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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 24 30 The left-handed flute 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.
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