...... President: Dr James Galway uHe COMMENT INVOKING THE Vice-president:Albert Cooper 3 CLOUDS Chairman: Kenneth Bell 28 FLUTE NEWS 4 ...... 'rhe ~ournalof The British Flute Society APPLICATION FORM 11 Volume 19 No. 1 FOR BACH2000 DON'T March 2000 MISS IT!
Editorial Committee Hannah Lang Editor Kenneth Bell Ann Cherry Lisa Nelsen ...... Christine Ring AN ENGLISH FLUTE Susan M~NWhittalter MAKER 36 Contacting the BFS
General enquiries Ann Cherry Secretary 61 Queen's Drive RICHARD ADENEY London N4 2BG Telephone 020 8802 5984 AT EIGHTY 14 Fax 020 8809 7436 E-mail:[email protected] Membership enquiries Jiclr Wallbridge Meinbetdip Secreraql REVIEWS 12 Uplands Croxley Green Herts WD3 4RD E-mail: [email protected]~lr Telephone enquiries regarding membership should be directed to the Secretary, Ann Cherry, on 020 8802 5984 Editorial Hannah Lang Editor 3 Alexandra Road Kings Langley Herts WD4 8DU Telephone & Fax 01923 269037 E-mail:[email protected] Advertising A BIT ABOUT THE Maple Media Ltd. BANSURI 22 411 Wokingham Road ~rley,Reading, Berkshire RG6 7EL Telephone 0118 926 1669 Fax01189665611 Cover Richard Adenq photo by Rabert Bigio
Design, production and printing Michaelangelo - Design to Print WHY I PLAY Telephone 020 7700 4733 WHAT I PLAY Fax: 020 7700 3703 E-rnail:[email protected] 411 Rachel Brown Lyon Lever Views expressed by contributors are their own and do not necessarily reflect the official view of the British Flute Society. All copyrights reserved. The aims of the British Flute Society: ...to advance the education ofthept~blicin the An+ andscience of Music and in particular the Art and Science of Fllrte playing in all its aspects ... Registered charity No. 326473 ISSN 1360-1563 HELP!
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2 \Velcomc to the 14arch issuc of Pan magazine. You will notice a slightly hcavicr weight to this issuc - thc Council of the BFS havc approvcd Pan Life Members of the BFS increasing to 52 pages on a regular basis. Danielle Baron-Janke Unfortunately it is still a squeeze, and I apologise for Michie Bennett William Bennett the size of the overseas courses listing. It was that Wissam Boustany size or not at all. Robert G. W. Brown Brian Burgess This issue is really packed with fascinating Lamond Clelland articles relating to the flute from all over the world, Patricia Clelland from our very own British flute maker, Stephen Albert Cooper Philomena Cooper Wessel, to an interview by Robert Bigio with Elena Durin Richard Adeney on the occasion of his eightieth Andrew Edwards Michael Emmerson birthday. We also have fascinating articles about Paul Ferguson ethnic flutes from America and India. My sincere Dr Angeleita Floyd thanks to all our contributors, and especially to Caroline M. Franklyn James Galwav those from abroad who are cont~ributing for the first time. Jeanne Cinnante dalway The major BFS event of the year, BACH2000 is nearly upon us, and I hope that you Lucy Gibson Brian Hamilton will all make the effort to come along to St. John's, Smith Square on Sunday 2 April. Robert B.S. Hamilton Full details and a boolung form on page 11. Why not bring a friend who is not a Christopher I-Iammond member of the BFS? Call someone up and invite them along for what will be a Patricia L. Harper Louis M. Henry unique and memorable day! We are hoping to co-ordinate places to stay for people Pauline Jaclrson coming from a distance - see the Can you billeta BACH2000 Attendee item on page 4. Anne Jakeman Trevor James Please do write in to Lisa Nelsen if you can put someone up, or of you need a place Nils-Thilo Kramer to stay. lan McLauchlan Susan Milan The BFS is launching two exciting new initiatives in this issue: The Geoffrey Christopher Paul Money Gilbert Memorial Scholarships and the Composition Competition. The winning Alexander Murray piece in the competition will be performed by Philippa Davies at the BFS's Twentieth Barbara Noble Carla Rees Century Day, the major event of 2001, alongside the composition that the BFS is Stephen Robinson commissioning from the exciting young composer Errolyn Wallen. You will find David St.John-Weyers Sheila Searchfield details of both these items on page 5. Richard Shaw I hope all the teachers amongst you will read the item below about the new Rachel Sherlock Education Page I am planning for Pan and write a response for me. I think that this Kirsten Spratt Andy Thomson could be a very good forum for an exchange of ideas amongst players and teachers. Mark Undenvood I look forward to seeing many BFS friends and meeting many new people on Sunday Jennifer Welch Lars-Arne Wennquist 2 April. r\ Susan-Mary Whittalrer Emma Williams Trevor Wye
Membership information Annual subscriptions 2000 UK: Individual 620.00 NEW! NEW! NEW! Two members at the same address (one journal) 225.00 I Student (under 25) 213.00 Pensioners 213.00 Schools and flute clubs 220.00 Europe: Pan wants to start a new Education Page written by YOU! Each issue a question Individual 225.00 will be posed, or an issue addressed, and I would like you to write in with your Student (under 25) 518.00 answers, or solution. Please keep your answer to a maximum of 500 words. As the Worldwide: June issue is dedicated to Bach this feature will appear first in the September issue, Individual (air mail) 830.00 so get writing now! Copy date is 15 July. I look forward to hearing from you. Editor Student (under 25) 218.00 Pensioner 618.00 The first item for you to write in about is: Schools and flute clubs 225.00 What do you do in a first flute lesson? Life membership: Other questions we are thinlung of posing are: Individual 6300.00 How do you teach double tonguing? Joint 2350.00 Nick Wallbridge, Membedip Secre/ary How do you help students to hold the flute without resting their tight hand on the keywork? 12 Uplands, Croxley Green Do you have suggestions for items? If so, write to or e mail the Editor. Herts WD3 4RD Email:[email protected] -f Elections for Council of the b British Flute Society Annual General Meeting The British Flute Society is holding elections for of the British Flute Society the Council. Sunday 21 May 2000 3.00pm The constitution calls for a Council of between 61 Queen's Drive, six and 12 members. Three of the nominees on Lontlon N4 2BG this ballot paper are currently members of the AGENDA Council who are standing for re-election. There 1. Apologies for Absence are seven further elected members who have at 2. Minutes of the Annual least one more year to serve on the Council, so General Meeting held on 23 May 1999, at there are five places to fill. It is important that 61 Queen's Drive, you register your vote. In accordance with the London N4 2BG, to be approved usual practice of the BFS, this postal ballot will be. 3. Matters arising from the your only chance to vote. There will be no voting minutes of the meeting held on 23 May 1999 at the AGM itself. 4. Chairman's Report Voting papers must be returned in an envelope 5. Treasurer's Report and Presentation of Accounts clearly marked "Ballot" to the secretary (address to 31 December 1999. on the form.) The return date is 1st May. Papers 6. Membership Secretary's Report with more than five nominations and any ballots 7. Pan Report received after the "sell by" date will have to be 8. Education Report 9. Area Representatives' rejected. Please do not include any other Co-ordinator's Report correspondence with the voting paper. 10.Events Co-ordinator's Report The Council tries hard to satisfy the 11.Proposed amendment to requirements of its membership. Please vote for the BFS Constitution as set out below. ~f approved by those nominees who you feel will best represent the members this the interests of the BFS. You may vote up to a amendment will be forwarded to the Charity maximum of five nominees. Commissioners for approval 12. Announcement of election of new Council members 13.Questions and comments from the floor.
Proposed amendment to the BFS Constitution The Council will propose the following amendment to the Constitution: We are hoping that BACH2000 on 2 April will be That Clause 4.12 (iv) be amended to read as follows: - of the Council shall hold office for THREE YEARS commencing immediately following the Annual General Meeting at which they are people to write to Lisa Nelsen offering their elected. One-third of those elected immediately following the adoption of this amendment, to be chosen by internal ballot of the Council, shall retire after one year and a further one-third shall retire after two years. AI1 retiring members of the Council shall be eligible for Convention Prints re-election. - Would you like prints of any of the photos taken by NB: The Constitution presently Simon O'Sullivan at the convention? He is happy provides for Council members to be to make 6"x4"prints of those that appeared in the elected for two years only. The Council believes that this is too December 99 issue of Pan (and any others if short a period for new members to "*C'-+c---- requested by performers). Send an A5 SAE to the contrihute fully before facing re- Editor with details of which pictures you would election, and does not allow & sufficient continuity for the Council m-..- like (state page number and caption) and a cheque in planning for major events such made payable to the British Flute Society for 80p as the Conventions. per print ordered. A Ne 3FS Initiative The Gdfrev Gilber+ V~ernor~d~ Scholarships I A major new British Flute Society project is currently in the planning stage. For several years tht socielty has held a comparatively modest sum of money known as the Geoffrey Gilbert Memori Fund. The Geoffrey Gilbert Memorial Concert presented by the BFS in the Queen Elizabeth Hal 1989 generated this money and we are planning to increase the size of this fund by voluntary donations and fund raising activities and events to an amount substantial enough to award scholarship bursaries to flute students to help in the financing of flute-related post graduate stludies. Aoolicants for such an award would have to be members of the BFS for a minimum of one ye: lr prior to applying and have the firm offer of a postgraduate place at a conservatory or universit The r~ecipients would be selected by a panel of eminent players and teachers in a competition t take 'the form of a public recital; this flute competition in itself could become a major regular e Thr. r "'C ~ossibilityof establishing a separate fund to finance the commissioning of new works for 1IULC from young composers is also being looked into. The funds would be administered by a nominated body of Trustees, hopefully to include some well-known figures in the musical world, who woi~ld liaise with, but be a separate body from, the Council of the BFS. EIFS membership subscription fees would not be used to increase the size of any trust func wouI13 continue to finance Pan and events for the benefit of all our members, including regula~ Conv entions. This is an exciting project, which has great potential. It is fitting that the scheme The Geottrev should bear the name of Geoffrey Gilbert, one of the twentieth century's greatest flautists and teacher who influenced so many leading British players and teachers of the present day. If you Gilbert wouI1j like to contribute to the Geoffrey Gilbert Memorial Fund you may do so via the socie!tyls Memcorial Treas~Jrer, Jeremy Deeks. Please make cheques payable to Geoffrey Gilbert Memorial Trust Fund. - - 14 ,,n, wish to organise a fund raising event please present your ideas to the Council via the Secretary, Ann Cherry. Contact addresses are to be found at the back of this magazine.
Corn position &mp~+i+ion In 2001 the British Flute Society will be presenting a Twentieth Century Flute Day - a major event with the emphasis very much on British players and music and featuring performances by some of this country's leading players. As part of this event we are inviting composers to enter new works for flute in a competition promoted by the British Flute Society. The winning work will be performed at this event and published. The winner will also receive a cash prize of 2,250.
The criteria to be observed by composers entering this competition are as follows: the piece can be in more than one movement but must not exceed thirteen minutes total duration; it must be for either unaccompanied flute or flute plus one instrument of the composer's choice. Other members of the flute family (e.g. piccolo or alto flute) can be written for in addition to the C flute. The technical demands of the piece can be from amateur to professional level, reflecting the broad range of membership within the BFS.
Entries should be submitted no later than 3rd January 2001 and should be sent to the Secretary at the address on the back page of this magazine. With Anna Noakes and :&-- Trinity College Ian Judson St Augustine's Priory, Hillcrest London moves to new Road, Ealing W5 2JL [ offices in Vauxhall 10.00am - 6.30pm \ On 13 December 1999 Trinity E25 per participant College London, the Application forms available on International Examinations request from Mary Seldon, St Board, moved to a new address: Augustine's Priory 89 Albert Embankment, London SE1 7TP Tel: 020 7820 6100 Saturday Fax: 020 7820 6161 E mail: l April 2000 [email protected] 'Flute Class' Resident Tutors: h ISSTIP and the Helen-Louise Baker MM London College of DipRCM and Sarah Lister MA ATCL ALCM (accompanist) ~v~II~~~~~~I~,,IIJI,,~~ Music and Media are happy to announcc the 10th Guest Tutor Class Music List for .\lasterclass I with Dr Diane Boyd Anniversary of the Sundav Goddard Suite dr. 7iai.r illorceaux PERFORiMLNGARTS 12th 2000 Flute RL Piccolo ay (Chester) CO-Directors Pamela Bowden arch- Masterclass, workshop and Enesco Cantabile et Presto (UMP) College Hall, flute choir. 10.00am - 4.00~m and Carols Grindea Full detail and application forms Consultant/Adviser Dr C, B The gngs School, Sunday 2s June 2000 ' from: Anthony Betts 01604 Beginners Jazz Flute Day Wynn Parry, LCM Thames 494336 Or McNall~01604 Valley University, St. .Mary's Worcester Class, improvisation workshop 405965 Send an SAE to 27 3.00pm and flute ensemble, 10.00am - Road, London W5 5RF The Btitish F/ri/e Society in FarndOn Cl0se, lst and 3rd \Vednesdays 5.30pm NN3 8TJ E mail: conjunction with ISM Hereford 'Flute Class' provides small 4.00 - 6.00pm and LVorcester [email protected] Consultations are free present friendly flute workshops for adults and children of Grade Over 800 musicians have IUTHERINE BRYAN Sunday been helped at the Clinic which Winner of the 1999 .Julius IV standard and above. The accent is on having fun whilst 28th May 2000 offers an unique opportunity to Isserlis Scholarship students, teachers and amateurs Former Principal Flute, National learning and the atmosphere North Yorkshire Youth Orchestra of Great Britain is relaxed. Flute Class is a to learn how to cope with the Winner of Audi Junior Musician great place for you to try out Flute Day No.2 various physical, psysiological with Russell Lomas piano your exam pieces in front of In col~junctionwith the British and ~s~chologicalproblems I-lead of i!ccompaniment, an audience. Places are I;lute Socieo and Flutmise which afflict so many Chetham's School of Music limited, so book now! Presented by hnaNoakesflute instrumentalists, singers and Recital at 3.OOpm Telephone: 01638 780275 or with Evelyn Grant and Julie other performers. I Iugo Alfven Thp Hwdsnraiden S Dance E mail: music@fluteandguitar. Murray f/u/es Moreover, those attending the \VP Berger Friiso Flowen freeserve.co.ulc At The Old Meeting House, clinic have the opportunity to Paula Malmborgward To-rot~ango-go l-Ielmsley, Yorks. learn how to prevent such Hue Fat~taisie Tel: 01439 771700 problems and we recommend Debussy ,Yytitrx 10.00am-4.30pm ptris Evening especially that they should Faurt Morcenti de Concoutx Recital (tutors and students) follow a series of sessions Or a Jolivet Chant de Linos 6.OOpm course, to know how to protect Tea and refreshments at 4.00pm Masterclasses for advanced their own bodies and muscles Flute choir at 4.45pm - bring while training for a future career your flute and join in! players; technique coaching for Grade V1 and above; Ensemble as performers or teachers as BPS and ISM members $5, all well as how to Protect their students E3 playing and flute choir for Grade Non-members $6 IV and above. Spectators also Young pupils from acquiring bad Tickets and information from welcome habits thus incorrect usage of Alison Uren 01684 567819 or Top Wind will be on hand with body muscles and joints. Music 47, Worcester an enormous display of flutes, Unfortunately, these set in early Tickets will be sold at the door music and accessories in the beginning stages of a as well as in advance. Admission: Full Day: ildults child learning to play an Katherine Brynn is throtd to the 525.00, Under 16s 320.00. instrument. LVoodwittd Finat of BBC Yorir~ Recital only 25.00 ISSTIP and LCMM are greatly iclusician of /he Year £1.00 ci'iscotint for BFS and concerned with the increasing Fltitmise members number of musicians presenting Food is not provided but there such problems and injuries in Saturday Sunday 7 May 2000 are many local cafes, spite of the knowledge, research 25 March 2000 Northampton restaurants and pubs and experience gained in recent For more information please years Flute Workshop Millennium Flute contact Anna Noakes. I;rirfher derailsfrom Carota Grinden, Day TeVfax: 0181 855 9005 or E Et: 020 73 73 7307 ilfi/h mail: [email protected] Fax: 020 7373 5440 William Bennett And Friendly Flute Get- Clifford Benson %6 News From In Associnlion with Together in Nottingham The Northampton Flute Choir I should like to find one or two Falls I-Ious~Press Northampton Music School, more people (adults, please) Clare Street, Northampton are the Grade Our lengthy website address William Bennett will conduct standard within an Masterclasses for those flautists approximately 20 mile radius of has "OW been of Grade V11 and over. He will Nottingham, who might be www.fallshousepress.com also conduct \Vorltshops for interested in having regular Now it is much easier to those flautists Grades 111 - VI. meetings (every six weeks or Tickets for the Millennium couple of months) to play. remember! Please check it Flute Day are available in the There is a chance of electronic out for lots of flute music! following categories: Performer, piano/harpsichord/organ Linda True, Falls House Press Participant, Auditor, \\'orkshop accompaniment. Joan Orton or Concert Call Joan on 01623 792922 Lambert runners up, going on to camp near Lake Francisco Castilblanque was Ulfljotsvatni. Over 3000 BFS Flute Playing Day winner of the under 19s with Scouts and Guides attended ~UastairScott and Joanna the jamboree from 22 Sunday 17 October 1999 Kirkwood runners up. different countries. The aim Catherine Goodman won the of the week was to bring Queen's College I-Iarley Street, London, W1 under 23 section with Ian together thousands of people Mullin and Amina Hussein from all over the world although why they were close runners up. through music. attempting to sell musical Mike Mower's excellent At the opening ceremony, bananas I'm unsure, perhaps pieces were a theme English and Icelandic songs something to do with throughout the competition were sung with actions so Adrian's new position in The with Two-Timer from that anyone could join in. A Lion King musical! Fingcrbusters proving an song had also been written Two students were interesting and well met especially for the Jamboree coached in a master class led challenge of rhythm and about bringing nations by Per Oien. Lloyd Stringer n~usicalityfor the under 23s. together. The whole played the Introduction, It was a serious competition jamboree was also divided Theme and Variations by but the whole day was into six sub-camps which Schubert, and Zoe Allen imbued with a friendly and were all named after a dance played the Noctz//meand supportive atmosphere (such as the Mambo), and Alicgro Scherwndo by Gaubert . where all participants had everyone in that sub-camp Per's comments were always fun and gained much from learnt that dance. sensitive and it was very the experience. Feedback There was also a jamboree interesting to see how he has been such that an even band which I was lucky encouraged them to sing the bigger Millenniuim Year enough to be part of. It also music through the flute. Competition looks highly inclucled people from The day's events likely. Call Alll;lr/tes Plns on America, Iceland, New concluded with chamber 020 7935 3339 if you are Zealand, Scotland and music from the Guildhall interested. Germany and we played to and Trinity College and we everyone else in various A sunny morning dawned departed for a battle through concerts. on 17 October and saw the Sunday shoppers to Another interesting thing twenty eager flautists, catch our train. was the 'Jamboree Flute'. assorted teachers and It goes without saying that \Ve were all given a sort of parents waiting at the this was yet another well owl whistle. which you could Bedford Rail Station for our organised, fun day for use to communicate with flute choir day out. We had everyone who came. The others by using a unique prepared two pieces to BFS committee makes such kind of Morse code! It really