 904606. competition on the internet the piano, so it comes as no shows, and also as repetiteur jenny.gould@ just two days before the surprise to discover that and accompanist, has recently freeulr.com deadline, so it was luclty she Dodgson felt that the started writing a musical. already had a piece that accompaniment, as well as the 'I'd like to be able to The competition needed only slight flute part, was well written. So continue to develop this side cicljzldicators were concltictor rearrangement! what attracts her to writing for of my composing as well as the Rob W@n; composer Stephen Jenny, who studied at the the flute? more classical side, and my Dodgson;jZautist \Villiam University of Birmingham, the 'I've always loved the other area of interest, Bennett; and pianist Riclzarcl Shaw. The BFS is particularly .l natural sound of songwriting,' she said. birdsong, and I She also has ambitions in grateful to the acliuclicators for suppose the most terms of performing: 'I'd like giving so generousl3~of their obvious instrument to continue playing the piano, time - the conzpositions were to represent this is as part of Trio Viva and as an studied closely and no quick the flute,' she said. 'I accompanist, and hopefully decisions were reachecl! also love writing for build up more opportunities in voice, and I see the that area too.' A big thanli you to Ann flute as a very vocal Stainer and Bell has Cherry for coordinating instrument so, recently published one of the Composition particularly when it Jenny's piano works as part of ~om~etition,and to comes to phrasing, the LCM's Grade 7 Piano David Oliver for or writing a Exam Boolr, and Last Song of a organising the hugely sustained melodic Nightingale promises to successf~ilBFS event. line, it's like writing continue Jenny's successful A full review of the day for a singer. This is composing career. will follow in the Jet~r~yGo~clcl receiving her prisejkott~ especialfir true of 'This will be my first fully September issue. clucirrnan Icenneth Bell at the BFS event. Last Song of a professional publishing deal,

10 PAN MAGAZINE Other entr:ants The runners-up Adolph Hailte (b 1920) was in the Royal Air Force Bomber Co11111land (UK), and Over 80 enquiries were receivecl for the BFS Composition Competition (open to all UK later the Transport Command residents), and tlte standard of entries was very high. Five runners-up (listed in (Palestine), 1941-1946. In alphabetical order below) were chosenfi-om tlte 40 entrants, and they too were awarded 1947 he attended the Royal a certificate on 29 April in appreciation of the outstanding merit of their work. The r\cadetny of Music, which started him on a varied composers rangecl in age from 17 to 81. Some of them are listed in the column opposite. teaching career. I-Ie taught in Surrev, Dunstable and Luton performed by the I'olish R:tdio composer \\rho has had his before becoming, in 1976, Orehestm. Orkest de comoositions nerformed hv thc Music Adviser for South Volharding, the London ~onAon~infonietta, ~ontano, Bedfordshire, and thence to Sinfonietta, the LSO String BBC Symphony Orchestra, further teaching. Quartet, the Chinoolr Clarinet BBC Northern Symphony Nicholas bMoes (h 1940) . Quartet and many others. Dai's Orchestra, Arditti Quartet, was 'etlucated from an early 4 worlrs are widely performed Balanescu Quartet, Bochrnann age and is still learning.' IIe and broadcast. Quartet, Peter Lawson, Steven developed an interest in Neugarten and others. His Mechanics and Acoustics pia& Sonata and String (conducting experiments Quartet no 2 have been with hot air balloons) before recorded on the Metier label. entering the Guildhall School Many of his compositions have of Music and Drama. After a been published by Schott & CO tour with the Royal Ltd. Nicholas is also Senior Shakespeare Company, he Jonathan Booty Lecturer in Composition at the developed his woodworking/ hlantra (alto flute and harp) Music Department of carpentry slrills (designing a Jonathan Booty studied with Nottingham University. 'small foot pedal lathe'), Graham Mayger at the Royal busked in subways, and College of Music. A French worked as a pit player, Government Scholarship meant eventually developing a he spent a year in Paris as a theory of Bos Fiddle _ pupil of Michel Debost. He is Acoustics and a theory of now assistant principal flute in geometrical counterpoint. the Halle Orchestra and gives Credit must be given to solo recitals in the Northwest, David Gorton rhdrew Townsend, who and has freelanced with major I

S- Music Festival Young Keynes theatre in 'A Living offered to send a copy of his Composers' Award, and the Archive' concert. solo flute piece, Moon Cvcle, Kathryn Thomas International Nicholas Saclunan to interested parties. Serious " Composers' Competition. IIis Folio 111 (flute and piano) Congratulations to all the enquiries only, please. r. compositions have been Nicholas is a well-established runners up! Contact Ann Cherry.

PAN MAGAZINE 11

A tribute to Brian Warren erth musicians, including promoted to principal piccolo. masterclasses at 'P a host of students, who It was perhaps fortuitous that the F 1 regarded this most serene and during his period with the Conservatorium. 1 gentle figure with a mixture of BBCSO, Brian encountered These included his affection and respect, are in embouchure problems, old friend James 1 mourning for flautist Brian because he was then Galway, at whose \\larren.' introduced to the Alexander International Flute I These were the opening Technique. This solved his School in I words of an obituary by the problems and as a result Switzerland Brian j music critic of the \Vest became a major influence on gave Alexander ilustralian newspaper. But it is the rest of his life. classes each not just musicians in After leaving the BBC, Brian summer. I Australia, where Brian Warren had an extremely rewarding In 1997 he was : (1936-2000) lived and worlted invited to present career freelancing. He played I for the past 18 years, who with all the leading orchestras, a paper on the 1 mourn his death. There are touring the USA with the RP0 subject at the l also many flautists, friends and and the LSO. IIe also did Inaugural 1 students back in the old numerous light music and Conference on I country who find it hard to film sessions, working with Health and The ' believe that this most talented The Beatles, The \Vho and Musician at York and handsome of musicians is Elton John. Universitv in the no longer with us. \\'hat set Brian apart from UK - a great Brian (affectionately linown most of his peers, however, honour. as Pluto) began his flute was his exceptional talent for Brian was very playing life in the Royal haonv in Australia. jazz flute and in~provisation. cr. Brian C\Tarrert (1 936-2000) Artillery Band when he was Because of this he was greatly as was his wife Jennifer Fox- died last September in Perth, 15, and at 21 he was awarded sought after by such people as Russell (a brilliant pianist who a scholarship to study at the was the senior accompanist at ilztstmlia, ufter a 13-month Michel le Grand, Nelson struggle with cancer. Guildhall School of Music with Riddle, IIenry Mancini and the Conservatorium) and their Geoffrey Gilbert. sons Daniel and Robin. Their I-le wasfeatured in Pan (Vol Indo-Jazz fusions for their T\vo years later, after loss is incalculable but we will 10, No 2) in June 1992 ('Brian worliing with the Royal recording sessions. miss you too, Pluto. Warren in Conversation with Shalrespeare Conlpany for a While he was freelancing in Jztcl~!Fitton Adrian Brett'). few months, he successfully the mid 1970s, Brian qualified auditioned for the second klute as an Alexander teacher. IIe position in the BBC Symphony began teaching the Technique Orchestra and was soon at Birmingham University and in London but soon afterwards was invited to teach both the flute and the Alexander Technique at the newly formed Academy of t)y A TRADITIONAL MUSIC SHOP Performing Arts (Consenratorium) in Perth, RUN 91' PLR1'Em FOR PLRI'EG ilustralia. IIe was initially invited for a b Student to profess~onallnstrunlents year but held the post for 14 Altus, Butt'et, Bneschcr, Cierneinhardt years until his retirement in Iwao, Monnig. Miva7;1\va, Pearl, 1997, successf~~llybuilding up Trevor James, Yarnaha the two departments. One of thc pleasures of his job was to invite international b Large selection of second-hand flules Tile iilexn~tcler7kchnicltte wns players who were performing .[I Piccolos to Bass Flutes cc r~zajoriitj7rtence on his life. at the Festival of Perth to give b Folk, Barque and Victorian 8 key flutes

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PAN MAGAZINE 13 Picture: tIcrn.vii CChilti playing brought out the James and Jeanne different characters and I enjoyed her pure, incisive London Mozart Players sound in the upper registers. Barbican Centre Finally, Harty's In Ireland Monday 12 February rounded off a thoroughly Conductor/Flute: James enjoyable and inspiring Galway evening. Flute: Jeanne Galway Clare Roberts I-Iaydn Symphony No.1 in D, 'The Clock', Cimarosa Concerto for two Flutes in G, Mozart Flute Concerto in D, Deaf flautist inspires Mendelssohn Symphony No.4 Mary Hare School in A 'Italian' Saturday 28th April Ruth LIontgomery, flute JAWS GAL\LTAY and the Danny Lane, piano London Mozart Players Sam Brookes, piano managed to fill the Barbican again on 12th February. This HOiV DO you teach a deaf eagerly awaited concert was a student to play and appreciate sell out and our president was music? As a teacher and lover guaranteed to attract a huge Galway is ltnown for his cricket, as the composer of music this was one of the audience ranging from five splendid rapport with his explained!), originally written first questions that struclt me pears to 50. audiences. IIe is always keen for flute and harp, means 'alive' after hearing an inspirational As expected, the audience to interact and make music in Hungarian, and was written concert performed by Ruth gave Galway a fantastic fun. This indeed was a perfect at a time when atrocities were Montgomery and Danny Lane, reception. The hall was opportunity to introduce the rife in Europe. Inspired by two former pupils of the Mary crammed with families and younger generation and general hilidclle European folksongs, IIare School for deaf children. children, most of whom were public to three of the most SLIC~as Bartok's heartrending The musicians presented a budding young flautists who prolific classical composers, Three Orphans, it is dedicated confident performance of had been at the South Banlt but the programme could have to all those in danger of losing music ranging from JS Bach to since 5pm to meet their been a little more varied, to their cultural identity. The Lennox Berlreley. The 'superstar' and involve meet the tastes of the musical rendition was intense programme illustrated some themselves in the pre-concert expectant audience. IHowever, I and haunting, with the challenging repertoire for the chamber music and classes. thoroughly enjoyed the insistent repeated notes on the flute in which Ruth and Danny It was because of such a evening and hope Galway piano, and the poignant sound displayed a confident young and mixed audience that continues to have such a large of the flute fading away, in technique. The two halves I considered the programme a influence on our younger volume and pitch, at the ends were completed with the third little inappropriate, leaving the generation. of phrases. movement of Berlteley's children rather restless and Sue Rtzgerald Richard also played Sonatina and JS Bach's fidgety. McDowall's Shades of Solace Badinerie from his Suite in B The Maydn and the (piano solo), a homage to Minor. The opening movement Mendelssohn were exquisite Scott Joplin, which evoked of the Poulenc Sonata was also and effortless. The LMP Nature and nostalgia New Yorlr by night with its a favourite. In contrast, the performed with elegance and pulsing underground below, slower pieces captured the style. There was no flamboyant The University \\'omen's Club and the sliver of the moon audience with a beautiful conducting from Galway, just Music Society hanging over the dramatic expressive tone, which sang simple direction, and the Women, Nature and Nostalgia slryscapes above. lyrically above the piano in the orchestra played with precision Thursday 15 February The rest of the programme melodies of Londonderry Air and control, with every line Emma \Villiams, flute consisted of an enjoyable and the first movement of the beautifully phrased, as usual. Richard Shaw, piano variety of pieces. Donizettik John Rutter Suite Antique. Jeanne Galway joined James Sonata in C, a lively, charming Ruth and Danny are two for the Cimarosa, which was THIS INFORMAL recital took piece, showed off Emma's promising musicians with a performed with accuracy and place in the elegant setting of excellent articulation and passion and determination to vigour. the drawing room at the phrasing in its quick passages, perform and succeed with The Mozart was the highlight University \\'omen's Club, near and her wonderfully rich tone every new challenge. of the concert, with James Green Parlr, with an audience in the slower phrases, which The concert was well featuring again as both soloist of around 20 people. The were ~lavedwith real feeling. received and the audience was and director. The familiarity surroundings made me feel as ~essiakn'sLe Merle Noir was clearly impressed by the with the piece was evident and if the clocli had been wound similarly impressive, with its school, the former students the ever reliable orchestra back a couple of centuries, and thrilling cadenzas (imitating and their approach to music. It provided superb support for the intimacy of the the nimbleness of birdsong) was a concert where many their soloist. environment also provided the and difficult rhythms. Some of individuals, including my guest To keep the audience sweet, audience with a sense of the quiet notes sounded and myself, learnt more than the evening ended with two of involvement in the way the slightly breathy, but perhaps they bargained for. I hope that Galway's most popular encores. players approached the music. this was simply due to the fact in the future music for the The children's jaws dropped as There were three worlrs by that we were only a few feet deaf is welcomed in as open a he demonstrated his British composer Cecilia away from the performers! manner as it was on this outstanding technique with McDowall, who was present at Nature was also to the fore in evening. As one of the guest two performances of JS Bach's the concert and gave us the the warbling trills of Sounds of speakers so rightly said, 'Deaf Badinerie, first at double speed benefit of her insights into her the Forest by Gubaydulina, people can do everything and then at quadruple speed - music. Vespers in Venice, an recently described as 'the except hear.' This concert was leaving the audience gasping atmospheric, almost greatest living Russian the perfect example. and laughing! Finally, what impressionistic work inspired composer'. Sarah Miller would a Galway concert be by Turner, echoes Monteverdi; Borne's Fantazy on Bizet's without a performance of the the watery textures conjured Carmen came as a light- Loolr out for an article by 'Londonderry Air'? This was up the outlines, sounds and hearted contrast, with its Ruth Montgomery on the beautifully arranged for flute sights of that beautiful city. compilation of the best tunes challenges of a deaf flute and orchestra. Eleven (nothing to do with from the opera. Emma's player, coming soon in Pan..

