From the Editor Contact Elisabeth at [email protected]

From the Editor Contact Elisabeth at Editor@Bfs.Org.Uk

British Flute Society on Facebook Twitter @BritishFluteSoc From the Editor Contact Elisabeth at [email protected]

his issue of PAN magazine has a focus on new ideas in teaching – but if you are a player rather than a teacher, you’ll still find many valuable ideas that have the potential to enrich everyone’s playing. TIn part one of an article on new technology, Karen Gourlay looks at apps that can support your own musical development as well as helping young students, and her notes on a new publication about musical uses for your iPad are a must-read. Annemieke de Bruijn also introduces us to some ideas that use toys and gadgets to develop breath and embouchure control while keeping the emphasis on fun. I’m sure you’ll also be as intrigued as I was to read Petra Music’s article on the uses of a left-handed flute. This recent invention prompts many stimulating ideas about its possible value in teaching, as well as its potential therapeutic value in countering the asymmetric strains put on us by our instrument. On 8 December, our Honorary Patron, Sir James Galway celebrates his 75th birthday – a milestone year in an exceptional career that has inspired us all. I am sure you will all want to join with me in wishing Sir James a happy birthday, and many flute-filled years to come! I hope you enjoy the December edition of PAN. Elisabeth Hobbs Editor

December 2014 1 The Council and Officers of the British Flute Society Chairperson Carole Jenner-Timms Vice Chairperson Malcolm Pollock Treasurer Catriona Crosby Area Representative Co-ordinator The British Flute Society Kate Cuzner Council Members Jocelyn Campbell; Kate Hill; Anne Hodgson; Lisa Nelsen; Niall O’Riordan; President William Bennett OBE Sally Quantrill; Rachel Smith Vice President Atarah Ben-Tovim AFT Representative Vice President Emeritus Sheena Gordon Hugh Phillips Honorary Patrons Sir James Galway Membership Secretary and Lady Jeanne Galway Nicola Thompson Chairperson Carole Jenner-Timms Legal Advisor BFS Alastair Learmont The Journal of the BFS Secretary and Advertising Manager British Flute Society COMPETITIONS Anna Munks Editor Volume 33 Number 4 2015 Elisabeth Hobbs December 2014 Editor Elisabeth Hobbs Full contact details for all council members [email protected] 18 February 2015 and officers are available from the secretary.

Contacting the BFS Closing date for Area Representatives Secretary and Advertising entries 16 January Anna Munks Avon & Somerset Carole Jenner-Timms 27 Eskdale Gardens 2015 01761 233982 Purley, Surrey CR8 1ET Birmingham Margaret Lowe 0121 474 3549 Telephone and fax 020 8668 3360 Cardiff Justine Swainson 029 2075 1313 [email protected] Full information at Cheshire Dawn Savell 01925 416647 Cumbria Suzanne de Lozey 01539 560054 www.bfs.org.uk Derry/NI Sarah Murphy 07811 107065 Membership Secretary Devon (West) & Cornwall (East) Nicola Thompson Kym Burton 01837 861138 48 Wistow Road or contact: East Sussex Anne Hodgson 01273 812580 Selby YO8 3LY Hertford Sally Quantrill 01992 536236 Telephone 0845 680 1983 Anna Munks Hertfordshire Wendy Walshe 01707 261573 [email protected] Hertfordshire (Hitchin) Liz Childs 07711 [email protected] 080275 Isle of Wight Louis Henry 01983 531868 Editorial Committee Kent Pat Daniels 01732 770141 Carole Jenner-Timms Lancashire Mark Parkinson 01257 410856 Alastair Learmont Lancashire (Preston) Jane Pembleton-Smyth Anna Munks 01772 864587 Niall O’Riordan Leicestershire Elizabeth Rowan 0116 2514595 London E & Essex Kate Cuzner 01787 273628 NW London Joss Campbell 07930 093564 Design and layout Elisabeth Hobbs Oxfordshire Kate Hill 01491 641212 Editorial Assistant Elizabeth Rowan Scotland Marysia Williamson 01501 762 510 Shropshire Claire Hennie 01948 780149 Cover image Wm. S. Haynes & Co. Southampton/Hants Sarah Heard 07779 Printed by Lavenham Press 927613 Surrey Jacqueline Cox 020 8773 0436 Views expressed by contributors are their Swansea Hugh Phillips 01792 865825 own and do not necessarily reflect an West Yorkshire Tracey Smurthwaite 01924 official view of the British Flute Society. 211538 All copyrights reserved. INTERNATIONAL Australia (VIC) Paula Rae +61 3 9882 6888 Australia (NSW) Derek Galloway +61 4 50045753 Registered charity No. 326473 France Atarah Ben-Tovim +33 5574 74428 ISSN 2052-6814 Italy Geoff Warren +39 85 4159865 Muscat, Oman Nicholas Foster +968 95203966 New Zealand Marion Titmuss +64 75520794 Qatar Pat Smith +974 4678121 Contents

1 From the editor 14 4 Letters 19 Events diary 50 Reviews 62 Opinion Elisabeth Hobbs

Articles 22 20 Why is there a flute in Die Zauberflöte? Ian Thomson explores the libretto 24 Teaching with technology (part I) Karen Gourlay on the latest apps 28 Serious fun for flute students Annemieke de Bruijn on toys and gadgets that make learning fun 30 The left-handed flute 24 Petra Music on using the left-handed flute as a pedagogical tool 35 Rivera: the tale of a dancing horse Katrina Penman on a new commission for two flutes and piano 38 Finger dexterity (part II) Niall O’Riordan with more exercises to develop technique 40 Grade by Grade Janet Way on developing a new series of flute publications 43 A survey of new repertoire for flute choir 30 Elisabeth Hobbs reviews recent releases 46 Rudolf Tillmetz Roz Trübger on a virtuoso student of Theobald Böhm 48 The Flutewise summer picnic challenge Liz Goodwin proposes an idea to get everyone playing next summer

December 2014 3 The Editor, PAN The Dairy Toot Baldon OXFORD Letters OX44 9NG Write to [email protected]

A fabulous convention Sadly, human beings seem to like or to find it natural to Fluting and Friends was truly the theme of the Convention divide things and to create barriers between people: men in August. It was joyful, friendly, imaginative – a sharing against women, rich against poor, incomers against natives, Convention where egos were sublimated to the music. A rare professionals against amateurs. To my mind, competitions thing at Conventions! are about separating a few successful performers from the My highlights were: the beautiful playing of the renasissance unsuccessful generality, as a way of justifying and maintaining quartet (the Modena Consort), Samantha Chang’s perfectly the inequalities in our society as a whole. This forcing of a few prepared lecture on Briccialdi with Niall performing, dressed to the top is bound to exclude more women than men, though and playing as the Italian Maestro, and Wibb and Trevor’s non-conformist men will suffer, too. Just think about how few immaculate playing in their Celebration concert. They showed women composers and conductors are being given a hearing, us just how to do it! Finally, there was the last, crazy concert still – even though, thanks largely to pioneers like Atarah, the from contras to piccs, with fluting friends from all over the situation has changed for instrumentalists. world making music together and having fun. It has often been observed that ability and success are a Thanks Carla, for a fabulous convention! matter of confidence - if people are given the resources they Atarah Ben-Tovim need they will perform better and believe they have a future; but as soon as they are written off as inferior or redundant they start behaving and believing accordingly. So let’s stop making strict and meaningless divisions of all kinds, and adopt a philosophy Do competitions reinforce inequality? about the future of music similar to the Green party’s recent I am writing to reply to the latest of Atarah’s stimulating proposal that everybody should be given the same basic letters to PAN (September 2014 issue), in which she draws financial allowance to free up all members of society to do what attention to the fact that a recent flute competition jury consisted they really want to do with their life. People who currently fall entirely of men. What do we think about this, she asks? foul of establishment values might then fulfil their potential. I am old enough to remember a time when there were Elizabeth Rowan no professional women flautists – with occasional notable exceptions like Atarah herself, who was pointed out to me as unusual, by my (male) flute teacher, when she (Atarah) A new way to reach out? was Principal Flute with the Royal Liverpool Philharmonic The BFS competitions seem to go from strength to strength Orchestra. Some orchestras continued to be all male, until they every year, but as a teacher, I feel concerned that they are too were forced by the equal opportunities legislation of the 1970s dominated by the specialist music school crowd. I look at to stop being exclusive. Unfortunately, in my teaching career, I my very capable and enthusiastic students and would like to have noticed the phenomenon that, now numbers of women give them the opportunity to perform and be appraised, but I have become professional musicians, it begins to be seen as a feel that the experience might just be discouraging for them. ‘feminine’ pursuit, and some boys and men decide they don’t They are good, young, developing players – not music school want to be with ‘a load of girls’. As a result, we (society) notice superstars. I feel that BFS competitions are not for us. At the the few who do play and give them extra encouragement – same time, I really want my students to feel that the BFS has otherwise, we might end up with all female orchestras! something to offer them. After all, if we don’t encourage uptake Another complication is built in by the fact that some people of membership by youngsters, the society will eventually age are not very keen on competitions per se, and it might be argued and wither. So it’s a dilemma. that there is an overlap of gender characteristics with this issue, One suggestion I have could be for the BFS to liaise with so as to make it more likely that men will accept invitations regional music festivals around the country and offer a BFS to be on competition juries, and women may be perceived as prize in flute categories in local festival events. Performers less enthusiastic about defining ‘winners’ and ‘losers’. This would need to be a junior member to be eligible to compete, touches on the wider debate about the feminist movement as and the prize could be something small – perhaps a medal, or a whole, where it is often difficult for individual women and a ticket to a Premier Flautist recital. But this would get the BFS men to sort out exactly what equality means. For instance, as a out into the youth fluting community right around the country, pacifist, I don’t want to see women in the armed forces; but this without confining itself to the cream of young players. I would doesn’t mean I approve of inequality of opportunity, and, for then feel my students had something to aim for. that matter, it doesn’t mean I am never irritable and combative What do you think? when coping with everyday challenges. Juliet Parry

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News and People

Sir James Galway at 75: a lifetime of achievement

n 17 September, the most famous of Gramophone classical and baroque flute magazine presented masterworks, Sir James has OSir James Galway with the been a passionate advocate Classical Music Lifetime of new music, and has had Achievement Award, the works commissioned by him recording industry’s most and for him by composers prestigious accolade, including Thea Musgrave, in recognition of his Lowell Liebermann, Lorin exceptional career. The Maazel, John Corigliano, Man with the Golden Flute William Bolcom and has sold an astonishing Malcolm Arnold. He has 30 million albums and also performed with artists continues to tour and teach as diverse as The Chieftains, worldwide. Elton John, Stevie Wonder has attained twin peaks of schedule that would exhaust This month Sirand Pink Floyd. achievement as both an a player half his age. In James celebrates his 75th The British Flute Society orchestral musician, in his this, the start of his 75th birthday, and to mark has been honoured for a position as Principal Flute birthday year, Sir James and both this milestone and number of years to have of the Berlin Philharmonic Lady Galway have already the Gramophone award, this universally acclaimed, under Herbert von Karajan, completed a two-month Sony Classical has released and much loved, flute player and as the world’s foremost long tour of Asia, Canada a partially remastered 71- as its Honorary Patron. Sir flute soloist. At the same and the US, combining CD box set of his recording James holds the position time, Sir James’s popularity concert performances legacy, originally recorded alongside his wife, Lady has extended far beyond the with masterclasses and on the RCA Red Seal label. Jeanne Galway (herself a elite world of the concert educational outreach to This collection, a fitting performer and teacher of hall, with a long list of cross- thousands of aspiring flute tribute to Sir James’s lifetime international stature) and over hits, which have bought players. of achievement, includes has contributed tirelessly to his music to the wider world, Sir James’s aim is some previously unavailable promoting the cause of flute and inspired generations of to promote the highest material and is destined to playing around the world youngsters to take up the standards of flute playing be a collector’s item for all throughout his career. flute. worldwide and this is flute aficionados. Sir James is unique in Sir James Galway’s underpinned by his new The recordings showcase the breadth of his outreach appeal continues to cross project, First Flute, an online the depth and breadth of and popularity. He was all boundaries and he learning community for all Sir James’s musical interests. the first (many say only) maintains an international flute players that provides Alongside his life’s work of superstar of the flute, and performing and teaching accessible and affordable performing and recording over the course of his career

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instruction from the master himself. First Flute has garnered he recorded the Ashokan Farewell for the soundtrack of The praise from around the world for its detailed and systematic American Civil War. method, all delivered with Sir James’s legendary good humour. The next day, on 4 December, Sir James and Lady Galway As Denis Bouriakov, Principal Flute of the Metropolitan Opera will be performing at Carnegie Hall, in a concert including both in New York puts it, ‘Sir James has a wonderful approach to world-leading flute friends and aspiring young players. Then, teaching that keeps you entertained the whole time. He creates on 12 December, he will showcase his versatility once again, a relaxing atmosphere where learning is fun. You will learn a switching from the large-scale orchestral forces of the Carnegie lot, whether you have just started your flute lessons or have Hall concert to an intimate chamber music concert at Kings been playing for 20 years.’ Place in London, where he will perform a programme of Bach, In the New Year, Sir James’s schedule will continue with Haydn, Fauré and Taffanel with pianist Michael McHale and more educational work and a tour of South Africa with the cellist Brian O’Kane. Zurich Chamber Orchestra, as well as the inauguration of the So what next for the indefatigable Sir James? Projects in the South African Galway Flute Festival. pipeline include a continuing focus on extending his educational Sir James will mark his birthday in December with concerts outreach and legacy, through the on-going development of with friends on two continents. On 3 December, the Man with First Flute and the Galway Flute Festivals in Weggis, Atlanta the Golden Flute will celebrate with Radio WQXR in New and South Africa. In addition, 2015 will see the release of his York at the Greene Space in a festive birthday concert and in much-anticipated authorised biography, which will explore the conversation with host Jeff Spurgeon. Guests will include many master’s life and musical legacy through the archive of his flutes of Sir James’s friends, including American traditional music and recording catalogue. stars Jay Ungar (fiddle) and Molly Mason (guitar), with whom ELISABETH HOBBS

The Council and members of the British Flute Society wish Sir James Galway a happy 75th birthday!

December 2014 7 News

Gareth McLearnon I’m thrilled to be working BFS Scotland says ‘thank you’ to Sheena appointed to Haynes with some truly inspiring Gordon in Europe and knowledgeable people and most especially, working heena Gordon was BFS Vice-President from the 2012 m. S. Haynes Co., with these really fantastic Convention until 2014. From the moment she was invited the world’s oldest instruments.’ to take up this post, she became a tower of strength to continuously SMarysia Williamson, the Local Area Representative in Scotland. As well as looking after Wmanufacturing flute Sheena is always full of ideas and gives freely of her time (and handmade and conservatoire company, have appointed level flutes, Gareth will also contacts). One special contribution, among many, was her idea Gareth McLearnon as be introducing a brand new to ask Katherine Bryan, Principal Flute in the Royal Scottish their new European Artist- line of student, upgrade National Orchestra, to lead a BFS workshop in Glasgow; and a in-Residence. He will be and intermediate level particular highlight was when Sheena conducted the flute choir engaged in events, artist Amadeus by Wm. S. Haynes with Katherine playing Bohemian Rhapsody. relations, teacher liaisons, instruments into the UK and To mark their thanks for Sheena’s support, at the recent demonstrations, concerts, Europe for the first time. He Great Scottish BFS Coffee Morning and Flute Choir, Marysia classes and working with has also been added to the presented Sheena with a lovely Quaich – a Scottish friendship specialist instrument dealers prestigious roster of Haynes cup – inscribed ‘Sheena Gordon BFS Vice-President 2012-2014 all across Europe. Gareth Performing Artists alongside With thanks from all her flute friends in Scotland’. Sheena is previously held a similar such celebrated flute now Vice-President Emeritus. Congratulations from all BFS position at Pearl UK for players as Sir James Galway, members in Scotland, and thank you. nearly nine years. He says ‘I Emmanuel Pahud, Maxence am delighted to be joining Larrieu, Robert Dick, Jurgen the amazing team at Haynes, Franz, Claudi Arimany and which seem to have risen, Marco Granados. phoenix-like in recent years.

Carla Rees takes up sharing information about new NFA position international events, and arla Rees, the encouraging growing BFS 2012/2014 international participation Convention in the annual NFA CProgramme Director has Convention. This new been appointed to the post position extends Carla’s role of International Liaison within the NFA, building for the US-based National on her on-going work with Flute Association (www. the New Music Advisory nfaonline.org). As part of Committee, which is active this prestigious five-year in commissioning new appointment, Carla will music for competitions and also be chairing the NFA special projects. Carla said, International Committee ‘I’m delighted and honoured which was formed by Aldo to be taking on this role and Baerten. Her work will focus hope that I can continue to on forging international develop the links between links between the NFA and the NFA and flute players Carla Rees other flute associations, worldwide.’

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A European role for the BFS Chen, Giuseppe Nova, Marc In October, Council member Malcolm Pollock represented the BFS at the 80th Fournel, Pierre Marcoul, birthday celebration of Maxence Larrieu and at the inaugural Conference of José-Daniel Castellon and European Flute Associations in France. He reports on both events for PAN. Raphaelle Truchot-Barraya, and we also heard solo performances from Pierre- Yves Artaud and Geneviève Amar. Maxence was also supported by pianist Emmanuelle Orsaud- Cecchetti, a string trio for a Mozart flute quartet movement, and the excellent flute orchestra ‘Les Flûtes d’Azur’, featuring the most talented flute students from the region and run by the local flute association, À travers la Flûte, of which Representatives of the European flute associations in Nice Maxence is Honorary President. Not only did Larrieu national association. This Alain Marion (together The first Conference display considerable is an exciting opportunity known in France as ‘L’École of European Flute stamina, but the quality for the BFS to grow in a du Sud’). All three studied Associations of his playing and that of European context and the with the celebrated teacher epresentatives from his ex-students was truly Society looks forward to Joseph Rampal (himself a flute associations remarkable. The event was being actively involved in pupil of Hennebains) at the from ten European enhanced still further by this Europe-wide initiative. Conservatoire de Marseille. Rcountries met in Nice on 25- Denis Verroust’s excellent This evening he is certainly 26 October to discuss ways commentary on Maxence’s not lacking in energy, having in which they could work Maxence Larrieu life and career, interspersed been rehearsing most of the most effectively together celebrates his 80th with examples of some of his afternoon for the concert. in the future. Countries best recordings and archive birthday Afterwards we go on represented included photos. 24 October 2014, Nice for cocktails and then to a France, Denmark, Holland, This was a remarkable t is 8.45 on a Friday special celebratory dinner Norway, Sweden, Germany, occasion, and I felt evening and I am dancing in honour of his birthday Iceland, Italy, Switzerland particularly privileged to the conga around the for about a hundred people. and the UK. The meetings Istage at the Conservatoire have the opportunity to It is obvious that he is not included discussions on play some Boismortier for de Nice. The conga is being only held in high esteem fundraising, helping each five flutes just before the led by the sprightly Maxence by all present, but that his other with marketing end of the concert led by Larrieu during the final item generosity of spirit and great and publicity to boost the Maxence and featuring all of a concert to celebrate his communication skills inspire profile and membership the performers plus the 80th birthday, and joining a great deal of affection. of the associations, and representatives from the him are many of his most The concert featured organising pan-European various flute associations. distinguished past students works by Doppler, events. It was decided to This was without doubt and representatives of Telemann, Vivaldi, Kühlau, hold the next event in the highest quality flute flute associations from ten Mozart, Reicha, Boehm, Frankfurt in April 2015 to ensemble I have ever played European countries. Bach and Handel. Maxence coincide with the annual in. Nous vous souhaitons Maxence Larrieu, the was joined by Gretchen Musikmesse (Frankfurt un bon 80e anniversaire, legendary flautist and Pusch, Sibel Pensel, Jürgen Music Fair), and to involve Maxence! teacher, was a contemporary Franz, Salvatori Lombardi, young players from each MALCOLM POLLOCK of Jean Pierre Rampal and Davide Formisano, Qiling

December 2014 9 News

Adam Walker appointed Visiting Professor at RCM he Royal College of Music has just announced the appointment of celebrated flautist Adam Walker as Visiting Professor of Flute from January 2015. TAdam, who was one of the headline recitalists at this year’s BFS convention, is principal flute with the London Symphony Orchestra and has been named by Classic FM as ‘one of the top five international flautists’. He joins his LSO colleague, co- Principal Gareth Davies, in the RCM woodwind faculty. Adam Walker says, ‘I’m extremely happy to become a part of the wonderful RCM Woodwind Faculty. I very much enjoyed working with the faculty recently, and am looking forward to building a relationship with the students.’ Simon Channing, Head of Woodwind, says: ‘I am delighted that Adam will be joining the Woodwind Faculty at the RCM. He is undoubtedly one of the most outstanding musicians of his generation, a wonderfully charismatic player and teacher. We will never forget the masterclass he gave here last year which combined rare insight and generosity of spirit – the ideal combination for a great teacher.’ Adam Walker Adam completed his studies in 2009, graduating with distinction, having been a Concerto Finalist in the BBC Young Musician Competition, and, at 21 years old, was appointed principal flute of the London Symphony Orchestra. He was the winner of the Outstanding Young Artist Award at MIDEM Classique in Cannes, was awarded a Borletti-Buitoni Trust Fellowship Award and was shortlisted for the Royal Philharmonic Society Outstanding Young Artist Award. Adam’s interests range from the less well known French Baroque through to newly commissioned works. He is a champion of new music and premieres to date include Brett Dean’s The Siduri Dances with the BBC National Orchestra of Wales (2011), Kevin Puts’ Flute Concerto at the Cabrillo Festival (2013) and, in 2014, a flute concerto by Huw Watkins, commissioned jointly by The London Symphony Orchestra and BBT, conducted by Daniel Harding. As a soloist Adam Walker has performed with the BBC Scottish Symphony Orchestra, the Royal Philharmonic Orchestra, Academy of St. Martin in the Fields, Hallé, Northern Sinfonia and City of Birmingham Symphony to name but a few. Upcoming engagements include a return to the US for performances with the Seattle Symphony and Baltimore Symphony Orchestra with Marin Alsop, as well as a debut with the Seoul Philharmonic Orchestra under Mikko Frank. Closer to home he embarks on a new collaboration with harpsichordist Mahan Esfahani at the Newbury Spring Festival. His first CD, Vocalise, was released in 2013 on the ROH Opus Arte Label, which takes inspiration from song and includes works by Poulenc, Messiaen, Bartok, Barber and Schubert.