perform at the event and huge efforts on behalf of its was amazing to see how were very lucky to be members to arrange these different nations could be coached on them by Ann events and I would like to united through music: either Cherry. Her comments were thank all who were on 'the dancing, singing, playing, or kindly given, musically valid team' on behalf of my group just entering fun and all of the students who really enjoyed competitions with a musical enjoyed being coached by themselves. We're all looking theme. someone 'new' to them. fonvard to the BACI32000 I was also able to visit The beautiful flute playing event. Marion Titrnrrss famous sites of Iceland, that we heard at the recital including Gullfoss (the by Per Oien was worth the Golden Waterfall),. geysers, a journey even without all the The AU Flutes Plus geothermally heated outdoor other events during the day. 20th Anniversary swimming pool, a Ably accompanied by spectac~ilarchurch with a Richard Shaw, Per played an Flute Competition spire of 75m in Reyltjavilr assortment of generally little took place on Sunday 7th and the Blue Lagoon, a known Norwegian pieces. November at Queens College naturally formed steaming Taking, as I did, a group of in Harley Street London and lagoon that you can swim in. very junior flautists (Grades proved to be a great success. My Icelandic experience 11-111) it was particularly There were three age Iceland '99 was most definitely an rewarding to see the categories, with some great International Guide unforgettable one for many astonishment and pleasure first prizes of a Yamaha reasons. Thank you very on their faces during his piccolo, a handmade silver and Scout Jamboree much to the British Flute Powell headjoint and an Playing a musical performance. instrument opens up unusual Society for their very kind There were plenty of excellent TJ James alto flute. sponsorship. Kate Crimes The adjudicators were Gavin opportunities for young opportunities for us all to people today. Back in July, I Kate Gf-imesreceived a smaN play in a variety of groups Tate-Lovery and Derelr hz~rsaqfiom the B FS towards Fennel1 for the under 14s, had the opportunity to take graded for ability and age. part in Iceland 99: an the cost of her hip to Iceland '99 Jackie Cox led the junior Lisa Nelsen and Liz Goodwin for the under 19s, and Karen International Jamboree for students in a very Scouts and Guides from all entertaining piece, then Jones and Mike Mower for the under 23s. Competitors over the world. The main there were two performances reason I was selected was by adult groups and finally showed an extremely high all round standard and the because I am a flautist and the advanced flute choir the jamboree theme was conducted by Kenneth Bell judges had a very difficult job making their decisions. Make Your Own Music. and Adrian Brett. I really I represented enjoyed the chance to play After much deliberation the deserving winners were Gloucestershire Guides along Adrian's lovely arrangements with ten other girls. We again. Harry Winstanley in the under 14s with Mark Carey spent two days in Reykjavik, Just Flutes were there too the capital of Iceland, before with a well-stocked stall, and Aimee De Gruchy- Quarter Tones and area." and obviously tried her patience Activities included as she is reported to have kicked 9000 Year Old Extended Techniques masterclasses with Wissam his shins hard and often. This Flutes Boustany and Trevor Wye, a was probably to instil some kind A team of scientists from with Marion Garver China and America have Marion Garver, an American candlelit concert at the church of discipline into his of St. Martin-in-the-Fields, a visit ~erformancefor. whilst he had a discovered several-flutes made flautist specialising in music out of the bones of the red- involving extended techniques, to Robert Bigio's worltshop to great facility f~r'~laying see how he makes flutes and everything from I-Iigh Opera to crowned crane in the Jiahu made a guest appearance at an Neolithic site in China. The event organised by I;It~rmiseat piccolos by hand, and a tour of an Irish Jig by ear, he had little the Boosey ei Hawkes flute respect for the black dots! archaeological sites at which the Cardinal Newman School in these flutes have been found IIove on Sunday 16 January. factory to learn how flutes are The war saw my father over in mass produced and to meet Lisa France as an interpreter. He have been dated at between She gave an interesting talk on 7700 and 9000 years old, the advantages of flutes whose Nelsen. In addition, the itinerary took his flute with him and was included a guided tour and prevailed upon to play, suggesting that these are keying system enables the probably the oldest complete, production of quarter tones special workshops on makeup particularly on the march. He and costumes at the Theatre was very happy to oblige, playable, multinoted musical (such as those made by Eva instruments to be convincingly Kinema). This was followed by a Museum, a visit to Westminster especially as his companions Abbey, and participation in a took turns to carry his heavy dated. i pertormance of Thinking Speaking F'lutmise event in Brighton, pack. We have an excellent The find consists of six by the Australian composer complete flutes, along with Matthew Shlomowitz and A Nigh/ organised by Liz Goodwin, with cartoon of him marching and British flute students. During playing: tall, slightly scrGffy with fragments of many more, each in Greenwich by Mike Mower - flute having between five and both works written specifically their gala final evening, the booted feet turning out at a group saw The Phuntotn of /he characteristic 'ten to two'. eight holes. The best preserved for quarter tone flute. of the instruments is free of Marion also demonstrated a Opera where flutist Chris Rain Eventually the Germans i took them backstage and to the pushed North and the troops had cracks, and has seven main and number of extended techniques one smaller hole. The intervals such as tongue rams, pit orchestra. to be evacuated. father was Students participating were on the Lnt~cas/r.inwhen she was that can be produced by this multiphonics and simultaneous instrument include a minor singing and playing and Virginia Bates, Rachel Kiel, sunk with the loss of so many. Alison Ryan, and Heather He was fortunate and survived, third, and intervals between a encouraged the children in the major second and a minor third. audience to try them for Wlaley. Barbara Phillipson, a but his Rudall Carte lies on the flute teacher from Colorado, sea-bed to this day. It is hoped that by creating themselves. replicas of these instruments, As well as modern Western travelled with the group as well. In recent years we have traced "I've never done this before, our French relations and two of more can be karned about the music, Marion is researching music that might have been and performing Persian music, so it was a learning experience our young cousins are excellent for me, too," said Spielman. "I flautists studying at the Paris played in the sophisticated which uses a lot of quarter tones culture of Neolithic China, (and is normally played on the love to travel, 1 love the flute, and the Lyon Conservatoires. I . and I love my students, so this earn a modest crust as a millennia before civilisation Nay flute). She is also developed in Europe. experimenting with the effects seemed like a natural peripatetic flute teacher. Is this which can be achieved by combination. The trip exceeded Genetics, Statistics or combining the flute with my expectations on all levels. Coincidence? Further reading: Oldest plqyoble electronic music and has Everyone in the UK was so warm I like to think that my Grand- musicalins/mmen/sfoundafJiahu produced a CD in conjunction and welcoming and embraced us father Chabert is peering down ear4 Neolithicsite it1 China. Zhang, with Shawn Pinchbeck called with such kindness and on us all, amused and be-mused Juzhong et al (1999). Nature, Resonance (available from All generosity. If the memories of that 'blowing a whistle' can be so 401, 366-367. Flute Plus for $10). This has this trip help the girls to rewarding. Chris/ine Martin O Dr Malcolm Galloway 1999 quite an ambient quality and is strengthen their commitment to well worth a listen, especially by the flute, then I will feel it was anyone interested in music all worthwhile." I 1 technology. Blizabe~hIl%lrd You'll Never Make a Living Blowing a Whistle, My Boy! Richard Adeney's delightful illustrated interview at the BFS Convention evoked many memories of my father, Raymond Chabert. IIe was an amateur flautist of about the A non-residential 3-Day Workshop same vintage as Mr Adeney and loam - 4pm like him had taken to blowing anything and everything as a 24th - 26th July 2000 rll~~ion(m11 (1 youngster. Unlike Mr Adeney, however, he was refused a Flute Trip to London 'proper' flute by my Grandfather, l a Frenchman brought up in the Royal Russell School 12 - 18 January remotely beautiful but 2000 unyielding region of the Ardeche Coombe Lane, Croydon Four yourlg Atilr~icunmusic s/uden/s in Central France. (age 12-1 4) visi/cd wt/h rheirpma/e My Grandfather was the With flure teachec Hden Spre/rnan. youngest of seven children born "This trip arose out of a deep to impoverished peasant Ann Cherry - Jackie Cox desire to show these youngsters farmers. It remains a mystery l' th:lt a whole world of flute how he arose to become the Thea Cramp - David Oliver activities exists beyond simply managing director of a gloving taking lessons and attending company in the City of London. Ile was naturally very conscious Course Director Susan-Mary Whittaker band class," said Spielman, who of the practicalities of life; hence put together an exciting package his response, spoken in the An opportunity to play and learn in a stimulating of six days of flute, music, and atmosphere theatre adventures. "I want my Maurice Chevalier accent he students to Itnow that the hard never lost - 'You'll never make a living blowing a whistle, my "Susan-Mary and her band of helpers worked wonders. .. " I work they put into practising boy'. "A wonderful three days - I learnt so much!.. . " their instrument can be a ticket My father eventually bought to a lifetime of rich himself a pre-war hand-made I I experiences." Spielman chose For more information contact London because, "I don't Imow Rudall Carte flute from savings he had made as a trainee The CwneDimtor, 52 Red Post Hill London SE24 9JQ of any other place that has so accountant. He took lessons Telephone 0207 733 1328 many flute opportunities in one from the formidable Miss Bonner Email: workrhop@,dnvid-ol~er.co.uk www.davM-oliver.co.uk Sunday 5 March 2000 Suzanne Willison harp Royal Academy of Plusic, Tuesday 14 March 2000 Music by Bach, Dubignon, Bax, Marylebone Road, 1WVl klusic School, Felsted School, Dodgson, Faurk, Ravel, 3.00pm Essex Taltemitsu and Nwyn Sunday 21 May 2000 A Gala Concert to celebrate the 50th 7.30pm Tickets available at concession Bristol Cathedral, Bristol Rirthdql ofthe disfinguishd Rtlssinn Susan Frankfl~fe price to BFS members 10.45am Composer Eler~aFirsova Rodericlt Chadwiclr piano Box office: 020 7960 4242 Music orior to 11.00am service Featuring a range of chamber Progrnrnme as 12 Mnrch works and with thirty performers Ticltets: 01371 821433 Sunday 2 i\pril2000 Sunday 21 May 2000 including Emma Williams, Julian Supporied /?g /hp Countess of Munster St. .John's, Smith Square, Parish Churcl~,Yatton Sperry and Karthryn Thomas and iM~/sicalTrust London SW1 7.30pm pianist Richard Shaw Noon - 7.00pm followed by Conccrt Admission is free by ticket, Wednesday 15 )March 2000 supper with the artists available in advance from the St Mary De Lode Church, Wednesday 24 May 2000 Academy's box office (020 7873 Archdeacon Street, Gloucester Royal Northern College of 7300). I\ limited number of 7.30pm Music, Manchester tickets will be available on the Susan Frank flute 10.30am day. Lucy \VaIteford ktp A Unique Day of Concerts and Exchange program with Ili~tists Music by Bach, Debussy, Debate Celebrating Bach's Music Bartok, Alwyn, Ravi Shanltar, Rachel Brown Thursday 25 May 2000 Francaix, Doppler Peter-Lultas Graf York Minster, York Ticltets: 01452 305684 8.00pn1 Supported $ the Corrttt~ssof Munster Concert, to include music by Musical Trust Bach, Rossini, Vaughan \Villiams, Molst, Mayne, Scott, Saturday 18 March 2000 Lombardo, Joplin . -- Kingston Parish Cl~urch 8.00pm Monday 8 May 2000 L., L., 4 London Mozart Players The Linhury Studio Theatre -'&L ,' A. -,-v Rarmond Leppard conductor Royal Opera House Michael Cox.flrrte Covent Garden k Mozart Ballet Mt~sicfrom Idomeneo 1.00pm Elena Flnwn Mercadante Fltttc Concerto in E - Sarah Brooke f111te minor Saturday 8 April 2000 Andrea de Flamrnineis bnssoon Sunday 12 March 2000 Rameau Suite from Darhnns St .Iohn's, Smith Square. Elizabeth Burley piano Cuffley Hall, Maynards Place, Mozart Symphonj~No.38 in D London SW1 \Vorks by JS Bach, Villa Lobos, Cuffley, Herts. K504 Prngt~~ 7.30pm Edward McGuire and Martinu S.OOpm Tickets 916, 911, 99. Concs: 98 Covent Garden Chamber Students: 24.50 Orchestra Thursday 25 May 2000 Box office: 01932 863546 Richard Marltson co~~dt~ctor Queen Elizabetl~Hall klarcelo Barboza flufe 7.45pm Wednesday 22 March 2000 Hugh Thomas violin St Giles Church, Cripplegate, Harpsichordist t.b.a. Barbican From Bach 250 years to Brazil 7.30pm 500 years - a Celebration Kate IValsh flute Villa Lobos Bnrhintm Brzilicrcl A'o.9 Birsen Ulucan piano Bach Brandenbrrry: Concerto No.5 Programme to include Bach Branderrht~tgCotrc~rto No..? Cesar Fanclt Sonata in A Villari Cortes Conrertoforflt~te Messiaen Le Merlp Noir nttd orchestra (world premiere) Chaminade Concertino Villa Lohos Bachtnan Broziliera 1Vo.2 Frank Martin Bnllade Tickets: $10, 28, 97, 26 (concs) St John's box office: 020 7222 1061 ~Monday27 March 2000 Susan Frank flute Purcell Room Roderick Chadwick piano 7.30pm The American Flute Orchestra Poulenc Sonata Ensemble Givernp visits the UK Bach Sonata in A B Wlrl032 Michael Cox drectorlflt~fe The American Flute Orchestra Messiaen Le Merle Noir Bryn Lewis harp would like to encourage tlutists in London Mozart Players Godard Suife de Tr0i.r Morceaux Programme to include each area to attend any of the James Galway conductorlfl~~te Copland Duo Debussy Triojor.flute,viola andharp appearances and hope to meet Mozart Syrrlphony No25 K183 Grovlez Romance et Schemo Taltemitsu Eucn&rs for flute, oboe with them afterwards. If we know Mercadante Flute Concerto in B witror Musgrave Piccolo Play aud harp there are flutists attending we I
----p. ~ website: Clifton Hall School, Edinburgh 8 - 12 April 2000 29 June - 9 July 2000 http://www.lakeplacidinstitute.org An opportunity for up to 24 In Search of Inspiration Peter-Lukas Graf performers to play at least twice in Wissam Boustany Sermoneta, Italy 21 - 30 July 2000 masterclasses with, in addition, Casteau - Belgium Concert 9 July Musicfest - Aberystwyth chamber music, orchestral Information: Domnique Wauters: Campus lnternazionale di Musica, International Summer School and repertoire classes, daily technique TelFax (32) 2 731 5476. E mail: Viale Le Corbusier 3391-04100, Music Festival classes, Alexander Technique and [email protected] Latina, Italy Tel: 0039-0773- With Judith Hall and Lisa Nelsen audition coaching. The course is 605551 Fax: 0039-0773-605548 A faculty of leading international residential on a beautiful campus, 14 - 16 April 2000 soloists will teach chamber music, with many recreational facilities. Repair Weekend in Cambridge l - 9 July 2000 give workshops and solo Information: Anna Higgins, with Daniel Bangham Trevor Wye Master class masterclasses. There will be flute 5 Cluny Terrace, Edinburgh EH10 Association of Woodwind Teachers Near Warsaw, Poland quartets and ensembles as well as 4SW Tel: 0131 446 9502 An introduction to woodwind Residential: Performers, mixed wind and string chamber E mail: david.flutes.edinburgh instrument repair in the workshops participants and auditors of all ages music. Minimum standard Grade @mcmail.com of a skilled and experienced Information: The Secretary, U1. V11 or equivalent. professional. Early booking is Kwiska 4319, Wrocaw, Poland. Information: Gwen Stimpson, 22 July - 5 August 2000 advisable. Tel: +48 7135 13364 Administrator. Tel: 01686 430468 Stratford-upon-Avon International Information: Bernard Parris, E mail: [email protected] E mail: [email protected] Flute Festival Tel: 01502 723493 Director: Elena Durin 1 - 10 July 2000 22 - 29 July 2000 Resident tutors include: Jenny 16 - 18 April 2000 Summer Flutes in Jicin The Colin Fleming Flute Summer Brooks, Jonathan Rimmer, Sandra The Aurora Ensemble at Eleventh year of this summer School Seefeld (USA), Alexa Still (NZ). Hawkwood College course with Frantisek Malotin held Liverpool Hope University College. Guest tutors include: Keith Brag, A new chamber music course for in the castle of the historic town in This course offers players sessions Michael Cox, Paul Edmund Davies, adult wind players. the Czech Republic. Course fee devoted to technique, repertoire Kevin Gowland, Karen Jones, Jaime A practical course for all flute, E185 includes student and performance, masterclasses Martin. Composers in residence: oboe, clarinet, bassoon and horn accommodation and meals. Hotel and flute-making and maintenance. Dave Heath, John Mayer. Albert players. Players will explore the rooms also available. The school will run concurrently Cooper Competition. Playing repertoire for wind quintet, quartet Information: Evelyn Frank, with The Clarinet Summer School opportunities for all. The Magic Flute and trio, guided by the dynamic Tel: 020 8371 0608 or Frantisek organised by Leblanc and some Workshop and Ki#s Corner for Aurora Ensemble. Malotin, Tel: 0042 2 530662 integration between the two younger players also Flutes at The course at Hawkwood is open to courses is possible. 9249 inclusive Pleasure for the mature flautist adult players with Grade V - 2 Julv 2000 of accommodation and all meals. Information: The Administrator, minimum standard. The course Browse &d Play at June Further information from: David Stratford-upon-Avon International takes place in the picturesque Emerson's, Ampleforth, Yorkshire IValters, Dept. of Music, Liverpool Flute Festival, PO Box 7, Stratford- Gloucestershire coutryside, close to Association of Woodwind Teachers Hope University College, Hope upon-Avon, CV37 9GB the village of Painswick. An opportunity to browse through Park, Liverpool L16 9JD Tel: 0151 Tel: 01789 261561 Information: Emma Williams probably the largest stock of music 291 3457 E mail: Fax: 01789 261577 Tel: 020 8882 5333 for winds in Europe, to try before [email protected] E mail: [email protected] Mob: 07971 200 475 you buy and to enjoy a party in a beautiful location. 22 - 29 July 2000 23 - 27 July 2000 151 6 - 15 June 2000 Information: Bernard Parris, Charterhouse Summer School of Hindhead Flute Course 1191 20 - 29 June 2000 Tel: 01502 723493 Music Atarah Ben-Tovim, Julie Wright Zdenek Bmderhans Flute Summer Godalming, Surrey Tenth year of this hugely successful School 13 - 22 July 2000 Cotines for Piano Accompaniment d summer course for adults and Servits' Monastery, NovC Hrady, Wvor Wye Master Class lV;nd Chamber Music children. A real holiday for Grades 37333 Czech Republic Sion, Switzerland Pianist Richard Shaw tutors the Art I - post VIII. Great food! Information: Arbitrium PO Box 13, Residential. Performers (max. 20) of Accompaniment course. The Residential and non-residential Hove 5048 South Australia. Fax: and auditors of all ages. Please ask class will work closely with Information: Hindhead Music 61 8 8298 3099. E mail: for separate Trevor Wye leaflet in members of the dynamic wind Centre, Hindhead Road, Hindhead, [email protected] Website: German and English. Cost: SF400. quintet, the Aurora Ensemble and Surrey GU26 6BA. jC The Br~t~shFlute /c;
A Unique Day of Concerts and Debate Celebrating Bach's Music Sunday 2 April - St. John's, Smith Square, London SW1
Trto Sonata from A Musical Offering BWV1079 :OOpm Kantate bnsa che sia dobre BWV209 c i\ 0 with 2 Rachel Brown Carolyn Sampson soprano Adr~anButterf~eld vioiin. Ol~verWebber vioiin, 1 L2 5 Chamber Music on Judlth Tarllng viola, Kathar~neSharman cello. Peter Buckoke double bass, e Penod Instruments lames Johnstone harpsichord 6 L 'G -- -- Sonata ~n E major BLW1035 Partlta ~nA mlnor BWV1013 Sonata In C major BWV1033 Sonata ~nB mlnor BWV1030 Peter-Lukas Graf ~,th In Defence of the Piano Peter Hew~ttpiano .- BREAK FOR LUNCH
the four artlsts
Discussion
Concerto BWV1056 (or19 keyboard ~nF mlnor) 5 :00pm Orchestral Sulte No 2 In B mlnor BWV1067
The Duke Quartet Loulsa Fuller violin Rick Koster v~olin,John Metcalfe viola, WiSSam Boustany P IVW McCready cello Peter Buckok double bass, lames Johnrtone harpochord ' 'SJ Bach's Un~versalAttraction - Sonata ~nG mlnor BWVlOZO Sonata ~nA major BWV1032 Vlol~nConcerto ~nA mlnor BWV1040 4 with Peter Hew~ttpiano, The Duke Quartet Lou~saFuller violin, R~ckKoster viohn, Wllllam Bennett John Metcalfe viola, lvan McCready cello Peter Buckoke double bass, Up-to-date Sounds lames Johnstone harpsichord 7 :00~m Supper wlth the artists ~nthe Footstool Restauran in the crypt of St John's.
