VOLUMEXXXIII , NO . 2 W INTER 2 0 0 8

THE LUTI ST QUARTERLY

African Art MUSIC

Louis Moyse Remembered

Jazz Flute Joins the NFA Convention

The Inner Flute: Suzanne Teng’s Journey

THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC defining the art of the handmade flute

[ altusflutes.com | 512.288.3351 ] Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIII,NO. 2 WINTER 2008 DEPARTMENTS 5 From the Chair 63 NFA News 9 From the Editor 67 Passing Tones 13 High Notes 70 NFA Office, Coordinators, 49 The Inner Flute Committee Chairs 52 Student Spotlight 71 New Products 55 Across the Miles 74 Reviews 59 From the 2008 Convention Program Chair 81 Index of Advertisers

16 FEATURES 16 New Horizons: The World of African Art Music for Flute by Wendy Hymes Onovwerosuoke African art music offers rich programming opportunities, but scores often are unpublished and can be challenging to find. Insights are offered about some of Africa’s foremost composers—among them the author’s husband. 28 Commissioned Works from the High School Soloist Competition: Elizabeth Brown’s Trillium by Ronda Benson Ford Competitors performing Trillium were provided with a fingering system that was devised by the composer specifically for playing this piece. The work’s fingering aid was influenced by shakuhachi music traditions. 36 ToYour Health by Amy Likar, DMA, Ralph Manchester, MD, and Michael Weinstein, MD At the 2007 NFA convention, a performance health seminar featured physicians with special skills in performance-related concerns. Earlier, another organization hosted a conference to develop materials and standards for health promotion in 28 schools. The two presentations are summarized here. 40 Renaissance Man: Louis Moyse (1912-2007) by John Barcellona with Karen Kevra A friend, colleague, and one-time musical partner recalls the varied and virtuoso talents of flutist Louis Moyse, who died July 30, 2007. A former student and musical partner remembers the man who inspired, taught, and delighted, not only with his music, but with his life.

Cover: Courtesy Wendy Hymes Onovwerosuoke.

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This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the NFA, which reserves the right to refuse to print any advertisement. The NFA does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist 40 Quarterly. SSN 8756-8667 © 2007 National Flute Association, Inc. 49

nfaonline.org Winter 2008 The Flutist Quarterly 3 OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] Chair of the Board Patti Adams 2840 Coliseum St. New Orleans, LA 70115 504-895-5908 [email protected] Vice Chair of the Board Leonard Garrison Lionel Hampton School of Music Music Room #206, University of Idaho Moscow, ID 83844-4015 208-885-6709 fax: 208-885-7254 [email protected]

Secretary Lori Akins 5113 Glenaire Dr. Dublin, OH 43017-9479 614-766-1838 [email protected] Chair of the Finance Committee Teresa Beaman Department of Music CSU, Fresno 2380 E. Keats Ave. Fresno, CA 93740-8024 559-278-3975 [email protected] Assistant Secretary Shelley Collins Delta State University Dept. of Music, P.O. Box 3256 Cleveland, MS 38733 662-843-6341 [email protected] BOARD OF DIRECTORS Joanna Bassett (2006–2008) 85 Maywood Ave. Rochester, NY 14618 585-383-0650 [email protected]

Bickford Brannen (2007–2009) 559 Pearl St. Reading, MA 01867-1142 781-910-3978 [email protected] Beth Chandler (2006–2008) 626 Sunrise Ave. Harrisonburg, VA 22801 540-574-3772 fax: 540-568-7819 [email protected]

Robert Dick (2007–2009) 310 Clermont Ave. #3 Brooklyn, NY 11205 347-244-9373 [email protected], robertdick.net

Christopher Krueger (2007–2009) 38 West Pomeroy Lane Amherst, MA 01002 413-256-4552 [email protected] Hal Ott (2006–2008) Department of Music Central Washington University Ellensburg, WA 98926 509-963-1103 fax: 509-963-1239 [email protected] From the CHAIR s I write this from New Orleans, The newly formed Endowment I am surrounded by an air of Committee presented our new NFA Arenaissance, renewal, and rejuve- endowment policies to the board. As our nation, not only from my city but also endowment approaches the $1 million from within the board of directors of mark, the committee has worked hard to the National Flute Association. formalize the structure of the endow- I am privileged to begin my service to ment, ensuring that the NFA endowment the NFA as chair of the board and look for- will be a dependable resource for many ward to this year with great anticipation! generations of flutists to come. The I have just arrived home from our very committee’s members (Dombourian- first fall NFA board meeting, this year in Eby, Gwen Powell, Beth Chandler, Indianapolis. This was part of our Teresa Beaman) and I spent many restructuring last January in an effort to hours teleconferencing and, in the have our board meeting more than just process, learned more about endowment once a year, along with a commitment to law than we ever dreamed possible! Many begin strategic planning for the NFA. The thanks to those who have helped us board met November 4–5. It began with along the way with our education professional facilitator Michael Kumer, process, especially the NFA’s financial executive director of the nonprofit adviser Bob Lane, Deborah Gaynor, and Patti Adams Leadership Institute at Duquesne pro bono legal counsel Linda Mintener. University. We began work on a vision Watch the Web site for announce- and value statement for the NFA, plus ments from our terrific committees, formulated ideas for beginning the which are the lifeblood of our organiza- one and seeing the stacks! Gwen Powell, process of writing a five-year plan. tion! New Music Advisory’s outgoing librarians Bob Diaz and Rachel Kaplan, The board of directors and staff flew in chair Paul Taub and new chair Molly and assistant professor of flute Brian from all over the U.S. and beyond. Barth are lining up composers for next Present at the meeting: board members Luce, along with many others, have summer’s competitions, in addition to Beth Chandler, Joanna Bassett, and worked hard to make our collection one bringing our latest commissioned work, Bickford Brannen; Secretary Lori Akins; of the best in the world. I encourage you with composer Martin Bresnick, to life. Past Secretary Carol Dale; chair of the to use this fabulous resource and stop by The Pedagogy and Advisory committees Finance Committee Teresa Beaman; past for a visit if you are ever in Tucson. have some terrific new initiatives for us president and Development Committee Another great member resource is our Chair Kathy Borst Jones; immediate and the EC looks forward to hearing new Web site forum! This has come to past Chair Alexa Still; Chair Patti from all our committees at midwinter. us courtesy of the generosity of our Adams, staff members CEO Phyllis Please join me in welcoming our new five- outgoing secretary Carol Dale. It is a Pem-berton, Convention Director year committee chairs: Development: great way to meet other flutists and learn! Kathy Borst Jones; Endowment: Zart Madeline Neumann, and Membership Plus, you never know who’s going to Dombourian-Eby; Planned Gifts: Gwen Director Maria Stibelman. Those attend- answer your latest post! Sir James? Powell; Forum: Carol Dale; New Music ing the meeting by phone were Vice On to the next convention! Jonathan Advisory: Molly Barth; Historical Flutes: Chair Leonard Garrison; board members Keeble, our program chair for this Linda Pereksta; Cultural Outreach: Hal Ott, Chris Kreuger, and Robert Dick summer’s Kansas City convention, is and chair of the Endowment Committee Horace Young; Flute Choirs Coordinator: Kelly Via; Newly Published Music: putting together a terrific program. See Zart Dombourian-Eby. his letter in this issue, and check the Web A presentation was made to the board Jennifer Robin Lau; Orchestral Audition site often for exciting new details. by Music Crossroads, an Indianapolis- and Masterclass: Jennifer Parker-Harley; In closing, I am happy to announce based civic organization, as part of a High School Soloist: Ruth Ann McClain; proposal to move the NFA’s headquarters Baroque Flute Artist: Nancy Schneeloch- that the NFA’s Executive Committee has and a percentage of its conventions to Bingham; Flute Research Coordinator: accepted my invitation to meet in New Indianapolis. The board was impressed Michelle Cheramy; Performance Health Orleans in January for the annual mid- with the scope of the proposal but Care: Stephen A. Mitchell; Myrna Brown winter meeting. It is an opportunity for understands the enormity of such a Society: Eva Amsler; Myrna Brown me to share the great things happening in decision. We look forward to thoroughly International Liaison: Angeleita Floyd. New Orleans; what wondrous things can examining this proposal from the city In October, I visited the NFA’s national result from working together to rejuvenate and will be reporting to the membership Library at the University of Arizona in and renew, a renaissance in the making! throughout our process of investigation. Tucson and enjoyed meeting with every- —Patti Adams nfaonline.org Winter 2008 The Flutist Quarterly 5

THE FLUTIST QUARTERLY Anne Welsbacher, Editor Christine Cleary, Amy Hamilton, Contributing Editors Tony Watson, Masterclass Reporter Victoria Stehl, Art Director Steve diLauro, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies School of Music Texas Tech University Lubbock, Texas Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Louis A.Carlini Patricia George FLUTE REPAIR TECHNICIAN Professor, Performer, Masterclass Teacher, Author Straubinger Certified Pocatello, Idaho Authorized Pearl Sales and Service Ruth Ann McClain Instruments Bought and Sold Flutist and Studio Teacher Memphis, Tennessee John Wion Professor of Flute The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff 201-791-4097 Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director [email protected] Madeline Neumann, Convention Director Maria Stibelman, Membership Director New Jersey Brian Covington, Web Design Consultant By Appointment Only The National Flute Association does not promote or endorse any products, companies, or artists referenced www.fluterepairbylou.com in the editorial content of The Flutist Quarterly or other NFA publications. From the EDITOR

Life and Death and Music

inter is tough on some teaching affected, and was affected by, people, myself included, her cancer appeared in the spring 2006 Wmore for the loss of light issue of The Flutist Quarterly. We Anne Welsbacher than the frigid temperatures. With this bumped it to the earliest possible issue winter issue of The Flutist Quarterly,I to increase the odds that she would live watch once again, through the window to see it in print. her. I resisted this portion because this of editorial distance, the mourning I was impressed with the article magazine is about flutes and flutists, not process of the flute community when its because it provided not self pity but about ovarian cancer, but she gently and members fall from life. I edit out the advice and insights on how to incorpo- firmly pressed for inclusion of at least typos and the extraneous commas in rate a life-threatening disease into your some resource citations so that others the Passing Tones department feeling a daily practice. It addressed how music fit could be better armed for battle. In bit heretical, somehow; it doesn’t seem into her personal needs—except when it addition to adapting and adjusting her as though the commas ought to matter in didn’t. For a time, music was too emo- musical life, Wendy chose to spend her these deeply personal pages. But although tional for her to handle, so she set it aside few remaining days advocating for I usually do not know the people whose temporarily. When she did turn back to others. It was a trait I have often lives are chronicled here, the department it, she “chose music with structure— observed in the National Flute hurts deeply. Most of the death notices Bach Goldberg Variations…Mozart Association, in both its individual are sent to me from you, the people who piano concerti.” (I remember my own members and in its policies and prior- know and love the departed, making this long-ago solace in a particular Mozart ities, and this characteristic continues an even more intensely personal section concerto that I played on the piano over to impress and humble me. because it is created from the love and and over after receiving news of cancer Especially in winter time, I hate labors of an entire community. within my own family. I don’t remember working on the Passing Tones column. Among the many lives described, too the piece itself, or anything else I said But often it occurs to me, as I come to briefly, in this issue, is that of Wendy or did during those first confusing know this organization better, that these Pender-Cudlip. She is not the most days. What I remember is the great pages reflect perhaps best of any pages famous of the people noted in this issue, assurances of the ivory keys, the between these covers what the NFA is which regrettably contains more than steady beats that filled up the dreadful and has to offer: a community of people the usual number of listings, including a minutes and hours and days, the lack with shared passions, talents, and— feature article about Louis Moyse. But of a need to think or feel,the structure when the time does come—loving hers struck me especially because of my of that music.) support in the last walk of life, where own brief interaction with her. Her Her article also included information even music can no longer follow. article about how her flute playing and about the cancer that eventually killed —Anne Welsbacher

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High Notes News and activities about the accomplishments of National Flute Association members and the flute world

Susan Hoeppner, Trudy Kane, Gary Schocker, and Shimizu. The flute ensembles were conducted by coordi- nator Vanita Jones. The international event is held annually in memory of Julius Baker on the campus of Western Connecticut State University in Danbury. Visit wcsu.edu/summermusic or call 203-837-8614.

Nicola Mazzanti teaching a morning warm-up class at the International Piccolo Symposium. he first International Piccolo Symposium (IPS) was held Tat the University of Nebraska at Omaha August 2–4, 2007. The symposium included lectures, workshops, recitals, solo classes, orchestral excerpt classes, and discussion ses- sions with Nicola Mazzanti, Lois Herbine, and Christine Beard. Nancy Nourse and Nicole Esposito also contributed to the event, and Christi Zuniga was pianist. Two formal Faculty and students of SummerFlute 2007 on the steps of Holy Names University. recitals showcased IPS teachers and included two premiere FA members Amy Likar, Lea Pearson, Stacey Pelinka, performances: Mazzanti performing the world premiere of Liisa Ruoho, and Sandra Seefeld hosted the seventh “Melma Calma” by Davide Zannoni, the 2007 IPS artist- N annual SummerFlute 2007 at Holy Names University in in-residence; and Beard performing the American premiere of Oakland, California, July 9–13, 2007. Flutists and instru- Sonata No. 2 for piccolo and piano by British composer mentalists from Finland, Australia, England, the United Matt Smith. The second annual IPS is being planned; visit States, and Puerto Rico came to Oakland to take part in lessons piccolosymposium.com. and classes in Body Mapping, Alexander Technique, the Feldenkrais Method, and flute that together teach the musician how to include whole-body awareness in music making to promote facility and assist in overcoming discomfort, pain, and injury that can result from playing a musical instrument. SummerFlute’s faculty kicked off the week with a concert assisted by Bay Area collaborative pianist Miles Graber and guests. The daily schedule included an interactive morning Body Mapping workshop led by Andover Educators, Likar, and Pearson. Seefeld, Pearson, and Likar hosted masterclasses allowing participants to apply Body Mapping concepts in their playing. Afternoons included private lessons in the Feldenkrais Method, Alexander Technique, flute, and chamber From left: Ruth Baker, Kerry Walker, Jake Fridkis, Miyuki Urin, Vanita Jones, music opportunities. Class members reconvened at the end Ga Won Han, Linda Mark, and Nobutaka Shimizu. of each afternoon for a Feldenkrais Awareness Through Movement class led by Pelinka. The class performers played in he 2007 Julius Baker Masterclasses—The Legacy two of Ruoho’s evening masterclasses, which addressed per- TContinues has announced its annual prize winners. First formance practice, musicality, technique, sound, anxiety, and place was awarded to Miyuki Urin; second place was awarded ways to incorporate the whole body in playing. Likar wrapped to Ga Won Han; and third place was awarded to Jake Fridkis. up the week of classes with a presentation on how to incorpo- The final concert featured the prize winners as soloists with rate body awareness in music making. The week concluded Linda Mark on piano and guest performers Nobutaka with a Finale Concert in which class members performed solo Shimizu and Kerry Walker. Guest performers/teachers and chamber music. SummerFlute 2008 will take place July during the week included Tadeu Coelho, Bradley Garner, 14–18, 2008, in San Rafael, California; visit summerflute.org.

nfaonline.org Winter 2008 The Flutist Quarterly 13 HIGH NOTES FA member Polly Meyerding taught her original composition for solo flute, “Solace.” Angela Nflute and performed for the 25th Rowland, principal flute of the Macao Orchestra in Hong Annual Lutheran Summer Music Academy Kong, presented a poster session entitled “Phrase and and Festival at Gustavus Adolphus College Phrasing with Applications to Flute Performance.” in St. Peter, Minnesota, last summer. More Kimberlee Goodman, flute professor at Otterbein College, than 125 high school-age student musicians presented a lecture/recital entitled “The Commissioned from 30 states and three countries spent Works of the National Flute Association” and performed four weeks participating in a schedule that Charles Delaney’s “...and the strange unknown flowers” included individual lessons, small ensem- and Michael Colquhoun’s “Charanga.” bles, classes, large ensembles, electives, and Polly Meyerding daily recitals. Meyerding maintained a imi Stillman’s 2007–08 season private studio, coached a small ensemble, led band and includes performances of Lowell orchestra sectionals, and performed in solo recitals and MLiebermann’s Concerto for Flute and played for worship services throughout the summer. The Orchestra with the Chamber Orchestra Academy culminated in a weeklong festival July 19–22, of the Triangle and conductor Lorenzo with free evening concerts and more than 40 other free Muti in Durham, North Carolina, a solo recitals and music demonstrations. appearance with the Ambler Symphony (Pennsylvania) and conductor Jack ormer NFA Chair Alexa Moore, guest artist appearances for the FStill, with former col- Atlanta Flute Club, Las Vegas Flute Club, leagues from the University Mimi Stillman Hoff-Barthelson Music School in Scars- of Colorado at Boulder, dale, New York, at Millersville University in Lancaster, was a featured performer at Pennsylvania, Bands of America and Yamaha Corporation the College Music Society’s of America Festival in Indianapolis, and the third season International Conference of her Dolce Suono Chamber Music Concert Series, of Angela Rowland, Stephanie Rea, in July 2007. More than 100 which she is founder and artistic director. The Dolce Kimberlee Goodman, and Alexa Still. convention goers took part Suono season includes five concerts at its new home at in the conference, which was held in Bangkok and First Unitarian Church in Philadelphia, two suburban Ayuthaya, Thailand, July 16–22. Still performed Chick concerts at Haverford and Swarthmore colleges, and edu- Corea’s “Trio for Flute, Bassoon, and Piano.” Stephanie cational outreach in the Philadelphia public schools. Visit Rea, flute professor at Murray State University, performed dolcesuono.com or mimistillman.org.

