The Journal of the British Society

President Vice President Albert Cooper

1 from 1st January 1991 Area Representatives , Council , Susan Milan Chairmnn AvonlSomerset Elizabeth Taylor Serreta~y Carole Timms, 'Marlow'. Garstone Lane, Blagdon, Avon Judith Fitton Editor BSI8 6TG Tel: 0761 62348 Jenny Wray Menthemhip Secrctnty Birmingham Jonath;tn Myall Treasurer Margaret Lowe, 10 Navenby Close, Shirley. Solihull, West Adrhn Brett Eumnfs Cu-ordinator Midlands B90 ILH Tel: 021 474 3549 Juliet Keeling Assistant Euntls CO-mdinalur Andrew Thomson Internaliunnl Flute Soci~tiesCO-urdinalor Cardiff Julie Wright Area Rcps. Cu-ordinator lau Provis, 13 Werfa Street, Roath Park. CardiffCF2 5EW Tel: Liz Goodwin Editor if Flulauisr Robin Soldan Educafiunal R~pe.wntntiue East Susan Bruce Hon. Legal AAdui.cpr Kate Cuzner, 52 Turnstone Close, Upper Road. Plaistow, Carolyti Nelson London Tel: 07 1 5 11 5552 David Nicholson Guildford Albert Cooper Clare Lund, Down Amphrey, Rowley Drive, Cranleigh, Surrey Dennis Clarke GU6 8PN Tel: 0483 273167 Christopller Hyde-Smith Hertfordshire Archirrisr Anne White, 22 Lys Hill Gardens, Bengeo. Hertford SG14 3EH Tel: 0992 586875 The British Flute Society was formed in January 1983 from the Leeds constitution: Pauline Jackson. Croft Cottage. Old Bank Top, Pool-in-Wharfe- 'The objects of the Society shall be to advance the education of dale LS21 3BZ 'Tel: 0532 842457 the public in the Art and Science of Music and in particular the Art ;tnd Science of Flute playing in all aspects by the presentation Norfolk of public concerts ancl recitals and by such other ways as the Elaine Smith, The White Homestead, Bramerton, Norwich Society through its Council shall determine from time to time'. NR14 7DP Tel: 05088 215 NorthantsIBedfordshire The Editor welcomes contributions to Pan typed and always - Christine Wrigley, 22 Harvey Road, Rushden, Northants double spaced - by post to l16 Woodwarde Road, Dulwich, NNlO 9JY Tel: 0933 314326 London SE22 RUT (also see Membership Secretary's address). South Hampshire Views expressed by the contributors are their own and do not Karen Morrison, 3 Barn Cottages, Prinsted Lane, Prinsted, necessarily voice any official view of the Society. Emsworth, Hanu PO10 8HT Tel: 0276 600504 S~tb.crriy/iunrates to BFS North London Liz Taylor. 46 Farrer Road, London N8 8LD Tel: 081 340 Individual Membership (U.K.) 209 1 Husband & Wire (I journal) Oxford Student (21 & under) Carolyn Nelson. 21 Trinity Street, St Ebbes, Oxford Flute Clubs OX1 ITN Tel: 0865 250169 School Membership Commercial (Worldwide) South Buckinghamshire Overseas Membership Ann Davidson, Alborough Lodge, Packhorse Road. Gerrards Overseas Student (21 & under) Cross SL9 8JD Tel: 0753 888121 Life Member South Kent Husband & Wife Life Membership John Gridley, 47 Park Avenue, Deal, Kent Tel: 0304 364806 Membership Secretary Jenny Wray Surrey -. The White House Jackie Cox, 3 West Street. Carshalton, Surrey SM5 2PT Tel: Hatton Green. Hatton 08 1 773 0436 Warwickshire CV35 7LA Swansea Hugh Phillips, 116 Delffordd, Rhos, Ponrardawe, West Glamor- Aduertismmt Represrnlnliues: gan SA8 3EW Tel: 0792 865825 ' Maple Media Ltd, 41 1 Wokingharn Road, Parley, Reading RG6 2EL. Telephone: 0734 261669 Fax: 0734 665611 Twickenham Julie Wright, 41 Devon Avenue, Twickenham TW2 6PN Tel: Printed by The Lavenham Press Ltd, Lavenham. Suffolk 081 755 1584 A 11 ropyrigl~tsreserued West Sussex Lindy Thwaites, 19 Downview Road, Bamham. Bognor Regis PO22 OEG Tel: 0243 553623 Life Members of the British Flute Society Worcestershire Alison Uren, 10 Gifford Drive, Welland WR13 6SE Tel: 0684 Michie Bennett Anne Jakeman 3 10066 William Bennett Trevor James Wissam Bousrany lan McLauchlan Will area representatives send all dates leading up to the BFS Albert Cooper Susan Milan Convention to Julie Wright Philomena Cooper Christopher Paul Money Elena Duran Alexander Murray Michael Emmerson Barbara Noble Caroline M. Franklyn Stephen Robinson lames Galway Kirsten Spratt Cover James Galway with Nathalie Sinclair Jeanne Cinnante Galway Andy Thomson Brian Hamilton David St. John-Weyers at the BFS Convention Pauline Jackson Trevor Wye Photo: John Cogill - Times Newspapers. Editorial Contents

First of all, we've had the Convention! (my hrst), and it Editorial was a great success. It was marvellous to see so many old friends, pupils, well known players from as far away as Keeping in Touc the USA and Australia and BFS members, intermingling at the many events - there is, on page 5, such an The BFS 1992 Convention Report by Adrian eloquent account of the three-day event (by Adrian Brett) that I really neecl say no more. Brett Talking of inlermingling, I wonder if any of you went to or saw the Cleveland at the Proms? I was Blowing a Dream Away by Wissam Boustany astounded, not only by the playing, but by the truly comprehensive mix of players. There were Asians and Europeans, a black cellist and a pony-tailed bearded The Buzzer by Robin Soldan fiddle player (male) amongst the assorted members of this outstanding orchestra. In particular, a much wider The Austrians First Flute Society by Maura age range than is ever seen in British these days, and I mean specifically that as well as many very St Mary-Bayer young people, there were players in their fifties and sixties or more (as there were also in the magnificent St The Birmingham Flute Society by Margaret Petersburg Philharmonic last night at the Proms). In this country, we have done pretty well on the sex discrimi- Lowe nation question, better than in many other countries - for instance in Germany (after studying the Bavarian [l Viaggio a Rheims by Edward Beckett State Opera Orchestra for at least half an hour a couple of nights ago on TV, I did finally spy a lone woman in How 'Contemporary' are Contemporary the strings) and Austria, where sex discrimination still operates at full power in the Vienna State Opera Techniques? by Wil Offermans Orchestra. As for racial discrimination, I would say there is none. But . . . the question of age? It seems to me that My Favourite Shop by Helen Farrell the average age of members of British orchestras is far younger than in any of the significant orchestras in other for Kenya by Carole Page countries. Do we operate age discrimination? not officially, except at the BBC of course where you mzrsl Obituaries -John Francis retire at 60 and at Covent Garden (just) at 65. In the freelance orchestras however, (all the others in fact) Lee Hannah there are not many players who get that far; if you can stay the pace until your fifties, good for you, but you are Pan Index very likely to be easecl out before you get much further. It is a sorry state of affairs, the gruelling life-style of orchestras in this country and the ruthless disposal of Reviews players very often at the peak of their ability - it is not only the players themselves who lose out but the Letters orchestras and those who listen to them. Quality of playing is the only standard that counts and should be counted. Well that's what I think anyway. BFS Archivist The BFS Archivist has a collection of most of the world's flute society journals. Copies of articles may be obtained by BFS members if they quote the journal and reference. There is a nominal charge for photocopying and postage. Please write to Trevor Wye, Tamley Cottage, Hastingleigh, Nr Ashford, Kent TN25 5HW. Diary There will be no Diary in this issue as there were so few dates submitted. Subscriptions Renewals and applications for membership should be sent to the Membership Secretary not the Editor.

Next copydate 15 October (15 January - 15 April '93). Those interested in the Flute WOODWIND INSTRUMENT d'Or Competition should write to REPAIRER Keeping the - Secretariat de la Concours Flute Edward D. Kettlewell M.I.M.I.T. d'Or - Clarisse Dischinger, 20122 rue 56 Leabrooks Road, Somercotes, Derby. Richer, 75009 Paris. Tel: (1) 42 47 Tel: 0773 603276 11 84 Fax: (1) 40 22 01 46. (4 mins Junction 28 M1) Averil Williams has tele- phoned to tell me that Eva Stewart Touch (who won the orchestral auditions competition at the BFS Conven- tion) has just won the first prize in Solid silver, low B, open hole flute. the Tonbridge Wells Inter- £ 650. national Competition, she was also Telephone Pearl after 3prn in the finals of the Radio 2 Music (081) 740-6994 Competition (something I had never heard of!) Eva has been studying with Averil at the Guild- hall School of Music, and is now in her final year. PARROT Nicholas Cartledge, who is Improved mouthpiece only eighteen and who came by Christopher Money. second in the BFS International Lovely tone. Good condition £400. Young Artists Competition, has Tel: 0480 810419 won scholarships both to the Royal College and Royal Academy of ~usicas well as being awarded an Associated Board Scholarship. He has just left King's College School, In this column I want to report Wimbledon and is a pupil of Susan ARMSTRONG 'HERITAGE' solid silver flute, gold lip plate, closed itkms of news (gossip perhaps) of Milan. holes, C sharp trill, immaculate all sorts which should be of inter- It was a pleasure to see the condition. £750. est to our readers; this time it is a talented Susan Godfrey win the Tel: 0372 722527 little top heavy with competition Prize at the Con- results, but interesting (I hope) vention - only last summer, I nevertheless. heard her -give a beautiful per- It is a pleasure to be able to formance of the Chaminade Con- report a British success abroad certino with Chetham's School SOLID SILVER Professional Flute by and it was no mean achievement orchestra at their end of year Les Eggs, closed hole, C foot, split E. when Emily Beynon, a pupil of concert in the RNCM concert hall. Modern scale, full rich tone, William Bennett at the Royal It is nice to see that there is excellent condition. £2400. Academy of Music, won the 'first' slight movement on the 'jobs Tel: 0372 722527 second prize in the recent Flute front', Robin Chapman, the much d'Or Competition in Paris (no first respected player with the prize was awarded). The winner of LPO, has moved (or soon will) to the 'second' second prize was the Garden, a great loss for the Muramatsu Flute closed holed awarded to Marina Leguay LP0 but a job for one of you C Foot (French), and the third prize to budding players out there? Excellent condition £2.200 - solid Ashildur Haraldsdottir (Icelan- Talking of Covent Garden, silver B foot joint £400 - Andrew Oxley solid silver headjoint £400. dic). There was a fourth prize did you know that in the entrance John Webb solid silver headjoint awarded to a young French boy hall of the Theatre Museum £400. whose name other than Philippe, I (Covent Garden) which you can go Tel: Cardiff (0222) 667499 don't know. Thejury was made up to free, there is an exhibition of of , Patrick Gallois, the 'Redevelopment of the Royal Marzio Conti, Maxence Larrieu, Opera House?' If you go, you will Raymond Guiot and Ransom Wil- see another picture of Edward son; and for the final round, the Beckett in the 'Journey to Rheims' Flute music - Extensive collection - panel was joined by Jean-Pierre (page 13), this time with flower Professional and teaching. Methods, Rampal and Jean-Michel Damase, studies, repertoire and chamber. girls! List available. who wrote a new concerto for the Pamino For details 081 7692941 competition.

Convention report

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The British Flute Society International Convention 1992 An appreciation by Adrian Brett

From The Concise Oxford what the British like to call 'char- truly creative artist with a power- * Dictionary: acters'. Having long been des- ful creative urge requires his ego cribed as one myself I may be to suppress all destructive urges to eminently qualified to define the maintain his or her mental health convention: a formal assemblj~,an qualities which are required for and balance. Egocentric behaviour agreement betzoeen parties, general this highest of accolades. Ego and is not a person being very self- (often tacif) consent and practice based egocentric behaviour are at the centred but a person being very on this. root of the high attainer's modus goal-centred, for it is the standard 'a formal assembly' I trust that operandi. They are words com- of achievement which is so much those members of the BFS who monly misunderstood. All human at the centre of the self. This is the attended any part of the three-day beings contain two powerful urges reason why so many leading artis- p convention at the RCM did not within their psyche, the power to tic people suffer dreadful mental ' find the assembly too formal. We create - libido, and the power to insecurities, for if their creation is are quite a friendly bunch really us destroy - mortido. In simple terms criticised at all they feel that it is British flute players. As with any the ego is the organ of mastery themselves who are being criti- group of high attainers be they which controls the opposing cised. We need all of the char- musicians or athletes, actors or psychic tensions. acters we can gather around us, politicians, there are bound to be It is not difficult to see that the those individuals who have fought l -1 Convention report within (and some without) to artists and visitors alike. flute and piano that I have heard achieve their special mark. Many The gestation period of a con- in twenty five years. Apparently a were there at the RCM. They vention is a year and I imagine has been commis- made many people very happy that Sue experienced, in addition sioned by Jimmy for the future with their playing and that is a to morning sickness, both after- from this brilliant young Ameri- great achievement for us and for noon and evening sickness in the can . them. Who but the individual nurturing of our convention. knows the price to themselves. Without her maternal organ- general (often tacit) consent and prac- Happiness may well be the ability isation nothing would have come tice based on this There was a to make peace in one's own mind to fruition or run at all smoothly. general consent from all artists to but the obvious ability to make Inevitably there were small entertain, dazzle and frustrate others happy goes a long way to problems and a few larger ones to many of the audience. Galway's reaching that goal. contend with. The RCM and its unique altissimo pianissimo molto constituent satellites (and I include espressivo, 's super- an agreement between parties the Imperial College Union Bar human feats of multi-phonics and There was certainly an agreement and the 99 pub!!) are not tailor- circular breathing, between the parties with whom I made for such events being spread with her generous warmth and spoke. An important and unifying over such a wide area but it is a grace and Philippa Davies with factor remarked upon by many self-evident criticism. superb dynamic range and tone- was the seemingly continual The temperature in the colours and genuine musical integ- presence at so many of the events concert hall was oppressive to rity. General consent for the high of our President, James Galway, artists and audience alike, however standard and the practice based and our Chairman, Susan Milan - James Galway gave what was for upon this was most evident. Thank this consolidation of two major many, the finest recital they have you all who participated and personalities and their ever will- heard for years and I thought the organised the events on behalf of ingness to converse and be Liebermann Sonata to be the most all BFS members at home and approached was appreciated by exciting and virtuosic work for abroad.