14 PAN MAGAZINE Alesandre Delgado, The Panic clarinet; Glyn \\'illiams, 8pm, 23 August JUNE Flirt; Darius Milhaud, Sonatine; bassoon; James Thomson, horn; Presteigne Festival, St Andrew's Philippe Gaubert, Madrigal; Roy Ilowall, piano. Church, Presteigne, Powys 7.30~111, Saturday 2 June AndrC Jolivet, Chant de Linos Schoenberg: Wind Quintet, Freya Ritts-Kirby, violin; St Jan~es'Piccadilly, London Tickets f 101f8 (S2 off, Op.26; Amold: Rinaldo 8r Kathryn Thomas, flute; Owen Kathryn Thomas, flute concessions). Armida, Introduction and Pas de Dennis, cor anglais; Presteigne Alison Strange, violin Deux; Barber: Summer Music Festival Orchestra with Richard Shaw, piano 7.45pm, Sun 24 Jun (wind quintet), Op.31; Po~llenc: George Vass, conductor. Programme to include: Claude Queen Elizabeth Hall, London Sextet for piano and wind. Dag Wiren: Serenade for Strings Debussy, Sonata; CCsar Franclt, The #ate Rusby Band in G Op 11; Paul Patterson: Sonata; Francis Poulenc, Sonata; 7.30p111, Wednesday l1 July Violin Concerto Op 72; Sibelius: Camille Saint-Saens, i\ir de Kate Rusby, voicelguitarlpia~~o; John McCuslter, Purcell Room, London Andante festivo; klonegger: Ballet; Albert Roussel, Aria; The Beaufort Ensemble Concerto da Camera; Grieg: Philippe Gaubert, Deuxihme fiddle/citternlwhistle; Andy Cutting, diatonic accordion; Clare Bentley, flute; Deborah Holberg Suite Op 40. Sonate; Bohuslav Martinu, Rich, oboe; Paul Saunders, Madrigal Sonata. Michael McGoldrick, flutelwhistles; Ian Carr, guitar; clarinet; Elizabeth Mason, 7.30pm, Thrlrsday 23 August Andy Seward, double bass. bassoon; Jonathan IIassan, horn Parisli Church of St Colurnb 7.30pm, Tliu~sday7 June Ligeti: 6 Bagatelles (wind Major, near Newquay, Cornwall Royal Festival Hall 7.30pm, Wednesday 27 June quintet); Cowie: The Rising of Harmoniemusilr The Magic Box (John Williarns Vivaldi, Concerto in G minor; Brooltside Methodist Church, the Sun and the Setting of the guitar; Paul Clarvis, percussion; Same; Mathias: Wind Quintet Mendelssohn, Trio; Damase, John Etheridge guitar; Chris Guntl~orpeRoad, Peterbomugh Op.22; Patterson: Comedy for Dix-sept variations; JC Bach, Laurence, double bass; Richard Hannah Lang, ilute Five Winds; Nielsen: Wind Trio; Beethoven, Octet Harvey, flute, whistles). Peter Ilewitt, piano Quintet, Op.43; Ilallam: Dance Admission: f 7 (95 concessions). To include Prolrofieff Sonata. Suite. Tickets can be obtained in l.lOpni, Tuesday 19 June Tickets f6, to include advance from Hall for Cornwall Tolvn Hall, i\ylsliarn, Norfolk refreshments. Saturday 14th July Box Office, tel: (01872) 262466. The Litmus Trio (Peter Hewitt, Tel: 01923 400878 Royal Pump Rooms, Further details from Alec piano; llannah Lang, flute; Toby Leamington Spa Forshaw, tel: 020 7405 9848. Turton, cello) The Scottish Flute Trio (Laura To include trios by Haydn, Bailie, Janet Larsson, Ruth 7.30pm. Friday 24th August Shostalrovich and Dvorak. JULY Morley), guitarist Allan Neave Parisli Church of St Columb Lunch available from 12 noon. 3pm. Sunday R July and poet Pauline Prior Pitt at Major, near Newquay, Cornwall Purcell Room, London the \Vanviclr and Leamington IIarmoniem~~sik 7.30pm, Thursday 21 June Harlequin celebrates the 50th Festival. Villa Lobos, Bachianas . Purcell Room, London anniversary of Schoenberg's Edward McGuire, Western Light; Brasileras No.6; Schumann, Kathryn Thomas, flute death, the 80th birthday of Sir Renneth Dempster, St Kilda's Romanzes; Dove, Figures in a Richard Shaw, piano blalcolm Arnold and the 20th Parliament; Gordon McPherson, Garden; Bach, Flute sonata in Philippe Gaubert, Troisihme anniversary of Barber's death. Learning to Walk on Glass; E Major; Mozart Serenade in Sonate; Albert Roussel, Joueurs Harlequin: Mark Underwood, Taltemitsu, Toward the Sea; C minor. de flfite; Pierre Boulez, Sonatine; flutes/piccolo; Bryony Otalti, Toshi Ichiyanagi, Still Time IV; Admission: f 7 (95 concessions). Claude Debussy, Bilitis; oboe/cor anglais; Graeme Vinall, Karen Wimhurst, world Ticketslfurther details as above. premiere. Tickets: f10, f7.50 7.30pm. Saturday 25th August Stratford-upon-Avon International Flute Festival Festival box office: 01926 Parish Church of St Columb Monday, 23 July Tuesday, 31 July 496277. Major, near Newquay, Cornwall 2000 Albert Cooper International Celebrity Recital Harmoniemusilt Competition Prizewinner's Rachel Brown plays the Twelve lpm, Friday 20 July Ilandel, Trio sonata; Stravinsky, Concert Solo Fantasies by Telemann Regent Hall, 275 Oxford Street Three pieces for solo clarinet; Anna Woostenholm Glen Ballard, flute; Roger Danzi, Quintet in D minor; Wednesday, 1 August Owens, piano Poulenc, flute sonata; Gounod, Tuesday, 24 July Albert Cooper Competition: Sichler: Un Oiseau en Mai; CPE Petit Symphonie - International Celebrity Recital Semi Finals Bach: Sonata in D, WQS3; Ries: Admission: f 7 (f 5 concessions). Alexa Still (NZIUSA) Introduction and Polonaise, op Ticketslfurther details as above. Friday, 3 August 119; York Bowen: Sonata op 120. Wednesday, 25 July International Chamber Music British Prizewinners' Concert Recital 7.30pm. Sat 28 July Postgraduate students at SIFF Miami Wind Quintet (USA) Purcell Room. London 1 SEPTEMBER Thursday, 26 July Satuday, 4 August Rollu ~ajumdar,bansuri; Sanja~ 1.10~~Tuesday 4 Septelllber Afternoon Tea Concert (3pm) Albert Cooper Competition: Jhalla, tabla; Shahid Parvez, Town Hall, Aylsham, Norfolk sitar; Partha Sarathi, Mukherjee SIFF Students, Flute Choirs Final Round (2pm) . . Mannah -. *lute:peter tabla. Ilewitt, piano Friday, 27 July Saturday, 4 August This unique double bill presents Sir Malcolm Arnold 80th Final Gala Concert To include Prokofieff Sonata two of India's leading classical Luncli available from 12.00 Birthday Celebration in the instrumentalists. presence of the composer All concerts take place in the Town IIall at 7.30pm unless Free to AMC summer school Telephone numbers: Saturday, 28 July otherwise stated. participants. ' South Bank Centre (Royal Meg Rivers Memorial Concert Festival IIall, Purcell Room, (Shipston) Information and tickets Queen Elizabeth IIall): 020 7960 Outstanding students at SIFF available from Festival House, 4201. 10 Guild Street, Stratford- AUGUST Sunday, 29 July St James's Piccadilly: 020 7381 upon-Avon, CV37 6RE, 8pm, Wednesday 22nd August 0441. Music for a Summer's Day tel: 01789 261561; (Civic IIall, 4pm) St James, Jersey Arts Centre, St Although every effort is made to fax: 01789 261577; Helier, Jersey ensure accuracy, the British Elena DurAn, John Lenehan email: [email protected] Music by Dvoralr, Enesco, Glen Ballard, flute; Alan Brown, Flute Society ancl Pan do not DO~~lerand Mexican piano. accept responsibility for any , Also: free daily concerts by Works by CPE Bach, York mors in these listings. Readers Monday, 30 Jnly students attending SIFF at Bowen, Caplet, Feld, Ries, FaurC. are advised to checlz ticket Albert Cooper Competition lpm in the historic Tickets on the door or from the availability addetails with First Round Guild Chapel. box office, tel: 01534 700444. vent~sbefore attendance.

PAN MAGAZINE 15

Mental skills training Do your legs turn to jelly before you get up on stage? Mental training techniques can have a dramatic effect on both your nerves and your performance, whether at a concert, an audition or simply in front of your teacher.

en you daydream distractions and worries into a box, BY about your most or tension draining lilte liquid from C hristopher successful performance your body. Visualising a peaceful W+or about being a scene such as ocean waves lapping Connolly world-famous flute player or on the beach can be a useful relax- teacher - your 'thinking' is visual or ation strategy before (or after) an felt, rather than something that important performance such as an happens in words. Consciously or audition or concert. unconsciously, we are all adept at Mental rehearsal, on the other visual thinking. hand, involves imagining yourself Visualisation, which is used in performing a specific skill, whether mental sltills training, is the process it is improving your tone, articula- of watching yourself on a screen in tion or fingering. Mental rehearsal your mind's eye, consciously techniques can short cut the evoking and guiding daydreams in learning process and complement which you appear, usually towards a the actual practice of skills, as it is specific end. It includes not only in the brain where the ultimate visual images, but also involves the learning of slrills, and unlearning of auditory and kinaesthetic (feeling) bad habits, takes place. The senses. When you visualise yourself purpose of practising a skill, playing, you see, hear and feel your- mentally or physically, is to tell the self playing. brain, as clearly as possible, how to The step from visual thinking to organise the body's movement. visualisation is similar to the step from natural musical ability to Zoning In at the RCM sophisticated technical and inter- Mental imaging techniques have pretation skills. The ability to create been applied in professional, powerful mental imagery needs to Olympic and elite sporting contexts be taught and practised regularly if for many years. It was hypothe- it's going to improve your perfor- sised, therefore, that they would be mance. Mental rehearsal techniques of use to elite or highly skilled musi- can help you: cians who might typically be found Increase your confidence at the Royal College of Music. Speed up the learning proceks The objective of the mental skills Change a bad habit training component of the RCM Improve the consistency of your project Zoning In: Motivating the Chhopher Cot~no//~~,Spor/ing Bodyntind Ltd, playing. re/: 020 7608 1777;fo.v: 020 7608 1888; f you have a difficultperformance ernai/: e7qrrirres@syco~1.11k.com; There are two types of visualisa- a~~bsi/e:waw.sy~o~z.nk.co~n. tion, problem solving and mental Iahead, picture the situation in Spotting Bodyinittd is a ream ofpsycho/ogis/s rehearsal. Problem solving involves your mind and then visually who have spen/ the past 20 jmrs hehingpeople rehearse the outcome. It is a type of using visualisation to aid concentra- to etlhanre their pcrformanc~.Their nlissiow is passive brainstorming - a chance to to mob/ep~op/fand orgatri.~a/i071s/o rea/ise tion, reduce anxiety and physical mentally test and practice different theirft,//pot~nria/and consis/etttl~~perform tension, or to suggest possible at their best. solutions. courses of action. Imagine putting

PAN MAGAZINE 17 Mental skills training

Instruction . . The 14 RCM students attended a series of two-hour sessions in which they were introduced to a range of these performance enhancing tech- niques. There were three main areas of practice: relaxation, mental imaging and planninglanalysis. Discussion took place among the entire class and in small groups in order to give students a chance to - vocalise their experiences. Individual coaching sessions were conducted on a one-to-one basis and focused on three areas: the review of the performance profile and its use as a goal setting technique; the application of mental training techniques for enhancing Some of the shtclents on the RCi\I project, Zoning In: i\Iotivccting the ~\lusical1\1inrl. performance; addressing issues arising from the current situation of Musical Mind is to design and pilot a Instant preplay the student (for example, prepara- curriculum of mental training that This is practised immediately before tion for exams and concerts, draws on techniques from applied performing the activity and facili- technical difficulties), sports psychology to enhance musi- tates the shift from abstract thinking ~h~~~ sessions were necessary cians' performance. In the first year about the performance to actually to ground and integrate the tech- of the programme (September 1999 doing it, by initiating 'thought' in niques taught in the classroom and - June 2000), 14 students took Part your body's language (seeing, to enable a creative dialogue in a training programme with two feeling, hearing, smelling, tasting). between student and coach so that distinct elements: instruction on a ~~~i~gperformance they could arrive at an array of range basic This is akin to acting a part, customised approaches to partic- techniques in a classroom setting; performing if 'ou were someone ular performance-related situations. individual coaching sessions for else which represents a of techniques. quality that you want to emphasis in Interim conclusions your performance. It may make use The programme provided students Mental rehearsal of musical nicknames, images and with an exposure to a range of There are five symbols to evoke the desired quali- mental training techniques. Post- techniques' three which are ties in your playing, such as 'condor' training ratings by students described here: '' for grace or 'thug' for aggression. identified the following techniques Performance practice The other two mental rehearsal as most useful: relaxation tech- This involves visualising the perfor- techniques are instant replay and niques; mental imagery involving mance of a specific skill that you want to develop or improve. You can performance review. skill rehearsal; mental imagery practice even when you are ill or injured! Your nervous system then Table I. Use of mental skills techniques n remains tuned in to the skills and your playing recovers much more Techniques Number of students quickly when you are better. using each technique There are five different types of word Association Techniaue 1 performance practice: basic; ideal Prioritisation 6 (in which you think of a musician Mental Imagery - ModellingPeali Performance 6 who performs the skill you are trying to improve perfectly); top Mental Imacing - Quiet Place 10 performance (practising a skill you Mental Imaging - Symbol 9 know you have performed perfectly Mental Rehearsal 12 in the past); right placelright time Relaxation - Coloured Liquid 8 (visualising a perfect past perfor- Breath Relaxation - Short 10 mance); substitution rehearsal Progressive Body Relaxation 12 (performing a different skill in a Black Box Exercise 5 different situation perfectly).

18 PAN MAGAZINE involving use of symbols for evolting qualities; performance profiling as a Basic performance practice exercise mechanism for self assessment and goal setting; individual coaching in Sit down in a place where you will not be disturbed. Uncross your legs and which students could target specific arms. Close your eyes and relax from your head and face downwards. See performance-related issues. yourself in a place where you can practice a skill. Create as real and genuine a They found less useful: verbal and scene as possible. Is it indoors? If so, how high is the ceiling? What sort of lighting is there?, Can you hear ventilation fans? Are people watching? associate word techniques; prioriti- sation processes; mental imagery See yourself wallc into the picture and prepare for practice. Notice your grip that had a prescriptive or defined on the flute. How do you prepare yourself? Watch carefully. approach (for instance, putting Watch yourself performing really well. Notice particularly the critical factors distractions in a black box). Table 1 and cutting edge of your ability, which you are going to improve. What piece lists a sample of the techniques are you playing? How is your balance? How do you use your head and arms? Notice as much detail as possible. introduced to students and the number of students who reported Then go back to the beginning. Take a deep breath, letting it out slowly. using those specific techniques. Release any tension. Then watch the scene from somewhere else - a different side, closer or further away. Notice as many good elements as possible. Coax the image from your memory. Notice what new insights you get by watching Futher developments from this new vantage point. The programme has undergone two Try again, this time focusing attention on your hands. Watch from inside distinct n~odificationsfor its second your body, feeling yourself play. Notice the touch of your clothes. Look around. year (September 2000 - June What objects, sounds and smells are you aware of? 2001). Firstly, the number of group Finally, repeat the visualisation again focusing on a particular element of sessions has been reduced by 5096, your playing, such as your tone. Notice how you achieve a beautiful sound with while the number of individual, the grace and ease of your visualisation. Enjoy the music and the sense of one-to-one sessions has been integration you feel. increased by 50%. This enables a Before you end, let your attention expand again into your whole body so that more individually tailored - and you are as conscious as possible of how you feel. thus potentially effective - approach to the training. Secondly, the individual sessions Use the present tense organising your nervous system to have been designed to focus heavily This maltes the visualisation more respond during your musical perfor- on goal setting. Moreover, they do so vivid. 'I am standing calmly and mance. exclusively with reference to confidently in front of my audi- Vis~lalisefrom the inside out and musical contexts. That is, tech- ence.. .' the outside in niques introduced to students are Set realistic goals Some people watch then~selves immediately coupled and rehearsed You should imagine yourself playing from a slight distance; with reference to their own performing at a level of high profi- others feel themselves acting from impending performance and prac- ciency but one which you know you the inside loolting out. Both are tice situations. can and occasionally do reach. valid. Start with what comes easiest Set specific goals to you, then try it the other way. Guidelines on visualisation Your mental rehearsal goals should Visualise at the correct speed Start with a relaxation complement those of your normal hllental rehearsal should replicate If you are learning a new sltill or physical practice. When you choose the performance situation, with the practising an old one, well-timed the sltill you want to improve, make same playing conditions, such as periods of relaxation will promote it specific. Is it a particularly diffi- speed of movement. more rapid progress. cult passage to finger? Is it the Practise regularly Stay alert breath control? Five to ten minutes a day for five to Concentration makes your images Use all your senses sis days a weelt is a good rhythm. stronger. However, don't demand When visualising your concert Consistency is more important than more of your attention span than it performance, include all the details length of rehearsal. can give. you can, for instance, lighting, smell Enjoy it! and even taste. Create as real a If you are getting bored or frus- sensory impression of the situation trated, stop. If you introduce eplaying your mistakes mentally as possible, including every detail negative thoughts and feelings, they an have a negative effect on R, you can remember. The stronger may spill over into your actual your performance. Staying positive is a great antidote to performance the sensory component and the performance. anxiety, so it is important that you more realistic the visualisation, the Further reading: Sporting Body, gain control over the images that more powerf~~lthe message to your Sporting Mind, by Christoplzer travel through your mind. nervous system and the more effec- Connolly and John Syers. Simon tive the mental rehearsal will be in and Schuster, 1998. BARENREITER URTEXT the definitive musical text in practical modern editions