16 h lts Quarterly Flutist The itr2008 Winter nfaonline.org Horizons: New yWnyHmsOnovwerosuoke Hymes Wendy By fia r ui fesrc programming rich offers music art African potnte,btsoe fe r un- are often scores but opportunities, fiasfrms composers—among foremost Africa’s ulse n a ecalnigt find. to challenging be can and published hmteato’ husband. author’s the them nihsaeofrdaotsm of some about offered are Insights o Flute for Music Art African of World The

WALL PLAQUE OF AN OJA FLUTE PLAYER, FROM NIGERIA; WENDY HYMES ONOVWEROSUOKE ecent years have witnessed an increase in the number of Western classical music performers exploring new Rmusic, especially that from other cultures. Examples include world-renowned performers such as cellist Yo-Yo Ma, whose recent albums have included collaborations with musicians from China, Mongolia, Iran, Turkey (Silk Road albums released in 2002 and 2005 respectively), and Brazil (Obrigado Brazil released in 2003), and flutist James Galway, who has recorded albums of Japanese melodies and Latin American music. And the NFA continues to challenge today’s upcoming flutists to push the boundaries of traditional technique by selecting pieces such as Ian Clarke’s “Zoom Tube” as part of its competitions. The 35th annual conven- tion included events highlighting Venezuelan and Mariachi music, Mexican composers, ethnic flutes from Japan, China, Peru, and Ukraine, and Native American traditions. Though there exist many compositions by African com- posers, African art music is not often programmed by Western performers for many reasons, such as the lack of exposure these compositions have received, difficulty of getting scores (many pieces are not published), the lack of commercially available recordings, and the difficulties of obtaining information about African musical styles. Despite these limitations, the compositions produced by African art music composers are rich in diversity and worthy additions to the Western This wall art hangs in a hotel in Ghana; the instrument is a horn, not a flute. flute repertoire, and they offer exciting programming pos- sibilities for today’s flutists. identity in their work. According to Nketia, an African school of composition must be a “fusion of African and 4 African Art Music Defined European idioms.” If composers write music that solely J. H. Kwabena Nketia, a noted scholar of African music, expresses Western musical styles and is devoid of intrinsic defines art music as “music designed for intent listening or African elements, they often find their music is not appreciated presentation as ‘concert’ music, music in which expression of by African audiences. Contemporary styles such as atonality feeling is combined with a high level of craftsmanship and a and 12-tone music are especially difficult with native audiences. sense of beauty.” He further defines African art music as Thus Nketia’s comment belies his belief that composers’ “works that manifest these attributes but which are rooted in 1 training must encompass both Western music and a selection the traditions of Africa.” of African music relevant to them. Ademola Adegbite of the Music Department at the Akin Euba, a prominent Nigerian art music composer, also University of Ifè in Nigeria includes an additional component, writes about the reason certain contemporary Western styles stipulating that African art music composers are those “who 2 are not often widely appreciated by African audiences: had training in techniques of western art music.” Hence In African traditional culture, music is not African art music is a specialized genre that reflects both conceived in “absolute” terms but is typically Western and African elements, or, as Adegbite further notes, realized in the context of other arts and of a “type of musical synthesis which is cross fertilized by 3 social events. It would seem, therefore, that African and Western musical elements.” modern composers who seek to commu- The Issue of Identity nicate with average Africans should take African art music composers are faced with a barrage of account of the traditional contextual usages obstacles, many of which are the same as those faced by of music. Music theater and dance theater are more likely to appeal to average Africans contemporary composers in Western countries: finding 5 one’s “voice” or identity, determining one’s audience, and than symphonies and string quartets! writing music attractive to this audience. There are also problems of infrastructure, such as finding capable performers Therefore, finding individual identities proves challenging. and venues for performance and media to assist in self-promo- And, like many Western composers, African composers have tion. Despite receiving extensive training at home and abroad, often gone through “periods,”such as Stravinsky did with his employment for art music composers is in most cases limited Russian, neo-classical, and 12-tone periods. to universities. In the case of most of the compositions written African composers show different propensities for learning for flute, the flute was chosen by the composers because they about their “roots.” Nketia writes that he had to “learn the knew a capable flutist who was available to perform the piece. intricacies of the art in my community, largely through 6 These obstacles contribute to the difficulty many African social experience, and later through formal training.” The

WENDY HYMES ONOVWEROSUOKE composers experience of establishing a successful sense of colonialist period in Africa’s history left behind societies

nfaonline.org Winter 2008 The Flutist Quarterly 17 NEW HORIZONS:THE WORLD OF AFRICAN ART MUSIC FOR FLUTE whose ideals still reflect those of the former colonizing Ndodana-Breen’s African heritage is seen in the titles of empire. Often the effect is one of shunning African traditions many of his pieces given in Zulu, his native tongue, and in in favor of Western ones. This can be seen amongst composers his use of traditional folk melodies and complex rhythmic as well, particularly when the institutions of higher learning patterns. At the same time, his music takes on characteristics continue to propagate a more Western than African approach in Western music, such as the minimalism of Steve Reich and to music training.7 the various beat subdivisions common in Varèse. A percussive nature is evident in sudden accented notes that occur on African Pianism’s Influence shifting beats within each subsequent measure. African Pianism, a concept first labeled in 1964 by Akin Euba, Visions, the only piece the composer has written for solo a student of Nketia, developed into a movement in the 1960s flute, was written while Ndodana-Breen was in Chicago in and ’70s as a compositional technique used by many African March 2000. Part I is marked andantino, with a brief presto composers to incorporate African traditional elements into section, while Part II is moderato with a section marked piu African art music. Its use is widely apparent in the pieces andante. The two parts of Visions don’t have cadences per se, highlighted in this article. Nketia defines African Pianism as: but moments of climax followed by an immediate diffusion …a style of piano music which derives its of the built-up tensions. Example 1 shows the climax characteristic idiom from the procedures of achieved in m. 66 of Part I. African percussion music as exemplified in bell patterns, drumming, xylophone and mbira music. It may use simple or extended rhythmic motifs or the lyricism of traditional songs and even those of African popular music as the basis of its rhythmic phrases. It is open ended as far as the use of tonal materials is concerned except that it may Ex. 1 Bongani Ndodana-Breen, Visions Part I, mm. 59–67 draw on the modal and cadential charac- 8 teristics of traditional music. The other characteristics of Visions include the predominance Similar to the technique of Impressionism, which captures of pentatonic scales to build melodic motifs and the under- the true character of a scene through the use of rough brush lying harmony. The rhythmic and harmonic qualities show strokes and unrefined shapes, African Pianism captures the striking similarities to minimalist music, such as using character of a traditional music scene by using the piano or changes in rhythmic motifs as a means of sectionalizing the other Western instruments as a surrogate for traditional piece, and slow (even at times static) harmonic rhythm. African instruments. Transcribing African polyrhythms, with The louder extremes of dynamics and drastic changes in multiple parts that create a layered rhythmic effect, presents rhythmic texture indicate the moments of climax in Visions. additional challenges for African composers. It is interesting to note the similarity between Visions and a This article highlights a sampling of compositions that lot of African music that uses changes in timbre as a means offer a representative selection of information about promi- of sectionalizing a piece. Ndodana-Breen uses changes in the nent, stylistically diverse African composers. basic rhythmic units as a means of sectionalizing Visions. Careful observance of Ndodana-Breen’s dynamics, because Visions for Solo Flute by Bongani Ndodana-Breen they are the key to moments of climax, and changes in Ndodana-Breen (pronounced: rhythmic texture will help the character of one’s performance. Nn-do-DA-na breen) represents Of the title “Visions” Ndodana-Breen says: a younger generation of African The piece was inspired by what I can art music composers. He has describe as fragments of memories—a composed operas, oratorios, vision of Africa, the people and places I symphonies, chamber music, once knew and grew up with now clouded and choral works. Born in 1975 by distance and languid time. I think this is in Queenstown, South Africa, not nostalgia but an attempt to hold on to he studied music at Rhodes fragmented memory and self. Something I University in Grahamstown, think that is shared by most strangers to South Africa, and composition any strange land. I suppose, the “visions” of with Roelof Temmingh at the distant places and people that shadow any 9 Conservatory in Stellenbosch, migrant. South Africa. At age 22, Bongani Ndodana-Breen Ndodana-Breen became com- Of the lyrical melody in m. 21 of Visions Part II (see example poser in residence with the Indianapolis Chamber Orchestra. 2), Ndodana-Breen says, “My melodic ideas try to invoke Ndodana-Breen has also been active as a conductor, and since Southern African traditional melodies—I usually attempt to 2000 has been the artistic director of the new music group craft melodies with associations to San, Khoi, Xhosa, Zulu, Ensemble Noir in Toronto. and Venda songs…not quotation but mimicry…”

18 The Flutist Quarterly Winter 2008 nfaonline.org Ex. 2 Bongani Ndodana-Breen, Visions, Part II, lyrical melody in mm. 21–24

On the role of rhythm, Ndodana-Breen wrote “[It is] very important. As an African, rhythm is quite a prominent fea- 10 ture of my work, it is to me the origins of melody…”

Republic Suite by J. H. Kwabena Nketia Ghanaian musicologist, scholar, and composer J. H. Kwabena Nketia (pronounced: En-keh-TEE-ah) was born in 1921. Nketia received his first music training at the Presbyterian Training College in Ghana and then at the University of London, Trinity College of Music, Columbia University (where he studied composition with Henry Cowell), Juilliard School of Music, and Northwestern University. He has taught at the University of Ghana, Legon, where he is the director of the International Centre for African Music and Dance (ICAMD), UCLA, Harvard University, Michigan State University, and the University of Brisbane, among others. Awards include the IMC-UNESCO Music Prize for Distinguished Service to Music. Though Nketia is better known for his scholarly writings including his book, Music of Africa, published in 1974, this elder statesman of African musicology also composed vocal and instrumental music. His pieces for flute and piano include Egyanka Ba (After Kakaiku); Four Flute Pieces: Thoughts of Youth, A Widow’s Prayer, This is Death, Asuo Meresen; Gya Me Kwan (Canzona); and Republic Suite; for chamber ensembles his Cox Lane Sextet For Wind and Percussion No. 1 and the Ewe-Fon Trilogy; and a Canzona for flute, oboe, and piano. Many of his oboe pieces such as dasuom (Midnight) and violin pieces such as Kwadede (Folk The Benin Hornblower depicts a court official of the Oba, or king, blowing a horn C made from an elephant’s tusk. Song) are also effective when performed on flute. The 23-minute Republic Suite demonstrates Nketia’s Movement 1 portrays conflicts and resolutions in forming extensive knowledge of African musical styles, employing a vari- Ghana’s first independent government. The independence, ety of musical styles from Ghana, the Congo, and the diaspora. begun in 1957 with Ghana as a member of the Commonwealth, It was premiered at the Republic Day Concert, July 1, 1960, in was not completed until 1960. The country went through 11 the Great Hall of the University of Ghana, with Nketia on transitions, and rival factions struggled to secure power. This piano and Charles Simmons playing flute, for a select audience political infighting is represented by the call-and-response tex- that included the new president of Ghana, Kwame Nkrumah. ture of the flute and the piano parts. The alternation between The U.S. premiere was at the Rockport College Keyboard eighth notes and triplets throughout the movement also lends Festival at the State University of New York in 1976. to the argumentative quality. Movement 2’s theme is based on Programatic aspects in Republic Suite commemorate Ghana’s the initial phrase of a popular highlife street song, and repre- independence from Great Britain and subsequent struggle to sents the common people’s joy over independence. Movement establish an effective government. Because the audience was 3 portrays a dance style typical of Francophone countries composed of Ghanaians, Nketia included a number of tunes surrounding Ghana. Movement 4’s lyrical theme expresses that are “common knowledge” to most of his countrymen. the loss of life during violent clashes between the Ashanti Movements 1, 3, 5, and 7 are fast, dancelike and full of exciting people. Movement 5 represents the unification of Togo; its polyrhythmic part writing, while movements 2, 4, and 6 are rhythmically aggressive dance is based on the music tradition of slow and lyrical statements. Nketia’s use of call-and-response the Ewe, a people who lived next to French Togo, and suggests textures, syncopated cross-rhythms of triplets and eighths, and pre-independence conflict and resolution. Example 3 shows the popular highlife tunes form an exciting combination of African prominent bell pattern of much of the Ewe people’s music,

WENDY HYMES ONOVWEROSUOKE rhythmic vitality with European-derived harmonies. which is heard in the piano mm. 46–75:

nfaonline.org Winter 2008 The Flutist Quarterly 19 NEW HORIZONS:THE WORLD OF AFRICAN ART MUSIC FOR FLUTE

Ex. 4 Fred Onovwerosuoke, Ayevwiomo, opening call

After affirming the birth, the celebration begins in the Allegro (mm. 15–69). The section Slowly with expression (mm. 70–78) is the reflective seventh day. This section, in E-flat Ex. 3 J. H. Kwabena Nketia, Republic Suite, fifth movement, minor with modal inflections and grace notes, is similar to a mm. 46–48, bell pattern in piano vocalization and reflects northern African Islamic music. The Movement 6 is based on an Akan children’s play tune originally celebration returns once again in the Veloce (mm. 79–166). played on the bamboo atenteben flute. Movement 7 is the Cross rhythms in the piano part beginning in m.109 are a composer’s portrayal of Pan-African resolution to the conflict. prime example of African Pianism techniques, portraying the layering technique of three native percussion instruments: two 13 Three Pieces for Flute and Piano by Fred Onovwerosuoke isolugus and one wooden or metal gong. Fred Onovwerosuoke (pronounc- ed: Oh-noh-well-oh-SUOH-keh), or “Fred-O” as people like to call him, was born in Ghana in 1960 to Nigerian parents. (Fred-O is my husband.) Onovwerosuoke has directed choirs all over Africa, Canada, and the United States, and is the founder and artistic director of the St. Louis African Chorus. Onovwerosuoke’s com- positions reflect “transnational” influences owing to his broad experiences in different cultural Ex. 5 Fred Onovwerosuoke, Ayevwiomo, cross-rhythms in piano Fred Onovwerosuoke settings: African, European, and American. The wide variety of African cultures whose vocal music he has transcribed and The piece closes with the return of the opening call, typical of arranged presents diversity not heard in the compositions of how most African celebrations end. other African composers. Iroro, meaning “reflection,” draws from the initiation Onovwerosuoke composed his Three Pieces for Flute and dances of the Igbe (cult of the River Goddess) priests and Piano for me after we met at Principia College, in Elsah, priestesses in Nigeria. To my knowledge, Onovwerosuoke is the Illinois. Ayevwiomo, Iroro, and Just Before Dawn reflect myriad only African composer to have written a piece specifically harmonic styles within their programmatic frameworks. employing the alto flute. The piece is in da capo form. The A According to Onovwerosuoke, the program of Ayevwiomo section in 6/4 employs three staves in the piano part to portray 12 stems from his native Urhobo culture: many instruments (see example 6). Birth, espousal and death often are pivotal triads in Urhobo metaphysics about life on earth. Ayevwiomo, literally meaning a moth- er has put to bed, or a mother has given birth, celebrates the birth of a child.An elder, usually of the women folk, inquires about the arrival, to which the parents respond. If the response is affirmative, the village breaks into a seven-day-long dance, accompanied by the isologu or bass thumb piano, wooden xylophone, and flute. The seventh day often calls for reflection, for, on the eighth day the child must be named, blessed with prayers and libations, so it can traverse a treacherous world with care and success.

Onovwerosuoke portrays life’s dual emotional nature (happi- ness and sadness or joy and reflection) in the various sections of the piece. The opening call in the flute represents the elder’s call: Ex. 6 Fred Onovwerosuoke, Iroro, opening mm. 1–6

20 The Flutist Quarterly Winter 2008 nfaonline.org The basso ostinato and top part of the piano are mostly xylophones, while large bamboo flutes act as drones in the Web Sites and E-mail Addresses middle staff. The Urhobo have no specific name in their St. Louis African Chorus (SLAC) language for “flute,”but do refer to big and small whistles made 14 africanchorus.org of either bamboo, raffia, gourds, or animal horns. The solo alto flute part is the leading bamboo flute. The modal and African Music Publishers improvisatory nature of the melody portrays the trancelike africanchorus.org/Voam/amp.html state of the ceremony participants and lends to the ritualistic feel of this section. In the B section, the trancelike state becomes The International Consortium for the Music more animated as the participants earnestly seek answers from of Africa & its Diaspora (ICMAD) the Goddess of the River. The improvisatory melody in the flute http://africanchorus.org/ICMAD/ ICMAD.htm (mm. 45–54) portrays a xylophone solo. International Institute— African toAmerican Music (ISAAM) [email protected] International Centre forAfrican Music and Dance (ICAMD) at the University of Ghana,Accra umich.edu/~iinet/icamd

Ex. 7 Fred Onovwerosuoke, Iroro, improvisatory solo, mm. Culture Africa Network Project 45–54 africa-can.org

Fractured rhythms, offbeat accents in the flute, and outbursts in the piano portray the element of surprise, the moment when an answer is received from the goddess, in the retransition at the end of the B section (mm. 66–77).

Ex. 8 Fred Onovwerosuoke, Iroro, retransition, mm. 66–77

The A section returns, portraying dissipating excitement and return to prayerfulness. Just Before Dawn is “a product of the composer’s American journey,”a result of experiencing new influences and trying 15 to see those new influences from an African perspective. Using a contemporary harmonic language and some extended techniques in the flute part such as harmonics and rolled chords, the piece captures an African forest before Ex. 9 Fred Onovwerosuoke, Just Before Dawn, Allegretto, dawn and is a setting of the composer’s self-composed poem. mm. 60–78 Two unbarred improvisatory-sounding cadenzas in the flute part mirror the night imagery in the poem’s text, which is Onovwerosuoke has recently composed three additional works read by a narrator during performance. In the concluding for flute including Five African Sketches for Flute, Violin, and allegretto section, wide, upward leaping intervals in the flute Piano, a 10-minute musical journey through little-heard and rapid 32nd-note figures in both instruments portray the African musical styles, based on his travels in 30 African coun- “joyous birds” that have since woken up. tries studying traditional musics. Onovwerosuoke’s writing for

nfaonline.org Winter 2008 The Flutist Quarterly 21 NEW HORIZONS:THE WORLD OF AFRICAN ART MUSIC FOR FLUTE quartet, Mu Kkubo Ery’Omusaalaba, which was featured on Discographies and Books the Kronos Quartet’s CD Pieces of Africa. He has also received numerous commissions. Tamusuza has been on the faculty of Graham, Ronnie. The World of African Music, vols. 1 Makerere University in Uganda and at Northwestern and 2. London: Pluto Press, 1988 and 1992. University in Illinois, teaching music composition, theory, In these extensive discographies, the author includes and analysis. historical background on each musician. Volume 1 Okwanjula Kw’Endere, meaning “introduction of the focuses more on traditional music and volume 2 on flute,”is the introductory movement of a larger chamber work more recent popular music. Ekivvulu Ky’Endere or “African Festivity for Flute” scored for Nketia, J. H. Kwabena. The Music of Africa. Chicago: flute, viola, harp, marimba, and maracas. The composer Norton Press, 1974. “attempts to duplicate the sound of traditional African 16 This book includes a useful selected discography that instruments and musicians.” The premiere of this piece was lists recordings by musical traditions of Africa, music given at Northwestern University in 1996, while Tamusuza was in community life, and musical instruments. studying for his doctorate, by Amanda Baker (flute), Robert Fisher (viola), Kari Gardner (prepared harp), Rob Gehrke Cooke, Peter. “Music in a Ugandan Court.” Early (maracas), David O’Fallon, Cameron Britt (prepared marim- Music 24, no. 3 (August 1996): 439–452. ba), and Christopher Woodruff (conductor). One can perform This article includes suggested listening for Kiganda Okwanjula Kw’Endere independently as a solo flute piece. traditional music, which is helpful for the Tamusuza. This movement employs many techniques that simulate the The Global Music Series, published by Oxford sound of the native Kiganda (pronounced “chi-GAHN-da”) University Press. flute, called the endere, including an extensive use of micro- Each of these volumes is written by specialists in the tones, harmonics, key slaps, breathy sounds, flutter tonguing, designated African region. The two African volumes simultaneous singing, and playing and pitch bending. are Music in East Africa by Gregory Barz and Music in Despite the use of extended techniques, this piece maintains West Africa by Ruth M. Stone. Each volume also a decidedly “African” sound, showing the music’s strong con- includes a recording, and discusses specific aspects of nection with Kiganda traditional music, which draws its roots the music on each track. from the royal court of Buganda, a central region of Uganda, whose roots can be traced back 700 years through the reign of 17 all three instruments of the trio is equally challenging, but he 36 kings, all great patrons of music. One of the ensembles in creates balance between the excitement of the quick tempos and residence was the abalere ba kabaka (the king’s flute players) the lyrical writing for flute and violin. which uses six different-size endere flutes and swells to 20 or 30 In 2007, Onovwerosuoke wrote a new concerto titled players drawn from surrounding villages for special occasions Landscapes of Africa. In this 14-minute concerto, the soloist two months of the year. The endere has four finger holes and 18 alternates between soprano and alto flute along with piccolo. plays a pentatonic scale just over two octaves. The orchestral accompaniment calls for at least 10 tympani The passages for simultaneous singing and playing are and full wind and brass sections. Also in 2007, denoted by an “S” followed by a line underneath the staff, and Onovwerosuoke composed a work for solo flute, Variations are almost all in a G pentatonic scale (G-A-B-D-C). The first for Solo Flute, based on a Pende flute melody by Vindu one is shown in example 10. Bamgambula from the Democratic Republic of Congo. After stating the lyrical theme, the composer follows with six con- trasting variations: Moderato, Allegretto, Più mosso e rubato, Agitato, Adagio parlando, and Con moto. This piece does not contain extended techniques, but it has challenging rhythms and articulations. Variation III, Più mosso e rubato, contains prebeat grace note runs reminiscent of those in the final movement of Prokofiev’s Flute Sonata. Ex. 10 Justinian Tamusuza, Okwanjula Ks’Endere, mm. 42–51 Okwanjula Kw’Endere by Justinian Tamusuza Ugandan composer Justinian Tamusuza (pronounced: tah-mu- Tamusuza often “prepares” Western instruments to achieve SU-za) was born in 1951 in Kibisi, Uganda. Early on he studied the desired effects. Here, his use of microtones in the score Kigandan traditional music: singing and playing drums and simulates the scale of the native endere flute, which is not tem- tube-fiddle, endingidi. He also studied at Queens University in pered. Extensive passages of key slaps are best done with either Belfast, Ireland, and received his doctorate in composition at the left hand fourth finger or the right hand fourth finger, Northwestern University. unless this interferes with the desired pitch for the key slap. This “dual music background” is reflected in the distinct This is not always clear in the score’s notation. Finding the way he combines traditional African folk elements with fingers that sound most percussive allows the performer to be minimalist techniques and polyrhythms. Tamusuza as rhythmic as possible. Another helpful technique is popping achieved prominence as a composer with his first string one’s tongue quickly against the lips to amplify the key clicks.