Blowing a Dream Away by Wissam Boustany

We live in a cursed life as artists - too many people together who are whether you are at a convention or the very instrument (whatever it anxious about being eclipsed by not: it is the root out of which may be) that breathes life into our their colleagues, the individual inspired music can grow and make lives, can strangle it with equal flame is either extinguished or itself felt. Deep down we all know, force. blown up out of all proportion. that as we drown in a sea of ~ There is no doubt, that many The result of this is that each business cards at flute conventions l of the players we heard at our performer's sound, becomes a our sincerety drowns with us. Our superbly organized convention mask covering his soul, instead of voices become louder than what it i were extremely powerful and being a window into it. is we are trying to say. communicative personalities, with 'Sincerety' is one of the most Although I feel there is still a individual ideas and sounds - I am fundamental yet elusive ingredi- lot to be learnt at flute not questioning or criticizing ents in making any sound com- conventions . . . see you at the them; but you see, when you lump municate (the rest is cosmetic), next one. THE BRITISH FLUTE SOCIETY 8TH ANNUAL TEACHERS' COURSE LANCASTER APRIL 13th-15th (1 6th) 1993

The annual teachers' conference is open to all members of the BFS who are interested in any aspect of teaching. For 1993, the course will be held in the comfortable surroundings of St Martins College, Lancaster, where first class facilities are available. The college is very proud of its catering reputation which, combined with its setting on the edge of this historic city, promises yet another enjoyable course. Traditionally, the course has always been for three days, but this year, we are offering teachers the chance to stay for an optional extra day, purely set aside for those interested in the SUZUKl method of flute teaching with a view to gaining a first qualification. Further details and an application form are available from: JULlE WRIGHT, 41 DEVON AVENUE, TWICKENHAM, MIDDLESEX W26PN (s.a.e please)

Has life become a nightmare?

The Musicians Benevolent Fund exists to feel their appreciation should go heyond applause. help professional musicians who have fallen on To enjoy their generosity. all you need to do is hard times and whose future looks bleak telephone 071-636 4481 or write to W can provide you and your dependants Mrs Michal 'llylor at the address below with financial advice and assistance. If you're JI[TSI(~IANS lil~Sl\~OI,l~S~I*'tINI) we elderly can offer accommodation. PATRONH M THE QUEE~V The Fund is financed by music lovers who 16 OGLESTREET, LONIION WII) 7LG. Teachers feature THE BUZZER

by Robin Soldan I

Strangely enough perhaps, after for long enough to make the problems'. Of course I was wrong, i nearly thirty years, I still enjoy points stick. Inevitably some bad and pretty amazed when pupils teaching the flute most of the time, habits can develop, and it gets turned up in several illustrious and specially teaching music with extremely frustrating when you public schools, who were appar- the flute. Like most other flute see eager children starting to go ently completely unaware that in , peripatetics coping with the surge haywire in terms of blowing, order to play the flute properly in numbers I've done a lot of embouchure, fingering etc, when you have to hold the thing right, group teaching, sometimes taking there just isn't the time to sort finger it as Boehm intended, four or more at a time (often for a them out. breathe differently from sitting in very short time) while the next lot So when I went 'private' a few a maths lesson and so on. Every are waiting to have their twenty years ago, I thought 'this is it, I can single child seemed to be 'up the minutes when the bell goes. So it's concentrate on real music-making creek', in these respects, so my been a question of trying to do because all the kids have had heart sank at the thought of the things properly without the luxury individual lessons from the start months, if not years, of correcting of individual attention each week and they won't have any technical things before they could make a Teachers feature

better sound and play some decent cough which he gave (discreetly) going right quite dramatically, and music. It's incredibly boring stop- whenever Frederick the Great the buzzer calmed down. They ping a pupil every time some- made a mistake (surely the most knew it was lurking in my bag and thing's wrong, and having to frightening pupil one could ever didn't just carry on normally - repeat the same well-worn phrases have, as Fred's other relaxation didn't want to hear it again. Very every week - the child also gets fed seems to have been massacring soon they didn't - my brain cells up with hearing the teacher dron- thousands of the enemy in the started to recover, and we actually ing on and on about little fingers, Prussian Wars), and thinking got down to some pieces. Normally thumbs, funny vibrato etc etc, and vaguely of Pavlov's dogs, I made a it might have taken maybe ten tends to take a very long time to single buzzer with a battery and a times longer to get to this stage. Of respond properly. Pupils want to push-button, and took it along to course the buzzer can also be used < have fun playing the flute don't the most recalcitrant pupils as to stop throat vibrato, posture or they, not suffer these tedious stop- another gimmick to save my tuning problems and any other pages all the time. 'I don't want to breath and relieve the boredom. I defects - even wrong notes in be a professional, I just want to just said 'every time you play E, E- pieces. Pretty unmusical eh? But if enjoy it as a hobby'. Well, we've all flat or middle D wrong I'll buzz it gets us there faster without the heard that one a few times I and you stop and do it right'. At tedium that's OK with me. Why should think. What to do about it first they just stared, realized I was should a buzz be more effective except carry on demonstrating the as peculiar as they'd originally than words? Don't ask me - if it differences when you do it this guessed, and carried on with their works, use it I say. way and not that, read Trevor's faulty fingerings etc, but when the books, look at fingering charts in buzzer started going beserk they Teachers' buzzers and other teaching any tutor, listen to James Galway had to do something about it. To accessories will soon be available from "he puts his little finger on for E my astonishment, in nearly every Robin Soldan. Watch for adverts! every time" and all that. Anyway, case it took only one or two ses- remembering Quantz's famous sions like this for things to start cartoon by Ken Alexander

HANDMADE CLOSED AND OPEN HOLE ALTO AND BASS FLUTES Robert Bigio "Eva's open hole alto and open hole bass flutes are important new instruments. They are wonderfully made to fit the hand comfmtably and produce exceptional tone. I Flute maker find the musical worlds that these instruments open to be of the highest value. I am proud to own and perform on her open hole alto and bass Jlutes." - Robert Dick - Address: Eva Kingma Hand made wooden flutes and headjoints Hoofdstraat 10-9444 P13 Grolloo The p Tel. 05925-1659 Wooden headjoints for metal flutes &F> Flute headjoints in silver and gold Cylindrical wooden Piccolo headjoints in wood and metal

14 Belle Grove Terrace Newcastle-upon-Tyne NE2 4LL -- - Telephone (091) 222 1155 Austrians Inaugurate Their First Flute Society

By Maura St Mary-Bayer

Vienna, Austria May, 1992

Last week we were proud to the opening of a room full of fears were put aside, however, by embark on the 'maiden voyage' of flutes. On exhibit were: piccoli, C- the clear and concise manner in our newly founded 'Osterrei- flutes, every type of alto to bass which master flute builder Harry chische Flotengesellschaft', or flutes, even extending as far as Gosse of Germany presented his Austrian Flute Society, with a hec- contrabass and sub-contrabass tips and helpful hints on flute tic (and unfortunately unseasona- flutes (not to be confused with repair at home. He was able to bly hot and humid) weekend of sewer pipes!). All of the flutes were show us when, where and how we exhibits, workshops and recitals all for sale, but were nonetheless can sometimes rely on our own involving flutes, flute literature, enjoyed and played by a lot of us devices. flute instruction, and flautists. non-buyers as well, thanks to their The next event was a recital When I say 'we', I am referring to exhibitors: Wiener Flotenwerk- performed by the solo flautist of

225 , card-carrying members, statt, Hainburger Musikhaus, the Vienna Philharmonic, Wolf- among them professional flautists, Musica Steyr, Musikhaus Votruba, gang Schulz. Accompanied by flute teachers, flute students, Musik Lenz, Haruo Uesawa (of pianist Helmut Deutsch, he pre- hobby flautists, and flute lovers in Basel), and Michael Haber and the sented a programme of solely Aus- general. I was asked to write this Max Hieber Co. (both of Munich). trian , with works by article as one of the few flautists About a third of the large room Mozart, Schubert, Helmut Eder, involved whose mother-tongue is was taken up with stacks, virtually Paul Walter Fiirst, Grete von Zier- English. tons, of flute literature and flute itz and Johann Strauss Sr. The idea of a flute society (as recordings, also on sale. This exhi- Sunday afternoon brought far as I'm aware an absolute bit was open to all participants for two different workshops. The novelty for any instrumentalists in the duration of the Flute Festival first, presented by Austrian popu- Austria) came at the initiative of weekend. At 4.30p.m. that same lar guitarist Walter Haberl, pre- Swiss-born flautist Raphael Leone day the weekend's first concert sented the framework for all play- of the Vienna Symphony Orches- took place. The Vienna Flautists ing participants to attempt free- tra. He and a very small committee (an ensemble of 8 mostly Austrian improvisation in a jazz vein, a of flautists began advertising for flautists playing all ranges of concept with which most Austrian memberships throughout Austria flutes) performed a programme of flute players (not 'Doublers') are in November '9 1. Considering works for flute ensemble by Ros- not acquainted. Then, at 4.30p.m., how quickly everything was sini, Mozart and Alexander Rah- Canadian flautist Robert Aitken arranged I, as a member, must bari. That evening at 7.30p.m. the gave a workshop which he called commend the entire committee on Slovenian flautist Irena Grafe- 'Physical Flute', in which he their rapid results. Approximately nauer performed a programme of stressed the connection between 130 of the 225 members showed works by Benda, Boismortier, J.S. one's body (strength, stamina, up from all over the country for a Bach, Ligeti and Couperin. She breath control) and one's flute. All weekend of exhibits, four recitals, was accompanied by Austrian of the participants were put to the and three workshops. We certainly , Brigitte Engel- test. Quite challenging? Less than got far more than our member- hard. an hour after the conclusion of his ship dues and general admission The following morning (Sun- workshop, Robert Aitken per- ticket's worth of creative stimula- day) began at 9.30a.m. with a formed the final recital of the tion and entertainment. The Workshop called 'Simple Flute weekend with works by Eldin Bur- weekend took place in various Repairs: Do it Yourself!'- for most ton, Rainer Bischof, Aitken, Hol- rooms of the famous Wiener Kon- of us professional players a rather liger, Poulenc, Andersen Doppler zerthaus in Vienna's 'posh' first dubious sounding premise, consi- and Bohm. He and his Canadian district (a coup!). It all began at dering some of the younger or less accompanist Walter Delahunt then 3.30p.m. on Saturday 23 May with experienced participants. Our proceeded to perform three equally demanding encores in a was great. There was something BA in performance in 1977, she came concert hall that in the course of for everyone to be learned in every to Vienna for post-graduate studies. that hot, sticky weekend had workshop, and we were able to From 1980-1983 she played in the begun to resemble a sauna. After hear three fabulous flute soloists Bruckner-Orchester in Linz, Austria. 2% hours of this tour de force he within 19 hours. Don't ask me to Since then she lives, freelances and convinced us that he was a success- compare the three. There's no way teaches in Vienna. ful example of all of his 'physical I would. There's no need. That's flute' concepts. what our 'Flotenfest' was all about. If you are a flautist, educator, flute That wrapped up a weekend Was it a success? Let me just say student, flute builder, or flute that I never expected to even that after 28 years on the rocky enthusiast, and are interested in attend, let alone enjoy. The out- road of flute-playing, I'm a lot less membership andlor your own t come? I found a lot of new flute inclined to look for a teacher presentation for the Austrian literature and bought far too than I had been lately. Flute Society, please contact: 0ster- much. I successfully resisted buy- reichische Flotengesellschaft, c10 ing any new instruments or parts Maura St Mary-Bayer was born and Wiener Symphonikr, Lehargasse thereof, although the temptation raised in Nezu York. After completing a 11/2/12, A-1060 Vienna, Austria.