10 bfs.org.uk News BFS Competitions 2015 BFS School Performer Competition (two classes) and BFS Young Artist Competition Wednesday 18 February 2015 Closing date for entries: 16 January 2015 – book early to avoid disappointment

he next BFS competitions will take place on Wednesday 18 February 2015 at the Regent Hall, Oxford Street, London. Over the years we have been privileged to hear Tmany leading young flute players perform at our competitions and we look forward to welcoming competitors from the UK and around the world in February. BFS members and members of the public are most welcome to come and watch the competitions and to stay for as much of the day as they wish. Entry is free of charge, a coffee shop is available at the hall, and Oxford Street is nearby. Full information about the classes is available at www.bfs.org.uk (and there is also an enclosed flyer and advertisement in this magazine with further information about the Classes). This year we have some wonderful prizes on offer, thanks to generous support from Wm S Haynes & Co and Trevor James. The winner of the first prize in Class B (for competitors aged 14-18 and grade 7 and above) will receive a Haynes Classic headjoint in sterling silver, hand-cut, silver lip and riser, sized to .016 inch, kindly donated by William S Haynes Co of Boston. First prize in the BFS Young Artist 2015 class will be awarded by Trevor James, who have generously donated a TJ alto flute. Prizes in other categories will be announced on the website shortly, and we would like to thank all companies who generously give prizes for the competitions. Full competition rules are available on the BFS website. Due to space and time restrictions, entries are limited and will be Clockwise from top right: Jagoda Krzeminska, Hannah Foster, Kate Bateman. Previous years’ competition winners performing at the BFS Convention in August 2014. accepted in the order that they are received on a strictly first- come-first-served basis. The BFS reserves the right to refuse further entries before the deadline once capacity has been reached. Class times are largely dependent upon the number of entries but we anticipate that Class A will begin at 9.00 am (Class A rehearsals will begin at approximately 8.30 am). The Young Artist Competition is likely to begin at approximately 4 pm with rehearsals scheduled during the afternoon. Schedules and further information will be sent out by email to all competitors after the closing date. Please visit www.bfs.org.uk for further information and to book online, or contact Anna Munks, [email protected]. ANNA MUNKS First prize in the School Performer Class B category is a William S Haynes headjoint.

December 2014 11 News The Big Flute Challenge by Jocelyn Campbell

n Saturday, 13 September 2014, the King’s Hall There is something very special about playing with the Complex in Belfast was the setting for a very special flautists of Northern Ireland. Those I meet seem to have grown day for flautists from all over the globe who came up surrounded by fluting: the whole family play, it is their Otogether for charity, in an attempt to claim a Guinness World way of life. Their knowledge is passed on from generation to Record for the World’s Biggest Flute Orchestra. generation and they feel their music in such a way that I have As a member of Festive Flutes, this is the second time I yet to find anywhere else in the world. I was so very privileged have had the privilege of working with massed flute groups to be a part of this wonderful event, playing with Festive Flutes, in Northern Ireland, having performed in the Relief of Derry Stephen Clark, Marcas Ó Murchú, Patrick Davey, and the many Symphony two years previously at the Maiden City Festival in hundreds of flautists involved, under the enthusiastic and Londonderry. Getting to know the players of the flute bands seamless direction of conductor and flautist Richard Murray. involved and the generous spirit and musicianship of the The day was in full swing by the time I arrived at the venue, wonderful trad player, Marcas Ó Murchú, was musical food having flown in from Heathrow that morning, and the hall was for my hungry soul and the experience we all had with the Big abuzz with flautists aged from 7 to 74. Just Flutes were there Flute Challenge was every bit as special. with a stand supporting the event, together with Wonderful Winds, an interesting mini flute museum from Erne Music Supplies and all the fun of the fair with a dress-up photo booth and Granny Shaw’s popcorn booth to keep us all going throughout the day. Shortly after my arrival, we were all treated to a fabulous performance of Ian Clarke’s Tuberama performed by Stephen Clark and Áine Lambert before the opening warm up session led by Festive Flutes’ Sarah Murphy. The sound of over 500 flutes playing together was formidable and the excitement around the hall was electric. I was grinning from ear to ear and I continued to do so for most of the day in spite of my 4am wakeup call! Towards the Blue Horizon is a suite of five folk songs, one English, one Scottish and three Irish, which celebrates the differences and similarities of the classical, folk and band traditions. It has moments of simplicity, sadness, joy, rousing tunes and plaintive airs and facilitates the vast dynamic range and huge palette of colours and textures that are only possible Mel Orriss, of Wonderful Winds, worked her ever-present with such a large number of diverse instruments. It is scored magic with a captivatingly clever composition/arrangement for traditional flute (including 2 solo parts played by Marcas Ó entitled Towards the Blue Horizon which was specially Murchú, and Patrick Davey), solo flute quartet (performed by commissioned for the event. Mel successfully integrated British Festive Flutes, Sarah Murphy, Liz Walker, Joss Campbell and folk tunes into an exquisite work based around the theme of Stephen Clark who kindly stepped in for Mel Orriss who was water. It featured flutes of all shapes, sizes and genres for players shadow conducting), melody flute in Bb (high pitch), piccolo, from grade 1 to professional level and it was everything we G treble flutes (parts 1-3), C flutes (parts 1-4), alto flutes (parts could have hoped for. We experienced all the emotions of life in 1-2), bass flutes (parts 1-2), contra alto flute, contrabass flute her work, from tears to laughter, as is always the way when Mel and double contrabass flute. This massive group of flutes was writes for massed flute forces. directed by Richard Murray, Director of Music at the Royal Air

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Klezmer Carnival and finally, the fabulous playing of traditional flautist Patrick Davey. The day was only possible because of the vision of Glen Houston and his team of helpers. For this vision, determination and dedication to the day, I would like to offer him, and his helpers, my sincerest thanks.There was talk on the day, and has been since, that we all need to do this again. I sincerely hope that it may happen and if it does, please do try to join us. It really was such a tremendous experience and one that I will remember with a warm heart for a very long time. If you would like to donate to the nominated charities of this event there is a link on the website www.bigflutechallenge.co.uk. The current total raised for the nominated charities at the time of writing stands at an incredible £9,100. Force Music Services, who set about managing the rehearsal with incredible organisation and clarity and was supported by shadow conductors dotted around the hall. His contribution was invaluable and without him the performance would not have been the success it was. After our world record attempt, the atmosphere around the hall was supercharged. A huge cheer errupted for several minutes and the sense of accomplishment, excitement and joy was immeasurable; so many flautists, from all walks of life, united by our love of fluting. It was a uniquely special musical moment in my life. Mel is currently working on a version of the piece for smaller forces so that the piece can be enjoyed by groups that don’t have the luxury of the more unusual instruments. The afternoon of fluting continued when we were treated to further playing from Stephen, who performed the soundtrack from the Bourne Identity from his upcoming album A Night at The Movies and Siamsa from his current album Explosive; the Ballygowan Concert Flutes who played us the

December 2014 13 News La Côte Flute Festival, Switzerland 2-5 October 2014

he first La Côte flute festival took place at the beginning with his points carefully demonstrated and given a broader of October on the northern shores of Lake Geneva. context through extracts from other repertoire as well as the Centred around the town of Gland, between Geneva piece under discussion. Later in the day he appeared with the Tand Lausanne, the festival used a range of venues around the Ensemble Baroque du Léman, directing them in works by region. The weekend had a total of 42 events, over four days the sons of Bach. His performance of JC Bach’s D major flute and across three villages, with a main festival hub at the Théâtre concerto was one of the highlights of the festival for me, and de Grand-Champ in Gland. Like all good flute festivals, the was extremely well received by a full house of festival-goers and trade was very much in evidence, with a wide array of flute locals. makers, sheet music and accessories on offer. The festival was expertly organised by Carole Reuge, who worked tirelessly for two years to plan the programme, find sponsors and promote the event. Her vision, and attention to detail, made the festival a big success. The festival was supported by a number of sponsors - no less than 46 are listed on the website – who undoubtedly formed an important part in allowing Carole’s vision to become reality. The programme was varied, with a focus on European artists and a number of Swiss nationals. All areas of music were covered, from Baroque to contemporary, with jazz also very firmly in evidence, and masterclasses with a number of the guest artists took place each morning. Concerts ranged from solo performers to full orchestra, and included an extremely enjoyable performance of music for two flutes and organ, featuring Carole Reuge. Overall, the programming was intended to attract the local audience as well as specialist flute players, so many of the main concerts were designed with a generalist Le concert impromptu © Carla Rees audience in mind. This meant that there were perhaps fewer new works than typically found at an event intended solely Maxence Larrieu’s 80th birthday concert was another for flute players, but the full auditoria at the evening concerts important highlight. Here, Larrieu performed with harpist proved that Carole Reuge had a good understanding of the Benoît Wery, including the world premiere of Wery’s Sonatine, needs of the local concert goers. written as a gift to Larrieu. It was a great privilege to hear The festival had many highlights. The opening ‘spectacle’ Larrieu perform some of the classics of the French repertoire featured Le Concert Impromptu, a wind quintet directed by including the Fauré Fantaisie, Ravel’s Habanera and Debussy’s flute player Yves Charpentier. This was a true spectacle in all Syrinx. He was on fine form, and the rapport with Wery gave senses, and came in the form of a staged musical re-enactment some particularly entertaining moments. This was an inspiring of a football match between Germany and Brazil. This was an concert from a legend, and Larrieu’s musical sensitivity and imaginative piece of music theatre, with polished performances impressive technique was admired by all. of arrangements of Bach, Villalobos and others, played while The festival also featured a conference about Jean-Pierre the quintet impressively ran around the stage. The fitness and Rampal, masterclasses with many of the festival’s leading physical strength of these players was astonishing, and this was artists, including Matthias Ziegler, Niccola Mazzanti, Gudrun a truly memorable performance. Bourel, Sarah Rumer, Dieter Nanz and jazz classes with Jeroen For those with an interest in baroque repertoire, there were Pek and Matthieu Schneider. Although I couldn’t attend all of excellent masterclasses and performances by both Barthold the events, I heard enjoyable concerts by Eva Amsler, Niccola Kuijken, and Jan der Winne. Kuijken’s class was fascinating, Mazzanti, Michel Lavignole, Kazunori Seo, Elena Cecconi and

14 bfs.org.uk News

a particularly notable performance of contemporary repertoire by Riccardo Ghiani. Liz Walker and Richard Shaw performed music by Dorus, Boehm and Chopin, featuring Liz’s vintage La Côte Flute Festival, Louis Lot flute. The performance by the excellent flute sextet Pentagônes was another highlight, with polished performances of convincing arrangements of works by Saint-Saëns, Piazzolla Switzerland 2-5 October 2014 and others. Above all, for me the biggest highlight was the final concert was a concerto gala, featuring the Geneva Chamber Orchestra, conducted by Philippe Bernold. This was a fabulous collection of concerto performances, with a programme ranging from CPE Bach (expertly played by Sarah Rumer) to the premiere of a new concerto by Sophie Dufeutrelle, performed by Matthias Ziegler. I was particularly taken by José-Daniel Castellon’s performance of the Jolivet concerto, which was full of energy from start to finish and a truly charismatic, and technically flawless, performance. Michel Bellavance played Mozart beautifully, with well-shaped phrases and a captivating tone. Ziegler dazzled with his contrabass flute, and treated us to one of his own compositions in a spellbinding encore dedicated to Carole Reuge. This concert was a phenomenal celebration of the festival, bringing together local audiences and flute players in the full to bursting auditorium. It was, without doubt, one Masterclass with Matthieu Schneider © Carla Rees of the most memorable concerts I have been to for a long time. was extremely privileged to attend La Côte Flute Festival CARLA REES in Gland and the surrounding area (near Geneva) from the 2nd to 5th October with Martina Rogers, a BFS colleague Ifrom Bristol. This was the first ever Swiss Flute Festival and was directed by Carole Reuge and her committee. Carole and a couple of colleagues had a table in the Trade Hall at the Warwick Convention in order to help publicise their event. La Côte Flute Festival was set up in partnership with the Dutch Flute Association and consequently the programme featured several Dutch artists, such as Jeroen Park (jazz flute player), Jan Karman (composer), Gudrun Bourel (piccolo) and Eva Kingma (flute maker). The Trade Hall was well supported by familiar faces like Abell, Mancke and Kingma Flutes as well as more local companies, such as Vents du Midi from Geneva. The BFS table in the foyer was laid out with 40 September editions of PAN and competition and membership leaflets, and by the end of Saturday evening’s concert, there was only one magazine left. There must, therefore, be quite a lot of Swiss Flute Festival delegates who have now heard about the work of the BFS for the first time. Perhaps we may have recruited some new overseas members – time will tell! La Côte Flute Festival was extremely well organised by Carole Reuge and her team and supported admirably by the community. The mini bus drivers who efficiently ferried delegates between the hotel and various venues were all local volunteers, and although attendance on the Friday was poor, the festival overall was highly successful with 2000 concert seats occupied and 1000 visitors. Eva Kingma © Carla Rees CAROLE JENNER-TIMMS

December 2014 15 Flute days

SOUTH WEST FLUTE DAY he South West Flute day was held on Sunday 2 November at Wells Cathedral School. Members Tof the BFS were invited to attend at a discounted rate and 45 flute players – 33 young flute players and 12 adults – came and enjoyed the day. Twelve of the youngsters who attended were pupils from Wells Cathedral school and the remained 13 were booked through the Cornish Music Service (disbanded as of September 2014). The four tutors for the day were Lisa Nelson, myself, Ian Mullin and Carole Jenner-Timms. The day was also supported by the trade and sponsors All Flutes Plus, Yamaha, and Elizabeth Walker (left) and Lisa Nelsen (right) perform at the South West Flute Day ensemble music publisher Wonderful Winds, who all had trade stands for had a good selection of flutes to try as well as lots of helpful advice on offer. Mel from participants to explore and buy from, Wonderful Winds was also so helpful and we used her arrangements exclusively and by the BFS. through the day. Everyone agreed on how expertly they worked and how much fun The day’s activities included they were to play. masterclasses, accompanied by Lydia Mel commented to me, ‘we always enjoy getting out of the office to support days like Scadding on piano, and an introduction this; it’s an ideal opportunity to meet customers and flute playing friends, and it was to baroque flute with flutes supplied good to hear several of our pieces being played with such aplomb by the enthusiastic by the Canadian maker Boaz Berney, flute choir.’ who recently exhibited his wonderful Hearing the 45 flutes playing together with a warm sound, in tune, and musically instruments at the BFS Convention. was very precious. It was also, personally, a very special opportunity for Lisa, Carole, There was also a teachers’ discussion Ian and me to perform a quartet together. session on preparing for exams, and In all, the South West flute day was a very rewarding and full event, and I certainly small and large flute ensembles, hope it will be something we can do again in future years. including piccolos, flutes, alto and bass ELIZABETH WALKER flutes, which rehearsed music supplied by Wonderful Winds. The diverse range of ages and abilities were quickly overcome and everyone worked together to overcome their inhibitions and bond as a group in a fun warm-up session. All the participants were keen and eager to have a go at everything on offer, and the standard of playing was very high indeed. With high calibre performers such as Ian and Lisa on hand as tutors both the performers and the listeners learnt so much and so easily, in the masterclasses. Both tutors have a flair for describing and demonstrating with such clarity how to improve all sorts of techniques, It is always a joy to see shiny new flutes for sale and both AFP and Yamaha

16 bfs.org.uk Flute days

BFS Scotland Alison Mitchell Workshop cotland is truly blessed to have three wonderful orchestras in the Royal Scottish National Orchestra, the BBC Scottish SSymphony Orchestra and the Scottish Chamber Orchestra. All three have world-class flautists. One such is Alison Mitchell, Principal Flute in the Scottish Chamber Orchestra and BFS in Scotland were privileged to welcome her to a workshop in West Lothian on 28 September. Alison started, naturally, with a warm-up, which was fascinating as we learnt how a professional starts her day. We then went onto more general flute techniques, flute choir, small ensemble chamber music and master class – what an opportunity to learn from this world-class soloist. We had lovely renditions of Nobody Knows from the Grade 5 syllabus and the first movement of the Mozart G Major Flute Concerto. As always in a really good master class, we all learned from Throughout the day, Alison answered questions in a good Alison, audience and players alike. natured and helpful way. She had help for everyone, regardless The group divided into three trios and Alison demonstrated of their playing experience or level. Thank you, Alison, and her passion for the flute and love of music as she coached each please come back again! of them towards a fine performance at the end of the afternoon. MARYSIA WILLIAMS

Low Flutes Day with Carla Rees o you play alto or bass in a flute group, or are you just curious about the lower flutes and interested in giving Dthem a try? Join renowned low flutes expert Carla Rees and Elisabeth Hobbs for a Flutes Inspired Low Flutes Day in Oxfordshire on Saturday 14 December. The day will feature hints and tips for getting the most from your alto or bass flute, a workshop and masterclass, ensemble playing, and a special low flutes trade stand from Just Flutes – including the latest Kingma contrabass. The day, which runs from 10am to 5pm, is open to adult players of all levels, and you don’t need to have an alto or bass to participate – instruments will be available for you to try, and there will be plenty of opportunity to play your C flute as well. There are just a few places remaining for this event, and you can book online at www.flutesinspired.co.uk.

Kent Flute Day with Atarah Ben-Tovim and Flutewise he next BFS Kent area event will be a flute day for players of all ages on Sunday 22 March. The morning session will Tbe aimed at under-18s and will be led by BFS Vice President Atarah Ben-Tovim and the Flutewise team. In the afternoon, players of all ages (standard Grade 5 and above) are invited to come and enjoy some flute choir fun with the inimitable Atarah. For more details and to register your interest in the event, contact Pat Daniels on [email protected].

December 2014 17 The British Flute Society Flute Competitions 2015 Wednesday 18 February Regent Hall, The Salvation Army 275 Oxford Street, London, W1C 2DJ

BFS School Performer 2015 for performers aged 18 years and under (two classes) The title of the piece must be submitted upon application. Competitors may perform on a piccolo, alto or bass flute if they prefer. An official accompanist is available and a short “top and tail” rehearsal will be arranged if time permits.

A For Competitors aged 13 years and under on the day of the competition Approximate standard: Grade 5 or above Performance duration: up to 5 minutes This competition for younger players will conclude with a workshop/flute choir led by the adjudicator.

B Competitors aged 14–18 years on the day of the competition Approximate standard: Grade 7–8 or above Performance duration: up to 7 minutes BFS Young Artist 2015 for performers aged 19–24 years Approximate standard: Grade 8 or above Performance duration: up to 8 minutes This competition is particularly suitable for those studying at a higher level. Competitors should play a piece of their own choice lasting no longer than 8 minutes and the title of the piece must be submitted upon application. Competitors may perform on a piccolo, alto or bass flute if they prefer. An official accompanist will be provided with time allotted for rehearsal.

At the end of each class, the adjudicator will lead a plenary session and prizes will be awarded. Written feedback and a certificate of attendance will be given to each competitor.

BFS Member Competition Rates BFS School Performer £50 BFS Young Artist £55

For full information and to apply online visit www.bfs.org.uk

or contact Anna Munks, BFS Secretary [email protected] for an application form Registered charity no: 326473 Closing date for entries: 16 January 2015

2015 Advertisement for Pan.indd 1 03/11/2014 16:13:06 The British Flute Society Flute Competitions 2015 Events Diary

Wednesday 18 February DECEMBER Regent Hall, The Salvation Army 9 Cullin Sound (Dana Morgan, flute; Sarah Watts, clarinet; Laurence Perkins, bassoon). Music by Beethoven, Handel, 275 Oxford Street, London, W1C 2DJ Debussy, Mozart and more. Skipton Concert Society, Christ Church, Keighley Road, Skipton BD23 2AH. 7.30pm. Tickets on door or contact 01756 799912. www.cullinsoundmusic.co.uk.

12 Katherine Bryan at the Kilmardinny Music Circle. Kilmardinny House, 50 Kilmardinny Avenue, Bearsden, Glasgow G61 3NN. 7.30pm. Music by Gaubert, Brahms, Saint-Saëns, Kreisler, Gleseking, Fauré, and Sarasate. For more BFS School Performer 2015 information see http://kilmardinnymusiccircle.weebly.com/buying--reserving-tickets.html for performers aged 18 years and under (two classes) The title of the piece must be submitted upon application. Competitors may perform on a piccolo, 13 Dana Morgan (flute) with UoL Sinfonia performing Khachaturian Flute Concerto. Frazer Noble Hall, Leicester. Tickets on door or through Embrace Arts at the RA Centre. http://www2.le.ac.uk/hosted/embracearts. alto or bass flute if they prefer. An official accompanist is available and a short “top and tail” rehearsal will be arranged if time permits. 14 Flutes Inspired Low Flutes Day with Carla Rees, Elisabeth Hobbs and Just Flutes. 10am-5pm, Marsh Baldon, Oxfordshire. More information and online booking at www.flutesinspired.co.uk. A For Competitors aged 13 years and under on the day of the competition Approximate standard: Grade 5 or above Performance duration: up to 5 minutes JANUARY This competition for younger players will conclude with a workshop/flute choir led by the adjudicator. 5 Recital by Stephen Clark (flute) and Ashley Beauchamp (piano) for the Hideaway Youth Project. Amani Centre, Moss Lane East, Moss Side, Manchester M16 7DG. Music by Handel, Faure, Murumatsu, Rachmaninoff and Borne. B Competitors aged 14–18 years on the day of the competition 7.30pm. Tickets £8 on the door. Approximate standard: Grade 7–8 or above Performance duration: up to 7 minutes 7 rarescale at The Forge, 3-7 Delancey Street, London NW1 7NL. 7.30pm. www.forgevenue.org.