22 The Flutist Quarterly Winter 2008 nfaonline.org Other choices must also be made by the performer, such as singing at pitch or an octave lower, and how to achieve the Suggested Recordings “breathy” tone notated in places by the composer. This can be Featuring Non-Western Flutes achieved by loosening one’s embouchure or by changing the angle of the flute against the lips. Hewale Sounds, The Hewale Sounds, Human Songs Rhythmic features of the piece also bear the direct imprint HS-001, year unknown. (Ghana) of Kiganda traditional music. The compound duple meter has many metric intricacies (syncopation, hemiola, cross- Pops Mohamed, How Far Have We Come, Melt 2000, rhythms), which create variety. The special fingerings 1997. Blue Room. (South Africa) required for microtones on the flute, along with breathy sounds and key slaps, also provide a variety of timbral Ravi Shankar Presents: Flute & Sitar Music of India, changes. Climaxes and cadences are achieved through Legacy International CD 319, year unknown. “increased rhythmic activity, textural build up, timbral inten- 19 sity, sustenance, dynamics, and use of high register.” Resting Place of the Mists: New Valiha and Marovany Example 11 shows the upward registeral shifts that build to Music From Madagascar, Shanachie 64075, 1996. the final cadential sequence of the piece. Rumillajta, Live at the Edinburgh Festival, Sterns Records RUMI912CD, 1991. (Bolivia)

Rumillajta, Atahuallpa, Sterns Records RUMI931CD, 1993.

Rumillajta, Takiririllasu, Sterns Records RUMI951CD, 1995.

Rumillajta, Urupampa, Sterns Records RUMI911CD, 1994.

Rumillajta, Wirococha, Sterns Records Ex. 11 Justinian Tamusuza, Okwanjula Kw’Endere, mm. RUMI871CD, 2003. 363–382 Rumillajta, Hoja de Coca, Tumi Records Tamusuza relishes the repetitive nature of Kiganda traditional TUMI002, 2001. music and uses it in creative ways within a contemporary style. Performers must strictly adhere to the rhythmic pulse Rumillajta, City of Stone, Tumi Records to keep the energy inherent in Kiganda traditional music, and TUMICD 001, 2000. also experiment with fingerings for the microtones, as the composer does not include these in the score. Rumillajta, Pachamama, Tumi Records TUMICD 003, 1992. Oja Flute Suite by Joshua Uzoigwe Nigerian composer Joshua Uzoigwe (pronounced: oo-zoi- Spokes Mashiyane, King Kwela, EGG-weh), born in 1946, studied at King’s College in Nigeria Gallo/Celluloid, 2000. (South Africa) and abroad at the Guildhall School of Music in London and the University of Belfast. Following Nketia’s example, he went Tebogo, Kwela Tebza, Teal Records back, from 1977 to 1979, to his roots, back to his Igbo vil- 2631, 1996. (South Africa) lages, to conduct field research of Igbo traditional music as a new source of inspiration. Uzoigwe was lecturer of music Viento de los Andes, Volumes 1 and 2, theory and piano at the University of Ife in Nigeria, V.D.L.A. Records. (Bolivia) University of Nigeria at Nsukka (1992–1996), and University of Uyo in Nigeria (1996–2005) until his death in 2005. notates this movement without bar lines, indicating pauses in Uzoigwe’s music often combines traditional music of the phrases with short vertical lines. 20 Igbo and Yoruba people of Nigeria. All of his music employs a This “African recitative” presents a challenge to the Western wide range of sophisticated compositional techniques. flute performer who likely has had no personal experience with The first and second movements of the Oja Flute Suite were this style of music; to better understand how to perform it, written in 1995. The title of the first movement, Ilulu, refers to performers can view Nigerian movies with oja flute per- 21 the use of proverbs by the Igbo people of Nigeria as a mode of formances such as Lion of Africa. This movie shows the discourse or communication. Here, the instrument being typical declamatory style of an oja performance and the imitated is the native Igbo wooden flute, called the oja. Uzoigwe primary role oja players have in Igbo culture. Here, each

nfaonline.org Winter 2008 The Flutist Quarterly 23 NEW HORIZONS:THE WORLD OF AFRICAN ART MUSIC FOR FLUTE

Compositions for Flute by African Composers

Quessie Adjahoe (Ghana) J. H. Kwabena Nketia (Ghana) Futoa Susu Be Yewom, solo atenteben and pf B foC C Ba (Canzona)*, solo treble instrument Atenteben Highlife No. 1, 3 atenteben Canzona,* fl, ob, and pf Atenteben Highlife No. 2, 3 atenteben C dasuom (Midnight)*, ob and piano My Signature Tune, solo atenteben and pf Cox Lane Sextet For Wind and Percussion No. 1,* fl/picc, Agbadza Series No. 1, 3 atenteben and African perc. cl, tr, xy, timp, snare Agbadza Trio, 3 atenteben and African perc. Dantuo Mu AwC (Traditional NnwomkorC Song),* 3fls and pf Ephraim Amu (Ghana) Egyanka Ba (After Kakaiku),* fl and pf Pipe Trio, 3 atenteben Ewe-Fon Trilogy No. 3 Dance of Joy,* fl and pf Pipe Tune no. 1, 4 atenteben Four Flute Pieces,* fl and pf Prelude, atenteben, and pf No. 1 Thoughts of Youth No. 2 A Widow’s Prayer Michael Blake (South Africa) No. 3 This is Death Honey Gathering Song, fl and pf No. 4 Asuo Meresen Gya Me Kwan (Canzona),* fl and pf Akin Euba (Nigeria) Kwadede (Folk Song),* vln and pf Study in Polyrhythm No. 3,* fl and pf Republic Suite,*• fl and pf Sataso Na AgorC W ,*C 2 fls and pf Stefans Grove (South Africa) Sonata for Flute and Piano, fl and pf Fred Onovwerosuoke (Nigeria) The Soul Bird: Quatre Tableaux, fl, vc and pf Three Pieces for Flute and Piano*• Ayevwiomo, fl and pf Hendrik Hofmeyr (South Africa) Iroro (Reminiscence), fl/alto fl and pf The Death of Cleopatra, voice, fl, alto fl, b cl, hn, vibr, hp, Just Before Dawn, fl, pf, and narrator vla, cb Five African Sketches for Flute, Violin, and Piano*• Due Sonetti di Petrarca, voice, fl, vc, and pf Landscapes of Africa,*• a fl/alto fl/picc with full orchestra Flute Concerto, fl and orch Variations for Solo Flute*• Fragment from Prometheus Unbound, voice, fl, cl, hn, mar, vibr, hp/pf, vln, va, vc Martin Scherzinger Incantesimo, solo fl Piece for Flute and Piano, fl and pf Le Bateau Ivre, voice, fl, hn, vibr, gong, hp, and vc Marimba, solo fl Justinian Tamusuza (Uganda) Notturno Elegiaco, fl, vc, and pf Abaafa Luli (They Who Died Then), † woodwind quintet Prayer for the Bones, voice, fl, vc, and pf Ekivvulu Ky-Endere (An African Festivity for flute) †, fl, vla, hp, marimba, maracas Okwanjula Kw-Endere Hans Huyssen (South Africa) (Introduction of the Flute) †, solo flute The Cattle Are Going Home, fl, vc, and pf Ato Turkson (Ghana) Ashenafi Kebede (Ethiopia) Three Pieces††, fl and pf Minuet for Flutes & Pipes,* fl or panpipe, shakuhachi, udachi-bass Joshua Uzoigwe (Nigeria) Oja Flute Suite,* fl and pf Gyimah Labi (Ghana) Visions I, II, III, IV, V,•• fl, bass cl, pf *unpublished or available from the composer †International Opus Bongani Ndodana-Breen (South Africa) †† University of Ife Press Visions, Part I and II,*• solo flute • available from African Music Publishers Apologia at Umzimvubu,* fl, vln, vc •• available online from Sibelius Music

24 The Flutist Quarterly Winter 2008 nfaonline.org wrestler travels with his own personal oja player, whose role is Uzoigwe adds accidentals in the flute part “to give the melodic twofold: to energize the wrestler for upcoming matches and to line a sense of direction. This was done by outlining ‘tonal cen- act as an intermediary between the wrestler and the gods. ters’ that have only a vague relationship to those of traditional 23 Joy Lo-Bamijoko writes about oja performance that “It music.” Another reason Uzoigwe does this is to avoid obvious must be remembered that the players of oja perform for tonal implications. The syncopated rhythmic patterns in the dance and drama, not for concert. The musician not only piano part and quick tempo lend to the playful mood of this 22 incites with his music, but is incited by it.” Bearing this in piece. The flute part uses additive rhythms, changing the mind, the flute performer is free to interpret the given grouping of the eighth notes, especially in the middle section. phrases of motives as felt, and to pause at will in between In today’s increasingly global society, performers looking for each one. Strive to capture the kind of energy inherent in new repertoire with multicultural appeal will find new possibil- improvisatory music. ities in African art music. Repertoire that encourages teachers The second movement, Ogbe Nkwa, is based on the dance and students to expand rhythmic and interpretative skills of the Ogbe, a clan of the Igbo tribe. The A section of this improves their performance of traditional repertoire as well. movement (shown in example 12) is in A-B-A form and combines pentatonic harmonies, gentle cross-rhythms, and Wendy Hymes has BA, MM, and DMA degrees from Principia sweeping melodic lines. The B section, which modulates College, Indiana University, and Louisiana State University down by half step to a B pentatonic scale, is more rhythmic respectively, and has taught at LSU, Southern Illinois University in nature. at Edwardsville, and Jefferson College. She has performed with the Louisiana Philharmonic Orchestra, the St. Louis Symphony, and the Union Avenue Opera and given recitals nationally and in England, Ghana, and Nigeria. Her solo CD African Art Music for Flute is planned for release soon. >

Endnotes 1. J.H. Kwabena Nketia, African Art Music (Accra, Ghana: Afram Publications Ltd., 2004), 5. 2. Ademola Adegbite, “The Present State of Development of African Art Music in Nigeria,” in African Art Music in Nigeria, ed. M.A. Omibiyi-Obidike (Nigeria: Stirling-Horden Publishers Ltd., 2001), 77. 3. Ibid., 77. 4. J.H. Kwabena Nketia, African Art Music (Accra, Ghana: Afram Publications Ltd., 2004), 5. 5. Akin Euba, “Concepts of Neo-African Music as Manifested in Yoruba Folk Opera,” in The African Diaspora, ed. Ingrid Monson (New York and London: Garland Publishing, Inc., 2000), 238. 6. J.H. Kwabena Nketia, African Art Music (Accra, Ghana, Afram Publications Ltd., 2004), 9. 7. An elucidating study on this topic is Kofi Agawu’s Representing African Music: Postcolonial Notes, Queries, Positions (New York, London: Routledge, 2003). 8. J.H. Kwabena Nketia, African Pianism: Twelve Pedagogical Pieces (Accra, Ghana: Afram PublicationsLtd., 1994) iii. Ex. 12 Joshua Uzoigwe, Oja Flute Suite, Ogbe Nkwa, mm. 1–6 9. Bongani Ndodana-Breen, e-mail message to author, September 21, 2006. 10. Ibid. The last movement, A Sketch for Trombone or Flute, was 11. J.H. Kwabena Nketia, African Art Music (Accra, Ghana: Afram Publications written in 1986. Its bitonal nature reflects Uzoigwe’s fluency Ltd., 2004), 21. with contemporary 20th-century compositional techniques. 12. Interview with Fred Onovwerosuoke, September 2006. 13. Isolugus range from bass to soprano range. Here he combines D major and B-flat major in the treble and 14.Interview with Fred Onovwerosuoke, September 2006. bass parts of the piano respectively: 15. Ibid. 16. Justinian Tamusuza, Ekitundu Ekisooka: Okwanjula Kw’Endere (Richmond: International Opus, 1996), cover notes. 17. Peter Cooke, “Music in a Ugandan Court,” Early Music 24, no. 3 (August 1996), 439. 18. Ibid., 448. 19. Ibid., 92. 20. See also Uzoigwe’s Talking Drums (1992) for solo piano whose first and fourth movements are based on Igbo music and the second and third move- ments are based on Yoruba music. 21. Lion of Africa, Nnadi Andy Best and directed by Simisola Opeoluwa, Andy Best Electronics Limited. 22. Joy Lo-Bamijoko, “Performance Practice in Nigerian Music,” Black Perspective in Music, 22, no. 1 (Spring 1984): 11. 23. Joshua Uzoigwe, “African Pianism: The Problem of Tonality and Atonality,” Ex. 13 Joshua Uzoigwe, Oja Flute Suite, A Sketch for in Towards African Pianism: Keyboard Music of Africa and the Diaspora, (Point Trombone or Flute, mm. 1–2 Richmond: MRI Press, 2005), 109.

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RESIDENTIAL SUMMER FLUTE CLASSES with PATRICIA HARPER Greenville, SC – June 1 - June 6, 2008 Brownsville,VT–June 22-June 28, 2008 Monterey, CA - July 6 -10, 2008 For information and repertory list: e-mail: [email protected] (SC class) [email protected] (VTand CA classes) telephone/fax (860) 767-0629 Commissioned Works from the High School Soloist Competition: Elizabeth Brown’s Trillium by Ronda Benson Ford

Competitors performing Trillium were provided with a fingering system that was devised by the composer specifically for playing this piece. The work’s finger- ing aid was influenced by shakuhachi music traditions.

Editor’s note: This is the final in a four-part series about the National Flute Association’s High School Soloist Competition, which is presented annually at the NFA convention in August.

n 1999, the NFA commissioned Elizabeth Brown to her own music as understated and a bit melancholy, and create a piece for the 2000 NFA High School Soloist the white trillium flower best expresses the mood of what ICompetition. Although Brown was hesitant to write for she was attempting to convey in the piece.5 Although trillium this competition, one of her New York colleagues, Jayn flowers occur in a variety of colors, Brown’s notes to per- Rosenfeld,1strongly encouraged her to do so. Brown’s main formers describe the trillium as a woodland wildflower concerns were whether she could write a piece that would with leaves and white petals in threes.6 be appealing to high school students, within their expected The finalists of the 2000 NFA High School Competition abilities, and not too difficult technically.2 The range of this presented the premiere of Trillium on August 17, 2000, in 1 3 work extends from c to a , which is well within the abilities Columbus, Ohio.7 The performers impressed Brown with of advanced high school students. In writing specifically their high level of playing ability.8 Later during the convention, for the competition, Brown ensured that her piece could be Brown gave a two-part presentation titled “Meet The played on a closed-hole C foot flute, and limited the alter- Composer: Elizabeth Brown.”For the first part, Brown pre- nate fingerings and techniques required to those possible sented a masterclass on Trillium; for the second part, she on this flute, which is a requirement of the competition performed one of her own works, Acadia for Flute and rules regarding the commissioned work.3 Shakuhachi (1999) with Jayn Rosenfeld performing on flute According to Brown, she did not compose specifically to fit and Brown performing on shakuhachi.9 the title, but rather named the piece Trillium while working Brown wrote Trillium in ternary ABA form. Although it is on it. As she was composing in the summer of 1999, she neither major nor minor, a tonal center of E prevails at the remembered seeing white trillium flowers in full bloom during beginning and end of Trillium. Brown intentionally may have a spring walk earlier that year. As an avid gardener, Brown chosen to begin and end the piece with a tonal center of E to appreciates the beauty of the solitary trillium4 flower and accommodate limitations of a C-foot flute. Trillium contains thought that Trillium would be an appropriate title for the six motives in the A section, presenting these in various tonal solo piece because it contained many trills. Brown describes centers and in fragmentation throughout the piece.

28 The Flutist Quarterly Winter 2008 nfaonline.org 3 Fingering Aids requires three different fingerings to produce C-sharp ; the Brown provides program notes and a fingering index for first fingering is a harmonic fingering, the second is the the performer. The fingering index aids the performer in standard fingering, and the third is the alternate fingering learning alternate fingerings, trills, and tremolos necessary to required by Brown. perform Trillium. She explains that many of her compositional ideas derive from alternate fingerings and experimentation Ex. 2. Trillium, measure 8 with the flute. Her notes to performers at the beginning of Trillium state: The flute language of Trillium is influenced by Japanese shakuhachi music and birdsong. There are a number of unusual timbres and trills, many involving microtones—a microtone is an interval smaller than a half step. Fingerings are included Harmonics consist of a series of frequencies, all of which are when they appear for the first time and when they multiples of a single frequency known as the fundamental haven’t occurred for a while. Some of the alternate pitch.14 For the intended harmonics in Trillium, Brown shows timbres (indicated by an “x” above a note) sound two simultaneous pitches in the music: the lower pitch provides weak or mothy; this is intentional. There is a finger- the correct fingering, whereas the higher note with a circle ing index on the last page, along with suggestions for (0) indicates the desired pitch. I find it helpful to roll the flute learning some of the sequences.10 slightly outward when playing the harmonics to ensure that they come out easily and in tune. Extended techniques employed in Trillium include microtones, microtonal progressions, alternate fingerings Ex. 3. Trillium, measure 53 required by Brown, harmonics, nonstandard trills, tremolos, multiphonics, and pitch bending. For some of the alternate fingerings in Trillium, Brown experimented with standard flute fingerings and then invented her own fingerings to achieve the sound she liked the best. Microtones are intervals smaller than half steps,11 and microtonal progressions contain several notes in series made The standard fingerings for half and whole step trills cannot up of microtones. Brown notates microtones in both ascending be applied in Trillium. Instead, Brown uses nonstandard and descending patterns in Trillium. Between notated pitches, trills—her own fingering system for all trills in the piece. She she identifies a microtonal progression by alternate finger- inserts these directly into the music, which is very helpful ings illustrated above each pitch, creating as many notes as because the flutist would otherwise tend to revert back to the there are stems.12 It is important not to overblow when standard trill fingering. Brown explains that all trills in Trillium playing microtones to avoid playing a pitch other than the are either timbral or microtonal, and should sound more like a one notated. An example of a microtonal progression is shimmer15 than a conventional trill.16 An example of a nonstan- shown in the second measure. dard fingering for a trill can be found in measure 11.

Ex. 1. Trillium, measure 2 Ex. 4. Trillium, measure 11

Tremolos are defined by James Pellerite as rapid alternation between two intervals of at least a minor third or larger.17 Brown instructs the performer to use several alternate finger- Brown provides the fingering necessary to produce each ings in Trillium. These fingerings are influenced from tremolo, and utilizes an upward ascending line to indicate that Japanese shakuhachi music, which does not contain uniform the tremolo should be overblown to a particular pitch. In sounds. Several fingerings in shakuhachi music produce the Trillium, Brown utilizes only major and minor thirds for the same pitch, but these are considered to be completely different tremolos. To achieve the maximum amount of tonal variety in notes that are not interchangeable. The tone color of a note is the tremolo, the flutist can practice producing all the harmon- as important as the pitch in shakuhachi music.13 This concept ics between the lowest and highest written notes. In measure 1 1 is similar to a single word that has multiple meanings or 23, the flutist begins by producing the tremolo D-flat to f implications that are unique, depending on its usage. Brown and then must overblow while continually fingering the 3 applies this principle to Trillium in measure 8, where she tremolo to eventually produce f as indicated. nfaonline.org Winter 2008 The Flutist Quarterly 29 Commissioned Works from the High School Soloist Competition: Elizabeth Brown Ex. 5. Trillium, measure 23 written for unaccompanied flute, some flexibility with regard to breathing is available to the performer. Brown comments that she has heard some people play Trillium quite differently than she imagined,but she has still enjoyed each performance and is happy to have written something with a little flexibility built into it.23 Trillium is written in ternary form ABA, as shown in the following analytical outline: Multiphonics and Pitch Bends A multiphonic is the production of more than one pitch Section Measure Numbers simultaneously from a single wind instrument.18 Trillium A 1–26 contains only two different multiphonics,19 each with two B 27–69 pitches. The first multiphonic in measure 34 contains an A 70–87 interval of a perfect fourth, in which the flutist simultane- Coda 88–103 ously plays b1 and e2. The second multiphonic contains an interval of a minor third, in which the flutist simultaneously Measure 1 contains the first motive, which has a tonal center 2 2 plays d and f . The flutist must use the fingerings indicated of E and is written in traditional notation with no extended by Brown in order to properly produce the multiphonics. techniques. This motive is also transposed in the piece to a Brown describes the multiphonics in her piece as “fingerings tonal center of A. that are false. They will not be either pitch. If you play softly with an uncentered sound, this is what happens.”20 Ex. 8. Trillium, measure 1 Stokes and Condon recommend practicing each note of the multiphonic separately. After the flutist has practiced the individual notes, then the flutist should make an embouchure compromise between the two pitches to get the notes to sound simultaneously.21 I find it helpful to aim the air stream more toward the Later variations of this motive include the use of grace notes, lower pitch, as the upper pitch of the multiphonic seems to as illustrated in measures 12–13. respond easier than the lower pitch. Both multiphonics used in Trillium are shown in measure 34. Ex. 9. Trillium, measures 12–13

Ex 6. Trillium, measure 34

Brown uses pitch bends in combination with tremolos. Robert Dick explains that pitch bending is the changing of the pitch without change of fingering. Basically, this is done by rolling the flute Measure 2 contains the second motive and emulates the inwards to lower the pitch and rolling it outwards to sound of Japanese shakuhachi music through the use of raise the pitch. Embouchure adjustments are made as alternate fingerings and a microtonal glissando. a matter of course to adjust to the very different angles of the airstream. Regardless of the pitch being Ex. 10. Trillium, measure 2 played, the flute will always bend downwards further than it will upwards.22

Brown uses pitch bending in measures 31–33 of her piece, as shown in the example below.