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20 PAN MAGAZINE

-- - .. . -- .------Jazz philosophy The second article in the series explains the importance of getting to grips with the philosophy and history of jazz in developing your playing. tan Getz said: 'Jazz is not intricate polyphony of classical Tabackin or Dave Valentin, you will about flashy licks. It's a music are uplifting, and jazz is hear a well developed, rich sound. , story with a beginning, equally able to stimulate the mind Strictly speaking, their sound is not Smiddle and end. First learn and senses. The liey to appreciating a classical one, yet they all produce the vocabulary, then let it fly!' and playing this music is a full-bodied, dynamic sound. My A common misconception about understanding its harmonic identity. advice would be to keep your sound jazz and improvisation is that speed The way in which jazz musicians quite straight to begin with; as you and 'flashiness' are the most of New Orleans at the beginning of progress and listen to more players, important factors. In reality, if you the 1900s passed on their your sound will develop naturally. listen to any of the great jazz artists knowledge could almost be Concentrate on the language of of the past century, their sliill lies in described as a folk music/aural jazz and its inflection. As with creating spontaneously beautiful, tradition. Hence, I tend to suggest classical music, the feel and well-formed music. The speed is a that people start without their inflection constitute the heart beat by-product of this, permitted by instruments, by singing the phrases of the style, while sound and tone their dexterity and understanding. and rhythms they want to learn. are issues of personal taste. It is important to understand the The aim is to mimic as closely as Jazz, like classical music, has philosophy behind this music possible the shape and inflection of many different 'personas', ranging before delving into the mechanics of the liclc by singing, and then copy from straight ahead to afro-cuban, jazz improvisation. The inflection this on your flute. This process may funk, fusion and beyond. So, where or 'feel' in jazz is a governing factor talce some time but it will allow you to begin? Blues are probably the in how well you play. IVhile classical to to develop your jazz style much best place, as this (most commonly) technique will come in handy, it is faster. Also, singing teaches you that 12 bar form makes up a great deal of important to recognise that you in music it is a great discipline to be the repertoire. More importantly, it have to think very differently when able to internalise music vocally - encompasses simplicity of harmony playing jazz. that is, to 'pitch' and mentally sing through to the most extreme The harmonies, melodies and the music while you are playing. extension or substitution of With time, this becomes a harmony. Also, starting with a BY subconscious process which will simple 12 bar blues, it is much enhance your ability to comm- easier to concentrate on rhythm Gavin unicate music, be it classical or jazz. and continuity of ideas - the 'late-Love Some people may at this point fundamentals. be considering the necessity of Jazz and improvisation will help singing lessons - but fear not, it is your playing in an all-round not the quality of your singing that capacity, particularly your sound counts (as those hearing my voice and phrasing. Jazz can also improve will confirm!); the most important finger dexterity and tonal colours in thing is to pitch the notes and 'nail' classical playing. For example, if the rhythmic feel. A good, warm-up you record yourself improvising, routine that incorporates singing you may find you play a line you consists of long tones to focus your didn't think yourself capable of. The sound, breathing exercises, finger next time you are confronted with a exercises (including scales) and difficult piece of written music, sight singing, especially of remember that you are capable of syncopated music. This routine will creating similar music in your develop your all-round skills as a improvisation. musician, not just a jazzer! Another good starting point is to Gavin Tale-Lover? trained as a classica/J/aut~st Another common misconcep- listen, whether it is to Herbie Mann, at Trinity College of Mt(sic. He has worked with jazz groups in the UK, Far Ens/ and USA and tion is that you must have a 'fuzzy', Hubert Law, Dave Valentin or any is rrmmt/~fitivo/ved in a project exploring the unfocused sound when you play other jazz flautists. jazz mrtsic of Soiotlth Africa. He has also l~dja12; jazz. However, if you listen to such The next article will provide workshops and rttaster cfasses in rhe UK and USA. players as Hubert Law, Lew playing exercises.

PAN MAGAZINE 21 Eddie McGuire Eddie McGuire deserves more widespread recognition for his talents as composer and folk musician. He has been influenced not only by the flute itself, but also by jazizi, minimalism and traditional music worldwide, as he discusses here.

first met Eddie last year in my roots in Glasgow and met up with In Peter Pan, did you have to Aberdeen, where his work the Scottish traditional folk group write differently for the dance? l Pipes of Peace (for Chorus and the Whistlebinkies (or an early Making sure there was enough Bagpipes) was performed in the version of them) back in 1973. I have sound to cover the banging of feet blusic I-Iall. \.\re met again later, been playing with them ever since. on the stage was a consideration! perhaps more memorably, at Scot- The sound of pipes, harps and Rhythm and pulse are more impor- tish Ballet, where I witnessed Eddie fiddles have had a lasting impact on tant in classical dance. being tutored in the art of being a my ear! I was very much into the crocodile by the movement and modernist movement during my The reels in Peter Pan are very fight choreographer Dennis &new! time in London and admired the amusing, but are they original The two of them were scheduled to work of Steve Reich, whom I saw as traditional music? appear in Peter Pan the nest day as a breath of fresh air in the music No, but with so many years on the the crocodile and Captain Hooli, world. After my visit to Sweden to folk circuit, I feel I have earned the with the RSNO performing Eddie's study with Ingvar Lidholm I returned right to write a few 'traditional' ballet music for school ltids at the to a more tonal lyrical style; I also tunes of my own. There is a living Royal Concert Hall. But who was to rediscovered my native music. and unbroken tradition of music, be Peter himself? Luckily, I had a I view traditional folk music as a which I am part of, both as rehearsal that day, so I declined the common language and heritage for composer and tlautist. invitation. Eddie still agreed to talk the whole human race, so influences about his music with me! from all types of folk music world- Tell me more about your guitar wide find their way into my writing. arrangement of Peter Pan. It How important is the folk The Gaelic pentatonic flavour and sounds very bass driven. element in your music? Chinese idioms in Peter Pan are not Well, I was a great fan of Elvis and The folk element began seriously for the only cross influences; drones, people like Chuck Berry when I was me when I returned from London to decorations and glissandos are a boy. Before I was seven, my present in both Scottish and Chinese father's male voice choir used to music. I see myself as blending folk rehearse in our family home. They BY music influences and rhythms with a sang the classics, but also Gaelic Margaret Preston more personal and lyrical style. and some Scottish arrangements My performances with the that were made popular by the \Vhistlebinlies also demonstrate that Orpheus Choir back in the 1930s when you memorise music and put and 1940s. I became imbued with something extra into it while playing, the sound of improvised bass lines you can get through to your audience and the close harmony of male more directly. It's different from jazz. voice singing at that yo~~ngage. It's not improvised, but all the grace Later, I moved away from that into notes, for example, are coordinated the craze of rock 'n' roll, Bill Hale??, with the bagpiper, the harpist and the Fats Domino, Little Richard and blues. fiddler. We trv- to -.play in unison a lot. It made me feel the thrill of music and Having played some of these reels I have tried to recapture that ever and jigs together for over 20 years, since. I became disenchanted with they are now really coming alive, Elvis after he joined the arniy. But it through playing them so often in was after taking up the flute at the age public from memory and collectively illargarel Preston stt~diedmith K irhard C~ESICC of 13 that I started becoming more LVi//ia~izBennet, Ltrrort S~nith,Phi/lipa Drdits and putting something extra into them. creative and writing melodies. RarheL Brnmil. As ufree/a~tref/~~tt/ist,she So folk music is not just a simple plavs mith ma~ye/tsemh/ts. A/thnugh pri~~zon'~')~a r/us.~irtl/pe~fnr~~~et;she tnjnys p/ajingfl~~res,rt~:ordcn, activity; it talres years to really How did you start composing? shawnl~<,c~irtd, srhre1j7fp mid n~ttl,or~~swirl, tht capture the spirit of it. I wrote settings of Shaltespeare Riiicorfh Ll/llits. Sht ahn pe~;firl~t.con the burnqite flttc. Email: mags~res/[email protected]~~~ &erleaf:. n reproilttction ofhlcGziirek hanrlwirtten mrtnrrscript for Prehcde 3,.for flute, dedicated to his first.tl'lztte teacher, Davicl iVicholson, ancl premiered by Dnoicl Davies.

22 PAN MAGAZINE p. I P- -. - -. - - -. Eddie McGuire 1 . . -- - P-

Competition with his violin piece, Concerto (Glasgow Festival Strings Eddie McGuire Rant. In 1971, he won a scholarship to and John IZenny, 1991). I-Ie was a study in Sweden with Ingvar Lidholni. featured composer in the 1993 Park His works have been regularly Lane Group series at tlie Purcell broadcast and conimissions have come Room in London, and in January from the Glasgow University McEwen 1995 he was one of several Scots Bequest, the New Music Group of represented on BBC Radio 3's Scotland, the ~~~'~cottishSymphony Con~poserof the IVeeb. Orchestra, the St Magnus Festival and 1996 saw the success of Caketalli, the Edinburgh International Festival, a children's opera (Royal Scottish among others. His debut at the Henry National Orchestra Junior Chorus). \&rood Promenade Concerts in 1982, He was also featured composer at with the BBC Scottish Symphony Bath International Guitar Festival Orcliestra's performance of Source, was and composed the test piece for its i conducted by Sir Charles Groves. competition. In 1999 he composed a Calgacus, which uses bapgpipes with Violin Concerto for Clio Gould and Ed\\rarci was in orchestra, was performed at the 1997 the RSNO, and earlier this year, his in 1948 where, as a junior student at proms. Pieces of Eight was premiered at the RSAMD, he st~~diedflute with David In recent years, he has produced Edinburgli IIarp Festival. Nicholson. He also studied it with several large-scale works to critical McGuire plays flute with the Derel{ HOnner at RAM. He went On acclaim, including Peter Pan (Scottish Scottish traditional folk &-oup, The study co~npositionwith James Iliff at ~~ll~~,19~9), ~l~~~~~ symphony \Vliistlebinkies, who have made

the RrUvr in lvhere (National Youth Orcliestra of Scotland, several discs and in 1992 became he won the Hecht Prize and the 1990), The Loving of Etain (Paragon probably the first Scottish ensemble National Young Composers Opera, 1990) and a Trombone to give a concert tour of China. extracts or other poetry, just writing learning process has been through for 20 violas which has been down the letter names. I became experience. My first orchestral performed at various summer familiar with musical notation at piece to be broadcast (in 1976) was schools, and Music for Low Mutes, the age of 14. 1 first perforlned a Calgacus (for bagpipes and which is a free interweaving of short little flute piece I had written, in orchestra), which was revived for melodic fragments, all in the first public at the school nativity play, in the London Proms in 1997. That octave and a third of the flute scale. which I was acting as a shepherd! piece was a great learning process I also wrote Celtic Ibotwork for about how the orchestra worlrs. four flutes, which is the first in a Is it because you are a flute series depicting the lrnotwork of player that the flute figures so \\rere the arrangements of the various cultures. As interweaving importantly in your music? Gaelic love songs No: I give equal credence and atten- (The Gaelic Flute) tion to all the fine instruments of for Chris Norman the orchestra. My favourite instru- written with the folk ments also include the harp and flute in mind ? viola, and I am becoming increas- No, you can play them ingly familiar with brass, too. on either flute. Chris Norman performs on Have you had any particular an open hole wooden influences in how to orchestrate? flute on his CD. I have always remembered the use Berlioz made of the flute over trom- Can you comment bones. I like combining the sound of on your tendency to the flute with the rich and unusual write for groups .of colours of other instruments, like the same instrument, the bass clarinet or the harmonics such as low flutes? of the double bass. In 1972, minimalist I studied orchestration in ideas prompted me Sweden with Ingvar Lidholm and he to write homogenous suggested many aspects of orches- pieces for several tral colour to me, recommending similar instruments Mahler and Sibelius particularly, for interweaving with study. I-Iis own \vorks are full of each other. I have modern discoveries in orchestral written a harp octet, nrCc,,jre pln3,sp,rtewith tllr Scottisll tratlitionctlfolk colour. Apart from that, my main a guitar octet, a piece grotcp, The \l?tistlebinkies.

PAN MAGAZINE r,Prelude I fa1 3 ALLEGRO AGITATO pp SOLO^^ *:- 2.1111985 C tWAW McGUtRe

KEEP WCKW CLOSED - - - -

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24 PAN MAGAZINE -W S- -g7 FINGER "UW C :TRILL F-KEY

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Eddie McGuire .- . .p--. . . . -. . .- p J E- .- - -p . . .. -

scare people off? I have moved away from mini- malism now, delving instead into the idiomatic potential of instru- ments. Expressing emotions and dramatic scenarios is more impor- tant for me now.