Whatever happened to . . . The Birmingham Flute Society

by Margaret Lowe

. . . Well, I don't know, really. But BBC Midland Region in its weekly approached for help, have gener- I know what I hope will happen to series 'Midland Magazine'. (Intro- ously and enthusiastically agreed it in the near future! duced by John Francis, the broad- to make a room available for an Those who read my article 'A cast still exists in transcript.) Two initial meeting at the cost of a mere Victorian Gentleman and his or three years later, as a very 50p a head for those attending. Flutes' in the March Pan will know elementary player, I came into So, if you are interested in re- that that gentleman, James Math- contact with Mr Norman Slade, founding the Birmingham Flute ews, founded the Birmingham then the Society's treasurer. Alas, Society, and have 50p to spare, Flute Trio and Quartet Society in by the time I was good enough to come along to the Birmingham 1856, and that in 1871 its name have joined the Society, it had and Midland Institute, Margaret was changed to the Birmingham passed out of existence. Now that Street, Birmingham, on Friday 6 Flute Society. the British Flute Society is a firmly November next, at 7.30p.m., to This society seems to have established fact, should not the discuss how it can be done and been a small, informal group of Birmingham Flute Society be re- what you want from it. amateur players who met together established? It would be helpful if you once a week (on Fridays, I think) In its later days, the Society could also drop me a line or ring 'to practise the flute'. It long out- met, less frequently than before, at me up to tell me you are coming. lasted its founder and Vice-Presi- the Birmingham and Midland My address and phone number is dent, who died in 1900. Institute, an establishment closely in the list of Area Representatives In 1948, long after the Second concerned in the 19th century at the beginning of Pan. World War had put paid to the with adult education, and several Remember, 7.30p.m. 6 London Flute Society, the Birm- members of the Mathews family November 1992 at BMI, Margaret ingham Flute Society was featured were intimately involved with its Street, Birmingham B3 3BS. in a programme broadcast by the development. Now the Institute, See you there From the Trevor Wye Collection. I1 Viaggio a Rheims

by Edward Beckett

Little did I know what I was letting myself in for when I answered the telephone that morning. Would you be interested in doing an on- stage flute part in The Journey to Rheims at Covent Garden? You will be in costume. Well, I looked at the diary and it all seemed to fit, and as on-stage parts were usually a doddle, I said yes. My suspicions were first aroused when I saw the part - two pages of obviously cadenza ma- terial followed by four more pages of assorted notes, all to be memor- Edward Becizett with Alistail- ibfiles Photo: (;117~r Bnrda ized! Now I didn't mind the cadenza, but the rest was tricky, a lot of rests without cues to help me whom I was attached as Manser- the star of the show Monserrat play the solo bits in the right place vant/fluteplayer. I had once given CaballC, made her first appearance - oh well, better get down to it. a few lessons to Alistair when he and promptly changed everything A week later came the first was at the GSMD studying with (affecting the singers more than costume fitting, where I dis- Peter Lloyd; singing was his me), she has a wicked sense of covered that a, I was the only second study but then became his humour and throughout the run player on stage and b, I was to be first choice and he is now having a ad-libbed outrageously. dressed in a kilt with all the trim- very successful career. With a little The first night was, for me mings. The session with the direc- help from the rehearsal pianist I anyhow, a nerve-wracking affair - tor John Cox did little to allay my managed to play in the right places waiting to go on, I suddenly fears, I discovered that not only and the basic stage actions were thought . . . 'what have I let myself did I have to play a tricky flute part established, I found myself play- in for - will I remember a thing?' but that I had to enter into the ing the end of the cadenza walking As it turned out, that performance action as well. up a flight of steps, and a duet with and all the others went without a The day of the first rehearsal Alistair walking across the stage in hitch, but I must confess to never arrived and the first person I met step - normal business for singers really settling into the part; as a had a face that seemed familiar, but something new for me. player one is used to the music surely he was a flute player - Rehearsals came and went conveying the message; to sud- perhaps I had some reinforce- and it all became more relaxed, my denly have to assume an acting ments? but Alistair Miles was not memory was behaving itself so far, career is something that I would there to play the flute, he was there much to my relief. Then came the need more time to think about - to sing the part of Lord Sidney, to first rehearsal with the orchestra; but I did enjoy myself. . . How 'Contemporary' are Contemporary Techniques?

by Wil Offermans

In modern music today we hear tones, flute and voice combi- in the shadow of the huge volcano more and more so-called contem- nations, and circular breathing - Mount Batu and was surrounded porary or new, sometimes called from many countries: China, by coffee fields. As we approached extended, techniques. In this art- Thailand, Egypt, Japan and Col- the dessa (village) the villagers hid icle I would like to discuss how ombia among others. I could have away, and the children began to 'contemporary' these techniques made a flute circle around the cry, seeing my white face and big actually are. world. nose. After a while, however, they During 1985-86 I undertook One of the places I visited was became used to me, and soon the my 'Round About 12.5 Worldwide the tropical Indonesian island of whole village gathered round. Flute Performance'. This was a Bali. In Denpaser, the capital of Together with Wayan and his seven-month project which took Bali, I became friendly with a father we all drank coffee and ate me through It3 countries, starting young man who was a student at bananas. To overcolne the lan- and finishing in Amsterdam. I the music and dance Institute of guage problem we played the local presented concerts and work- Kokar. One day, Wayan took me suling (the Indonesian recorder- shops, and met the local flautists to his parents' village. It was a five- style bamboo flute). Nervously, I everywhere I went; I heard flutes hour drive (in an overcrowded performed a children's song which made of bamboo, wood, metal and mini-bus), and a long walk I had learned from Wayan on the stone, played in an infinite variety through a forest. The village of long journey, 'Miyong, m,iyong, Alih of ways - with multiphonics, wind Maniklyu was beautifully located ja bikule'. I played the song with circular breathing, as they do tra- flute in 1847, he strove for equality flutes, you are obliged to use har- ditionally. The people reacted of tone throughout the whole monics to play higher pitches. with amazement when they heard range of the flute, in sonority as In Papua New Guinea we find their famous song played by a well as in dynamics. He con- a long straight flute without any white stranger. After that, every- structed his flute with a cylindrical finger holes - so that only one one wanted to perform on the bore, bigger tone holes in acousti- fundamental is possible. This flute suling. It was incredible, because cally favourable places, and a key is played in nightly ceremonies, without exception they all played mechanism to control the holes. always in duos, and exclusively by with circular breathing. I felt hum- Nowadays many of our 'new' tech- the native men. For their women, bled by this spontaneous perform- niques are trying to extend the playing is a forbidden and hidden ance from what was a mainly timbre of the Biihm flute. How- activity. To them the nightly flute farming community, playing with ever, the idea of a dynamic ap- sound that frequently rises out of such ease (in their traditional proach to the timbre is not at all the jungle represents a mysterious dress) a technique regarded by us 'new'! Looking back into Western happening of gods and magic. in the West as new and difficult. It flute history, we find the baroque The flute melodies are constructed was a wonderful moment in that traverso, which in contrast with on the overtone series of the single little dessa of Maniklyu. Bohm's flute has a wide variety of fundamental tone. In Western classical music, timbres, but a limited dynamic on A sophisticated use of har- circular breathing has been used each tone. This is caused by the monics is heard in the so-called for centuries on the oboe. Simi- relatively small tone holes, the 'overtone singing' of the Mon- larly, in North Africa, the Middle inversely conical bore, and the golian H6my singers. By combin- East, India and Indonesia, we can frequent use of irregular finger- ing a dangerously high breath hear double-reed instruments ings (especially the so-called fork pressure and a special vocalization, which are all played with circular fingerings). they know how to extend their breathing. Compared with the Compared with the traverso, sonorities with flute-like overtones flute, these double-reed instru- most bamboo flutes produce a and multiphonics. Generally, in ments are played with a high wide variety of timbres. In these singing, the timbre of the voice - breath pressure. For this reason it cultures, availability of material culturally and individually deter- is easier to use circular breathing (and time) and coincidence have mined - has an extremely wide on a double-reed instrument - a an important and even essential variety. double-reed player can move impact on flute-making and play- One of the best known embouchure and cheeks quite ing. Thus the whims of nature extended techniques is the multi- freely without losing control; directly influence the physical phonic. It is a fascinating experi- hislher cheeks can support the characteristics of bamboo flutes, ence to have two or more tones circular breathing easily in con- resulting in an always unique flute. vibrating simultaneously in the trast with the flute player, who will A most interesting example of flute tube. In about 1820, the first immediately encounter problems a bamboo flute is the Japanese methods for multiphonics were with tone. shakuhuchi. This vertical flute is published (for example, Schule fur Playing the didgeridoo is famous for its rich, dynamic and Doppeltone auf der Flote by Georg another example of circular brea- flexible sonority, produced largely Bayr, between 1773-1833) in thing. This trumpet-style instru- by the special bore, the extremely Vienna. We don't hear so many ment of the Aboriginals in Aus- big embouchure hole, the sharp multiphonics on ethnic flutes, and tralia is made out of the hollowed cutting wedge, and the absence of when we do, these are mainly used branch of a tree. As the didgeri- keys on the five finger holes. On for their timbre, rather than to doo has no finger holes, it has only the shakuhachi we find other inter- create a kind of polyphony. Thus one fundamental tone, but by esting extended techniques, the Egyptian May (an oblique varying the lip tension and breath especially wind effects. flute) can perform parallel octaves, pressure, and by the use of circu- Another extended technique expressing an extremely deep lar breathing, endless overtone which can be traced back as tra- dramatic mood. melodies can be played. Many ditional is the harmonic, with its I would also like to mention flutes, such as the Chinese di-zi (a distinctive timbres. However, we one of the many examples of bamboo transverse flute with a should not forget that we use combining flute playing and sing- membrane) and the Thai klui (a harmonics on our Bohm flute ing. In Laos (Asia) there is a recorder-style flute), use circular almost unconsciously: we play the fascinating transverse bamboo breathing traditionally in their second octave as straight har- flute, without any finger holes. An playing. It is also used for glass- monics from the lowest octave. embouchure hole is made some- blowing, enabling the glass prod- Compared with the Bohm flute, where in the middle, and the two uct to be blown with a constant air most of the bamboo flutes have open endings of the tube are pressure. only a few finger holes, giving few played with a finger or thumb. When Bohm designed his fundamental tones. On these The flute allows you to play four different fundamentals plus their I realize that this short article imagine that after my world tour overtone series. I once heard an is far from complete. Nor does it project 'Round About 12.5', I old lady performing her song on pretend to inform you about any could not accept 'contemporary' this flute. Quite frequently she technical details of the extended techniques as such any more, and sang along with her flute melody, flute techniques. I just wanted to certainly not as 'new'. Henceforth creating a beautiful effect, with draw attention to other flute cul- I shall just accept the flute and its charming sonorities. In many tures, as well as the Western flute playing techniques as one great ethnic flute cultures we can hear history. I could continue, mention- celebration of music. similar techniques of singing in ing the different tones of the 4 parallel. Sometimes even lyrics are Japanese ryfiteki (a transverse Wil Offermans zuas born in Maas- used, which sound attractively dis- bamboo flute) in the Gagaku tricht, Holland, and graduated influte torted by the interference of the ensemble (court music); or the and improvised music from the Bra- flute and voice. portamento of the Indian bansuri bunts Consen)atory of Mzcsic in 1983. Voice techniques on the flute (quite a big transverse flute); the He has composed jazz, rock a.nd street are also used in jazz and pop key-clicks of VarPse's Density 2 1.5; music, and has toured ~xtensiz)ely, music. The blind jazz musician or the bisbigliando (Pierre-Yves pelforming and giving workshops and multi-instrumentalist Roland Artaud), which was already known around the zoorld. In 1989, he intro- Kirk defined this technique as in the Baroque period as the 'batte- duced an open-holed bassjute made by follows: 'It's splitting the mind in ment'. Eaa Kingma to play a new solo two parts. It's like making one part It is my intention to stimulate composition. His recently composed of your mind say "O-bla-dee" and the flautist to see things in perspec- jute Mudes, For the Contemporary making the other part of your tive, and to recognize all kinds of Flautist, are being publislzed this year. mind say "What does he mean?"' cultural and historical relation- He proved to be a genius in using ships, before describing something See Profile of an unusual flute- flute and voice simultaneously. unfamiliar as 'new'. You can player. Pan Vol. 71No. 2 Ju.ne 1989

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* This is an account of a unique (and me if I was interested in audition- the sponsorship of Windblowers. my favourite) shop - a music shop ing for a symphonic winclband. I For those who have never - Windblowers of Nottingham. had no idea what a symphonic heard of a windband, I can thor- The staff are helpful, the atmos- windband was and neither had he! oughly recommend it. Much excel- phere friendly, the service excel- After further investigation we dis- lent music has been, and continues lent. Many music shops meet these covered that it was an orchestra to be, written for windband. Guy criteria, I know, so what makes without strings, having instead a Woolfenden's Gallimaufry and Windblowers so special? Why its section of flutes and a section of Philip Sparke's The Year of the windband of course! . Of course I was inter- Dragon are two excellent exam- Many adults shopping at ested, and so began my association ples. (Incidentally, both these com- Windblowers asked the same with what was to become Nott- posers have worked with Nott- question - 'Where can I go to play ingham Symphonic Winds. ingham Symphonic Winds.) with other musicians? Margaret Alistair, Margaret and David As a flute player, the chance Frogson and David Oldershaw, had hoped to form a band of a of getting into an orchestra of any the CO-owners,came to the conclu- good standard but even they were quality is quite remote but a sym- sion that there were very few post- surprised by the calibre of playing phonic windband is different! In school opportunities for amateur and realised quite quickly that this our band we have twelve flutes and musicians in the Nottingham area. could be something special. one piccolo, thus providing Slowly the idea grew to set up The Band is now in its fifth greater opportunity for the their own windband to cater for year. In 1990 we won the Gold enthusiastic amateur flute player. this need. They talked this over Award at the National Windband Nottingham Synlphonic with Alistair Parnell, then still a Championships of Great Britain. Winds gives great pleasure to its student at the Royal College of We have toured Germany and players (75 in all) and its Music, and it was decided that Austria and are travelling to Hol- audiences. What we have achieved when Alistair finished in London land this year. Through its in five years is amazing and it's all the band would begin, with him as concerts, the Band has raised thanks to Alistair and Wind- Musical Director. thousands of pounds for local blowers. Now perhaps you can see The first I knew about this charities. It is kept going through why I think Windblowers is the was when my flute teacher asked monthly subscriptions of 25 and best shop ever.