...... ALDTI( APPLICATION FORM Organising a group outing? 10% discount for groups of six or more IF - - I would lhke t~cketsfor BACH2000 I enclose a chequelpostal order made please ndicare numbers in boxes bebw payable to The British Flute Society for GREAT GEORGE ST ' 'BRIDGEST I would like supper tickets @fl2 each 1-.iC- I>@coiicessioos or discounr U I w~shto pay by cred~tldeb~tcard BFS Member E 15 1 Vhsa [7 Mastercard Swhtch BFS Member concess~onf l2 Solo [7 Delta Non-Member f 18 Card number Non-Member concesslon E1 5 Name on Card 1 BLOCK CAPITALS PLEASE Name Exp~res 1111 I 5 Address S~gnature
Date
~t.?z"'s TV/ Tel Amount f Tel: 01428 604941 Ian Clarke Tel: 020 7385 5569 Fax: 020 7381 9001 Fax: 01428 607871 Morning Motivation, Flute Aerobics, Fax: 020 7381 9001 E mail: [email protected] masterclasses, private and group E mail: [email protected] 23 - 30 July 2000 tuition. Residential. There will also 26 - 28 August 2000 St ~\ndrewsInternational Flute be a parallel saxophone class with 7 - 13 August 2000 Conspiracy of Flutes No.6 Summer School some cross-over of improvisation Oxford Flute Summer School Atarah Ben-Tovim, Julie Wright and Peter Lloyd, Ruth Morley and and jazz techniques with Rob The Queen's College Carolyn Robinson pianist Alan Hicks Buckland. Principal Tutors: Peter Lloyd and Bloxham School, nr. Oxford. With Special Guest Wissam Information: Jonathan Myall, Timothy Hutchins A wonderful Bank Holiday feast of Boustany Just Flutes, 46 South End, Tutors: Anders Ljungar-Chapelon, fluting - a course for flute fanatic Strathallen School, Perthshire, Croydon CRO 1DP. Katherine Kemler, Sue McCarthy, adults of all levels, from the Scotland Tel: 020 8662 8400 Paul Chapman. Directors: Janet cautious to the super-confident. Maslerclasses with Peter Lloyd, Fax: 020 8662 8404 Way and Clive Conway This booster course has sold out for student concerts, daily warm up/ E mail: [email protected] Write for details of our four distinct the last five years. Ensemble technique classes, breathing and Website www.iustflutes.com courses and select the one that playing and flute orchestra, classes tone development, articulation suits your talents. Some bursaries in style, technique and class, chamber music and a class in 29 July - 2 August 2000 available for ages 15-24. With the interpretation. Nerves and how to Baroque dance. Performers and Anna Noakes's Celebration 2000 support of All FIutes Plus and Vie cope! Choir, alternative evening. participants. Daily visitors also Leighton Park School, Reading Q. Powell Flutcs Inc. Information: Julie Wright, welcome. Flute masterclasses and workshops Information: Katie Bycroft, 41 Devon Avenue, Supported by AN Flute Plus incorporating a special study in the Administrator, 26 Hyde Green, Twickenham TW2 6PN. Information: Ruth Morley, 3/9 wealth of British Flute Music Beaconsfield HP9 2ER TeWax: 020 8241 7572 Canada Courth, 81 Miller Street, Composers in Residence Sir Tel: 01494 681566 Website: www.atarah.co.uk Glasgow. Phonelfax 0141 248 Richard Rodney Bennett, Martin Fax: 0118 950 7865 5756. e mail: Yates, Dave Heath, Anna Noakes, E mail: [email protected] 28 August - 3 September 2000 [email protected] Phillipa Davies, Evelyn Grant and Website: www.impulse- Peter-Lukas Graf Sendal, Japan Julie Murray with Kathron music.co.uWoxford-fluteshtm Concert 27 August 24 - 26 July 2000 Sturrock, John Alley, Gillian Tingay Bach-Academy Sendal, 9-7 Summer Flute Workshop, London and Justin Pearson 12 - 17 August 2000 Tachimachi Aoba-ku 980-0822, Ann Cherry, Jackie Cox, Thea Information: Anna Noakes, Lower Hayne Flute Course Sendal Japan Cramp, David Oliver 'A Breath of Fresh Air', With Michael Cox Tel: 0081-22-268 5706 Royal Russell School, Croydon 98 Marlborough Road, Michael Cox's exciting and Fa: 0081-22-2222952 Course Director - Susan-Mary London N22 8NN intensive flute course offers very Whittaker TeVfax: 0208 888 9005 high levels of individual attention 19 - 24 September 2000 Three day non-residential course E mail: [email protected] to a small group of advanced Peter-Lukas Graf designed to cater for flautists of all students. There are one-to-one Danzig, Poland abilities, Grade I and above. Adults 31 July - 5 August 2000 lessons and coaching, orchestra Concert 23 September especially welcome. An opportunity Peter-Lukas Graf technique and chamber music Akademia Muzyczna im. Stanislawa to play and learn in a friendly and Amsterdam, Holland sessions. The aim of the course is Moniuszki, ul. Lakowa 112, P-80743 stimulating atmosphere. Each day International Music Sessions, to combine natural and artistic Gdansk, Poland Tel: 0048-58-300 will include flute choirs, chamber P.O.Box 250 NL1860 Bergen inspiration. 92 01 Fa: 0048-58-300 92 10 music sessions, informal Tel: 0031-72-582 1300 Information: Lower Hayne Barton, concerts ....and more! Fax: 0031-72-582 1299 Ashill, Cullompton, Devon EX15 30 September - 1 October 2000
Course Fee S45 ~ ~ ~- ~~p~~ ~~~ ~ 3NL. Fax: 01884 841968 AWT Conference Weekend at Information: The Course Director, 31 July - 9 August 2000 Little Benslow Hills, Hitchin 52 Red Post Hill, London, SE24 Eighth Annual Flute Workshop 19 - 23 August 2000 Association of Woodwind Teachers 9JQ. Tel: 020 7733 1328 E mail: with Elisabeth Weinserl & Flute and Chamber Music at Full details available soon - [email protected] FAmund Wachter Chateau Pitray, France programme will include items of For flutists, teachers, students and Atarah Ben-Tovim, Julie Wright interest to general and specialist 24 July - 4 August 2000 amateurs in Selianitika, Greece. Come and play chamber music by woodwind teachers with leading Summer Music on the Shannon Level and age not limited. Telemann, Bach Suite plus trio professional speakers. University of Limerick, Ireland. Interpretation, style, chamber sonatas. All levels, ages 16+. Information: Bernard Parris, Flute orientated summer school music, flute choir, technique, how Information: Julie Wright, Tel: 01502 723493 with international faculty including to practise, how to teach ... 41 Devon Avenue, Sheena Gordon, Chris Lacey and Contact: Andreas Drekis, Twickenham TW2 6PN. 21 - 28 October 2000 Tony Ovenell. Hellenikon Idyllion, Gr-25100 TeVfax: 020 8241 7572 The Fifth Junior Flutes en Flute Choirs, Wind Band, Chamber Selianitikamgion, Greece. Vacances in France Music with strings and piano. Lots Tel: t30 691 72488 22 - 27 August 2000 Plus student Mistress Class of concerts in magical places. Fax: +30 691 72791 Masterclasses with Susan Milan Atarah Ben-Tovim, Julie Wright Options to learn Irish Set Dancing, E mail: [email protected] West Dean College Children aged 10 - 19, all grades. Art, Music Theatre etc. Information: Elisabeth Weinzerl & Intensive study of performance, A half term holiday of fluting hard Contact Tony Ovenell, Clare Music Edmund Wachter, Magdalenstrafie technique and interpretation for work, fun and French conversation. Makers, Bank Place, Ennis, Co. 36, D-80638 Miinchen, Germany. flautists from Grade V upwards. Chaperoned train travel. Clare, Ireland. Tel: +49 (0)89 155492 Masterclasses, private and group Interaction with French children. Tel. +353 65 6842480 Fax: +49 (0)89 157 5497 tuition. 24 places available for Information: Julie Wright. 41 E mail [email protected] or E mail: weinzierl-waechter@t- performers. Observers also Devon Avenue, Twi~k~nhamTW2 www.iol.ie/-cmmacto online.de welcome. This course is part of a 6PN. TeVfax: 020 8241 7572 summer programme at West Dean. 1 24 July - 1August 2000: Course I 5 - 11 August 2000 Residential or non-residential. The BFS has generously been sent 3 - l1 August 2000: Course I1 The Jonathan Snowden Information: Rosemary Marley, a comprehensive listing of world Wiam Bennett International International Flute School West Dean College, West Dean, wide summer schools by the Flute Summer School Bath, Wiltshire Chichester, West Sussex P018 OQZ National Flute Association Inc. Bookham, Surrey Information: Jonathan Snowden Tel: 01243 811301 Our special thanks to Grace Petree. Information: William Bennett Flute School, 23 Egerton Gardens, Fax: 01243 811343 Due to space restrictions there International Flute Summer London W13 8HG E mail: [email protected] follows a chronological listing of School, 50 Lansdowne Gardens, TeVfax: 020 8998 7788 Website: www.westdean.org.uk flute summer schools. Any reader London SW8 2EF E mail: [email protected] wishing for full information on any Tel: 020 7498 9807 23 - 31 August 2000 of these courses are asked to send Fax: 020 7498 1155 6 - 12 August 2000 In Search of Inspiration a request in writing to the Editor, In Search of Inspiration Wissam Boustany enclosing a stamped addressed 29 July - 4 August 2000 Wissam Boustany Penzance, Cornwall, envelope. The BFS accepts no Just Flutes at Woldingham Victoria, Vancouver Island, Canada Information: Wissam Boustany or responsibility for the accuracy of Clare Southworth, Michael Cox, Information: Wissam Boustany or Kate Revell: these listings. Editor Daniel Pailthorpe, Helen Brew and Kate Revell: Tel: 020 7385 5569 ~nipilcd I,!. (;r;~ce Petree - .\l;lstcrcl;lss Reporter
Thefol/mitrg tnnstercIass m Tic..\il/ionnl l~lt~tr~lssoriation, lnr., for its Fltitist Qtinrt~rlytnn~axitlc, ntrd is used pcrltiissio'11. CHRONOLOGICAL PATRICIA GEORGE - PATRlClA GEORGE - \VIGGS - Late June CONNECTICUTNANC JlLL FELBER - Surrey, ENGLI\ND August 7 - 19 INDEX June 14 - 17 June 24 -July 30 llouston, TEXAS Y CI,E\V, LINDSAY July 18 - August 1 Santa Barbara, JAN \'lNCl Pocatello, IDAHO Sewanee, TEWESSEE JULY FUGER, BARBI\RA Bonefro, ITI\LY - CALIFORNIA - JACOBSON -July 11 - July 30 - August 5 TREVOR \WE - PATRlClA SPENCER MICHEL DEBOST - JOHN BARCELLONA - Saratoga Springs, NE\\' JlLL FELBER - June 14-18 TRE\'OR \\'YE - FLORIDt\ER\,,N15 Lakeland, July 21 -August 6 March 26 June 25 -July 2 July 1 - 9 YORK Au@t 7 - 25 Annondale - on - Oberlin, OHIO Santa Barbara, Wakatake, Ito City, Fairbanksl Hudson, NE\\' YORK \\rrocaw, POLAND NONROE,JEFFERY r\Ll\sKA KERRY \\'I\LKER, CALIFORNIA JAPAN ZOOK - July 11 - 15 ELENA DURAN, BRADLEY GARh'ER, et MUSIQU~en JULIUS BAKER, GEORGE POPE - REBECCA ANDRES, Rochester, JENNY BROOIL5, KATHERINE HOO\'F,R JACQUES ZOON, MAY June 16 - 21 hlEDITERRAh'EE - hIICIIIGANTREVOR JONATI1AN RISLUER, JULIUS BAKER, July 2 - 9 -July 30 -August 4 PETER LLOI'D, SUZW Akron, OHlO RUDOLPH \\W -July 13 - 22 SANDb\ SEEFELD, Danl~~~ry, IWTHERINE KEMLER, 'IoRoCCo Sion. S\\'ITZERLAND ALEL\ STILL -July ASSOCIATION OF JEANNE BO\\?L\IV, JlLL CONNECTICUT ANDERS WUNGr\R TllE AMERICAS - JAN BOLAND SUS&, ROIIL - 22 August 5 ' CHAPELON - BAYTRESSER -June FELBER, MICHELE - - ELlShBETH May 26-29 17 25 Ab\MSCO, JACK July 8 - 14 Stratford-Upon-AVOII, r\ufiost 7 - 13 Cincinnati, OHlO - Cedar Rapids, lO\\N i;$ifii,2iE\\r ENGL,\ND \\'EINZIERL, EDMUND Oriord, ENGLAND New York, NEW YORK \\'ELLBhUhl - \\rACIITEII - KElTH UNDER\VO( June 25 -July 2 \\'ILLIN NORTHERN July 31 i\ugust 9 JULIUS BAKER - PHILIP DUNIGAN - Cincinnati, OHlO JEANNE - - hlay 25 - June 3 June 18 - 21 bIONTGOIIERY - - CALIFORVIA FLUTE Selianitika, GREECE Aug~~st10 - 15 Abiquiu, NE\\' July S - l6 CMlP - July 22-30 Danbug, \\'inston-Salem, PATRICIi\ HAWER - July li - 29 FLOOT INFERNO : MEXICO NORTH CAROLINA June 25 -July 1 College Park, CONNECTICUT bLI\RYLtWD YORKLake Placid, NE\V &,"$NW KIMBERLY \\'ALTER- JEANNE New London, CLARKE, CLAIRE SUSAN MILAN - JlLL FELBER - CONNECTICUT BMTRESSER - June IS - 25 ROBIN FELLO\\'S MARY ffi\REN PETER LLOYD, JOllNSON - Late July August 13 - 18 hlay 29 -June 2 KATHLEEN KRAFT - July 9 - 14 CLARDY - July 17 - 22 \\'ISSAM BOUSTANY, Houston, TESI\S Schloss \\'eikersbein~, tlammelborg, Cincinnati, OHlO \\l~itewater, RUTH XIORLEY - GEILCW June 25 - July 1 Crested Butte, AUGUST GEIL\,LwY JULL4 LARSON - San Rafael, \\ISCONSIN CO1,ORADO July 23 - 30Perthsliire, MICHEL DEBOST, June 18 - 23 CrILIFORNIA SCOTLAND \\'ILLlhh.I BENNETT - MRY KAREN hluncie, INDIANA PHlLlPPE BERNOLD, ROBERT DlCK . \\rILLLILM BENNETT - CRAIG GOODhAN CLARDY - VINCENT LUCr\S, rZugust 3 - 11 August 2 l - DONALD PECK - July 17-21 July 24 - August Surrey, ENGLAND &lay30 -June 4 ZDENEK June 26 - 30 hlARZlO CONTI- Peterboro, NE\\' ISurrey, ENGLAND September 2 Denton, TEXAS BRUDERHANS - Chicago, ILLINOIS July 10 - Allgust 6 HtL\IPSHIRE JULIUS BAKER - Geneva, June 20 - 29 Nice, FRANCE MARINA PlCClNlNI - 1\ugust 5 - 10 SWITZERLrbVD rnE _ Nove Hrady, CZECH TIh!OTHY DAY, \\'ALFRID KUJALA - July 24 - August 2 JMRY KAREN Danbury, \\,,L OFFER~IIWS. LEONE BWSE, REPUBLIC JEMTNE July 17 - 21 Evanston, Zurich, CONSECTICUT BAXTRESSER - CLr\RDY - July 10 - 15 ILLlNOlSGERARDO S\\'ITZERLAND r\ugust 21 - 26 THOMAS PETER LLOYD - Crested Butte. Ccnes, BELGIUM ROBERTELLO, June 27 - August l5 LE\?: JOSEPH DEL JONATHN June 20 - 27 Santa Barbara. COLORADO PRINCIPE - Julr l7 - LEONE BWSE - SNO\\'DEN - CAROL \\'INCENC - Toledo, OHlO July 27 SUSAN SIILAN - June l - l8 CALIFORUIA ' RUTH ANN hlcCLAIN, August 19 Siena, August 5 - 11 August 22 - 27 ITALYJ0.W SPt\RKS Los t\ltos, Bath, ENGLAND Sarasota, FLORIDA MARINA PlCClNlNl - FLOOT FIRE : CONSIE BEACIl - CALIFORNIA \Vest Sussex, June 21 - Julv 11 KlblBERLY \\'ALTER- July 10 - 14 \\'ALFRID KUJALA, ENCLt\ND ZDENEK Colorado Springs, hlemphis, CLARE BRUDERHANS - CLARK, CLAIRE BONITt\ BOI'D, AMY SOPHIE CIIERRIER, COLORADO JOHNSON, HELEN TENNESSEE SOUTIIWORTH, HAMILTON, RANSOM MAGDALENE .lune.~~~.. h- - ..1.5 MELEN BREW, \\'II,SON - Nove Hrady, CZECH \\'ILLIAI\I BENNETT, BLACKBURN, JONATHON LANDELL LIARTINEZ, \'INCENS JEWIFER hlcKENZIE, h.IICr\EL COX, REPUBLIC STEPHEN PRESTON - July 10-14 YOWUSAV DEAVER DrWlEL I'RATTS - August 26 - June 24 - 30 DEBRr\ JOHNSON, Richn~ond,\'Elt\lONT Lo;don, Ontario, Septen~herI0 KATHERINE BORST Pr\TTI GRUBBS, St\RA -July 18, 20, 25,27 P241LTHORPE,JAN CMADA \\'ildacres Retreat, Long Island, NEW CI,t\RIIE Palma de hlallorca, JONES -June 11-15 Little Switzerland, FREDERICIIS. EAM CAROL \\'INCENC - - SPAIN July l0 - l5 Norfolk, YORK July 29 - August 4 JEANNE Columbus, OHlO NORTH CAROLINA BrUTRESSER -
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Northampton Flute Day ~ingma-system@PFlutes wooden-ftzltes 7&May 2000 Hoofdstraat 10 - 9444 PB Grolloo c The Netherlands With Telephone & Fax: + 31 592-501659 - Email: [email protected] William Bennett And Clifford Benson LOWER HAYNE FLUTE COURSE In Association with The Northampton Flute Choir At MICHAEL COX Northampton Music School 125-129 Kettering Road August lZth- 17th2000 Northampton AN INTENSIVE, DEMANDING AND EXCITING COURSE For Details Contact DESIGNED FOR A SMALL GROUP OF ADVANCED STUDENTS Anthony Betts 01604 494336 or Details from: Patsy McNally 01604 405965 Lower Hayne Barton, Ashlll, Cullompton, Devon EX15 3NL SAE to 27 Farndon Close NORTHAMPTON NN3 8TJ Fax 01884 841968
13 ichard Adeney is an impossibly him that I lost my place. This was young-looking octogenarian. wonderful playing, I thought; unselfish, This mysterious man, one of sensitive, controlled, completely devoted my musical heroes when I was to making the best of the music before Ra teenager, never had his photograph or him. bert Bi@o biography on his many recordings so I Richard Adeney was born on 25 grew up knowing him only by sound. January, 1920 to well-to-do, artistic Richard Adeney is one of the great flute parents. His father, the artist Bernard players of the twentieth century, but Adeney, had been a close friend of the today, astonishingly, many younger painter LValter Sickert, after whom players have not heard of him. Richard was named. (Sickert's middle I came to know his playing through name, by which he was known in later the wonderful recordings he made with life, was Richard.) Bernard Adeney left his the Melos Ensemble and the English first wife, Thkrhse, after a brief marriage, Chamber Orchestra. He was the very and then introduced her to Sickert, who opposite of the flashy soloist, concerned married her and apparently lived happily only with presenting the music in the best ever after. Bernard's relationship with way. When I came to Britain in the 1970s Richard's mother Noel Gilford, also an I heard him play live for the first time, and artist, began before his divorce from when I played with him in an orchestra Thkrhse, and although his parents once I was so carried away listening to married soon after he was born Richard f
Robert Bigio
1 Richard Adeney at Eighty I --
Sir Malcolm Saqent dr(1w11/Royal College of Music where he be allowed to stay on. the writer Denton Welch. was taught by Robert Murchie, the first After College came the Second World Richard grew up in Haverstock Hill, flute in the BBC Symphony Orchestra. War. Richard's parents were pacifists and Hampstead. He was sent first to a prep Murchie was an amiable man (more so in Richard had similar views, so he applied school in St. John's Wood, which he the afternoon when he was drunk than in for conscientious objector status to avoid hated, and then to The King Alfred School the morning when he was still sober), but war service. He expected to be put into a in Hampstead. At King Alfred's he was Richard hated the sound he made and non-combat position, possibly in the encouraged to make recorder-like rejected most of what he taught him. He is ambulance service, but although he had a instruments from bamboo, an activity now embarrassed about this as Murchie weak case as he was not a member of a that became an obsession for him. "I had in fact been kind to him. Murchie's known pacifist group such as the Quakers spent hours each day cutting their finger- playing career had gone into decline after he was given an unconditional exemption holes to tune them and changing the he been unforgivably rude to Toscanini from military service. He still cannot shape of their embouchures to make them during a rehearsal. Richard's explain why this happened, but the sound sweet," he says. After King Alfred's embarrassment about his attitude to decision left him free to pursue his he was sent to Bryanston School in Murchie verges on guilt as he remembers musical career at a time when there was Dorset, where he acquired a battered old an incident some years later when less competition than usual. flute and was given some lessons by a Murchie was booked to play second flute At the beginning of the war Richard local bandmaster. He was unhappy at to him in a performance of Verdi's Requiem. and his family moved to Northampton, Bryanston-he hated all the physical "I was embarrassed at his being there, my where his father's art college, the Central exercise, disliked the all-male atmosphere recent teacher, and annoyed that he School of Art, was evacuated. and was too private a person to enjoy played too loudly and told him so, being Northampton was the home town of living in a large dormitory-so he was totally insensitive to his humiliation at Richard's great college friend Malcolm moved to Dartington I-Iall, a co- our reversal of roles." Arnold. The two of them put on a concert educational school where he had a room During his time at the College at which they performed a sonata for flute to himself. During his time at Dartington Murchie had told the Principal that written by Arnold, the first of many works he had a few flute lessons from John Richard would never get on as a flute he wrote for Richard. It was rather good, Francis, who got Richard his first flute, a player and that he should try another Richard remembers, and is probably now Richard Adeney at Eighty
collecting dust in an attic in changed?) Richard genuinely loved bitterly resented his habit of putting Northampton. In 1941 Richard joined a playing, but he would never have players down. Richard regarded Sargent as short-lived orchestra in Bournemouth, admitted it to his colleagues who a joke, and not really a good conductor. Sir grandly called the Wessex Philharmonic, pretended it was just a job that they hated Thomas Beecham, on the other hand, was conducted by Reginald Goodall. The same as much as they might have hated loved by all. Beecham had used his year Malcolrn Arnold joined the London working in a factory. One of his colleagues personal fortune to provide employment Philharmonic orchestra as second insisted in telling him, "The conductor is for musicians, and he had an trumpet, and when the first flute, Geoffrey your natural enemy." Playing in an unaccountable skill in bringing the best Gilbert, was called up for military service orchestra. accordinc to this same out of his players. Only under Beecham Arnold persuaded the management to give colleague,'left you eithver scared to death would the hard-bitten cynics admit to Richard a fortnight's trial. The second or bored to death. He had almost no enjoying their playing, and Beecham flute, Arthur Ackroyd, moved up to first orchestral experience before joining the always managed to get the best out of the and Richard joined the LP0 as second LP0 and was really learning his craft on players. flute, aged twenty-one. A year later the job, as first flute, still in his early After the Second World War, the LP0 Ackroyd moved to the Liverpool twenties. worked with almost every great conductor. Philharmonic Orchestra and Richard It is interesting to hear Richard's Wilhelm Furtwangler was disliked because became first flute in the LPO, a position views on the conductors he played for of his perceived Nazi connections he would hold for eighteen years in all, during the 1940s. The LP0 management (although Yehudi Menuhin campaigned on with a break throughout the 1950s. worked very hard to get many of the best his behalf and showed that he had Richard must have been an odd conductors to work with the orchestra. I behaved well during the Nazi era). character in the wind section of the LPO. was astonished to learn that Richard had Furtwangler was not successful with the He was definitely "officer class", from a played under Sir Henry Wood, who orchestra as he had been used to the well-to-do family that had sent him to founded the Proms in 1895. "He was a highly-disciplined Berlin Philharmonic expensive private schools, whereas most small, fat, waddling, shabbily dressed and the LPO, flabby by comparison, really of his colleagues were working class ex- Cockney," he remembers, who although needed a good orchestral trainer. Such a army bandsmen. It was a shockat first, he he had transformed musical life in Britain trainer was Victor de Sabata, described by remembered; a bit like going to live in an was really not that good a conductor. Sir Richard as looking like a sad, underfed alien culture or with a foreign tribe. He got Adrian Boult was "a gent", and although Italian waiter off the podium, but on well with them soon enough as he was he was a buttoned-up upper-middle-class becoming athletic, muscular and balletic always trying to break down class Englishman who found it difficult to relate on it. De Sabata was the LPO's most-loved barriers, but in the days when working to people individually, he found it easy to conductor in the 1940s. Another great class people of his own age were still likely handle large groups. Sir Malcolm Sargent orchestral trainer was Erich Kleiber ("a to refer to him as "Sir", this was not easy. was loathed by many players, who never little, bald, Napoleon of a man"), who had A greater problem in the LP0 was the forgave his remarks that musicians played infinite patience in getting everything just cynicism of the players. (Perhaps little has better on empty stomachs and who right. Bruno Walter, after IUeiber, was dull,
I Richard Adeney at Eighty I
P"", -':-~-,y------
although on listening to recordings made the Mediterranean sunshine. The novel festivals of modern music in Britain and by the two men Richard now prefers was never written and he returned to abroad, as well as works from the standard Waiter's performances. The legendary London, as he admits, "Hair bleached repertoire. (The Melos recordings of the Sergiu Celibadache is remembered by blond, face handsomely sunburnt and so Debussy Sonate for flute, viola and harp Richard as a friendly, accessible young vain when playing concerts again that I and of the Ravel Introducton andAllegro are man, a terrible fantasist-and an appalling thought audiences were admiring me." for me still unsurpassed.) He often played conductor. In the 1940s the LP0 worked The LP0 had not managed to replace flute concertos, and while he was with many other eminent conductors him, so he went straight back into his old successful in his own country he never including Charles Munch, Ernest job. He was also appointed professor at achieved the international success of Ansermet ("an early version of Pierre the Royal College of Music but thought his Jean-Pierre Rampal. Boulez; another 'neuter computer"'), students were so second-rate that he quit Late in the 1950s Richard owned a Serge Koussevitsky and, as a last-minute after one single afternoon of teaching. Triumph TR2 sports car. Driving fast one replacement, the very young Leonard "That was my complete academic career day he noticed thumping noises from the Bernstein. begun and ended." He found orchestral engine, later diagnosed as broken engine After the war Geoffrey Gilbert life tedious and, encouraged by his friend mountings that could have given way with returned to the orchestra and he and the oboist Peter Graeme, left the LP0 and potentially fatal consequences. Soon after, Richard shared the first flute duties. became a freelance player. Throughout his friend the great horn player Dennis Richard, with Gilbert's wife Marjorie, the 1950s he was the leading solo and Brain, who had the same type of car, was would arrange how best to divide the chamber music player in London as his killed in an unexplained car crash. concerts between them to their mutual principal rivals, Gareth Morris, Geoffrey Richard is convinced that Brain's car advantage. Orchestral life became much Gilbert, Douglas Whittaker and Gerald suffered from the same fault and came off less demanding on Gilbert's return as Jackson were all busy playing in the road when the engine fell out. Richard had then to do only half the work. orchestras. During the 1950s Richard Also in the 1950s Richard began to Standards improved, too, as Gilbert was a played in many of the chamber orchestras work with Benjamin Britten, performing great teacher who got the musicians in London such as the London Mozart in many first performances of his works around him to play in a more disciplined Players, the Boyd Neel Orchestra, Karl including his church operas such as way. Haas's London Baroque Ensemble and, CurIm River, and in the first performance In 1949 Richard, having briefly later, the English Chamber Orchestra. In of the War Requiem. In 1961 he rejoined the attempted marriage, fed up with playing in the same period he joined some of LP0 where he remained until 1970, the orchestra and indeed with being a London's leading players to form the taking time out to work with the English musician, quit the LPO, got on a Melos Ensemble with whom he made Chamber Orchestra and the Melos motorcycle and drove to France with a many excellent recordings, some of which Ensemble. vague idea of writing a novel. For five are still available. The Melos Ensemble In spite of his early experiments with months he travelled, enjoyed life, enjoyed played some of the newest works in bamboo recorders, Richard Adeney has I Richard Adeney at Eighty I