You have written music in many different genres, for a huge variety of forces, from solo to ballet to chil- dren's operas with follr ensemble. Have you always been dra\\ln towards variety? IVell, every piece I write has to justify its existence. I.don't write a piece and abandon it! They are like my children, all different, and if e some of them require a little atten- tion along the way, I will revise or .\lcCtcire (left)views h-nditioi~nl.folkmttsic crs U coiitttton langltage ~nrl1teritcrge.for tlte rework them to help them along. Ally entire h~mntctnrace. Here, he is shown playing with Ro~ttrtnianfolk ~ttttsicians. flute Sonatina for instance was knotwork also appears in Chinese \\Testern Light, Riverside and written in 1966 and revised in 1978. and Arabic culture, there is great Nlistral. Are you inspired by nature? scope for ethnic influence in these Yes, definitely! Nature has its own The Sonatina is quite a jazzy pieces. Celtic ICnotworlc originated forms, and is all about growth, piece. TVho in particular were your as a recorder trio. The Scottish flute decay, rest and regeneration or jazz influences? quartet Aye Flutin (the ladies of the rebirth. I tend to use these ideas a One of my inspirations when I Scottish Symphony Orchestra) lot when I'm writing. Musical ideas started composing was the enjoy- broadcast it on Radio Scotland, and often dictate form, rather than ment of listening to chords that inspired me to continue the using set forms to structure the including the major seventh. I used series. It has been recorded musical ideas. Prelude 3, for to play sequences of rich and spicy recently by the Scottish Flute Trio. example, which is improvisatory in chords for hours. The harmony you character, grew from the harmonic find in the piano accompaniment of What is yottr inspiration? How idea at the beginning, the Sonatina is full of sevenths and does the muse work for you? diminished sevenths and ninths. I have many different inspirations. You once told me you didn't like These lay behind my attraction to The violin concerto I have just writing for electronic instruments, jazz style; it wasn't really an inspi- completed was inspired by the but Euphoria seems to be an instru- ration from jazz. I more or less expressive power of the violin itself. mental enactment of electronic discovered the thrill of these chords In other instances I have stated my music. Can you comment? sitting at the piano, and then found political and moral ideals in musical Euphoria is probably the closest I've that jazz players also used them. pieces. \Vorlrs like Liberation, got to minimalism - something I Martyr and Rebirth signified the saw as a very refreshing influence in Do you practise the flute, and if revolutionary ideas of the late the late 1970s. I was inspired by so, do you have a set routine? 1960s, while Euphoria, scored for Steve Reich, and his Music for 18 hiIy flute playing is now confined to flute, clarinet, violin, cello, piano Musicians. I-Iis compositions were a busy schedule of performing with and percussion, was written at a optimistic and went back to tonality my folk group, the Whistlebinlries. time when there were great worries in a fresh way. Me used snippets of Playing classical music or my own about nuclear war between Russia American jazz and folk music. I music is confined to pleasure and I and the USA. I wrote a piece which used snippets of the melodic inter- do regularly play in a flute duet went against that tide, and tried to vals in Celtic folk music. These purely for fun. I wrote Three Flute reaffirm an optimism about the were the building blocks of my Duets to play in these sessions. I future. So, some of my pieces are minimalism at that time. think it is the true essence of inspired by ideas and philosophy or chamber music to write music for politics, and others by the very Euphoria and Rebirth are very your own amusement. sound of the instrument. :ipproachable, and Peter Pan (although based on a tone row) is Your music is not widely avail- Many of your pieces have titles incredibly lyrical, but do you think able, except from the Scottish with a natural theme, such as that minimalism often tends to Music Information Centre. \Vhy Eddie McGuire I can't we get hold of it? You have written quite a bit for performed Cameron's Lament in a I am indebted to the Scottish Music the flute and guitar. Why is that? pub in Nova Scotia at the Boxwood Information Centre, which has The guitar was my first instrument. course. I understand that you have looked after my music on their I still have the guitar that my set this poem to music with flute shelves for nearly three decades mother bought me for $3. obbligato. now. The reason why the major Combining my o~vninstrument, the The John Currie Singers premiered publishers are perhaps not inter- flute, with the guitar was a natural this in 1997 - and it does carry the l ested in me at the moment is that I course to follow, especially since I title Cameron's Lament. Rod have written too much music; too have met guitarists who have Cameron wrote the poem in many premieres have passed for become close friends, like Anne memory of his mother. Perhaps this them to have a financial interest. Chaurand, Phillip Thorne and is the first time a flautist has set the Recently, I have been seeking out Richard Hand. words of a flute maker to music! keen specialist publishers dedicated to one instrument. Can you tell me more about The Scottish Infomtion Centre is 1 For example, the guitar your music for the Chinese flute? a rejkrence library, but z~npub- Pi publisher I am working with will I believe that our folk group was the lished orchestral/choral sets are concentrate on my guitar music; first Scottish traditional ensemble also available for hire, ancl i IVarwick Music has published my to visit China. We had an exchange cltamber/instrumental scores and horn, trombone and my trumpet with a traditional Chinese folk parts can be purchased. The Centre music. Recently, a double bass group who came to Scotland in can usz~ally supply published publisher has taken up my double 1991. I then arranged some of the works too, although tlaese need to bass music. The flute world is Chinese dances I'd learned for flute be ordered from the publishers. showing an interest through Faber's (or dizi, bamboo flute) and harp. Scottislz Infornzatio7a Centre, publishing of Caprice. The BBCSSO performed my orches- 1 Bowmont Gardens, Glasgow G12 The problem comes with large tral version on their China tour last 9LR, tel: 0141 334 6393. jk: 0141 scale works. Peter Pan has had more November. 337 11 61, email: [email protected], than 100 performances without a In China, we finished every website: www.smic.or~.uk publisher being involved, even concert by joining forces with a The Scottish Flzcte Trio will l though the orchestral score consists local folk group. Meeting and play Western Light at Leamington F of about 400 A3 pages of pencil rehearsing with them was a fasci- Spa on 14th July. See page 15. manuscript! I need a major nating process, and I learned all publisher to take on such a work about the bamboo flute. It is a and promote it around the world. fascinating instrument. Its nasal I Flute works on CD Peter Pan is a three-act ballet, and buzz is created by a thin Calgacus: BBC Scottish Symphony the flute symbolises the wild spirit of membrane of bamboo that covers Orchestra conducted by Taltuo Peter Pan. Peter at one point mimes an extra hole. Y~iasa,on the double CD set, on his panpipes to a flute solo from Scotland's Music (Linn CIU) 008). the orchestra. Perhaps I should Rod Cameron, a maker of Improvisations on Calderon: publish that flute solo separately! wooden flutes and baroque flutes, Rosemary Lock (flute), Anne Chaurand (guitar), on Anne Chaurand, Celtia (Eclectic ECL CD 9613). Songs of New Beginnings: Liilda Ormison (mezzo-soprano) and Paragon Ensemble, conducted by David Davies, on Paragon Premieres Vol 2 (Continuum CCD 1032). The Gaelic Flute: Chris Norman, on I-Iighlands (Dor'90250). Prelude 3 and Caprice: Sarah Brooke, on The Kestrel Paced Round the Sun fBML 032). Celtic Ihotworli: The Scottish Flute Trio, Metier label (MSV CD 92041). See page 44 jbr review. I Maguire's folk arrangements for flute can also be heard on \Vhistlebinkies Timber Timbre (CD Tras159) and A Wanton Fling (CD Tras095). JlcG~tireperfortfling with Chinese truditionul ttatsicinns it1 Gttrtngahott, 1991. BRANNEN BROTHERS Ill1 BRITISH RESERVE Flu temakeders, Inc. 4,111 I nsurance Specialist insurer of musical instruments The most innovative flutes Competitive premiums to suit all music-makers: I i' and head joints in ,- Arnateurslprofessionals f '--. the world. , World renowned virtuosi C..% $.*L 13' ', fit.?: Orchestras \ ,P ,> .$ Young musicians '-% Quotes - direct from us on 0870 2400 303 (stating ref: PAN) K'\ b. . . . or from your usual dealer .c"- 4 British Reserve Insurance Co. Ltd. %*.+ Cornhill House, 6 Vale Avenue 58 DRAGON COURT Tunbridge Wells, KentTN1 1EH WOBURN, MA 01801-1014 Fax: 0870 1600 304 78 1-935-9522 E-mail: [email protected] Website: www.britishreserve.co.uk * 0" L Brlt~shReserve 1s part of the Cornh~llgroup X I

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-- m--- -.-,= - - .-.-"~ -m-n--- -P'- &. & -. - -- -,- '- -. -- - -. Bach, J.S. Fl~cteJ//rl.sic II Schubert Partita for Flute solo, A minor BWV 1013 Pre-Classic Variations on ,,Trockne Blumen" e minor HN 457 7,00 DM HN 369 45,OO DM op. post. 160 D 802 Flute sonatas, volume I (The four authentic HN 474 19,OO DM sonatas with Violoncello part) 1-1 anclel HN 269 30,OO DM Vivaldi Flute sonatas volume 11 (3 Sonatas ascribed I to J. S. Bach, with Violoncello part) (with FluteIBasso Continuo part (two copies)) Concerto for Flautino (RecorderIFlute) and HN 328 26,OO DM HN 483 44,OO DM Orchestra C major op. 44, 11 RV 443 Flute sonatas, volume II ([Hallenser-Sona- reduction) tasl, three sonatas attributed to Hlndel, with HN 689 16,OO DM Reetl~oven FluteIBasso Continuo part (two copies)) Serenade for Piano and Flute (Violin) op. 41 HN 638 24,OO DM HN 301 20,OO DM Mozart Debuss\- Andante for Flute and Orchestra C major G. HenleVerlag Syrinx [La flOte de Pan] (for flute solo) KV 315 (P~anoreduct~on) HN 496 7,00 DM HN 675 10,OO DM Concerto for Flute and Orchestra D major KV 314 (Plan0 reduct~on) F/nt e Il4u sic I HN 674 22,OO DM !b Concerto for Flute and Orchestra G major Baroque KV 313 (P~anoreduct~on) Visit our newly designed HN 368 42,OO DM HN 673 22,OO DM website: www.henle.com The toppleless top F# key Various flute makers have experimented with mechanisms to improve the tone and stability of top F#. The Simmons F# key succeeds with a mechanical simplicity that also retains the open-holed player's sense of contact with the sound.

or some time now I have felt we decided that the best solution BY that it must be possible to would be to have a type of 'octave Andrew Lane improve upon the existing Itey': a new tone-hole, opened with FF# mechanisms (such as the an additional lever, operated by Brossa F# and 'Split-F#') previously leaning on the touch piece with the advocated for facilitating top F# on D finger, while fingering as for F# in the flute. So, over the past few years, the lower two octaves. This is the \Villy Simmons and I have been Simmons F# Key. developing a new mechanism for this note, particularly with regard to the open-hole flute, although our solution is equally effective on the covered-hole instrument. The reason that top F# is so unstable, and has a relatively harsh tone, is that there is an inherent 'flaw' in the note's fingering. Whereas the surrounding notes - Eb, E (using an E-mechanism or an The specifics open-G# flute), F and G - all have In our explorations, we considered l d just one hole uncovered in the left various sizes and positions for both Y hand, F# has two holes uncovered the tone-hole and the lever. \Ve (due to the 'A' finger being raised), finally opted for the following set- /1 resulting in excessive venting. To up, as it was the only one that l correct this, it is necessary to play produced the desired tone and pitch the top F# with a faster airspeed for the note, and could also be than that required for the adjacent comfortably fingered in every notes. (This is usually achieved by conventional, moderately paced I directing the airstream lower, context. The tone hole is positioned and/or blowing harder.) at the back of the flute, next to the Various respected flute-,makers thumb hole, the same distance have experimented with this top F# down the tube as the B hole (ie. the problem and made significant hole under the functioning Bb Itey), i! in~provements.However, as far as I and it is the same size as this (see am aware, none of the existing Figure 1). This gives it the same Aadrm Lnne has bee// Pritlripnl Piccolo plqvr systems function on an open-hole pitch as the existing B hole, which it with /hp Ciy qfl3innirgha111 Symphoi~~Orrh~.stra flute without mechanicdly sealing duplicates, and the tone quality sit1r.p 1978. some inspirit~gIesso~~s with At~rahBtu Tooitt~hp stt~diedat the Royal off the hole in the 11 lrey itself expected of a note in that region of Acad~n~yofA.lr~sic wih Derek Hormet: HPthe)/ (otherwise sealed with the finger the flute. joit~edthe orrhc.ctra of D'Oyb Cartp Opern CO, tip). This reduces the sense of phys- To be acceptable, the sound of u~~dsp~iltn spasorr with illa.~Jafn's nrche.ct~ait/ .Tmrboolar/g/l. Awdrm rms piccoIo work.chop.r, ical contact with the flute's sound, the note needs to come close to the conches it~divihalsnndgro~tps om/lr/t~ ~nd which is particularly enjoyable player's accuston~ed expectation, piccolo r~nrlplajsrhatt~bcr tnusic HPcat1 wttn/o* when playing an open-hole flute. and also to how it would sound plq nt least fottr ~IIIIPS oil his (~ccorh~. Having examined various options, ideally: it therefore needs to be vented as similarly as possible to the 'good' notes nearby. When playing this note using the new key, the flute is being vented from behind (like top G), rather than from on top of the flute tube (like top F). This is audible (and seems to be accept- able) to the player, but it is not relevant to the listener, who hears lots of notes vented in various ways during the course of a piece, and is not concerned with the mechanics. The pitch difference resulting from having only one hole venting (rather than two, in the standard fingering) is barely discernible, prob- ably because the note is no longer 'wild'. The touch piece of the new Figttre 1. The tone hole is positionerl at the back of thejltcte, next to the thttn~Bhole, the lever is placed in the gap between same distance down the htbe as the B hole (ie. the hole uncler thefitnctioning Bb key). the D key, the 2nd trill key, and the rods, close to the back of the D key (see Figure 2). It is smaller than a trill key, and comes to rest a little higher than the D key when both are used together, since when playing top F# with this new key, the same finger simultaneously closes the D key (as when fingering low F#), and leans on the touch piece. Its exact position and prominence can be J' . customised slightly, to the player's r taste and hand position, if desired. D ! Using this mechanism, the note is now comparable in tone, stability and pitch to all the adjacent notes - top Eb, E (using an E-mechanism I or an open-G# flute), F, G and perhaps also G# (using either the standard flatter fingering, or a prop- Figttre 2. The totcch piece of the new leoel- is pluce(1 in the grtp between the D kev. the 2nd trill key, ancl the rods, close to the back of the D key. erly adjusted 'high-G# facilitator7). This means that more or less the same speed, direction and quantity of air can be used on all these notes, and the articulation and general response match much more closely. When using the new key, it is no longer necessary to keep the Bb thumb key open when playing a top F#. Having to use the D key to close the actual F# key does not appear to be a disadvantage, as it helps to maintain the flute's general facility of fingering, and the top F#'s tonal links with the two lower F#s. Incidentally, the note can still be fingered conven- tionally, as often as desired. Refinements This mechanism has been added to 1 Figure 4. When the new fingering is employed, the thzcmb hole is closed and the new a conventional flute, and is linked hole is open. using three bars along the flute, .p - p - - . - - - .- p- - - -. p p pp 1 -. - p. The Simmons F# Key