17 Cullin Sound (Dana Morgan, flute; Sarah Watts, clarinet; Laurence Perkins, bassoon). Music by JS Bach, Beethoven, Elgar, Rossini. Darlington Music Society, Central Hall, Darlington Dolphin Centre, DL1 5RP. Tickets on door or from BFS Young Artist 2015 Dolphin Centre on 01325 388406. for performers aged 19–24 years Approximate standard: Grade 8 or above Performance duration: up to 8 minutes FEBRUARY This competition is particularly suitable for those studying at a higher level. Competitors should play a piece of their own choice lasting no longer than 8 minutes and the title of the piece must be submitted 5 Alison Mitchell (flute) performs Boulez Memoriale for solo flute and small chamber ensemble. 7.30pm. Usher Hall, upon application. Competitors may perform on a piccolo, alto or bass flute if they prefer. An official Edinburgh. More information from www.usherhall.co.uk. accompanist will be provided with time allotted for rehearsal. 5 Lisa Friend (flute) with Mark Kinkaid (piano). Lunchtime recital, Wigmore Hall, London. 1pm. Music by Reineke, Gaubert, Chaminade. Tickets £12.50 (£10 concessions) available from Box Office on 020 7935 2141. At the end of each class, the adjudicator will lead a plenary session and prizes will be awarded. Written feedback and a certificate of attendance will be given to each competitor. 6 Alison Mitchell (flute) performs Boulez Memoriale for solo flute and small chamber ensemble. 7.30pm. City Halls, Glasgow. More information from www.glasgowconcerthalls.com. BFS Member Competition Rates 18 BFS Competitions 2015, Regent Hall, London. Entries close 26 January 2015. Full information available from www. bfs.org.uk. BFS School Performer £50 BFS Young Artist £55 22 Cumbria Flute Day. 10am. Town Hall, Kendal. Players £15, concert £7.50. More information from committee@ flutesandco.org.uk or Suzanne on 07545 151183. For full information and to apply online visit Concert or flute event coming up? List it in the Events Diary of PAN for free. The deadline for inclusion in PAN March 2015 is 6 February. www.bfs.org.uk Contact [email protected] giving full details of your event. or contact Anna Munks, BFS Secretary [email protected] for an application form December 2014 19 Registered charity no: 326473 Closing date for entries: 16 January 2015

2015 Advertisement for Pan.indd 1 03/11/2014 16:13:06 Why is there a flute in Die Zauberflöte? by Ian Thomson

he title of Mozart’s much-loved opera is enigmatic. libretto states only that it can protect and support Tamino in the It suggests the flute is important in the drama yet the event of misfortune, increase the happiness and contentment of instrument hardly features. Tamino plays it in only five mankind, and is worth more than gold and crowns. These are Tof the opera’s 49 scenes. On the first occasion he plays and strange properties and suggest that Die Zauberflöte’s title does attracts animals. This is the Orphic scene, so-called because not derive entirely from Lulu. it alludes to the mythical ancient Greek Orpheus having been Other explanations of the flute’s role have been proposed. able to attract animals when he played a lyre, an act which The instrument has been associated with Indian mythology, indicated his god-like ability to create harmony on earth. Then the Garden of Eden and the heart. Others claim it is a token there are three occasions when Tamino plays briefly with no or talisman and that, because of its heavenly sound, Mozart score – answering Papageno’s musical call, passing time, and included it as a symbol of music itself. Another proposal is that fending off lions – and the fifth is when he plays while passing Tamino’s flute and the music he plays are intended to distance through the fire and water. Furthermore, Mozart appears to him intellectually from the foolish birdseller Papageno who have deliberately signalled the flute’s insignificance by requiring plays only five notes on a syrinx. This argument derives from Tamino to play only about 500 notes in total during the whole the story that the flute, which has one pipe and many holes, was opera, and his most important performance – in the fire and designed by the mythical Egyptian god Osiris and is therefore water scene - lasts for only about 1.5% of the elapsed time of Acts 1 and 2. Many commentators have, therefore, assumed the flute to be irrelevant. The philosopher Kierkegaard, for example, suggested in Either/Or (1843) that Tamino’s flute-playing is just “None of the usual interpretations ‘a time killer … to drive away thought’. The fact that elsewhere in his score Mozart inserted references to Freemasonry, a properly explain why the flute is fraternity of which he was a member, has served to strengthen centre-stage in the opera’s title” the idea that the flute has no role because flutes play no part in Freemasonic ritual. Reasons for the opera’s title have nevertheless been proposed. an advanced instrument of divine origin compared with the One derives from the prevailing culture. In contemporary fairy simple multi-pipe syrinx. Another explanation relates the flute stories and theatrical works, magic powers were attached to to the unity of Tamino and Pamina, on the grounds that the everyday items like rings, carpets, helmets and sticks (wands), instrument looks masculine and sounds feminine. This is only and to musical instruments, including the flute which was partially convincing because flute music is not universally extremely popular across Europe. Reports in the Harmonicum effeminate (for example neither Debussy’s Syrinx nor Varese’s Review of Music (during 1823 and 1824) said that ‘almost every Density 21.5 sound ‘feminine’). man in the upper, middling and higher ranks acquired a certain The fact of the matter is that none of these interpretations practical knowledge of it’ and that ‘fifty years ago, everyone adequately explains why the flute appears in the opera’s title. could play’. The story, Lulu, oder die Zauberflöte, which On the face of it, the instrument’s purpose is utterly obscure. It appeared in Wieland’s book of fairy tales Dschinnistan (1786- hardly seems credible, however, that the title should refer to the 89), appears to have influenced more than Die Zauberflöte’s flute in order to emphasize its dramatic unimportance. title. Tamino, like Lulu, is a prince who is given a flute, sent to rescue a daughter from an evil sorcerer, and attracts animals Tamino: a god-like figure when he plays. The powers associated with each flute differ The role of the flute has not previously been exposed because however. Lulu’s flute is magical in a popular sense – it performs the purpose of the libretto has never been understood. The text, impossible acts of hypnosis and obliteration – and Tamino’s apparently a folk-tale containing classic themes of loss, quest, does not. On the contrary, it is not immediately clear what the reconciliation and poetic justice, is extremely disjointed. One nature of the magic offered by Tamino’s flute actually is. The nineteenth-century commentator even called it ‘the product

20 bfs.org.uk The Magic Flute

Benjamin Hulett as Tamino, Welsh National Opera 2015. © Johan Persson of a diseased mind’. Were it not for Mozart’s sublime score the the nymph Syrinx escaped his clutches by turning into swaying whole opera would have been binned years ago. However, in reeds. Because of Pan’s role, the syrinx was associated with the my book The Magic Flute Libretto: more literary, religious and changeable states of nature, and the fourth-century Bishop historical sources and their interpretation (2014) I show that of Salamis, St Epiphanius, developed this idea in a Christian the libretto does have a clear purpose and that the flute is an context, comparing unprincipled, fickle people with reeds essential feature of it. The key to understanding its role lies which sway with the prevailing wind. The syrinx thus became a in Tamino’s association with god-figures. One is Osiris who symbol of mankind’s varied and fluctuating emotions. In other reputedly invented the flute. Another is Orpheus, as mentioned words, it became a symbol of unpredictability. In the hands of above. The Jewish David was also portrayed calming animals Papageno the birdcatcher, it alludes to the unpredictable fate with a flute. Such figures create peace and harmony and are of the stalked bird – the pipe being the last sound it hears. This therefore god-like: in biblical terms they can make the wolf means, philosophically, that the syrinx is a symbol of Fatalism, dwell with the lamb (Isa. 11:6). Tamino is also associated with which is the belief in, and acceptance of, the inevitability of the Roman god Apollo at the beginning of Act 1 when, with a events and the related perception that moral deliberation over bow but no arrows, he runs from a serpent: his circumstances personal action is pointless. Fatalism has long been despised in accord with Ovid’s story that Apollo’s quiver was empty when both religious and intellectual circles because it leads to moral he fought off a serpent. According to the Greek geographer irresponsibility, indecision, and despair, all of which Papageno Pausanias, the flute was sacred to Apollo. Other parts of the experiences. Papageno is thus contrasted starkly with Tamino: libretto, which are not related to the flute and not discussed one plays a syrinx because he muddles by in life, accepting his here, confirm Tamino’s alignment with Apollo. This means that Fate in the natural world, deceiving birds with his pipe and Tamino is linked to a number of virtuous/pure gods, which is killing them; the other plays a flute which signals his god-like why the head priest Sarastro stresses Tamino’s virtue. The flute virtue and ability to create harmony in the natural world. The is an appropriate instrument for Tamino because the conical mythical ability of the flute to challenge Fate and establish bore of late-eighteenth-century flutes, particularly those made order was developed by D. H. Lawrence in the novel Aaron’s of ebony, produced a very pure tone. Rod (1922). The flute’s importance is developed in the context of ancient It becomes clear from analyzing the libretto that the whole Greece by contrasting Tamino with Papageno, a birdcatcher opera takes place in the underworld. There are many references who plays a syrinx. His instrument was supposedly invented to it, including frequent use of the word ‘eternal’. Tamino’s by Pan, the god of nature, who constructed it from reeds when association with Orpheus when he is searching for Pamina is

December 2014 21 The Magic Flute

fire and water scene. Many commentators have recognized (without realizing why) that these processes probably refer to alchemy. They do. Alchemists sought to manipulate the four elements – earth, fire, air and water –which, they thought, formed the basis of material reality. Different materials had different proportions of each element and alchemists tried to change materials by changing the mixture of the elements. A condition of the alchemic process was that the materials had to be pure. When Tamino and Pamina pass through the fire and water they are simultaneously being tested for purity in an allusion to medieval fire and water trials which were thought to prove a person’s virtue and being processed to acquire a new material body for life on earth. When Pamina says that the flute is made of oak, an unusual material for the construction of flutes, and that it will guide them through the fire and water, she is referring to the piece of oak which guided Jason, Orpheus and the other Argonauts on their journey to find the golden fleece, a story which was widely interpreted as alchemic. Tamino and Pamina also need Spirit – God breathes the breath of life or Word of God – and this is another of the flute’s roles (in accord with the instrument’s name probably deriving from the Latin flatus, meaning breath). Thus as well as being a guide, the magic flute acts as a symbolic phallus which both joins the couple and gives them the gift of life. The flute’s phallic association is well known, the playwright Aristophanes having joked about it as early as the fifth century BC. (A curious feature of flute mythology is that phallic symbolism has been associated with all types of flutes, end-blown and transverse. In the eighteenth century women were advised not to play the instrument and Mark Walters as Papageno, 2008 ©www.markwaltersbaritone.com the opera reflects this emphasis: Pamina’s father makes it; the another example because in Ovid’s story Orpheus went to the Queen gives it away; and Tamino, not Pamina, plays it). By underworld to find his dead wife Eurydice. Mozart would have transferring divine spirit to a couple about to be reborn, the been well aware that Gluck had already associated the flute with flute acts like the magic phallus which Isis constructed for Osiris the underworld in his orchestration of The Dance of the Blessed after he was dismembered and which enabled Horus to be born. Spirits, a musical accompaniment to Orpheus entering the It was Osiris’ fourteenth part and Mozart pertinently included a underworld in Act 2 of his opera Orphée et Eurydice (1774). The numerology related to 14 in his score for the scene. The number light of the morning sun which floods the stage at the end of Die 14 is also important in the opera for reasons unrelated to the Zauberflöte signals Tamino and Pamina’s departure from the flute. underworld (this is not in accord with Ovid who said Orpheus In the fire and water scene the flute is prominently returned alone, but it follows an alternative happy-ending orchestrated with timpani, the instruments together being version of the Orphic myth reported by the authors Isocrates symbols of both unity (as in the case of pipe and drum and Euripides). Between the beginning of Act 1 and the end accompaniment to dance) and militancy (as in military bands). of Act 2, however, certain features of the libretto develop the Mozart accordingly scored the scene as an adagio march. When plot away from ancient Greece, towards Christianity, such Tamino and Pamina say they walked through the fire and water, that Tamino becomes associated with Christ himself: more they are referring to the old ballet instruction pas marché precisely, Tamino and Pamina become an hermaphroditic which requires walking in a determined, military way. Tamino version of Christ, like that worshipped by some early Gnostic and Pamina emerge from the alchemy as flesh and blood, as communities. This means that Tamino and Pamina return from a new Christ, and like Christ they are pure and virtuous with the underworld in accord with the biblical Book of Revelation. no earthly failings and have no human hereditary background. They accord with John of Salisbury’s twelfth-century comment The four elements in Policraticus that leaders should derive their authority from It is self-evident that if underworld spirits are to return ‘virtue and merit, not from flesh and blood’. The two are now to earth they will need a new body. This is the purpose of the human by nature and divine by grace, a condition which earthly

22 bfs.org.uk The Magic Flute

kings and princes have claimed in coronation rituals since As well as indicating that the flute is made of oak, the Carolingian times. And as the new Christ, they also become (in libretto says it is golden. Taken together, these details mean that accord with the Book of Revelation) the King of Kings, the King the instrument is gilded, like Renaissance instruments which to whom all earthly monarchs who govern in God’s name must were gilded to reflect the sun, God’s realm in the heavens. The submit. Militant Tamino will override the earthly kings and crowns of earthly kings and princes are gilded for the same create New Jerusalem, the perfect Christian utopia which is not reason. Tamino does not need such crowns because he now has ruled by monarchies. The opera’s Queen is thus cast into eternal the supreme eternal crown mentioned in the Book of Revelation night, her reign and the hereditary authority on which she has (the Choir of Priests refer to it when they repeat three times relied as a monarch now over. Being an instrument of virtue, in the last line of the libretto that Tamino and Pamina have the flute signals Tamino’s moral superiority in the new utopia: it been rewarded with ‘an eternal crown’). This is why the libretto is a symbol of republican values which ensure social justice and states that the flute, which has enabled Tamino and Pamina’s bring happiness to ordinary people. Thus the libretto says of apotheosis, is ‘worth more than crowns’. the flute: ‘human happiness and contentment will be increased While the opera appears on the surface to be a confused fairy by it’. tale, it has a more profound revolutionary and eschatological This drama, presented in Vienna in 1791, was directed purpose and the flute works on many dramatic levels to enact specifically at the Austrian monarchy and the then Holy Roman this. The instrument’s role - mythological, philosophical, Emperor Leopold II. As the flute had also become a Protestant religious, sexual, alchemic, military and political - is crucial. military symbol (for example in the marching tune Lillibullero, There can be no doubt that the opera was named appropriately. written during the War of the Grand Alliance (1689-97), Tamino’s instrument is also a clue to his Protestant stance Dr Ian Thomson is the author of The Magic Flute Libretto: against Leopold’s Catholic Empire. The opera’s Freemasonic more literary, religious and historical sources and their references were introduced because many late-eighteenth- interpretation, published by The Edwin Mellen Press in century Protestant Freemasons had revolutionary, republican April 2014. objectives.

December 2014 23

Teaching with technology Part I: apps to enhance teaching and learning by Karen Gourlay e live in a changing world with emerging Scale Helper technologies, and one of the challenges for flute iPad, iPhone, iPod Touch: £4.99 teachers is to take advantage of the opportunities and http://www.scalehelper.co.uk/index.html Wnew ways of learning offered by technology. Many of our pupils Scale helper works in a variety of view technology as part of their everyday life in and outside ways. ‘Play any scale’ (your choice from of school. Integrating technology into learning in and outside the selected syllabus) or ‘Challenge me’ (a the classroom goes beyond just accessing online resources. standard challenge is 10 scales or arpeggios) This article considers a small selection of digital resources for can be selected. Scales can be purchased mobile devices and tablets that have been identified as useful by for a specific grade, e.g. the entire ABRSM instrumental teachers. syllabus is £1.99 or individual grades Using technology is just one of many useful strategies that purchased for £0.69. Trinity Guildhall is covered from grades can be used in our teaching practice. One of the most commonly 1 to 3, though you can easily create your own syllabus. The app cited benefits is that learning can take place at any time and lets you see and hear what you have played and gives a score, place. It can be motivating and encourage pupils to learn for which is recorded. The date a scale was last played is recorded themselves. Monitoring progress can be enhanced through and a colour code given to scales depending on how successfully the use of recordings and easy access to pupil records. With they were played .This makes it very easy for the pupil to see the increased use of mobile devices, technology is portable, where more work is needed. For the teacher to use in lessons, allowing access to a wide range of resources including video, different user names can be set up, making it easy to instantly text, audio, and interactive apps. see when a scale was worked on in a lesson. If played unevenly Mobile devices and tablets are having a significant impact or very slowly the note recognition is not 100% accurate, but on education generally and are changing the way learning takes the feedback on rhythmic accuracy and intonation make this a place. There are lots of essential apps replacing existing hardware very useful tool. In addition, pupils can view and hear the notes (e.g. metronomes and tuners), but this article focusses on apps of the scale. offering a new way of learning or practising music, that is, on apps offering functionality that was previously only available Play Scales using expensive software or hardware. Android users should http://www.playscales.scalehelper.com/ note that although there are plenty of tuner and metronome iPad, iPhone, iPod Touch: £1.99 apps, the industry preference for Apple devices is apparent in For younger pupils between grades 1 the variety and availability of apps. and 3 standard, Play Scales, by Spectral This is not intended to be a definitive survey of apps in Efficiency, would be a better option. It works current use. By the very nature of the subject, these technologies on the same principles at Scale Helper, but are constantly being developed. However, this article will has a simpler interface. Pupils are awarded provide an indication of the type of resources that are available stars for correct scales. for flute teachers and their pupils. Part 1 of this article looks at apps for scales, recording, rhythm, tone, sheet music, teacher records and social learning. Scales When it comes to practising scales, pupils sometimes need encouragement to work independently. If pupils have a mobile or iPad, one way is to set them specific scales or sections of scales to practise, record them, and bring to the next lesson. Scale Helper, Play Scales, and Scale Box are three popular apps that can be used in the lesson and/or at home.

24 bfs.org.uk Technology

Scale box This recording app by Tascam is pads that have to be tapped in time to http://www.scalebox.co.uk/ very simple to use and allows you to a drum beat. The picture shows the first Ipad iPhone, iPod Touch: £1.99 set the input level, which not all voice level in the study mode. If the player is Android: £1.99 recording apps do. It creates acceptable in time the dots turn green, out of time Scale box is quality recordings without an external and the dots turn red. An excellent app intended to make microphone. It Records in WAV for improving awareness of pulse and scale and arpeggio format and recordings can be uploaded developing fundamental rhythmic skills. practice more to SoundCloud or transferred to a fun. This app was computer. a finalist in the Music Teacher Best Smart Voice Recorder Digital Resource award 2014. It covers http://recorder.smartmobdev.com/ ABRSM grades 1 to 5 for 11 common Android: Free instruments. You can choose practice or A very simple recording app, which exam modes. ‘Practice’ gives the options produces reasonable of quick (5 tests), regular (10 tests), quality recordings. extended (15 tests) or open-ended. The It uses the device’s articulation for the scale is included, auto gain control reminding students to play tongued to set the correct and slurred. The player has to select level automatically, Rhythm Cat how they played the scale by a traffic though this can be http://melodycats.com/rhythm-cat/ light system, red (many errors), amber manually calibrated. The Sample rate iPad, iPhone, iPod Touch: £2.99 (a few errors) or green (mastered). This can be adjusted to improve the quality, Free version with only 15 exercises encourages self-assessment. The player though that also creates a much bigger available is given feedback on their performance file size. Recordings are a WAV file Rhythm Cat at the end of the session, including how and can be shared either by email or is ideal for young many practices they have completed. Bluetooth. or young at heart Users can share their progress by email, beginners with Twitter or Facebook. Developing Rhythmic Skills its graphics and This is one area where apps and sounds. Intuitive to Recording making a game of out of learning has use, there are clear Recording students is not a new noticeable results. Pupils are often much explanations of how long each note lasts. idea, especially for final assessments, but happier to be told by an app that they Users have to tap the correct rhythm in with the growth of digital technologies are wrong than a teacher. The challenge time with the music, which changes style what has changed is the ease with which of reaching the next level can be and tempo between exercises. When the recording incorporated regularly into motivational for many pupils. correct rhythm is tapped the note turns lessons and shared with others. Many green. This happens immediately after Smartphones, tablets, iPod Touch, iPads MyRhythm the note has been tapped so users have and laptops can make acceptable quality http://myrhythm-app.com/ to keep their focus on the notes coming recordings. Recording pupils every half- Ipad, iPhone, iPod Touch: £1.49 up. Up to three stars are awarded for the term is an excellent way of recording My Rhythm accuracy of each exercise. There are four and monitoring progress and also takes a different stages with 15 levels in each stage. encouraging pupils to critically evaluate approach to their work. developing rhythmic skills from many PCM Recorder other apps which http://tascam. focus on reading com/product/ skills. It addresses the fundamental pcmrecorder/ skill of being able to play in time and http://tascam. develop rhythmic co-ordination. There com/product/ are three different modes: study, creative pcmrecorder/ and challenge. Learners are shown a Ipad, iPhone, iPod Touch: Free grid with corresponding pink and blue

December 2014 25 Technology

Tone Analysis ForScore Tonal Energy Tuner http://forscore.co/ http://tonalenergy.com/products/te-tuner/ iPad: £6.99 iPad, iPhone, iPod Touch: £2.49 ForScore is a music reading app for There are many tuners on the market, iPad; however, it is much more than just a which function in the same way as a music reader, allowing the user to annotate standard tuner, but Total Energy Tuner music, create bookmarks, create set lists, offers many more features to help the user and organise music. In performance, it develop their tuning, tone and phrasing. can be used with a Bluetooth page turner There are three different screens, Tuner, allowing pages to be turned with a tap of Tone Generator, and Analysis. The tuner the foot. Most importantly, the display is extremely clear and screen is always popular with pupils as you get a green smiley manual page turns achieved by touching right side of the screen face when the note is in tune. Equal and Just temperaments are are virtually instantaneous. Music can be imported by a range supported. The analysis screen provides a waveform analyser, of means, including iTunes and email. This app incorporates you can use this with recordings or in real time to visually see many features that have been requested by users and is a the attack and decay on a note or how a whole phrase is shaped. pleasure to use. ForScore Mini for iPhone and iPod Touch is This is a valuable tool for letting performers see exactly how currently in development. they are shaping a phrase, using vibrato, and identifying uneven fingering or problems with articulation. Pupils respond well to visual representations of the way they play and it provides an extra level of feedback. This is a well thought out app useful for teachers, musicians of all standards, and child friendly.