never been much interested in play his best, and complaints were Baroque Ensemble. Icarl I-laas, conductor. Bach: Brnndenbri~Conceflos with English experimenting with his flutes. He played a beginning to be made. During a disastrous Chamber Orchestra, Benjamin Britten, wooden Rudall Carte flute with a gold (for him) tour of the USA with the London conductor. headjoint until 1958 and only changed to Symphony Orchestra he was made to give Bach: Brnndertb~trgConcertos with English Chamber Orchestra, Raymond Leppard, a metal flute by chance. Me had been up his first flute place, and on tours with conductor. engaged to play the Debussy Sonate in a the English Chamber Orchestra he was Bach: Sriite in B minor with English Chamber live BBC broadcast from a hall in central Orchestra, Raymond Leppard, conductor. beginning to feel uncomfortable about his Bach: Soite itr B it-linor with London Baroque London one day at 6.0Opm. On arriving playing. At the age of seventy, not wishing Orchestra conducted by Hermann Scherchen. an hour early he discovered that he had to become a declining former professional Bach Triple Concrrto in A nrittor Philomusica of London. Thurston Dart, conductor. left his flute behind. There was no time to playing in scratch orchestras like some of Bach Triph Concerto in A mitror. English get home, so he ran to Rudall Carte's shop his colleagues, he sold his flutes and gave Chamber Orchestra. Raymond Leppard, and asked to borrow an instrument. NI up playing altogether. When asked how he conductor. Beethoven: Sentrode with Emmanr~elNunvitz, they had was a silver one, so he used that now spends his time he replies that he is violin and Cecil Aronowitz, viola; LVeher: T1io for the broadcast. The instrument educating himself. He studied philosophy with Terence \Veil, cello and Lamar Crowson, impressed him so much that he kept it piano. (Melos Ensemble). at Birlrbeck College and now attends Holst: Tertetto with Peter Graeme, oboe and and has played metal flutes ever since. lectures on a wide variety of subjects. He Cecil Aronowitz, viola. In the 1960s Richard discovered a has written his memoirs, which are Norman Forber ICay: Miniat~rreqrianet with Stephen IVaters, clarinet, Dennis Brain, horn great talent for photography. I-Iis fascinating (and deliciously scandalous). I and Cecil James, bassoon; Strauss: St~itein B photographs have been exhibited and hope he has them published. Richard flat Arnell: Serenade. London Baroque published, notably in AndrC Previn's book Adeney at eighty is fit and in good health. Ensemble, conducted by Karl Maas. Mozart: Conceno/or/lrr/eandh~with Osian Orchestra. Also in the 1960s he began to do May he have many more years. W Ellis, harp; London blozart Players conducted 'I by Harry Blech. volunteer work for the Samaritans, Richard Adeney: a select discography manning a telephone once a week to help blozart: F/~i/eCotrcerfos and Ar~dnntein C. English co~npiledby Christopher Steward Chamber Orchestra. Raymond Leppard, people unable to cope with their lives. He conductor. was a Samaritans volunteer for twenty- 78 rpm recordings blozart: Flute qttarfets. Melos Ensemble (I-Iugh 0 Bach: Qnitollis (from Mass is h) with Maguire, violin; Cecil Aronowitz, viola; five years until he was seventy, when he Margaret Ritchie (soprano) and Jack Ellory Terence \Veil, cello). quit for fear of not being quick-witted (second flute); conducted by Lawrence hlozart: Sortata ir, F (K. 13); Schubert: enough to help. Collingwood. Irrt,nd~~rtionand Vorintiorrs; Beethoven: Var?ntiorrs I-Iandel: Triosorrntnin F Op. 2, no. 5 with Op. 107 nos. 3 and 7; Beethoven: Sorratn. lan Richard speaks with candour about Patriclc Halling, violin; Basil Lam, Brown, piano. his decline as a player. He developed harpsichord; Terence \Veil, cello [also Nielsen: LWtrd Qtiintrt and Janacek: Mlndi with hearing problems in 1970, so he left the available on LP in Volume h of The History of h,lelos Ensemble. [Available on CD]. llllt~i~ill SOI~R~. Pergolesi: Concerfo in G with London Baroque LP0 for quieter work (mostly in the LPs Ensemble, Karl Haas, conductor. English Chamber Orchestra). His hearing 0 Malcolm Arnold: Two Fltite Concertos with Ravel: Ir~trod~iclio~tand Alleg,a; Debussy: Sotrota Bournemouth Sinfonietta, Ronald Thomas, /or/lrtte, viola and hnq; Roussel: Smnnde; problems were solved, but he felt that he conductor. Ropartz: Prdlride, Abrirre et Chansons. Melos was having to work harder and harder to 0 Bach: B,andorbriq Cotrrerto 5 with London Ensemble. [Available on CD]. Michael White Musical l nstruments
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hen Hannah Lang asked raga music. Additionally one has a collection me to produce something of bansuris of various sizes for playing in about the bansuri, the ensembles at whatever pitch is required. transverse, bamboo flute The sound of the bansuri is turning up in played in northern India, I a lot of places these days, played in both the wthought I'd start by saying what has really traditional manner, for Indian classical, folk appealed to me all these years since I started and popular genres, and in fusion, playing in 1965. Beyond the ragas worldbeat, advertising jingles, jazz, etc.. My themselves, which are a source of infinite particular interest continues to be the discovery and challenge to me; beyond the extensive, improvised renditions of the sound, which is deep and full but also rises north Indian classical melodies that come to a high coloration; I think it is the fact that under the rubric of 'Hindustani music,' you control the thing with your fingers right although I have enjoyed opportunities to use on the tube. No mechanism comes between bansuris of various sizes for a number of you and a world of shading pitch as well as other purposes, including some jazz cuts, coloration. This lack of mechanism and the incidental music for the stage, fact that nature presents a tube that requires accompanying dance, and jingles. The little working to become a flute also mean instrument naturally does best in a sort of that, with some experience, one can make Asian context. Once, when working as a one's own instrument. flutist in an orchestra in Chicago for a local Of course, there is a price that bansuri ballet company, I was able to play the players pay for such intimacy with the piccolo part of Tom Takemitsu's Bugaku on a production of flute sound. It is the need to very small and very shrill bansuri, producing stretch out the tendons of the hands and an effect that, I felt, was much more what keep them that way. The lower-pitched an Takemitsu would have had in mind than a instrument one wishes to play, the wider one keyed piccolo could possibly have done. must stretch one's fingers, and one does That was fun! reach a practical limit at a certain point. For These musings aside, I want to give you most players, the limit is an instrument with in this article a brief history of the bansuri, a tonic of about E natural above middle C, especially of its rise in the last couple of giving a lowest note of B flat beneath it (or A generations, and also speak a bit about the flat if one turns in enough). The need to topic of "Raga: What is it?" stretch out the tendons and the decided The bansuri is indisputably an ancient advantage that accrues to a person with long instrument, being pictured in Indian temple and broad fingers are probably factors which sculpture for certainly a couple of thousand contribute to the idea, strongly held by years. As mentioned above, the unkeyed many in India, that the flute requires a flutes of Asia required no great level of strong man for a player.' Yet women do study technological skill to produce, other than a and perform on bansuri. The fact is that my good ear for tuning and a steady hand for fingers are neither longer nor broader than burning a hole into a bamboo tube. The those of many women, since I am just not ancient bamboo flutes have not survived that big a physical person. Ultimately, the except in iconography. But the recent find, unquenchable desire to play and play well, described in the September 23,1999 issue of along with a good ear and a modicum of the journal Nature, of keyless Chinese flutes physical aptitude are the principal made of the wing bones of red cranes shows ?S beauty playing Western appropna/e wanmenefltite! r requirements. how truly timeless the notion of the Once one knows the fingerings of a unkeyed, transverse flute is. The whet I he M aprinn'palplayer in some ofthe Gig S:prominent ensembhs. He recitailw on bansuri of any size, those same fingerings of instruments were judged to be 9000 years n knsrrri made by himself; when opportunities course apply as well to any other. A player old by carbon dating and one, in playable are present. These hme inc/udedfhe 1990 will have his or her own pitch (normally condition, was found to be in good tune by nnd 101 .,99 conventions ofthe British Flute Sociem. determined by the largest instrument he or contemporary ears! she can comfortably control) for soloing in In India the beloved Hindu deity, . - - -- - A Bit about the Bansuri l - -- I
Krishna, is regularly depicted playing the accompanists to vocalists. The many instrument that enables the player to deftly bamboo flute. His flute playing is connected, classical song texts referring to Krishna's manage all the swooping glides and delicate in the relevant stories, with his mischievous flute notwithstanding, the flute was shakes the music requires. The nature of sporting with the milkmaids by the banks of considered suitable only for folk music. this grip also enables the player to add a the Jamuna River. This gives the music of Into this situation stepped a young man seventh playing hole (at the bottom) to the the bansuri (or of its south Indian named Pannalal Ghosh. Born in 1922 in traditional six. This contribution of Pannalal counterpart, the veenu) great resonance to Barisal, a village in what is now Bangladesh, Ghosh gives the instrument not only an the Indian listener. Many song texts speak of the boy Pannalal learned sitar from his extra half-step of range on the bottom, but the irresistible charm of Krishna's flute, and father but picked up the flute on his own. also adds a great deal of added control in many an Indian dance depicting his charm About this rough-and-ready fellow who also managing note combinations and glissandi calls for the flute to be played as won prizes as a wrestler, one may surmise around the area of the register break. accompaniment. As a flutist from the West, I that he heard the bansuri played by some Ghosh was able to combine all the truly appreciate the appreciation the flute peasant- or boatman- types that certainly learning he gleaned, his tireless practice of finds in Indian civilization, due to this abounded in that green and low-lying place. the flute, and research into its design in important religious and cultural resonance. He either learned the rudiments of playing such a way as to create a performance style This resonance notwithstanding, the from them or else picked them up on his that, itself, won him recognition as a major flute in north Indian classical music had own. Eventually, to cut a long story short, as voice in Hindustani music! This fallen on hard times by the twentieth a devotee of Krishna he reasoned that the accomplishment is truly stunning to me. In century. Further, it is hard to say how and bansuri must be suitable for classical music a generation he took the instrument from when the flute took this downhill slide. As and made it his mission in life to prove it. being nowhere (in terms of classical music) with so much of the history of Indian music, Ghosh proceeded to learn music from a to the point of being respected by most concrete practice is lost in the mists of succession of eminent teachers. His final connoisseurs and loved by (literally) time. The written history begins with texts and most important teacher was the great hundreds of millions of listeners (on ANIndin from the 4th century AD, in Sanskrit and master of the sarod (an important and very Radio). His music expresses the depths of other languages. These mainly describe beautiful plucked instrument derived from Indian musical culture in ways that few various theoretical systems, as well as the the central Asian rzbab) Ustad4 Allaudin musicians in any medium have been able to forms of various ragas. They also devote Khan. He was the father and teacher of the equal. Yet everyone who knew him says that some attention to practical music-making great contemporary sarodist, Ud. Ali Akbar he was an extremely affable and gentle man. and to organology (the study of the Khan and teacher of the great sitarists, I believe a life like this should be an example instruments of a music culture).' There are Pandit. Ravi Shankar, Nikhil Banerjee and for every flutist, especially in terms of also records of the instrumentation of the many other important musicians. The great setting high goals for the musical Mogul emperor Akbar's instrumental Ustad's musical heritage (which stretches effectiveness of our instrument. Pannalal ensembles. They speak not of the inclusion back to the time of Akbar) his musical Ghosh, most unfortunately, died of a heart of the flute.Wl told, we don't know just to approach and his ability to mould disciples attack in 1959 at the age of 47. However, he what extent the flute was used as a into dominating performers are legendary. had created the mould and many have performance medium in northern India over As he developed as a musician, stepped forward to try, with varying degrees the many centuries as raga music developed. Pannalalji" carried out inventive research in of success, to fill it. What is known is that by the beginning flute making and flute technic. He tried My personal favourite in the next of the twentieth century, all the important various materials but returned to bamboo generation is my guruji", Pt. Devendra schools of north Indian music consisted of due to the character of sound it lends. Murdeshwar. Murdeshwarji is a brilliant singers and players of stringed instruments. Convinced that a large flute was necessary performer, theorist, teacher, flute maker and Of the strings, the pluckers ruled the roost, to create the profound atmosphere he was raconteur who has spent his life pursuing and the bowers had to settle for the role of after, he developed the particular grip of the music and hanging out with the leading I A Bit about the Bansuri I
players of good repute include the up-and- only convince people that raga music isn't coming Ronu Mazumdar, Nityanand very expressive (which is far from the truth). Haldipur, Debu Prasad Banerjee, G. S. Therefore, no one should be subjected to Sachdev, Ragunath Seth, and the Americans such performances, even though, as is also Steve Gorn and David Philipson. All are the case with Western classics, such a thing recommended for listening, if only to come unfortunately happens routinely. to understand the different approaches So far, we have not touched at all upon which, inevitably come into being as a the role of rhythm and meter in raga music. tradition develops and expands. As I have It should be said that this is quite an tried to make abundantly clear, I feel that important role, and that the performance of the greatest of all remains the late Pannalal a raga in Hindustani music is not really Ghosh and the greatest living bansuri player complete without some representation of is Devendra Murdeshwar. rhythm-cycles, known as tala. There is a Finally, in this initial traversal of the whole language of rhythm and rhythmical topography of the bansuri world, I'd like to gesture which is shared by the performers of say something about the notion of rak, the raga melodies and by the drummers. It itself, which is the core of Indian classical seems to arise out of the existence of the music. I-Iopefully, the reader's main question cycles themselves, as well as out of dance 1 at this point is, "What is it?" The answer is gesture (which in India is also codified in not simple, and certainly a deep surviving texts from as early as the 4th musical lights of two generations. His career understanding of the term could only come century), and out of many lively folk has embraced recitals in any number of from listening to ragas for some time, elements. So the interplay between melodist major Indian venues, performance tours of discussing them with musicians and music and drummer becomes one of the enticing North America, Germany, the former Soviet lovers and, perhaps, with theorists or elements in a raga performance, Union, recordings and a great number of musicologists, as well. The deepest contributing a great deal to the audience's nationally broadcast recitals in India. He is understanding would come from doing the enjoyment. While the essence and core of the recipient of the highly coveted Sangeet above plus learning with a guru and the raga performance must remain the Natak Award. His music can be both serious practicing the melodies for several decades. melody and its inner sensibility, the general in tone and lively in execution. His Put as simply as possible, I would say role of rhythm is at a much higher level than knowledge of the ragas is encyclopaedic. His that a raga is an Indian modal, melodic in that found in almost any piece of Western compositions are both clever and attractive configuration, improvised in a particular classical music. and they serve as wonderful bases for way, that conveys a specific moodi. This will So raga and tala constitute the eternal improvisation. be conveyed by the correct and inspired duality of Indian classical music, an ongoing I was extremely fortunate to be sent to performance of the required melodic entwining in which, without the other, Murdeshwarji in 1965 when I got a US figurations. Each raga has particular neither is fully complete. The music is both Government (Fulbright) Grant and allowable notes; particular micro-tonal ancient and modern. It is very much alive, expressed a desire to learn the bansuri. He placements of notes and alterations of notes; an evolving tradition with its own dynamic, accepted me on condition that I would stay notes of greater and lesser importance, and its own problems, related to the ongoing for 'several years.' Once I agreed to stay, ascending and descending order, and development of Indic society and to its Murdehswarji did everything he could to articulating structure. Each raga is different interaction with the rest of the world. In this insure that I would continue to get from every other one, although ragas may be ongoing tradition, in both the southern, scholarship support for the course of my related to each other bv certain Carnatic branch and in the northern, first Indian sojourn, which lasted five years. commonalities in their melodic structure. Hindustani branch (which is the one I take Of course, in this improvisatory music, Families of ragas may arise through sharing part in and am writing about primarily), the which is structured on a very high level and a particular mode (including scales that are flute plays a very important role, perhaps a rife with exceptionally fine detail, there is no analogous to our church modes, and others more important one than in Western way a musician can ever feel he has learned with one or more augmented intervals). classics, relatively speaking. The bansuri is a enough from his or her guru. And so I Other families of ragas arise through sharing transverse flute that is simple in form but continue to learn from him whenever and a melodic figuaration within a segment of , demanding to play. However, my experience however I can, most recently during the the octave, while other scale degrees vary. has been that it more than repays any summer of 1999, when I was able to spend a While the music is highly improvisatory, investment of time and effort most couple of months in India studying and composed sections (songs or song-like handsomely, particularly in the realm of performing. instrumental compositions) of raga enabling a free and deep expression of the Murdeshwarji has a son, Anand, who is performances are also a part of a raga human spirit through improvisation. I an extremely talented and up-and-coming performance. The repertory of compositions ' cf Bonnie C. Wade, Imaeine Sound: An bansuri player and raga musician. Anand is also important in preserving the form of Ethnomusicolo~icalStudy of Music. Art has not only had the benefit of the ragas, since classical compositions are ant1 Culture in klughal lndia , (Chicago and London: University of Chicago Murdeshwarji's extensive tutelage and of written in a given raga and express the Press. 1998). on. 89-90. Wade ooints out hearing his practice since birth, he also essentials of that raga's form in a -.pithy and that women are'bepictec~in temple sculpture prior to the 12th century happens to be the grandson of the late effective way. playing transverse bamboo flutes. Pannalalji. This seems to have imbued So the artist's responsibility is to Subsequently, she suggests, perhaps understand the essence of a raga, its under the influence of burgeoning Anand with a wonderful sense of mission, as devotion to IGishna, the tlute playing well as some really obvious talent. particular emotional cast or mood, as god, the tlute came to be ltnown as a There are, of course, other wonderful represented by the notes of which it man's instrument. " cf Richard Widdess, The Raeas of Earlv bansuri players, such as the very well-lmown consists, and to play or sing those notes so lndian Music, (Odord: Clnrendon Pt. Hariprasad Chaurasia. Hariprasadji plays that the raga's mood is communicated to the Press, 1995), p 209. Widtless brings out much of interest to flutists, translating the six-holed flute and didn't have an audience. It may be possible to perform the instructions for playing particular regas opportunity to learn directly in the Pannalal notes of a raga in a way that is on the flute from Sanskrit tests dating grammatically correct but that fails to back to at least the fourth century! In Ghosh tradition. But he is a truly excellent the cited location he discusses flutist with a genuine popular touch. convey the inner mood of the melody. But instn~ctionsfor the use of finger vibrato Another well-known player of the older no one would care to hear such a on the tlute to be found in the Natya Shastra of Bharata, dating back at least generation is Vijay Raghav Rao. Other performance! Such a performance could to that time. Oxford Flute Summer School i'le Queen Js College 77th - 13th August 2000
Peter Lloyd 0Jacques Zoon (to be confirmed) vls~tour webs~tefor latest lnforrnat~on Anders Ljmgar-Chapelon Katherine Kemler Paul Chapman, Sman McCartly Janet Way t9 Clive Conway come directors
The friendliest of all flute summer schools, in the heart of the beautiful City of Oxford. Write for details of our four distinct courses and select the one that suits your talents. Some Bursaries available for ages 15-24 OXFORDFLUE SUMMERSCHOOL Kat~eB~v.-roJ, 26Hyde Green, Beaconsjieki HP9 2ER teL 01494 681566 far: 0118 950 7865 e-mail. [email protected] ktp//www.zmpulse-music.co.uR/o~ord~uteshtm ALL FLUES PLUS Verne Q Powell Flutes@ Inc
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25 A Bit about the Bansuri
"' The main thrust of Wade (op cit) is to adduce shown being used for entertainments of S The suffix ji is an appendage denoting iconographic evidence for the various sorts, but doesn't discuss respect. role of music in the culture of the depictions of bansuri other than as "' The term means teacher but the Mughal period. She discusses the Krishna's instrument. relationship between student and character of the rrarrhat or royal " The term trsrad is an honorific meaning teacher is considered to be one of the ensemble which expressed the power of "master" which is applied by a sort of most important ones a person can have the emperor. She also cites depictions, consensus to muslim performers who in life. by this time, of the end-blown ne'i, a merit it. The parallel appelation for '" The Indian term for this mood is the flute imported from the middle east, Hindus is "pandit". Sanskrit word "rasu" meaning "juice."