THE SIMMONS F# KEY The most useful TOUCHPIECE top F# fingerings This is a list of the best alternative fingerings, which will help you play the note until you have a toppleless top F# ltey! +NEW KEY & TONE HOLE 1) 'Standard fingering', ie. closing Figure 3. The Sinttttons F# key. The clesign cotclcl be ititprovecl if the new key was the B natural thumb ltey, and the C incorporatecl clttring titctntcfrtchtre, probably using four double-bctllecl pillars, ccttacherl and G keys in the left hand (1st and to the in-line rocl to inaintain Ieverrcjie efficiency, with an ttnclerslttng E-tnechanisiit. 3rd fingers), and closing the D key while opening the Eb lrey in the fixed to four double-balled pillars, an underslung E-mechanism (see right hand. with the B natural thumb key bent, sltetch: Figure 3). Since the tone- 2) Fingering as above, but closing shaped, and its spring shortened. It hole is situated under the thumb the E lrey instead of the D key: doesn't look as cumbersome as it levers, they need to be positioned a more stable, but flatter. sounds! - thanks to the slrill of little higher off the body of the flute Willy Simmons. The design could be than usual, to accomn~odatethe full 3) As fingering no. 2, but closing the low C# ltey instead of opening the improved if the new key was incor- venting of the hole, because when Eb lrey: good resonance, and more porated during the malring of the the new fingering is employed, the stable, but still a bit flat. (This is flute, probably using the same type thumb hole is closed and the new rather an awkward fingering in of pillars, attached to the in-line rod hole is open (see Figure 4). some contexts.) to maintain leverage efficiency, with At present, the mechanism is on 4) Using any of the above fingerings a silver plated, (on an open hole flute), while \\:illiam Tell Oterture R.u\ilnl reasonable closing only the ring of the D or E Allegro quality, open- key: has each of the previously 10 -~ .... hole flute, with stated characteristics, but is also ..... l c- , P off-set G keys, E- slightly brighter and less resistant. .-. 'i D R. . 2 a -L: - 2 mechanism and -. .+:-:.!:~.,~.->,.-g-,I;-,; , . j , 5) Standard fingering (no. l), but <-...... C / ...p-- , ...... low B. I hope to without opening the Eb key, and /R / ,'-. D r - .- * R have a refined preferably closing the E key as well: ...... -. -. :. .. ii.:I-. . i .- .... - L .L -... --I version built into very free, but very sharp. m .- my next flute, 6) More adventurously: left hand as r..c--.. -...... : .. whenever that ...-...... - . usual, but stretching across with the may be! right hand 1st finger to close the hfolher (;," :Adnpia --F.of learning the top F#. I have not yet tested it in an slightly ' new -. . T~Y~..'~ - orchestra, as this particular flute is .. . I P _ fingering. On not one that I use professionally. .- .- .. -.., -- C...~..... -' D. testing it myself, ....-. .. . L-... '--.::-~~*.- ....--.. :.. I , i~-.: ...... - ~~ .... ., .. with orchedtral If anyone is interested in devel- -.. i- ..i extracts oping this mechanism further, or * * + - ,,-~----;_ ~- .. . ., ., ...... -, ...... ::-l involving as would perhaps like to incorporate PP many different the present version on another fingering contexts flute, I would be happy to show The excerpts used to test the Simmons F# key (continuecl as I can think of, them the existing flute, and look overleaj 3'0~1can enlarge them m a photocopier for practice I find it reliably forward to seeing any enhanced purposes). It seems to be easy to use in all of them. In Rigoletto, and Tales front the Vienna \Voods, the key would probably be and pleasingly versions that result. These could be used only m some of the longer top F#s. These excerpts are enables the play- of benefit to all who seek improve- also usefill for pmctising the stanclardfingering. ing of a toppleless ment in the design of the flute! The Simmons F# Key

Tristan & l.wldc Prelude \Vspr.rr Symnphonj No. 6 (. = I321 vior;

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34 PAN MAGAZINE A mechanical flautist I' l Vaucansonfailed to achieve his real goal of creating afullyfunctioning human being. But l ~ his Flute Player, which really did blow air into the flute through its lips, and produce the k tune with its fingers on the keys, came close enough to cause a sensation in 1730s Paris!

I i aris in the 1730s, with its lips and produce the tune with its wrote in 1740 in his Discours in fascination for gadgets and fingers on the keys! It also gained Verse on the Nature of Man: novelty, was a good place Vaucanson social standing in the 'Bold Vcczicanson, rival oj' Promethetis, i for the mechanically fashionable Parisian salons, where P Seemed, by imitating the cogwheels of minded to make their fortunes. the flute was much prized as a nature, \Vith his mechanical Flute Player, virtuoso instrument, thanks to To takefire.fiom the skies to breath life Jacques de Vaucanson (1709-82) into bodies.' combined elegance, ingenuity and Here we may celebrate a marvel, utility. Elegance, as he copied its Rightly said to have no parallel: Voltaire saw that Vaucanson7s life-size body from the classical By which I mean the Flute Player Flute Player was more than clever 1 Whose admirable harmony figure of the Faune de Coysevox in Reveals the deepest genius mechanics or amusement for the Tuileries Gardens. Ingenuity, as Of its rare and sublime Author, princes: it was the embodiment of he reproduced the embouchure, In whom our France takes pride. the Enlightenment idea of l'homme- breathing and finger movements of Froin Syrinx, by Denesle (1739), machine - man as an intelligent a live flautist. Utility, for through it dedicated to flautists Nauclot, machine. he achieved recognition from the Blavet and Lticas. Royal Academy of Sciences as a David Lasockib Account of the technician with a thorough lmowl- flautists such as I-Iotteterre, blechanism of an Automaton or edge of mechanics, which could be Buffardin and Blavet - the latter's Image Playing on the German-Flute I applied to new industries. Rossignol being one of the tunes (pzrblished in 1979 by Fritz Knt~fi 11 Over 5000 Parisians marvelled at that the Flute Player 'performed'. reprints a contenzporary trans- I the exhibition of the Flute Player in It is not surprising that in 1739 lation of Vaucansonk memoire to I 1738. Vaucanson had not just the future Frederick I1 ('The Great') the Royal Academy of Sciences in hidden a mechanical organ in the of Prussia tried to entice Vaucanson April 1738, in which Ize explained pedestal of his statue: the figure to his court, where his Flute Player how he studied the technique of

really did blow into the flute with its might have amused Quantz and flute playing and reproduced it I Bach. But the astute and influential mechanicallv. I Cardinal Fleury saw that the BY French national interest would be Sirnon best served by keeping him in France as Inspector of Silk O'Sullivan Manufactures. His Flute Player having served its : purpose, Vaucanson sold it for show around Europe to a travelling entertainer, who pawned it in \\P Nuremberg, before it passed 1 through the hands of German collectors, finally disappearing into an unknown attic in Berlin in 1810. Vaucanson himself went on to achieve wealth and fame as the engineer of the French silk industry - but his artifical man eludes inventors to this day. Y / The Flute Player remains a legend among so-called 'musical Sinron O'Std/ie,{zrt, R Frettch gradriate, This illtcstvntion of Vnzccanson:r Fhtte I is married to an atttntet~~/a~~tistin thp androids', immortalised by the Player is reproclucedji-om the 1738 Lighr Nute Or(:hestra. French philosopher Voltaire, who Exhibition Prospechts.

PAN MAGAZINE 35 Zimmermann's prices in the for the Grade 1 student to transcribed, but there is no review section appear in practise. The simple style of indication of what it was deutschmarlts. This is because detached crotchets throughout transcribed from, or who music from Zimmermann is is very effective with the transcribed it. Wherever it bought directly from them by harmony of the piano and the came from, this is pleasant and music shops in the UK. The pupils who tried this enjoyed technically challenging music. prices are then converted into learning it. Robert Biiio sterling at the current At only one and a half - exchange rate and then an minutes long it is not too taxing Flute and piano amount (say, 10%) is added for and provides subtle practice for biojciech Iaar postage and the shop's handling the awkward jump across the Love Theme fro111 Dracula fee. This is why copies of their brealc into the middle register P\VM Edition music can vary in price as the and also for obtaining a good $3.20 exchange rate fluctuates. clear sound on the short notes. A lovely little piece, although on the expensive side. Jackie Cox

Richard Kershaw Lets Dance: Five Latin-American dances Pan Edl~cationalhlusic PEM44 $5.95 These agreeable and simple pieces will liven lesson times for many young players. Flute and Someone of Grade 4 standard should be able to handle most of these pieces without piano difficult\.. Sonatine A~nCricaine Robert ~igio .JindFich Feld , . Npl~onseLeduc AL29282 Sonatina No 3 in G minor I his is :I 1,le:rs:lnt little piece, $36.10 D408 (Op 137) which \\~ouldI,c playable 1,y a Jindfich Feld (born in 1925) Schubert (Trans. Robert flautist \v110 had been learning has already contributed major Stallman) for a year or two, but it is only worlcs to the tlute repertoire International Music Company a trifle and it is quite difficult with his Concerto of 1954 and 98.95 to know at whom it is aimed. Sonata of 1957. If you are Some violin music worlrs very Theme tunes from films usually familiar with these two worlts well on flute but a lot of it does appeal to school children, but you will find the style of this not. This is the third of three this is an adult film and older new Sonatine very different. It Sonatinas composed in 1816 b) players would, in my is much more 'modern' in style, the 19-year-old Schubert and, experience, be less interested. while remaining in a firmly lyrical and charming though it Ilowever, no music by such a tonal sound-world, with more is, the writing does not sit major composer can be wholl?r emphasis on rhythm than terribly comfortably on the ignored, and it could be used as lyricism than in the earlier flute. It is predominantly in the a short encore or filler. worlcs - indeed, the piano part low and middle registers and Brencln Dykes is quite percussive at times. would present no technical There are four movements in problems to an intermediate Vivaldi Concerto in G (from the conventional fast-slow- standard player. Some of the RV 312) scherzo-fast layout and the semi-quaver passage work in Enquiries to .Jean Cassignol, total duration is around 13 the first movement is rather BP A0 F-95472 Survilliers minutes. The \vorlc places clun~syand is better managed Cedex (France) technical demands on both in Susan Milan's edition Jean Cassignol, a high-school flautist and pianist but (Boosey & IIawlces). teacher and recorder player, everything in the flute part The second movement has reconstructed the concerto works effectively. Andante works best and would for recorder or tlute from the This is certainly music of stand alone as a programme violin concerto, which appears high quality from a very filler. All three of the Opus 137 to have been originally experienced and respected Sonatinas were originally intended for flautino. The piano composer. There are no notes transcribecl by the German reduction is by Anne to explain the baclcground to flautist JH\V Barge (the Napolitano-Dardenne. This the Sonatine Am6ricaine1s title, dedicatee of Reineclte's Undine version was first performed in the reason for its composition Sonata) in 1904 but no 1999 and last year it received or its dedicatees (Lana Johns mention is made of this in the 25 performances, so it has and Joel I-Iarrison). Being a new edition. Susan Milan's obviously attracted some Leduc publication, the work is edition of the Barge interest. Score and parts are presented in very high quality transcriptions is better value at available in G (which I have), F traditional style but, as with f. 6.99 for all three in one and Bb, depending on whether French publications in general, volume. you wish to play it on flute, at 336 it is an expensive piece ICazneth Bell piccolo, sopranino, descant or to add to your library. treble recorder. Kenneth Bell Gabriel PiernC Vivaldi has been accused of Nocturne en forme de vdse writing the same concerto 200 Jean Sichler Op 40 no 2 times and certainly, at some FlQte en T&te .J Hamelle & Cie point, they all sound as if an Alphonse Leduc W29278 $12.90 Nberti bass has broken $8.10 This score includes a brief through to the surface. This Written with the young pupil in biography of the composer and concerto also has some of this mind, this is an excellent piece a note that this work is but, like the others, it still HINDHEAD "ummer. ,. Music rou"es -301 &