Ex. 7. Trillium, measures 31–33

As a flutist herself, Brown intentionally included all breath Motive three begins on the fourth beat of measure 3 and marks in Trillium to help the performer. She even identifies a continues to the breath mark in measure 4. This motive few optional breath marks within parentheses to divide longer again contains no extended techniques and is made up of phrases. Based on the composer’s own performance of Trillium, primarily stepwise motion. A fragment of this motive appears the breath marks clearly define each phrase. Because Trillium is at the end of measure 13 and several times in the B section.

30 The Flutist Quarterly Winter 2008 nfaonline.org Because Trillium is written for unaccompanied flute, some flexibility with regard to breathing is available to the performer. Brown comments that she has heard some people play Trillium quite differently than she imagined, but she has still enjoyed each performance and is happy to have written something with a little flexibility into it.

Daniel Stein took first place in the 2000 High School Soloist competition, which featured Trillium.

Ex. 11. Trillium, measures 3, 4, and 13 Ex. 13. Trillium, measures 16–17

Measures 8–11 contain the fourth motive, comprised of harmonics and several alternate fingerings, which again are meant to represent the shakuhachi sound. The tonal center for motive four is C-sharp. These measures also represent the initial climactic point of the A section, due to the excitement created by the extended use of 32nd notes and resolving with a nonstandard trill. Measures 8–10 provide the most timbral variety heard thus far in the Measures 14–15 include the first use of tremolo, and intro- piece and also introduce the concept of a three measure duce the fifth motive of the piece. This tremolo utilizes the 3 repeated pattern that could possibly represent the interval of a major third and contains the highest pitch, f , in trillium flower. the A section until the end of the section.

Ex. 12. Trillium, measures 8–11 Ex. 14. Trillium, measures 14–15

Measures 16–17 contain a rhythmic augmentation of meas- ures 8–9, using a fragment of the fourth motive. Measures Measures 19–20 contain the sixth motive. This motive 16–17 contain the penultimate climatic point of the A section serves as the basis for the coda at the end of the piece, and due to the first use of the fortissimo dynamic marking. uses traditional notation with no extended techniques.

nfaonline.org Winter 2008 The Flutist Quarterly 31 Commissioned Works from the High School Soloist Competition: Elizabeth Brown

Ex. 15. Trillium, measures 19–20 The performer should observe Brown’s dynamic marking in the B section to ensure that the multiphonic can be produced with ease.24

Ex. 19. Trillium, measure 28

Measures 23–25 contain the fifth motive. Measure 25 has a tremolo containing the interval of a minor third, reminiscent of the intervals used in the first motive, and contains the 3 highest pitch, G-sharp , of the entire A section. Measure 25 is Motive 9 occurs in measure 31 and combines the use of the ultimate climactic point in the A section. tremolo with pitch bending. The flutist must roll the flute in toward the lips to bend the pitch flat and out or away from Ex. 16. Trillium, measures 23–25 the lips to sharpen the pitch, while continuing to move the necessary fingers to produce the tremolo.

Ex. 20. Trillium, measure 31

Measure 26 serves as a short transition from the A section to Measures 37–38 contain a rhythmic double augmentation of the B section, and uses a microtonal segment from the second measures 8–9. This concept also applies to measures 47–50 motive. and measures 53–54.

Ex. 17. Trillium, measure 26 Ex. 21. Trillium, measures 8–9

Most of the B section is quiet because of the extended use of multiphonics, which must be played at a soft dynamic level to Ex. 22. Trillium, measures 37–38 produce the multiphonic properly. The overall tempo of the B section is faster than the A section, until the ritard begin- ning in measure 63, which helps to set up the return of A. The initial tempo marking is notated as “crisp and odd”; the crispness represents staccato marking, whereas the oddness results from a combination of microtones, multiphonics, and pitch bending. Ex. 23. Trillium, measures 47–50 The B section of Trillium introduces three new motives, with the remainder of the material derived from the motives in the A section. Motive 7 in measure 27 combines the simul- taneous use of two extended techniques—alternate finger- ings and pitch bending. The rhythm of motive 7 resembles a fanfare. The quartertones along with the use of several alter- nate fingerings imitate the sound of the shakuhachi. Ex. 24. Trillium, measures 53–54

Ex. 18. Trillium, measure 27

The B section reaches two individual climactic points. The first climactic point occurs in measure 52 and contains 3 Motive 8 appears in measure 28 and contains the first use of an f-sharp ,which is the highest pitch of the B section thus multiphonics in the piece. The interval of a minor third creat- far and also the loudest point of the B section, marked as ed by the multiphonic recalls the minor third from motive 1. fortissimo.

32 The Flutist Quarterly Winter 2008 nfaonline.org Ex. 25. Trillium, measure 52 Painstaking Work Brown describes herself as an extremely slow and painstaking composer. She does not think in theoretical terms when composing. She changes tonal centers to accommodate sounds that she prefers. Unlike other composers, she rarely revises anything she has completed, because during the composition process she may have written many versions Measures 63–69 contain the transition to the return of A of the piece only to decide on the version she feels best section. The B section gradually slows down, and measures expresses her thoughts.26 65–66 include a series of nonstandard trills, with the last 3 3 Brown describes her music as intimate, personal, lyrical, and trill, G-sharp to a , containing the highest note of the piece melancholy. She writes primarily chamber music for specific thus far and representing the second climactic point of the musicians, and uses microtonal gestures or inflections within B section. Brown alternates back and forth between the two a predominately tonal language. Instruments shadow and different multiphonics in measures 66–67 and 68–69. echo one another, and at times the sound completely dis- solves and slides away.27 Ex. 26. Trillium, measures 65–66 Like Messiaen,28 Brown has studied birdcalls and uses these as a point of departure for her compositions. To imitate birds, she uses nontempered scales and the contour or shape of a birdcall rather than its exact melody. She mimics the rhythm in birdcalls with an amount of repeating or spacing between repetitions. Unlike other composers, she does not intentionally represent birdcalls through the use of trills or tremolos. Her trills and tremolos evolve from playing shakuhachi, and represent the extended flute language she The return of A begins in measure 70. Measures 69–89 are has created for her compositions.29 an exact repetition of measures 1–20. Measures 88–103 Brown studied flute with Robert Cavally, Harold Bennett, form the coda. Measures 88–90 introduce a three-measure and Samuel Baron. She has taught flute through the rhythmic pattern that repeats three times, continuing the advancement program at the Juilliard School and composition pattern of threes similar to the trillium flower. Brown through the Hartt School of Music.30 Several companies and wrote several versions of measures 88–100 to obtain the flute organizations have commissioned works by Brown, right metric feel for the end of the piece. She even consid- including the Brannen-Cooper Fund, the National Flute ered making every three bars equal to one bar, so if the Association, the New York New Music Ensemble, the New pattern beginning in measure 88 would have been in 3/4 York Flute Club, the Long Island Flute Club, Flute Force, and time signature, there would have been six notes on every the Los Angeles Department of Cultural Affairs.31 > beat. Ultimately, she decided to keep the 3/8 time signature 25 to match the A section. Beginning in measure 91, the first Ronda Benson Ford is second flutist with the Topeka two measures of the rhythmic pattern contain an A major Symphony and has played with orchestras in Missouri, chord that reverts to an A-flat major chord in the third Kansas, Illinois, Texas, and Arkansas. She received her doctoral measure, creating a slight hesitation in the ending of the 3 degree in flute performance and pedagogy from the University of piece. A sequence down by step begins with the trill on a 3 3 Southern Mississippi, her master’s degree in flute performance in measure 99 followed by descending trills on g and f . from Illinois State University, and her bachelor’s degree in The climax of the entire piece occurs in measures 99–100 3 music education from the University of Central Arkansas. on the a trill. © All music examples copyright 1999 by Quetzal Music. Ex. 27. Trillium, measures 88–103 Endnotes 1. Jayn Rosenfeld has been president of the New York Flute Club and is the prin- cipal flute of the Princeton Symphony. Her teachers include James Pappoutsakis, William Kincaid, and Marcel Moyse. Kyle Dzapo, ed., Coming Together: Primary Sources and New Perspectives, 2005 NFA Convention in San Diego, California. (Santa Clarita, CA: The National Flute Association, Inc., 2005), 197. 2. Elizabeth Brown, interview by author, 29 November 2004, Lenexa, KS, tape recording by phone. 3. Ibid. 4. Trilliums, also known as birthroot, stinking Benjamin, trinity flower, wakerobin, and wood lily are hardy perennials native to North America and Asia. These soli- tary plants feature three large, flat, pointed leaves growing horizontally and large, single, three-petaled flowers of white, pink, yellow, or red. Fully grown trilliums range in height from six inches to eighteen inches. Eileen Powell. The Gardener’s A–Z Guide to Growing Flowers from Seed to Bloom. (North Adams, MA: Storey Publishing, 2004), 350.

nfaonline.org Winter 2008 The Flutist Quarterly 33 Commissioned Works from the High School Soloist Competition: Elizabeth Brown

5. Elizabeth Brown, interview by author, 29 November 12. Elizabeth Brown, Trillium, Quetzal Music, 1999. Dictionary of Music, (Cambridge, MA: The Belknap 2004, Lenexa, KS, tape recording by phone. 13. Elizabeth Brown, interview by author, 29 November Press of Harvard University Press, 1986), 515 6. Elizabeth Brown, Trillium, Quetzal Music, 1999. 2004, Lenexa, KS, tape recording by phone. 19. Elizabeth Brown, Trillium, Quetzal Music, 1999. 7. George Pope, ed., Odyssey: A Flutist’s Journey 14. Don Michael Randel, ed. The New Harvard 20. Elizabeth Brown, interview by author, 29 November (Santa Clarita, CA: The National Flute Association, Dictionary of Music, (Cambridge, MA: The Belknap 2004, Lenexa, KS, tape recording by phone. Inc., 2000), 51. Press of Harvard University Press, 1986), 364. 21. Sheridon Stokes and Richard Condon, Special 8. Elizabeth Brown, interview by author, 29 November 15. Elizabeth Brown, Trillium, Quetzal Music, 1999. Effects for Flute (Santa Monica, CA: Trio Associates, 2004, Lenexa, KS, tape recording by phone. 16. Of the commercially available trill charts for the 1976), 10. 9. George Pope, ed., Odyssey: A Flutist’s Journey flute, most use the same fingering for half and whole 22. Robert Dick, The Other Flute: A Performance (Santa Clarita, CA: The National Flute Association, step trills. James Pellerite’s book is one of the most Manual of Contemporary Tech-niques, 2d ed. (St. Louis, Inc., 2000), 78. comprehensive books of fingerings for the flute, and MO: Multiple Breath Music Company, 1989), 140. 10. Elizabeth Brown, Trillium, Quetzal Music, 1999. includes standard as well as alternate trill fingerings 23. Elizabeth Brown, interview by author, 29 November 11. Daniel Stein, first prize winner of the 2000 NFA when available. James Pellerite, A Modern Guide To 2004, Lenexa, KS, tape recording by phone. High School Soloist Competition, provides a basic Fingerings For The Flute, 2d ed. (Van Nuys, CA: 24. In Dick’s book, he states that the production of introduction to these microtones in Trillium. Daniel Alfred Publishing Co., 1964), 12-17. multiphonics can be produced by following a four- Stein, “Microtones in Trillium for solo flute,” Flute 17. Ibid, 18. step procedure: “1. Play each pitch separately to Explorer, March 2003, 12-13. 18. Don Michael Randel, ed. The New Harvard find its dynamic range, embouchure position, angle of the flute; 2. Determine which is the weaker or weakest resonance; 3. When playing the pitches together, the jaw position will be that of the lowest pitch, the airspeed will be one that is included in the dynamic range of all the pitches; 4. Generally, but not always, the embouchure formation can be defined as the lower lip functioning to define the bottom of the air stream, ensuring that the air stream is deep enough into the embouchure hole to pro- duce the lower pitch, and the upper lip is pursed forward so that it defines the top of the air stream, insuring that it reaches the proper angle to produce the higher pitch.” Robert Dick, The Other Flute: A Performance Manual of Contemporary Techniques, 2d ed. (St. Louis, MO: Multiple Breath Music Company, 1989), 83. 25. Elizabeth Brown, interview by author, 29 November 2004, Lenexa, KS, tape recording by phone. 26. Ibid 27. Ibid 28. Olivier Messiaen (1908–1992) was a French composer who actually notated the songs from a wide variety of birds. He then incorporated many of these into his works, particularly after 1950. Don Michael Randel, ed., The Harvard Biographical Dictionary of Music (Cambridge, MA: The Belknap Press of Harvard University Press, 1996), 582-583. 29. Composer and flutist Elizabeth Brown, interview by author, 29 November 2004, Lenexa, KS, tape recording by phone. 30. Ibid. 31. Elizabeth Brown, “Elizabeth Brown the Composer,”http://www.elizabethbrowncomposer.co m (2002), accessed 02 November 2004.

High Velocity Alert! Start planning for the 2008 convention in Kansas City, Missouri now! Book your rooms at the Hyatt Crown Center or the Westin. Find links to these hotels and other information at nfaonline.org, and check the site often for additional information as it becomes available.

34 The Flutist Quarterly Winter 2008 nfaonline.org

TO YOUR HEALTH At the 2007 NFA convention, a performance health seminar featured physicians with special skills in performance-related concerns. Earlier, another organization hosted a conference to develop mate- rials and standards for health promotion in schools. The two presentations are summarized here.

by Amy Likar, DMA, Ralph Manchester, MD, and Michael Weinstein, MD Health Promotion in Schools of Music The declarations and recommendations that came out of that conference were presented to the NASM board in 2006 he National Association of Schools of Music is the accred- and then published in the Journal of Medical Problems of Titing body for approximately 600 schools, conservatories, Performing Artists in September 2006. In addition, three fol- colleges, and universities in the United States. The schools low-up articles were published in MPPA describing current belonging to NASM agree to follow the standards, procedures, course offerings at various NASM schools in the United and guidelines defined by the organization. In its 2003–2004 States, as well as several schools in Europe as recommended Handbook, NASM defined a new guideline encouraging institu- by HPSM. tions to “assist students to acquire knowledge from qualified professionals regarding the prevention of performance injuries.” The Declarations In response to the new guideline, a Health Promotion in Performance injuries are preventable. A holistic approach that Schools of Music conference, organized by the Texas Center encourages wellness and personal responsibility is necessary for Music and Medicine, the University of North Texas, and for prevention. Schools of music should focus on prevention the Performing Arts Medicine Association, was held education in addition to supporting efforts directed at treat- September 30–October 2, 2004. The mission of the conference ing diseases once they have occurred. was to develop core materials for health promotion, develop Schools of music do influence student behaviors through materials specifically for NASM school students, increase factors such as collective values, beliefs, and actions. These fac- NASM school administrators and faculty awareness of and tors need to be considered and modified as crucial first steps ability to access resources for students, develop unity, and pro- toward reducing the rate and severity of performance injuries. vide a foundation for future research and policy development. A health promotion framework offers a common philosophical I was privileged to attend the conference as the American and practical basis for such efforts, and would allow for effective Society for the Alexander Technique liaison. AmSAT is one of and sustainable prevention-oriented educational efforts. 25 organizations, associations, and societies that have agreed Without diminishing the concerns for musculoskeletal, to partner with the Health Promotion in Schools of Music vocal, and mental health, schools of music should recognize project. I am a member of the National Flute Association (Lee that noise-induced hearing loss is a widespread and serious Van Deusen was the liaison), Alexander Technique public health issue and that music is always implicated as a International, and Andover Educators—all of which are part- causal factor. This problem receives little or no recognition in nering organizations for the Health Promotion Initiative—in schools of music. A high-priority strategy is needed for addition to being a member of PAMA, one of the sponsors of informing all music students about the risks for noise-induced the event. hearing loss. Task force groups were organized in four areas—neuromus- Because many of the physical, psychological, and sociologi- culoskeletal health, mental health, audiological health, and cal determinants for performance injuries are well established vocal health—to create core content recommendations for before young musicians attend college, schools of music must NASM schools of music. prepare health-conscious music educators and produce

36 The Flutist Quarterly Winter 2008 nfaonline.org A closer relationship between music educators and the medical community is needed to enhance the student’s experience learning and playing

Amy Likar, DMA Ralph Manchester, MD Michael Weinstein, MD the flute. injury-free musicians. Music education faculty must acknowl- Medical Problems of Performing Artists, September 2001 edge the possible negative consequences of learning and (based on responses to a Web-based musicians’ health survey performing music and prepare future teachers accordingly. and a survey done at the 1999 NFA convention) showed that about half of flute players suffer from fatigue, headache, The Recommendations stage fright, and eye strain. Other common problems were • Adopt a health promotion framework. respiratory allergies, TMJ problems, asthma, and hearing loss. Due to the limited amount of research that has been • Develop and offer an undergraduate “occupational done on flutists’ health problems, it’s unclear if these issues health” course for all music majors. occur more frequently among flutists than other musicians. Ralph Manchester, MD, from the University of Rochester • Educate students about hearing loss as part of ensemble- in New York, spoke of breathing and embouchure issues, as based instruction. well as head and neck problems. Michael Weinstein, MD, from Virginia Mason Medical Center in Seattle, • Assist students through active engagement with health Washington, spoke of performance problems related to the care resources. use of drugs, alcohol, and cigarettes, and the medical evalua- tion, recognition of potentially serious problems, and treat- In response to these declarations and recommendations, ment of tendinitis (including overuse syndromes). both the Music Educators National Conference and Music Both medical practitioners emphasized the role of emotions Teachers National Association published position papers on in performance and health, with a more in-depth discussion on Health Promotion. To read MENC’s position paper, visit performance anxiety and depression. Both physicians also menc.org/connect/surveys/position/health.html. For more encouraged good health and healthy habits, including a information and a detailed report of the declarations and proper warm-up routine, focus on proper posture, and recommendations, visit the health promotion in schools of performance ergonomics. Clearly, a closer relationship music Web site at unt.edu/hpsm. between music educators and the medical community is needed to more effectively enhance the student’s experience Amy Likar is an active San Francisco Bay Area flutist, Alexander learning and playing the flute. Common injuries occur with Technique teacher, and Body Mapping teacher trainer. changes of repertoire, practice patterns, and technique. A lively question-and-answer period occurred after the Invest in Your Performance Health formal presentations with the audience of 60 people. Afterwards, and for the next several days, the guest speakers n August 9, 2007, a presentation on performance health joined Lee Van Dusen and Marilyn First at the performance Owas held at the NFA convention with moderator Lee health care booth in the convention hall, so that individuals Van Dusen, DC; and panelists Marilyn First, flutist; Ralph could ask questions and seek advice. At the booth there were Manchester, MD; and Michael Weinstein, MD. This presenta- also free materials about the Performing Artists Medicine tion covered information every flutist should know about Association, free samples of the Journal of Medical Problems how to stay healthy to perform at the highest level. of Performing Artists, and multiple free articles about per- In addition to the standard health problems that anyone formance-related health issues. can experience, flutists are at increased risk of a variety of While some of these problems can be prevented by following conditions that can be caused by playing the flute or can oth- standard advice concerning healthy lifestyles, flute players erwise interfere with performance. A paper by Spence in should be aware of the specific methods that can reduce the

nfaonline.org Winter 2008 The Flutist Quarterly 37 To Your Health chance of developing a performance-related injury. medications such as nasal steroid sprays will control the Performance anxiety (stage fright) can be managed by both symptoms for most patients. medication and other interventions, but proper evaluation TMJ problems are not likely to be caused solely by playing by a health care professional is an essential first step. Beta- the flute, but the lower jaw position required to blow over blockers are effective for instrumental performers who get the aperture can aggravate an underlying TMJ problem. physical symptoms in the setting of a solo performance or Consultation with a dentist is the first step to take if a audition, but cognitive-behavioral therapy and other flutist notices pain in front of the ears associated with eating methods can work if given enough time. or performing. Dental problems such as a chipped front Hearing loss is a known risk of being exposed to high tooth or wearing braces can cause difficulty with maintain- sound pressure levels, and many musical instruments ing a comfortable mouthpiece position on the lower lip; (including the flute) can produce over 100 dB. Testing for dentists and orthodontists can suggest ways of dealing with hearing loss and consistently wearing appropriate hearing these issues. protection are the two key steps to prevent hearing loss Playing the flute does not make asthma better (or worse), over time. but uncontrolled asthma can certainly interfere with playing A less common but potentially bothersome problem is well. Modern asthma treatment includes long-acting steroid the appearance of a rash on the lower lip and adjacent skin inhalers and shorter-acting bronchodilators. that is in contact with the mouthpiece. This is most often caused by sensitivity to nickel, which is part of the alloy Ralph Manchester, MD, has been providing care for students used to make less expensive flutes. The only long-term at the University of Rochester’s Eastman School of Music solution may be switching to a sterling silver, gold, or and doing research on the musculoskeletal problems of platinum instrument. musicians since 1983. He is also a past president of the Common health problems that can interfere with flute Performing Arts Medicine Association and the editor of performance can usually be managed so as to minimize the Medical Problems of Performing Artists. Michael effect on one’s ability to play. Respiratory allergies are typ- Weinstein, MD, is a specialist in physical medicine and ically treated initially with nonprescription medications rehabilitation at the Clinic For Performing Artists, Virginia (e.g., loratadine); if these don’t work alone, prescription Mason Medical Center in Seattle.