Sheet Music Direct Sheet Music http://www.sheetmusicdirect.com/app Frequently mentioned benefits of technology are portability iPad Free and accessibility to resources. Pdf versions of music allow Sheet Music Direct is very similar to the teachers quick and easy access. Many orchestral parts and out Music Room Digital Music app. Both offer of copyright pieces are available online as pdf files. There are instant download of digital sheet music also online stores that allow purchase and instant download of (one printout can be made from your on-line account). You can digital sheet music. also add your own pdf files. The music player is adequate and

26 bfs.org.uk Technology

as you would expect sounds mechanical. Where the app scores highly is the ability to transpose, change tempo and change the BOOK REVIEW instrumentation. If you have a student who wants to play more popular music this app could be very useful. Musical iPad: Creating, Performing and Learning Teacher Records Music on Your iPad iDoceo Teacher’s Assistant Thomas Rudolph and Vincent Leonard http://www.idoceo.net/index.php/en/ Hal Leonard Quick Pro Guide iPad: £5.49 iDoceo is advertised as a teacher’s Musical iPad is a resource assistant. It combines a grade book, for people using the iPad in planner, diary, schedule and resources. music education and for making You can import data from spreadsheets music. It is intended to be a and email records. It is very easy to keep comprehensive approach to the a quick record of each lesson, or if you use apps that support learning and written notebooks, just take a photo of the making music on Apple’s iPad. page at the end of the lesson or record a spoken note. For each The book is clearly laid out class/group you set up there is a virtual pin board to which you with good quality explanations can attach notes or import documents from Google Drive or that do not assume prior Dropbox. No internet connection is required. A drawback is knowledge. It is accompanied that you can’t use it on different devices or on-line, but a very by a DVD of video tutorials useful tool and customer support is excellent. and a companion website. QR codes are printed in the book, Social Learning allowing the reader to go directly to the relevant tutorial using Edmodo a smartphone or iPad. An eBook version is also available. With https://www.edmodo.com/ any type of technology, written text can quickly become out iPad, iPhone, iPod Touch: Free of date and though published in 2014 there is no mention of Android: Free the latest Apple operating system (iOS8) or the iPad Air 1 or Edmodo is promoted as an iPad Air 2. The authors of the book however, are well aware of environment providing, ‘a free and safe the limitations and focus on established ways of making and way for students and teachers to connect learning music on the iPad that are applicable for the novice and collaborate’. Although an American and experienced user. company, a number of UK schools are The book is an effective shortcut to finding out relevant using it to supplement or replace an apps and ways of using the iPad to make music. The authors existing Virtual Learning Environment. are correct in identifying that there are many apps and finding Pupils create their own account and the teacher provides a code the correct one can be time consuming and expensive. The to allow them to join a particular group. Information can also book covers getting started with your iPad; music listening and be shared with parents. It has many similarities to Facebook in basic tools; live performance; reading music, chords and lyrics; its appearance with a centre column for the latest posts. Small recording; composing and song writing with notation; learning groups can be created as a private area for each pupil or group music; and music education. One particularly useful area is how of pupils for posting information. It is easy to set up quizzes or to use the iPad in connection with MIDI interfaces and audio set assignments. To share a video from YouTube, simply click devices as there is little supporting documentation from Apple. on the paper clip icon in the new note box and add the URL. There are many useful resources identified in this Edmodo can be an effective way of encouraging collaborative book, which goes beyond apps and includes books and blogs work and allowing pupils to learn from each other. For about education and teaching music with technology. There is example pupils can keep online listening diaries with links to even a reference to resources for using Xcode and creating your performances and share with their peers. This app requires own apps. If you want an in depth explanation of how to use a internet access to work. particular app then you would be better going to the developer’s Technology will not change fundamental teaching skills, website, but for an overview of the potential uses of the iPad but it does have the potential to be one of many useful tools this is an excellent choice. A thoroughly enjoyable book, though that we use in our practice. The second part of this article will be warned you may find yourself buying even more apps and include apps for aural tests, reading notation, first lessons, and books for your iPad. music creation. KAREN GOURLAY

December 2014 27

Serious fun for flute students – of all ages by Annemieke de Bruijn

he trade stands at the BFS Convention are always a placed on an extension piece in front of the embouchure. great place to discover the latest innovations in flute Students can ‘play’ exercises or pieces with the device in place playing, but most of them are aimed, understandably, while the teacher checks the flexibility, direction, and speed of Tat the established player. This year, however, I was there with the air column. In group teaching situations, the Pneumo Pro something a little different: my stand for Flutemotion displayed can also be particularly useful, allowing for silent practice while a whole collection of items that at first glance looked as if a toy other students play. The device is also excellent for advanced shop had landed at the wrong exhibition. The stand attracted students and players, helping refine tone production, intonation a lot of interest from British teachers and players. So what are (especially with regard to dynamics), focused double and these toys and gadgets and how can they help teachers and triple tonguing, flexibility between registers, and for advanced students improve their playing? techniques such as multi-phonics. Flutemotion, well established for many years in Europe, but An introduction to the Pneumo Pro is available on YouTube currently only a small presence in the UK, provides a range (search: pneumo pro) and a link to a detailed pdf on the use of educational and playful breathing gadgets to improve the of the device, including flexibility exercises, is available in the continuity and strength of the airstream. In this article, I would members’ area on the BFS website. like to introduce you to some of these items, which I hope will capture the imagination and a spirit of fun, at the same time as introducing serious ideas about improving flute technique.

Annette with her toys and gadgets at the BFS Convention Practising with the Pneumo Pro Pneumo Pro Flutemotion’s range of educational and playful gadgets Perhaps the best known of the flute support tools on the focuses on exhalation and inhalation toys. These are illustrated market is the award-winning Pneumo Pro. The patented and explained below: Pneumo Pro, developed by Kathy Blocki, has helped thousands of flute players quickly master a beautiful flute tone. The device Exhalation facilitates the correct and consistent placement of the air Magic ball column, taking the mystery out of tone production by giving To develop a regular expiration and feel visual evidence of success. The Pneumo Pro is inserted into the abdominal breath support. Blow through the body of the flute, in place of the headjoint, and the student the pipe to make the ball hover above the can observe how the airstream affects the motion of little fans basket.

28 bfs.org.uk Gadgets

Helicopter Breath builder The Flute Tutor To develop a The breath This device has been recently powerful exhalation. builder is a device developed by Kathy Blocki, inventor Blow through the which allows you of the Pneumo Pro to correct habitual pipe to make the to feel the sensation poor positioning of the instrument helicopter soar as high as possible. This of inhaling and and ensure that students use the same requires a strong breath, like a sforzato. exhaling, particularly position every time they pick up the the moment of alternation in between. flute. The flute is held in place against the Wooden pipe and This is a real lung trainer. It increases shoulder by a shaped plastic extension ball breath capacity, improves tone, and which prevents rolling whilst allowing An exercise in provides three different resistance flexibility. blowing gently, as if exercises. for a mezzo piano. Experiment with blower more and less, Other fun gadgets to create a crescendo or diminuendo. Blow the pipe gently and the foam ball Lips will rise in the air. To train a connected in-and- Coke bottle out breath. Place in For lengthening the mouth, breathe the expiratory flow in and out to create a rate (tip: can also constant siren sound. be used for circular breathing). Blow the Breathing candies small pipe in order to make the thread Take the sweet wave in the air for as long as possible. between the lips, All of Flutemotion’s toys and gadgets breathe in, then can be viewed and ordered through Dolphin exhale to create a their website www.flutemotion.nl. To develop whistle sound. After a few breathes, a powerful and the sweet dissolves and the student is continuous rewarded with a treat. expiratory flow rate. Blow the tail of the Breath support dolphin so that the ball moves above his straw head. The straw allows the student to feel Crocodile eyes the air resistance To improve and engage the abdominal muscles the use of the to provide air support. The straw is expiration muscles included with the Pneumo Pro. and breathing co- Flutemotion: ordination. Blow Teaching tools through the pipe to Flutemotion also sells a number  Pneumo Pro, the Wind Director make both the crocodile eyes go up. of interesting and useful teaching/ for a beautiful flute tone; technique correction tools. essential for your flute! Inhalation  Original, educational, breathing Flute finger and supportive material for flute Trio ball trainer position corrector teaching. As you inhale This is a plastic Surprise your sound

the balls rise in the ‘roof’ which fits just Annemieke de Bruijn columns. A gauge lets above the right hand www.flutemotion.nl you read the amount fingers, so as to prevent them being [email protected] of air inhaled (600, 900, or 1200 cc). raised too high. This develops a better hand position over the keys.

December 2014 29 The left-handed flute as a tool for teaching and learning by Petra Music here has been a lot of interest in the potential of left- side. Quantz, for instance, recommended a split-double key handed flutes since the first Boehm flute model was instrument for players who preferred to hold their flutes to launched by a German manufacturer at the 2011 music the left. Michel Blavet, the first flautist to play at the Concerts Tfair in Frankfurt. Following initial trials, an active discussion Spirituels (1726) in Paris, was one of the most famous examples developed regarding the uses, benefits and consequences for of a left-handed flute player, and in paintings and illustrations flute playing and teaching. During my early experimentation from that period, we can observe a number of flautists playing with the left-handed instrument, I was astonished at how difficult to the left while others hold their flute to the right. The painting even simple melodies were to play. Although my knowledge and by André Bouys from around 1710 shows three flautists of the flute skills were there, it seemed impossible to apply them. As a royal court in France; one at the back, playing to the right, result, I began to contemplate how my flute pedagogy students and two to his left with their instruments held in a manner in Austria at the Mozarteum Salzburg/Innsbruck would react to suggesting they would both play left-handed. this experience, and this consideration consequently led to my experimentation with the use of this instrument in my classes. I A Journey Back in Time to your First Flute Lesson have come to realize there are some very great benefits to using The left-handed flute returns you, the professional flute the left-handed flute in pedagogical development. player, to the experience of your first flute lesson. This alone can be a very valuable experience for any flute teacher. We A Short History of Left-Handed Flute Playing think we know how to play, but now, everything is performed as if it were a mirror image. After the first few notes we realize that everything has to be adjusted. It is not just a question of moving the opposite finger. First, we have to check our posture. Of course, as experienced flute players we remain creatures of our flute habits. Our bodies become used to the asymmetrical position, to the extent that muscles on one side become more developed than those on the opposite side. Some of us don’t even complain about the strain we experience because of this. We are just so used to using our bodies in a certain way that it happens with ease. However, by swapping to the opposite side on the left- handed flute, everything changes. The less trained muscles on the opposite side will give in fairly soon, we will feel our bad posture choices immediately and effectively on this side. On the regular flute, for example, our students might fail to feel the relaxation of the muscles under the right shoulder when they turn the upper body to the left for the correct playing position; if they were to do it to the right side on the left handed flute, on The existence of left-handed flutes is not a novelty in the the other hand, it is likely they will. flute world. Throughout the history of our instrument there At the start, it is very helpful for the student to work with have been occasional musicians who have played the flute a partner. When first trying to play the left-handed flute, it can held toward the left side of the body. Before Theobald Boehm be easier to copy the finger movements of a second performer invented the modern flute in 1847 it was – with just a few on a regular instrument (in this way, students also can practice adjustments – possible to play the flute towards either side. In a realistic teaching situation with their peers at the same time). the Renaissance period, flautists would choose their preferred For flute students on their first steps towards becoming flute side and in the Baroque period, even after the addition of the teachers, this will be an experience to remember. Too often, first keys, it was still not uncommon to play towards the left during a long day of teaching beginners, we may forget how

30 bfs.org.uk Left-handed flutes

Finding Balance and the Ideal Alignment of Head-Joint and Flute Body Teaching students to find perfect balance on the flute has been frequently discussed. There are still many different opinions on this topic and I can only imagine that different traditions of flute and headjoint manufacturing have influenced this. In various flute publications, students are advised to balance the instrument between (at least) three points: the chin, the fulcrum of the left index finger and the right thumb. Some methods suggest also adding either one or both of the left thumb and right hand little finger to Working with a partner little finger is up in the air, struggling to stabilize the instrument further – yet lifelong training has affected our ability. even find its key and possibly not even these are both fingers that play a vital We know how easy certain fingerings straight but strangely bent to the outside. role in most fingerings. are, when done right, but sometimes we While struggling to play on the left- The alignment of headjoint and forget how hard it was before we got it handed flute, even simple tasks seem flute body also seems to be the world’s right for the first time. Consequently, difficult. Take, for example, the position best kept secret, at least when it comes we move forward, carefully teaching of the left hand. The photographs below to teaching children. Of course, flute the correct embouchure first, then show a flute pedagogy student a few days professionals everywhere have found adding articulation and slowly moving after she played her final recital of Bach, their personal ideal alignment, but too to cover the whole flute scale, showing Mozart and Poulenc. Here, she is trying rarely are young students advised on how to balance the instrument, teaching to find balance on the left-handed flute. this alignment or have their position the fingerings in our preferred method In the first and second picture she is adjusted later, when they grow taller of order, correcting posture and hand trying to avoid touching the mechanism or change instruments. Too often, flute position, making sure the breathing is rods on the instrument. In flute teachers still consider the alignment relaxed. However, sometimes we might pedagogy, the custom of telling seven- markings provided by manufacturers not be patient enough. Through the year-old flute students with their tiny indisputable. Unfortunately, most of experience of holding the instrument hands not to touch the mechanism rods these markings align the embouchure to the left, it is possible for any flute merely seems like a condescending joke hole with its inside corner to the center player to remember and appreciate how after this experience and the doors to of the keys, creating a problematic difficult the fingering change from C2 new teaching approaches subsequently weight addition to the inside of the flute to D2 really is. So many fingers need have to be opened. In the third picture, by the mechanism rods, thus making to move, the flute rolls in, the left hand the student is trying to gain better balance impossible. Well-trained flute- grips the mechanism, and the left hand balance on the left-handed flute. habits can no longer rescue a badly balanced instrument when it is played Below: a flute pedagogy student trying to adjust her hand positions on the left-handed flute.

December 2014 31 Left-handed flutes

to the opposite side. Not even the most 2. Stand up and adjust your posture. 8. Try to improvise simple melodies flexible embouchure can make up for Do you feel tension under the right on the flute and enjoy the work of difficult fingering combinations and shoulder? Does this change, if you put unpractised muscle groups. Pay the resulting movements of the flute on your right foot forwards and turn your attention to the embouchure and explore the chin. As a result, the left-hand flute upper body slightly to the right? How different dynamic levels and different student is forced to find their own ideal much is comfortable for you? Feel the colors of sound. Are the movements of headjoint position. Once this experience balance of the flute in your hands. Try your lips similar/different to what you has been made, the students can apply playing an F major Scale. What happens are used to? it to both their teaching approach and when you go from the second octave C 9. Explore your way into playing the their own practice sessions. to the second octave D? flute ‘backwards’. Make sure to rest whenever you feel a strain on the body. A Possible Cure for Difficult Try to reduce the strain by adjusting the Passages or a Bad Sound Day technique you are applying and analyze Patricia George, in her article ‘The your posture/hand position. Left-Handed-Flute’ (Flute Talk, July/ 10. Try playing well-known melodies August 2012), recommended practising and, if it seems easy enough for you, difficult passages on a rod held to the even difficult passages on this flute. Just left. Sometimes, with the extra brain have fun with it and let it teach you. activity involved in this method, issues with tricky fingering passages can be resolved magically. Playing to the left side can also be refreshing for 3. Experiment with the alignment of tired embouchure muscles; the slight the headjoint. Align the centre of the difference in direction and angle of the embouchure hole with the centre of the air stream relaxes the muscles on the keys; check the sound and the balance opposite side and subsequently there in your hands. Then, move it slightly is a good chance of the sound opening further towards the mechanism until up once one switches back to play the the outside edge of the embouchure regular flute. hole is in line with the center of the keys (Rockstro position). See, what difference this makes to the balance of Practical Exercises for Flute the instrument and the sound, then find Pedagogy Students on the Left- your own ideal position. Handed Flute 4. Examine your left hand. Is it touching 1. Pick up the flute. Feel how the the mechanism rods? How can you move instrument balances in your hands. the hand up to free the mechanism? Find the ideal point on your right hand. Can you reach the trill keys? Adjust the Find the ideal point to balance the footjoint position. Is the Left-Handed Flute a instrument on the fulcrum of your right 5. Try to play an A major scale. What Better Option for the Left- index finger. Add the left thumb and the happens to your right hand little finger Handed Flutist? fingers of the right hand. Play G1 and and your right thumb? Is the thumb Until recently, our education explore the balance of your instrument gripping the key? Try to release that systems have forced many students between your chin, the right index tension. into succumbing to a general right- finger and the left thumb. 6. Feel your left hand. Play chromatic handedness, creating a whole list of runs from G1 to G2. How does it feel? difficulties for those for whom such a Can you relax the fingers and reduce the requirement is distinctly unnatural. This height of the finger movement without process has been perceived as potentially touching the mechanism? traumatizing and life altering. Now 7. Find the perfect position for your left that acceptance of left-handedness as shoulder. How are the shoulder and the a natural state is accepted, researchers surrounding muscles affected when you have investigated further and a few move towards the front/back? What is publications have been produced which the most comfortable position and how aim to address the difficulties left- does it look in the mirror? handed musicians encounter. Now, with

32 bfs.org.uk Left-handed flutes

the introduction of the left-handed flute, the flute world can Training can raise the overall speed but both hands will never also react to this topic and formulate a response. be able to operate at the same level. This result is particularly While for many instrument groups such as percussion, interesting, because in flute playing, not only does the left hand accordion, string instruments or guitar (Jimi Hendrix was perform the more complicated fingerings, but it is also mainly famous for playing his guitar to his right-hand side), there are responsible for maintaining the perfect balance of the flute on clear advantages to handedness because each hand performs a the fulcrum formed by the left index finger, a fact which would different action, there are instrument groups appearing to be certainly suit the left-handed player. less affected by handedness (e.g. some brass instruments which Yet handedness is not the only physiological difference can be played single-handedly). between humans. There are interesting studies, valuable for Is there really a realistic need for a left-handed flute? musicians, not only displaying an inter-dominance between Some recorder manufacturers make instruments for left- ears and eyes, but especially a general dominance of one side of handed players, however these are intended for beginners. the body over the other. In asymmetrical sports, such as surfing The reasoning behind this is that, especially with recorders, or snowboarding, there is a greater interest in determining the more complicated actions are indeed performed by the the correct equipment for all participants, and determining left hand. The left thumb must repeatedly open, half open and ‘bodysidedness’ is a crucial factor in learning these sports. close the thumb hole and, particularly in the higher registers, On the snowboard, for example, you are a ‘regular foot’ if you this is a difficult task. Thus, the setup on the recorder provides present yourself left foot forward, a position somewhat related an advantage for left-handed players, suggesting that it would to playing the flute. Given these various inter-dominances, it make more sense for right-handed players to make use of these may be that a left-handed person may not necessarily have a left-handed beginner’s recorders. When we translate this idea dominance of the left side of the body, so the preferred side of to the flute we can see a similar picture: the flute is held to the flute playing might not even be related to handedness. right side, but the left hand is significantly more involved in The creator of the left-handed flute, Christina Xu, has stated difficult fingerings, especially in the high register. Studies on how interesting it was to see the difference in the way people handedness show that the dominant hand can repeat motor approached the instrument. For some it happens naturally, patterns approximately 10% faster than the weaker hand. with an immediate ability to produce sound and play simple

December 2014 33 Left-handed flutes

tunes, while others struggle to balance the instrument and only teachers, developing their patience and their understanding begin to produce a few notes after some initial practice. She of our instrument’s inner nature, with a view to promoting relates this to the flautist’s personal preference of playing to a different and creative approaches in teaching. particular side.

“Can You Not Sometimes Just Play The Other Way?” Many flutists out there have heard this sentence or something along those lines before, perhaps from their doctor, masseur, or physiotherapist. Medical specialists welcome the left-handed flute, not particularly for its value as an instrument for left handed flute players, but as a means for flautists to find some relief from the asymmetrical position. In other instrument groups it has become more and more common to explore this option; however, for flautists, it is inevitably going to be more difficult, because thoroughly practised finger movements have to be mirrored, and switching the hands over will be difficult. Only a few months after the launch of the left-handed flute, the young Swiss flute player Jan Grimm showed in his B.A. research project that it is certainly possible to interchange the Dr. Petra Music teaches flute and flute pedagogy at the two directions of playing after thorough preparation. Mozarteum Salzburg, Austria. She has Master’s degrees Having this new opportunity to explore the left–handed flute in flute performance and pedagogy from KUG Graz in both our flute practice and flute teaching is simply priceless, and a D.M.A. from the University of Illinois where she especially when it comes to training the new generation of flute studied with Jonathan Keeble.

2nd Cumbria Flute Day Sunday 22nd February 2015 from 10 am Town Hall, Kendal LA 9 4DL

Fancy a Fantastically Fluting February Half Term Flute Day?

Flutes & Co with Wissam Boustany, Gareth McLearnon and Abbie Burrows are holding a Flute Day for flute players of all ages and abilities from beginners upwards.