OBITUARY influencing him most deeply and shaping his Over the years he performed a series of entire life. Where bansuri had previously been some twenty National Progrnmmes Of Music - considered suitable only for Folk and light ninety minute recitals broadcast nationally. music, Ghosh introduced the large flute and He also offered bansuri recitals on television showed how this keyless tube of bamboo and performed across India at prestigious could be a deeply moving concert instrument. musical events. Pt. Murdeshwar gave concert The young Murdeshwar became his best- tours of Canada, the United States, the former known, most-respected disciple, providing Soviet Union, and the former German bansuri backup for many concerts and Democratic Republic. He recorded on the recordings. Eventually, he also HMV, Nonesuch, and Rasa Music labels. became his son-in-law when he was married Through these activities, Devendra to Sudha, Pannalalji's daughter. After the Murdeshwar became known for his unique master's death in 1959, Pt. Murdeshwar was style. His music combines great seriousness of to become principal Inheritor and upholder of purpose and impeccable architectonics with the Ghosh approach. brilliant execution and virtuosic display. In During the fifties, Pt. Ravi Shankar invited 1987 the Sangeet Natak Akademi in New him to join ANlndia Radio's Vadya Vrinda, a Delhi granted him its prestigious Award, a New Delhi ensemble founded by Shankar. national recognition of his great contribution PANDIT DEVENDFU MURDESHWAR Murdeshwar continued there as staff artist to classical Indian music. Pandit Devendra Murdeshwar, award- and, eventually, as Associate Producer of Pt. Murdeshwar had retired from the winning flutist, composer, flutemaker Music. In that capacity he oversaw recordings Bombay radio station, but, after retirement, extraordinary, and teacher of a number of and broadcasts for - and discussed music with continued to broadcast occasionally and to today's finest players of bansuri (north Indian - three decades of the music's most serve on the national panel which selects and classical flute) died on January 29 in Mumbai, accomplished performers. Thus, he played a grades broadcasters of classical music. Up to India. Pt. h4udshwar's career spanned six strong role in maintaining the tradition - a the end, he continued to teach and make by decades in Hindustani music. comniunity of deeply shared and mostly hand flutes of the highest quality, even as a As a Young man in Bombay during the unwritten musical knowledge and experience. heart condition took its toll. He is survived by 4% Mu&shwar's love of music developed He also wrote sparkling compositions to serve his son Anand, a daughter Mrs. Jaya Kenkere, with exposure to all the major figures of the as vehicles for his and his students7raga a large and loving family, and many devoted day. Pannalal Ghosh was to become his Guru, impmvisations, students. He was seventy-seven.
International Master Class :: at The Jnilliard School 60 1,incoln Center Plaza, New York, NY 10023 June 17 - 25,2000 World Renowned Guest Artists & Lecturers Juilliard Residence Hall room & board available Advanced Participants & Auditors of all levels welc ,,...., Highlights will include: Master Classes on solo and orchestral repertoire. Classes on preparation for competitions and for orchestral and conservatory audition: Lectures on teaching, effective practicing, tone and technique exercises. Special lectures for the amateur flutist. r! CONSPIRACY OF FLUTES No6 AN EXTRAORDINARY COURSE FOR BRANNEN BROTHERS ADULTS OF ALL LEVELS Fl~temders-,Inc. fim beginners to advanced, from cautiow to super-confident at BLOXHAM SCHOOL nr OXFORD The innovative flutes, 26th - 28th August 2000 most Hosted by Atarah B~~-7ivirnMBE Hon D MW ~ZCCO~OS,and head joints Dirctor: Julie Wright B.Ed. Teacher at Trinity College, London in the world.
A warm and wonderful Bank Holiday feast of flutes and fluting for adults at all levels of abiliry. Join us in our sixth year and meet fellow flautists and flute fanatics (more than a third are men!) for this sell-out course with the irrepressible ream of Atarah, Julie and Carolyn Robinson (specialist teacher of adults) - all three famous for their energy and joie de vivre. Atarah has been running courses since 1976 (when Julie was the star pupil). Now in addition to her concert work, she specialises in adult learners and teachers' problems. Course offers ensemble playing day and night! Open classes with unusual repertoire, Flute orchestra, Duet partners to suit everyone. Accompanist available for all. Atarah on interpretation and advice on diplomas. Julie on tone, technique and pice. Carolyn (a late starter herself) on exam tips, performing nerves and breathing. AND much, much more! 58 DRAGON COURT Fun with the Alternative Evening (Atarah's sixtieth birthday part).) where WOBURN, MA01801-1014 anvthing goes, except fluting - from guitar solos to fishnet stockings, and ... 78 1-935-9522 For further details: 'Conspiracy of Flutes' 41 Devon Avenue, Twickenham TW2 6PN Tellfax: 020 8241 7572 and see website: www.atarah.co.uk
W A Mozart Serenade in E flat K. 375 0, r new series of Sextet version .-. Urtext of the (2 Clar, 2 Hn, 2 Bsn) woodwind quintet New Mozart Edition BA 5334 parts 12.50 arrangements Octet version (2 Ob, 2 Clar, 2 Hn, 2 Bsn) (H, Ob, Clar, Hn, Bsn) opens BA 5333 parts f 14.50 up new repertoire for this chamber music combination. Study score for both versions Each book contains a set of TP 315 E 6.50 parts (except where indicated).
Serenade in C minor K. 388 H Berlioz (2 Ob, 2 Clar, 2 Hn, 2 Bsn) Marche hongroise BA 5332 parts f 17.50 BA 6877 £ 7.95 TP 313 study score f 6.30 C Debussy Serenade in B flat K. 361 Children's Corner "Gran Partita" score with parts (2 Ob, 2 Clar, 2 BstHn [Clar 3, BA 6876 £19.95 41, 4 Hn, 2 Bsn, Kb) BA 5331 parts £35.00 W A Mozart TP 312 study score f 6.75 Overture to "The Magic Flute" At last, performance material BA 6872 £1 0.95 G Rossini of these major chamber Overture to works is available in modern M Mussorgsky "The Barber of Seville" scholarly editions with the Pictures at an Exhibition BA 6873 £ 10.95 urtext of the New Mozart score with parts Edition. BA 6879 £25.00 G Verdi Overture to Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX. UK "The Force of Destiny" Tel(O1279) 828930 BA 6878 £ 8.95 Fax (01279) 828931 http://www.baerenreiter.corn. Overture to "Nabucco" eMail:[email protected] 0a Barenreiter BA 6875 £10.50 Invoking the Clouds: Mzlsic forHopi, Baroque and Boehm Flutes
nyone who has travelled '. , in the Southwestern part BY of the United States has seen the whimsical John Thow Aimage on t-shirts, coffee mugs and jewellery: the hunched over figure with a pipe seeming to emerge from his head, often decorated with feathers. It is Kokopeli, the mythical fertility figure of the native Americans of the region, an image so old it is found in the rock paintings of the Anasazi, the 'old ones', created more than two i
thousand years ago (see Figure I). c . ". .-..:. .-. Among the Hopi people of this '.,c -- "..S :. ~ 1 l ,.. +. , Four Corners region (so called : . ~ . .A 1 because it the area where F<~IIPI. KOIA~/)NIII/III~ ii.i/h KoA.op,./i NII//.~II,IA~ the corners of Arizona, New Mexico, out of which he scatters seed and Utah and Colorado meet) Kokopeli even babies and blankets for the (the name is Hopi: koko=wood + young women he seduces. He is the pilau=hump) is far more than a spirit of fertility. tourist logo. This humpbacked tlute In the Hopi religion, the flute player is the symbol that connects plays a central role. In alternate these people with the story of their years the religious orders of the creation in the land on which they snake and flute clans hold elaborate live. According to the Hopi, ceremonies to mark the end of the Kokopeli emerged from an end of Summer (August) and invoke encounter with eagle (the eagle is rainfall once again to their arid the on national emblem of both the land. US and Mexico) who shot an arrow During the flute ceremonies, into his mouth to test his processions of flute-bearing men John T~ow.comboser and flutist, immortalitv. The arrow turned into make their wav to altars on which inrrinAiian~',ca'q'rnia.Heieachesatthea flute and he played the sweetest the flutes are displayed with great Uniwenity of Cn/ifornia, Berkeley, where he is Pro~~ssorofCor~~positiot~.H~Xcomposition fi music anyone had ever heard. ceremony, along with other symbols Inwokethe forfiute(s) was awardedthe Much impressed, eagle let Kokopeli of abundance. The message and National Flute Assoriation 's NEW^ Published /~fusic ward in 1997. lead humans onto the land. The purpose of this flute ceremony is hump on his back represents a sack, that of Kokopeli himself: the Invoking the Clouds
h*.A '* .P. "-f
I l.//J, 4 //I,/IJ ////l( k /?//W -1. I~'Il//~ l~/OI/~ bringing of rain, the procuring of is open and bevelled, similar to the singing with flute as an added, but agricultural success, the fertility of shaliuhachi of Japan. The necessary, element. In more recent mankind and animals and the embouchure is open and bevelled, ceremonies recorders and whistles arrival of peace and happiness (see similar to the shakuhachi of Japan. have been used as well. The Figures 2 and 3). The finger holes are carved not so traditional flutes, however, are The Hopi flute is an end-blown much to produce a scale as to suit treated with much respect. \mile hollowed-out branch of about 3/4 the hands of the player of the in storage, pairs of flutes are joined, inch diameter between 23 and 26 instument. Ergonomics for the Hpoi decorated with feathers and filled inches long with six (sometimes are more important than tonality with material to 'nourish' them (see five) finger holes. The embouchure (see Figure 4). Figure 5). The music of the Hopi flute The religious ceremonies of the ceremonies is not fixed and is Hopi are elaborate and, for the most expected to be different each time. part, are not to be viewed by The proficiency of the players is outsiders. They are an extremely simply not an issue, it is the quiet and reserved people. They presence of the flutes themselves only reveal details of their that is the important thing. The remarkably complex religion and its ceremony is, in fact, based on intricate cosmology to the most
ha- .- . . IInvoking the Clouds -.-- . - . .
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Figt~n6. Lene Tawi trattsrflption patient and perseverant outsiders. Baroque flutes. The unusual, hollow dividing the fingerings between The flute music of these Hopi quality of the end-blown Hopi flute natural fingerings, flat fingerings ceremonies has rarely been seemed to me most suited to the and sharp fingerings. This would recorded or documented in any Baroque flute, rather than the give the impression that the way, as this is normally forbidden. recorder, which in form it is more traverso is, in fact, an instrument However, in 1905 Natalie Curtis, an similar visually, if not acoustically. I with the possibility of equal intrepid and energetic subsequently made versions for temperament. This impression is anthropologist who set out to modern flute as well, though these quickly dispelled when these document the vanishing native required extensive rewriting. fingerings are actually heard. The American traditions, came to In creating this piece, I wanted system of intonation of the old Oraibi, the village most sacred to to make use of some of the flutes is a variant of mean-tone the Hopi, and transcribed 60 Hopi techniques unique to the baroque tuning, one quite flexible and songs, including one of the Gray instrument, ones not readily practical for the music of the time. Flute Clan, Lene Tawi (Flute Song). available on the modern flute, The flat fingerings, for the most It has no words and is meant to be particularly finger vibrato, mean- part, are not lower than the sharp, performed by massed flutes and tone enharmonic fingerings and but in fact somewhat higher, given voices, not common for the Hopi: harmonics. the discrepancy in the comma of (see&re 6). Listening to recordings of fifths, closer to a syntonic comma The musical material of Lene Southwestern flute playing made at than a Pythagorean comma. This Tawi is unusal. It is not based on the turn of the century, I was struck leads to the frequent complaint of the five-tone, or pentatonic scale by the use of finger vibrato. While early instrument players that keys (the scale one would play by using not omnipresent, this type of tonal with three or more flats are only the black keys of the piano), as production was common, but not extremely difficult to play in tune. are almost all the other melodies notated in the transcription of Lene Yet, the microtonal discrepancies Curtis transcribed while visiting the Tawi. For one-key and some simple between these enharmonic Hopi. Instead, her transcription system flutes, a technique of finger 'equivalent' pitches can have a most likely reflects the unusual vibrato, the flattement, was used. telling effect, especially used in overblowing of the Hopi flutes, In it, holes below those used in comparative alternations of the sounds she transcribed into fingering the note played were different fingerings of the same Western notation as best she could. trilled or gently touched, creating a pitch, which I feature prominently Having come across this flattening of the pitch, rather than in To Invoke the Clouds (see Figure 8). transcription of Curtis's I was drawn the more modern diaphragm On a modern flute it is a given to it and used it in a pair of supported vibrato, which creates a that all notes in the common range compositions, originally for sharpening of the pitch (see Figure 7). of the instrument are available to a Baroque instruments: To Invoke the Most 18th century flute fingering competent player in a reasonably Clouds, originally for Baroque flute charts of the one-key flute copy broad range of dynamics. This is unaccompanied, and then for two those of Hotteterre and Quantz, really not the case with 18th X = alternatefingering (Gb) Flutemakers Guild Ltd
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U -f Fig11n9. Esrr,rlp/e ofossias century flutes. Most all recent characteristic in the upper register: flute and the modern metal flute, replicas strive to attain the ideal of the notes are played with great likewise cylindrical. Overblowing a chromatic range from d to A. Yet force, and are difficult to perform at the octave is, with some variance this ideal chromatic range involves low dynamic levels. The shape of a (typically, the cross-fingered notes compromises. On not all flutes is Baroque flute piece, then, should on the older instruments) the norm the top F natural a reliable note. follow a similar dynamic shape as for fingering on all flutes. The On some, the top A is difficult to that of a modern flute piece, but upper registers of all three types of execute and needs careful with more urgency: the high notes flutes are very different, depending preparation. With these factors in are even more stressed, must be largely on the acoustic properties of mind, I gave options to the approached with great care and left the bore of the older instruments performers of both the solo and gradually. There is no question of and the scale developed by the duet versions for lower pitches for an easy pianissimo in the highest manufacturer of the newer, metal these passages where 'forced notes' register of the traverso. Likewise, instruments. In the case of the 18th (as the upper register is frequently rapid leaps from the lowest to century flute, aside from the normal referred to in the treatises) play a highest register (above D) are not octave overblowing, twelfth and crucial role (see Figure 9). idiomatic, or even practical. In this higher harmonics are possible on Dynamics, as a factor of the respect, writing for the traverso has most chromatic notes of the lower conical tube of the 18th century closer links with vocal writing than octave, though their intonation will flute, are a major consideration in with modern flute technique. This vary from flute to flute. In some composing for the instrument. The link with vocal production is cases, the overblown or harmonic Baroque and early Classical flute is emphasised in many of the early fingering may result in exactly the the mirror image of its frequent treatises on flute playing (Quantz, same pitch as a normal one-key wind partner, the oboe, both in its Mahaut, et al.). fingering. In others, the slight bore and in its dynamic The question of harmonics microtonal shift between overtones possibilities. While the oboe is raises the issue of the bore of the and traditional upper register strongest in its low register and older flutes in comparison with fingerings will produce noticeable weakest at the top, the flute it is Boehm instruments. The Baroque changes of pitch. These subtle normally the reverse. Some three flute, while a conical, end-blown changes in alternate fingerings are piece Baroque flutes have very instrument, nevertheless shows central in To Invoke the Clouds, when strong, reedy sounding low many characteristics, at least in the I specify overtone fingering registers. But all conical 18th first two octaves, of its cousins, the alternating with 'normal' fingering century flutes share the same wooden Renaissance cylindrical for a specific pitch (see Figure 10).
Moderato r( = ca. 81
P . -- . -. . . . -. Invoking the Clouds p-p. ----p I --
F~RII~PI I. Exan~ple of rornpufing lhe Rumqr~eand floehm wensions of a f/at/ment passaRp
Norn~ally,a piece composed for people, so simple yet so tenacious. by Natalie Curtis, originally printed in Baroque flute poses no problems for 1907. The most recent version is available through Portland House a Boehm player. The rare occasions For more information on the Hopi (Random House, Avenel, New Jersey, where a composer of the 18th and their music: 1997) This is a great resource for century would specify flattements anyone interested in North American and other effects only available on The most interesting and readable music. account of these remarkable people is the Baroque flute are dealt with by Book of the Hopi by Frank Waters For a wider look at the music of the the Boehm player with other means (Penguin Books, Harmondsworth, North American Indians, a good source (vibrato instead of the flattement, Middx.) A cassette tape accon~panied is A Cry From the Eah by John Bierhorst (Ancient City Press, Santa for example) or simply not played. the first paperback edition of this book (1977). Fe, New Mexico, 1979). Bierhorst is a In reworking these pieces distinguished scholar of many aspects originally conceived for Baroque The transcription of the Hopi flute of North and Central American Indian traditions and a llutist as well. flute for Boehm instruments, I melody used in To Invoke the C1oz~f.scan be found in reprints of The Indians' Book chose to replicate as closely as I could the effects possible on the Baroque instrument with those available on Boehm flutes, whether open hole or not. For the flattement, an alternation (where possible) of the normal fingering with harmonics proved very effective (see Figure 21): For the 'enharmonic' fingerings of the Baroque version, harmonics, as well as alternate fingerings proved useful in the version for Boehm flute (see Figure 12): Hopi flute playing is one of the most enduring musical traditions of the Western Hemisphere. In my echo of it in the pieces I called To invoke the Clouds, I wished to pay tribute to the heritage of these
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p .- p.- -. . An English . p -. Flu-l been - the one looking out over my remarks from her about the wood vast flute factory, long trains and the aroma of linseed oil I bringing in the silver ore, smoking suggested she might like to look chimneys, the distant sound of more closely at the flute itself: "Oh rolling mills and forges. Ours is still but I don't know anything about a great manufacturing nation and in them! Are they very difficult to my small way I feel proud to be part play?" Pause. Then, "We have some of it. Even though we may not get dear friends who live next door to a rich, we solitary craftsmen, we violin maker. Isn't that fascinating! I probably do a great deal more believe he is terribly good and has leading and listening than the bigger simply years of work. Now I am sure companies. Some of our reward he would love to meet you, and you comes from being nearer the other could both talk about wood!" The points of the triangle. Competition lopsided conversation ran its dreary within the industry is however course during which the flute fierce and smaller makers rarely as a harpsichord maker I found it remained unobserved and mute. have the resources for continuous, necessary to build them as beautiful This is a story which will almost effective publicity. Our work can go pieces of furniture often with lavish certainly be familiar to other unnoticed amongst the welter of and outmoded decoration. It was makers in one of its many forms. I factory made imported stock, yet easy to lose the plot! \men the am afraid I cannot resist a slightly there is probably a greater import of ivory was banned (key patronising chuckle! concentration of flute making coverings), I finally realised that Now for a little about the flutes I expertise in this country than messing about trying to copy old make. When John Webb and I anywhere. instruments was too retrogressive started out together in 1983 our There is no doubt that to players for my taste. Eventually I had the first decision was to do something our work is vital. Their torrid, good fortune to meet John Webb, different. We asked ourselves some competitive environment forces an silversmith and headjoint maker, fundamental questions about flute endless search for an edge, which and a new business was born. design, partly with a view to getting can often be satisfied by a truly Before taking my readers into back to the sound and character of hand built instrument. This may the workshop I will relate a very the best 19th century French well be somewhat customised in short encounter which illustrates instruments, and partly to see matters of scale, keywork design, how the public at large often takes whether it would be worth exploring etc. as a result of consultation with for granted the existence of some modern materials, the maker in person who may thus complicated things, which are not particularly for keywork and pads. be regarded as more than an artisan, made of homely stuff like wood or We had an urge to go in the opposite rather a facilitator, or intermediary clay. Before our sophisticated age of direction from the increasingly between musician and the music, production lines and computer heavy and complicated helping the one to earn his bread by controlled machinery everything GermanidAmerican style towards a the dissemination of the other more was made by hand, and hundreds of simple (i.e. uncluttered with effectively than his colleagues. This thousands of men and women 'extras'), lightweight design which gives the work a serious throughout the land had their would offer maximum colour and responsibility which distinguishes it sleeves rolled up and were doing it. responsiveness with adequate from most of the other arts and Now there is such a gulf of power for the largest orchestra. One crafts, bringing it closer to the ignorance between the relatively of our major uncertainties at that industrial tool making industry. By few high-tec 'operatives' and the time was the question of seamed the same token much of the end user that the whole process of tubes. It appeared that the best of potential for self-expression, a manufacture seems to many like the older flutes so much favoured by normal feature of craft work, is magic. A lady with whom I am leading London players did have denied to the musical instrument slightly acquainted came to my seams, but was it the presence of maker, who is so constrained by the workshop recently asking to see a the seam that imparted that special use to which his product will be put. finished flute. I went to a cupboard, quality to those flutes or something Nearly all his effort will be focussed took out a case, put it on the bench, far more subtle that couldn't be on making life easier and more then opened it to reveal the latest seen or measured? Nobody could satisfying for his clients, leaving instrument all polished and tell us so we decided to stick to little room for his own artistic sparkling. After a little gasp she said seams for the time being just in indulgences. A tour around any "Oh what a lovely box, where did case. A seamed tube requires a lot of musical instrument museum, you get that?" I said that I had work to get it round, straight, of however, will demonstrate that this made it out of some walnut and that uniform bore and wall thickness. We principle has not always been it was just one of my standard found quite a variation in character upheld, and indeed in my former life cases. After some more appreciative among those first thirty instruments
P P - P P
P P An English Flute Maker