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HindheadL L... Road, Hindhead. Surrey. GU26 6BA ,4941 Fax 01428 607871 1 ihead music:cent1 contrives to be fun to play and Danlnation Piccolo and piano items on the list above, are hear. Universal Edition UE 31 546 Pascal Proust carefi~llyexplored to give one a If 1 were to perform this, I 84.75 Les Quatre Eltments true awareness of what is would prepare my own copy to This delightful tune worlts well Editions Combre C06129 taking place when playing one's facilitate turns. The first in this arrangement for flute $11.60 flute. Copious technical and movement and the Larghetto and piano. Approximately The title gives the game away! physical exercises (physical hoth have a couple of lines with Grade 311 standard, it provides This piece is, not surprisingly, fitness is not a prerequisite for a second stave attached with an a good opportunity to develop . in four movements, entitled success here!) are designed to 'ossia' version but in the last musicianship slcills. Written in water, earth, fire and air. It enable the awareness to he movement this happens most 3/8, it has all the problems exploits all possible colours, physical as well as intellectual, of the time with three staves associated with this time range and dynamics and was resulting in 'Icnowing' oneself and occasionally with five! signature, plus a good dynamic written for the end of year and one's instrument Dennis Clarlce contrast and a wide range of examination of the Paris intimately. notes - right down to low B if Conservatoire, June 2000. The The approach is influenced Flute (or recorder) and your student has one! Agood first movement wanders in a by the worlc of Dr Mosh6 continuo bass piece for all age groups, and watery way, in semiquavers Feldenlrrais, \vhich encourages Clarke, Cautier, Fede ' nice to play at any standard. over a simple, chordal, crotchet self-analysis through an La Fllite Eulcienne Jackie Cox base; it is slow and molto awareness of one's own Alphonse Leduc AL29214 - legato. Earth is a firey piece habitual movements, down to $13.40 Flute and Piano with CD with strong interjections from the tiniest and seemingly most Ned Bennett the piano and cadenza-like insignificant of n~uscular Jazz Club figures from the piccolo. Fire actions. In many ways, it is IMP 7530A relies on unexpected rhythnis similar to the Alexander 812.99 to create its effect; and finally Technique, and the benefits Air is a peaceful movement, accrued would be much the mainly piano, with crescendi same. Ilowever, the application creating the potential for of the method to the smallest airiness of more than one sort. detail of flute technique has <-.. , -,. The music lasts six minutes, is opened up a whole new realm I. CL~RKL an excellent exploration of the of possibilities for my own development. l'. GAUTIEKdu MAKWLL~ capabilities of the instrument and one of the best pieces for Some map find the whole I. Frnr piccolo I have seen for some approach clinical and time. uninspiring, preferring a more Patricia Mom's concevtual approach. However, while ;here is an important role Piccolo and piano for such methods in technical Rayrnond Guiot and musical development, I am Onwatto led to believe that the majority This book contains Three Editions Henry LemoineRTMP of us think and learn most Suites in the English Style, Guiot, a flute teacher and easily in a concrete and not a almost all of which have not player, is also a jazz pianist for conceptual way; therefore, the been published before. The pleasure, and it shows. This is value of this particular method original album contained 17 .J:~zj!compilationh at this IcvCl cannot, I believe, be overstated. can sometin~cscontain an interesting short piece in compositions for recorder, ternary form. The outside parts In my own experience, an probably collected by unsuccessf~~larrangements or intellectual and physical be too rhythmically complex are at a faster tempo, and Innocenzo Fede, Choirmaster consist of written eight-bar understanding of how to to James 11, whose Sonata di for the novice flautist, but Jazz produce a particular musical or Club has struck an appropriate extemporisations for piccolo Camera appears at the end of over a keyboard choral base. tonal effect gives one's this volume. The first Suite is chord with these ten original The middle section, slower in creativity the freedom and by Jeremiah Clarlre, and compositions. Arranged in tempo, is 'blues' in feel, the flexibility to flow unhindered. consists of seven pieces, all in progressive order, pieces start This is top rate material: don't G minor. The second Suite at around Grade 1 standard, keyboard setting the mood with a traditional bass line. It covers miss it. contains five pieces, also in G with the most complex Joanna Tocld minor (except for the Gigue), manageable for a competent the whole range, is easy to and the Fede Suite has four Grade 2 player; new jazz listen to and ft~nto play. Patricia Mom's Flute Technique, Book 1 short pieces. Each one is concepts and rhythms are Susan Milan prefaced by a copy of the first introduced gradually. Master Classics Publishing Ltd. page of the manuscript held in Baclc~roundinformation on the (PO Box 386. Weybridge, the Bibliothhque Municipale of inspiration for each piece and Surrey KT13 SAG) Versailles. The recorder/flute tips for its interpretation are 89.50 part and continuo part are included, along with This is a very practical presented without editorial suggestions for further Educational approach to improving dynamics or ornamentation listening. 11s a collection it is Barbara Gisler-Haase technique by one of the world's added; the figured bass extremely appealing to both Fit for the Flute; Sound and leading flautists. Susan Milan is notations are editorial performers and audience, and Intonation a Professor at the Royal College suggestions. The parts are not has the added bonus of the Universal Edition 31 2923 of Music and an internationally without minor errors (eg. piano parts being available on 812.95 acclaimed performer. Flute Clarke's Plainte, bar 33, should CD. It would have been helpful In a few years' time, this new Technique is essentially a scale be B natural in the bass, and to have the flute and piano manual (which covers tone, book, but it is a must for every the Bourree surely needs an E recorded together as well; less dynamics, intervals, breath aspiring flute student. What natural to finish the trill, bar experienced players would no control and vibrato, among makes it so valuable? The 19). I-Iowever, they are quite doubt appreciate help with other things) will, in my . Practice Guide. At last, a attractive worlcs, playable by some of the more tricky opinion, be the staple diet of worlcboolc is available which players of grade 5 standard or entries. Nonetheless, it is the most advanced players. \%'hat, suggests a very sensible and above. best such publication for this you might ask, does it offer unfrightening method of Alison Uren level of player that I have seen over and above what is practising the necessaries, the and I will be asking my local currently available? The nuts finger-work. All of the scales Hector Berlioz arr Joseph shop to stoclc it! and bolts of how sound is and arpeggios are included: Diemaier Joanna Todd produced on the flute, and the major, both minors, diminished Sylphen-Tanz from Fausts physical factors affecting the 7ths, dominant 7ths and chromatic scales. You may obviate off-compass gaps, or quarter of the 18th century, himself talting it up), many choose whether to practise to son~etin~esmerely to add where he was a leading light in popular operatic works of the top B or top C. There are colour, markedly changes the musical circles and was time can be found in different articulations to learn, contour of phrases and the friendly with Johann Christian paraphrases, sets of variations and different rhythms for contour of the paragraphs in Bach and Carl Friedrich Abel. and other sorts of getting those tricky hits under which those phrases reside. These are lovely and quite arrangements for one or two control. This volume is highly \\%at I mean by this is that as challenging duets. flutes and piano. recommended. a sequence builds, phrase by Robert Bigio Many of these pieces, Ann Cl~erry phrase, towards a climactic although talting f~11ladvantage

~~~~~ pause, the final note, if it is the 3\70 Flutes of the advances in flute Gary Schoclier highest note in the sequence, Eugene \Valckiers ed. Henner technique, could hardly be 10 Etudes will no longer be so if one has Eppel called great music, and neither Theodore Presser Company had to swing down to it from Ciriqui&~i~eGrand Duo op 58 can this, but all of us who know $10.')5 the octave above. No 5 Fantaisie Pastorale Hongroise, I therefore feel that Zin~niermannZM 32800 Chanson d'Amour and Airs transposing many of the pieces $13.80 Valaques will recognise the down a whole-tone in key, to This edition is part of the Flote Doppler talent for obtaining the create a 'less shrill effect', is Romantisch Virtuos series, and maximum musical thrill with for Solo Nutc counter-productive, especially has interesting background the minimum perspiration from l when the lowest note or notes information concerning the the flautist. In a sense, it could Gary Schocker of a phrase have to be thrown l Romantic genre. The preface be said that this work, based on up an octave to do it. I gives more details about flute an unsuccessful opera by consequently prefer the duets in the Romantic era and Schubert (actually, all of Schindler arrangements in the also a brief biography of Schubert's operas were Breitltopf Bachstudien edition. Eugene IValckiers. unsuccessful) breathes new life This is mainly different music, The duet is in four into music that might never however, so the two editions movements, Allegro otherwise have been heard. are nonetheless complimentary. Appassionato, Andante, That's my story, and I'm In a piece lilte the stately Minuetto and Trio, and Finale sticking to it. Sarabande from B\W 1007, the Allegro, and both flute parts As always with Zimmermann

8 bald presentation of a melodic are printed separately. The editions, the music is clearly line with no hint or suggestion t...b<, ,.,~",,,*d,", music is printed with extra and thoughtfully laid out, . ... , , . .-. . -.. . of the double-stopping which 'turn out' pages to help edited and arranged with the These studies are a valuable underpins it seems seriously to eliminate the problem of greatest possible convenience addition to the repertoire. Like belittle the character of the awkward page turns, which I of the performers in mind, in the Boehm Caprices, they cover piece. found most beneficial. this case by Elisabeth Weinzierl every aspect of traditional Verdict: this edition makes Nowever, the score is printed and Edmund \Vachter. The technique and are great to play. accessible to us some neglected horizontally, making balancing overall pleasure is enriched by I shall certainly be using them gems of this repertoire, and is it on a music stand rather a detailed introduction by with my advanced students. therefore worthwhile, but gets tricky! \\'erner Richter. I can highly IIowever, although the less than full marks for the The technical demands of recommend this delightful work composer states that his presentation of the classic this duet are spread equally to performers of quite a bit inspiration came from the Liszt favourites. between the two players. My beyond Grade 8. and Chopin piano etudes and Richrd Stag grade 8 students enjoyed sight- Leslie Sheills that his 10 etudes are designed reading this piece, and good for performance, I think a grade 6 players would delight Two flutes concert audience would find in learning this charming duet. Gary Schoclcer them difficult listening. Yvonne Mcllwaine Dax~gerousDuets Brenda Dykes Tlieodore Presser Company Two or 3vo Flutes and Piano PR3061 Albert Franz Doppler $8.45 Concert Paraphrase op18 These three duets are inventive more flutes Zimnlennann ZM 33870 and quite exhilarating to play. Tnro flutes and piano $16.90 The first one is rhythmically Solo flute Franz Doppler, ed Andrils The second half of the 19th strong and reminds me very .IS Bach Adorjiin century, when this piece was much of Jean Franpaiv in style. 3vo Suites for Flute. after the Concert Paraphrase Op 18 written, could be argued to be The second movement is cello suites BWV 1007 and GCrard Billalldot G6199B a golden age of flute playing, flowing and legato, and it 1009 $12.70 with brilliant teachers, features the interval of the Barellreiter BA 8532 ilndrhs Adorjzin is preparing composers and virtuosi, such perfect 4th. It is mostly quiet, E5.00 useful editions of many of as Boehm, Furstenau (who but a large crescendo Joachim Linckelmann has Doppler's works for two flutes hew Weber), Drouet (who introduces a few louder, faster- arranged these two suites to lie and piano. This work, based on played in concerts with moving bars at the end of the con~fortablyfor the Boehm a forgotten Schubert opera, is Mendelssohn) and the brilliant middle section. Sometimes the flute, and to this end has virtuosic and much more Doppler brothers, changes from concordant adjusted keys and registers of difficult to play than the more revolutionising the way the passages to rows of discords the originals. Two basic popular work of Doppler's for instrument was played. Long sound rather uncomfortable. objections spring to mind. The the same instruments, the before the advent of recorded The third piece, lilte the first, is first is that Bach's originals Andante and Rondo. Let's be music, the only way to full of momentum. To be really deliberately exploit the honest: this music is truly silly, recreate the experience of a effective, the frequent violent awkward extremes of the cello's but enormous fun to play. favourite opera was not to buy dynamic contrasts need to be wide compass and the Robert Bigw the CD of the highlights, but to observed precisely. The duets hazardous string-crossing go out and buy the would suite two players of required to span them, in order Two flutes arrangement, by the about Grade 7 or 8 standard. to create an atmosphere of Johann Christian Fischer fashionable composer of the Brenda Dykes grandeur and virtuosity, and to Six Duets for 2 flutes day, for whatever instrument limit this aspect is to detract you and your friends played. nvo Flute.dFlute, Viola, Harp from the works' impact of Since the flute was enjoying a Gary Schoclter challenge and greatness. Fischer was a German-born level of popularity previously LovebirdsIGo to Sleep. The second is that the device oboist and composer who lived unknown (partially due to no Theodore Presser of switching octaves in order to in London for most of the last less than the Prince Regent PR 3060 E8.45JPR 3062 $7.65

PAN MAGAZINE 39 Tlieodore Presser Company the overall feeling is gentle and an unnecessary time signature mixed ability ensembles seems to have carved soporific - ancl its 70 or so in the three lower parts at the (grade 3+)with the more something of a niche for itself bars induce a feeling of calm end of the first section which advanced players on flutes one as a promotcr of flute music by and repose not unlilte a good doesn't change to 6/8 as and two. The echo-flutes are contemporary i\merican hypnotherapy session, but indicated. given an exercise in counting composers. Thcsc two items by without the bill at the end. Get hily flute quartet really and imitation throughout. the important coniposer and in touch with your inner child, enjoyed playing this witty piece. I feel that this would be performer Gary Schoclrer accompanied by two other . I felt this \vorlc was rather performed best in an area that continue an important and players of about Grade 6 expensive, although it's worth allows the flautists to spread fruitful path. standard. putting on your shopping list! out, and allow the echo effects The music owes more than a Leslie Sheills Yvonne Mcllwaine full reign. The lyrical melody little to 'light' musical - - requires patience and conventions, with familiar Four Flutes Four Flutes understanding between all harmonic progressions and Robert Baltsa Anton IVranitzliy ed. Niltoli~~~sparts in order to produce a melodic patterns, but interest is Conversation for Four Solo Delills harmonious air. added, in tlie case of the flute Flutes (1994) Ecl~o-SonateD-Dur fur 4 Yuonne Mcllwaine duet, Lovebirds, with some Con~posersLibrary Editions floten complex rhythms This worlt is CLE-45 Zi~nn~er~nannZM 33830 fairly extended, running to $20.85 S10.80 three movements, but the The four flautists seem to chat The preface has interesting material is developed with together, giving rise to this information regarding the admirable economy. The wonderfully appropriate title, history of this work. Its Flute and emotional temperature climbs Conversation. This piece is obscure beginnings might have during tlie course of the \vorlt, comprised of five continuous lead to its use by Viennese the movements being (in order) sections: Sprightly, Very flautists. This first printed other Allegro Moderato, Con Fuoco Gently, Pucltish, Quasi publication is for two flutes and Vivo. The whole is a sweet, Recitative, and Sprightly. Each and two echo-flutes. whimsical and satisfying piece reflects a different mood as the Echo-Sonate follows a instruments for two flute players, whatever 'conversation' develops. \\rhile predictable pattern with very Flute, violin and piano their personal relationship may the three lower players have few surprises for the players. Josef Sulc be. equally interesting partq, the The three movements, Bagatelle The combination of Flute, first flute is more taxing. Be Adagio, Menuetto and Trio, and Simroclc Viola and Harp is a marriage aware, tlie two outer Rondo Allegretto, are each 4.90 made in heaven, and it is a movements contain triple very different in character, \Vorlts for flute, violin and pleasure to see an addition to tonguing in all parts! with the Rondo modulating piano are always welcome for the repertoire - even a small The music is presented clearly, from major to minor, and pleasant evenings of chamber gem such as this. The title (Go with all parts easy to read and finishing in a major Allegro in music at home. This minor To Sleep) is not deceptive - worltable page turns. There is 6/8. This piece lends itself to treasure, by Dvoralt's son-in-