The day will consist of lots of flute related activities: tone and extended techniques workshops with Gareth, inspirational performance masterclasses by Wissam, a dedicated “Junior Department” for younger flute players with Abbie. All this alongside flute choir playing, a fully stocked trade stand bursting with flutey goodies from Jonathan Myall, repairs and maintenance from Arthur Haswell, and culminating in a public concert. Players £15 Concert only £7.50 Application forms and more details from: [email protected] Suzanne 07545 151183

34 bfs.org.uk Trio Rigoletto Rivera: the tale of a dancing horse, for two flutes and piano by Katrina Penman t the BFS Convention in August, the Spanish ensemble Pablo Toribio Gil (1974-) is a musicologist and composer Trio Rigoletto gave the UK premier of an evocative from the town of Medina de Rioseco in the province of piece for two flutes and piano which captured the Valladolid. He received his Doctorate in the History and Aimagination of all who heard it. Science of Music from the University of Salamanca. A pianist The composition, Rivera, was composed in 2014 by Pablo and singer from a musical family, he has written a great number Toribio Gil especially for Trio Rigoletto, and is the first piece in of both sacred and secular chamber works, as well as editing a musical triptych for two flutes and piano called La Princesa articles on music of the eighteenth century. His works for de la Media Luna (The Princess of the Crescent Moon). The title larger formations include the piece of sacred musical theatre of the triptych refers to the legend of a Moorish princess in Ecce Homo (2012) for military bands, soloists and actors, based medieval Spain, and the work is made up of three pieces, Luna on the music of the traditional Holy Week processions in his sobre los Montes Torozos (Moon over the Torozos mountains), hometown, which are renowned all over Spain as part of the Danza medieval (Medieval Dance), and Rivera. country’s cultural heritage. Inspired by traditional Spanish dance music, this piece is Rivera was premiered by Trio Rigoletto in July 2014 and named after a dancing mare called Rivera. In the triptych, the subsequently recorded, as well as being performed at the British mare belongs to the princess, but in real life, the dancing mare Flute Society Convention in August. The official recording is in question belongs to a friend of the composer, and this horse now available on the CD Trio Rigoletto, and an extract of this performed to Pablo Toribio Gil’s composition in August, using lively music is printed overleaf for you to try.The complete score a recording made by Trio Rigoletto. That first performance and parts to Rivera can be downloaded free at www.facebook. featured an added percussion part in the form of coconut com/triorigoletto. shells, representing the movements of the horse’s hooves, and took place at the Royal School of Equestrian Art in Jerez de la Frontera (Andalucía), home of the traditional equestrian ballet art form. The piece clearly evokes this dancing horse to great effect. In the Allegro section, for example, a characteristic dance theme appears in which, during the dance performance, the horse places her front hooves on a podium and steps percussively in time to the music. This theme is exploited again in the final Presto section, as the music gallops its way to the end. The composer, Pablo Toribio Gil explains the structure of the piece: ‘Rivera begins with a delicate opening melody (Adagio quasi andante), with an emotive character based on harmonic echoes of the past, namely the bass line of the ancient musical framework known as La Folía. The following Moderato section increases in vivacity, and is once again built on an ancient Spanish harmonic structure, the Andalusian Cadence. Over the harmonic ostinato based on this cadence, zigzagging passages for each instrument appear. The subsequent Allegro section consists of an energetic dance in ternary rhythm, followed by the Moderato espressivo subsection made up of Arabic melodies to evoke the title of the triptych, The Princess of the Crescent Moon. The piece ends with recapitulations of the opening themes in an energetic and resolute finale.’

December 2014 35 Flute 1 Rivera PABLO TORIBIO GIL

Adagio quasi Andante ( ) q.=63 9 . 6 œ œ ˙. ˙. ˙. œ œ œ œ œ œ 4 &8 ˙. œJ. œ. œ œ J J Œ. 4 Moderato P {m q = c 100} 18 œ œ œ œ œ œ œ œ Ÿ~~ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &44 œ# œ œ œ œ F 21 Ÿ~~~~ - œ# œ Ÿ~~~~~ -Ÿ~~~~ Ÿ~~~~~ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙# & œ Œ3 P 26 œ œ œ œ œ œ œ œ Ÿ~~~~~~~ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 2 & F Frullato poco rallº 30 > œ 33 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > Ÿ~~~~~~~~ œ œ œ œ œ œ œ œ œœœ œ œ ˙. œ œœœ & 3333 3 3 3 3 œ œ œœœœœœ 3 33 œ. F Allegro P 33 rK {m q = c 144} > >œ œ ^ - œ ˙ # # œ 7 > - œ- . >œ # 3 J ‰Œ Œ ˙. œ œ œ œ œ ˙ œ œb ˙. & 4 3 œn - - ç cresc. F 47 - cantabile # # > > > > > > # Œ œb Œ œn œ Œ œ œn Œ œb œ Œ œ Œ œn œœœœœ œ ˙n & œn ˙-. ˙. œ 33 dim.- p f 56 >. œ- œ- œ. >œœœ - - # > > ˙ œ ˙ œ œb œn - ˙-. œb œn - ## Œ œ œn œb œ œ œ Œ œ Œ & œ cresc. 3 subito 33 F p 64 >œn œ >œ œ > # ˙-. œn >œb œ œ > ## œn œ œ œ œ œ >œ ˙n >œ œn œ œ & Œ Œ Œ Œ Œ 33 Œ œb œ marcato cresc. 33 f Espress. calmato e legato Í 72 ten. U œ {q = c 100}œ . >œ. œ œ œb œ œ œ. >œ. œ œb ### >œ n## 6 œ œ œn œb œ œa . œ. 36& bfs.org.uk œ 8 cresc. F p ©PabloToribio Gil Flute 1 Rivera 2 PABLO TORIBIO GIL 78 Ÿ~~~~~ - > > - > œb œn - - œ. Adagio quasi Andante ( ) ## œb œ œ. œ œ œ œn œ. œ. ˙. œ œ œb . œ œ œ œ. œ œ. œ. q.=63 & ‰ Œ. ‰ J ‰ J ‰‰ dim. cresc. 9 ˙. œ. P F 6 œ œ ˙. ˙. œ. œ œ œ œ œ œ œ Œ. 4 &8 ˙. œJ. J J 4 86 œ œ. . >œ. œ œ œ œ œ œ œb œ œ œ. >œ. Moderato P ˘œ œ œ Ÿ~~~~~~ œ {m q = c 100} ## . œ œ œ œ ˙. n# 18 & ‰Œ œ œ 33 œ œ œ cresc. œ œ œ œ œ œ œ œ œ œ œ œ œ Ÿ~~ œ cresc. molto 4 œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ Adagio quasi Andante ( ) &4 92 P œ œb . > q.=63œ œ œ F œ œb œb œ œN . œ. œb œ œ œ œ œ ˙. > 10 œ # œn œ. . n . 21 & ‰ Œ Œ ‰ Piu mosso Ÿ~~~~œ# Ÿ~~~~ œ œ œ ˙- œ Ÿ~~~~~ ˙- Ÿ~~~~~ œ œ œ œ ˙# p œ œ œ œ œ œ œ ˙ ˙ ˙ Œ Presto & 3 108 U {m q= 189} œ œ œ œ œ œ œ œ œ >œ œ Ÿ~~~~ Ÿ~~~~ P œ œ œ œ œ >˙.Ÿ~~~~ œb ¨ œn ¨ œ¨ >˙. œb ¨ œn ¨ œ¨ ˘˙. J J ### 3 26 & 4 œ œ œ œ œ œ œ œ Ÿ~~~~~~~ cresc. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 2 ç ƒƒ > > œ & 116 r > œ œ œ F > œ >œ œ > œ ^ # r > > > œb œ œ Frullato poco rallº # œ œ œ 30 33 # œb ŒŒ > œ &PUB PANAffrettando 1/2012:PUB PAN 16-02-2012 0:32 Pagina 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > Ÿ~~~~~~~~ œ œ œ œ œ œ œ œ œœœ œ œ ˙. œ œœœ Ï & 3333 3 3 3 3 œ œ œœœœœœ 3 33 œ. F Allegro P 33 rK {m q = c 144} >˙ >œ œ œ^ 7 - œ # # > - œ- . >œ Sigfrid Karg-Elert # 3 J ‰Œ Œ ˙. œ œ œ œ œ ˙ œ œb ˙. & 4 3 œn - - 30 Caprices op.107 for solo flute ç cresc. (edited by Rien de Reede) Sigfrid Karg-Elert 47 F - cantabile Sonata Appassionata op.140 for solo flute # # > > > > > > (edited by Rien de Reede) # Œ œb Œ œn œ Œ œ œn Œ œb œ Œ œ Œ œn œœœœœ œ ˙n & œn ˙. ˙. œ 33 Carl Frühling dim.- - p Fantasie op.55 for flute and piano f (edited by Emily Beynon) 56 - > - œ . >œ - - Nardini Dôthel Giordani Mancinelli # ˙. œ œ œ œ œ ˙ œ œb œn - ˙-. œb œn - ## >œ œn œ œ >œ NEW 4 duetti italiani for two flutes Œ œb œ Œ œ 3 Œ (edited by Rien de Reede) & 33 cresc. subito F p Viotti Gianella Mercadante 3 duetti italiani for two flutes 64 > - œn œ >œ œn > œ >œ (edited by Rien de Reede) # # ˙. œb œ >œn œ > > Gaetano Donizetti # œ œ œ œ œ ˙n œ œn œ œ Felix Mendelssohn-Bartholdy & Œ Œ Œ Œ Œ 33 Œ œb œ Sonata for flute and piano marcato cresc. 33 Songs without words (edited by Rien de Reede) (arranged by Benoît Fromanger) f Espress. calmato e legato Í 72 ten. U œ {q = c 100}œ . >œ. œ œ œb œ œ œ. >œ. œ œb www.riverberisonori.it tel/fax + 39 06 44 70 32 90 ### >œ n## 6 œ œ œn œb œ œa . œ. & œ 8 December 2014 37 cresc. F p ©PabloToribio Gil Finger dexterity (part II) by Niall O’Riordan eptember has always been a time when I gather my and over again but from different perspectives when starting on intentions for the coming year. It’s a time to reflect on my each different line. We are all the time working within the range playing and begin a new journey in my flute playing. The of a sixth. Ssummer season is often a time when the hard work of the year Sextuplet variation on EJ1 blossoms: we take exams; we go to conventions and flute courses When this feels comfortable you can explore the next and often give more recitals this time of year. The autumn and exercise which is based on the same principles this time winter months can be the time where we gather necessary working within the range of a seventh. After that, if you wish, ‘nutrients’ for good flute playing, one of which is improving our you can extend the range further again. F major is the easiest scales and finger technique. The autumn seems like clean slate key to begin with but the exercise should be played in all keys and I take full advantage of this. and explore different registers. For most people it is not possible In the December 2013 issue of PAN we explored methods to play this exercise in every key each day. I recommend that and strategies to cultivate a good finger technique which you have a set length of time to practise these exercises and focused on the Taffanel and Gaubert Exercises Journaliers EJ1 make a note of which keys you cover each day, going through and EJ2 and Trevor Wye’s variations on them. Taking our the cycle of fifths so that you can continue where you left off in journey towards virtuosity a little bit further I would now like the following practice session. to expand on these concepts. Points to Remember Quintuplets variation on EJ1 • Always play with your best tone One way of developing these exercises is by adding an extra • Keep your fingers close to the keys note. If you look at the last line of the following example you • Started at a speed that feels comfortable and eliminate will notice that this exercise is inspired by the Taffanel and unnecessary effort before increasing the speed Gaubert five-note pattern. It is not very often that we work in • Take regular rests quintuplets; it can be a challenge at first, but stick with it and • Be more interested in the process than a goal and be strive for evenness of touch on the keys, rhythm and tone. This open to surprises! exercise actually repeats the same movements of the fingers over Quintuplet variation

38 bfs.org.uk Finger dexterity

Sextuplet variation

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December 2014 39 Developing a new series of flute publications, Grade by Grade by Janet Way

n 2011 I was asked by James Eggleston, Head of Publishing at have consigned young oboists to a life of minor tonality! Boosey and Hawkes, if I would be interested in compiling a For the early books, Grade by Grade 1 and 2, there were new series of books for students of woodwind and trumpet. several pieces in the existing B&H woodwind books which IWoodwind I felt comfortable with ‒ trumpet less so! However, were the same for all the instruments – traditional tunes at the time the Publishing Coordinator was a trumpet player like Mama Paquita and Scarborough Fair, a Purcell Minuet, so I knew I could receive some guidance through any slightly and a twentieth century Karl Jenkins piece, Cantilena. Two unfamiliar ground. Although I had spent many years working enduringly successful B&H publications – Learn As You Play in a music service principally as a flute specialist, I had of course and First Repertoire Pieces – have been firm favourites for worked with all kinds of instrumentalists at many levels and more than 30 years and are still widely used. We tried to avoid felt that I had a pretty good knowledge of published music for including anything from these volumes to minimise duplication young learners. More importantly I knew which pieces were and on the assumption that good teachers would be using popular with pupils at different levels. them already. Many of the Learn As The project title was Grade by You Play and First Repertoire titles have Grade and the essence of the series been repackaged with a new look and was to provide a complete resource for brand new recordings – refreshed and developing instrumentalists up to and revised to form a key part of the B&H beyond grade 5. Each volume would draw educational series that now includes on repertoire from the B&H catalogue, Grade by Grade. selected to correspond to the standards For Grade by Grade 3-5 this cross and requirements for the grades of the referencing of the instruments was not major international exam boards. In a so easy, as it was increasingly necessary very competitive market it was essential to include music which exploited the to create a series which would set us characteristics of each instrument. apart from other publications, so we We have included, for example, some also included sections for improvisation, blues for saxophonists, and some sight reading, scales and aural awareness music from the French tradition for relating to the pieces on the page and flautists, but there are also plenty of which are consistent with the grade surprises too which I hope will help level. The books had to look attractive extend repertoire. For trumpeters, Phil and be designed in a clear, open and Lawrence has written pieces which I easy to read format; this has been very am sure will engage young players and successfully achieved. provide valuable teaching material. I worked on this project with Paul Hughes, Publishing Where pieces could not be found in the B&H catalogue in the Coordinator at B&H. He had spent many hours looking at particular style or key which I wanted, I looked for music in the examination syllabuses from the last 15 years, and had the public domain to balance the material and in the process created a detailed analysis of all previously used pieces. This discovered some forgotten gems. information, which covered key and time signatures, range, We felt very strongly that while it is important in any length of piece and provenance, helped us see at a glance the collection of pieces to have appealing and worthwhile music spread of musical knowledge which should be included at each to choose from, a ‘complete resource’ should be just that, level. We then used this information to compile a collection including all elements of a rounded musical education, with using B&H publications at the appropriate level. At one stage improvisation, aural awareness, musical knowledge, sight it appeared that I had chosen pieces for an oboe book almost reading and scale exercises, and in the later books, a theory exclusively in G minor. Without Paul’s Excel sheets we could work page. Each book at every grade contains sections between

40 bfs.org.uk Grade by Grade

the pieces which focus on these things. We hope that these because this is the teacher’s area of expertise. sections will give the learner and the teacher ideas for further As I mentioned at the beginning I am a flute specialist and development. A scale exercise in G major can be transposed so I am very grateful to my colleagues, Caroline Owen, clarinet for D, E or F majors; the arpeggio exercises can be developed and sax, Michael Edwards, trumpet and Amy Alcock, oboe, rhythmically and all articulation suggestions in these sections who looked at the books before publication and made helpful may be used in any exercise. The ideas for improvisation can suggestions. be used in any way that captures the imagination – that’s what The project became much bigger than I think any of us had improvisation is! imagined at the start, 25 books published in just a year, but I Aural awareness has a place too. We hope that ideas from did find it absorbing to work on and I learned a lot about music these sections will be applied to all the pieces. It’s so much more publishing, the intractability of notation software, and the meaningful to spot a cadence or modulation in the piece you difficulties of finding suitable pieces in the more remote keys! I are learning, or to clap an answering phrase to one you have just hope both pupils and teachers will enjoy the music in the books played, than to come to aural as a ‘bolt on’ exercise just before and will develop their own strategies to use the series effectively. an exam. Grade by Grade publications for piano and strings are in the The books contain up to 19 pieces for each of the early pipeline for 2015. grades and about 10-12 pieces in the later books. I have chosen music in a variety of styles and periods, both unaccompanied Janet Way is a tutor for the LRAM (Art of Teaching) and accompanied, together with duets and exercises. Each book woodwind course at the Royal Academy of Music. She comes with piano score and a CD which includes a complete was a Mentor for the ABRSM’s Professional Development performance, an accompaniment-only track and some aural Course and an ABRSM Diploma examiner. She is the awareness exercises. Every piece has a short introduction director of the Oxford Flute Summer School, which has placing the music in context, with suggestions to encourage a an international reputation for excellence. musical interpretation. Technical advice is kept to the minimum

Flute and Piano Publications

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December 2014 41 Trevor James

trevorjames.com Trevor James alto flute artist Sarpay Özçağatay - sarpayozcagatay.com - Özçağatay Sarpay artist flute alto James Trevor

42 bfs.org.uk

PAN ad - Trevor James December 2014.indd 1 10/11/2014 10:30 Trevor James A survey of new repertoire trevorjames.com for flute choir by Elisabeth Hobbs

he flute choir repertoire has leading to a very positive rehearsal and as a pleasure to play. This is a reflective grown in a very exciting way in performance outcome. work which would provide a quietly recent years, with a burgeoning For this review project, I rehearsed effective interlude in an upbeat concert Tnumber of small independent publishers two recent releases from Wonderful programme. taking advantage of digital publishing Winds: Saint-Saëns’ Carnival of the Edition Svitzer technology and the Internet to bring Animals for flute sextet (piccolo, flutes Henrik Svitzer, a leading their arrangements to an international 1-4, alto and bass) and Two Dances: Scandinavian flautist and Associate flute-playing audience. Imaginative, fun, Lachrimae, 1604 by John Dowland for Professor at the Royal Danish and exciting, and utilising the different flute quintet (three flutes, alto and bass). Conservatory of Music, is producing colours of the whole flute family, right The Carnival of the Animals cleverly some of the most beautifully presented down to the contrabass, this publishing captures the whole descriptive range and interesting new arrangements revolution is stimulating the growth of of this ever-popular work and throws around through his imprint Edition flute choirs and ensembles around the up plenty of challenges for a confident Svitzer. All Edition Svitzer pieces are country. group of players of an intermediate to printed and bound to the highest In recent months, I have been in a advanced standard. Tortoises and The standard and, from that point of view position to trial new releases from some Elephant offer a wonderful opportunity alone, are a pleasure to use. Of those of the leading arrangers and publishers for the low flutes to take centre stage I have recently rehearsed from the in the field with the enthusiastic help and perfectly convey the lumbering Svitzer catalogue, my ensembles have of participants on Flutes Inspired day melodies under the lightly articulated particularly enjoyed Kuhlau’s Sonata for and residential flute courses, and the harmonic accompanied. Pianists gives Ten Flutes – a work arranged by Asger Oxfordshire Adult Flute Ensemble. everyone a fantastic finger work-out, Lund Christiansen to mark the occasion with a brave foray into five sharps, and Wonderful Winds of the 200th anniversary of Kuhlau’s requires absolute precision from the Mel Orris’s Wonderful Winds birth. With so many lines, this gives a ensemble. The piccolo gets its turn to arrangements are already well- great opportunity for a larger ensemble shine in Fossils, playing the xylophone established favourites with my to play one-to-a-part, and the work is melody, and the musical joke quotations ensembles, and I am constantly very effectively arranged for piccolo, are shared throughout the parts. This

Trevor James alto flute artist Sarpay Özçağatay - sarpayozcagatay.com - Özçağatay Sarpay artist flute alto James Trevor impressed by Mel’s ever-growing six flutes, and two altos. As might be is a really enjoyable arrangement with catalogue of clever, musical and expected with Kuhlau, there is charming enough content to keep any flute choir humorous pieces for flute choir. Many melodic interest through out and plenty busy for a term, and great material for of the Wonderful Wind arrangements of dynamic and expressive challenges a concert. are available in several versions Dowland’s Two Dances, Pavane: Flow for the ensemble. This arrangement is tailored to different configurations My Tears and The King of Denmark’s suitable for players of intermediate to of flute ensemble, which make them Galliard, strike a markedly different advanced standard. particularly versatile. Mel’s music is very mood to the comical Carnival with Solitude sur la Montagne by the idiomatic and often incorporates quirky their flowing melodies and eloquent Norwegian romantic composer Ole instructions (‘itchy’ or ‘with a handsome renaissance polyphony. These relatively Bornemann Bull is an arrangement from swagger’) as well as an expressive use short dances are beautifully arranged the violin by Per Øien. Scored for solo of percussion, usually doubled in the and suited to an intermediate level flute accompanied by an ensemble of lower parts. I find the Wonderful Winds ensemble with players who are confident four flutes, two altos, and bass, this piece arrangements ideal for mixed ability in holding their line and sensitive to showcases the potential for a full flute ensembles, as many of the pieces are intonation and dynamics. The King of choir sound with gorgeous harmonies differentiated across a wide range from Denmark’s Galliard has a written out overlaid by an expressive solo line. easy beginner to advanced. Everyone repeat which is stylistically ornamented, Because of the slow-moving harmonic is included, and never patronised, making it a useful teaching tool as well line, the arrangement is relatively simple,

December 2014 43

PAN ad - Trevor James December 2014.indd 1 10/11/2014 10:30 Flute choir repertoire

and I found this to be an excellent choice opportunity for the low flutes to share phrasing, which makes it useful for a for working on developing intonation the melodic interest throughout. The developing ensemble. with my ensembles, while delivering a bass flute will particularly enjoy the Minuet des Follets from Berlioz’s highly satisfactory performance pay-off. opportunity to take the melodic bass Damnation of Faust is altogether more Henrik Svitzer’s own arrangement line in the Double. This arrangement challenging, requiring neat, competent of Frescobaldi’s Two Canzoni for makes significant musical demands on fingerwork and articulation, and good Double Choir (ten parts arranged in an ensemble, but is undoubtedly worth ensemble skills. Scored for piccolo/ two choirs of three flutes, alto and the effort. flute 1, piccolo/flute 2, flutes 3-5, alto, bass) is a beautiful piece of renaissance Rob Keeley’s Rainbow Measures is and optional bass, this arrangement is polyphony which works very effectively an original work for flute choir, written suitable for a more advanced ensemble for flute choir. The contrapuntal texture in 2012 for Ayre Flutes, and scored for and contains significant challenges, provides plenty of challenge, but the two piccolos, four flutes, and two altos. as well as providing a most enjoyable relatively simple melodic lines mean Inspired by the work of Sir Isaac Newton musical outcome. that the piece can be tackled by players into optics, Keeley imagined each player Trübcher Publishing of around grade 5 standard. This piece as a colour of the rainbow, and this Roz Trübger calls herself a ‘music would be spine-tingling for a concert in quality is beautifully expressed in the archeologist’ and specialises in the resonant acoustic of a church. musical line, as flashes of light dance researching and publishing lost and swiftly and fleetingly between the parts. Tetractys Publishing forgotten flute music. She also publishes Rainbow Measures will challenge any Tetractys arose from the ashes music for flute choirs and ensembles of ensemble with its demands for precision of Carla Rees’s appalling loss in the various sizes and configurations, and and clarity of tone and articulation, but London riots of 2011. After her entire this range includes some imaginative for an advanced group the work is a music library, including over 600 items, such as Widor’s Toccata from wonderful addition to the repertoire. original works – most unpublished – the Organ Symphony, arranged for four were destroyed in the flames, Carla was Station View Publishing piccolos (surprisingly effective), as well determined to ensure that in the future Station View Publishing is a small as new music. Roz Trübger’s writing all her commissions and arrangements independent publisher under the for flute ensemble is assured in the way were preserved in print. Tetractys direction of Kirsty Hetherington, it spaces the parts, resulting in reliably Publishing is the fruit of that intention, editor of the Trinity Guildhall graded successful arrangements. All Trübcher and since its launch it has published album series, Musical Moments. Station arrangements come with access to a a steady stream of compositions View has published a small number of play-along rehearsal track, which is very and arrangements for flute. Carla is high quality flute choir arrangements helpful for ensemble members in their renowned for her support of new music that are both pleasing and accessible. private practice, and they are available and for her expertise in low flutes, and The arrangements that I tried with in print and as pdf downloads. the catalogue reflects this bias. Flute one of my junior ensembles were all Spring Song (Frühlingslied) by ensembles hoping to sample Tetractys’s by Alastair (A.R.) Cunninghame, a Norwegian composer Halfdan Kjerulf offering will need a strong showing in retired peripatetic woodwind specialist. is a charming arrangement for three the alto and bass section, but those that Aimed at players of around grade 5 flutes, alto, and bass flute, transcribed can muster the necessary forces will be standard, and requiring a minimum of from an original work for piano. richly rewarded. six players, the publications are typically This delightful piece, with its flowing There are numerous arrangements of arrangements of popular classics and melodic lines, shares the interest among Vivaldi’s Four Seasons available for flute provide satisfying and mature concert all the parts and is an ideal concert item choir, but Carla Rees’s version of Winter material at this level. for intermediate players – sure to please for flute, three altos, and bass flute is Three Marches from Mozart’s Magic both performers and listeners. particularly effective. The darker colours Flute (flutes 1-4, alto) provides around An intriguing arrangement of of the low flutes provide an atmospheric six minutes of material, and is very Karg Elert’s Caprice no. 14, Moto undercurrent to the melodic line which comfortable tonally and rhythmically Perpetuo (originally for solo flute) with is shared between the flute and first alto. for a young or inexperienced ensemble. accompanying parts for flute 2, alto and This arrangement will be enjoyed by a Brahms’ Romanza op. 118 no. 5 (flutes bass composed by Roz Trübger, offers a technically confident ensemble which is 1-4 divisi, optional alto) is a more completely different level of challenge keen to sample something different. complex arrangement and effectively to an advanced ensemble. Precision Carla’s arrangement of Bach’s Suite evokes the rich Romantic harmonies of fingerwork and articulation are the in B minor, for two flutes, two altos, and the piano original. This work requires order of the day, but for an advanced bass, also gives the low flutes a workout, a confident approach to dynamics and level ensemble, this works well as a fun as Bach’s contrapuntal lines give the and lively showpiece.