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My name is Carole Page and I am nual financial aicl to this project. also be grateful for instrumental at present teaching music, as a Before leaving England I was sheet music and the new theory volunteer at Starehe Boys' Centre, generously given 6 student flutes books from grade 5-8. If anyone a charity school in Nairobi. Star- by All Flutes Plus of' Dorset Street. reading this article feels they ehe was founded in 1959, as a When I arrived at Starehe I found would like to help in any way, centre for homeless and needy a music department of talented, please write to me direct at M~lsic children, in two small tin huts in sensitive pupils, ready to take full Department, Starelze Boys' Centre, PO one of Nairobi's poor districts. advantage of anything offered to Box 30178, Nairobi, Kenya, or con- , Since then it has grown to accom- them. In the past, only voice had tact my parents, MrlMr.7 Page - Tel: modate 1200 intelligent but needy been offered for examinations, 081-942 6206. boys. then a local band folded up and We are looking for a second c I was trained as a flautist and old, dented instruments were music volunteer to help me with a teacher, at the Royal College, and donated to the school. Imagine the very busy timetable. The school the . I boys' pleasure when they received normally requires a two year had 10 years' teaching experience 6 almost new flutes. Already, in the commitment. Any interested party before coming out here, and I can four months that I have been here, should contact Mr Paul Whitehouse, honestly say that no European they are approaching grade 3-4 Chuwman of the Starehe Fo~lndation school comes anywhere near giv- Associated Board standard, as UK, 236 Barnslej Road, Sandal, ing one the rewards you receive by they are determined to take full Wakefield WF2 hEL, Tel: 0924 working in this very special, worth- advantage of this unique oppor- 252122. while school. Support for the tunity. school is international, with 'Save The department is still in Many thanks again to All the Children Fund' and individual need of a variety of instruments Flutes Plus, and also other friends sponsors being among the many including recorders, saxophones, who have already helped us in a who give their varied and conti- and brass instruments. We would variety of ways. New From Novello

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John Francis

John Francis Cook was born in Sullivan the composer. Murchie, whom he greatly London in February 1908. His John showed an interest in admired (though he was soon to background was artistic in every music from a very early age and fall under the spell of Marcel way. Both parents were painters, learned the piano, sometimes hav- Moyse) and the following year won and his mother, who had a prodi- ing lessons with his aunt Emma a scholarship. gious and varied artistic output Barnett, a concert pianist. It was It was a vintage time for the throughout her life, had minia- not however until he started play- RCM - fellow students included tures accepted for the Royal Acad- ing the flute at the comparatively , Michael Tip- emy Summer Exhibition when she late age of seventeen that he pett, Imogen Holst, Veronica was in her eighties. John (who decided to take it up professio- Mansfield, Cecil James, Natalie later dropped the name Cook for nally. To help pay for lessons with Cane, Alan G. Melville, Leonard professional purposes) was Robert Murchie, John found a job Isaacs (who started the BBC Third named, aptly as it turned out, after - in a furniture shop - but was Programme), the legendary flute her father John Francis Barnett, soon dismissed for practising flute player Arthur Gleghorn, Sylvia the celebrated Victorian pianist fingerings on a ruler behind a Spencer the oboist and Millicent and composer and one of the screen when he should have been Silver the harpsichordist, who was founders of the RCM. He was a attending to customers. Two years then a very gifted piano and fellow student with Grieg in Leip- later he went to the RCM, where student. It was an exciting time for sic and a close friend of Arthur he continued to study with Robert the students -John used to recall the visit Ravel made, dressed in a England expanded, as did John's running of it to their elder lavender suit and a purple tie, to career. He became Britten's first daughter Sarah. conduct 'Daphnis and Chloe' with flute in the English Opera Group, Successful and time consum- the student orchestra. 'Don't playing with them for ten years ing though the Ensemble was, and worry about ze notes, I just want ze (1946-1956) at the Aldeburgh John's part cannot be overesti- eempression 'ere', he said, refer- Festival and abroad, taking part in mated, he did have time for other ring to the notoriously difficult the first performances of 'The things, in particular teaching, passage in the second Suite, fami- Rape of Lucretia', 'The Turn of which he enjoyed. He was a pro- liar to all woodwind players. the Screw' and 'Albert Herring' as fessor of flute at the RCM from While they were still students, well as his recital work with Milli- 1954 until 1980, teaching many of John, Millicent Silver and Sylvia cent and the Sylvan Trio. the players in the profession today Spencer formed the Sylvan Trio. It was on a visit to Dartington including the BFS President, I They were initially coached by Hall that a significiant turning James Galway, and the Chairman, Dame Ethel Smyth, and although point in their lives was made. Susan Milan, and was made a they got off to a somewhat inauspi- Millicent tried out the Fellow in 197 1. He also continued cious start - their first concert in - both she and John had felt for with his solo and orchestral work the RCM concert hall on 5 some time that the piano was not and in 1953 gave the first per- November (1928) was accompa- quite right for Bach sonatas and formance at a Prom of the flute nied by noisy fireworks, and a found this to be the answer! A concerto written for him by Len- broadcast at Savoy Hill later that harpsichord was bought and very nox Berkeley. summer was postponed at the last soon afterwards the London In 1982, when the British moment to accommodate the Harpsichord Ensemble was Flute Society was formed, John Wimbledon tennis commentary! - formed, one of the first (modern) offered to become its secretary. they were tremendously success- ensembles of its kind, which surely This was a role he greatly enjoyed ful, having many works writen for laid the foundations for the and the first meetings of the them. They continued to give abounding authentic early music society were held at his house in St recitals and broadcasts for many groups flourishing today. John's Wood, where members of years, later with Joy Boughton as The LHE made their debut in the Council enjoyed his and Milli- the oboist. 1945 at one of Dame 's cent's hospitality and the comfort When John left college, his National Gallery concerts, the start of his lovely home. first job was in Northern Ireland of a very successful venture in John was my mother's brother with the BBC. He returned not which John's drive and determi- and for several years was my flute long afterwards to freelance, play- na'tion, together with the excellent teacher; I had contact with him for ing with the LP0 (he was third players engaged, gave the ensem- most of my life and knew him as a flute in their inaugural concert ble a unique place on the musical family man, inordinately proud of with Beecham), Covent Garden, scene. There were broadcasts, his musician daughters Sarah and the Sylvan Trio and with Millicent tours, a series of ten concerts at the Hannah and his three grandchil- Silver, whom he married in 1932. Edinburgh Festival in 1950 for the dren. During the war, although John Bach bicentenary and a tremen- Millicent died in 1986 after a was a reserve policeman, he did a dously popular series of fort- long illness and in 1987 John considerable amount of playing, nightly concerts in the Waterloo married Lorna Lewis, the former working with Geraldo's dance Room on the South Bank. John editor of Pun. band, CEMA and ENSA, with and Millicent were central to the r whom he toured. ensemble for over thirty years, After the war, musical life in retiring in 1981 to hand over the Judith Fitton

Mary Chandler (191 1 - ) : Serenade for Flute Ensemble (1985). Pm1: 4 pieces for 6 fl + picc & alto fl; Pm2: 2 pieces for picc, 3 fl + alto fl; Pm3:Interlude for 2 flutes. Phyltoscopus !Pubtications

Rachel Malloch 92, Aldcliffe Road, Lancaster, LA1 5BE Tel: (0524) 67498 0bituaries Lee Hannah

The musical community of Cleve- monic orchestras and at choral were similarly inspiring to all with land was shocked to learn of the concerts, being frequently seen in whom she made music. tragic death of the flautist Lee Middlesbro~~ghand Darlington As the British Flute Society's Hannah in a car accident at the theatre pits and becoming a area representative for Cleveland, age of 38. A New Yorker with a founder member of the North Lee's initiative, grasp of detail and degree in English from Princeton Winds Ensemble and The Trouba- no-nonsense approach made her a University, Lee came to this dours music group. Her orchestral capable organiser of meetings and country in 1974 to pursue post- contributions and solo appear- flute workshops, which were thor- graduate studies at York Univer- ances displayed her superb tech- oughly enjoyed by players old and sity, where she gained her MA in nique, beautiful tone and artistry young for their convivial atmos- Medieval English. There she also and impressed fellow musicians phere as much as for their musical met her future husband, Stephen. and audiences alike. Lee taught in benefit. A talented flautist from youth, schools in the area and privately Lee Hannah's involvement in it was not long after settling on and proved herself to be a brilliant music activities in so many ways Teesside in 1978 that she found teacher whose enthusiasm, high and her vivacious company contri- the vocation in which she made standards and integrity encour- buted much to musical develop- her mark by involving herself in aged her many pupils in their ments in the area and she will the musical life of the area, playing studies and in ensemble playing. indeed be missed by her many principal flute with the Teesside Her musicianship, friendly inter- colleagues, friends and pupils in Symphony and Cleveland Philhar- est and down-to-earth attitude Cleveland and beyond. E.M.R.

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-l".-.,...f- Pan Index April 1983 - March 1992