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for all your Woodwind, Brass, Keyboard, Master Classes, Performance Technique String and Percussion needs. Seminars, Flute Choirs and Quartets 18 Cheltenham Parade Harrogate HG1 IDB Individual Lessons avai/ab/efrom the course tutors. 01423 705770 law, is one that the publishers instrumentation was because there is always a (sometimes no more than four have done \\.ell to re-issue. widespread and popular during sneaking hope of getting a go or five notes at a time), almost Robert Bigio the Classical era, and this on the school drum Itit. along the same lines as the esample of it is a recent This simple universal truth famous orcliestral arrangement Flute. Viola and Ilaq, discovery by the editor. The has been exploited here in by Schoenberg of a Brahms Gal? Schoclcer score is preceded lya detailed these attractive arrangements piano quartet. This imposes Go to Sleep and well-researched preface by of Bach two-part inventions by the useful discipline of forcing See review ccbove (tinder Two Hog\vood ancl followed by a Lotllar Lan~mer.They are part young players to learn to play FIt(tes) precise annotation of all of a series called Flute and in a group, listening to each - doubtful points of Percussion, edited by Ruth other as well as playing, but Flute aild string qr~artet.Pimo interpretation and original Wentorf and Bernd Kremling, also tends to worlc against one ad lib. errata. An unmissable net\. published by Zimmermann. of tlic fundamental virtues of I laydn/Saloillon arrangement of a well-loved Other pieces in the series are the instrument, that of being Sy~nl>l~onyQuintetto 'Die Uhr', masterpiece. called \\'ohin? (ZM 33480), able to express long, singing 1Ioholteri 1:101 in D rnajor Richarcl Stcigg also arranged by Lothar phrases. Barellreiter Btl 4634 Lammer, and Four \'ivaltli IIowever, anything which $17.50 'I'wo Flutes, Vibraphone ancl Seasons, arranged bp ICrzysztof brings young musicians The ever-popular Cloclr Marimba (or four n~allets) Zgraja (ZbI 33410). together in the performance of Symphony is presented in a .IS Bach 'lrr Lothar La~nmer At first sight, this appears to music must be a good thing, new version by the noted Three In\.entions B\IrV 772, be a well considered concept, and the niusic of Bach is scholar and interpreter 777. 779 especially suited to younger indestructible. I am sure that Christopher IIogwood. This Zii~lii~en~~ar~nZkI 33790 players, and the music is tliese arrangements will version followed on from the S10.80 preceded by copious provide real fun, and possibly full orchestral version and was In early September, in schools introductions and performing something useful for the end of originally prepared by Haydn's all over the country, eager notes, including sufigestions for term concert. close musical ally and young people join queues in scale and arpeggio exercises to Leslie Sheills promoter, the orchestra leader front of equally eager r~iusic nlalte the music easier to h - . -. . JP Salomon. It forms a teachers in order to register for approach. There is a version Flute with Guitar significant enrichment of the instrumental lessons for the for mallet ensemble alone, and Cliristoph Maria \Iriigner repertoire for s~ilallchamber coming year. I am willing to bet options include gloclrenspiel, Zoo111 combinations, and does so with my Tesco discount vouchers xylophone, vibraphone and Zininlernlann ZkI 34000 f~~lltextual and historical that next September, the niarimba. ElN.50 authority. The score ancl parts bigest queues will be for flute This is where the only The partnership between flute are presented with essential lessons and percussion lessons. possible drawback occurs. The and guitar is a happy one. The niarltings only, all additional The reasons are clear: flute, wllole is arranged between the discreet voice of the guitar suggestions being indicated because of the sheer glamour four voices in such a way that allows the flute to explore all with dotted lines or brackets. attached to playing ottr each instrument has only corners of its own dynamic This type of reduced instrument; percussion, fragments of melody range, and it is truly liberating

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The most exciting Flute whiStles, handmadkin Festival in Europe! Festival Team includes Keith Bragg (Philharinonia); Karen Jones (RNCM); Jaime Martin (RPO); Prof Sandra Seefeld (USA); Prof Alexa Still (US@New Zealand) and otlzer special guests Playing opyortcinitiesfor all 111 Grovewood Road Albert Cooper Competition Asheville, NC 28804 All levels catered for A very special flute event - not to be missed! Further infortnation from: 828 254-1004 lsabel Jackson, Administratot: Sfrarford-lipon-Avon VOICE, FAX International Flute Festital, 10 Guild Street, Stratford-upon-Avon, Warwickshire CV37 9GB Tel: 01 789 261561 Fax: 01789 261577 E-nlail: [email protected] Charity Number: 1076629 to be able to play a true both instr~~mentalistsin order several variations and saxophone. The other lines pianissin10 and to be heard. to attempt this piece and culminating in a virtuosic final have parts for oboe, bassoon The harmonic ability of the much time will be needed to section that exudes a feeling and bass clarinet, as well as the guitar is offset by its lacli of get it rhythmically accurate. I of joie de vivre. This is a normal flutes, clarinets and proper sostenuto, an area in found many of the ideas splendid piece, which is saxophones. All four lines have which the flute excels. Above interesting, but ultimately I equally elljoyable for both solos and I recommend Big all, both are very portable, experienced the constant performer and listener. The Band Folli unreservedly. which means that getting to close discords as quite style is typical of the period, Brmcln Dykes the gig is easier. wearing on the ear. bringing to mind the music of It is, therefore, always a Brenda Dykes Ilummel and Mercadante in Piccolo and flute pleasure to welcome a new particular. At first I thought Vincent Persichetti worli to the flute and guitar Flute and guitar that the piano part was an Serenade No 9 repertoire, especially such a Beetlioven arr Andreas orchestral reduction, but I UMP Ellcan-Vogel IIIC substantial work as this one. GriinlFrank Micliael understand that it is an 84.80 Written between 1998 and 'hvo tiny Sonatinas original keyboard part and, These six duets were originally 1999, this work won the first Zimmermann ZM33960 apart from some rather thicli written for soprano and alto prize at the First Competition 27.30 repeated left hand chords, it is recorders. They are simple, for Composition and quite pianistic. It is an very short duets, lasting four Interpretation organised by the excellent addition to the and a half minutes in total. German Flute Society in 1999. chamber music repertoire. This is a little disappointing It is published as part of Ludw~gvan Beethoven Zwei kleine Sonatinen Brenda Dykes from Persichetti, who has Zimmermann's Chamber Music WOtiny Sonatinas written excellent solo pieces with Guitar series. Woodwind Ensemble for many instruments, The original conception of Arranged by Mark Goddard including the piccolo, under the \vorli was for solo flute and, Easiest Flexible Hymn the title of Parable. in this version with the guitar, Ensemble The range used is from the flute retains all the Spartan Press SP593 bottom D to middle A of the important material - hence 812.50 piccolo and would be useful for flute with guitar, not flute and These are excellent guitar. A version for flute and students to work at intonation, arrangements for a school or and at matching the cantabile piano is also available. church ensemble - ideal for The name refers to a liey sound with the flute. It is very inexperienced players to pleasant and useful material, passage in the middle of the elljoy playing well-linown work, and derives from the but not very exciting musically. tunes in a harmonised group. Pati-icia Mom's action of 'zooming out' on a The pieces included are: 1\11 camera, or perhaps a computer - - - - - things bright and beautiful, Two Flutes programme. Just as this tends These two sonatinas, which Now thanli we all our God, to compress all visual detail were originally for piano, have Onward Christian Soldiers, Edison Denisov Sonata for nvo Flutes until there is very little been transcribed quite Praise my Soul the IGng of variation between features, the beautifully for flute and guitar I-Ieaven, The Day thou gavest Mphonse Leduc AL29212 flute, playing softly and alone, to suit players of Grade 3-5 Lord has ended, There is a $21.10 zooms out until it is at last standard. As is stated in the green hill far away, and We Edison Denisov (1929-1996) is playing the melody only in preface, there is a lacli of music plough the fields and scatter. a 'representative of the microtones. from the Classical period which There are four parts and Contemporary Russian school'. Not only substantial and is written by the established each part can be played on This simple statement ambitious, but also challenging, composers, rather than by three different instruments indicates that this will be a the piece utilises fully all guitarists of the time, and these (transposed parts are provided difficult piece to learn! The contemporary performance sonatinas are a most welcome for all). So for exan~plethe top sonata, written in 1996, lasts techniques, including various addition to the repertoire. As part can be a flute, andor a B for 15 minutes and provides a types of voice accompaniment. with so many Zimmermann flat clarinet, andlor an E flat strong challenge to the This is a landmarli piece, publications, great care has alto saxophone. The bottom ensemble sltills of the players. deserving of attention from been taken with the layout, part can be a bassoon, andlor All three movements are duos dedicated to the folding pages that open out, a B flat tenor saxophone, complicated in both rhythmic performance of new music. etc, to make performance easy and/or an E flat baritone and technical content and Leslie Slzeills to manage without page turns. saxophone. A full score is require a very high standard of Brenda Dykes provided. ability and stamina on both Flute and clarinet Aliscm Uren lines. This is probably a Robert Martin Flute, violin and piano worthwhile piece for music Summer Quiescence Caspar I

INE by Richard Graf and Richard synthesized sound on the CD IVillem Pijper's Sonata, Thea Apparently spurning the o Filz. They are all within the gear it towards the young end hilusgrave7sdelicious challenges of dodecaphony, 0 bottom register, making it of the marliet. Putting the In~promptufor flute and oboe, arhythm, athematicism, post- c.3 possible for comparative cheese aside, kids would love Anne Boyd's Goldfish Through structural indeterminacy, 3 beginners to concentrate on it; the accompaniments are at Summer Rain and Justin rock-and-roll, electronics, the rhythm. iUthough the CD a swift tempo so would help Connolly's Remembering the crossover, to name only a few a is designed to be used by develop technical facility, and Butterfly. The works by Keal, -isms, he has adhered to a either flute or trumpet players, would therefore make an ideal Boyd and Connolly are new to Bartokian polyphony which all the performances are with gift for the Grade I player. NB. me, and I am very pleased to upholds a distinctive voice trumpet. Each dance has a There is no piano have heard them for the first without any suggestion of complete performance, accompaniment. time in such committed pastiche or imitation. followed by another Joanna Todcl performances by such IIis fellow composers here, performance consisting of the accomplished artists. Mark in their forays into polyphony, guitar, piano, bass and drums, Flute and Piano with CD Underwood is joined by Carol all rely more heavily on pedal hut without the solo Ned Bennett Wells and Justin Connolly, points or ostinati, even if their instrument. The only slight Jazz Club piano, Marcia Ferran, oboe and explorations of colour, texture criticism is that at no point is a See review in Flute ancl Piano Graeme Vinall, clarinet. This is and register extremes are note given for tuning. section a most interesting recording of more adventurous. Brencln Dylzes morlis that should be better The musicianship is first-

~ ~~ ~- known. (Available by mail class tliroughout. Peter Smash Hit. order - see ad.) Verhoyen copes as well on Playalong for Flute Robert Bigio piccolo and alto as he does on Wise Publications AM963039 C flute, and the string team Identities are all comparable artists. I i Guerl Spot.': '.. .. Contemporary Flemish didn't notice anything about ...... ' chamber n~usic the recording quality, so it SMASH HITS Ensen~bleArco Baleno (flute must be good. These works Pl;~y:ilong-l;~rFlute Reflections and string quartet) should rightly open up the Sparx (Joan Sparks, flute; Released by Rent5 Gdy choice of repertoire for flute ilnne Sullivan, harp) CD87 169 and strings in chamber-size Sparx 978795 groups. Recommended This disc is delightful: a listening. transcription for flute and harp Riclznrcl Stag of Rodrigo's Fantasia Para un Gentilhombre malies wonderful Crystal to Gold listening, as does the slow .lan Boland, flute and John movement of the Mozart flute Dowdall, guitar, with hp and harp concerto, a sonata by Roland, flute CPE Bach and an arrangement Fleur de So11 Classics of Satie's Gymnopt5dies. Joseph FDS 57932 Lauber's Four Medieval Dances I have long been a fan of Jan are new to me, as is Scott Boland's elegant musicianship, Lavender's Serenade No 2. The and it is here in evidence in 89.95 performances are excellent. every note she plays. She and These 10 songs have been This is a most enjoyable hour the excellent guitarist John chosen very carefully to appeal of music. Verhoyen, flute; Dirk Lievens, Dowdall have used a collection to the young player. They are Robert Bigio violin; blarleen Ydiers, violin; of instruments from the suitable for flautists of about IZaat De Cock, viola; Stefan bletropolitan Museum of Art. Grace 3 upwards and, because Piping Hot Cracynest, cello; Charice Jan Boland uses a flute by the pieces are all at slow or Marlr Underwood and friends Adriaansen, double bass. The Tulou to perform Tulou's moderate tempi, it should be Chromattica 0500 compositions are by Piet variations on a theme from relatively easy for even the Swerts, Roland Coryn, Lucien Rossini's La Cenerentola and most inexperienced performer Posman, Marc Matthys and an arrangement by Joseph to play with the backing tracks. Frits Celis. Kiiffner of themes from The CD contains complete Arco Baleno is a group of Meyerbeer's Le Prophkte. performances of all 10 songs, Flemish musicians who Tulou was perhaps the leading played with a clear sound specialise largely in works for flute player in France in his without too heavy a vibrato, the various combinations day. As professor at the Paris followed by the backing tracks covered by string quartet and on their own. Before these flute. On this CD, they begin, there are a number of incorporate a double bass. Six Piping Hot tuning notes given. I an1 sure Flemish composers from the Mark Underwood (flute) this book, with its second half of the 20th century accompanying CD, will be very are featured, all of them and friends popular. There are similar individual but, as a group, volumes for violin, clarinet and displaying a certain stylistic Diamonds saxophone. Mark Underwood, best known unity. That unity resides, if Harlequin Brendn Dylzes as a leading light in the anywhere, in the determination chamber group IHarlequin, has to maintain a polytonal idiom Each CD f 11.99 ilrr. Ed Wenninlr recorded a well chosen in which deliberate contrast . (both: £21.99) Golden Tunes For Flute selection of 20th century and clearly delineated rhythms including p&p in UK De Ilaslie 1002126 works. Albert Roussel's Joueurs hold the listener's attention. Cheques to 'Mark Perennial favourites such as de flilte and Copland's Duo, the There is no shrinking from underwood' Old h,lacdonald, Ode to Joy and two well-known works that complexity and dissonance l Enquiries: I-Iouse of the Rising Sun here begin and end this disc, are where needed; nor is there any tellfax: 01 322 287924 put in yet another appearance given good performances, but morbid fear of consonance or in the junior repertoire. ilt the of greater interest are the simplicity. The most impressive 1 Chromattica Recordings risli of being ageist, I would not lesser-known works: Don contribution is, for me, the 20 Summerhill Road, recommend Golden Tunes to Banks's Three Episodes for work by Frits Celis, a 70-year- Dartford, Kent DAl 2LP the over 12s; large print, pretty flute and piano, Minna IZeal's old who studied in Antwerp ChromatticaQ cs.com pictures and an incredibly Duettino for flute and clarinet, and Brussels after the war.