44 bfs.org.uk Flute choir repertoire

Pipeblower Publishing arranger Rob Rainford’s works reflect competition, winning first prize this Pipeblower publishes a range of his expertise in low flutes, and many of year with Matt Johnston’s arrangement flute music for flute choir, all of which the Forton pieces have optional contra- of Humperdinck’s Overture to Hansel is either composed or arranged by Zoë and even subcontrabass parts. and Gretel. All Alry’s publications are Booth, often for use on her own flute Rondo di Cairoli by Kieron Anderson beautifully edited and typeset, and courses. Zoë’s experience as a teacher (for piccolo, 2 flutes, flute 3/alto flute, come with a pdf download option means that her arranging is well attuned alto flute, bass flute and contrabass (at additional cost). Alry has recently to the needs of amateur performers and flute) was inspired by the clown Charlie entered into a collaboration with the provides careful differentiation in the Cairoli, and this piece is alive with the German flute ensemble Quintessenz, various parts, whilst still giving everyone fun of the fair. The flute choir sound is and currently stock five of Gudrun a chance to contribute meaningfully cleverly exploited to suggest a fairground Hinze’s arrangements for five part flute to the musical outcome. Many of the organ and the various thematic ideas are ensemble. arrangements have optional piccolo, announced by fanfare-like flourishes, Sir Roger de Coverley: a Christmas alto, bass, and B-flat clarinet parts, suggesting a parade of circus acts. Dance by Frank Bridge was originally making them a versatile for a range of This is a challenging piece, demanding written for string quartet and has been intermediate level ensembles. assured technique, brisk articulation, arranged by Gudrun Hinze for three Bohemian Rhapsody is an ever- and a competent command of odd time flutes (two doubling piccolo), alto and popular option for arrangers, and Zoë’s signatures from the players. It is best bass. This delightful piece skips through version remains close to the original, suited to an advanced ensemble, but numerous quotations of traditional with the well-known riffs spread once mastered makes a show-stopping English melodies and provides a between the parts. In her arrangement, concert piece. challenging workout for an advanced Flute 3 gets a chance to shine, taking Rob Rainford’s arrangemen of ensemble. on the famous guitar solo – a good Rutter’s ever-popular Suite Antique is Nun Danket Alle Gott by Pachelbel, opportunity to stretch a promising a notable new contribution to the flute arranged for antiphonal flute choirs player who might otherwise hide in the choir repertoire. The solo flute part (two choirs of three flutes, alto and bass) middle parts. is unchanged from the original, and by Kathy Farmer, is a choral masterpiece Allegro Burlesco by Kuhlau is the accompanying flute choir parts (4 and works beautifully for flutes. The arranged from a piano piece but works flutes, alto, bass, optional contr’alto two flute choirs sing and respond very well for flutes, with its cheerful and contrabass) are straightforward to each other in sinuous polyphony, character and chirpy appoggiaturas. and pleasing to play, whilst engaging coming together at the end to expound This piece tosses the melodic interest all performers in the work. The various the chorale in the musical climax. The from part to part and its running scale movements mean that there is an performance notes give useful advice passages call for some tidy fingerwork. opportunity to share the limelight on staging to make the most of the The Ash Groove takes the Welsh amongst a number of soloists, and antiphonal sound, and this, of course, is traditional song, The Ash Grove, and the arrangement works well as an another piece that would work well in a develops it through a number of jazzy introduction to this piece for developing church concert venue. turns and rhythmic variations into a players. Ladd McIntosh’s Calliope Capers lively rendition of the original. The ParaFLU by Vincent Sorrentino (piccolo, four flutes, two altos, bass) is rhythmic demands and numerous (piccolo, 3 flutes, alto, bass) is a a movement from his longer Suite for tempo changes in this arrangement challenging work full of complex Flute Ensemble, written for Katherine make it ideal for developing a group’s rhythms, time signature changes, and Borst Jones at Ohio State. This piece is responsiveness to the conductor. syncopations. The underlying block a light-hearted and lively evocation of chords move through a series of ostinati the calliope, an American fairground Forton Music while melodies swirl around them. steam-whistle organ, and requires Forton Music has one of the most This piece makes equal demands of all confident technique and good ensemble interesting and wide-ranging flute parts and suits a confident advanced skills. For an advanced ensemble, this choir catalogues around, and is active ensemble. work is great fun, and a perfect concert in bringing forward newly composed Alry Publications showpiece. music in the genre. In 2014 no fewer I have been privileged to work Alry is the only US-based publisher than five of their flute choir publications with many enthusiastic flute players in this survey, and its flute choir were awarded notice in the NFA Newly rehearsing and performing the music in catalogue, established over many years, Published Works competition, with this survey (and more besides). I hope is exceptionally strong. Like Forton, paraFLU by Vincent Sorrentino and you, too, will find new ideas here for Alry have made a notable showing in Andromeda by Kieron Anderson placed your own group to enjoy. among the finalists. Composer and the NFA Newly Commission Music

December 2014 45 Rudolf Tillmetz: student of Theobald Böhm by Roz Trübger

robably you are entirely familiar with the name Rudolf Critics Tillmetz – if you are a German flute player. If, however, complained that you are British, it’s far less likely that this influential flute these cylindrical Pplayer will be known to you. flutes were too As a young student in the late 60s, I listened to my teacher’s noisy and made careful explanation of the difference between French and unattractive, out- German embouchures, but (and I never thought about it at the of-tune, whistle-like time, although I suspect that my experience is typical of many) tones in the 3rd she never told me anything about the German players, only octave, but Tillmetz extolling the work of Moyse and other French players. remained a staunch Rudolf Tillmetz, one of the most important of the German supporter of them flute players was born in Munich in 1847. Tillmetz (not to be until he was forced confused with the painter of the same name) showed an early to give way in the aptitude for music, and this was encouraged by lessons with face of powerful the best: piano lessons with Franz Barraga, author of the book critical aversion. ‘Music is Knowledge’, and flute lessons with Theobald Boehm, He recalled that whose influence on Tillmetz was to be seminal. ‘For nearly twenty Under Boehm’s tutorship, Tillmetz made prodigious years I played the progress, making his debut as a flautist at the age of just eleven cylindrical flute in the Royal Hoforchester in Munich, strongly years old in 1858. In 1864, aged seventeen, he completed his defending it in the face of all opposition. However, during the studies and immediately won an apprentice position in the course of my 33 years as an orchestral player and soloist, I was prestigious Bavarian Royal Hoforchester, now known as the forced to admit through experience that the various objections Bavarian State orchestra. It was the same year, incidentally, that to the cylindrical flute were to a large extent justified.’ a horn player in the orchestra celebrated the birth of his new The particular ‘experience’ to which he referred occurred son, Richard Strauss. After three years, Tillmetz attained the in 1882 when Tillmetz, together with a large number of other Principal’s chair and continued in that position for most of his Hoforchester members were engaged to play for the premiere of career. Wagner’s opera ‘Parsifal’ in nearby Bayreuth. As is well known, He also taught at the Royal Bavarian Military Academy for the composer had a detailed regard for texture that required most the Cadet Corps, and subsequently at the Royal School of Music specific sounds from the instruments deployed in his scores, [Königlichen Musikschule]; ultimately becoming Professor of and these sounds did not include the timbre of the cylindrical Flute at the Academy of Music in Munich. His influence on flute. Wagner referred to them as ‘cannons’ or ‘Gewaltröhren’ students and players alike was so strong that he became known (literally ‘violence pipes’ ), believing that their ‘trumpet like’ as the founder of the Munich School of flute playing. His choice quality left too little opportunity for the player to explore tone of flute, in part attributable to Richard Wagner, was to have an colour. Wagner preferred the tone of the older, slimmer, sweeter especially significant impact. flutes and it was this conviction that finally convinced Tillmetz Tillmetz recalled, ‘For many years I played an old system to change to a ring-keyed flute. Tillmetz noted in his memoires flute but, on the advice of my great teacher, Theobald Boehm, of the Parsifal performance that ‘as a consequence of this and I swapped to his new make of flute.’ In fact according to the with advice from Hermann Levi, the Royal General Director of 1876-1879 accounts book, Tillmetz bought several cylinder Music, I decided to convert to the conically bored ring-keyed flutes from Boehm and Mendler: flute, a decision that I have never regretted’. Tillmetz chose a • September 18, 1876 – Cocus wood flute with C foot, gold flute made by J. M. Bürger in Strassburg, an instrument now on springs and octave key display in the Deutsches Museum, and wrote of it that ‘owing • Autumn of 1878 – Grenadilla flute with C foot, gold to the fact that the holes are stopped directly with the fingers, I springs, octave key, normal pitch found that I could master the techniques of the instrument with • 11 April 1879 – Cocus wood flute Nr. 2, with coil springs. the greatest ease and security, and without the unpleasant noise

46 bfs.org.uk Rudolf Tillmetz

produced by the keys. Trills sounded Tillmetz was also an enthusiastic more elegant. Staccato was produced teacher who recognised the ‘lack of a cleanly with the minimum of effort. But German Method for the Boehm flute and the thing that charmed me most was its felt compelled to write one’ although he mellow tone, its responsiveness and the notes rather wryly in the introduction to opportunities for colour throughout the it that Emil Prill apparently had also been range. Another thing I noticed was that engaged in writing one at the same time. the ring-keyed flute, as a consequence of In any case, the result of Tillmetz’ efforts the conical bore, made far less demands is an excellent, if somewhat lengthily on the breath, and that the mechanism titled ‘Method for learning to play the requires repairs much less often.’ Theobald Boehm cylindrically-bored Soon Tillmetz had convinced his and ring-keyed flute’ [op.30,1890]. It colleagues also to play on conical ring- clearly is based on his own experiences keyed flutes, starting a tradition in the as a player. As well as being a progressive Hoforchester that lasted well into the work book, it also gives many work- twentieth century. arounds, playing techniques and advice Tillmetz was an exceptional for fingerings such as for the famous flute player, especially famed for his rapid passage in Beethoven’s Eroica interpretations of Baroque and Classical symphony. Reading the book, I felt music. His cadenzas for the flute it easily could have been entitled ‘A concertos by Mozart are well known. He practical guide for the orchestral flute was also a fine pianist and established player’. It was interesting to note that a chamber music organisation together many of the studies start on or use low with his colleagues, the horn player, B which was available on open G sharp Franz Strauss, and oboist, Ernst instruments at that time. Especially Reichenbacher, which led to his interesting to me was to find the answer appointment as the Royal Bavarian to a question that I had posed a year Chamber Musician. He also was or so ago regarding a bar of apparent awarded the Royal Ludwig Medal for ‘double stopping’ for the flute player in Science and Art. Maria Stuart composed by R.S.Pratten. Tillmetz is a most interesting Tillmetz’s book demonstrates that the composer, and evidence of the influence lowest note would have been performed of modern Romantics like Wagner is as an acciaccatura before the upper note, noticeable in his work. In Es will das solving this mystery. Abend warden (Soon Night will Fall), we The technique for flutter tonguing can see this in the way that the opening is also described, with Tillmetz noting tonic chord of F sharp minor is followed that it ‘has only quite recently been immediately by chromatically falling employed by composers in orchestral thirds over a pedal F sharp, preparing works’. He emphasises the point that the way for an enharmonic slide into E rr~~~~~~~~~~ must not be interpreted flat minor before continuing along its as a trill but must instead be performed twilight route of 7th chords to reach a by rolling the tongue. There then follows bright patch of F sharp major at bar 9. a fairly difficult flutter tonguing study. This ray of sunshine lasts for only half a Tillmetz also composed many works bar before the tonic minor key returns for concert use, include a lovely piece and the music drifts on through the for flute, horn and piano and the op. gloaming with more chromatic steps. 50 Nocturne that he composed for the The music is well written for both flute flautist Leonardo de Lorenzo. Tillmetz and piano, and pianists can enjoy their in turn had a concerto written for him impassioned solo bars from 55 - 59. The by the gold medal winning flute player work was first published in 1906 and and composer Julius Manigold. is dedicated to the painter Hans Bertle Tillmetz died in Munich nearly 100 who provided the illustration for the years ago on 27 January 1915. front cover.

December 2014 47 The Flutewise summer picnic challenge

f, like me, you attended the BFS them, their families and friends, to be There are endless possibilities for convention in August, I am sure you audiences (if not performers) of the venues: school playing fields, parks, will agree that it was a fantastic event. future. woods, a local beauty spot, the beach. I II feel so privileged to have had so many The time I am suggesting is any am sure you can think of others. amazing flute-related experiences over time during July 2015. This should be a It is an excellent excuse to contact the years due to the BFS and Flutewise. popular and convenient time as schools other flute players and teachers in your I’ve worked alongside so many generous are coming to the end of term, exams area to come together for a lovely social and talented flute players and teachers, are finished and the weather should be event. Parents are likely to be happy and who have really inspired me. The BFS good. very willing to get involved, perhaps and Flutewise are extremely specialised and special organisations. They both offer a platform to flute players and stimulating experiences which enrich all of our lives. Where would we be without them? In recent years there has been a marked decline in the number of young people learning to play flute to a good level. This is something that concerns me for the future, especially if we don’t try and address the issue now. The performers, the presenters, the organisers are all extremely important people, but in my view the audience is equally important. If you think about it, without audiences performance itself would not exist. We need to encourage audiences to support all of our wonderful flute players (and other musicians). So here is my challenge to you to help to encourage flute playing and audience alike. How about organising a Flute and Fife Picnic? Yes, you! It’s an easy thing to do, it can be as simple or elaborate as you wish. It could be just you and a friend in your back garden playing duets and enjoying some food. Or you could aim for the biggest event in your area with special guest artists! From the smallest event to the largest, it would be wonderful to give people the opportunity to join in a fun, informal event and hopefully it will encourage

48 bfs.org.uk Flutewise

offering to organise the food as well as from and all have parts that are easy to you got up to. Hopefully we’ll have a be an audience. sight-read even for beginners. You need nice easy online form to complete in I would imagine most people will to be a member of Flutewise to access the New Year. I really hope you can get want to play first as sticky cake and sweet these files (see below). behind this idea and create a local event drinks are not very flute friendly. If you Of course you could choose more that people will really appreciate. I’d be are worried, or parents are worried, ambitious music especially if you have grateful if you could send me an email if about having expensive instruments at an established flute choir and want to you are planning to organise an event to an open-air picnic, you could always use use the event to showcase your players. [email protected]. fifes. Plastic fifes cost from around £6 You might even consider inviting a ‘guest LIZ GOODWIN each (try ‘myfife’ from Just Flutes) and if artist’ who could perform to everyone as you do use them you could encourage a well as joining in the mass pieces. If you would like to access the new generation to start playing, perhaps You could use your picnic to raise music on the Flutewise website you even including parents. funds for your favourite charity – and need to be a member. Flutewise So what will you play? If you are please remember Flutewise and the BFS is offering life membership for a planning just a mass playalong you will are registered charities. I don’t know if donation to our funds. See www. find many suitable ensemble pieces on you are aware but all of the day-to-day flutewise.com for details. our Flutewise website that are free to work for Flutewise is carried out on download and use. They are pieces that a voluntary basis, so every penny we have been tried and tested over the years receive is used to directly support young FLUTEWISE COURSES IN 2015 and are extremely satisfying to play flute players. Abbotsholme, Staffordshire 8 - 11 and are proven to work really well with There will be more information on April 2015. groups, small and as large as you can the Flutewise website with suggestions Purcell School, Hertfordshire 20-23 imagine. The ones that spring to mind as for music, activities and even some food August 2015. being very user-friendly are Brian Boru’s ideas. It would be great if you could let Kastel Luksic, near Split, Croatia, March, Canon of Peace, Greensleeves me know if you are planning a picnic 26-31 July 2015. (various versions), Summer is a coming and then report back afterwards about Contact [email protected] in … there are loads of them to choose how many people attended and what

December 2014 49 CONVENTION REVIEWS

Jean-Michel Tanguy and Sergio Pallottelli ornamentation which included key vibrato. Stephen told us that his imaginative programme choices were inspired by a desire with Tim Carey to perform pieces that may not usually be heard, especially ean-Michel Tanguy and Sergio Pallottelli shared a at a flute convention. He certainly achieved this, and I went Convention recital on Saturday of the event. They opened away determined to look up these pieces. Stephen performed Jwith the first movement of Bach’s Gamba Sonata in G minor from memory throughout which assisted him in conveying his BWV 1029 which was performed with great style, shape and musical message clearly to a very appreciative audience. His ensemble playing. tone was always beautiful, expressive and resonant. Jean-Michel continued his programme with a piece I was Viviana Guzman opened with a piece written for her by unfamiliar with, three movements from Suite, Op. 103a by Max Gary Schocker titled Viviana. This two movement work begins Reger, playing the Burleske, Minuette and Gigue. Originally with a movement titled Musk. With a beautiful singing tone, written for violin this composition was well-suited to the flute Viviana evoked a smoky sensual atmosphere, relishing the and showcased Tanguy’s vibrant tone, especially beautiful in the jazzy melodies and harmonies. Viviana has a wonderful stage Minuette in which his sound simply floated. The flute and piano presence, which is warm and inviting. She immediately drew us chased each other in canon in the Gigue, a piece which was into her world. The second movement titled Mascara followed. reminiscent of Bach. This was followed by Bach’s Trio sonata This was flirty, cheeky and fun, reminding us we don’t have to no. 4, BWV 525-530 – a perfect programme choice which was take ourselves too seriously, even at a flute convention! expressively performed in a noble and stylistic manner. Free Viviana’s own composition Seventh Veil concluded her and fluid technique, clear articulation and an expressive use of performance. From a table, Viviana took a belly dancing scarf colour were all qualities I thoroughly enjoyed this performance. and draped it around herself as she told us how overcoming Sergio Pallottelli opened with work that is not very often a personal challenge led to taking up belly dancing as part of performed, Jean Francaix’s Sonata. A late work, written in her recovery. Exotic scales, singing and playing, and flutter 1996, this piece was commissioned by the National Flute tonguing all built up to a hypnotic middle section, while the Association. Pallottelli’s warm tone and solid technique suited rustling coins of her hip scarf invited us to share the moment it well. I particularly enjoyed the floating flute melody and the where Viviana danced for us. Her performance reminded me witty cartoon-like accompanying piano figures in the opening how powerful telling your own story through music can be; it Allegro which ended with tongue-in-cheek humour. This was original, captivating and refreshing. is a technically challenging piece to perform with plenty of Trio Rigoletto – Katrina Penman, Sara Santirso flutes and awkward tremolos and triple tonguing passages all of which Beatriz Mier piano – concluded this very enjoyable concert with were executed effortlessly, something essential in conveying a new piece written for them called Rivera, by Pablo Toribio Gil the overall wit of this piece. Mozart’s Violin Sonata in F K376 (see article on page 35 for the story of Rivera and a free pdf of the arranged for flute proved to be a delightful programme choice music). The composition opens with a dreamy melody in which to follow. This charming interpretation was a very enjoyable the flutes intertwine with increasing melismatic variations on duo performance with beautiful ensemble moments with a simple descending figure. An exciting final section follows, pianist Tim Carey. Sergio’s cheerful personality came through with galloping momentum and a snappy rhythm. This new in his playing, programming as well as his stage presence. I look composition is a valuable addition to our repertoire. A virtuosic forward to hearing both performers again in the near future. and polished performance of Fantasy on Giuseppe Verdi’s Un NIALL O’RIORDAN Ballo in Maschero by Hughes concluded the recital. I enjoyed this performance immensely; the trio have a great rapport with Stephen Clark, Viviana Guzman, Trio one another and demonstrated very fine ensemble playing. Rigoletto NIALL O’RIORDAN

he Convention theme of ‘music with friends’ was showcased Violeta Dinescu, Sophie Dufeutrelle, Tin a beautifully varied programme featuring performances Katharine Hoover, Mike Mower by Stephen Clark, Viviana Guzman and Trio Rigoletto. Stephen opened the show with Takatsugu Muramatsu’s (no hough a Convention is important for performers, it is relation to the flute maker) Earth. This evocative piece was Tequally valuable for composers, and at this Convention we played with heartfelt sincerity, flair and style. Next, Stephen heard a lot of new music: accessible, interesting, and always took us eastwards with a captivating and hypnotic performance superbly played with great commitment . of Bali Moods by Anne Boyd. Stephen’s performance concluded Violeta Dinescu’s solo works, Imaginable, Doru and Double with an arrangement of a traditional Scottish tune, Whispering Silence, interpreted beautifully by Elisabeth Möst, were moving Winds. This piece was performed with creative and effective and quietly emotional. They were played with finesse and