Vol l. No. l April 1983 28pp Nerves and Performance (extract from book 'Flute 1. The First Japanese Flute Convention 1982 - Albert Teaching') - Simon Hunt Cooper. Dickens and the Flute - Geoffrey Brook 2. - the father of modern flute playing. London Flute Day Sunday October 9th (review) - (A beautifully illustrated biography) by Edward Lorna Lewis Blakeman. Flute Extravaganza. R.N.C.M. Nov 5th-6th (review) 3. Why play the Baroque Flute? - Louise Carslake - Lorna Lewis 4. British Orchestral List of Flute Players Forming a Flute Orchestra - Marlaena Kessick 5. An Appreciation of three flute players, Edward Bath Summer School of (review) - Walker, Richard Lee ancl Christopher Taylor. Hilary Morris 6. Flute Teaching in Schools - Malco1.m Pollock Apprenticeship training in Fine Flute Making - 7. A Life Line. (Flute Memoirs from Rudall Carte Jonathan Landell Berners St. days to the present) -John Falk Out of the Ordinary (repertoire ideas for flute 8. Auditions - how to do them and what the panel may concerts) - Sheila Cochrane be looking for - Trevor Wye 9. What can your local flute club offer? Russell Parry Vol. 2. No. 1 March 1984 52pp. 1. - a born flttiste - Edward Blake- Vol. I. No. 2 JulyIAugust l983 43pp man (marvellous pictures) 1. The 5th Festival del Flauto (at Belveglio) - Albert 2. Gadget Page; E ring - E mech - Albert Cooper Cooper and Stephen Preston 3. Why are silver flutes so expensive? - Ewen McDou- 2. Report of the Jean-Pierre Rampal Masterclass. BFS gall 1st London Flute Day - Simon Hunt 4. Photographs of the flute made by Denis Houghton in 3. Gadget Page: Open v. Closed Holes Albert Cooper - Changi P.O.W. camp 4. On the traces of nly great-great-grandfather Theo- 5. On being a late starter (memoir) - Alfred Gundry bald Bohm (flute maker, flautist, composer 6. There is no substitute for enthusiasm (a full time 1794-1881) - Ludwig Bohm teacher's monologue) - Anon 5. Teaching the Flute in Schools and After: the 7. American Flute Makers, a survey - Trevor Wye importance of a Relaxed Embouchure -John Fran- 8. Flutemaking: "Goals, Organisations, and Course cis Offerings" - Jonathan Landell 6. The Forgotten Flute. (The Flute in Antiquity) - 9. Posture - Roy Brewer Madeau Stewart 10. Flute and Groups for young players - 7. Circular Breathing and the Flute - ZcIenek Bruder- Patricia Moore hans 11. Fluting on the fringe (memoirs) -John Rayworth 8. Here come the Fifes. (The early days of the Ulster 12. Forming a flute band - Derek Greer Flute Bands) - Derek Green 13. Samishii - bell ringing in an empty sky (about the 9. Second Wind. (Memoirs 1920 to the present day - Japanese Shakuhachi) - Alex Weeks Hubert Thomas). 14. Boehm's remarks on the G sharp key - Ludvig Bijhm Vol. 1 No. 3 Nov./Dec. 1983 64pp. I. Gadget Page: Open v. Closed G sharp - Albert Vol. 2. No. 2 June 1984 60pp. Cooper 1. Profile: John Francis in conversation with Edward 2. One Flute One Car. (Story) - Linda Goodwin Blakeman 3. A Short History of Rudall Carte & CO - Ken Spacey 2. Gadget Page; High G & A Trills - A. Cooper 4. Notes from the Piccolo Perch - Patricia Morris 3. Survey of London & Home Counties Flute Shops - (Principal Piccolo BBC Symphony Orchestra) Trevor Wye 5. The Annual Convention of the National Flute 4. The Mad March Limerick Competition Association in Philadelphia, USA 18-21 August 1983 5. The Flute on 78 rpm Records - Christopher Steward - Trevor Wye 6. Some comments on hearing-aids for senior citizen 6. Further comments on the Relaxed Embochure - flautists - S.D. Williams Julian Marczak, LGSM. 7. Too Old! (memoir) - Joyce Mildren 7. Flutes, Snooks and Enemas (Linguistics) - Ken 8. The acquisition of perfect pitch - Pamela Breese George 9. Pan in Prison (wartime memoirs) - Tom Cotterell 8. Ancient Clay Flutes made anew (beautifully illus- 10. The Dayton C. Miller Flute Collection - Mary Jean trated) - Neil Ions Simpson 9. Another Lifeline (wartime memoir) - Denis Hough- 11. James Galway Masterclass. April 10th (review) - ton Lorna Lewis Concert in Sylra (memoir) - G.B. Royce Vol. 3. No. 1 March 1985 64pp Associated Board Exams - The scales bugbear - 1. Profiles: William Bennett in conversation with Alison Uren Edward Blakeman An embarrassing time (Ass. Board Exams) - Russell 2. The Flute, the Hammer and the Sickle (fascinating Parry and rare account of a journey to Russia) - Trevor What is the "RF Modification" (you will have to read WY~ it to find out ED!) - Rayrnond Fabrizio 3. Gadget Page: Off set G and A or in line - Albert Lambros Callimahos, as seen by a student - Jacque- Cooper line Faulkner 4. Degas Portrait of the Flautist Altes -John Solum Yet another lifeline (memoir) - Ian Audsley 5. The Grand Memorial Concert - The Art of Teaching the Flute - Julian Marczak Alfred Gundry My First Flute (mernoir) - Wilfred Smith 6. Marcel Moyse: An Appreciation - Trevor Wye 7. B.F.S. Midlands Event. 18 Oct 1984 - Stanley 2. No. 3. September l984 60p Salmons and Janet Way That Embouchure - Stanley Salmons 8. 'Open Ear' 50 Years Ago (intriguing record of flute Profiles 2: Geoffrey Gilbert in conversation with broadcasts, 1925 onwards) - Geoffrey Brook Edward Blakeman (marvellous photos) 9. On a Personal Toot (mernoir) - Gordon Heard Joseph Lingard: A Reminiscence - Joan Simpkin 10. Memories of Summer Schools at Moulsford What Bach wrote for the flute, and why - John 1 1. The Naming of Parts - Terence Hypher Francis Gadget Page: C-B Convertible Footjoint - A. Cooper Vol. 3 No. 2 June 1985 60pp. The Hole Truth (A Lecture on the Acoustics of the 1. Renk Le Roy (1898-1985): an appreciation - Edward Flute) -John Stevenson Blakeman Doppleriade Centenary - Albert Cooper 2. Stevenson and the Flute (Robert Louis) - Geoffrey Henry Nicolson's Farewell Concert - Lorna Lewis Brook Music from Changi Prison Camp 1942-5 3. The Flute or the Headjoint (Which came first?) - An Ideal Private Music Teacher - Joyce Mildren Juan Novo Some problems in Teaching Young Children - K. 4. Gadget Page: Embouchure chimney depth - A. Hardy Cooper A Comment (about Ass. Board Exams) - Gordon 5. The Flute, the Hammer and Sickle (Part 2) - Trevor Heard WY~ Considerations for the Classroom: Group Tuition - 6. Eurobusking - Jane Charles A. Peri 7. The Flute in Winter - Gillian Williams Off Colour? You or your flute - Eric Lucey (About 8. The Capped Flute Head; a radically new design - checking for leaks on the flute). Ian Senior Meeting with Dayton Miller - Hurbert Thomas 9. Grade Examinations: Associated Board and Trinity The Alto Flute - Hubert Thomas College - Patricia Moore Water Music (Holiday reminiscence) - Pauline Jack- 10. Fay was Fifty - Fay Fontana son 11. A Musical Knot - Gordon Heard Did Someone Pass a Law or Something? (starting 12. The Gentle Art of Choreography - Basil Bolshoi late) - Pamela Kenley-Meschimo. 13. Marcel Moyse - Laurence Bertrand. trans. Rachel The Care of a Flute - Wilfred Smith Wood (including some rare pictures). 14. Acquisition of Perfect Pitch Revisited - Pamela Vol. 2 No. 4. December 1984 56pp Breese 1. What of Syrinx (poem) - Lorna Lewis 15. On a Personal Toot (rnemoir) - Gordon Heard l 2. The Alexander Technique - Brian Warren 16. Fluting in Australia - when the going gets hot - ? 3. N.F.A. Convention - Chicago 1984 - Trevor Wye Robert Brown 4. Gadget page: Bent Flutes - Albert Cooper 17. Marcel Moyse 1889-1984 - Trevor Wye 5. A Sort of Phoenix (eloquent personal memoir) 6. Which Music College? Charted Replies to Question- Vol. 3 No. 3 September 1985 56pp naire (the facilities and teaching available at Music 1. Profiles 4: Stephen Preston in conversation with Colleges in 1984). Article on the same - Russell Parry Edward Blakeman The Flute in Australia - Robert Brown 2. Allergic to Flutes (metal allergy) - Christine Martin A Flute Factory in Taiwan - Trevor Wye 3. Midas Touch (an article about Albert Cooper's From Bergen with Love (formation of a Norwegian methods of flute making, reprinted from CRAFTS Flute Club) - F. Hanel magazine by kind permission) - Montague Shaw BFS London Day 7 October 4. Another sort of echo - Lorna Lewis International Summer School 1984 (Ramsgate). An 5. Gadget Page: The upper chamber (of the headjoint) appreciation - Patrick Snook - A. Cooper Taking the Recorder Seriously - 2 - Alan Davis 6. British Orchestral List The Susan Milan Masterclass 1984 - Stanley Salmons 7. May Flute Day (review) - Sarah Marshall The First European Symposium for Flautists - A. 8. The Eldred Spell Advanced Flute Repair Class -Jon Cooper Lacey F Sharp - Wilfred Smith 9. A Family of Flutes - Lorna Lewis The Flute that Roared (memoir) - Tom Cotterell 10. Examinations: A Good Thing? - Patricia Moore 1 1. How Necessary are those Grade Exams? - Julie 11. The Birmingham Flute Day Schroder 12. The Trivial Pursuit of the Flute - Nancy Toff 12. Playing by Ear (a psychological note) - Cordon 13. The Marvellous Flute - J. Jack Haden Heard 14. B.F.S. Flute Teachers Course 25-27 April 1986. A 13. Blowing Hot and Cold (about tuning) - Ian Senior Personal Comment - Rene Mairis 14. Variety is the spice of life! - Joyce Mildren 15. From Samuel Jardine of the Wellington Flute Band, Vol. 4 No. 3 September 1986 44pp. Toronto 1. Profiles 5: Susan Milan in Conversation with Edward Blakeman Vol. 3 No. 4 December 1985 60pp. 2. Gilbert Barton: A Memoir - Leigh Smith 1. Christomides: A Unique Victorian Flute - Russell 3. Things my Alma Mater never told me - Lorna Lewis Parry (amazing photos of a rare instrument 4. German Flute Society - Trevor Wye included) 5. A Conical Tale (about a conical Boehm flute) - Jon 2. Marcel Moyse on his method of learning the flute - Lacey Jean Vuillermoz. trans. Edward Blakeman 6. Gilbert (Geoffrey) - the Master at Work - J.M.S. 3. An appreciation of the life and work of William 7. The Teaching Accompanist - Patricia Moore Alwyn - Christopher Hyde-Smith 8. Michael Emmerson - Finder of the 'Right Stuff - 4. An Unusual Pupil - Joan Miller Polly Hansen 5. The N.F.A. Convention 1985 - Trevor Wye 9. Adrian Brett beside the Seaside - Tony Goodwin 6. Wooden Headjoints for Metal Flute -Jack Frazer 7. Vessel Flutes and Ocarinas - David Liggins Vol. 4 No. 4 December 1986 54pp 8. Gadget Page: the Logicork - A. Cooper 1. N.F.A. Convention New York 1986 - Trevor Wye 9. Quick March (memoir) - Tom Cotterell 2. 'Eight Pieces for Solo Flute' - 10. Contra-Alto and Contra-Bass Flute - Trevor Wye Gunther Metz transl. Rachel Wood (reprinted 11. Flute Practice without a Flute courtesy of 'Tibia') 12. DOB 130508 (memoirlinterview) - Michael Richard- 3. Frederick Kuhlau (1782-1832) - A Copenhagen son Celebration - Trevor Wye 13. London Flute Day (review) - Russell Parry 4. Seamed Tubes -Jack Frazer 14. Events in London and Manchester (review) - Lorna 5. Gadget Page: The Brogger Mekanik - A. Cooper Lewis 6. Made to Measure: How to fit a headjoint without the 15. Flutin' in Western Australia - Rupert Sherwood body - Ian Senior 16. Local Flute Club Contacts - Russell Parry 7. B.F.S. Graded Exams? The Pros. and Cons - Russell 17. My Life with Flute Bands - Leonard G. Berg Parry 8. Reflections on Hindhead (Susan Milan Masterclass) - Vol. 4 No. 1 March 1986 44pp Stanley Salmons 1. Military Band - Kenneth Bell 9. Flute Course at Stowe - Anne Farquhar 2. The Soft Complaining Flute: an Anthology - 10. The Flute World in Bermuda - Antoinette Davis Edward Blakeman 11. Memoirs of an Accidental CBSO Extra Flautist - 3. Those Uebel Flutes - Arthur Hart Margery Elliott 4. Paul Hindemith's 'Eight Pieces for Solo Flute' - 12. A Gracious Silence (mernoir) - Lorna Lewis Gunther Mertz trans. Rachel Wood 13. International Summer School - 1986 - Ramsgate - 5. At the ripe old age of 30 -Jean Kershaw Julian Dickson N.S.W. Australia 6. Gadget Page: A flute without soldered or drawn tone 14. Testing the Logicork - A. Cooper holes - A. Cooper 15. My Music -Jean Plant 7. Hello, Goodbye and see you sometime - Lorna Lewis 8. The Flutes on the S.H.E.L.F.S. - Tony Goodwin Vol. 5. No. 1 March 1987 9. A Present to a House - Lorna Lewis 1. Extracts from the 1860-1950: 10. A Family Musical Evening - Joyce Mildren Claude Dorgeuille introduced by Edward Blakernan. 2. Nights at the Opera. Harold Clarke. Vol. 4 No. 2 June 1986 52pp. 3. Methode de Flute of 1801 by Hugot and Wunderlich 1. A Visit to the Paris Conservatoire, February 1986 - by Tony Walker. Trevor Wye 4. Travels with my Flute. Joan Miller. 2. William Bennett 50th Birthday Concert - T. Wye 5. Portrait Gallery of Patricia Lynden. 3. Song and the Flute - Louis Fleury, into E. Blakeman 6. History page Charles Nicholson 1795- 1837. 4. Goldsmith and the Flute - Geoffrey Brook 7. London Flute Day details. 5. Early Music in Malta - Tom Cottrell 8. Flute Events Section. 6. Eight Statements and a Coda concerning the Per- 9. Masterclass. formance of 18th Century Music - Frans Vester 10. Perspectives of Ability. Adrian Brett. transl. by Frieda Leia Jacobovitz 11. An Australian View of the N.F.A. Convention New 7. Gadget Page: the 6th Australian Flute Convention - York by Rosamund Plummer. A. Cooper 12. The B.F.S. Exam. Robin Soldan. 8. A Piccolo Story -John Andrews 13. B.F.S. graded exams: Are they really necessary by 9. A Tribute to another Flautist's Spouse - Joan Miller Joyce Mildren. 10. Flute Studies for the Pre-Student Years - Russell 14. Tibia Hominis Sapientis. Trevor Wye. Parry 15. Frankfurt Music Fair. Albert Cooper. BFS MEMBERS!! Don't miss this opportunity to receive a FREE THE FLUTE SPECIALISTS copy of Peter Wastall's new flute book Introducing a new and comprehensive 'PRACTICE SESSIONS' range of flutes for both the student and with the compliments of Boosey & Hawkes professional Music Publishers alike All you have to do is write to us with your most amusing anecdote from your experience Famous for quality of sound - - teaching or learning. . . Send it with your consistency of design Name, address and membership number to:- and manufacture Panecdotes, Maple Media Ltd, 4 1 1 Wokingham Road, Earley, Reading, For details of your nearest Berks RC6 2EL, to arrive no later than stockist, please 30 October 1992. This offer may have to be contact: limited and applicants will be subject to a 'first come' rule. So HURRY - write in NOW!