PAN MAGAZINE 43 Conservatoire, he fiercely church, and the first variation the three minutes in the title second of two Esquisses) and, resisted the introduction of the feels rather fast and breathless. was the actual length of the with the cello, Trois Aquarelles Boehm flute. Surely no-one but The virtuosic fifth variation piece. and Piece Romantique (here an old cynic like me would also feels breathless, with a Edward McGuire's Celtic recorded for the first time), all suggest that the fact that lie number of blemishes. I,,, ,:;,L, c, ?!d,,<5 Cknlands getting in the way of ru,hm,"m aKchlr ashnr daughter Amy in some Maydn much better balanced than musical demands. A CD to be duets played on a pair of many performances one has possessed on all counts. crystal flutes by the heard and it is generally an Dennis Clarke remarkable Parisian maker intelligent reading. The only Claude Laurent. These movement about which I have Diamonds beautiful instruments must reservations is the Presto. It is Harlequin have cost a sizeable fortune, taken so fast in the outside Chromattica recordings and they sound remarkably sections that some of the This first CD made by good, too. clarity is lost, and the middle Harlequin wind quintet is A cheap one-keyed boxwood section is then taken excellent, not least because it flute by the American makers considerably slower, instead of has three especially good Firth, & Pond is used for poco pii~mosso as indicated by Gaubert must surely be pieces for the ensemble. some arrangements of Stephen the composer. considered the great- Five Penny Pieces by Foster songs. This flute is not Overall, this is an enjoyable grandfather of modern flute Stephen Dodgson is a truly beautiful, but in the hands of CD and I look forward to players, passing on the imaginative piece, written in Jan Boland it sounds hearing more of these young tradition from Taffanel down 1995. Each movement is full of wonderful. performers. through Moyse, so it is good to character, with real musical It would have been easy for a Brenda Dykes have a whole CD of his music. intention, and shows Dodgson's recording like this to be There is, of course, a long tremendous flair for wind gimmicky, but the Feasibility Studies tradition of flute players writing. It is an exciting find performances are excellent and The Scottish Flute Trio, with writing for the instrument, and I-larlequin should be the music is a joy to listen to, 'IIm Williams, percussion though of very varied quality. congratulated for making the and that's surely all we want. Metier MSV CD92041 Baroque musicians usually first recording of this fine Robert Bigio A CD full of flute trios does not played several instruments and piece. at first glance seem thrilling. often occupied influential The Eight Russian Folk Schubert, Sancan, Prokofiev What flute trios can I think of musical posts, Quantz being a Songs by Liadov have been Atldrew Anson, flute that I have enjoyed listening prime example, and they arranged very successf~~llyby Alistair Lilley, piano to? What flute trios can I think composed a variety of music, Dodgson. They seem to be a Claudio CR 4942-2 of, full stop, apart from those which gave a broad cultural viable alternative to the of Kuhlau? (And does anyone base to their music, which was orchestral version, and form actually want to listen to generally competently written. another very good extension to Kuhlau trios, apart from the Of course we only know that the repertoire. people playing them?) which has survived; Quantz The third especially good Well, this CD proves there is complains about the number of work is Mississippi Five by Jim some serious, listenable music incompetent flute composers of Parker. Using New Orleans jazz for flute trio. The Scottish his time. In more recent times, idioms, this is an excellent Flute Trio (Laura Bailie, Janet through the Victorians and the group of well crafted pieces Larsson and Ruth Morlep) early 20th century, we still and makes superb use of the have recorded works they have have the music of many flute medium of wind quintet. They commissioned from Django players with a similar lack of do require familiarity with jazz Bates, Edward McCuire, ability, who have published style, and will be challenging, Gordon McPherson and Thea music of such meagre but great fun and well worth it. Musgrave. These are skilful competence that I am sure Mathias' Quintet Op 22 is performers who give much of it wouldn't have slightly dull, but a good enough Andrew Anson and illistair committed accounts of this passed the old 0-level exam. piece, and the Vinter, Two Lilley are very musical players music. However, Gaubert, who was Miniatures, which completes and their rapport is evident Thea Musgrave's a refined flute-player to his the CD, is pleasing and follry. throughout this CD. atmospheric Voices from the marrow, broadened his musical IIarlequin gives faithful The first piece, Schubert's Ancient World is a particularly horizons throughout his life as performances of all the music - Variations on Troclrne Blumen, impressive piece. Gordon a respected conductor and very spirited and full bodied. is in my opinion the least McPherson's Three Minute composer in various genres, They have an enviable successful of the works. In Philosophy (which lasts and he has left us some lovely unanimity of style and much of the quiet playing the thirteen minutes) uses three music. On this CD, we have homogeneity of sound, while flute is strangely muted, which flutes in an almost percussive three sonatas, the Madrigal preserving the individual is particularly odd, since the way. It has effective moments, (which must be known by most characteristics of the recording was made in a but I could not help wishing flute-players), Orientale (the instruments, and excellent

44 PAN MAGAZINE intonation and precision of on these discs, combining as presence, the sessions having born in 1697. Professor Reilly rhythm. Altogether a venl they do stimulating and taken place in one of Sweden's is at pains to point out that successful CD. (Available by mail original technical demands best concert halls rather than Quantz had an active and order; see ad, previous page.) with intelligent musicianship. in a studio. Even if you are not comprehensive musical life Patricin iMoi-ris A couple of the worlts into contemporary music in a before his employment by b . - A . . .. included (Tiensuu's Cadenza big way these discs are worth Fredericlt the Great (to whom Solo per Flauto and IVelin's Solo Per Flauto) getting for the terrific this book is dedicated), which Mats kltiller are to my ears almost pastiches performance of the Jolivet is how he is often SFZ Records 2001 (2CDs) of what people expect Cinq Incantations. remembercd. 11s a town This two-disc collection of 20th contemporary flute music to l(ennet11 Bell n~usician,among other things, century music for solo flute sound lilte, but there are some he was competent on several opens with three of the most rarities that I was glad to wind and string instrun~ents famous worlrs, which proved so discover, notably the Sonatas and in composition. There is a influential on future by Sven-Erilr Back and Ililding good biography in the long generations of composers - Rosenberg. introduction to the book and Debussp's Syrinx, \'ar&se's hlats Moller has a personal since you should have this Density 21.5 and Jolivet's Cinq connection with many of the book (in the future, if not Incantations. composers and worlts on these already), that's all I'm going to Then follow 18 works discs and so his performances say on that matter. composed between 1949 and carry a great deal of authority. 11s a student, I found this 2000, programmed in IIe is an extremely technically On Playing the Flute boolt interesting and valuable chronological order. T\vo works assured player and possesses .M Quantz to my musical education in its involve second players - Stig the sort of precisely centred Faher and Faber original German in Bengtson on flute in kliklrjs sound and wide dynamic range R10.99 (paperhack) Westminster Music Library, h~laros'Cinguettio and essential for a collection of This is the translation, with despite my slight grasp of the Christina Sonstevold on bass picces such as this. copious notes, by Eciward language, as it is copiously tlute in Johannes Moller's Feng. Interestingly, not many of the Reilly which was first provided with examples in The composers represented wvorks included rely heavily on published in 1966 and then in musical notation - and great will be largely unfamiliar to special techniques and effects paperback in 1976. A second was my joy when the British players, the vast and so there is a real feeling of edition was published in 198.5 translation appeared. One majority of them being musical imagination and and this year's re-issue is might, at first acquaintance, Stvedish, but familiar pieces in exploration throughout rather prompted by a desire to find Quantz's style to he rather the programme are Berio's than the 'how on earth did he include the results of further pon~pous,and his language Sequenza, Brian Ferneyhoughk do that?' response so often scholarship into Quantz's worlr prolix, but he anticipates this Cassandra's Dream Song and provoked by contemporary and times. by specifically denying the Taliemitsu's Voice. These latter music recordings. In case anyone reading this latter charge. As to the former, two worlts are, for me, the best The recording quality is is unfamiliar with Quantz, let he writes, 'Occasionally I seem of the post-\Vorld War I1 pieces excellent, with a real sense of me note briefly that he was to speak rather dictatorially,

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I Please send to: Niclc Wallbr~dge,iCI~rnherxhtp Serreroq~ 12 Uplands, Crosley Green, Ilerts WD3 4RD fAP1ZIL.S Membership I APPLICATION FORM l Section 1 - Contact Details: I J Name (~l/r/~l/r~/llfiss/iIls): Performer Teacher Amateur Address: [7

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Please tick if you do not asnt your name, ;~ddress a .and phone nuinher published in the BFS d~rectory I 2001 SUBSCRIPTIONS I I Section 2 - '&pe of membership ,;C&: Section 3 - Cheque Payment: UK: Individual 220.00 Cheque or money order enclosed for: I S (Sterlir~gonly pl~ase) I Joint (mo motrberx at the smtre nddress, orre jou~)tnl) S25.00 I (rheq~~essho~/dbe,enodep~~nbleto British Flute Society) Student lr1nderZ6) 213.00 I Senior Citizenlllisabled S13.00 Schools & Flute Clubs ~20.00 Section 4 - Card Payment: Europe: Individual Student (NN~CI.20) Worldwide: Individual (oir III~~I~ Student (r~trdwzt) ~18.00 Number: Senior CitizedDisabled 3lS.00 Schools & Flute Clubs S25.00 Expires: Amount: S Life Member: Individual 2300.00 I Joint S350.00 Name on card: I I wish to pay for five years in advance and get the I sixth year free (this optio~;S ~JOImnilohle to str~d~~rtrnernbers) Issue No. or Start Date IS~;IC/Ion/j/: I I Payment Method: Cheque Please complete Section 3 Signature: Date: Card Please complete Section 4

I 46 PAN MAGAZINE The International Music Academies in Sardinia It51ly FLUTE SUMhiIER SCI-IOOL with

: Pan readers can usc this Notice Board for any Questions, : WLLIAM BENNETT Suggestions or Offers to other BFS members. 8-16 September 2001 Course fee: 1990 Ffrancs (304 Euros) i Alto flute request Letters i Can anyone lend or hire out There will be a prize for the i i\ccommodation: S nights: B&B 1500 Ffrancs (229 Euros) an alto flute best letter published in each : Information: Art et Musique en nilediterrancee : 18th July-7th ilugust? issue ! 1208 Route des Lucioles i I have been aslted to play for Concert reviews i Espace Beethoven, Bat.3 : National Youth hilusic If you are interested in F-06560 Sophia Antipolis, FRANCE i Theatre's production of joining Pan's team of concert i Tel +33 (0)4 93 00 40 S6 Fax +33 (0)4 92 96 90 41 : Pendragon, and I an1 not in re\rie\\rers, please contact i E-mail [email protected] i a position to purchase one me. Press tickets for i as I am trying to fund my reviewers can also usually be i : hih'llls in September. iln~ arranged on a one-off basis if i i ideas would be appreciated! there's a single concert you : Thanks. fancy reviewing. Liz Green, eniail: Clare Roberts, tel: 020 7385 i i\bell Flute Co~~lpany ...... Page 4 1 : [email protected] 2071; jax: 020 7385 3276; : Aberyshvyth Artshlusicfest ...... Page 6 i Tel: 01384 831663 en.tnil: [email protected] ...... NI Flutes Plus ...... Inside Back Orchestral offers Biirenreiter ...... Page 20 Brannen Brothers ...... Page 28 These are currently being updated and will appear again in the September issue. Bill Lewington ...... Page 16 British Reserve 1nsur:lnce ...... Page 28

- . .- --..? - .. ---- British Suxulti Institute ...... Page 20 Brian Clover ...... Page 47 131''s memhcrs m:iy :~dvertisctheir instruments for sale frcc of chargc. Boosey k Hawlies ...... Page 33 Silversonic Sankyo solid silver tube, silver Open holes, in line, low B, removable split-E - plated keys, split E mechanism, off set G, open L2,500 ono, or would consider swapping for Evs Kingn~:~ ...... Page 6 hole. regularly serviced. excellent condition. good bassoon. Tel: 0 1785 6 186 10. Email: Price from new - 63145, Price - L 1400. Tel: [email protected] Flute~naltersGuild ...... Page 4.5 0 121 684 7929 Mobile: 0776 2503 120. - For sale. Bonneville solid silver flute # 3043. G Henie Verlag ...... Page 28 Fully restored Nicholson flute, valued at beautiful condition.Tuned & new lip plate by f 1250 is offered in exchange for a reasonable Nick Crabb. L7000 ono.Tel. 0 1873 890 135. Hindhead Music Centre ...... Page 37 Alto,Woodwind & Brass instrument repairs to exacting standards. Postal service available. Invite ...... Page 20 Phone Gary Mills at local rate 08450 MUSIC Advanced Motivational 1 (68742 1) www.music-l .co.uk Just Flutes/Jo~lathanMyaU ...... Inside Front -- Tuition with Nicholas Vallis-Davies (former Headjoints for sale. poweII silver Aurumite John Pi~clter ...... Page 2 Q type L800. Miyazawa silver M23 L400 principal player LSO and TV Soloist). Tel: 020 8788 133 1 Get ahead this Summer - take your John h'lyatt ...... Page 34 For sale. Flute Makers Guild No.5 14. playing into a new dimension with Ji~clueBond ...... Page 13 Handmade, hallmarked solid silver throughout. intensive I I tuition in ~l~~t~~b~~~ I - or London. h.liyazawa/Tre\wr.lames ...... Page 12 Phone: 020 8943 5329 klichael I\%ite ...... Page 45 for a brochure h,lusicians Benevolent Fund ...... Page 2 BRlAN CLOVER woodwind & c0 Scl~ott ...... Page 34 FLUTEMAKER Stratford Flute Festival ...... Page 41 Est. 1959 Studio 65 ...... Page 7 ALTERATIONS - SERVICING - Trevor Head ...... Page 7 OVERHAULS ind 54 Buckhurst Way, Buckhurst Hill, Top \ITind ...... Back Cover Essex IG9 6HP IViUianl Bennett ...... Page 47 TEL: 020 8505 0557 IITindband ...... Page 113 WOODWIND INSTRUMENT IVindstnnnents ...... Page 40 REPAIRER 01 61-775 1842 \Vood\vind & CO ...... P:lge 447 Edward D. Kettlewell M.I.M.I.T. 208 Liveqool Rd. Cadishead Yamaha ...... Page 9 56 Leabrooks Road, Somercotes, Derby. iMnnchester M44 5DR Tel: 0 1773 603276 Fax: 0262 7 75 41 49 (4 rnins junction 28 M I) Email: [email protected]

PAN MAGAZINE 47 The British Flute \Villiam Bennett 52 Turnstone Close Surrey Tel: 01279 417134 50 Lansdowne Gardens Upper Road, Plaistow, Jacliie Cox Fax: 01279 429401 Society London SW8 2EF London, E13 3 \\rest Street, E-mail: baerenreiter Tel: 020 7498 9807 Tel: 020 7511 5552 Carshalton, @dial.pipex.com , David OLiver East Central Scotland Surrey Sb15 2PT Tel: 020 8773 0436 Rill 1,ewington Ltd AFT Events CO-ordii~ntor Irene Barnes, Broughton Unit 8, Hornsbp Square 'Hill Side Cottage', I'ice-pivsident: 28 Station Road, ICinross, Swansea Southfields Industrial Brailes, Scotland IZY13 7TG I-iugh Phillips Park, Laingdon, Essex Albert Cooper Banbury, Tel:.01577 S62433 116 Delffordd, Rhos, SS15 6SD OX15 51iF Hertfordshire Pontardawe, Swansea, TeVfa~:01608 685529 \Vest Glamorgan SA8 3E\V Tel: 01268 413366 \Vendy \\ralshe Fax: 01268 418008 British Flute Socie . Mobile: 07813 258283 Kennel House, Howe Tel: 01792 865825 1 council 7 E-mail: events@bfs,org.uk Green, Hertford SG13 Twicltenham [email protected] 81,H Julie \Vright Helen Bdier ~2:-01707261573 41 Devon Avenue ChfA Publications Kennet11 Bell Chnir~nni~ 7 \\rest Street, Norfolli Twicltenham, Attn. Central Band I-IQ Music Isleham, Ely, Middlesex T\V2 6PN Geraldine Russell-Price Services. RAF Uxbridee Elaine Smith Cambs CB7 5SD The \\%ite Homestead TeWax: 020 8241 7572 10 Avenue Road Middles& UBlO OM " Tel: 01638 780275 Kingston-Upon-Thames Tel: 01895 237144 Bramerton Thames Valley x 6341 Nonvich NR14 7DP Ian Hulin Surrey IZT1 2RB [email protected] Officers TeVfax: 01508 538215 96 Grovelands Road Tel: 020 S541 0857 Reading, Berks Ann Cherry Secrtmrr Susan Bn~ceLegal North East England John Myatt Mroodn,ind Christine Ring RG30 2PD and Brass 61 Queen's Drive Rqres~ntntive Tel: 0118961 3476 London N4 2BG 4 Winston Close The Memmel, Low 57 Nightingale Road Tel: 020 S802 5984 Stratford upon Avon Warden, IIexham, Wressex Nitchin, Ilerts SGS 1RQ Fax: 020 8809 7436 \Varwickshire Northumberland Jan Trevithicli Tel: 01462 420057 [email protected] C\U7 9ER NE46 4SN. Thorny Bank Fax: 01462 435464 TeVfax: 01434 603489 4 The Retreat. Fronie Adrian Brett Tel: 01789 292708 Jonathan MyaWJust North Scotland Somerset ~~1'15JU 17a Mount Ararat Road, Fax: 01789 414081 Flutes Email: [email protected] Gillian Leonard Tel: 01373 452922 Richmond, 46 South End, Croydon, Surrey TWlO 6PQ Clare Roberts Ed~tor Resthivet Cottage, \Vest Susses Pitcaple, Inverurie, Lindy Thwaites Surrey CRO 1DP E-mail: 2 \Voodlawn Road Tel: 020 8662 8400 [email protected],ul< London S\V6 6NQ Scotland AB51 5DT 19 Downview Road

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