50 bfs.org.uk CONVENTION 2014 imagination, and I am looking forward to finding out more Quintessenz Masterclass about other compositions of hers. Sophie Dufeutrelle’s works are already well known to me, aving heard the sublime recital of Quintessenz the night especially her flute choir compositions. It was fascinating to Hbefore, the members of Hampshire Flute Choir were very hear her two solo pieces, Couleure neige and Vagues vauges excited about the prospect of seeing the ensemble leading a for alto, which I found particularly interesting – and what a masterclass on Sunday morning. They were not disappointed. fabulous and charismatic player! I was really sorry that I missed Quintessenz began the class with Hampshire Flute Choir playing her solo recital, which I am told was wonderful . Ian Clarke’s Walk Like This! They asked them to play without Katharine Hoover is known to many of us for both her me conducting, and this was a great experience for the group teaching and performances, as well as for her pieces Kokopeli as well as a lovely opportunity for me to sit back and observe. and Winter Spirits. Wendela van Swol’s interpretation of Spirit The students benefitted greatly from the clear directions of Flight was beautiful and it was wonderful to hear this piece Quintessenz, with Anna (1st flute) and Gudrun (2nd flute/ again later in Katharine’s solo recital. Emma Halnan played two piccolo) taking the lead. They worked on communication as movements from her Medieval Suite flawlessly, accompanied by a group, encouraging them to let go more and explaining the the tireless Tim Carey. I am sure many of us will want to seek importance of a much wider, achievable dynamic range. They out this music to play ourselves. also worked with the Norwegian group, Kvartet Traverso and Finally, Mike Mower – well what does one begin to say Flutiful. It was fascinating for me to see Quintessenz working about his unique works? It was great to hear his very different together so seamlessly, off the cuff as it were, either supporting style of playing, which was full of subtle nuances; and what each other or knowing intuitively when to take the lead role. I a finger technique! It made me wish we had more jazz flutes certainly learnt as much from watching and listening to them around at the event. working together as to what they actually said to the groups. Looking back, for me the complete dedication of all the This was a truly amazing class for participators and audience performers of these beautiful and moving works made the Meet alike. Bravo, Quintessenz! the Composer events a very special part of this Convention. CARRIE HENSEL ATARAH BEN-TOVIM

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CONCERT REVIEW ALDO BAERTEN

BFS-RAM Premier Alongside the well felt a tad rushed in places, explained that he had Flautist Recital known Hindemith Sonata but Stefan De Schepper’s found three sketch scores Duke’s Hall, London and Bach’s Partita in C sensitive and adaptive so was at liberty to perform the version he liked best, Aldo Baerten (flute), minor, BWV 997, were two accompaniment on the unaccompanied works piano did much to keep the something that made it feel Stefan De Schepper like a wonderfully personal (piano) by Hungarian composer flow of the music natural György Kurtág, the Suite by and spontaneous. and heartfelt part of the 5pm, Sunday 5 October programme. 2014 Groslot and an arrangement Baerten’s velvety tone of Claude Debussy’s Prélude lent perfectly to the long, It created the perfect à l’Après midi d’un Faune for undulating sentences atmosphere for Hindemith’s It’s rare to to come away flute and piano. of the Sarabande third well-known Sonata for Flute from a flute recital having and Piano. Baerten’s full tone The great and good movement. The delicate heard several pieces that really rang wonderfully in of the fluting world pianissimos were just you’ve never come across the indecisive meandering gathered at the Academy right here, especially in before. These days it feels melodies of the first to hear Baerten play – I the high registers, and the as though the same familiar movement and it had a spied Wissam Boustany recapitulation of the theme French romantic works lovely tempo. Schepper and William Bennett in was beautifully controlled. are trotted out time and commanded the piano the audience along with The Gigue was lovely and time again for concerts interjections with great other familiar faces. precise, but, if anything, and competitions – cue authority and style. Currently principal flautist could have benefitted Fauré’s Fantaisie, Dutilleux’s An atmosphere of pure of the Royal Flemmish from a little more attack Sonatine and Chaminade’s reflection and stillness Philharmonic Orchestra from the tongue. Baerten Concertino. That’s not to say was achieved between the and professor of flute at demonstrated fantastically they’re not brilliant pieces two players in the slow Antwerp conservatoire, neat finger work in the final which deserve to be played movement of the sonata. Baerten studied at the Royal movement. often – they are. But what Baerten again showed us Conservatory of Brussels György Kurtág’s was so refreshing about how silky and controlled his under Peter-Lukas Graf and Hommage à JSB next Aldo Baerten’s recital at the upper register can be. And he Philippe Boucly and has was superlative. Baerten Royal Academy of Music’s gave the third movement a played with the Chamber performed the short Duke’s Hall on Sunday 5 fantastic energy – there were Orchestra of Europe, Mahler unaccompanied piece with October was how varied the only a couple of moments Chamber Orchestra and the a crystal clear tone, faultless programme was. where the diction would Rotterdam Philharmonic from the first note. Having ‘I think it is important have benefitted from being over his career. never heard the piece before, to defend the music of slightly clearer. The growling He opened his recital with it came as a revelation to your country so I often phrases in the lowest register a considered performance of me. It opens with a simple include Belgian music in were incredibly rich and JS Bach’s Partita in C minor, Bach-inspired melody spelt my programmes,’ Baerten satisfying though. The finale which he played with a rich, between two registers, explained, referring to the had a good pace: it wasn’t warm tone coloured by which Baerten treated with most obscure piece in the so fast as to lose detail subtle timbre changes. The gorgeous sensitivity and recital, the Suite for Flute and but was exciting and vital Prelude was well paced, with poise. The Hommage was Piano by Belgian composer enough to really fly. Baerten plenty of room to breathe originally composed for Robert Groslot. ‘And I like demonstrated more precise and some lovely shading in flute and double bass as to introduce people to new finger work and careful the carefully-arranged semi well as being in a version music,’ he added. articulation in the finishing quaver passages. The Fugue for two pianos. Baerten flourishes.

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à l’Après midi d’un Faune, something which worked well. The shimmering orchestral colours were picked up by the piano part, which was filled with sumptuous flourishes and glittering chords. Baerten handled the famous melody with spontaneity and brilliant control. Following Baerten’s exemplary performance of such a well-constructed programme, it was nice to ‘meet’ the flautist in BFS’s relaxed question-and- answer session. Where before Baerten was a distant performer, he returned as a friendly mentor, willing to answer questions about technique and more general experiences of life as a professional flautist. From spending a year in Sydney to sprinting across a city to retrieve a forgotten flute The next piece on piano parts. It opened with Concerto as ‘a fantastic and mere minutes before a the programme, Kurtág’s a stormy flourish, followed inspirational work,’ stating: concert, his apparent level Doloroso, was simply by a light and witty second ‘I hear an amazing blend of of experience and passion exquisite. With a pure movement full of quirky elements of Shostakovich, was inspiring, and he came tone, gentle attack and Jazz motives. Baerten later Prokofiev, John Adams, John across as a very relaxed and wonderfully spaced phrases, said that Groslot had a Williams and something open-minded individual. it was the most arresting great sense of humour and completely new’. That is When asked what performance by Baerten this really came through in something that could also influences him, Baerten so far. Beautiful pure notes his performance in today’s be said of the Suite – hints of said: ‘Nowadays you can grew from absolute stillness recital. The third movement Shostakovich and Prokofiev be influenced by so many and Baerten controlled the – a fun tango – had lots of come through, as well as things. Not just by music, transitions between different character in Baerten’s hands elements of Jolivet and but by things you see on the registers perfectly. Perfectly and the final Seguidilla perhaps even Messiaen, internet or when you travel.’ sombre and beautiful, it was finished the Suite on a high. but Groslot’s is at the same It was an important message like a precious delicacy to be ‘Where can I get hold of a time a completely unique and one that no doubt stayed savoured. copy of that score?’, was no voice with a compelling with the many flautists, The next work on the doubt the only question left story to tell. He has written young and experienced, programme was likely to on the audience’s lips. numerous chamber pieces, in the audience. This was have been a new discovery Robert Groslot is a some vocal works and an afternoon of precious for most of the audience, and composer, visual artist several concertos, including discoveries and special a fantastic one at that. Robert and conductor who, like a flute concerto. moments. Groslot’s Suite for Flute and Baerten, works at Antwerp After the Groslot, Piano, composed in 2010, Conservatoire. Roy Theaker, the hall came under an ROSIE PENTREATH is full of interesting cross- leader of Melbourne impressionistic spell with an rhythms played against each Symphony Orchestra, arrangement for flute and other between the flute and described his Violin piano of Debussy’s Prélude

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F rANCOIS devienne 6 Concertant duos CDS Op. 5 Aldo Baerten (flute) Diederik Suys (viola) MAKE MERRY complete with guitar riffs! teachers and players from ut3 Records Andrews Massey Duo We hear medieval drones Taffanel to Hennebains, www.andrewsmasseyduo. in God Rest Ye Merry Gaubert, Moyse, Fleury and com Gentlemen and experience Barrère. the wonder of a star-filled The music was written night sky in an incredibly between 1913 and 1959, effective (and affecting) but almost all of the pieces arrangement of Silent Night, reflect the confident mood the tune delivered simply of pre-First World War with an increasing array of ‘Belle Époque’ France, harmonic ‘pings’ on guitar the exception being the at random intervals in the Prokofiev-inspired Dubois François Devienne (1759- background. This whole Sonata. Some will probably 1803), founding flute teacher CD is worlds away from the be familiar to you (such at the Paris Conservatoire, is Following their well- schmaltzy muzak associated as the wonderful Gaubert known by flute players today received CD From the Roots, with Christmas shopping. Second Sonata, the Roussel for his many flute concertos the Andrews Massey Duo There is a sense of fun and Andante and Scherzo or the and sonatas which were (Emily Andrews, flutes, exuberance here that should Rhené-Baton Passacaille). made popular by Rampal. with David Massey, guitars) inspire all flautists to be Others will perhaps be less Less well known, but have produced another experimental with their familiar (such as the Mel certainly worth getting to compilation of their own playing, even when playing Bonis Pièce and Scherzo, know better, is his charming takes on traditional music, the classics. the Koechlin and Dubois set of six Concertant Duos this time Christmas tunes. CHRISTOPHER BRITTON Sonatas or the Camus for flute and viola, recently The CD’s gorgeous artwork Chanson and Badinerie). released by ut3 Records promises, and indeed Francesca Arnone’s and available to order delivers, an enchanting playing is very beautiful, with through PentaGônes (www. wonderfully sustained and pentagones.com). album. These are highly DEDICATIONS imaginative arrangements fluid lines. She is very well BFS Premier Flautist Francesca Arnone (flute) delivered with flair, technical supported by pianist Terry Aldo Baerten is principal brilliance and beautiful and Terry Lynn Hudson (pf) Lynn Hudson. Occasionally flute of the Royal Flemish MSR Classics sound from both players. I was left wishing for a Philharmonic Orchestra. In The main focus is on older wider colour palette, with this recording, he performs songs, with my personal more bright tones, but this with the wonderful violist favourite, O Come, O Come, is of course a matter of taste. Diederik Suys – a good Emmanuel, given a tastefully Each piece is performed friend of Baerten’s. It is plain rendering on alto flute with great conviction, and certainly in keeping with with the subtlest of guitar even the less well-written the theme of the recent accompaniment. At the moments in some of the convention ‘Music with other extreme is the rousing pieces shine effortlessly. The Friends’, as the joy that these opener We Three Kings, a true technical standard of the two musicians find when masterpiece of world-music recording is also very good, performing together shines arrangement, with Latin- As the subtitle of this and I would recommend throughout this recording American 3/4 to 6/8 cross- CD, Paris Conservatoire this disc without reservation as they play effortlessly rhythms and oriental flute Connections, suggests, all for those wishing to hear together. Typically classical figuration. While Shepherds of the music on this disc fine performances of the in style, the flute carries the Watched as a calypso is very has some link with the great French flute and piano melodic line as the viola amusing, as is the bluegrass- Paris Conservatoire and repertoire. provides the bass and the style Good King Wenceslas, the legacy of the great flute MALCOLM POLLOCK accompanying harmony;

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however, flautists who enjoy Both musicians have with just the right lilting Horovitz’s Arabesque, practising their arpeggios are sensitively interpreted these phrases and sensitive rubato. Bach/Gounod’s Ave Maria also in for a treat (and some wonderful classical pieces, The finale is a fraction and Hahn’s Variations on very hard work) when the proving how well this rare slow however, and the flute a Theme By Mozart are all roles are reversed. Baerten combination works together. occasionally struggles in charming and beautifully presents these passages with A welcome addition to the low register to penetrate rendered. both grace and a flourish, your music collection, this the dense piano part. Fauré’s The Curly Fifer, based on clearly enjoying the interplay fine recording is highly Morceau de Concours follows three instantly recognisable between the parts. recommended. like a gentle palette-cleanser, march tunes, closes the The Allegro molto con HELEN ELLA played with exquisite clarity album. Played on piccolo, espressione of Duo III is and sonority. this is brilliantly executed, sensitive and delicate, with The Gershwin Flute with immaculate intonation Baerten’s lyrical lines soaring Album (arr. Holcombe) and sound – a perfect finish over a busy viola part. The is a real highlight. Smith’s to a very enjoyable album off-beat interjections are playing throughout the suite which contains something poised and controlled, and THE WORLD OF THE is gorgeously sensual, and for everyone. her alto flute in Someone any vibrato is careful and LINDSEY FILLINGHAM considered. Ornaments FLUTE to Watch Over Me creates a are as they should be – Rachel Smith (flute) warm, sultry atmosphere. decorative and delicate, Clare Clements (piano) The Gaubert Berceuse, Polyphonic without being the main event in the phrase. This is followed by a minor key based Rondo which gives both instruments a chance to shine as they seamlessly pass the theme between each other. The articulation is clean and light in the fast passages of Duo V. The phrases rise and fall elegantly. This leads The World of the Flute is a onto the only theme and beautiful collection from variations movement that Rachel Smith (flute) and Devienne included in his Clare Clements (piano), Opus 5. In Grazioso con following Smith’s début CD variatione, the flute is the star. Summer was in August. The The composer has written technique and musicianship out the ornamentation for on both flute and piano is this movement, decorating excellent throughout. the lyrical flute theme. Two pieces on the album Here, Baerten’s golden tone were composed for Smith. is expertly accompanied by Martin Ellerby’s Neapolitan pizzicato viola. It is in the Serenade is an enchanting variations that the fun these dialogue between flute and two friends are having can piano, based around the be clearly heard. Baerten and Neapolitan sixth chord, Suys play with the phrases, whilst Paul Lewis’ idiomatic adding ritenutos and pauses, and romantic La Fille aux making musical jokes. I Cheveux Dorés is reminiscent imagine that this movement of French writing. would be as fun to watch as The most substantial it is to listen to! work on the album, Widor’s Suite Op. 34, is delivered

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ROBERT GROSLOT the Four Dance Sketches. The between the instruments is Canadian composers, and Works for flute and Suite for Flute and Piano and carefully handled, allowing his Trio for Flute, Viola and piccolo Concerto for Piccolo are also important material to Harp is a valuable addition to Peter Verhoyen (flute and excellent additions to the dominate while the other the repertoire. More tonally piccolo) with Arco Baleno repertoire. parts hold back. There is conventional than the ensemble As Groslot states in the a clear demonstration of Cotton work, this is a piece Groslot Music cover notes, he treats the flute true chamber music in which opens with a strong and piccolo as completely evidence here, with each energy and bright sound. different instruments,of these excellent players The second movement is exploiting the advantages of contributing towards a well more lyrical, with the hymn- each. His instrumentation is considered and musically like opening breaking into inspired, creating with each convincing interpretation. a Debussy-esque rhapsody. work a new and captivating Every moment of this piece Here McGhee switches to sound world. is treated to subtleties of an alto flute, with the change This is an exceptional tone colour, dynamic and of tone colour helping to CD which demonstrates direction; this rendition is create a gentler atmosphere. that Groslot’s masterful spell-binding throughout. The energy returns for From the very opening notes compositions deserve The title track of the the final movement, with of the Flute Concerto to the to become part of the CD, Six Departures by the rhythmic repetitions and last chord of the March, mainstream repertoire. American composer Jeffery off beat accents giving a Cotton is a world premiere sense of driving tension. the music on this album is LINDSEY FILLINGHAM conceived and performed recording. Cotton was a This is an exciting work with such imagination highly regarded composer, which is performed with and flair that the listener who died in 2013 at the both technical and musical can hardly help but be age of 55. He studied with brilliance throughout. completely engrossed. SIX DEPARTURES flute-player composer The disc comes to a close Peter Verhoyen, who Trio Verlaine: Daniel Kessner at Cal with Jolivet’s Petite Suite, a gave a recital at the recent Lorna McGhee (flute), David State Northridge, before charming work comprising BFS Convention, is a Harding (viola), Heidi Krutzen becoming Hans Werner five short and beautifully virtuosic player, delivering (harp) Henze’s apprentice in Berlin. structured movements. extremely demanding Ravello Records Commissioned for Jolivet scores for the trio passages with graceful Trio Verlaine by the Seattle with imagination, creating fluidity and ease. His full- Chamber Music, this magical atmospheres in bodied sound encompasses piece, written in 2008, is each movement and giving all dynamic extremes: eerily in six short movements. a sense of space to each of quiet in the top notes of the Cotton’s language is clearly the three instruments. I piccolo, with a warm forte at influenced by the Romantic have, for a long time, been the very bottom of the flute. tradition, at times energetic an admirer of Jolivet’s works, The spacious phrases and fiery, at other times and this is a fine example in the opening of Groslot’s languid and expressive. Jazz which deserves to be more Flute Concerto gradually inflection can also be heard widely known. transform into highly This is a delightful CD of in the harmony, fusing with Each of the four works on rhythmic motifs. Bodede- music for flute, viola and American and European this disc is extremely strong, Moke for solo piccolo harp which proves there is influences to create a both in the composition follows, evoking an African far more in the repertoire for individual and tantalising and in the execution. Trio landscape. Three Night this wonderful trio than just language. This is the first Verlaine has to be one of Pieces for flute and harp the Debussy Sonata. Bax’s time I have encountered the very best flute, viola and travels through mystery Elegiac Trio, perhaps the his music, and I am very harp trios working today, and jocularity. Albarossa is a best known of the works on much looking forward to and this CD reaches the very scintillating work for piccolo this disc, is heard first, and is discovering more. highest standards. and marimba, and jazz entrancing from the opening R Murray Schafer is CARLA REES piccolo is a joyful surprise in moments. The balance one of the leading living

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GEOFF WARREN PAN, Sept 2014). He is, artists to include their own for variety in this kind of The Quartet Album perhaps, less well known compositions, rather than setting. We have a jazz waltz, Geoff Warren (flute and among UK jazz enthusiasts classics from the jazz canon, various vamps and rhythmic alto flute), Raffaele Pallozzi as he resides in Italy, and for legal (copyright), rather figures, a little 7/4, up-tempo (piano). Marco Di Marzio this album was actually then aesthetic reasons. In burners and slow-tempo (electric bass), Walter produced in Verona. Geoff’s Warren’s case, however, mood pieces, folk tunes and, Caratelli (drums and training was definitely his writing is on a par with to keep it fresh, a couple percussion) British, however; he studied his playing, both, like his of duo numbers on alto FMR Records music at Royal Holloway teaching, revealing a distinct flute, with piano on Nobody College, London and flute musical intelligence and a Phoned and bass on Blues with Derek Honner of the flair for the dramatic. for Peter. Warren’s Italian Royal Academy of Music. As a flautist, Warren compadres are unknown Again at the Royal Academy, displays a rich, full sound, to me, but pianist Raffaele from 1985-1993, he was especially on the ballad-like Pallozzi, bassist Marco Di part of Graham Collier’s Dreich Night in Glasgow, Marzio and drummer Walter team teaching jazz courses, and Mr. G.C., with touches Caratelli are sensitive and a major influence that can of jazz vocalization where enthusiastic accompanists, be heard particularly in his needed – as in the opener with Pallozzi’s solo work writing. Up and Around – but never complimenting Warren Geoff Warren is well known Warren’s writing is overdone. The up-tempo splendidly. Altogether, this to BFS members, having important here as all the selections are tackled with is a fine example of the flute offered jazz workshops selections are his originals. both vigour and clarity. in jazz. at BFS events such as the That can be a mixed blessing As a writer, Warren PETER WESTBROOK annual convention in with jazz recordings, as shows a deft touch and an Warwick in August (see there is a tendency for understanding of the need