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For more than four decades, Gemeinhardt has offered flutists remarkably responsive instruments with a beautiful tone that distinguishes them from all others. Products with a delicate balance of sophisticated technology and human sensibilities that have contributed to expanding the potential of more flutists than any other flute in the world. As a fourth generation flutemaker, Kurt Gemeinhardt dedicated himself to continuing his family's legacy of creating outstanding instruments for flutists of all ages and abilities. He believed beginning students should have quality flutes to provide inspiration and encourage growth. He felt advanced students should have access to exceptionally fine instruments to complement and foster further achievement. And he wanted professionals to have incomparable performance and tonal versatility. Durably constructed of the finest materials, Gemeinhardt flutes include features like integrally drawn, rolled tone holes, exclusive four post foot joint construction and power coined keys. All designed to require less maintenance. Our flutes feature parabolic head joints, our own embouchure hole design, proportioned tone holes and pad cups to ensure even response and extraordinary tone throughout all registers. They also feature superior key mechanisms for fast action and outstanding playability. Known and trusted for their acoustic and mechanical excellence, Gemeinhardt flutes have become the preference of more flutists than any other flute in the world. A preference you'll understand once you play any instrument from our remarkable line of fine flutes and piccolos. FOR DETAILS OF YOUR NEAREST STOCKIST RING 071-935 6686 Vol. 5 No. 2 June 1987 Vol. 6 No. 1 March 1988 1. A New Look at the Wooden Flute. Robert Bigio. 1. Why I play the Flute. John Francis. 2. Karl Joachim Andersen: Danish Musician Extraordi- 2. Developing Baroque Ornamentation Skills Betty naire by John Solum. Bang Mather. 3. The James Galway Headjoint Convention. Norman 3. B.F.S. Rules the World. Map of distribution of Clare. members. 4. Some thoughts on the B.F.S. exam. Julie Schroder. 4. Richard Adeney talks to our Editor Simon Hunt. 5. Decorative or Unusual Music Covers. 5. Portrait Gallery of David Nicholson. 6. Burying the Gnomes. Jon Lacey. 6. Members Platform of Michele Lee. 7. Mixed Trios. Hubert Thomas. 7. History Pages. 8. Some problems of a Dyslexic Flute Player by C Old- 8. Reflection of a "London West End Super Mole" on field. Four Seasons in the Royal Opera House Pit. Patricia 9. Why take up the Flute? Grace Rose. Lynden 10. Portrait Gallery of Jonathon Snowden. 9. "Friend! Look for the first allegro": Some thoughts 11. Orchestral personalities. Geoffrey Gilbert and on the flute in Haydn's symphonies. Edward Blake- Richard-Adeney. man 12. History Pages The Flute in London Albert Fransella. 10. The Season in Malta. Tom Cotterell The Flute in Paris Louis Fleury. 11. The Flute Player in Art. 13. B.F.S. Teachers Course 27-29 March. Juliet Keeling. 12. East Anglian Flute Group. 14. A B.F.S. Exam system. Elaine Smith. 13. Flute Events Section. 15. Pan: The First Four Years, a catalogue. Simon Hunt. 14. Bath Summer School of Baroque Music. 16. Flute Club section. 17. IX Festival Nazionale del Flauto. A Cooper. Vol. 6 No. 2 June 1988 18. Flute and Oboe Day at Claremont. K. Walker. 1. Bach doubts. Trevor Wye. 2. Flute Design. Lawrence Byng. Vol. 5 No. 3 September 1987 3. Aspects of the . Harry Pullan. 1. The B.F.S. Flute Exam Time For Decisions. R. 4. Tom Ganley-Flute Maker. Neil Griffin. Soldan. 5. Top Security. Jon Lacey. 2. The Orchestral Flute. Peter Lloyd. 6. James Galway Interview. 3. Ransom Wilson Interview. 7. Portrait Gallery of David Haslam. 4. Embouchure Shape. Albert Cooper. 8. Soloist's Showcase of Judith Hall. 5. Flute Humoureske. Hubert Thomas. 9. The Flute Player in Art. 6. Proofs of authenticity of the Sonatas in G minor and 10. History Pages. E-Flat major for Flute and Harpsichord by J.S.Bach 11. But How do You sound to the Audience? Roger by Alexandre Magnin. Mather. 7. Liverpool Philharmonic Flautists. colin Chambers. 12. "Sounds Unusual" The World's Largest Pan-Pipes. 8. Hazards of a Flute-playing Mother. Amanda Prowse. Simon Desorgher 9. History Page: Boehm's letters to W.S. Broadwood. 10. Letter from the Chairman. Edward Blakeman. Vol 6. No. 3 September l988 11. Jean-Pierre Rampal International Flute Compe- 1. London Flute Day. Liz Goodwin. tition: Paris 1987 Trevor Wye. 2. Nice flute Symposium. Christine Garratt. 3. Frans Vester Stichting. 4. The Singing Feather. Lauri Otonski. Vol. 5 No. 4 December 1987 5. The Custom Made Flute. Jim Schmidt. 1. William Kincaid 1895-1967. A Tribute by Edward 6. Flute Events in Italy. Norman Clare. Blakeman and John Solum. 7. Robert Dick in Conversation with Adrian Brett. 2. Frans Vester: A personal Tribute. Peter Van Muns- 8. Throat Tuning. Robert Dick. ter. 9. Robert Dick. Composer Flutist. 3. The Embryo B.F.S. Exam. Russell Parry. 10. Portrait Gallery of Paul Edmund Davies. 4. Theobold Bohm's comment on the closed G sharp 1 1. Soloist's Showcase of Karen Jones. key. 12. The Flute Player in Art. 5. N.F.A. Convention August 20-23 St.Louis 1987 13. Great Flutists in Vienna. Frederick Schoenfeld. T.Wye. 14. The Flute in the Wind Band. Kenneth Bell. 6. Zen and the Art of Flute-playing Tom Cotterell. 15. Fluting in Australia. Susan Pease. 7. History Page: Lupton Whitelock. Gordon Walker. 16. Flutes in Honduras. Lucy Cartledge. 8. Decorative or Unusual Music Covers. 17. Flute Societies of the World. 9. The Murray Flute. Walfrid Kujala. 10. When Vibrato is on Shaky Ground. By Donal Henehan. Vol. 6 No. 4 December 1988 1 1. People of Note by L.McKinney. 1. Can the Modern Flute be Improved? Some thoughts 12. Flute Festival Frankfurt 9-1 1 October 1987 T.Wye. for discussion by Eric Lucy. 13. B.F.S. Day in Manchester. James Dower. 2. The Flute before and after Boehm. By Albert 14. William Bennett Masterclass at the RAM. Caroline Cooper. with the collaberation of Norman Clare. Ivory. 3. Diagnosis and Prescription. Kathleen Goll-Wilson. 15. Flute Convention Mexico. T. Wye. 4. The Di: A general introduction to the Chinese Flute. Jennifer Sturgeon: Interview at the London Flute 11. Two Impressions for the London Flute Day. Christo- Day. pher Steward and Victoria Stec. Portrait Gallery of Margaret Campbell. 12. The Marcel Moyse Celebration Concert at St John's Soloist's Showcase of Wissam Boustany. Smith Square May 17th. Simon Hunt. The Flute Soloist. Wissam Boustany. 13. Marcel Moyse 17 May 1889-1 November 1984. E. Flautists of the Birmingham Music Festivals. W. Blakeman. Powell. History Page. Flautists of the Birmingham Music Vol. 7 No. 4 December 1989 Festivals. W.Powell. 1. Trinity College's Performer's Certificate. By Ingrid Birmingham Flute Day. Margaret Lowe. Culliford. Madame Zinovieff talks to the Editor Simon Hunt. 2. Paris Conservatoire Archives. Simon Hunt. A Japanese Tour. Kenneth Bell. 3. A Casual Relationship? Robin Chapman. The American Flute Convention. Albert Cooper. 4. Flute Playing in Great Britain. Stylistic Origins and Developments. Kenneth Bell. Vol. 7 no. 1 March 1989 5. N.F.A. Convention New Orleans August 17-20 1989. 1. Cardiff Flute Day. Iau Provis. T.Wye. 2. A Visit to Dayton C.Miller Flute Collection by Dr 6. Body, Throat and Head Resonances. Roger Mather. Robert G.W.Brown. 7. The Mystery of Music. Adrian Brett. 3. The Mechanics of Respiration. John Falk. 8. The Flute Player in Art. 4. Impressions from the Munich Flute Week 1988. 9. History Page. The Flute Embouchure. 5. Changing the embouchure - The Traumas and the 10. Photos From Finland. Rewards. Victoria Stec. 11. Heroes and Humanity: A Moyse Reconsideration. 6. Lip plate replacement. Albert Cooper. R.Dick. 7. Portrait Gallery of Kenneth Smith. 8. Portrait Gallery Gordon Walker by Albert Fransella. Vol. 8 No. 1 March 1990 9. A Dutch Phenomenon. Peter Van Munster. 1. A Scottish Tale of the Flute. Kenneth Way. 10. Practice Pamphlet for the Flute. Garry Brinkworth. 2. A Tribute to Geoffrey Gilbert. Simon Hunt. 11. What can Today's Flutist learn from the playing of 3. Geoffrey Gilbert. The Gentleman of the Flute. Gerges Laurent? Roger Mather. T.Wye. 12. London Flute Day 1989. 4. An Ethereal Flute from the Mediterranean.J.Baldac- 13. Essex Flute Day with Adrian Brett. Catherine Quin- chino. lan. 5. The First New Zealand Flute Convention Robert Brown 6. Baroque Flute Maintenance. Ardal Powell. Vol. 7 No. 2 June 1989 7. Do-lt-Yourself. Marion Ackrill. 1. 'Jimmy" (Jean Genin). By Lamond Clelland. 8. An Appreciation of "The Story of the Flute". Jon 2. A Belgium . Dodd. 3. Wie Offermans: Profile. 9. Portrait Gallery of Douglas Townshend. 4. Aurele Nicolet Interview. 10. The Flute in Art. 5. An Artists Approach. John Knell. 11. History Page. The Flute and it's Powers of Expres- 6. Teaching in a Kibbutz. Carol Tillman. sion. By John Finn. 7. A Flute Solo Recitalist. Marion Ackrill. 12. The Kestrel Paced round the Sun. An Appreciation 8. Portrait Gallery David Butt. by Kate Lucas. 9. History Page. Rudolf Tillmetz by Leonardo De 13. Master FlutemakerBacksSouthLondon Music Project Lorenzo. 14. A Trip to Malta. Simon Hunt. 10. The Flute Bands of the Blue Nile. Trevor Wye. 11. Arouse Your Audience's Interest through Spoken Vol. 8 No. 2 June 1990 Introduction. Roger Mather. 1. The Extended . William Bennett. 12. Flewt and Harp. Tom Cotterell. 2. Paula Robison Interview. 3. The Flute in Taipei. T.Wye Vol. 7 No. 3 September 1989 4. Eva Kingma. Profile of a Dutch Flutemaker by Anna 1. Flute Forum. Robert Brown. La Berge. 2. Combining Notes for Debussy's "Syrinx". Robert 5. Am I too old for all this? John Gridley. Brown. 6. Music of the Spheres. Valerie Sullivan. 3. Flute Festival Frankfurt. Trevor Wye. 7. B.F.S. First International Convention Programme. 4. Profile of a Flutemaker Harry Seeley. By Simon 8. Corlcert Platform. James Dower. Hunt. 9. History Page. Reflections by Flautino. 5. "A Word or Two" about Charles Nicholson. 10. Flutomania: The Flute in London 1800- 1850. 5. Some Important Early Flutes. Grahm Wells. 11. Swarming (for fireflies). Howard Cohen. 6. Portrait Gallery of Patricia Morris. 12. . A Long Friendship. Joan Miller. 7. History Page. Good Taste in Flute Playing by Daniel 13. Flute Forum. J.McKenna. 8. Mr Rees Thomas and Family. Hubert H.Thomas. Vol. 8 No. 3 September 1990 9. "Doctor, Doctor, I play the Flute!". Trevor Wye. 1. Tampere Biennale. Robin Soldan. 10. Studying the Flute in Paris. Alison Myles. 2. Warming Up With Mozart. Alexander Murray. 3. A New Flute. Robert Johnstone. Vol. 9 No. 3 September 1991 4. John Francis Interview. 1. Some Flutes in the Collection of Musical Instruments 5. Concert Platform. Daniel Pailthorpe. at the Horniman Museum. By Dr Frances Palmer. 6. The Flute Player in Art. 2. Flute Maker: Michael Allen. 7. History Page. An Aspect of Furstenau. 3. Interview Gareth Morris talks to Judith Fitton. 8. Taffanel as a Conductor. Translated by S.Hunt. 4. College Auditions written by Students and Pro- 9. A Digest of 'Don'ts' for Flute Players by Leslie fessors. Barklamb. 5. The Flute in Colombia and Peru. By Trevor Wye. 10. A Funny Thing Happened ...or let's All Go to the 6. The Second Horsforth Flute Day. By Pauline Jack- Music Hall. By David St John Weyers. son. l l. Eleven Episodes by Howard Cohen (1986). An Event 7. Portrait of Celia Chambers. for 4-8 Flutes. 8. Susan Milan Masterclass Course. By Elizabeth Tay- 12. Mother Died: I bought A Flute. Angela Skinner. lor. 13. The 1990 Hungarian Flute Festival. By Ann La 9. Some Days in the Life of Susan Milan. Berge. Vol. 9 No.4 December 1991 Vol. 8 No. 4 December 1990 1. The Back Door. So you did'nt go to Music College! 1. The Traverso and the Computer. By R.M.Laszewski By Julian Coward. & A.D.Murray. 2. Flute Maker Ewan McDougall. 2. Some of My Experiences as a Session Player. By Ken 3. The Albert Cooper Competition Held at the Elena Dryden. Duran Flute Course. 3. New Music for the old Flute. John Solum. 4. The Royal Northern College of Music. Student 4. The Flute Player in Art. Feature. 5. History Page. Albelardo Albisi by Andrew Fairley. 5. The Magic Flute Day Barbican Centre 29th Sep- 6. B.F.S. Internation Convention R.N.C.M. Manches- tember 199 1 ter. A.Brett. 6. Grandfather, Father and Son. By A.E.G.Walker. 7. Elena Duran Talks to the Editor S.Hunt. 7. National Flute Association Annual Convention 8. Trevor Wye. An Appreciation By Timothy Reynish. Washington DC August 1991. 9. Minutes of the A.G.M. at the R.N.C.M. 8. Letter of Marcel Moyse to Aime Roumeguere Dated 20 May 1942. Vol. 9 No. 1 March 1991 9. Some Days in the life of David Butt. 1. A Meeting with HCriche. Jonathan Lacey. 2. A' Halle Flute. Stuart Scott. Vol. 10 No. 1 March 1992 3. Boehm and the Independance of keys: An Exercise 1. Flute Maker Robert Bigio. in Compromise. J.A.Fearnley. 2. A Late Starter. By Judith Hall. 4. Experimenting with Flute Tone. Roger Mather. 3. B.F.S. Northern Flute Day held at the Royal North- 5. Albert Cooper Talks to the Editor.. ern College of Music. Manchester 3rd November 6. The Flute in Art. 1991. 7. History Page. 4. Christopher Yates talks to Judith Fitton. 8. Building Bridges in the Occupied Territories of the 5. Tromlitz The Virtuoso Flute Player. By Lisa Bezno- West Bank and Gaza Strip. Julia Gilkes. siuk. 9. The Webb and Wessel Flute. By Stephen Wessel. 6. Summer Flute Masterclass Listing for 1992. 10. Teaching and Learning. By John St.George. 7. A Victorian Gentleman and his Flutes. Appeal by 11. Homage to Frederick the Great. The Royal Flutist. M.Lowe. By Charles Walthall. 8. It's Doctor Atarah now. 12. Flute Summer Schools Listings. 9. Meinhart Niedermayr. By Kimberley Shippey. 13. The Magic Flute. A German Tour. 10. Obituary for Robert HCrichC. By Jonathan Lacey. The Editors of Pan The Journal of The British Flute Vol. 9 No. 2 June 1991 Society are as follows: 1. Electronic Music for the Flute. By Mark Hankin. 2. The Traditional Flute in Ireland. By Colin Hamil- January 1983-March 1987 Lorna Lewis. ton. March 1987-September 1991 Simon Hunt. 3. Flute Qualities: Is it all in the mind?By Anton Dignon. September 1991-Judith Fitton. 4. A one-key cylindrical Flute. By Denis Thomas. Copies of articles may be obtained at a nominal cost from the BFS 5. A Pom in Perth and Round the World with a Flute. Archivist - please quote journal reference numbers. By Simon Hunt. 6. Summer Schools and How to Survive Them. By Janet Way. 7. Portrait of a black Flutist. By Charles Walthall. 8. The Economics of Air Management Controlling Supply and demand. By David Jacobsen. 9. Ernesto Kohler by Leonardo de Lorenzo 10. History Page. Travel Notes by W.C.McQuillan Nov 1924. Reviews