Eurhythmionics for Piccolo and Piano by Steve Kujala

What began as a modest piece entitled TAKE YOUR PICC (straight out of the famous Kujala family pun center) was premiered at the 1979 NFA Convention in Dallas, TX. Now its outgrowth, EURHYTHMIONICS, has ended XS DV D EHWWHU FUDIWHG DQG PRUH PDWXUH SLHFH RI PXVLF WKDW , IHHO LV ÀQDOO\ ZRUWK\ RI WDNLQJ LWV SODFH DORQJVLGH the growing concert repertoire for the piccolo. -Steve Kujala

EURHYTHMIONICS is a hybrid of eurhythmy*, Europe ZKHUH PDQ\ RI P\ PRVW LQÁXHQWLDO composers/heroes came from), rhythm, and phonics.

*Eurhythmy: rhythmical movement; a system of harmonious body movement to the rhythm of spoken words progress pp press For more information and for ordering instructions check our website: www.progress-press.com

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© WILL HOSKINS, JULY 2007; ALL IMAGES COURTESY JANET MOYSE Renaissance Man: Louis Moyse (1912–2007) by John Barcellona A friend, colleague, and one-time musical partner recalls the varied and virtuoso talents of flutist Louis Moyse, who died July 30, 2007.

est known to younger generations of flutists as the editor of volumes of flute repertoire, including Flute BMusic by French Composers, Louis Moyse was much more: a virtuoso performer on flute and piano, consummate composer, pedagogue, scholar, poet, graphic artist, and humanitarian. With more than 170 original compositions (many unpublished), he is regarded as one of the most prolific flute composers in history. Born in Scheveningen, Netherlands, to French parents, Moyse was raised within the rich cultural environment of Paris. His father Marcel, one of the most revered European flutists, provided him with a musical heritage from which he would develop his own talents. As a youth, Louis Moyse was inspired by many of the family friends. He often talked about composer Bohulsav Martinu coming over for dinner. It was Martinu, Moyse said, who most influenced him to become a composer. Moyse entered the Paris Conservatory studying flute with his father and Philippe Gaubert, piano with Isidore Philipp and Joseph Benvenuti, and harmony and composi- tion with Eugene Bigot. At 19, he won first prize on flute at the Conservatory. As a young professional, Moyse performed with the Moyse Trio. His father, Marcel, played flute; his wife, Blanche

Honegger, played violin and viola. Of course Louis played Left page, Louis Moyse nine days before his 95th birthday. Above, the Moyse flute and piano. With such a versatile instrumentation, many Duo—John Barcellona and Louis Moyse—in 1988. combinations were possible, and Moyse composed for them all. Their many successful recordings brought them international where they could teach at a new university. But after they fame. Moyse also accompanied his father on all his famous arrived, they learned that General Peron had closed the school. RCA Red Seal solo recordings. In the late 1930s, just after Louis had accepted the position Musical Traditions in the United States of second flute with the Boston Symphony, World War II The Moyse family came to the United States and in 1949 broke out. Upon Hitler’s invasion of France, the borders were established residence in Vermont to teach at the new closed, and the family relocated to Marcel’s hometown of St. Marlboro College. The Trio, with the help of their friends Amour. The postwar economy was so bad that guitarist Andres Adolf and Herman Busch and Rudolf Serkin, cofounded the JIM BROWN

© Segovia convinced the Moyse Trio to relocate in Argentina, Marlboro School of Music Festival (summer) and then the

nfaonline.org Winter 2008 The Flutist Quarterly 41 RENAISSANCE MAN:LOUIS MOYSE (1912–2007)

The final decade of Louis Moyse’s life was spent in Montpelier, Vermont. This picture was taken shortly before he turned 94, in 2006, when he was hard at work on an arrangement of The Barber of Seville.

Brattleboro Music Center in Vermont. Moyse became an we went out to celebrate with a scotch. On one occasion I had American citizen in 1959. In 1974, he married the love of his to cancel our little postconcert hang to take someone to the air- life, Janet White. They moved to Westport, New York, and port. He never did stop complaining about that incident! lived there happily for about 23 years. A major highlight for me came in 1987 during our second It was during this period that I first encountered Louis masterclass/performance at a flute festival in Wenatchee, Moyse. In the mid 1980s, during an NFA convention, I met Washington. On this occasion, Louis wanted to play several Beverly Allison, a Houston flutist and student of Moyse. of his flute duets from 30 Easy Duets in all Keys. He said Moyse had taken a hiatus from public appearances, and she this would be his last professional appearance as a flutist. I asked me if I would like to have him come to California State had long heard of his legendary gigantic rich and full tone University, Long Beach, where I taught, to perform and pres- from many sources. On this occasion I got to experience it ent a masterclass. Of course I jumped at the opportunity and first hand. I had to work my hardest and blow my brains soon found myself on the phone with Louis and Janet out to attempt to balance and match him. I don’t think I Moyse. We set up a monumental size class and concert. By quite made it. the time they arrived in California for the festival, the three Another memorable moment was the second time Louis of us were already friends. and Janet joined me for the Fairbanks Summer Arts Festival. The concert and masterclasses were all sold out, as this was I played principal flute in the festival orchestra as Louis con- the first time a Moyse had visited southern California in years. ducted his “Ballad of Vermont” for large symphony orchestra. Everyone was overwhelmed with Moyse’s compositions, A significant outcome from our many California concerts virtuosity, musical sensitivity, and compassionate teaching was Louis’s compositions for flute choir. At that time, I was at all levels, especially me. I was amazed that when we per- the founder and conductor of the Southern California Flute formed his compositions together for the first time, we were Orchestra, a group comprised of professionals and my former musically sympathetic. It just seemed to magically click, and graduates. Louis enjoyed conducting this group so much we both felt it. that every year he would compose a new piece for it. He This astounded me, as we were worlds apart: I was a gen- experimented with adding bassoon, cello, double bass, and eration younger than he and brought up in the American on one occasion guitar to the flute choir, which added an Kincaid tradition knowing almost nothing of the French extraordinary depth to the sound. school. Nonetheless, enjoying our partnership, we soon formed the Moyse Duo. We were dedicated to performing Later Years in Vermont Louis’ original compositions and the repertoire he recorded In 1998, Louis and Janet relocated to Montpelier,Vermont, and performed with his father, Marcel. A greater honor could at the suggestion of his student, Karen Kevra. (See related not have been bestowed on my career! Upon forming our article.) Moyse soon became an important part of the duo, Louis said to me, “It is my job to introduce you to Vermont musical scene, which included his annual inter- Marcel Moyse.” national masterclass, teaching lessons, coaching ensembles, Wewent on for some 10 years, performing concerts and mas- and working with the Montpelier Chamber Orchestra. Louis terclasses throughout the West, including California, Utah, and Janet also made trips to Japan, the Paris Conservatory Washington, and Alaska. Any concert was not complete until and St. Amour.

42 The Flutist Quarterly Winter 2008 nfaonline.org Moyse spent the last year of his life working diligently on an arrangement of The Barber of Seville for flute choir, bassoon, cello, and piano. It is about 45 minutes in length. It was premiered at the culminating performance of his last annual masterclass. He gave all his strength to conducting it with the help of his friend and colleague Kenichi Ueda. He knew it was his last concert, but was already planning a new arrangement of Peer Gynt when he unexpectedly but peacefully died nine days later. Moyse’s energy and fortitude for the second half of his career came from the love affair that he and Janet shared. This was as strong and sincere a relationship as I’ve ever witnessed, and a testament to true love. They spent 24 hours of each day together for 33 years. Their relationship can best be described in Janet’s own words: “We were soul mates, friends, companions, and shared his musical career for all these years. His love for me, as mine for him, was what gave us the strength to carry on. Those who knew him loved him, and their love and loss is being felt around the world by so many.” It is often said that genius is not recognized in its own time. I’ve felt this way about Moyse ever since I’ve known him. His musical compositions in particular have not yet reached the level of popularity they deserve. Louis Moyse, like his teacher Philippe Gaubert, never wrote a bad piece Louis with Janet, the “love of his life,” whom he married in 1974 and with whom of music. Every note and chord has a purpose that com- he spent every day for his remaining years. municates pure emotions. From the most simple of pieces to the most complex, his music is always accessible. Being both a virtuoso flutist and pianist, his works for this combination are always idiomatic to both instruments. His “Introduction Theme and Variations” is profound, and in my estimation the Schubert variations of the 20th century. His orchestral works, most of which remain unpublished, include the Marlboroian Concerti—concerto grossi for various solo ensemble groups (such as four flutes and orchestra, flute and English horn with orchestra, etc.). Moyse’s “Hommage a Krishna” for solo flute is the “Syrinx” of the late 20th century. He also wrote a poem to go along with this expressive solo work:

I play for God only…. Offering Him the humble sounds of my flute… Wishing that my vibrations will reach His universe… Bringing peace in my heart, Understanding in my mind, Humility in my life, Compassion for the human condition…

2007 You will be greatly missed dear friend, but never forgotten. > JULY , John Barcellona is professor of flute and director of woodwind studies at California State University, Long Beach. A former WILL HOSKINS member of the Moyse Duo, he performs and records with the : ©

TOP Westwood Wind Quintet and Christopher Caliendo’s trio. Louis Moyse in the 1960s, while he was at Marlboro college.

nfaonline.org Winter 2008 The Flutist Quarterly 43 RENAISSANCE MAN:LOUIS MOYSE (1912–2007) Memories and Musings

For the author, a former student and musical partner, Louis Moyse inspired, taught, and delighted, not only with his music, but with his life.

by Karen Kevra

or as long as I can remember, I have associated the name of Louis Moyse Fwith the flute. As a 9-year-old beginner flutist, I accumulated volumes of Louis’s edited works, such as his ubiquitous 40 Little Pieces for Beginning Flutists and later the mainstay Flute Music by French Composers. By the time I became a teenager, it seemed that the majority of the music in my library had his name printed on it. Everywhere I turned, I saw “Louis Moyse.” Who is this guy? I used to wonder. Karen Kevra and Louis Moyse in Saint-Amour, France, where Louis grew up.

I was soon to discover that Louis Moyse was more than a I played a Bach sonata and a French virtuoso piece for great pedagogue, prolific editor, composer of distinction, him that day, and when I finished, he asked me, “Why did world-class flutist, and pianist: he was also one of the you come here?” My answer was as spontaneous and as warmest and most generous men on earth. natural as the question was fair. “I came here because I Twelve years ago, at a postconcert reception at the want to understand music.” home of Jim Lowe, Barre-Montpelier Times Argus arts editor, Lowe insisted that I listen to a 1972 recording Magnetism from the New England Bach Festival on which Louis was As early as that first lesson, I felt the assuredness and flutist in the “Süsser Trost” aria from Bach’s Cantata no. magnetic force of this extraordinary musician. Learning 151. I had never heard flute playing like this before. His from Louis Moyse was like an infusion. So often when a playing combined the passion and depth of a great voice student plays a piece for his or her teacher, the perform- with a rich and haunting cellolike sound. I was complete- ance is followed by a phrase that is so predictable it is ly under the spell of his playing, and I knew that I need- almost cliché: “I played that so much better at home.” ed to seek him out. This was never my experience with Louis! I found that I Several months later the time came. With a mix of intense played my best when he stood beside me—singing, gesturing, excitement and trepidation, I drove from Montpelier, over the in his warm, insistent, tactile way. (The hard part was going Appalachian Gap, across Lake Champlain, to Westport, New home and finding that it wasn’t so easy to re-create the York, where Louis and his wife, Janet, lived at the time. It was magic of the lesson on my own.) Those first lessons were September 18, 1996. intensely rich, exciting, and inspiring. They were also ini- For me it was a kind of flute pilgrimage. I was going to tially a bit confusing. Confusing because in spite of his play for the most venerated living flute guru. I remember 40-plus years living in the United States, his French that first lesson vividly, from the magnificent twisted accent was so strong that it was a little like having flute locust trees that flanked the Moyse’s driveway, to my lessons with Inspector Clouseau. initial sighting of Janet in her spectacular garden, to my It was in that first year that Louis suggested that I learn first unforgettable glimpse of a smiling Louis, as he his First Sonata. I found a pianist to read through it with released the final chord of a Beethoven piano sonata, and me, and we were astounded by the music—enticingly chal- our eyes met for the first time. In that moment, I knew lenging for both of us and captivating and musically deep.

my life was about to change. I was just as enthralled by his monumental Introduction, COURTESY KAREN KEVRA

44 The Flutist Quarterly Winter 2008 nfaonline.org Theme, and Variations. What a discovery! I remember slowly elaborating the details. He described how Taffanel asking—pestering—Louis to write a Second Sonata, and would carefully clean and oil his flute, followed by a he seemed to brush the idea aside. It became a kind of lengthy walk around Paris, a leisurely nap, and a good annoying joke, for a period of about a year: Whenever I meal. He said, “These people lived very differently than saw him, I’d say, “How’s that sonata coming, Louis?” You you do now. They took the time to live. They took the can imagine my delight when after a lesson in 1998, with time to sleep. They took the time to talk. They took the a big grin on his face, he handed me the manuscript for time to eat. They took the time to love.” He told us that his Second Sonata. this is what we needed to bring to the music. And we In 2002, pianist Paul Orgel and I recorded Works for Flute knew how right he was. and Piano by Louis Moyse. We made the recording with a In a letter dated March 13, 1997, Louis shared with me sense of urgency and compelling desire to help Louis gain some of his philosophy of life and spirituality: “Without overdue recognition as a composer. love, life doesn’t make too much sense…I put ‘God’ into a Our wish came true in 2003, when the CD was nominated modulation by Schubert, in the trees, in my love for my for a Grammy Award. It was an excellent recording, but dear Janet, in a sunrise or sunset, in nature, in everything there is no doubt in my mind that it was the music—Louis’s beautiful, in friendship.” compositions—that earned us the Grammy nomination. And friends we became. Louis opened not only music Together we made a pretty big splash nationally. At the and his heart to me, but his home as well. And what a same time, Louis also began to make his mark closer to home! I always felt as though time slowed down when I was home, right here in Montpelier. At about that time, I there. The place was sunny with the constant activity of grumbled to him over lunch one day about the paucity of creative projects—both of them engaged in fanciful art performance opportunities in Vermont. Louis suggested projects, Janet’s enchanting landscaping projects, and that I do as he had done years before during his time at their shared prolific output of “personal edition” composi- Marlboro: He encouraged me to invite my friends to tions and compilations, lovingly adorned with Louis’s come to Montpelier to play. That was really the moment whimsical and intricate doodles and Janet’s lovely poetry. of conception for Capital City Concerts. Over the next six And then there was the food! If Louis was a master of years, Louis coached rehearsals for several concerts, and music, Janet was the queen of culinary excellence. I never those performances overflowed with heart and joy and saw her consult a cookbook. Her meals were simple and passion. Without question, Louis was the inspiration and deliriously delicious, and strangest of all, I never once one of the driving forces behind the series. saw her toil in the kitchen. Glorious dinners seemed to But not only was he inspiring, he was a charmer! About appear before my very eyes. I have such memories of long the time I turned 35 I made a very grown-up decision: It afternoons lingering over her killer Swiss fondue, her was time for me to give up the parka and Sorel boots in yummy raclette, and her intoxicating garlicky escargot. favor of something classier. I purchased my first full Her cooking made such an influence on me that I began length, black wool coat. I wore it for several days expecting preparing these dishes at home. I cooked them so frequently a reaction from someone, but I had to wait until I saw that they became some of my son’s favorite dishes. Imagine Louis before that happened. He noticed immediately, and the look on the third grade teacher’s face when it was his in the most honest way said“Dear, you look very‘EH-lay- turn to share his collage of favorite foods conspicuously ghant’ (elegant) in that long black coat.” void of pizza and hot dogs. (Let me tell you, it wasn’t easy Parisian Life and Love Louis was born before the auto- to find a photograph of escargot!) mobile, and experienced boyhood in a kind of rural The weekend following Louis’s death, I spent hours lis- innocence with his family in his native village of Saint- tening to my recorded coaching sessions with him. The Amour, in eastern France. Paris in the 1920s was his immediacy of his teaching, the vitality of his voice, and training ground, and he had regular encounters with the richness of his laughter were such reassuring gifts. Fauré, Saint-Saëns, Stravinsky, Messiaen, Prokofiev, and Louis Moyse was insistent and consistent. Martinu. He even played piano duets with Duke There he was—speaking to me again, asking me to Ellington during that time! In the 12 years that I knew “give life to your sound; give life to the phrase.” Many him, Louis was quick to point out that “I am not of this teachers will implore you to “sing,” but Louis wanted time.” He had something of a distrust of the telephone, more from his students, and he got it. But we were the and complete disdain for computers. His distaste for the lucky recipients. > modern age only made him more lovable. Two years ago, in a coaching session I shared with my Karen Kevra is a performing flutist and the founder and colleague and friend the pianist Jeffrey Chappell, we artistic director of Capital City Concerts in Montpelier, played a Romance by Widor. When we finished, Louis Vermont. Her premier recording of Works for Flute and reminded us that the piece was written for Paul Taffanel, Piano of Louis Moyse earned a 2003 Grammy nomination, professor of flute at the Paris Conservatory when Louis and Classics Today.com designated it as one of its top 10 was a boy. He described Taffanel’s “concert day routine”— CDs. See karenkevra.com.

nfaonline.org Winter 2008 The Flutist Quarterly 45 Join the NFA member forum!

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THE INNER FLUTE The Mystic Journey

by Suzanne Teng

Sometimes, occurences that appear to be misfortunes turn out to be the events that galvanize a life. For this flutist, her successful career began when she realized that she had one contribution that no one else on Earth could offer: herself.

ho would ever have guessed that the shy Today I make my living as a performer, recording artist, Chinese-American girl with long hair that fell composer, and teacher. My contemporary world music Win her face would grow up to become the leader band, Suzanne Teng and Mystic Journey, performs interna- of a contemporary world music band? Or that the little tionally and has released three award-winning CDs. I record flutist who sat in the second-to-last chair in the school on soundtracks, offer flute meditations at a wide range of band would eventually perform on world stages playing events, and teach workshops on world flutes. I’m not guaran- exotic wind instruments while dancing with flowing teed a regular paycheck, but I’ve found a niche that enables me scarves to thunderous African drums? to be creative and rarely bored. When I face slow times or Certainly not me, that little girl, now a grown woman with rejection, what keeps me motivated even in these times of self- a trail of life experiences—some blissful, some miserable— doubt is remembering that I am the best me around, and that that have shaped me into the person, flutist, and musician my unique voice is what people enjoy hearing. that I am today. The key to success in music and life became clear to me “Stick with the Violin” when I realized that no one on this planet was better at being Although I was born and raised in Berkeley, California, one Suzanne Wei Shiu Teng than me. It sounds so simple, but it of the most open-minded and liberal places in the world, took me decades to realize that I didn’t have to be the best I was raised in a relatively traditional household by immi- classical flute player, or the best ethnomusicologist, or the grant parents. My three sisters and I all learned a stringed best ethnic wind player to have a successful career in music. instrument at school. I played the violin but realized at age As I reflect back on my path, I realize that what once seemed 10 that I did not want to be “second fiddle” to my older like misfortunes turned out to be what made me strong, sister, and switched to the flute. My parents thought that confident, and independent, and that when I was open since I nearly died of pneumonia when I was a baby, I enough to venture onto new and unknown paths, wonderful wouldn’t have the lungs for a wind instrument, and worlds opened up to me. advised me to stick with the violin. This was the first time My transformation occurred when I learned to follow my in my young life that I consciously stepped off the path inner voice and to honor my strengths. laid in front of me and chose my own. I had finally found For years I thought my only career choices as a flutist were my voice. The flute became my passion and the identity to play in an orchestra or teach at a university. I was raised to that I had been seeking since childhood when I struggled

KEVIN ROLLY pursue“security,”and that meant a job with a regular paycheck. with being an identical twin.

nfaonline.org Winter 2008 The Flutist Quarterly 49 THE MYSTIC JOURNEY

Suzanne Teng and Mystic Journey (Gilbert Levy, Barry Newton, and Dann Torres). Teng playing panpipes, among myriad world flutes on which she performs.