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A FULA’S CALL become tedious. The grooves to return to more melodic specific musician or writer. Mark Lotz (flutes, bansuri) are ever-changing, with forms. An unusual premise, but with Omar Ka, Raphael Vanoli new sounds and patterns This impulse has been it works; it is certainly and Afra Mussawisade constantly emerging. The met through his previous beautifully executed. LopLop Records album is a series of distinct recordings of Schubert Separating these items tracks, from mellow ballads Sonatas and Israeli folk is a piece not normally to climactic improvisations tunes and now by this associated with jazz/classical on highly energised riffs collection. He has chosen crossover but one that fits delivered by a flawless contemporary music again, perfectly in this context. ensemble. but this time from jazz and Astor Piazzolla’s work has This CD will yield world music genres – tonal established a niche in the fresh discoveries on every music full of movement and flute repertoire, particularly listening and is highly colour. Histoire du Tango, the recommended. For an artist who one piece he wrote for the LINDSAY FILINGHAM wishes to perform within flute. That it works so well the jazz realm but is still here reflects the fact that Musicians from Senegal, dependent on the written jazz, tango, samba and Germany, France and Iran note, high quality repertoire charanga are all second come together on this CHANCE is limited. It is no surprise, cousins, emerging from the album to produce a unique ENCOUNTERS therefore, that Buchman convergence of European and captivating selection Noam Buchman (flute) with chose to feature the Claude and African forms in New of African-inspired music Tabula Rasa jazz trio Bolling Suite for Flute and Orleans, Buenos Aires, Rio for voice, flutes, guitar, The Eight Note Jazz Piano, as it is probably de Janeiro and Havana, electronics and world the most popular and best respectively. percussion. know piece of this kind. Piazzolla added another Listening to music Buchman tackles four of the layer of modern European from an unfamiliar seven original movements, influence, particularly jazz, culture can be daunting – what he considers to be the to produce what is known ethnomusicologists argue ‘highlights’ of the piece, as in Argentina as nuevo tango. that music is not a universal the closing selection of the Placing it between two jazz- language – but this album recording. oriented pieces is an inspired is very accessible and an To open it, he presents piece of programming, excellent way to venture into a work specifically bringing out the jazz flavour African sounds. Once the commissioned for the of the piece. And Ruben Western ear has adjusted Noam Buchman is best occasion but inspired by Seroussi’s guitar is a nice to the occasional passages known in his native Israel Bolling. As he writes in the change of pace from the jazz of microtonal singing, the where he is principal album notes, ‘Whenever I trio. music is brimming with flute with the Jerusalem played the Suite . . . by Claude Tying together this treasures. Symphony Orchestra and Bolling, I felt the need for material is Buchman’s Lotz’s flute and bansuri a founding member of another composition for performance. Again like playing is superb, and the the Israel Contemporary this ensemble.’ This piece, Bennett, he loves to employ timbre of each flute he plays Players. An early student Jazz Sebastian Bach - Chance a wide range of tone colours, Inspired by our handmade flutes is perfectly matched to the of William Bennett, Encounters, composed by and that works beautifully mood of the particular Buchman shares Bennett’s the Tabula Rasa Trio’s pianist with this repertoire. If you track. Well known in the jazz love of a wide repertoire, Uri Brenner, follows the already own the Rampal world, his improvisations from Baroque through to Bolling mould, revealed in performance of the Bolling, THE NEW 5, 6 & 7 SERIES PROFESSIONAL FLUTES are virtuosic and his use Classical and Romantic to the title, of a classical flautist you will not regret owning Yamaha’s new 5, 6 and 7 series flutes set new standards for musicality, craftsmanship of extended techniques contemporary. accompanied by a jazz trio. another version in order to and expression. Inspired by Yamaha’s handmade gold and silver flutes, this new series wonderfully effective. After a period of focus Its unique characteristic is enjoy this fine collection. of flutes benefits from the technical knowledge of some of the most gifted artisans in A Fula’s Call is on contemporary music, that each section is built PETER WESTBROOK the world whose understanding of the flute comes from working closely with some of consistently fresh and however, as he explained to from a fragment of a J.S. the finest flutists in the world. The new Type AM headjoint opens up huge opportunities exciting, never allowing me on the phone from Tel- Bach composition and for musicality that brings Yamaha’s professional flutes to the forefront. When coupled rhythmic repetition to Aviv recently, he felt a need each is influenced by a with the new sound annealing process, this gives the whole range new possibilities for expression with an easier response and excellent balance.

To find out more, visit: www.yamaha.com 58 bfs.org.uk d Prof567_Flutes_Ad_DE_A4_NEW_Layout 1 27.02.13 13:23 Seite 1

Inspired by our handmade flutes

THE NEW 5, 6 & 7 SERIES PROFESSIONAL FLUTES Yamaha’s new 5, 6 and 7 series flutes set new standards for musicality, craftsmanship and expression. Inspired by Yamaha’s handmade gold and silver flutes, this new series of flutes benefits from the technical knowledge of some of the most gifted artisans in the world whose understanding of the flute comes from working closely with some of the finest flutists in the world. The new Type AM headjoint opens up huge opportunities for musicality that brings Yamaha’s professional flutes to the forefront. When coupled with the new sound annealing process, this gives the whole range new possibilities for expression with an easier response and excellent balance.

To find out more, visit: www.yamaha.com December 2014 59 d

MUSIC REVIEWS

Divertissements performed by the Camerata Köln and the Trio Sonatas 1 – 6 from Part 4 are soon to be released MUSIC by Toutes Suites under the record label, Genuin. SEB. BODINUS and cello continuo, but second time bar might help ELIZABETH WALKER Sonatas for flute, violin rather unusually there is those less experienced to and continuo also a part for harpsichord understand that the linking Edition Dohr that is figured but does not bass passing notes are for include the other parts. the first time only and that The score provided has the the movement ends on the JANET WAY The trio sonatas by Sebastian harpsichord lines in very pause note the second time. Grade by Grade for Bodinus (1700 – 1759) small print, presumably to The movement itself would flute (Grades 3-5) for flute, violin and basso indicate that the harpsichord need embellishments to Boosey and Hawkes continuo, available as single part is entirely editorial. add variety, but the trills, sonatas, are edited by Martin It would be far more grace notes (and additional Jira and recently published These volumes, which convenient however, to upper note reminders in by Dohr Köln. I received include a CD with tuning follow the standard tradition brackets) are a good start in three trio sonatas, nos. 8, 11, note, demonstrations, and of supplying a score with an otherwise fairly standard and 12 for review and others backing tracks, certainly the harpsichord bass line sarabanda. are available in the series. A provide a useful resource and figures in the left hand The final movement is highly informative preface for both teachers and written in the same sized a Menuet and Trio (written informs us that Sebastian their pupils, supporting print (that is, easily legible) Alternativement) in G Bodinus was a ‘Premier progression from the with possibly only the right major, with a G minor Trio. Violinist’ in the court of foundation to intermediate hand printed in smaller This popular French dance Duke Eberhard Ludwig stages of learning. For figures. movement was a favourite from Württemberg in those learners who wish to There are many trio final movement throughout Stuttgart from 1724 – 1728, take ABRSM graded music sonatas available in the the baroque period and and leader of the orchestra examinations, the Grades 3 repertoire, with wonderful concludes the trio sonata in Karlsruhe until the death and 4 books include pieces in examples from Telemann, with elegance and style. of Margrave Carl Willhelm, many of the keys listed in the Bach, and Boismortier, to There are no dynamics at which time the court scale requirements, thereby name but a few. Additional in this edition (the possible was reduced in size and he offering opportunities for pieces from this genre are echoes in the Menuet are became a music teacher in teachers to plan for holistic always welcome, and these not implied) and there are Basel. In 1747 he was again learning. The Grade 5 book miniature movements are no no additional ornaments employed in Karlsruhe until is not quite as convincing exception. or stylistic comments he unexpectedly resigned, as an ABRSM resource as I particularly enjoyed added. The aim has been to and appears sadly to have many of the keys listed in playing through Sonata no. present a clear edition of the been committed to the the scale requirements are 12 in G major, which starts composer’s exact intentions, mental asylum in Pforzheim, not reflected in the pieces with a sprightly Allegro and with any essential corrections where he died in 1759. and sight-reading exercises. an imitative figure between written in brackets. I The three trio sonatas The aural awareness the flute and violin. Simple would suggest then, that published here originate sections give pupils an modulations into the this edition would be best from the fourth volume of opportunity to develop their dominant and the relative used by musicians familiar Musicalische Divertissements aural skills independently minor are fairly standard with early performance which contains twelve trio and the Music Theory pages – nothing particularly practices, so that life and sonatas with figured bass: in the Grade 5 book could be innovative here, but creativity can be added six sonatas for two violins completed as a homework charming nonetheless. stylistically. A quick search or oboes (sonatas 1–4) exercise. The ‘Improvise!’ The very short Sarabanda on the internet revealed a and six for flute and violin sections in the Grades 3 and in the relative minor has two couple of recordings of this (Sonatas 7–12). This edition 4 books could prompt some repeated sections where repertoire, Germany’s CPO is published with separate teachers to include creativity the inclusion of a first and label offers a recording of his parts for the flute, violin in their planning, and it is

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a pity that this section does and makes use of material worked with small fragments companion piece – or even not feature in the Grade 5 from the orchestral tuttis of Mozart’s material and preparation piece – to Syrinx. volume. as the basis for some of his developed and worked with This is a well-structured I recommend all three invention. They are relatively it to make it clearly a part of work, with flowing melodic volumes to flute teachers concise, and feel musical his own compositional voice. writing across the full for consideration as an rather than self-indulgent, For anyone interested in range of the flute. Ideal for economical provision of and remain largely within contemporary composition, tone development, as well varied repertoire for learners the style of Mozart. and seeing how a master as chromatic playing and of Grade 3, 4 and 5 standard. Bernd Alois works with melodic material, dynamic control, it would CAROLE JENNER-TIMMS Zimmermann’s cadenzas these cadenzas are a joy. suit an intermediate player were written for Siegfried They are also fun to play, and would be an enjoyable Burkhardt in 1954, after and it is up to the soloist to inclusion in a recital. the pair met in Darmstadt. decide how well they fit into Recommended. They maintain a connection a concerto performance. CARLA REES ZIMMERMANN with Mozart’s material, Exploring these three Cadenzas for Mozart although the language is sets of cadenzas has been Concertos in G and D gently influenced by 1950s fascinating, and I would Schott modernism, particularly in go so far as to suggest that ANN GHANDAR terms of the use of accents PAHUD anyone studying the Mozart Iridescences and melodic decorations. concertos would benefit Cadenzas for Mozart Flute and piano Zimmermann wrote only from exploring the music in Concertos in G and D The Keys Press the cadenzas for the first new ways through working and Andante in C movements of each of the on these cadenzas. The Universal Written in 1998, this is a set concertos, and they are different perspectives each of five short, atmospheric BERIO relatively short and well of the composers brings movements for flute and Cadenzas for Mozart formed. They bridge the gap to the music reveals much piano, with an overall Concerto in D between Mozart and a more about the main themes of duration of around eight Universal contemporary language, the concertos, giving a fresh minutes. Ghandar’s without stretching too far, angle on the works as a harmonic language is These three sets of cadenzas so are perhaps ideal for a whole. reminiscent of Debussy, for the Mozart concertos performer who is interested CARLA REES with whole tone and shows the wide diversity of in giving some context chromatic writing making contemporary approaches to to Mozart’s music in an regular appearences in this cadenza writing. A cadenza is unusual way. piece. The flute writing is traditionally an opportunity Berio’s cadenzas for the D relatively straight forward, for virtuoso display, and major concerto were written ADRIAN CONNELL with frequent use of the low it is a matter of personal in 1985 for Bruno Cavallo, Monody for a lost Faun register and an upper range taste for the performer to first flute of the Orchestra del Solo flute which does not exceed high decide if they would prefer Teatro alla Scala in Milan. As Edition Dohr B flat. As such, it would a traditional approach, in one might expect, these are serve as a good introduction the style of the composer of the most adventurous of the This is a four-minute solo to contemporary music for the concerto, or something three, with an extended (two flute piece written as part of younger players, with three more aligned with modern page) cadenza for the first Connell’s degree portfolio in of the movements including playing techniques. movement which makes 1985. As one might perhaps elements such as irregular The most traditional of use of a chromatic language, expect, the title refers to time signatures, quintuplets this selection are Pahud’s including flutter tonguing, Debussy’s Prelude à l’après and tremolos. The piano cadenzas, which are tremolos and setuplet midi d’un faune, with the writing is similarly simple, well crafted with clever rhythms. The cadenzas for melodic material developed and could be approached harmonic twists and some the other two movements from elements of the famous by an intermediate student, wonderfully imaginative are shorter and use only opening flute solo. Despite making this work ideal for moments. Pahud makes traditional techniques, but this influence, the music school-age chamber music. use of an extended flute are no less adventurous. In is fresh and original, and range, compared to Mozart, these cadenzas, Berio has would serve as an excellent CARLA REES

December 2014 61 Opinion Inspiring adult learners by Elisabeth Hobbs

orking with adult students Of course, the other side of the recommending books and blogs can through the highs and lows equation for adult learners can be be a good way to support a student’s of their musical journey can a constant awareness of their own musical progress. Students also benefit Wbe one of our most inspiring experiences perceived inadequacies, creating a enormously from playing with others, as teachers. Many flute teachers prefer tension between aspiration and self- perhaps in an amateur ensemble (there not to take on adults, perhaps (we doubt. A successful professional may is a useful list of flute choirs on the BFS hope) because their timetable is already have forgotten how to give themself website), on short courses, or by joining filled with eager young musicians. permission to fail – and needs time to a society like the British Flute Society Often, however, it is because they lack relearn that experimentation and failure where they can meet like-minded confidence in dealing with a different can be a vital part of the musical journey. players. kind of teaching challenge: how to Childhood fears and humiliations Many adult students feel they teach, what to teach, and whether or not also often present themselves afresh benefit from having their progress to cast aside the usual frameworks of at the music stand, causing nerves and benchmarked or appraised by someone assessment can all be of concern when embarrassment, and conquering those other than their teacher, and an exam or taking on an adult student. After many fears in a performance or exam can bring a performance to work towards provides years of teaching as a flute specialist, a huge sense of personal satisfaction the ideal opportunity for this. Ann I have become a passionate advocate (and sometimes even tears of release). Robertson, a mature flute student from for adult instrumental learning, and Similarly, a sense of the encroaching Aberdeen told PAN magazine earlier working with my many adult students – years can lead students to worry that this year that she decided to take an exam at all levels of attainment – has hugely their fingerwork will never be fleet when she returned to flute playing in her enriched my professional life. enough; if the teacher approaches the retirement. “I only managed Grade 5 at Mature students come to the repertoire intelligently, however, it is school,” she says, “and decided that I teaching studio with widely varied possible to overcome these concerns. would set the record straight and finally levels of musical experience; some may Both the Associated Board and Trinity do Grade 8. Why? First of all I wanted to be complete novices, while others hope Guildhall publish albums of flute pieces make sure that my scales and arpeggios to build on the achievements of their that are very useful in this respect were firmly under my fingers, as they school days. My own students include (ABRSM Selected Exam Pieces and are the building blocks of everything we a retired surgeon who is now happily the Trinity Musical Moments series), play. Secondly, I wanted to put together contemplating Edelweiss from the new providing a pleasing selection of pieces a programme, perform it, and have Grade 1 syllabus; another who, when not that that can be used to tackle musical someone tell me what they thought. It practising for her Diploma, holds down and technical challenges whether or not was one way of making myself practice a high-level job with an international an exam is in sight. Try not to fall into a piece to a performance level.” Wisely, organisation; and a bee-keeper who the easy habit of using such books as a Ann also notes that, “Although the insists that we do only baroque repertoire curriculum, though – there is a wealth experience was not without stress, isn’t and brings me honey. What they all have of repertoire to explore, and adult this something that all performers have in common, though, is a genuine desire learners may already have a developed to learn to deal with?” to express themselves creatively through sense of what they would like to play. Be Examiners will always be sensitive music. Adult learners comes through prepared to be guided by your students. to the fact that adult candidates may the door driven by their aspirations, and I also find that adult students be suffering from nerves. They do are willing to work towards those goals are willing, and even eager, to read understand that adults may feel more through the commitment of precious around subjects like the psychology of self-conscious or nervous than some time and hard-earned money. Such a performance (The Inner Game of Music younger candidates, and there is no need student brings deep motivation to the by Barry Green and Timothy Gallway is for an adult to be embarrassed if they learning process. still invaluable here) or bodywork, and feel shaky or wobbly. And remember

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that an adult’s maturity can bring other positive attributes to a performance which may well be lacking in a young player. Some adult learners feel, however, that the idea of being ‘tested’ or assessed is at odds with their experience of music as a Wessel Flutes liberating creative experience or leisure (and pleasure) activity. For such students, and for those who really struggle with nerves, the ABRSM Performance Assessment provides another opportunity for feedback outside the traditional parameters of Individually handmade an exam. The Performance Assessment allows the student to receive constructive independent evaluation of a programme of their own choosing, without either the fear of failure or the worry about supporting tests. The student has the opportunity to chat to the examiner afterwards and receives detailed written notes immediately. This low-stress option is popular with adult students and can provide a valuable performance goal. I often feel I learn as much from my adults as they do from me: they bring dedication, motivation, and a real love for music. Their life experience and careers have honed their intellects and tastes, given them opinions (not always easy!), and shaped their interests. I like to think of the way I teach adults more as a kind of co-operative coaching, in which we work together to uncover their inner musician. Whatever path or process best suits your adult students, embrace the opportunity to share an exciting musical journey with them. +44 (0)1749 860047 Flautist and flute teacher Elisabeth Hobbs runs day and residential flute courses for adult players of all standards [email protected] (see www.flutesinspired.co.uk). A version of this article was published in the ABRSM magazine Libretto, March 2014. www.wessel-flutes.co.uk

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December 2014 63 TheThe Association Association of of Flute Flute Traders Traders Abell Flutes 111 Grovewood Road, Ashville, NC 28804, USA +1 828 254 1004 www.abellflute.com ABRSM 24 Portland Place, London, W1B 1LU 020 7636 5400 www.abrsm.org Alfred Verhoef Kennermerstraatwag 116, 1851LD Alkmaar, Netherlands +31 725 110879 www.verhoef-flutes.com All Flutes Plus 60-61 Warren Street, London W1T 5NZ 020 7388 8438 www.allflutesplus.co.uk Astute Music 4 Sunnymill Drive, Sandbach, Cheshire, CW11 4NB www.astute-music.com Bärenreiter Burnt Mill, Elizabeth Way, Harlow, Essex, CM20 2HX 01279 828930 www.baerenreiter.com Beaumont Music Ltd 260 Regency House, 91 Western Road, Brighton, BN1 2LB 01273 900250 www.beaumontmusic.co.uk Benslow Music Trust Ibberson Way, Hiitchin, Hertfordshire, SG4 9RB 01462 459446 www.benslowmusic.org Bill Lewington Ltd Unit 8, Hornsby Square, Southfields Industrial Park, Lain- 01268 413366 www.bill-lewington.org don, Essex, SS15 6SD Daniel Paul Flutes Mas de Ferrand, 46150 Nuzéjouls, France +05 65 23 82 19 www.dpflutes.fr Edition Svitzer Refshalevej 110, 208, Copenhagen K, Denmark 1432 +46 709164247 www.editionsvitzer.com Eloy Flutes BV Hoevenstraat 8, 5712 GW Someren, The Netherlands 5712 GW +31 493 471290 www.EloyFlutes.com Eva Kingma Flutes Hoofdstraat 12, 9444 PB, Grollo, The Netherlands +31 592 501 659 www.kingmaflutes.com Flutemotion Menuetstraat 22, 7534 GE Enschede, The Netherlands 0031-53-4614257 www.flutemotion.nl Forton Music 6 Lakeland Close, Forton, Preston, Lancashire, PR3 0AY www.fortonmusic.co.uk Hal Leonard MGB 17/18 Henrietta Street, London, WC2E 8QH 020 7395 0380 www.halleonardmgb.com Ian McLauchlan 46 South End, Croydon, CR0 1DP 020 8662 8420 www.headjoints.co.uk Jonathan Myall Music/Just 46 South End, Croydon CR0 1DP 020 8662 8400 www.justflutes.com Flutes Levit Flute Company 12 Border Road, Natick, MA 01760 +1 508 944 3330 www.levitflutes.com Mancke Flutes Eulnerstr. 41, D-54662 Speicher, Germany +49 6562 974311 www.mancke.com Murumatsu Inc 8-11-1 Nishi-Shinjuku, Shinjuku-ku, Tokyo 160-0023 www.muramatsuflute.com Must Music Publishers 33 Quernmore Road, London, N4 4QT 020 8341 4088 www.music-trading.co.uk Pearl Flutes Europe BV Craenakker 28, NL-5951 CC Belfeld, The Netherlands 07771 880462 www.pearleurope.com Schott Music Ltd 48 Great Marlborough Street, London, W1F 7BB www.schott-music.com The Tutor Pages Ltd 49 Rutland Road, Harrow, HA1 4JN 020 8248 2208 www.thetutorpages.com Top Wind 2 Lower Marsh , London, SE1 7RJ 020 7401 8787 www.topwind.com Trübcher Publishing 6 Merley Lane, Dorset BH21 1RX 01202 884196 www.trubcher.com Universal Edition (London) Ltd 48 Great Marlborough Street, London, W1F 7BB 020 7292 9166 www.universaledition.com Verne Q. Powell Flutes, Inc 1 Clock Tower Place, Maynard, MA 01754 USA +011 978 4616111 www.powellflutes.com Viento Flutes Mittelweg 15, 35647 Waldsolms, Germany +49 6085 9888378 www.viento-flutes.com William S Haynes Company 68 Nonset Path, Acton, MA 01720, USA +1 978-268 0600 www.wmshaynes.com Windstruments 3 Croft Avenue, Crossflatts, Bingley, West Yorkshire, BD16 01274 510050 www.windstruments.co.uk 2DX Wonderful Winds 44, Exeter Road, Okehampton, Devon EX20 1NH 01837 658745 www. wonderfulwinds.com Wood, Wind & Reed 106 Russell Street, Cambridge, CB2 1HU 01223 500442 www.wwr.co.uk Worldwind Music Ltd Worldwind House, Ashmill Park, Ashford Road, Lenham, ME17 2GQ 01622 859590 www.worldwind.co.uk Yamaha Music Europe GmbH UK Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL 01908 366700 www.uk.yamaha.com

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