Solo Flute cribed as a member of 'La pre- piece Moss employs a range of 55 for Fun. Easy Tunes, arr. De mikre phalange des flfitistes Fran- dynamics that is almost expressio- Smet for Solo Flute. 25pp. Fen- qais Contemporains' - clearly a nist, with frequent recourse to tone 24.50. force to be reckoned with - has fluttertongue, tremolo and taken the opportunity to promote quarter-tones, the flute's some- More rare finds . . . Michael Row a couple of his own trifles. They what paranoid contribution con- the Boat and Scarborough Fair exude charm in a particularly Gal- trasting oddly with the almost (useful having chord symbols). lic way, though as is often the case exclusively C-majorish feel of the Why do so called easy albums never melisma is more convincingly han- piano accompaniment. Intriguing, go above top D and mostly, in this dled than melody. There are few if not entirely comfortable, and a case, G or A (first ledger line)? technical demands here. AIain long way from the world of M. Good value. Marion's choice is the Jollet Aria, a Paubon. S.H. pleasant enough ninety seconds M. Lelouch provides another for beginners. Am I alone in find- example of weird nomenclature, ing UMP's prices outrageous? clearly fashionable across the Flute and Piano channel, as this is predominantly Philip Gates. Airs and Graces (Six rather a sombre piece, the only Pieces for Flute and Piano). chirping in evidence being con- 25.95. fined to a few seconds in the Aspiring composers would do well Yanet Puech. Ballade Transcen- middle. Pleasant to play, though to study the methods used by Mr dentale. CombreIUMP 27.40 the piano part is oddly gawky and Gates to get his compositions pub- Piotr Moss. Suite. Editions Max ungrateful. lished, as this is an early example Eschig UMP. 21 1.80 of a genre likely to become more Emile Lelouch. Babillage. Edi- familiar as recession bites - the tions Combre. £5.45 'own imprint', a photocopy from Ignaz Moscheles. Vier Diverti- A clutch of more technically clear manuscript - an enterprising menti fiir Flote und Klavier. Kun- demanding Morceaux de Conser- solution to the problem of finding zelmann1Schott 2 10.05. vatoire. M. Puech's offering, with a publisher. The six pieces are the intriguing dedication 'Pour Some splendid trifles here in the unconnected thematically, the elle', has precious little of the style of Hummel or Weber. First a titles vaguely sixties-ish, the music transcendental about it in any bright and outgoing March, correspondingly unpretentious, sense of the word I understand, followed by an 'Air de Haydn en and the writing for the flute makes and rarely strays far outside the Fantaisie' based on the Emperor's few technical demands. It is plea- safe middle range of the instru- hymn. A 618 Rondino (which gives sant to play though and very 'lis- ment, but is nevertheless an enjoy- the pianist plenty to get his teeth tenable to', so more, please, all you able enough meander. Presumably into) precedes the final 'Air de la budding flautist-composers out the repeated appearance of the Famille Suisse de Weigl'. (What is there. opening rhythmic pattern from it about Swiss families, I wonder - Mendelssohn's Midsummer Trapp,. . Robinson, u.s.w. - is it Night's Dream Scherzo is no acci- something they put in the muesli?) Pierre Paubon. Le Fluteriot. Bil- dent. Anyhow, this is occasional music in 1audodUMP 24.35 Its unwillingness to explore the best tradition. Your pianist Pierre Paubon. Sans Plus. Billau- the extremities of the flute's range needs to be a real personality to dot1UMP f3.20 is made up for with a vengeance by bring off the fireworks; the flute Jean-Clement Jollet. Aria. Billau- the more ambitious work of Piotr part, though interesting, is dodUMP 23.20. Moss (now where does he hail nothing like so demanding. The French flute school in (even) from, I wonder?). For what is ~ecommended. lighter mood. Pierre Paubon, des- ultimately a fairly unpretentious Lapmar Piccolo and Piano just passages of fairly rapid semi- mentary player. So often the gui- Serge Paloyan. Vent D'est. Billau- quavers often loosely tied to the tar part is much more advanced dot1UMP 54.90 harp part. The harpist indulges in than the flute part, but not here, so lively-managementof the pedals these pieces ire particularly wel- As you might imagine from the and a variety of glissandi, often come. biting east wind, this is a semiqua- with 3 fingers. Some rattling of the vered, con fuoco perpetuum strings with a metal stick. A self- mobile in what I would describe as indulgent piece for both players. , a freely tonal idiom with a pen- Duration: about l l minutes. chant for the minor. Within its 618 4 Danses Medieval. £4.35. constant semiquaver movement About Grade 3 onwards, these are phrasing and the piano part occur Flz~teand Guitar all lively pieces intelligently occasional bars that feel like 2/4 Gilles Ballet. Jazz Notes (Two arranged for both players. About and 314, thus avoiding the aimless- pieces). CombreIUMP f7.20 6 minutes in all. ness of many. pieces. of this type.. . A good piece for an advanced In the same series as the Flute and player. The four pages of the Piano pieces, these are more tricky Petit Suite De Danses. 54.90. piccolo part open out flat; no at around Grade 7 in both parts, awkward page turns! and interesting to play. Seven pieces by Handel, although nominally the same grade as the Medieval Danses the guitar part is F111.teand Harp Flute and Guitar. Collection a little more advanced, with basic Qiguang Chen. Le Souvenir. Bil- Robert Heriche, arranged by part writing. Duration: about 12 1audotJUMP £8.20 Jean-Maurice Mourat. Billaudo- minutes. UUMP. D.C. For advanced players. The flautist is required to bend the sound and 'There is a need for approachable vary the vibrato on long notes but and playable music fbr this combi- otherwise no extended techniques, nation especially for the more ele- 0XFORD UNIVERSITY PRESS Flute Technique The Early Flute GARETH MORRIS JOHN SOLUM A book for both professional and This is the first book in modern amateur flautists, containing times to deal exclusively with the instructions in sound production, flutes used in the Renaissance, breath control, intonation, Baroque, and Classical eras. It tonguing, and dynamics, and details the history of the transverse advice on phrasing, tone, vibrato, flute from 1500 until the early 19th and orchestral playing. century. 0 19 3 18432 X, 76 pages, fingering Early Music Series No. 15 charts and music examples, paper 0 19 816253 7,224 pages, 35 covers 48.95 illustrations, 6 music examples, Clarendon Press A30.00 October 1992 l These books are available now through bookshops. In cases of dzficult~t,or for more details, please write to Andrea Nicho lls, Oxford University Press, Walton Street, Oxford OX2 6DP. Concerto Ensembles of Flutes work rather rubs in the fact that Handel. Concerto in Bb Major. Pierre Paubon. Divertissement J.J.Q. wasn't really out of the top Op. 4 No. 6. £4.90. No. 1 (on a 15th Century Carol) drawer as composers go. You can for 4 Flutes. CombreIUMP £8.85 almost hear the poor chap as he Familiar as the Concerto for harp, sharpened his quills to start on yet A straightforward and pleasant to 2 flutes, 2 and continuo, another Trio Sonata, bewailing the this lies very well for both instru- play quartet (though parts could fact that his royal pupil never felt ments and is pleasant to play and be sections of flutes) in a tonal inclined to lay out the cash on that would make a good relaxed style. Melodic interest moves masterpiece of a Nonet for Altoon, between the parts and it would suit concert item for moderate to Serpent and Seven Consenting advanced players with someone to players of Grade 5 and above. Counter-Tenors that he knew he Duration: 4'30". turn pages for the guitarist! had in him. Still, it was a steady D.C. income, even if anything commis- sioned from that quarter had to Francois Bru. La Disparition contain a jammy flute-part and not Pour 10 ou 5 Flutes. Billaudotl much else. This piece is self-effac- UMP £ 7.65. ingly professional, but that's as far Two Flutes Written as a workshop piece for as it goes. The jam is spread fairly Janos Komives. Jeux h Deux, 21 3rd and 4th year pupils to show thin in the flute part, too. A Inventions for Two Flutes. Jobert them some aspects of contempor- beautifully produced edition, but £ 18.20! ary flute writing. Open holes are pricy for the content. . . Fairly middle of the road 'modern' needed for some of the fingerings Lapmar music which would be a gentle given but these could be adapted. introduction to different harmo- It serves its purpose and would nies for players of Grade 3-5. save you writing your own piece. Good sight-reading at Grades 6-7. Many accidentals and some tricky Studies counting. 'Danse de Chamane' Francois Bru. Parasitage for 10 Louis Moyse. Tone Quality on the with the parts a major second Flutes. BillaudotIUMP 28.80 Flute. LeducIUMP & 18.70 apart throughout, was universally The same standard as above. An liked by a selection of my pupils. A I cannot pretend that I actually open-ended piece which is sup- useful book to make a change but enjoyed my dutiful working posed to be played in cyclical very pricy for 28 pages. through 'de la sonoritk' as a stu- fashion with several possibilities. dent but I think that I would have Flutes are divided into a quartet enjoyed this book more. (of five flutes!), a trio and a duo, Raymond Guiot. Cividale Duo. Acknowledging his debt to his - each to play a section which can be Lemoine £5.95. father, Louis Moyse even begins put together variously. Notes are Exercise I on 2nd octave B and Three good fun,jazzy duets which changed in various parts progres- moves through ever widening would make good concert items sively as the piece unfolds. Good intervals and varying dynamics to for players of standard Grade 6 (if training for ensemble playing develop lip flexibility and breath industrious and musical) and which would make pupils concen- control. above, with the interest in both trate and listen. After careful instructions on parts equally. One has to stop only Duration: at least 4 minutes. how to use Exercise I (which once in the middle of a piece to D.C. should last for 23 minutes per day turn the page! A very good addi- over a cycle of eight days) he is less tion to the repertoire. specific on how to use the next six D.C. exercises which develop the idea behind Exl, but setting out mostly from F sharp in the middle of the Flute and Clarinet Trio Sonatas flute and with sufficient variety to 28 Duos arr. by De Smet. 30pp. J. J. Quantz. Trio Sonata in D keep the student musically inter- Fentone S4.95. Minor (Fl, ObNln, Continuo). ested (not a feature of many tone Schott £9.90. , Useful in that there is not a great exercises!). deal for this combination. One Can I be forgiven for opening Moyse feels that 'There is, feels a certain sense of dL;ja vu in each modern edition of unfamiliar unfortunately, a common miscon- seeing Amazing Grace, Country baroque music hoping to find ception among some players (and Gardens and Fiir Elise, but . . .? music of the quality of, say, Tele- too many teachers) about how to the printing is clear, the value fair. mann's Paris Quartets, or the Trio play an octave . . . You don't pro- S.H. Sonatas of Bach or Handel? This duce an octave by "pinching" or blowing harder into the flute. You Young Flutists do it by bringing the jaw forwards Carole et Oliver Chamisso. Jazz and upwards very slightly, which Note (4 Pieces). Ed. Combre changes the angle of the air blown £7.40. into the mouthpiece.' He does, TEACHING MATERIAL Published specifically to give however, quote Boehm on the younger students the experience necessity of increasing the speed book and fun of playing music in a jazz of the stream of air. There follow Paul Harris. Making the Grade: style, these pieces could be played four pages of exercises on Har- how to pass your music exam. enjoyably from Grade 5 onwards monics on all the fundamentals 48pp OUP £3.95. and, mercifully, the piano parts from C, rigorously applied with are straightforward too! various rhythms. A well thought out and structured D.C. Since 'the art of using differ- little manual which covers the vari- ent tone-colours as a means to ous areas of practice - scales and express various moods and aural etc. -in an efficient way, with Heather Cox and Garth Rickard. feelings . . . is fast dis- lots of boxes which say 'What is the Listen and Play Flute. 30pp. plus appearing . . .' and 'the admirable examiner looking for?' and 'practi- tape. Allans Educational Music job done nowadays by flute manu- cal tips' etc. I even liked the (Australia). facturers who "build in" tone col- cartoons! An excellent 'stocking our, doesn't induce the modern filler' though pricy for an A4 More pictures (coloured) and flutist to make much effort in that booklet. words than music - definitely direction', we get ten pages of aimed at primary school age, an exercises where one is encouraged approach which emphasises sing- to use a tone suitable for the ing and clapping. It is fun and L'Aprb Midi solo - "'eerie and there is an effort on the tape to floating" with a soft, quasi trans- encourage pupils by making the Peter Wastall. Practice Sessions- parent colour'. easy tunes more interesting. As /Flute. 46pp. Boosey and Hawkes. Being 'constantly amazed to one page (26) has only 14 notes on £4.50. see young flutists, who may be it (10 of them without pitch) use of already quite advanced in the An interesting addition to the space is debatable (lots of monkeys study of the instrument, but are overcrowded flute publications and birds!), but the publishers do yet quite unable to play a scale or market, in that this book provides say that it is a great success in an arpeggio properly from an introduction to playing by ear Australia. Give it a try for the little memory. . .' Moyse adds five and has exercises in jazz, blues and ones. pages of concentrated exercises to rock styles. It also has studies by S.H. sort out scales and arpeggios. Gariboldi and Anderson, pretty A rigorous but interestingly basic tone (i.e. long note) exercises varied book with well written text and some enjoyable classical duets; Music Received (originally in English?) full of in other words it tries to do a lot. Flute Favourites Vol. 3 for Flute Louis Moyse's personal views on Useful for GCSE - beautifully and Piano. 32pp. Fentone 25.25. flute playing. 46 pages and good printed and in English, French John Freeland. Waltzing Matilda value for the price. and German. Variations for Flute and Piano. D.C. S.H. Allans (Australia), no price.