My dedication paid off, and I became a good flutist. I sat and my mother’s suicide attempt. I managed to finish my first chair in band, won a school competition, played in youth degree, but then needed to figure out how to make a living. orchestras, and represented my school at the all-state honor After the hardest year of my life, I moved in with my teacher, band. Shouldn’t I continue on to a conservatory? Leone Buyse, and got a job as a music librarian at the near- When my father advised that, since I loved gardening so by university. much, I should go to UC Davis (an agriculture school), I I was in heaven. I had an amazing mentor to inspire and agreed. He told me I could always play music on the side. I was guide me, I practiced for hours preparing for competitions, absolutely miserable while I majored in agricultural econom- I developed a strong yoga practice and felt like the phoenix ics to get a “real job.” rising. Interestingly though, out of my calm and normal What I later realized was that since I was at a university routine came a person who changed my life. where I didn’t face much competition with other flutists, I Onye Onyemaechi is a Nigerian drummer, dancer, and healer was able to play first chair in the who asked me one day to play some- orchestra for four years, perform thing for him on my Chinese flute. I concertos, and debut pieces on faculty had studied the dizi at an exchange concerts—experiences that gave me a program in Taiwan a few summers tremendous amount of confidence. He said, “just play.” back, but couldn’t remember any of What seemed like a detriment turned the tunes that I had learned. He said, out to be an asset. I finally learned Suddenly a whole new “just play.” not to regret the decision made that What, me? Just play anything? day while standing in the garden world opened up to me. How? Without sheet music? The only with my dad. improvisations I had attempted before After graduation, it was time to were my assignments in baroque either go for it, or realize that music ornamentation. He insisted, so I closed would just be a hobby for me. Graduate school and Boston, here my eyes and just played. Suddenly a whole new world opened up I come, and the biggest challenges I have ever faced in my life. to me. After that day, I started to improvise more and more and was soon performing my original pieces with Onye and his Difficult Bliss troupe of drummers throughout New England. When I chose to “follow my bliss,”I didn’t realize it’d be so dif- ficult. My parents decided I was officially on my own, and Southern California since I was no longer the obedient and dutiful Chinese daugh- My growing passion for world music and ethnic flutes led me ter in their eyes, if I wanted to spend my life playing the flute, to Los Angeles to pursue a PhD in ethnomusicology. I learned I’d have to learn how to survive in the real world the hard way. much during my few years in the program, but my flute play- I experienced poverty for the first time. I lived in Roxbury, ing and creative spirit were suffering. I took a leave of absence one of Boston’s toughest neighborhoods—so rough that I and rediscovered a sense of freedom that I hadn’t felt since my could never find a ride home after school concerts, not even days playing with the drummers. When I had decided to move with a cab driver! I’d ride my bike or take the public buses to L.A., flutist Gretel Shanley offered to rent me her house in through neighborhoods with housing projects and gunfire. I Topanga, a little Bohemian town outside of the city, full of learned to pray that year, and I also learned how lucky I was artists and hippies. I jumped at the opportunity to live in the that I could move out, up, and onward. mountains. So, no longer a student, and living in Topanga, I While I was working on my master’s degree in flute at rediscovered the freer side of my personality. Boston University, I also experienced the suicide of one of my My hippie musician friends and I formed a band called

best friends, the breakup of my first long-term relationship, “Topanga,” and we started playing our own form of world HELENE BARBARA

50 The Flutist Quarterly Winter 2008 nfaonline.org Teng’s passion for world music and ethnic flutes led her to pursue a PhD in ethnomusicology. It was one step of many in her ongoing quest to find her own voice.

music hinting at rock and reggae. I didn’t have a clear vision of being used for healing, in both the alternative and conven- how I was going to make a living out of this new lifestyle, but tional medical worlds. I felt so creative and content that I knew it was a path I want- ed to follow. During those years I also joined an all-female Lessons of Hardship band featuring flute, harp, and cello. Hardships and hard work taught me the value of committing Through sales of our CDs and performing as street musi- to my dreams and believing in my strengths. Every person is cians, we made good money and received lots of publicity. We unique, and by honoring our talents instead of pushing to be were offered a major record deal, performed for celebrities and someone we think we want to be, we will find our own voices. politicians—and as we were preparing for “fame and fortune,” I’m grateful I found mine. My reward has been the joy and the group self-destructed. peace that I feel when I close my eyes and “just play.” Out of that process, though, I learned what it took to pro- duce my own music and how to lead a band. The time was Suzanne Teng, M.Mus., was selected Best New Age/Ambient right for me to commit to my own band, Mystic Journey. Artist 2007 in the Los Angeles Music Awards. She is the first Thanks to Paulo, a boyfriend who had just broken up with place winner of the 2006 International Acoustic Music me, I met my husband and music partner, Gilbert Levy. Paulo Awards/Instrumental Division and the 2005 and 2001 had made appointments with both of us at the same time and Independent Music Awards for Best New Age Artist. Recent place—and stood up both of us. Again, what seemed painful credits include 300, Kleenex, and NBC’s America’s Got Talent. at the time turned out to be a blessing. Gilbert’s drumming Known for composing music for yoga, meditation, and healing, was the band’s missing link, and the music started to flow. Teng was selected by the pharmaceutical company Genentech We’re now starting our fourth album, are raising a wonderful to create a CD, now in its third printing, for cancer patients.

CLEVE CHRISTIE 4-year-old son, and feel great pride knowing that our music is See suzanneteng.com.

Can’t Find it? Gotta Have it? Gps Uif The complete index of articles in Qjddpmp Tqfdjbmjtu The Flutist Quarterly, volumes 16 boe gps through 32, is now online! Uiptf Xip Offe up Tpvoe Mjlf Pof Visit nfaonline.org LFFGF and look under the 65 Divsdi Tusffu Flutist Quarterly section QJDDPMPT Xjodiftufs- Nbttbdivtfuut 129:1 VTB CPTUPO Qipof; 892.47:.2737 of the site to find the index. F.nbjm; kjnAlffgfqjddpmp/dpn xxx/lffgfqjddpmp/dpn (A printed index to issues prior to volume 16 is available from the NFA office on request.)

nfaonline.org Winter 2008 The Flutist Quarterly 51 STUDENT SPOTLIGHT

I’m Too Young to be a Victim of Flute Discrimination! by Jill Weakland

A middle school student challenges her band director—and all composers—to let her people go…into school jazz bands everywhere. Flutists, unite, and you shall overcome!

ive trumpets, five trombones, six “Malaguena,” “It Don’t Mean a Thing,” Martha spent considerable time with a saxophones, two guitars, one key- and “R-E-S-P-E-C-T.” But when they rhythm book, showing me how to clap Fboard, and one percussionist— played the “Mission: Impossible Theme,” difficult syncopation and uncommon these are the instruments in my middle I knew something was missing—me! The rhythms. It did not seem like fun at the school jazz band in Richmond, Virginia. saxophones tried to sound like flutes, but time, but her enthusiasm and teaching Unfortunately, I play the flute. it wasn’t the same thing. style helped me learn jazz rhythms and After six years of flute lessons and In middle school, flutes seem to get contemporary music styles. After our countless recitals and performances little R-E-S-P-E-C-T. When I asked jazz family moved to Virginia a few years with the concert band and other ensem- band members to describe the sound ago, I stayed in touch with Miss Martha bles, I felt I was good enough to compete of the flute, common answers were and was sad to learn of her passing. with any brass instrument player for a “soothing” and “relaxing.” One teacher My current flute teacher, Jeremy spot in the Pocahontas Middle School said the flute was “chirpy,” like a bird. McEntire, continues to expand my Jazz Band. So, in eighth grade, I mustered Their answers surprised me because I repertoire with more modern composi- the courage to tell my band director that think of the flute as a more dominant tions, including “Sonate” by Francis his jazz band would be better with a instrument, often playing the melody and Poulenc and “Danse de la Chevre” by flute. I guess he thought I was joking. rising above other instruments in the Arthur Honegger. McEntire has also Don’t get me wrong. Our jazz band is band. At least, that’s what I was taught. introduced me to techniques for unusual terrific, even without a flute. But imagine articulations, such as humming or how much richer and more interesting Teaching and Learning singing into the mouthpiece or partially the sound would be with an instrument I began flute lessons in third grade in covering the finger holes. that could hit the high notes without Tampa, Florida. My teacher then was In middle school, flutes have a more straining.That’s what I thought as I sat Miss Martha Rearick. She was a won- limited role in the music program. in the audience, listening to five trum- derful instructor and musician. She When the trumpets have the melody, pets, five trombones, six saxophones, passed along to me her love of the flute the flutes have to back off. When the two guitars, one keyboard, and one by exposing me to a variety of musical flutes have the melody, it’s a softer part percussionist, and watching all the fun styles. We sometimes ended our lessons because the composer is trying to show they were having as they played by sight-reading jazz duets. Miss contrasts between the instruments.

52 The Flutist Quarterly Winter 2008 nfaonline.org Just once, it would be fun for the instruments to change their roles. Give the flutes loud brassy parts and give the brass instruments softer melodic lines. When the composer occasionally gives a Composers, are you listening? All you Government and International Studies solo part to the flute, it is quiet and less need to do is write flute music for in Richmond, Virginia. Weakland par- dynamic than brass solos. middle school jazz bands, and the next ticipated in the Tribute to Martha Just once, it would be fun for the generation of band students will be Rearick at the National Flute instruments to change their roles. Give saved from flute discrimination. Association convention in Pittsburgh in the flutes loud brassy parts and give the 2006. Weakland’s activities at the brass instruments softer melodic lines. Jill Weakland, 14, graduated from If middle school music composers really Pocahontas Middle School in summer Governor’s School include French club, want these band musicians to develop a 2007. She was selected to attend the volleyball, Model UN, and, yes, playing wider range of dynamics, they would Maggie L. Walker Governor’s School for flute in the school’s jazz band. write music with this in mind.

Jazz Flutes The flute is a terrific jazz instrument. It can make a variety of different sounds. RIVERBERI SONORI Jazz is a very expressive form of music, and a good flutist can play soft, loud, the flute music publishing company sweet, and nasty—all in three octaves or more. Why should middle school jazz FLUTE STUDIES Felix Mendelssohn-Bartholdy Raymond Guiot bands miss the rich sound of the flute? Songs without words Do it Duet per due flauti Giulio Briccialdi for flute and piano RS1060 I know what all the band directors are 30 Soli o Esercizi per flauto solo (arranged by Benoît Fromanger) Johann Joachim Quantz RS1021 thinking: If we let the flutes in, then the RS1039 Sei sonate o duetti per flauti o clarinet players would try to join, and 24 Studi per flauto solo W. A. Mozart violini RS1046 (edited by Angelo Persichilli) 6 Sonatas for flute and piano Viotti Gianella Mercadante then the oboes and tubas. RS1051 (transcribed and edited by Tre duetti italiani per due flauti Konrad Hünteler) I say, why not? Throughout the Vincenzo De Michelis RS1060 Vol. I: KV 301-303 RS1034 Preludio Monodico Internet, you can find Web sites with Vol. II: KV 304-306 RS1035 Onnitonico op. 91 RS1003 THREE/FOUR/FIVE FLUTES music from jazz tubas, jazz bassoons, Mario Pilati Giuseppe Gariboldi Antonio De Angelis Sonata per flauto e pianoforte and even a jazz euphonium. Why dis- 58 esercizi per flauto solo Running per 4 flauti RS1008. criminate? Allow the students who want (edited by Angelo Persichilli) (score and parts) RS1042 RS1009 Francesco Santucci to play jazz to play it on the instruments A Raymond 5 pezzi jazz Joseph Fahrbach Ernesto Köhler per flauto e pianoforte RS1010 Prima Fantasia su motivi they enjoy rather than forcing a flutist Op. 33 dell’Aida di G. Verdi (edited by Angelo Persichilli) Little Princess album facile to play a saxophone or a tuba player a op. 78 per 3 flauti vol. I 15 studi facili RS1027 per flauto e pianoforte RS1031 (edited by Maurizio Bignardelli) bass guitar. These young musicians vol. II 12 studi Angel’s flute RS1062 di media difficoltà RS1028 should have an equal opportunity to per flauto e pianoforte RS1044 vol. III 8 studi difficili RS1029 Raymond Guiot play jazz concerts, travel with the jazz Serenata e tango Conversazione per 5 flauti Paolo Minetti per flauto e pianoforte RS1047 (score and parts) band, and conquer more challenging 12 studi fantastici per flauto RS1043 music. This is education, after all. RS1040 Giacomo Saponaro Scherzo per flauto e pianoforte W. A. Mozart Although my middle school band FLUTE AND PIANO RS1007 Quartetto per 4 flauti KV 370 (arrangement Enrico Blatti) director, Matthew Bruins, is an excellent Antonio De Angelis TWO FLUTES AND PIANO RS1049 trumpet player, he told me that he Sky’s Flowers per flauto e pianoforte RS1041 Giulio Briccialdi ENSEMBLE would encourage his child to play the Duettino per due flauti e Raymond Guiot pianoforte Sur la Soirée Musicale Francesco Santucci flute. He said the flute sound is “very Fantaisie per flauto e pianoforte di Rossini op. 49 Habanera e tango RS1001 pretty and can be very graceful.” He (edited by Rien de Reede) per flauto e chitarra even admitted that flutes are used in Quattro pezzi facili RS1025 RS1059 per flauto e pianoforte RS1005 jazz “and there are even famous rock TWO FLUTES Peter Van Munster Benedetto Marcello Repertoire catalogue. and roll artists who play the flute.” Sonata a flauto solo RS1006 Giulio Briccialdi Piccolo, Alto flute, Bass Flute Duo concertant RS1052 So why isn’t the flute an instrument 12 Sonate per flauto e b. c. per due flauti op. 100 n. 2 Vol. I: Sonate I-VI RS1036 in the Pocahontas Jazz Band? I asked (edited by Rien de Reede) Vol. II: Sonate VII-XII RS1037 him. His answer was very simple: RS1056 “Because the music that is written for that level jazz band does not have any flute parts.” www.riverberisonori.it [email protected]

nfaonline.org Winter 2008 The Flutist Quarterly 53 SchoolUniversity of of Washington Music The University of Washington Welcomes Donna Shin! Donna Shin has joined the Ms. Shin has been on the University of Washington School faculties at University of of Music faculty as assistant South Carolina and Oklahoma TVSJIWWSV SJ ¾YXI State University, and holds degrees from the Eastman “Donna Shin is a superb School of Music and the New performer, taking on the most England Conservatory. She HMJ½GYPX VITIVXSMVI [MXL XLI has performed with many panache of a sword swallower,” orchestras and festivals in the said Dr. Robin McCabe, director U.S., Asia, and Europe. of the UW School of Music. ±7LI MW E ½RI GSQQYRMGEXSV ERH www.donnashin.com dedicated teacher who will be ¾YXI$Y[EWLMRKXSRIHY highly sought after by students SJ XLI ¾YXI²

;I SJJIV FEGLIPSV´W QEWXIV´W ERH HSGXSVEP HIKVII TVSKVEQW MR ¾YXI TIVJSVQERGI Admissions Information Jenni Cole Admissions & Outreach Coordinator [email protected] or 206-685-9872 School of Music: www.music.washington.edu University of Washington: http://admit.washington.edu Across by Christine Cleary the Miles

News about flute club and flute choir activities throughout the United States

The Arizona Flute Society held its annual Flute Festival and The Flute Society of Kentucky will hold its 2008 Kentucky Competition November 17 and a recital and masterclass Flute Festival in Bowling Green January 18–19. Festival solo with Goran Marcusson accompanied by Tim Carey on competitions for all age and performance levels include piano November 18. Marcusson was the featured judge at junior soloist, high school soloist, collegiate artist (under- the competition, which was open to all levels of flute graduate only), young artist, and—the newest—new musicians, from beginner to adult. The AFS held its annu- music competitions. Prizes will be awarded to each finalist, al yard sale in October, the proceeds of which will be used and the winner of each competition will be invited to perform to support expenditures for future programs. Phyllis in a concert during the festival. The new music competition Avidan Louke, bass flutist and composer, will be the guest features “Rain and Shine,” a newly commissioned work writ- conductor at AFS’s Flute Ensemble Event March 29. The ten by Gary Schocker. The FSK commissioned this piece, AFS will sponsor the Alla Breve Flute Choir, under the which is available for purchase from Carolyn Nussbaum direction of Elizabeth Buck, in January. Rehearsals will be Music Company (flute4u.com). All are eligible to enter held January 12 and 25, with a concert at Beatitudes Campus of Care on January 27. Visit azflutes.org or contact this competition, including previous FSK competition Leslie Etzel, president, at [email protected]. winners, regardless of age and performance levels. Guest artist Michel DeBost will present a masterclass and solo The 25th annual Central Ohio Flute Association competi- recital during the festival; there also will be additional con- tion will be held April 19 at the Ohio State University. certs, clinics, and flute choir opportunities for everyone. For Competition categories and cash prizes are as follows: junior more information, and to find information about all the division (grades 6–9): $150; senior division (grades 10–12): music for the 2008 competitions, visit fskentucky.org. $250; and young artist division (up to age 27): $400. For the first time, the competition will be open to residents from any Flutissimo! Flute Choir’s fall 2007 series centered around state or country. Audition recordings must be postmarked the four elements: earth, air, fire, and water. The centerpiece by February 23, 2008. For more information, including was Cynthia Folio’s “Elements.” Also included was the pre- audition repertoire and application procedures, visit miere performance of Shaul Ben-Meir’s arrangement of http://cofa.osu.edu or contact Kathy Cameron at “Ritual Fire Dance” and an unpublished work titled “Neige [email protected]. au Printemps.” A multimedia presentation accompanied each work. Flutissimo! will perform through the Christmas The Flute Society of Greater Philadelphia kicked off its season at local retirement homes and malls. The spring 2007–2008 season October 13, with a masterclass featuring series will present music of myths and legends. Jeanne Baxtresser, who spoke on “My Personal Guide to Effective and Enjoyable Performing” and worked with flutists In celebration of the 10th anniversary of the Greater from FSGP’s membership. On November 18, the society held Cleveland Flute Society, Oberlin College faculty Michel a mock audition and coaching session for area students in preparation for the Philadelphia Music Educators Association DeBost and Kathleen Chastain gave a joint recital and mas- festival auditions in December. On March 29, FSGP will hold terclass at the Cleveland Music School Settlement November its Second Annual Flute Choir Symposium in Wayne, 11. DeBost was one of the first guest artists GCFS hosted 10 Pennsylvania. David Cramer, of the Philadelphia Orchestra, years ago. The DeBost/Chastain duo performed works by will present a recital April 12, 2–4 p.m., at the Olivet Covenant Debussy, Bizet, and Ravel. Presbyterian Church in downtown Philadelphia. The season concludes May 3 with the annual open members recital and The 15th Annual Hampton Roads Flute Faire (Norfolk, party. Visit philaflutesociety.org. Virginia) will be held February 9, at the Diehn Fine and

nfaonline.org Winter 2008 The Flutist Quarterly 55 ACROSSTHE MILES

Performing Arts Building on the campus of Old Dominion board the cruise ship. This was the 10th tour of the IFO, University in Norfolk. The Faire is hosted by the music which began as the American Flute Orchestra in 1996. departments of Old Dominion University and the Members are mostly orchestral musicians or college teachers Governor’s School for the Arts. This year’s guest artist is from all over the United States and Canada. The May 2008 Bonita Boyd, professor of flute at the Eastman School of tour is planned for Chile. Music. The event includes masterclasses, flute choir per- formances, recitals, and exhibitors; flutists of all ages and Magic Flutes Flute Choir from San Mateo, California, per- abilities are welcome to attend. The elementary, middle, and forms its annual winter concert in December at St. high school competition will take place the evening of Matthew’s Catholic Church in San Mateo. Selections include January 28 at the same location. Visit flutefaire.com or send “Winter” from The Seasons, by Vivaldi, “Hanukah Suite,” by an e-mail to Patti Watters at [email protected]. Phyllis Louke, “Ukrainian Bell Carole” and Christmas Concerto, by Corelli, and others. The choir also performs at The Houston Flute Club is pleased to announce its annual the Filoli Mansion in Woodside, California, during Filoli’s Flute Fest for 2008, slated for March 8 at the University of annual Holiday Traditions Celebration. Magic Flutes is Houston Moores School of Music. Events will include the directed by flutist Pamela Ravenelle. Denise Jennings Solo and Ensemble Competition for all ages, masterclasses, exhibits, concerts, and the Byron Flute Festival MidSouth, March 7–8, will feature British Hester Flute Competition with a $1,000 prize for the win- flutist and composer, Ian Clarke. The festival will be held ner. The members of the Houston Flute Club were well at the Scheidt School of Music, University of Memphis, in represented at this year’s NFA Convention. The University Tennessee. The festival will include competitions in cate- of Houston Flute Choir and the Woodlands Young Artist gories of young artist ($1,000 prize), high school soloist, Flute Choir performed. John Thorne, associate principal junior high and under, solo and ensemble, and college flute with the Houston Symphony, was a judge for several masterclass, and will also feature workshops and classes events including the Young Artist’s Competition. The selected from proposals submitted, flute choirs, recitals, Mobius Chamber Ensemble, composed of HFC president and exhibits. Visit midsouthflute.org. Jennifer Isadore and Michael Isadore, premiered a com- missioned piece (through the Texas-based Flute/Clarinet Duos Consortium) by Valerie Coleman of the Imani Winds. Several Texas flutists also participated in the com- petitions. For more information on the Flute Fest, send an e-mail to [email protected].