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Kepork sryles: either 011 sreel, or sreel wirh black inlay. ~Vofebifr~noted R~J arms ro reduce mkghf. which was possibly explained by satisfactory joint, although a weak I have used stainless steel for the inevitable slight irregularities in one very prone to metallurgical keywork right from the beginning, the tubes, so the temptation to try decay. The dull colour is concealed for the fight against weight. It has some commercially produced by subsequent electroplating. A about 314 the density of silver, yet seamless stuff became irresistible. I much more permanent joint is roughly three times the stiffness took over the whole operation at achieved using silver solder whose (i.e. resistance to getting bent). This around this time and never melting point is close to that of the means you need less of it for bothered with seamed tubes again; silver itself. I prefer this method comparable strength, thereby after the production of nearly fifty despite the difficulties because it getting the weight of keywork down more flutes it is my firm belief that results in a more homogenous to about half that of silver. Of the seam per se is at best irrelevant construction - heating the whole course it is much harder too and and at worst a dampener on tube tube to this extent also removes does not tarnish. There is no doubt vibration and a structural locked-in stresses which arise that this weight difference has a weakness. Commercial tube still during manufacture. Given a batch huge effect on the way the flute needs a lot of hand work done on it of finished flutes, these stresses, if plays, yet seems to be a factor to get it just right. Finished wall not relieved, would occur largely ignored by most makers. If thickness is usually 13 112 gauge arbitrarily in different places and the tube is considered to be the (0.0135") which is considered quite would affect the way the tubes acoustic heart of the instrument, thin by today's standards. vibrate - an uncertainty I would sensitively and accurately made, I Having worked on the tube and rather be without. I use the same should have thought it vital not to cut it to length it is marked out for solder to attach the mouldings and encumber it too much with dense tone hole positions. I need hardly footjoint socket; only the headjoint and complex keywork. If a add that this is a crucial procedure, socket and keywork strapping are comparison is drawn between the the accuracy of which determines soft soldered, and then only with a major woodwind instruments in the relative pitch of every note. All tinlsilver alloy. I do not electroplate terms of the ratio: total key weight my flutes have soldered tone holes. as there is no need. (including strapping) to tube This is a term found in many a flute Traditional key work has weight, the typical modern flute is catalogue that warrants some changed little since Boehm's day at the high end of the scale with the explanation. It means that the tone except in a very restricted stylistic bassoon at the bottom. I suggest hole is formed from a separate little way (e.g. French arms etc.), but it that the flute is therefore more piece of tubing which is then fixed has got more massive, possibly to sensitive to changes in key weight to the body using solder. As far as I help it last longer. For too long its than the others. Sticking on an know, most manufacturers use a role in determining the acoustic extra trill key here or a gizmo there low melting point 'soft' solder character of the flute has in my may well result in a subtle change containing lead. This produces a view been neglected. in response which would go An English Flute Maker
unnoticed on the heavier wooden original weight-saving ideas was to with the flute so its correct position, instruments. I am talking here cut away the top surface of all the shape and feel may be crucial to about overall key weight. The keys and to inlay a hard black performance! weight, or more strictly inertia, of plastic; this results in an unusual An old chestnut which probably an individual key is also important appearance (almost the reverse of a concerns the repairman more than for playability or feel of the blackwood flute with silver maker or player is the question of instrument and should be kepvork) and a very comfortable adjustment screws. These are the distinguished from spring tension, slightly warm touch. Nowadays I tiny screws used to regulate the which can of course be adjusted. offer this as an optional extra. synchronicity between fingered and The speed at which a key can open A major advantage of working by non-fingered keys. Nearly all lower- depends on both factors. hand is that keys and cup profiles priced factory made instruments Working in stainless steel can easily be altered to suit have them while most high quality requires different techniques to different tastes - people have very flutes do not. It has to be said that those used for precious metals. As it differently shaped fingers and it is when badly positioned they are an cannot easily be forged or cast, good to be able to accommodate abomination: when placed too close cutting then filing is really the only their habits! For example, the to the key axis the slightest turn of way. Many of the parts are roughed profile of an open hole cup is not as the screw either way is geared up to out of standard plate using a simple as it might seem: on most a huge key movement making fine computer controlled laser, then flutes the hole bells out slightly as it adjustment difficult and short-lived. laboriously finished by hand with a reaches the top surface and is Added to this they always have variety of needle files and sanding surrounded by a raised ring which pointed ends which soon dig drums. The actual cups are turned helps guide the finger into the through the little cork or plastic from solid bar rather than pressed correct position. This ring is often buffers, leading to rattles. The from sheet. This means that the pad quite flat and badly defined, yet alternative screwless clutch found seatings can be made absolutely turns out to have a subliminal on expensive instruments relies on flat, instead of the usual dish shape, importance to a lot of players. This the cork or felt interface remaining making subsequent padding much is after all the exact point at which at constant thickness and the larger easier and longer lasting. One of our a trembling finger makes contact this is in area the better. But of
STEPHEN WESSEL flzlte maker B Peterat the Lloyd m St Andrews International Flute Summer School "The Best Week of My Life" Soile Pylkkanen, Finland
i'". HAND MADE FLUTES OF DISTINCTION Millbrook House, Alhampton Shepton Mallet, Somerset BA4 6PX m' Q Phone & Fax: 01749 860047 e-mail: [email protected].~~k Website: www.westgate.force9.co.uWflutes.htm
I
with speclal guest for 2000 Wissam Boustany 23rd - 30th July 2000 Strathallen School, Perthshire, Scotland lnformatlon from: Ruth Morley, 319 Canada Court, 81 Miller Street, Glasgow Scotland Tellfax: +44 (0)141 248 5756 email [email protected] www.flutescotland.co.uk A ~upporta4 ALL FL UTESPLUS
40 course it does change, and consistent with correct with no screw to turn, the intonation and repair person will usually I comfortable playing. add or subtract paper So how do my flutes shims, a finicky trial and compare with others? error process taking up They look a little different
valuable time. As an .-- . - and they are much lighter. I engineer I felt sure that a ' Do they sound or play suitable screw could be p? differently? As I don't play designed and positioned nearly well enough to have for easy, fine adjustment a personal view I can only which would not work rely on what others tell loose and would not lead to @ me, but despite having rattles - most of my flutes sent out into the world + have up to seven of these nearly 80 of them a and they seem to work definitive opinion remains well. Some /am n~otermls,loser rutports ona'/in~shednght hat/dser/,on elusive. Yet certain So to the padding of the characteristics do stand flute and its finishing, or 'set up' as to seal the hole instantly, all around out and are mentioned over and it is known. Like every other aspect the perimeter, with only the lightest over again. The chief of these is high of flute making I have had to learn finger pressure, and slave keys must responsiveness, which I suppose is a this mainly by doing it. Whereas the be adjusted to exact measure of the willingness of the metalwork came to me easily synchronisation with fingered keys. flute to do what it is told, instantly; enough having spent most of my life Any leakage will be disastrous for in other words it must speak quickly in workshops, padding at first tonal stability and power. Given the and clearly at all dynamic levels and appeared to be something of a black horrid conditions in which they do it in tune. The scale, devised by art. Its perfection is crucial. Every generally have to work (a mixture of Wibb with some recent part of the keywork leads to a pad, steam, water, sweat and fluff) it's a improvements by Richard Taylor, is having no other function than to wonder how well they stand up! now probably as good as it can ever support it, give it the means of Successful padding relies as be on a wind instrument, and has moving up and down, and help it much as anything on high quality been much praised. I am told that seal the tone hole with supreme materials, inc/udingthe cup. Pads the flutes play better than most reliability. Given an average amount have flat bottoms: stuffing them from new and are highly consistent of practice and performance most into a cup with rounded bottom and from one to the next. pads will have to do this several a cardboard washer to take up some Of course you cannot please million times per annum. TO a of the empty space eventually leads everybody and any musical modern engineer the flute pad, to movement and consequent instrument maker who departs from made of felt, skin and cardboard leakage. Flute pads are invariably conventional practice as I have might look like a most unpromising held in place either by a central takes an enormous risk. You have to anachronism, and there have been screw or, in the case of an open hole tread carefully. Too many changes many attempts to improve it key by the infamous grommet, all at once, and your hard work ends including my own unsuccessful whose usual design ensures that it up in a museum: professional ones. The fact remains that it has is extremely difficult to remove players are looking for something stood the test of time and has without damaging the pad. My comfortable and familiar with which considerable effect on sound quality changes in this area, which they can build an easy relationship, (about 8%of the body tube area is constitute the flat-bottomed cup not a fashion accessory. The 'made' of pad). One of the and the easily removed grommet, changes I have introduced both in I important features of any pad is that have, I believe, stood the test of materials and workshop practice it should work for all types of player, time by helping both the pad - and have all been for pre-eminently by which I mean that it should be the temper of any future repairman musical, not cosmetic, reasons. I resilient enough for the very lightest - remain more stable. have never been interested in either touch yet sufficiently firm to resist The final job is to set the correct new fingering systems or tampering the white lmuckle grip imposed by, key rise by fitting cork or felt with the overall shape and layout of say, a rather nervous player. Wool bumpers under the key tails. I use the flute just for the sake of more does this job extraordinarily well mostly hard felt because it makes 'logical' engineering. Compared to whereas simple homogenous for a quieter action and is also more the other woodwinds the flute is materials like rubber do not. slippery than cork, which should already a masterpiece of simplicity Padding any flute needs never be used wherever there is a and beauty. Long may it remain considerable patience and attention sliding contact (but often is). I like so. to detail. Each one must be set SO as keys to open as far as possible Zitntrretmann 's prices in the rbtw section Christina Andrews Building Blocis of 'excellent scale patterns from appear in deritschmarks. This is becatise Flute PlqingA iNethodfor Beginnen Macquarre's book of daily exercises - musicfrom Zitnmermanrr is bought direct4 Ecoutez Publishing, 1507 E 53rd one of the few tlute exercise books, from them by mrisic shops iti the UK. The Street, PMB 342, Chicago, 11. unlike the large French ones, which prices are den converted into ster/ing a/ the 60615 USA will fit in the average briefcase. The mmmt mchange rote and then an amoant This is a large volume of 250 complete major and minor scales are (say, 10%) is addenfoorpostageatid the pages, appealingly presented in ring- also presented in the 'nine-up, seven- shop's harcllingfeee. This is why copies of binder form and illustrated with down' form familiar to those who their mr~siccon vary it)price as the photographs and line drawings. The have used the book of daily exercises mchange ralefl~~c/uates. question is, what does one expect by Taffanel and Gaubert, whose from a 'method for beginners'? To names, mysteriously, do not appear in start with, there is the usual this present volume. fingering chart, descriptions of Any book with the word 'complete' posture and embouchure (with in its title invites criticism for what is photos), and even some Dai/y omitted. (I am sure, for instance, that Book Stre/ches. But the Begitrt~ingE~sesin Izaak \Valtonls famous book The chapter 2 are quite surprising: the Cotnpleut Angler does not contain a Ray Brooks Blmittg Zen H.J. Kramer, first page covers over an octave, and chapter on how to tickle piranhas.) California 812.00 available through the second page goes up to high D. But the practice material in this book Airlift Books, 8 The Arena, h.loUison The Fin! Melodies are in many certainly covers everything necessary Ave, Enfield, Middx. EN3 7NJ or different keys including B flat major for acquiring and maintaining a solid online at \?\n.newalbion.com and D major. All this might suit a technique. And anyway, horWye? The subtitle of this narrative beginner who can read music quite Brimper Book ofFlrrte Fun doesn't quite documentary, Finding an Almative well already, or a quick adult have the same ring to it. LnrrreuceJoyce Lije, aptly sets the scene for the learner, but otherwise I think there colourh~ladventure it depicts: the could be problems. The student is story of a young Canadian's entry into told to start work on the Theory the world of the shakuhachi, the five- Ererckes in chapter 12 (a misprint - hole Japanese bamboo flute. The book it should be chapter ll), which reads like a novel, covering a number prove to be brief but clear Flute and of years from the mid nineteen summaries of basic theory, eighties, when the author came across explained in the American terms the shaltuhachi shortly after moving 'half note', 'eighth note' etc. The rest CD to Japan, until the mid-nineties when of the book is not designed to be Arr. Stephen Duro Easy Classic Elnes he returned home to Canada with the worked through in linear fashion: it for FIlite Chester Music CH61519 innumerable experiences which had includes nine pages of rhythm 89.95 moulded him into an advanced player. exercises, a whole chapter of Fanrous hother treat for Grade 11-111 The story, far from being a mere America11 fi~nes,some articulation players! We have already had Filnr artistic curriculum vitae, treats a studies (including double-tonguing), fidnes, Pop films and Christtnm fiines in whole host of minor subjects along and some ~MelodiesfronrArovtm'the this series, and now Chester has the way, such as the painful IVorkf. In other words, the book produced this selection of well loved disciplines of a Zen temple retreat, seems to me to be trying to be melodies with not-too-difficult piano the strains and disappointments of everything to all corners, without accompaniment and a CD backing living in modem Japanese urban being really satisfactory at any level. track. The boolt includes the Skoter4 society, the marvels and eccentricities As a general resource book to dip IYaItz, Faur6's Pawarre (but not in the of ancient ritual, the fun of festivals, into, it certainly would be useful - original key), and the Theme from the the arts of calligraphy and incense, there are many good ideas, some Nem LVor/dSytr~phony.Purists will the friends both inspiring and well-constructed studies, and masses dislike the synthesised backing track, frightening whom he meets, and last of attractive music. But a 'method' it especially in Handel's ,!!arch and the but not least, the honest and is not. Alison Uren Bach Air or the G String, but most penetrating glimpses of the new youngsters will love it. I did wonder philosophical outlook and richness whether many Grade 11-111 players that the instrument and the country 'lkevor Wye Complete Dai!~Exercises would be able to cope with the Bosse- bring to his life. This book will for the Fltite: Essential Prmice ~Ma~erial Danse from Capriol Stile at the fast fascinate you even if you are not for AN Intermedate to AdvotrcedFlnutists tempo on the CD and in four flats, interested in music or the flute. Buy it NoveUo 120850 812.95 but then the book will encourage for a friend. Highly recommended. In this book of practice material them to play so much that they will Richard Stag from Trevor \\'ye, some of the rapidly progress to Grade N standard exercises have been adapted or anyway - so buy it and enjoy it! reprinted from credited sources, and Alison Uren others have been derived from elsewhere. He states in his preface h.Gareth Rickard and Heather that the exercises are "based on the Cox Dtletsfor ON^ Chester CH6155 five most popular 'French School' 87.95 study books, though some have been This is a charming and well priced modified in the light of present day flute and CD book, very well, thought practice and custom". through and containing a nice The book is divided into six main selection of different kinds of music sections: Tone Exercises, \!larm-Ups for a good Grade I, but more like and Vocalise; Scales and Scale Grade I1 player (the book suggests the Exercises; Arpeggios; Chromatic former, but I think the latter would Exercises; The Third Octave and find it more manageable and lastly, Daily Exercises. Each section therefore more fun). The CD is covers the ground thoroughly and a recorded with mostly acoustic detachable practice card contains instruments (my definite preference) some suggestions for practice with two flutes playing the duets and routines and a suggested order in an assortment of guitar, strings, piano which to tackle the numbered and harpsichord (some of which I am exercises. Shorter exercises on tone sure are electronic). Each duet is on and dynamics scattered throughout the CD three times - once complete, - the book serve as a reminder that then tune only and harmony part technical exercises should be only, though still with the backing practised expressively. instruments. My only slight criticism, il Educational Trevor \\'ye draws mainly on and this is purely personal and does material from Boehm and Reichert, not detract in any way from the 1 solo flute and also includes two of the book's many merits, is that the flautist on the CD plays with rather source in modern notation (and techniques. Artaud is a prolific writer a pronounced vibrato, which I would Ernesto Kohler ed. Kurt Meier 25 there is a photo of the first edition of flute methods, studies in not especially want my students to Romantische Eriidn fiir Flo/e Solo of Fantasia 6 for comparison). No multiphonics and in circular emulate! However, that almost hadeus BP884 97.45 additions have been made to breathing. He has also composed negligible point aside, I think this is These are enjoyable studies (yes, ornament and articulation signs, much flute music and is an expert an excellent book, as did my student studies can be enjoyable!) with and dynamic markings are sparse, performer of avant garde music. This who wrote the review below. Harmah interesting titles like The Spinning as in the original. A few minor expertise has obviously resulted in Lang Wheel, Insect's Dance and Spanish Capr~ce. corrections have been made e.g. this very imaginative exploration of It is amazing how differently one's Fantasia 2 l'ivace bars 34 and 36, the colours. The piece is mainly I liked this book very much. The pupils react to a study when it has a dynamic marks are on the 2nd concerned with whistle tones, partial tunes are quite easy to play along colourful name! This new edition quaver of the bar; Fantasia 5 ANegro sounds, harmonic sweeps and with the CD and there is always an provides us with an alternative to the bar 35, both Fs are F sharps. 'pizzicati' and comes with an introduction so you know when to ones recommended by the Associated Generally clear and neat in extensive list of instructions as to the come in. At the top of each tune Board in its exam syllabus. (Au clnirde presentation. Alison Uren meaning of symbols used. For those there is a little explanation which Lune is set for Grade V and the DONS with a serious dedication to tells you something about the song LValk for Grade VII.) The aim of the Yuko Uebayashi Le Vet//a Travm les contemporary music, I am sure the and gives you hints on what you editor is "to correct obvious Ruines Lemoine 26987 I-1L 96.30 effort to master these techniques will need to do. There is a wide range of inconsistencies of dynamics, phrasing I was relieved to find that the prove worthwhile. Certainly it will be tunes including pop, folk songs from and articulation by analogy with title of this charming piece was kinder to the neighbours than much different countries, tunes from parallel passages" and to follow the intended to be in the way of setting piccolo practice! Patrin'n Momi musicals and some Classical tunes. text of the first print closely. The a scene, or evoking an atmosphere, It was easier to play along with than main difference to the DoN's Walk is and that the player was not 1 thought it would be but the CD is just that there are far fewer dynamic expected to attempt to reproduce nice and steady and doesn't go too markings than in Simon Hunt's the actual sound of the wind fast. There is a mixture of edition. Wether you like a 'cleaner' blowing through a derelict castle. instruments on the CD. I think you edition where you can add your own This unaccompanied piece is Flute and would need to be a bit better than dynamics is a matter of personal dedicated to Nobutaka Shimizu, and Grade I to use this book or the preference. Alison Urnt was published last century, but only piano tunes would go a bit too quick. The just, or in other words, in 1999. highest note is top D. 1 would Guy Lacour 28 S/udiesfor F/t~/e The idiom is Japanese folk-song, Robert Baksa Fl~eSonata no. I recommend this book. Biiaudot G6670B 415.10 with a slight but detectable French Con~posersLibrary Editions Emma Cowlam Grade I1 aged 12 The full title of this publication, accent, and the piece falls neatly (Presser) PR 2940 916.60 one of the excellent "French Flutists into a simple ABA format. There is This is a three movement work Propose" series, (the French Flutist a gentle and lilting song-like joined by two substantial flute being, in this case, Phillipe Pierlot) is opening, marked Lento con grazia and cadenzas. The first movement is an "28 Etudes ssr les modes a /ransposi/ions contained within the lowest octave Allegro in B flat major and suggests the Solo flute limitees d'olivier Messiaen": 28 Studies and a half of the flute. A passionate feeling of a Viennese waltz. It is very on modes with limited transpositions and declamatory Poco con tnoto with straightforward in its style and is Rudolf Escher Air Porrr Charmer un by Olivier Messiaen. The concept is a echoes of lbert lead to a middle pleasant rather than striking. The Laard Broekmans en van Poppel delightful one, to compose a set of section marked Con anirna, and Adagio is a flowing melody in E flat B.V. 45.95 studies, each one on each of the containing suggestions of the last major, with a simple chordal It is a great loss to music in seven modes, including transpositions movement of Ravel's Tontbeau de accompaniment. The last Allegro general, and probably to flautists in written in the style of Messiaen, and Couperin. More sweeping Ibertism returns to B flat major, and it is this particular, that almost all of Rudolf contrary to expectations, results in a leads us back to the homely lyricism movement which lifts the work from Escher's early work was lost in the very useful volume of studies. of the opening, and the whole piece the rather ordinary. It is full of bombardment of Rotterdam in 1940. Anyone interested in exploring ends, about four minutes after it rhythmic energy, and the flute and Escher seems to have had a Messiaenk unique sound further, is started, in a happy and intimate piano interact in a most interesting particular affinity for the flute, advised to read Olierierhlessiaen, pppp. Leslie Sheills way. While the first two movements having composed five worlts for solo Techtriquc de mon language Musical, could be managed by a player of flute, tlute and piano and two flutes published by Leduc. about Grade V, the last movement is between the years 1944 and 1979. Before each study is printed the more difficult, so it might be an Born in Amsterdam in 1912, almost mode or transposition on which the enjoyable work for a pre-Grade VIlI all of his musical life seems to have study is based, and which the player Solo piccolo player to study. The piano part is been centred around his homeland, is encouraged to practise in order to interesting and well written, making it learning the violin in Leiden, make sight reading easier. This part Rkgis Campo Doublkes, Una Voce LJMP a good work for two performers of composition in Amsterdam, and of the preparation could easily be 45.95 Pierre-Yves htaud kale UMP about equal standard. Although I do going on to be associated with the missed out, in order to provide the 95.95 not think this Sonata is quite as Universities of Delft and Utrecht. player with more of a challenge. The There is a great need for new solo interesting as the Sonatajorjllle and One notable exception to this overall effect is of a very refreshing pieces for piccolo, and here a two pitar, it is nevertheless a welcome seems to have been a friendship set of studies, not in themselves which explore contemporary addition to the repertoire. with Marcelle Gerar, who was in excessively difficult, but expressed in techniques extensively. Campo, a BrdDvkes turn a close friend of Maurice Ravel, a slightly unfamiliar and challenging composer of some renown, has and to whom Ravel dedicated one of musical language. Something to blow written many larger works including FW Benda Sonafa in C major Schott his songs. This piece is dedicated to away the cobwebs! LalieSMls concerti for violin and piano. FTR176 98.75 Gerar with the words, "Ensotiwenir Do~iblkesis a well constructed piece Though scarcely known today (I d~iI1 Jtrin 1950 - cejotrr bminaror a Telemann Fanta~ietr/irFlak solo of nine minutes duration using have come across the odd piece by Mon//ort-lAmaruy ou elle nr 'a raconte qtre Wiener Urtext UT 50187 N.55 rhythmically free sections and his father Franz) Friedrich, born in hlartrice Ravel