MARK UNDERWOOD, FLUTES with Carol Wells, piano British Music Information Centre 10 Stratford Place, London W1 Thursday 10th December 1992, 7.30pm Admission Free A delightful programme of music by Anne Boyd, Debussy, Ruth Gipps, Jeremy Haladyna, and John Rimmer. Also: premieres of Three Portraits by Michael MOPE..... Christie and A rough gem is polished by Susannah Self. Elena Duran Flute Course

Elena Durin thanks Colin Fleming Ann Cherry, Albert Cooper, Paul Edmund Davies, Michael Emmerson, Caroline Franklyn, John Georgiaclis, Marc Grauwels, Maestro Ruben Islas, Anclrew Lane, Patricia Lynden, Carole Lyttle, Paul Lyttle, Christine Messiter, Raquel Moreno, NOW AVAILABLE ON C.D. AND CASSETTE Jozef Olechowski, Richard Peirson, Willie Simmons, Zoe Smith, Yves Storm, WHAT KATIE DID Jonathan Snowden, Julian Sperry, All Flutes Plus, Brannen Brothers, Just Flutes, John Packer and KATE WALSH FLUTE DEREK DOWNES PIANO Top Winds Works by: Saint Saens, Mouquet, Bach, Debussy, for contributing to yet another successf~~l Franck and Faure. Stratford-~~pon-AvonFlute Course. Available from: TOP WIND, ALL FLUTES PLUS, Special congratulations to Allan Rogers, winner of JUST FLUTES AND MANY GOOD RECORD The Albert Cooper Competition SHOPS also to Alethia Lozano, winner of The Willie Simmons Prize TOOTLING TED See you all at Stratford next year! 24 JLIIY-7 August 1993 99, DEFOE HOUSE Further information from: Elena Durin Flute Course EC2Y 8ND P.O. Box 7 Stratford-upon-Avon CV37 9GB Tel: 0789 267969 Fax: 0789 29692 1

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Dear Editor, forth Music Centre in this - and want to thank you for your hospi- Could I please ask members of other matters leading to the short- tality and warmth during my stay your organisation for their kind notice cancellation! in London. The accommodation assistance? I am attempting to I hope to arrange an event in was excellent and provided the study the work of three highly the not too distant future, (poss- artists involved with a rare oppor- important and under-rated ibly in conjunction with the British tunity to be able to relax and enjoy musicians - Robert Simpson, Der- Double Reed Society), at the each other's company outside the yck Cooke and Hans Keller - but University of Leeds, to include a Convention. It was a marvellous have discovered that much of it recital by Stina Wilson (Opera three days, and I want to thank seems not to have been preserved North) and friends; further details you for the invitation to perform institutionally. later. May I appeal to members to for the Convention and to judge My only hope is that some ma- please make an effort to support the International Young Artist terial may survive in private local events, and to please book Competition. hands, and I would be most grate- early, as this makes life so much Congratulations again for ful if anyone who has anything easier for the organisers! your Society's success, and I hope relating to these musicians could to renew acquaintance with each Yours sincerely, contact me. I am particularly inter- of you either at a future BFS event Pauline Jackson ested in tape-recordings (be they or at an American National Flute (Leeds Area Representative) derived from radio or TV broad- Association Convention! casts, public lectures or any other Yours sincereley, F sources), but would also be pleased Mary Karen Clardy to hear from anyone who has such Dear Editor, Professor of Flute things as programme-notes, rare I wish to take this opportunity to University of Texas clippings, correspondence, lecture congratulate you on the success of USA notes, etc. - even the smallest item the recent London International may be significiant. Flute Convention. It was a musical If you can assist me, please and organizational success, and contact me at 37 Poulton Road, the members of the council, as well Dear Editor, Wallasey, Wirral L44 9DD. Tel: as your Chairman, Susan Milan, I wanted to write to the BFS 05 1 630 179 1 or by fax (Liverpool deserve special credit for the time Council to give some feedback University do Music dept) 05 1 708 and effort involved in planning from an ordinary member con- 6502. I and coordinating the Convention. cerning the Convention. With thanks As a frequent participant at First, I found the three days Yours sincereley the American National Flute exciting, stimulating and thor- Mark Doran Association Conventions, I am well oughly enjoyable. I would like to Liverpool aware of the complexities involved convey grateful thanks to all the i in scheduling artists and events, organisers who gave so much to and I particularly enjoyed the var- make it successful; secondly, may I l iety of performers and lectures make some suggestions for next Dear Editor, presented during your Conven- time . . . May I, through the Magazine, tion. It was gratifying to see the 1. Could we have more from apologise for any disappointment participation of the juniors on Robert Dick, he was stunning. caused by the cancellation of the Saturday, and it reminded all of us 2. If alterations have to be made Horsforth Flute Day. Hopef~~lly of the enthusiasm of young to the programme, could it be everyone who was expected, to players who are just beginning established beforehand, how 1 turn up was informed, but I was their musical life. the information will be circu- As a guest of the BFS, I also lated, e.g. a large blackboard in a central point. Also, if items such a lot of good hard work is 'rather too long in the low register appear to be overlapping, it being done for us. Having been on for some'. I doubt whether the would be helpful to know several professional committees reviewer can have studied Flute whether other events are being and councils, I am well aware of Class very carefully, otherwise he delayed to compensate. I was the problems and yes, they all would know that it moves on to not the only one to reluctantly make mistakes. notes above C far more quickly tiptoe out of the Louis Lot Looking forward to the next than the Practice Book for Begin- discussion unnecessarily. convention. ners. It also does far more than 3. Could Wissam Boustany be 'stray briefly' into the top register - Yours sincereley, considered as a recitalist for the pages 53 to 65 are spent introduc- Michael Cummings next convention, I heard him ing notes C sharp to G. Many Putney recently and was impressed. tutors are content to stop at the London 4. I hope it is the intention of the high G, and I often have to write BFS to vary the venue around out the fingerings for notes above the country as the BFS this. Flute Class provides a very Teachers Course has done. Dear Editor, useful reference page for the I am putting forward these My God what a week-end? remaining notes up to C, and the points because I fervently hope I have been in great turmoil since low C and C sharp. The reviewer that the Convention will be a reg- the Convention, and would like to suggests that the book 'tries a little ular event in future. Please be share my thoughts with Pan, if that too hard to be all things to all men encouraged to plan the next one in is possible. and women' - congratulations on the knowledge that this one was a I thought the event was spec- the non-sexist up-date of a clichC, great success, and I am sure other tacular, but I know (because I but I cannot agree with this opi- members besides myself will be talked to a lot of people) that many nion. For me, the book's variety watching eagerly for the announ- felt there was something missing makes for more exciting lessons - cement of the 1994 Convention! all the same; I have tried to put my my pupils have loved experiment- finger on it and hope you will ing with improvisation and multi- Yours sincereley, consider publishing my short arti- phonics; they have thoroughly Jennie Willy cle, even if it comes a bit too close enjoyed the very playable duets, Clevedon for comfort sometimes. The trios and quartets - the arrange- Avon society should not be afraid of ments prove that simple does not voicing honest opinions, particu- have to be boring. I have found larly when they are trying to be this book tremendously useful constructive, and are not offensive with my classes of two, three and Dear Editor, in tone. four. The material is broken down I had the misfortune of not being Many thanks for everything. into such digestible chunks that able to attend the BFS Inter- even the slowest pupil is success- national Convention on the Friday Yours Sincerely, ful, while there is enough material and Saturday, but was able to Wissam Boustany for the quicker pupil to be kept attend on the Sunday, also the Beckenham happy at the same time - even AGM. See 'Blowing a Dream Away' page within the same duet or trio, there I must say, what a joy it was to 6. are difficult and easy parts which be there and to hear such wonder- can be shared out without embar- ful performances by all the rassing the slower learners. This soloists. It was a pleasure to be Dear Editor, tutor deserves better than your amongst friends, especially Andy, I thought that the review of Tre- luke-warm review! Patrick and Tohn from 'Top vor Wye's Flute Class in the last Wind'. issue of Pan was a little unfair. The Yours sincerely, I must also say I was a little reviewer stated that it was 'similar Janice Norman dismayed by some of the in style to the Practice Book for Wimbledon comments made at the AGM, as Beginners' and that it stayed London

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