Indy Flute Fest 2007, presented by the Greater Indianapolis Flute Club (or Indyflute), was held November 3 at the Hilbert Circle Theatre in downtown Indianapolis. Walfrid Kujala taught a masterclass and performed a short recital. James Pellerite also performed on Native American flute. Additional workshops, performances, and exhibitions also were held. The event’s attendees received free tickets to an evening concert by the Indianapolis Symphony Orchestra, featuring Bartok’s Concerto for Orchestra. Visit indyflute.org. From left, front: Stacey Pelinka, Tomiko Hamai, Gary Woodward, Michelle Caimotto; standing: Karen Johnson, Mimi Stillman, Maria Tamburrino, Joshua Smith, and Karen Van Dyke. The International Flute Choir Festival at Fresno Pacific University will be held February 22–23. Leone Buyse will The Northern California Flute Camp, hosted by Hidden be guest artist, and the director will be Janette Erickson. Valley Music Seminars in Carmel Valley, featured Joshua Individuals and flute choirs may attend. For more information, Smith and Mimi Stillman as guest artists in July 2007. Serious call 559-243-0303 or send an e-mail to [email protected]. high school flutists from across the United States and from four different foreign countries were the beneficiaries of mas- Thirty-four members of the International Flute Orchestra terclasses and recitals from both artists, with Colette Valentine traveled to Greece in May 2007, giving concerts in Patras, and Miles Graber accompanying on piano. Other aspects of Trikala, and Athens, and followed the tour with a cruise the curriculum included solo performance, flute choirs, cham- through the Greek islands. The orchestra also performed on ber music, seminars, and electives classes. Visit flutecamp.com.

56 The Flutist Quarterly Winter 2008 nfaonline.org The Northwest Flute Consort performed in the Washington Methodist University, advanced students from area uni- State Capitol Rotunda in November under the direction of versities participated. The 31st Annual Texas Flute Society Hal Ott. The program featured all Celtic music and Gaelica, Flute Festival will be held on the campus of the University an Olympia-based trio with vocals, high and low whistles, of North Texas May 15–17. Guest artists include Renee mandolin, banjo, guitar, and cittern and bass, playing “tra- Siebert, member of the New York Philharmonic for over ditional and almost traditional” Celtic music. The capitol 25 years, concert soloist, and instructor of orchestral rotunda is one of the largest dome structures in the world. repertory classes at the Manhattan School of Music; It is a large, circular open space four floors high and open in Andrea Oliva, first solo flute at the Symphony Orchestra the middle, with balconies, steps, and walls of marble and of Santa Cecilia in Rome and member of the Nuovo containing chandeliers and sculptures. The acoustic Quintetto Italian Wind Quintet; Elizabeth McNutt, expert chamber of the capitol rotunda has a seven-second delay interpreter of the masterpieces of the last century and lec- in sound. Rotunda concerts are always free. The turer in contemporary performance practice and flute Northwest Flute Consort includes flutists from the technique; Rebecca Powell Garfield, winner of the 2007 Seattle/Tacoma areas; the state’s capital, Olympia; eastern Myrna W. Brown Artist Competition and principal flutist Washington; and Oregon. of the Austin Symphony; and Greg Patillo, known as the beat boxing flute player on YouTube, in a special performance. Raleigh Area Flute Association kicked off its 2007–2008 Application forms and additional information about mas- season September 23, featuring flute maker and repair terclass opportunities with these artists can be found at specialist Clifford Tretick in a concert and class. RAFA’s texasflutesociety.org or by contacting Pamela Youngblood 23rd annual scholarship competition was held November at [email protected] or 940-898-2495. Application 4, with contest winners performing a concert on forms and requirements for the 2008 competition are November 9. Jeanne Baxtresser was guest artist for the available at the TFS Web site, or by contacting Pam Adams November 10 Flute Fair, which included masterclasses, at [email protected] or 817-236-5687. exhibits, workshops, and a closing gala concert featuring RAFA’s professional flutists. The fourth annual Solo Fest On September 2, members of the Tucson Flute Club played will be held March 15, with graded repertoire examinations the national anthem to open the baseball game between the including solos, etudes, and scales. A concert and Body Tucson Sidewinders and the Sacramento River Cats. TFC Mapping seminar with Lea Pearson will be presented April presented a sunset concert September 22 at Kitt Peak 19, and the annual Members’ Recital will be held May 18. National Observatory’s “Stars and Music” picnic concert Throughout the year, RAFA sponsors three flute choirs series. The observatory, high on a mountaintop 60 miles and hosts bimonthly meetings for adult amateur flutists southwest of Tucson in southern Arizona, hosts concerts (the Second Winds). Visit raleighflutes.org. several times during the summer. The program included arrangements of traditional American music as well as com- The Raleigh Flute Choir, a group of nine professionals positions by John Philip Sousa, Stephen Foster, and others. performing as a chamber ensemble, is now in its 21st year. Following the concert, TFC members, guests, and concert The RFC performed fall concerts at Meredith College and attendees were treated to an hour-long star party, viewing Pittsboro, plus Christmas concerts at the North Carolina the celestial panorama through amateur telescopes. Museum of Art and Duke Chapel. The choir’s collaborations with a student flute choir and with a pianist for several selec- The Utah Flute Association welcomed Grammy Award– tions provides opportunities to educate young people and to winning flutist Rhonda Larson for a three-day tour October expand the group’s outreach with other musicians. 22–24. Larson taught masterclasses and performed recitals in Logan, Orem, and Salt Lake City. The UFA Flute Festival The Texas Flute Society is pleased to announce the winners will be held March 7–8 in Gardner Hall at the University of of the 2007 Myrna W. Brown Artist Competition, held in Utah in Salt Lake City. Leone Buyse is the guest artist. In May 2007: first place, Rebecca Powell Garfield ($1,200 addition to a masterclass and recital by Buyse, there will be prize); second place, Bonnie Ham ($500 prize); and third workshops, exhibitors, and other activities. Visit place, Deanna Little ($250 prize). Throughout October utahflute.org or send an e-mail to [email protected]. and November, the TFS hosted free clinics in the Dallas–Fort Worth area for students preparing for all-state Please send information about flute club activities, and auditions. On November 17, the TFS sponsored a master- high-resolution images if available, to Christine Cleary, class with Jean Ferrandis of the Ecole Normale Superieure Flute Clubs Coordinator, 2022 Wedgewood Dr., Grapevine, de Music–Paris. Held on the campus of Southern TX 76051; [email protected].

nfaonline.org Winter 2008 The Flutist Quarterly 57

From the PROGRAM CHAIR

Alert: High-Velocity Convention Ahead

’m pleased to report that planning down the path toward crafting an Jonathan Keeble the 2008 NFA convention has proven exciting set of performances for attendees Imuch easier than finding a theme at the August 7–10 convention in Kansas for it.As I created the overall theme for City, Missouri. the convention, I wrestled with many dif- A particular strength of the 2008 con- ferent ideas, ranging from the geographic vention will be the help of the Kansas (Prairie Song), to the comic (Low City Flute Association. With a broad Altitude Fluting), to the obvious (K.C. and diverse membership, this group Masterpiece), and to the lascivious (Seven includes nearly 150 flutists and is Deadly Sins). (The challenge of program- chaired by Rebecca Dunnell. They’ve ming a concert of works featuring avarice graciously volunteered to facilitate the removed this latter idea from contention!) myriad responsibilities that come with I finally settled on the whimsical the NFA’s annual convention. notion that, as home to some of the This year’s convention will be held at country’s highest winds, Kansas City’s the Hyatt Regency Crown Center. It is a convention could bear some sort of recently renovated, state-of-the-art reference to the Midwest’s tornadic facility that lies in the heart of Kansas activity. Ultimately, F6 Flute: High Winds City’s downtown. Located close to became the theme, with the “F” refer- shopping, the famed Plaza, fine dining, ring to the Fujita scale of measuring peerless barbecue, and some of the tornados, and the 6 being the highest greatest blues and jazz the world has to on the scale (in excess of 218 m.p.h.). offer, the 2008 convention promises Among this convention’s many emphases something for everyone. Attendees will will be the performance of high-velocity, enjoy the close proximity of the Crown virtuosic works for the flute. Center’s shopping and food, and will As I embark upon planning the 2008 find their nourishment extends well convention in earnest, I’m excited by beyond music. the possibility of carving new paths I am thrilled to be the program chair and insights into our instrument’s of a convention that offers such rich and repertoire and its pedagogy, and for diverse opportunities for exploration hearing virtuosic performances. I’m beyond the standard flute offerings. enjoying putting together next year’s Kansas City is truly a jewel in the crown program with my assistant, Rebecca of Midwestern cities. Johnson. Together, we’ve started well —Jonathan Keeble

nfaonline.org Winter 2008 The Flutist Quarterly 59 SPECIAL PUBLICATIONS AND NFA PRODUCTS

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to discuss how you can Advertise in The Flutist Quarterly! NFA News Updates on committee activities and other news of interest from the national office Inauguration: The NFA Jazz Flute Big Band by Ali Ryerson

he debut of the NFA Jazz Flute Big Band at the 2007 convention in Albuquerque paved the way for the bien- Tnial Jazz Flute Big Band Competition, to begin in 2009. Both audience and band members enjoyed the experience.

“Ali Ryerson and the NFA Jazz Flute Big Band’s debut was one of the highlights of the convention for many who attended. What a joy to see—and hear—this group of all-star jazz musi- cians performing a sparks-filled cabaret set! Under the expert leadership of Ali Ryerson, the group rehearsed for hours during the convention itself to achieve the high level we More than 20 flutists joined the debut performance by the Jazz Flute Big Band were treated to on Saturday evening. Participant Keith at the 2007 convention in Albuquerque. Underwood, who later said he had a blast, mentioned to me that the learning curve was high, but that all involved were “Jazz flutists have formed ensembles before, but usually in exhilarated and excited by the results. Brava to Ali and the just threes or fours, so I wasn’t sure if this was going to hang entire group! Let’s hope that the NFA Jazz Flute Big Band together. But from the first few measures it was clear this becomes an NFA tradition!” was going to work beautifully. The writing was great, the —Nancy Andrew, NFA program chair 2007 execution flawless, and the soloists inspired.” —Peter Westbrook, jazz journalist, author, The Flute in Jazz “What a treat to hear the new Jazz Flute Big Band. They totally rocked the house!” “While I was on the NFA board of directors, Ali Ryerson —Lori Akins, NFA assistant secretary presented her ideas for an NFA Jazz Flute Big Band. Of course we were unanimously in favor of this wonderful “A sonic delight! It’s the real thing! I was blown away at the project—a missing link in NFA programming. I never level of jazz solo playing and how the big band sound was thought at the time I would actually be a part of this proj- represented with integrity. Congratulations, Ali.” ect, but Ali asked me to play for the maiden voyage. From —Amy Porter, director of flute studies, University of Michigan the inside looking out, I thought it was a huge success. The band was stacked with a world-class rhythm section, not to “Your performance was one cabaret I did not want to miss, mention some of the greatest jazz flutists in the country. and when I came into the room packed with attendees, it The sound of an amplified flute choir with rhythm section made my heart feel so good. Being a big band singer myself, I is truly a new genre. I look forward to future opportunities could appreciate all the work that went into this perform- for our NFA aspiring jazz flutists to audition and perform ance. The charts were great and the group was swinging.” with the biennial NFA Jazz Flute Big Band.” —John Barcellona —Madeline Neumann, NFA convention director

“The ensemble playing was tight, the rhythm section was “Ali Ryerson invited artists from all parts of the country and swinging, the soloists were all hot, and the arrangements all areas of the jazz flute world to come together for one superb. As the creator of a flute band myself (Tutti Flutti) historic night. The result of this collaboration was breath- some 25 years ago, I can appreciate all of the color possibilities taking. It firmly established the viability of the jazz flute big and choices of function, and I think in this pure jazz/big- band as a performance category with popular appeal and band idiom, you have all pulled it off smartly and with potential for future exploration. There is a tremendous lots of style.” need for this performance genre among jazz flutists.” —Steve Kujala, jazz recording artist —Saïs Kamalidiin COURTESY GEMSTONE MUSICAL INSTRUMENTS

nfaonline.org Winter 2008 The Flutist Quarterly 63 NFA NEWS

John Barcellona Steve Kujala Ali Ryerson

“Several music teachers who spoke to me about the Jazz Flute “It’s great being a part of this history-making event, which Big Band performance commented on their desire to incor- helped further jazz flute education.” porate flute into school jazz ensembles, based on what they —Henri Scott heard at the concert. Letting band directors know that flute is “We certainly did make history. The amount of rehearsal a legitimate jazz instrument was just another benefit of hav- time was just right. It could not have happened without ing the performance at the NFA Convention!” everyone’s dedication to the project. I am going to contact —Holly Hofmann several arrangers, and see if they would like to write for us.” —Ken Sherman “I really had fun playing the music, meeting, hearing, and hanging with so many great flute players. Everyone had such a great spirit.” “Playing with the band was unlike anything I’ve ever experi- —Jamie Baum enced. The most surprising thing for me was how different we all sounded. No two players were carbon copies of each other. “An amazing event to be a part of. When John Barcellona and The other wonderful thing was there was no sense of competi- Keith Underwood took solos, I was impressed by how much tion between players. We all wanted to show each other what we could do, but it wasn’t in the sense of competing. After soloing, they knew about the jazz language and how great they sound- you could look around and see other players giving you a ed! It shows that a classical flutist morphing into a jazz play- thumbs up. That alone was worth the trip! If we sounded good, er is possible. We are that much closer to bringing jazz and it was because we had brilliant arrangers. Jazz isn’t just about classical flute into the same light.” jamming; it requires solid technique and a good understanding —Dominique Gagne of theory. More cross-pollination between those who play clas- sically and those who play primarily jazz has to be a good thing!” “I learned a lot and feel that I am a better jazz ensemble player. —Richard Ford Next time around I will be confident and ready to solo! I know what it takes now.” Sincere thanks are due everyone whose efforts made the —Matt Riley Jazz Flute Big Band a reality. We look forward to the first biennial Jazz Flute Big Band Competition in New York in 2009 with confident anticipation. I hope this new ensemble “It was a bit of an effort and commitment, including the will encourage jazz arrangers to develop a repertoire for all rehearsals every evening. What made it worthwhile was seeing flute choirs interested in performing with a rhythm sec- the audience, no more than a few feet from me, really get into tion. As these performers have expressed, the experience of our music, enthusiastically finger snapping and foot tapping playing in a jazz ensemble is not one to be missed! with the beat.” —Carlos Xavier Ali Ryerson is the chair of the NFA Jazz committee.

64 The Flutist Quarterly Winter 2008 nfaonline.org

PassingPassing Information about absent friends TonesTones

Clifford Benson Benson and Trevor Wye, in kimono, performing in Japan in 2003. Clifford and Dilys Benson

ianist Clifford Benson, world-renowned musician, Munich International Duo Competition in 1971. While at Pamong the leading pianists of his generation, and the Royal College, Benson studied piano with Lamar Crowson frequent collaborator with flutists, died August 10, 2007, at and Cyril Smith and composition with Herbert Howells. He age 60, after being diagnosed in November 2006 with an also received coaching from harpsichordist George Malcolm. inoperable brain tumor. Benson gave concerts and mas- Benson won numerous prizes and was quickly in demand terclasses worldwide and, in 2001, joined the faculty of the as an accompanist, forming lifelong partnerships with Royal Academy of Music. He was a regular contributor to flutists William Bennett and Trevor Wye and clarinetist BBC Radio 3 and Classic FM and recorded for Hyperion, Dame Thea King. Benson enjoyed working with young Chandos, CRD, and Deutsche Grammophon. He appeared people and was passionate and generous in his teaching. as soloist and chamber musician at the Proms and was the With the help of his wife, Dilys, he ran an annual interna- pianist for the Jacqueline du Pré masterclasses on BBC tional summer course for solo pianists and chamber Television. He was also pianist of the Nash Ensemble in its groups at Frensham Heights; he was also in great demand early years. as an adjudicator. A member of the Nash Ensemble for Born in Grays, Essex, United Kingdom, to Doris and many years, he performed with such artists as Cleo Laine, George Benson, amateur music enthusiasts, Clifford showed Eartha Kitt, Marion Montgomery, Sarah Walker, John musical talent at an early age. He participated in music activ- Taverner, and Sir Simon Rattle. He also worked with con- ities at his church, the London Road Methodist Church, ductors Sir Charles Mackerras, George Hurst, Daniel often joined by his sister Sylvia for vocal duets, which he Barenboim, and Sir Neville Marriner. accompanied on the ukelele. His parents encouraged his To celebrate his 60th birthday, Benson had planned to ambition to become a concert pianist. After attending Aveley fulfill a lifetime’s ambition to record his own piano com- Technical High School at Grays, he studied at the Royal positions. After he was diagnosed and lost the use of one College of Music, where he won the Chopin Prize, the side, his colleague and friend Michael Dussek agreed to Geoffrey Tankard Lieder Prize for Accompaniment, and record the solo pieces, with John Reid joining for a the Tagore Gold Medal. At the College of Music he also humorous piano duet. Benson attended the recording session met violinist Levon Chilingirian, who was to become a and the CD was completed. lifelong duo partner and friend. In 1969 the pair won the Benson is survived by his wife and daughters Sarah and BBC Beethoven Duo Competition, followed by the Emily, his mother, Doris, and his sister, Sylvia.

nfaonline.org Winter 2008 The Flutist Quarterly 67 PASSING TONES ary Sigurdson, orchestral flutist and music publisher, died August 19, 2007, Gafter a lengthy illness. He was 72. Sigurdson was born in Bremerton, Washington. He was principal flutist for the Kansas City Philharmonic, and later was appointed director of the music department at Interlochen Arts Academy. In 1985, he and his wife, Patricia, founded the Salt Creek Ballet to provide professional- quality training and performance opportunities to young dancers. Sigurdson also was active with the Hinsdale Chamber Orchestra and the original Hinsdale Arts Council. After receiving a PhD in music, Sigurdson earned an MBA from the University of Chicago and served as general manager of Carl Fischer Music in Chicago for 20 years. Sigurdson is survived by his wife; his sons, Eric and Steven; his Gary Sigurdson grandchildren, Andrew and Lauren; and his sister, Marilyn Cole.