aimait a srffler This is a new edition of Telemann's measured bars. It explores all the 1745, was a respected court violinist d'inteminable airs pour charmer les well-known 12 Fantasias for solo usual twentieth century techniques and was also admired for his skill as a laarns". flute. It includes a long and including glissandi, harmonics, pianist and composer. This sonata, That charming story resulted in informative preface by the editor, singing clown the instrument and edited by Hugo Ruf, belongs to the this lovely piece, written in the form Wolfgang Hirschmann, on the flutter tonguing. He alternates genre of works for harpsichord or of a chaconne which, though written contemporary meaning of the word experiments with tonal colours with pianoforte with the accompaniment of in a strictly formal and disciplined 'Fantasie' and the wide variety of brilliant fast interjections. With a flute but the flute part is more way, evokes images of shimmering forms chosen for individual some interest in pursuing these interesting than many of its type. heat-haze, the dry whisper of movements. Did you know that techniques there is a reasonable Apart from being a pleasant and cicadas and the hypnotic whistling Quantz chose these Fantasias in 1758 chance of success and it would relaxing item for the flute in a concert of Ravel. I love its restrained and as test pieces for a contest with the provide an excellent vehicle for it would be useful for developing economical expression, which, flautist Moldenit? (I wonder who work on flexibility of the ensemble skills in the aspiring flautist. whilst making the piece not very won!) There are also nearly four embouchure. To obey the Dennis Clarke demanding technically, makes the pages of 'Notes on Interpretation' with instruction for the last four bars: .p-..p --.p- ~~pp--- - - player aware of playing a fine piece particular emphasis on the difference bottom D -pppp - 'more air than Boccerini Minuet PWM 9849 91.95. of music which requires thoughtful between French and Italian styles, note' -will be within all our Bononcini Dierertimenfoda Camera interpretation and careful control of and examples of ornamentation. As capabilities! PWM 9893 92.40. Rimski-Korsakow dynamics. Highly recommended one would expect, the edition The Artaud would require more The Flight ofthe Bumble Bee PWM 997 Leslie Sheills reproduces the musical text of the dedication to mastering these 52.35. If you haven't yet come across the feature of such works, are absent. characteristic and easily recognisable Flute Miniatures series, it is definitely The whole piece lasts not more than when they appear and reappear, at Franz Krommer Flute Concern in D worth a look. Popular as well as less five minutes and would make a least one of them sounding distinctly major Op. 44 Zimmermann ZM32480 well known works either written for suitable final item or extended Eastern, and another two having been DM32,- flute or adapted for it are published encore to a recital of 19th-century borrowed from Jean-Phillipe Rameau, In his introduction Peter-Lukas individually with a price tag of flute music. Lartmce Jwce (one of them via Stravinsky's Graf (who has edited this concerto around $2-52.50; great if you're Pulcinella Suite). with great care) suggests that searching for 'that piece' but don't G. Cagnard Portraits (Volume I) Leduc ask a lot of money for their Krommer and other Classical and want to buy it in the bumper album Editions Henry Lemoine (Collection publication, and at nine minutes early Romantic composers have of pieces you'll never play. Luc Urbain) $11.80 duration, I wondered if the piece was been neglected because they were Flute Miniatures are generally, This volume contains four pieces perhaps a little long for the amount of overshadowed by the genius of although not consistently carefully entitled Daritts M., Maurice R., Maurice musical material it had to deal with, Haydn, Mozart, Beethoven and prepared editions; the best of these D. and GabrielF. The pieces are not but this is altogether a pleasant Schubert. Now that much of three are the Minuet, including trio, pastiches, but contain references, recreative piece, well written for the Krommer's music has been and the Flight of the Bttmble Bee. It will both rhythmically and melodically, to instrument, and flattering to the red~scovered,it is apparent that his be worth keeping an eye on future the composers named. However, the player. Lcslie Slreills style is quite unique, combining as it publications in this series. subtlety and imagination of their does the Classical forms with the Joanna Todd music is missing here and, where Georg Honig You and Me influence of folk-styles. This there are some successful passages, Zimmermann ZM33270 DM18,- concerto is a major addition to the Giulio Briccialdi ed. Nikolaus Delius as in the opening of the 'Ravel' piece, A collection of 21 easy repertoire; it has a long virtuosic Lohengrin Fantasy, Op 29 Schott FTR this only makes one wish to play instrumental pieces, this book is first movement, a florid Adagto, and a 179 98.00 some real Ravel. The 'Milhaud' piece aimed at beginners in both piano and Rondo that is full of rhythmic energy Giulio Briccialdi (1818-81) was is rhythmically exciting and flute. The idea is for young pianists and enormous leaps. It is certainly one of many flute virtuosos of the stylistically authentic, hut many of to be able to enjoy ensemble making not easy, and to perform the work 19th century who also composed - the discords appear harsh and rather from an early stage making this book well one needs a great deal of especially music designed to show off perverse. Maurice R. and Maurice D. suitable for young primary school stamina and flexibility of their own formidable artistry. Like start well, but lack development, children -especially as the flute part embouchure, but it is extremely the other members of that while Gahel F. lacks imagination. is also suitable for recorder. The rewarding. The orchestral parts are distinguished club, which counted The 'homage' has a distinguished layout is simple and easy to read, but available for hire and the Tulou, Furstenau, Demersseman and tradition in French music, but in the the pieces are rather unexciting. orchestration is flute, 2 oboes, 2 the brothers Doppler among its present case the results are However, they are very short and so bassoons, 2 horns in D, 2 trumpets members, Briccialdi's prolific musical disappointing. Brenda Dykes not too dull for the proud parent! in D, timpani and strings. output was written mostly for the This book is ideal for those who teach Brenda &kes flute, though he also composed an Philip Cowlin Aria Emerson Edition in schools and even more so for those opera. 345 94.50 who teach both flute and piano. Wilhelm Popp Vortragsstucke op.462 Having learnt the flute from his Born in 1920 into a musical family Jackie Cox Zimmermann ZM33000 DM18,- father, Briccialdi ran away to Rome in in Stockport Philip Cowlin, having When I was a student around order to escape the career in the studied the violin and 'picked up' the Claude-Henry Joubert Sempre Pi3.. . 1960 it was fashionable to turn up Church, which his family had piano, has a variety of prize-winning Editions Combre C05997 911.10 one's nose at tuneful, easy on the ear intended for him. In Rome, at the age compositions to his credit, both In his preface to this edition, and, to be honest, light music - of 15, he won his diploma from the chamber and orchestral. This Aria, Marcel Bitsch tells us that this piece though I've always enjoyed playing Accademia Santa Cecilia, where he lasting about 4'40n, is a gentle, lilting is part of a series devoted to the it. I've always tried to include such later became a professor. He is Adago with a slightly agitated middle younger player who has gained a a piece early in recital programmes described as being a brilliant section. This would suit a moderately certain facility on the instrument, so that my unmusical friends whom performer although he held the flute advanced player and is worth having. and is ready to be introduced to the I've dragged along will think to rather awkwardly. In his book A Dennis Clarke contemporary repertoire. Most of the themselves "this isn't so bad after
Treatise on the Flute, Rocksto says of ~ ~ ~ ~ ~-~~-~~-.~~ ~ --~~ ~ ~ composers represented in the all" before having their ears Briccialdi, "his manner of holding the Naji Hakim Caprice en Rondearr Leduc collection are also teachers, and the introduced to more substantial and flute was so ungainly that one derived AL 29190 925.20 pieces are composed in such away as later cutting edge music which they more pleasure from his performance The name of Naji Hakim is to make the transition from 19th to often enjoy! The preface to this when not looking at him". probably an unfamiliar one to 21st century music easier. Having edition expresses the attitude well: Today, Briccialdi is perhaps best flautists, but, is sure to be better tried this piece, I can attest to the "The idea that music must be as known for the invention of the B flat known to organists. Born in effectiveness of this approach. indigestible as possible to be thumb lever and mechanism which Lebanon, Mr IIakim occupied for However, the term 'contemporary', compatible belongs only to gastritics Theobald Boehm integrated into his eight years one of the most elevated although strictly accurate, can be of modem music. 'Sweet courses' designs for the modern flute. But this positions in the organ world, that of slightly misleading here. taken in moderation and with was not the only occasion on which the resident organist of the Basilica Joubert has composed a simple thought" can be both stimulatini" and Briccialdi contributed to, or enlarged of the Sacre-Coeur in Paris, the job theme and variations, the theme inspiring." upon, the work of one of his great having previously been vacated by being the kind of yearning, PODD(1828-1903) was a flautist German contemporaries. His Olivier Messaien. His composition bittersweet tune we are used to and a prolific composer, whose Lohengrin-Fantasie,Op 29, takes credentials come courtesy of the hearing on the soundtrack of French studies are known to flautists from Wagner's great masterpiece out of the Conservatoire National Superieur de romantic films of the sixties. The flow their appearance in many opera house and into the salon. Musique de Paris, and via a long line from theme to first variation is collections; when I was at university The Lohengn'n-Fantasie is unusual of the most distinguished masters, interrupted by a recitative intended and needed a piece for the unlikely for the genre, in that, apart from such as Roger Boutry, Jean-Claude to be played with a great deal of combination of flute, horn and arrangements of original themes, the Henry, Marcel Bitsch, Rolande drama and expressiveness, the music piano, Popp's trio was the only one I music of Wagner does not appear Falcinelli, Jaques Casterede and being marked successively Desph, could find. anywhere else amongst the countless Serge Nigg. He has composed works Grandiloquent and Dolomso, and this is There are three salon pieces here, compositions on operatic themes that for organ, violin, trumpet, really the only section which edited by Doris Geller, entitled were the order of the day. harpsichord, a Fantaisie for piano contains any of the kind of angular Country Wedding, Russian Gipq Song, Briccialdi's Fantasie starts with the and orchestra, an Organ Concerto, a melody that we can be used to and Italian Serenade. The first and opening lento bars from the prelude Symphony, a Symphonic Poem, two associating with 'contemporary' third are about Grade IV and the to Wagner's opera in the original key Masses, and now a piece for flute and music. The three variations, second about Grade V, and quite of A major and after much flourishng piano. including a lilting Valse, are skilfully charming in the hands of a skilled from the solo flute sets about one of Commissioned and premiered by composed and satisfying to play, and player. Very straightforward piano the themes from the opera. This the flautist Debra Johnson in Dallas, the whole is neatly wrapped up with a parts. Dennis Clarke quickly leads into a moderdo con moto the piece exploits the lively and coda which harks back to the 'Un in B flat - which somewhat resembles energetic nature of the flute through Homme et une Femme' style of the Alain Michel Riou Agathos BiUaudot one of the variations from Briccialdi's liberal use of trills, grace notes, theme. The piano part throughout is The French Flutists Propose 93.30 own variations on Carnivalof Venice - double tonguing and frequent sudden very spare and simple, and would This piece is quite atmospheric, before an expressive arioso interlude changes of metre. The piano itself suit a younger player. with many clashes of sustained leads via F and C major to a dazzling provides an equally agile and I would estimate that a Grade V11 sevenths and ninths, and it could he semiquaver finale in A major. sardonic background, propelling the or thereabouts student, particularly used to encourage flautists to listen The technical difficulties lie mostly piece forward without ever an older one, would find this a carefully to their intonation and to in the lip and the fingers - rapid dominating the overall texture. The pleasant and rewarding piece to play. explore a diverse range of tone- double-tonguing passages, usually a separate themes are very Leslie Sheills colours. However, at less than a minute's playing time, there's no real 'iR.95 deter~ninoto,rzn s~ntprrlegiero e con development of the material, and it This work, by this distinguished grnzio, and the sonata finally arrives is difficult to imagine the piece 20th Centnry composer who died at at a sudden and brilliant conclusion. Flute and becoming a performance favourite. Texel in the Netherlands in 1980, was This is a substantial concert piece Btztth Dykes con~posedin Oestgeest in 1944 and by a composer deserving of interest guitar was given its first performance by and attention from flute players, and Ruth Schonthal A Birn's Song Ahout.. . Johan Bentzon and Carlton Sprague really deserves to be played and Filippo Gragniani Sonote no.2 Op.8 Furore 270 EH.55 on June 3rd 1947 at the ISCkI heard. Lpslie Sbds Billaudot G57ROR ER.50 Much as you would expect, this is Festival in Copenhagen. Alternative Gragniani was previously unknown a piece which uses the patterns of tempo indications in brackets to me and he does not appear in any birdsong in a free and rhapsodic indicate that Escher re-thought this h.Martin Pohl-Hesse Ch~.iclmosHits of my musical dictionaries, hut his way, but it is given character by work, and felt that it should be Baremeiter BA 7410 25.50 dates (1767-1812) put him as a being underpinned by insistently played a little faster. It is a fine Were you tired of hearing the contemporary of Beethoven and of repeated chords in the piano - work, constructed with care same old carols again this the prolific composer for the guitar, chords which are frequently according to Classical principles by a Christmas? \Vould you like Giuliani. This sonata was originally reminiscent of gong sounds. composer who knew his craft and the something a little different next written for violin and guitar and has Consequently the flautist has a instrument he was writing for, and year? If so, then look no further. been transcribed for flute by Jean- busier time than the pianist, but no written with restraint and economy. Drawing on French and German as hlaurice Mourat. It is a substantial unreasonable demands are made on Escher has his own unique sound, well as traditional English carols, work lasting about 15 minutes and either player, and the result is an but one is reminded in the first Barenreiter's latest offering in the o consists of an Allegro, an Adogio and a energetic and colourful tableau movement of the flute writing of due series provides the kind of variety Polocrtl. The style is somewhat similar which charms and challenges the ear I-lindemith, with the massive solidity that is lacking in many seasonal to that of Giuliani, but the material is of the listener without straining that of its foursquare melodies, its compilations. original and a11 three movements organ to the point of numbness. admirahle economy, and the clarity All thirteen carols are arranged for exude a freshness that is instantly Technical standard required: abut of its architecture. two equal parts for players of Grade appealing. There are a number of college entry level for both In the first movement, marked 11-IV standard. Alongside each duet quite difficult semiquaver passages in instruments. An engaging and Bn'//ont~P/ d~rijo,the flutes alternately the melody is printed at a singable the flute part, so a player of Grade characterful alternative (or even scurry in fragmented and highly pitch and with words in the original \'I1 and above would probably be con~plement)to LP IWP~/P~\'oir. accented melody, and sing in broad ~anguage.Chord symbols are required. The guitar part could be Richord Sio, climbing phrases, passing the included for piano or guitar managed by a good Grade Vl. Both principal themes seamlessly from one accompaniment. parts are equally interesting. to another. The second movement Cht~stmsHits is a beautiful, high Bretido Dykes opens with a long quiet lament in the quality edition with on the whole low register for one flute, broken only effective and imaginative duet Joseph Haydn transcr. Jean-ivlaurice Two or by interjections in the middle register writing. Throw in the added Mourat Cossotiotl Billaudot G5779B from the other. Never rising out of flexibility and this becomes an $7.40 its despondent atmosphere, the extremely worthivhile purchase. Sonote en do Billaudot G5781B E7.40 more flutes movement ends in a note of quiet Joonno Todd Both of these are four movement works in F major and both have been Rudolf Esclier Sonoin per Dt~eI;/or~/i resignation. All gloom is shattered by the final fugue in 318, marked Presto very well transcribed, with excellent Broelunans en Van Poppel B.V performance markings. Of the two, 1 The JAZZ Method .for FLUTE 1
The Jazz Method for Flute will guide beginners of all ages from producing their first note on the instrument to the performance of full-blown pieces, including 'classics' by Thelonious Monk, Charlie Parker, Sonny Rollins and Horace Silver.
With step by step instruction and a progression of specially written tunes and exercises, the fundamental elements of good flute technique are introduced alongside the rhythmic subtleties of jazz. Improvisation is encouraged from an early stage, given direction through the study of scales and arpeggios and advice on ear-training and chord patterns.
Backing for all the music is provided on the accompanying CD so that the student can enjoy playing in the company of a top-class rhythm section.
With supplementary suggestions for listening and reading, and an Appendix containing all the chord progressions for 'live' accompaniment of the tune, The Jazz Method for Flute is ideally suited both to students working alone and those learning with a teacher.
ED 12450 Book + CD f 18.00
The JAZZ Method for CLARINET The JAZZ Method for TRUMPET
48 Great Marlborough Street, London WIV 2BN. Tel: +44 (0)20 7437 1246 Fax: +44 (0)20 7437 0263 a Cn.s.~o~ionis the more substantial and Kabalevsky, are charming short work and the rich harmonies and MornittgSon~,Scheno, Noc~rrt~teand Q) successfi~l.This would seem to stem pieces that could be managed singing melodies of the second. The Cbllz. \\re found I-liscocks' use of a 3 from the fact that it has been successf~~llyby relatively Scherzo is full of humorous rhythmic lighter style in the Schmo was more transcribed from a string quartet, inexperienced players (Grade I11 figures and the last movement starts successful than the darker writing thus giving good melodic possibilities upwards for the flute and Grade I1 very grandly. There are references to shown elsewhere. The blending of c for the guitar part, whereas the upwards for the guitar). They are previous movements and the piece her own voice with a light pastiche Sonata, originating as it does from a very well edited, with helpful ends with a flourish, but I do feel that style in the I.Vnllz was also piano sonata, provides too much performance markings, and could be this is the weakest movement, as it interesting. Etntnn ClVliintns 'alberti bass' and 'oompali', as the excellent school concert items, but promises much, but never seems to gu~.itarpart is taken mainly from the can anyone suggest why such arrive. However, this is only a minor \Vendy Hiscocks fintus~lon n Tale left hand line of the piano score. beautifully printed and spaced music reservation regarding what is overall This appealing, light quintet Both works could be managed by should be marred by being produced a very interesting work. Brendawes would serve very well as a stimulus players of Grade V-V1 in the flute and on semi-transparent paper, so that for education workshops with young Grade I\'-V in the guitar. Cassa~ionin one can see the notes on the players. Again, I-Iiscocks makes particular is likely to become a previous or following page? good use of the ensemble and avoids deservedly popular concert item. Brenda Dykes overscoring. Fontus)! on n Tale is in Brertdn DyLr~s . _. . . _. . . . ., .. , . . . . . Wind one continuous movement with several different stylistic moods, klozart transcr. and ed. Men Krantz quintet including a march and a tarantella. S;.Y ~,ias/mnr T ic/rlfp ~f you can only afford to invest in 3465 $9.20 Flute and Berlioz an: Linckehiiann Mnrche one of the Hiscocks Quintets, this The bases for these transcriptions Hottpvise Barenreiter BA6877 parts would be a good one to try first. were the arrangements for two flutes harp E7.05 Emmn \Vitlintns published in 1792, but Nlen Krantz All the members of my quintet has also gone back to the original Jean-Michel Damase Derr.tienieSotm/e really enjoyed playing through this Mussorgsly an: Linckelmann 1 orchestral score in order to make the Lemohie 26912HL E14.60 piece. There are a few tricky Pirtr~resat an Edihition Biirenreiter harmony more complete, thus giving Of all the contemporary moments, but nothing too virtuosic. BA 6879 score and parts $25.00 the music more depth. The resulting composers writing for the flute, Worth investing in. Etrttna Cl'iNiatns Excellent! This is a must for
duos are quite charming and Damase has shown himself to be one ..-. ~ quintets with advanced techniques rewarding to play on both of the most understanding of the Wendy Hiscocks PnsfeIO Oil and lots of stamina! Most of the instruments. I shall certainly be different colours and capabilities of The most striking feature of this movements work very well, using them myself and the instrument, whilst remaining Quintet is Hiscocksk good use of the although the larger scale recommending them to pupils who within conventional techniques, so a ensemble. The work clearly movements, Bnbn-Jngn and the Gretrl l have guitarist friends. Eitr ildiidchett new work is always an exciting demonstrates the composer's Gale of Kim, do not have the same oder Cl'pilchen works particularly well. prospect. Those flautists who have sympathetic understanding of the impact as the piano original or llrendn &Ares access to an excellent harpist (and if different characteristics of each of the Ravel's famous orchestral version. Cambridge is anything to go by, instruments. Hiscocks avoids the It is a shame that Linckelmann did An: Yvon RisoaVGeorges Lambert niany more people are learning the common mistake of overscoring and not use the bass clarinet, cor anglais l HN~IP~ti~es 1inlse.s Lemoine 26074HL harp) will not be disappointed. I the texture remains clear throughout. or piccolo to give a wider range and $9.80 personally prefer thc first sonata The individual parts contain some more interest. The best movements These linlses, which range from overall, but I love the long, sweeping virtuoso passages and tricky rhythms. are 7% OIdCade, Tnileries, Bale/ of Mozart through Chopin, Grieg, etc. to phrases of the first movement of this The work has four movements: the Unha~chedChickens, Snmrrel Goldberg
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Two Harlem Pieces for flute and piano by Bryan Kelly Escellent alter sales serviw Porlraits for tr rec or flute and piano by Ian Parrott Three Paslorals for fl, ob+ca, vn, VC by Gwyn Parry-Jones Fht~lloscopus 'Publications
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K. Rachel Malloch Mike & Gill Dutton 92 Aldcliffe Road 9 Cneyfnars Rd, Shrewsbuly, SY3 7EN Lancaster, LA1 5BE Tel: 01743 367482 Fas: 01743 340412 Tel: (0 1524) 67498 + an i E-Mail Windband@;yableincl.co.el; e-mail: rachel@phyllosc hup:i,windband.co.uk andSchmtiyle and Limoges. These 'London' symphonies and that but well done. Deitnis Clarke nice, was spoilt by some weird and movements would work well as a Salomon subsequently published . .- disruptive cabinet miking, and in suite, with some of the Promenades them in a version for piano with an Flute and saxophone Track 8 the general decibel level was placed in between. Emma I~EIIiarns 'ad libitum' accompaniment of violin .Iai~esRae Blue I;II/PeZ Smophone unaccountably high. End of hecf. and cello (1796 & 1797) and then in Drretc Universal Edition UE 19 710 This is a foot-tapping album with Verdi am Linckelman~iberitfre Lo 1798 as quintets for flute and string L $5.95 plenty of colour and variety. Fond del Desrino Biirenreiter BA quartet with 'ad libitum' keyboard. These five jazzy duets from James Submit to retail therapy. Don't be 6878 parts $8.95 The arrangement works splendidly Rae include a jazz waltz, a slow without it, man. RirhrdSfa~ This quintet is fun to play, with and we should be extremely grateful blues and a fast swing number several virtuoso sections for the flute that Christopher Hogwood's entitled No Batienrs Requtrr//. The .lohn McCabe Flt~/eCottctrto; and clarinet. However, parts if this scholarship and dedication have tlute can be partnered by either an Symphony iVo 4 - O/ Tim~nnd /hp Kiver overture do not lend themselves to produced such a fine edition to the alto or a tenor saxophone, for wh~ch RRC Symphony Orchestra Venion being arranged for quintet. In the tlute repertoire after 280 years of a separate part in B flat is provided Handlley contl,tcior Eniily Beynon original, for example, there is a long neglect. Let us hope that the other -with chord symbols for guitar or jrrtt Hyperion CDA67089 clarinet solo accompanied by harp 11 symphonies will follow soon. keyboard accompaniment AI1 of the John McCabek tlute concerto was arpeggios. In Linckelmann's version Brenda Dykes pieces are of Grade IV standard and written in 1989-90 for James the flute takes the harp part (all in \\,ill be a big help to players who Galway, who gave the first the bottom register!); here the wish to develop a feel for jazzy performance with the London solution lacks the fluidity and Flute, vibraphone and styles. It always helps to have Symphony Orchestra under Michael sparkle of the original. This piece is harpsichord someone to swing along with, and Tilson Thomas at the Barbican, great hm to play through, and worth remember (wrpes tear/rant P~Pattd London, in 1990. It is a one- considering. Enttttn Uiilliarns Bertold Hur~~melThree illttnphon stnigles brmtty to strpprrss irernblt tn movement work constructed from a Zimmermann Zh133400 Dh132.- aorce), there are many young flute dozen or so episodes of various Readable, playable and useable, students learning from teachers who moods, intensities and tempi. These these three pieces - slow-fast-slow - are not flute players themselves, but themselves constitute a larger three- are well worth looking into. The who often have a saxophone to part form roughly corresponding to Flute and flute part is Grade Vlll standard, the hand. Lntrrrnce Joyrt a first movement, a slow lilovement manageable harpsichord part may and a last movement - a beginning, other well sound just as convincing on the a middle and an end. piano and, since vibraphonists can According to the composer, the always play anything, they will find opening of the concerto was instruments this a piece of cake. The style could CDs suggested to him when he observed probably be described as post- Tales of Contentment iVat~~ralSigns: waves and breakers on the shore in Flute, violin and piano Dutilleux with hints of hlessiaen and Cornwall, and there is much CPE Bach Triosonart in B-dur CVq 161 Bartok and an emphasis on clear Hilary Ashe-Roy fl~rreillan Corbet prarto kryboards Phi1 Bond ptnno Paul throughout the piece that suggests Air 2 Aurea Amadeus BP341 $11.50 rhythms and textures. The flute and an oceanic inspiration. Though the Edited by Manfredo Zimmermann vibraphone parts are written out in Brook dtyln~s,ptrcs., uocals Kevin Dempsey grtiw hdyTliomson elements of rhythm, harmony and and the continuo realised by parallel (two copies) and the melody are present, these musical Christine Gevert this is typical of harpsichord part doubles as the full prnditctioit, sound, atrartge~~t~rttNatnral Signs 1998 ingredients are almost subservient CPE Bach's later music. Lying as he score. RiclmrdSim to the importance of texture in this does in the spectrum between the - work and are used more to Baroque and Classical eras his music Flute, violin and piano embellish underlying orchestral is always interesting and full of Mercandante Fairtnisie on ihentes rakrn colours and timbres than as expressive possibilities. This edition ftam tht optra Frnttresra Donato important events in themselves - follows the advice given in Bach's Aferrandnnte Editions Henry Lemoine much as the surface of the sea, own musical textbook and the 26353HL 813.80 disrupted or organised by the preface draws attention to Quantzk Many readers will be familiar with rhythm of the ocean swell, is advice on playing music of this the florid, virtuosic late Classical dappled by flecks on the wave period. As always from this publisher style of Mercandante's Flute concerti crests, sculpted by wind and tide, beautifully printed and presented. and this trio contains much similar and speckled with points of reflected D~trnisClarke writing but, while the flautist and light. ~ ~-~ ~ -~ ~ violinist can enjoy their sweeping The solo flute takes the lead in Flexible wind ensemble melodies and interesting running these embroidcries upon the h.Caroline Frankly Motz Aladrignl passages (somewhat reminiscent of orchestral canvas, disappearing and Magic Spartan Press $9.99 Doppler's Attdnnfe nndRondo), the re-emerging from the soundscape to I'm never convinced that poor pianist has to contend with Sot Iino\ving ;111yIxttcr. I \\.ill suggest new motifs which are then madrigals can be 'magic', but these virtually the whole orchestral part. rashly attempt to classify this :~lbun~ reabsorbed into the musical wash. three well arranged pieces by Byrd, Even if he or she has been practising as "Ye\\, Age swing" using a liberal At one point in the middle of the work, three orchestral flutes shadow Sermisy and Tomkins are both Liszt's Htingarian IUrnpsodi~srecently, mixture of real instruments and pleasant to play and to listen to. the runs in octaves and the sheer synthesised sound. It mixes in folk and echo the solo flute to a point Despite all the possible combinations number of notes in the chords will elements from Africa, the Celtic where it is no longer possible to distinguish the soloist from the (and there are many!) l think that make this piano part incredibly world, the Middle East, and fuses iWadi@/ib/a~icworks best as a difficult and rather unrewarding to them with skill. There is something chon~s.It has becn camouflaged so woodwind quartet, making it a boon play. There is certainly some about the sound of a body of effectively as to have disappeared in youth orchestra sectional exciting music here, but I feel a new synthesised strings with slow vibrato momentarily. rehearsals when extra music is version with an orchestral or string that makes me think of staring into But the tlute also plays the part of necessary. The flexible ensemble accompaniment could be considered. the green, sunlit depths of San chief orator in the musical series is a great idea and works well Biznda Dykes Francisco Bay. Quite nice, really, in argument, alternately shouting for both school and amateur groups mild doses, but I was utterly caught louder than an angry orchestra to with unusual or limited out by the mystery visitor on Track get its point across, and pleading Flute, violin and iano eloquently when a more reasonable instmmentation. The package is Wilhelm Popp Trios For P%e Yorng Op 3 (Diro U'eeketrn)- a real live nicely presented and easy to read. saxophone or, hang on, was he real? approach is called for. Nter a frantic 505 Aurea ~\niadeusBP1085 $12.75 and extended climax - again, Extra parts are available separately. See the remarks about Popp under I always thought I could spot the Jnckie Cox difference: There is no mistaking the suggestive of a storm at sea - calm is 'Flute and piano'. \\re have here six restored and the work ends tone-pictures, salon music of reality of Alan Corbet's piano or of Hilary Ashe-Roy's redoubtable flute peacefully as the solo flute, Flute, string quartet and moderate difficulty and certainly repeating a simple ei&t-note figure, worthy of performance. Although a which features in many guises, all of piano ad libitum them dazzling. Arrangements are fades into inaudibility. Haydn/Salomon Ed. Cliristopher moderate player could enjoy these Those seeking a more there is scope for the more advanced slick, imaginative and spotlessly Hogwood Symphony Qr~itrtettoafer executed, largely thanks to Paul conventional musical analysis of this Symphony NI:I84 in D major 'London' player to make them sparkle. An unusual piece will find the sleeve Inimduction atrd Polonaise is followed Brooks's efforts with the Barenreiter BM633 817.50 arrangement and Andy Thomson's notes by Guy Rickard most In his informative preface by a Spanish Dance then a Siriliatt informative, not only about the tlute Serenade, Spring Greeting then Bld clever direction. Finding myself Christopher Hogwood states that desperate for anything to criticise, concerto, but also about McCabe's Haydn signed a contract giving John Fora/ Hower and finally The Shepherd fourth symphony, Of Timearrdrhe Boy. All much as you would expect there are just a couple of things: Salomon the rights to the twelve Track 7, which could have been River, the other work on this CD. The flute soloist Emily Beynon Royal Academy of Music, played by and Thank Toy are completely plays with a precision and clarity of York Bowen himself and the work's disparate in character, contain sound which illuminates the dedicatee, Gareth Morris, but only sounds that one has never even subtleties of the music. This concerto came across it for the second time imagined and, apart from that, defy is not essentially of the type that about three years ago. I wonder how any description. To try would be to demands a demonstrative and many other fine compositions are dilute their impact as pure music. expressive interpretation from the awaiting rediscovery. At the outer edges, in more ways soloist in order to produce a The final work on this disc is than one, the CD begins with the convincing performance, but is Sonrething Lost by Peter McGarr, reality-shifting experience of rather one that calls for a thoughtful which was written for this duo in Monteverdi's IlCotnbnt/inrento De approach - intellectual, even. Those 1999. It is atmospheric music Tancredi et Clode. This is a story of passages that are technically inspired by the poem Lowe Songs it1 heartbreaking tragedy and drama, demanding Emily Beynon performs Age by Philip Larltin. The title piece told by one of the most innovative with an ease that disguises the is framed by nine other short and experimental composers of the difficulties. The wisps of melody, sections, and a number of special Baroque, and further meditated upon often no more than fragments, she techniques are required, including by the daring and experimental shapes with effortless simplicity. the flute blowing across the piano Oscura Luminosa. The ultimate septuagenarian Roy \\'illox, onc- Vernon Handley, with that strings to create sympathetic effect is of reassuringly orthodox Baroque performance which then time colleague of Frank Sinatra, rhythmical accuracy and attention to vibrations. These sounds are always Bing Crosby, Ella Fitzgerald et al. - detail which has always been his well integrated into the whole shape skids off into neurosis and obsession, before dragging itself back to the a lovely sound, and perfect musical hallmark, produces crystal-clear of the music. It seems a shame that manners to go with it. Thomas Itelly readings of both of these challenging this composer, who is the only one familiar and comforting, only to lose on clarinet rounds off the selection works from the BBC Symphony on the CD of whom I was previously the plot again, At the end is an with Rio Bound, a gentlemanly Orchestra at its wonderful best. unaware, is the only one not given a interpretation of LeperMessinlr, by the 1980's speedmetal hand ilfetnllica, hornpipe. The recording quality is Latrrence Jqce biographical note. Brenda @kes not without blemish. Track 6 cuts - - another gothic fantaqy, revived, in after the pianist has attacked the The Kestrel Paced Rotmnd//z Stin Sarah In FUN Amotmr Oscura Luminosa rendered into 3D and given the first chord. At the end of this track Broolte //lite Elizabeth Burley piatto Robert Dick //t~/esPetia Kaufman pentium 111 treatment. a mere three seconds elapse before British Music Label 852 harpsichord The excellent sleeve notes open the start of the Clarinet Sotta/a. \\'ere with the statement "Every aspect of This CD is an excellent showcase Dorothea Schurch voice, mrtsicnlsnw European Classical Music began as they meant to sound like the same Conrad Steinmann recorders Alfred piece? If not, why did we have no an experiment". This particular Zimmerlin cello Unit Records chance to enjoy the silence after UTR4107 experiment worked for me. I would urge anyone else to try it too. the iVoodMtmsic? Something, I don't There can be nothing more LRslie Sheilk Itnow what it was, made me uneasy egregiously, palm-sweatingly, buttock about the piano miking in the clenchingly embarrassing than the (beautifully played) clarinet sonata. experience of listening to ensemble Scinre diboco ('The CVny o/ Fire) Sonata These are small points, but they 'improvisations' that sound like Islotids, ensemble led by Emilio matter when artists of this quality people playing their warming-up Galan te //nlitis/, orrangeer; cott~poser are giving their best. RichadStng exercises to piano accompaniment. B.XL.C. Ricordi 74321 640092 ~ ~-~- ~ ~~ -~ ~ ~- Improvisation in contemporary The instrumentation for this music is not playing what one feels varied selection of Galante's Divertintento Thomas Richterfllrte lilte, it is an discipline requiring a compositions comprises string Birgit Bachhuher harp ambitus perfect sense of musical context, of quartet plus piano, clarinet, bass 97954 emotional flow, of wit, of bravado, an clarinet, oboe and cor, flute and bass This is a delightful CD. So often inexhaustible pool of ideas and an flute. The style, tonal and with the flute and harp combination for I(ritis11 flutc rnusic. It begins \~ith inhuman level of understanding of minimalist, is easy on the ear, but one starts by enjoying the blend of t\\.o picccs by thc Scottish composcr, and sympathy with one's fellow imaginative, and provides plenty of the instruments but ends up feeling Edward klcGuire, Cap& for tlute and players. display of his talented team's a lack of depth and variety. Here, piano and Preltmde3 for solo flute. I listened to this disc of abilities. Galante succeeds in however, the programme has been The latter gives ample opportunity improvisations by Oscura Luminosa portraying a wide variety of moods chosen carefully, so that there are for Sarah Broolte to demonstrate her with delight, and with disbelief at and textures, and has the knack of many different styles, but more mellifluous tone and subtle phrasing. the sheer heat of the disciplined choosing the right type of theme for especially the playing is so She plays on a wooden Powell flute creativity contained in it. I could the chosen mood. beautiful, with a wide range of and I think that this contributes to have shouted for joy, and when I The repetition passages, whether dynamics and colours, that there is the warmth and variety of toolt the CD out of the machine, I they belong to the leading line or to no such lack. There are six works resonances of the sound (but perhaps expected it to bum my fingers. the accompaniment, are never on the disc: Hoffmeister Sottata ia F, I am slightly prejudiced as I have Robert Dick will be known to allowed to become tedious or over- Bochsa :Voct/rme Conceriatrt, Koetsier myself played a wooden flute for many as one of the masters of 20th insistent. I particularly like his In/rodtic/ion and 12 Vnn'ations on a many years). century techniques on the flute, and singing-and-playing in Varineiori di Thetne 4y Beethowen (1994), Ravel Pike The Soratinns by Lennox Berlteley here he has come together with nrplrn 11, as well as the earlier forays en Fonne de Hnbatrera, Faur6 Berceuse and \Villiam Mathias and Wnterltttrsic musicians of calibre cqual to his on the bass flute. and Flosman Romnnce nnd CKtrd- by Richard Rodney Bennett are own. This is one of the secrets of A whimsical and charming CD. Scheno (1962). It is somewhat performed with simplicity and the success of this recording, the RicInrd Sta hy do I play what I play?" is a question I ask myself daily, with heavy overtones of, "I must be crazy.. . why am I doing this?" since for me it usually means a " different flute every time I go to work. Many years ago WI got involved with 'early music' mainly because I loved playing Renaissance recorder consort music. Since then the period instrument repertoire has extended up to the end of the 19th century, so I find myself playing one- br two-keyed baroque flutes for Bach, four- or eight- keyed simple-system flutes for Mozart and Rache/ Brown Beethoven, an open G# ring-lieyed conical Boehm flute for Wagner, a multi-keyed German Reform flute (of sorts) for Brahms, or even my lovely (closed G#) Jack Moore silver Boehm flute for a 'modern' date. I'm not complaining - I love the variety of repertoire and the challenge of coaxing the best out of my very fine (though very different) instruments, many of which I am passionately attached to and incredibly lucky to possess. But the public expectation that a period instrumentalist should be playing on a flute of the exact date and nationality of each composition imposes a heavy (and somewhat ludicrous) pressure to change instruments constantly. For the Bach Day concert I could have made life easy for myself by using my wonderful Rudolf Tutz copy of a two-keyed Quantz flute (which I am trying to use as much as possible this year in preparation for CPE Bach concerto recordings in August, and which would have been very appropriate for the Mu~icalOffering Trio Sonata), but I decided I would really like to use another of my favourite Baroque flutes which hardly ever gets played because of its low pitch: a whole-tone below A440. This will mean that Wissam and Wibb will also be able to use our new and long- awaited harpsichord, which at the time of writing is receiving the finishing decorative touches (I hope it looks good!). Many of our friends contributed towards the harpsichord as a wedding present. It's a copy of a French 'Flemish-style' instrument c.1740 made by Andrew Garlick, and this will be its debut! The flute I've chosen to play is a copy in grenadilla of a Belgian one- keyed flute by Jean-Hyacinth Rottenburgh from the 1720s, made by Alain Weemaels (also Belgian) about ten years ago. "A Belgian flute for Bach?" (Shock horror!) Give me a break! I'm not trying to be more 'correct' than anyone else. I just chose this one because I love it. Rachel Brown will be performing at BACH2000 . h- Y- on Sunday 2 April at St. John's, Smith Square. . %E: See page I I for Full details and application form. A \. :- ../" From Pauline Jackson Schneidermann, 1991 May I say how sad I am at the loss of a friend and flutemaker, Published.by MMB Music, Inc., c10 Norruth Music, Contemporary Ewen McDougall. I was privileged to know Ewen for several years Arts Bldg., 3526 Washington Ave, St. Louis, MO 63103-1019 and count myself fortunate to own his No.27. Ewen was a delightful Making Musicjor the Joy Of It by Stephanie Judy, 1990 person with gentle humour and great courtesy; truly a gentleman. I Published by Jeremy Tarcher, Inc, 5858 Wilshire Blcd., Suite 200, shall greatly miss our conversations and his anecdotes and Los Angeles, CA 90036 reminiscences. It was always a great pleasure to visit Ewen and I hope that helps. All three are excellent books, by the way. Valerie and to meet them at flute days, and Ewen's passing leaves a void which will be impossible to fill. From Joan Sparks As a new member, I am delighted with Pan Magazine and the BFS. From David Blumberg I read my June issue of Pan from cover to cover as you will soon The review o/My tempo Accourpaniments in December 1999 issue of ascertain. Pan] states that I make 50 pieces, correction needed: I make 250 On p.46, a letter from Christian \Vebb requests information about pieces, not the 50 it says. I would love to invite the reviewer to an essay written by Mildred Chase, which was recommended by listen to my Poulenc Sonata, as his review doubted that it would Jeanne Baxtresser. work well, but it is great. I have vastly improved the sound of these This essay can be found in an anthology: Ordinary Magic, Evetydq ...... -.. since I started doing these one year ago (the Bach was one of my Life as Spiritual l'uth, edited by John \Velwood. It is published by first works). They have a full range of dynamics, and phrasing. Shambhala, who has offices in London. The 1SBN:O-87773-597-2. It I do not like the electronic medium either, but use it (sequencing is very short: pp. 108-110, the text being maybe two pages total. I live in real time most works) so that the sound is cleaner then with require each of my students and their parents to read this essay in a microphone. Also makes tempo changes possible. I once did the that it sums up in such economy exactly what it means to just play ...... Borne Carmen for an Alexa Still student (Doctoral Recital) that she an instrument. requested 85 tempo markings. It is possible, and done all the time. I have the #2 Classical CD for sale on hlP3.com and there are free From Herbert Lindholm, Finnish flutist and composer sound samples there - please ask Mr Bell to have a listen to my As a flute player colleague and flute music composer, I have the : . . current work. [email protected] pleasure to invite you to visit my just updated Flute Music site. Now http://www.mp3.com/mytempo http://www.mytempo.com there are a lot of free PDF files of my music at many degrees of difficulty, and including audio music samples in \Vaw- and MP3 files. From Helen Spielman Flute Music by IIerbert Lindholm, http://www.iwn.fi-hlindhol It's no wonder that Christian Webb had trouble finding some of the books [June 991. He had the wrong name for some of them! Here is the correct information for the books he was seeking. From Keith Pocock 4 Jnst Beittgatthe Piatto by Mildred Portney Chase, 1985 Just a quick line to thank you for all your hard work and Published by Creative Arts Book Co., 833 Bancroft Way, Berlteley, contributions to the splendid Pan . I always look forward to CA 94710 receiving my next copy and enjoy the wide variety of articles. Conjinenr M~sicPerformance: The Art ojfreparif~gby Barbara Please keep it up. ( - i- b I * - lls ---', .i 2<:-- I-- 7 , .,A< :.+LmT I RFS members rnav advert~sethe~r instnlments for sale tree of chargc I Abell Flute Co~npany ...... I'age 25 I Arrnstrong bass flute, stlver plated, plays well Monnig Alto f750, owned by Cel~achambers AI1 Flutes Plus ...... lnside Front f 1950 (LPO) M~chaelCox 0 1884 841968 I Armstrong UMI ...... Page 35 Gerneinhardt hand-made s~lverflute Oston Brannen s~lverflute, 442 ~n-he,o/h to Biirenreiter ...... Page27 excellent cond~t~onf 1000 Tel: 0 l 13 284 2457 low C, wrth Tom Green head, gold Ilp-plate Brannen Brothers ...... Page 27 Servtced regulary vgc f3,700 ono British Reserve Insurance ...... Page 32 John Wood piccolo, wooden body good Tel:01243 531527 condtt~onf625 ono Brian Clover ...... Page 50 Tel: 020 85 18 8903. Bonneville n~ckel-s~lverflute, no 2550 Pans. ~n- Bid1 Lewington ...... Inside Back I~ne,0th to low C McLauclan Ilp-plate Returned 1985 MIYAZAWA 705, just servtced f 1,000 by Stmmons. padded by Hoffman. wlth orlg Conspiracy of Flutes ...... Page 27 Tel: 0 1923 829305 case and lock A beauty f4200 ono David Nicholson ...... Page 25 Tel: 0 1243 53 1527 Altus flute for sale, sol~dsllver In l~neopen Drelinger ...... Page32 note f 1,800 Contact: 0 1442 891529 'Bonneville Flute sertal no 2087 N~ckels~lver Eva Kingma ...... Page 13 Or~g~nalhead Recently overhauled Offers Flutemakers Guild Page 31 Louis Lot 7086 L8500 owned by Peter Lloyd. 0 1709 5428 1 l ...... M~chaelCox 0 1884 841968 Hindhead Music Centre ...... Page 21 Flute Wanted Incorporated Soc of Musicians ...... Page 21 Alto flute, preferably w~ths~lver head Jeame Baxtresser ...... Page 26 f Tel: 020 85 18 8903 Just FlutesIJonathan Myall ...... Back Cover --. - A*'-: Jonathan Snowdon ...... Page 32 John Packer ...... Page 2 BRlAN CLOVER John Myatt ...... Page 31 FLUTEMAKER John Packer ...... Page 2 ES~.1959 woodwind & c0 Miyazawfievor James ...... Page 18 ALTERATIONS - SERVICING - Michael White ...... Page 21 OVERHAULS 'F Don 8 ebd e Ashton Musicians Benevolent Fund ...... Page 2 54 Buckhurst Way, Buckhurst Hill, Oxford Flute Summer School ...... Page 25 Essex IG9 6HP Peter Lloyd ...... Page 40 TEL: 020 8505 0557 Rachel Malloch/PhyUoscopus ...... Page 46 S~e Robert Bigio ...... Page 17 mewkd Salop Sheet Music ...... Page 46 WOODWIND INSTRUMENT Schott ...... Page 45 REPAIRER Stratford-Upon-Avon ...... Page 31 Edward D. Kettlewell M.I.M.I.T. 01 61 -775 1842 Top Wind ...... Page 15 56 Leabrooks Road, Somercotes, 208 Liverpool Rd. Cadishead Wessel ...... Page 40 Derby. Manchester M44 5DB Widband ...... Page 46 Tel: 0 1 773 603276 Fax: 0161 7 75 4149 Woodwind & CO ...... Page 50 (4 mins junction 28 M I) E mail: [email protected] Zdenek Bn~derhans ...... Page 40 Academy of St Madn iil the Fields 10%discount available by calling Michele Burton on 020 7702 1377, London Symphony Orchestra 10%discount on all tickets for members of the BFS. Call the Barbican box office on 020 7638 8891 quoting BFS to receive this discount. Bournemouth Orchmras Royal Philhomonic Orchestra Tickets for concerts at the Royal Albert Hall are available for the price of the next cheapest: 927 for 221,221 for $16, $16 for $10, 910 for $5. Quote your membership number to obtain your discount. Phi/hannonia Orchestra 25%discount on all concerts subject to availability. To book call the Philharmonia sales office direct on 020 7580 5756 during office hours. Call the office for a free brochure. 10%discount on all tickets. Call Andrew Smith at the ECO Rqal Scottish National Orcheshi? Glasgow:Royal Concert Hall 0141 227 5511; To receive a 20%discount on all ticket prices, call the English Concert Aberdeen: Music Hall 01224 641122. Scottish Chanrbw Orchesfra Two tickets for the price of one. Call the SCO information line on 0845 270 1812 for details of concerts and bookings. ~~rll~llllllllll.IIIIII.IIIIlllllIIIIIllllllllllIllIIlIlIlllIII 8 I Please send to: Nick Wallbridge, Membership Secretary 12 Uplands, Croxley Green, Herts WD3 4RD CA PITAU PLEASE"" $ Membership APPLICATION FORM Section 1 - Contact Details: h Name (AfrlMrslMiss/A!s): Address: Performer Teacher Amateur Student Date of Birth (i/sfr~denf) Postcode: Country: 0ther (please state) Tel: Fax: E-mail: Please tick if you do not want your nilrne, address I Ref: pan /3 12000 I and phone number published in the BFS directory 2000 SUBSCRIPTIONS Section 2 - of membership (pleaserick): lection 3 - Cheque Payment: UK: Individual 520.00 dheque or money order enclosed for: Joint (mo metnbns a/ the same addrezs, one jorm,al) 525.00 5 (Stcrfing only please) made Student (under 26) 513.00 (cheqtdes shor~ldbe payable to British Flute Society) Senior CitizenDisabled 513.00 Schools & Flute Clubs 520.00 Section 4 - Card Payment: Europe: Individual $25.00 I? 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