lutist, composer, and band director Thomas A. Kennedy Jr., died on June 15, F2007, in Springfield, Ohio, after a lengthy battle with brain tumors. Kennedy was born June 11, 1953, in Elyria, Ohio. The son of a band director, Kennedy grew up in Sarver, Pennsylvania. He received a bachelor of music education degree from Indiana University, master of music in flute performance from Penn State, and doctor of musical arts in instrumental conducting from the University of Miami in Coral Gables, Florida. Kennedy was associate professor of music at Wittenburg University in Ohio. He was director of band and orchestra there from 1991 until his medical leave in 2005. During this time, he also served as conductor of the Springfield Youth Symphony, assistant conductor of the Springfield Symphony, conductor of the Thomas A. Kennedy Jr. Miami Valley Symphony Orchestra, and flutist in the TOFT trio. He was a composer, arranger, and editor for Kalmus, BRS, ALRY, Masters, Ludwig, Southern Music, and other publishing houses. He appeared as guest conductor, clinician, and adjudicator throughout the country, including 19 years with the Indiana University Summer Instrumental Clinic. Kennedy is survived by his sister, Zoë A. Scott, and brother-in-law, Robert Scott, of Chicora, Pennsylvania, and friends Joyce Wendel and her husband, Larry Smith.

lutist Ramona Pitts died in Lansing, Michigan, on June 18, F2007. Pitts was born in New Haven, Connecticut, September 19, 1928, to Adolf L. and Doris J. Dahlborg. Pitts received both bachelor’s and master’s degrees from the Julliard School of Music in New York. As a teenager, she received scholarships to the National Music Camp in Michigan, Tanglewood in Massachusetts, and Julliard. Pitts was a noted professional con- cert flutist and toured widely with the Becker Ensemble, the Robert Shaw Chorale, the Doyly Carte Opera Company, the Danish Ballet, the Interlochen Arts Academy Quintet, and the Ramona Pitts Pitts with the Interlochen Arts Academy quintet Michigan State University Quintet. Pitts also taught at the Julliard School of Music, Bronx Music School (New York), Westchester Conservatory (White Plains, New York), National Music Camp (Interlochen, Michigan), Stephens College (Missouri), Brevard Music Center (North Carolina), and several colleges in Michigan. She was a charter faculty member of the Interlochen Arts Academy when it opened in 1962. Pitts was the first flutist of the Lansing Symphony Orchestra for 24 years. She is survived by stepsons, James and Stuart Pitts of Michigan; grandchildren, Joshua and Jessica Pitts of Michigan; a sister, Harriet D. Lawson of West Haven, Connecticut; nephews, Ralph P.(Marlene) Lawson III, of West Haven and Ronald U. (Judy) Dahlborg of Illinois; and nieces, Rae L. Lambert (Roger) of Ohio, Valerie M. (John) Maene, and Lisa H. Dahlborg of New Jersey. Memorials in Ramona Pitts’ name may be made to the Interlochen Center for the Arts, Office of Gifts, PO Box 199, Interlochen, MI 49643-0199.

artha Herby, 55, died October 5, 2007, from complications following gall bladder cancer diagnosed in July. Herby became Mthe second flutist of the Oregon Symphony in 1981, and also served as the acting principal flute of the symphony on many occasions. At the time of her death, she was one of two orchestra members appointed to the board of directors. Herby was a graduate of the Eastman School of Music, where she earned a master of music degree and the performer’s certificate, before being named to the school’s faculty in 1976. She held the position of principal flute in both the Bloch Music Festival orchestra in Newport, Oregon, and the Cascade Music Festival in Bend. Herby appeared as a concerto soloist with the Oregon Symphony, the Brockport Symphony, the Rainier Symphony, the Chautauqua Festival Orchestra, and the West Coast Chamber Orchestra, where she played principal flute from 1980 to 1990. She taught on the faculties of the Eastman School of Music, the National Music Camp at Interlochen, Michigan, and Lewis and Clark College in Portland, Oregon. Herby can be heard as both principal and second flute on most of the Oregon Symphony’s CD recordings with James DePreist con-

68 The Flutist Quarterly Winter 2008 nfaonline.org ducting. She also recorded two CDs with the Third Angle New Music Ensemble. Herby was born in Jamestown, New York, and received her bachelor’s degree from the State University of New York at Fredonia, where she majored in music educa- tion. She studied with and was coached by James Galway, Walfrid Kujala, James Walker, Bonita Boyd, and Keith Underwood. Her last public performance was as a member of the Oregon Ballet Theatre Orchestra flute section during performances of Sleeping Beauty in June 2007. Among her many extramusical activities, Herby was an avid gardener and member of the Oregon Symphony’s garden club, where she enjoyed her honorary title “Queen of Dirt.” Herby is survived by her parents, Norman and Violet Herby; her brother and sister-in-law Paul and Sue Herby; nephews Chris and Tim; and niece Catelin of Chanhassen, Minnesota. Contributions may be made in Martha Herby’s name to the Oregon Symphony Annual Fund Drive.

endy Jill Layman Pender-Cudlip, active NFA member and author of an article chronicling her experiences as a flutist Wwith cancer for The Flutist Quarterly, died October 4, 2007, in Litchfield, Connecticut. Family and close friends were with her when she died. Pender-Cudlip was born March 5, 1956. She attended Wamogo High School and the Hartt School of Music, graduating magna cum laude with degrees in performance and music education. She taught at the Manhattan School of Music and was a winner of the New York Flute Club Young Artists Competition. She taught privately and performed with various groups. In March 2004, Pender-Cudlip was diagnosed with ovarian cancer and underwent surgery, chemotherapy, and radiation. During the remainder of her life, she advocated for increased awareness of gynecologic cancers, from which patients have five-year survival rates of 90 percent or greater if diagnosed at the earliest stages. She helped successfully lobby for the passage of Johanna’s Law, which funds cancer awareness campaigns. With her professional musician friends, she organized concerts in 2005 and 2006, the proceeds of which benefited the organizations listed below. She was an accom- plished flutist and avid gardener. Pender-Cudlip is survived by husband John, children Ben and Marilla of Torrington, parents Bill and Elaine Layman, and siblings Bill Jr., Keith, and Ken, all of Warren. In lieu of flowers, the family suggests dona- tions to The Center for Cancer Care Fund, Connecticut Oncology and Hematology, 200 Kennedy Dr., Torrington, CT 06790; or Gynecologic Oncology Research Development Acct., St. Francis Hospital Division of Gynecologic Oncology, Suite 2110, 1000 Asylum Ave., Hartford, CT 06105.

D

THE DEAN YANG FLUTE

nvision a flute crafted with the precision and beauty worthy E of professional flutists. Yet it is a flute tailored to meet a modest budget. Dean Yang has created such an instrument.

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nfaonline.org Winter 2008 The Flutist Quarterly 69 NFA Office, Coordinators, Committee Chairs Please check the NFA Web site for any changes and updates for addresses, phone numbers, and e-mail addresses: nfaonline.org

• NFA OFFICE Program Book Bio Editor Piccolo Professional Flute Choir Lisa Van Dusen (2007) Mary Kay Ferguson (2004) Diane Boyd Schultz (2006) Chief Executive Officer 1947 Gravel Rd. 3420 E. Fairfax University of Alabama Phyllis T. Pemberton Seneca Falls, NY 13148-8720 Cleveland Heights, OH 44118 School of Music, Box 870366 The National Flute Association, Inc. 315-568-1233 216-321-2713 Tuscaloosa, AL 35487 26951 Ruether Ave., Ste. H [email protected] [email protected] 205-348-7110 fax: 205-348-1473 Santa Clarita, CA 91351 Planned Gifts 661-713-6013 Gala Fundraising Dinner Chair [email protected] Gwen Powell Gwen Powell (2007) fax: 661-299-6681 5101 E. Oakmont Dr. 5101 E. Oakmont Dr. [email protected] Young Artist Tucson, AZ 85718 Tucson, AZ 85718 Karen Evans Moratz (2003) 520-529-3748 520-529-3748 Jordan College of Fine Arts Convention Director [email protected] [email protected] Butler University Madeline Neumann 4600 Sunset Ave. Special Publications 26951 Ruether Ave., Ste. H • COMMITTEE CHAIRS Indianapolis, IN 46208 Susan Waller (2003) Santa Clarita, CA 91351 317-253-1891 Advisory Committee 224 Kent Pl. 661-299-6680 [email protected] fax: 661-299-6681 Alexa Still (2007) San Ramon, CA 94583-3748 [email protected] Sydney Conservatorium of Music 925-829-4922 Macquarie St. [email protected] • ARCHIVES AND LIBRARIES Sydney, NSW 2000 Membership Director NFA Librarian Maria Stibelman Australia • COMPETITION COORDINATORS 011 61 2 93511266 Bob Diaz, Music and Dance Librarian 26951 Ruether Ave., Ste. H General Coordinator NFA Music Library Santa Clarita, CA 91351 fax: 011 61 293511287 (attn: Alexa) [email protected] Lisa Garner Santa (2007) c/o University of Arizona Libraries 661-250-8920 [email protected] School of Music 1510 E. University fax: 661-299-6681 Texas Tech University Tucson, AZ 85721-0055 [email protected] Amateur Resources Box 42033 520-621-7010 Lisa Fahlstrom (2007) Lubbock, TX 79409-2033 [email protected] Publications Director 1216 Travis View Ct. 806-742-2270, ext. 259 Anne Welsbacher Gaithersburg, MD 20879 [email protected] • OTHER APPOINTMENTS 7213 E. Chelsea St. 301-948-5333 Wichita, KS 67206 fax: 301-279-1323 Baroque Flute Director of Public Relations 316-440-2800 [email protected] Nancy Schneeloch-Bingham (2008) Irene Pruzan (2004) fax: 316-440-2801 Hayes School of Music 5951 Petunia Ln. Appalachian State University [email protected] Archives and Oral History Orlando, FL 32821 Nancy Toff (2007) Boone, NC 28608 phone/fax: 407-238-9378 425 East 79th St., #6F 828-262-6447 [email protected] NFA Online Administrator [email protected] Brian Covington New York, NY 10075 [email protected] 212-772-1343 Flute Choirs Coordinator [email protected] Chamber Music Kelly Via (2007) Andrea Graves (2004) 965 Daisy Ct. • CONVENTION Cultural Outreach 2800 S. Highland Mesa, #1-202 Lawrenceville, GA 30044 Horace Alexander Young (2007) Flagstaff, AZ 86001 770-935-1379 Program Chair 2008 410 SE Crestview 309-255-7269 [email protected] Jonathan Keeble Pullman, WA 99163 [email protected] University of Illinois 713-817-3754 Flute Clubs Coordinator 1114 W. Nevada St. [email protected] Convention Performers Amy Hamilton (2003) Christine Cleary (2004) Urbana, IL 61801 2022 Wedgewood Dr. [email protected] Development 154 King St. Oakville, ON L6J 1B2 Grapevine, TX 76051-7706 Katherine Borst Jones (2007) 817-421-6663 Assistant Program Chair 2008 4635 Rutherford Rd. Canada Rebecca Johnson Powell, OH 43065 905-339-2658 [email protected] Flute Research Coordinator 1010 N. Busey Ave. 740-881-5008 Michelle Cheramy (2007) Urbana, IL 61801 fax: 740-881-5252 School of Music [email protected] DMA/PhD Dissertation [email protected] Michelle Cheramy (2007) Memorial University of Newfoundland Endowment School of Music St. John’s, Nfld Convention Director Zart Dombourian-Eby (2007) Memorial University of Newfoundland Canada A1C 5S7 Madeline Neumann 2515 10th Ave. W. St. John’s, Newfoundland 709-737-7477 26951 Ruether Ave., Suite H Seattle, WA 98119 Canada A1C 5S7 [email protected] Santa Clarita, CA 91351 206-285-0206 709-737-7477 661-299-6680 [email protected] [email protected] Grants Committee fax: 661-299-6681 Patricia Spencer (2003) [email protected] Forum High School Soloist 215 W. 90th St. #1G Carol Dale (2007) Ruth Ann McClain (2008) New York, NY 10024 Local Arrangements Chair 2008 12902 W. 102 St. 5760 Barfield 212-873-1065 Rebecca Dunnell Lenexa, KS 66215 Memphis, TN 38120-2054 fax: 646-619-4462 Northwest Missouri State University 913-400-3676 901-683-4110 [email protected] Music Dept. 800 University Dr. [email protected] fax: 815-846-1556 International Liaison Maryville, MO 64468 [email protected] Historical Flutes Matej Zupan (2004) 660-562-1791 Linda Pereksta (2007) Jazz Flute Masterclass C.9. Avgusta 72 fax: 660-562-1346 801 Frontage Rd., #912 Holly Hofmann (2005) 1410 Zagorje ob Savi [email protected] Oxford, MS 38655 1125 Via Las Cumbres Slovenija, Europe 662-513-0508 San Diego, CA 92111 386 40 811 811 Exhibits Management [email protected] 858-292-1814 fax: 386 1 516 11 34 Jim Magee [email protected] [email protected] N’Awlins Trade Show and Convention Services, Inc. Jazz 612 Highland Ct. Ali Ryerson (2004) Masterclass Performers Legal Advisor to the Board Mandeville, LA 70448 12 Longview Dr. Jill Heyboer (2007) Linda Mintener (2003) 985-626-3046 Brookfield, CT 06804 Music Department 3976 Plymouth Cir. fax: 985-727-3940 203-740-2044 Missouri State University Madison, WI 53705 [email protected] [email protected] 901 S. National Ave. phone/fax: 608-231-1680 aliryerson.com Springfield, MO 65897 608-266-3049 (office) Exhibits Assistant 417-836-4875 608-516-2216 (cell) Patti McCleney New Music Advisory [email protected] [email protected] Molly Barth (2007) N’Awlins Trade Show and Convention Services, Inc. 126 SE Macy St. National High School Flute Choir PO Box 8538 Virginia Schulze-Johnson (2007) Masterclass Reporter, Flutist Quarterly McMinnville, OR 79128 Tony Watson (2003) Mandeville, LA 70470-8538 503-435-1393 Department of Music phone/fax: 985-893-9521 Drew University 1305 Edmund Park Dr. NE 773-727-2473 Atlanta, GA 30306 [email protected] [email protected] Madison, NJ 07940 908-875-3211 404-964-4142 Showcase and Exhibitors’ Concert Coordinator Nominating [email protected] [email protected] Nora Kile (2003) Leonard Garrison (2007) 1802 Glen Stone Ln. Lionel Hampton School of Music Newly Published Music Myrna Brown International Liaison Hixson, TN 37343-3106 Music Room #206 Jennifer Robin Lau (2008) Angeleita Floyd (2007) 423-842-4570 University of Idaho Center for the Arts 3743 Beaver Ridge Cir. [email protected] Moscow, ID 83844-4015 MSC04 2570 Cedar Falls, IA 50613 208-885-6709 1 University of New Mexico 319-268-1001 [email protected] Program Book Editor fax: 208-885-7254 Albuquerque, NM 87131 [email protected] 505-401-2398 Anne Welsbacher Myrna Brown Society 7213 E. Chelsea St. [email protected] Pedagogy Eva Amsler (2007) Wichita, KS 67206 Rebecca Hovan (2004) Orchestral Audition and Masterclass 1650 Snowball Way 316-440-2800 23685 Arlene Ave. Jennifer Parker-Harley (2008) Tallahassee, FL 32301 fax: 316-440-2801 Elkhart, IN 46517-3643 319 Stewart Ave. 850-877-2096 [email protected] 574-875-5447 Columbus, OH 43206 [email protected] [email protected] 614-261-0780 Program Book Advertising Sales Representative [email protected] NFA Library Liaison Steve DiLauro Performance Health Care Brian Luce (2004) LaRich & Associates, Inc. Stephen A. Mitchell (2008) Piccolo Artist PO Box 210004 15300 Pearl Rd., Suite 112 4820 Redcastle Ridge Rebecca Arrensen (2004) University of Arizona Strongsville, OH 44136-5036 Nashville, TN 37211 1429 Stoney Creek Cir. Tucson, AZ 85721-0004 440-238-5577 615-386-9089 Carmel, IN 46032 520-621-7015 fax: 440-572-2976 fax: 615-832-7888 317-818-0004 fax: 520-621-8118 [email protected] [email protected] [email protected] [email protected] NEW PRODUCTS Recordings, music, and other products by and for NFA members

The NFA Special Publications The Armstrong Flute and Percussion committee announces the release Duo, consisting of Eleanor Duncan of the fourth in its Historic Armstrong (flutes) and Dan C. Recording series, Historic Recordings Armstrong (percussion), has released of Maurice Sharp, available through Creative Mix, its second CD record- the NFA at nfaonline.org. For 50 ing. Four of the works on this CD years, Maurice Sharp (1908–1986) are new commissions written for was both principal flute of the and dedicated to the Duo, including Cleveland Orchestra and head of “Kiva” by Dan Welcher, “Pu-Em- the flute department at the Remu” by Dana Wilson, “Music for Flute and Drums” by Burt Cleveland Institute of Music. The collected works heard on Fenner, and “Three Days in May” by Lynn Glassock. The other Historic Recordings of Maurice Sharp demonstrate his vast two works included are “Sonata piccola” by Wolfgang contribution to the American flute community and Hofmann and the first CD recording of the classic “Diversions beyond. This new CD contains the reissue of Sharp’s one for Flute and Marimba” (1958) by Peter Tanner. This CD was solo LP, Music for a Golden Flute, which was recorded by recorded for the Gasparo label by Kent Klouser of Klouser the Cleveland Sinfonietta in 1960, with Louis Lane con- Audio and was produced by Roy Christensen. It was made at ducting. It features works for solo flute and orchestra: Penn State University, where the Armstrongs are members of Griffes’s “Poem,” Foote’s “A Night Piece,” Honegger’s the music faculty. Visit gasparo.com. Concerto da Camera (with Harvey McGuire, English horn), and Hanson’s Serenade. The orchestral excerpts Suzanne Teng announces the from works by Beethoven (Leonore Overture No. 3, availability of the sheet music for Symphony No. 3), Brahms (Symphony No. 4), her compositions “Sierra” and Mendelssohn (Midsummer Night’s Dream, Scherzo), “Katyia’s Dance.” These pieces, Rossini (Il viaggio a Reims), Hindemith (Symphonic written for alto flute, guitar, bass, Metamorphosis), Dvorák (Symphony No. 8), and Ravel and drums, are also available tran- (Daphnis and Chloe) are from Cleveland Orchestra record- scribed for C flute. Teng per- ings conducted by George Szell and Pierre Boulez. The formed “Sierra” on the Sunday chamber music performances from the archives of the Headliner Concert at the recent Cleveland Institute of Music include Sonata for Flute and NFA Convention in Albuquerque with percussionist Gilbert Piano by Beryl Rubinstein, Caprice on Danish and Russian Levy and guitarist Arnold Cardon. Teng also announces the Airs, Op. 79, by Camille Saint-Saëns, and Sonatina for Flute release of her third solo recording, Enchanted Wind, which fea- and Accordion by Waldemar Bloch. Assisting artists in tures seven of her original flute meditations played on alto these performances are Marianne Matousek Mastics, piano; flute, bass flute, bamboo flutes, and contra bass flute. John Mack, oboe; Franklin Cohen, clarinet; Donald Payne, Accompanying instruments include celtic harp, bass dulcimer, piano; and Jacqueline Hofto, accordion. and tanbura. Visit suzanneteng.com.

Save the Date: Upcoming NFA Conventions August 7–10, 2008, Syrinx Kansas City, Missouri August 13–16, 2009, Fine Flute Repair New York City, New York www.syrinxflute.com August 12–15, 2010, Anaheim, California SarahMerrow August 8–11, 2011, [email protected] Charlotte, North Carolina 978.771.7945

nfaonline.org Winter 2008 The Flutist Quarterly 71

REVIEWSREVIEWS Reviews of flute-related recordings, books, and other items of interest Books and no functioning backup copy of the CD-ROM can be produced. In addition, it is apparently not possible to save search results and either print or e-mail them. Once the data- base is installed, however, its remarkable scope and potential range of applications are immediately apparent. The user can select from three languages (French, German, or English) and has the option of searching by composer, title, duration, year of composition, instrumentation, or publisher— or any combination of those elements. It is also possible to search by a composer’s year of birth or death, a feature that would certainly be useful for planning anniversary concerts. A separate “collection” search finds compilations, but the contents of the collections themselves are not listed. Search results are displayed in a clear and uni- form manner that provides all or most of the following details: the composer’s name with years of birth and death, title, duration, year of composition, publisher, publisher’s stock number, year of publication, and instrumentation. The remaining features of the CD-ROM are a list of abbreviations Le grand répertoire de la flûte for instruments and other terms (the lexicon) and a directory of Bernard Pierreuse those publishers cited that have active addresses or Web sites. © 2005 Listesso Sàrl and La Traversière, listesso.com The Lexicon is one of the most indispensable features of the Print version: 2 vols. database, but it would be even more useful if it could be print- Electronic version: CD-ROM for Windows or Macintosh ed. A 305-page composer index was not included on the CD- ROM (or in the print volumes), but it can be downloaded n 1982, Bernard Pierreuse, a chamber musician, teacher, and from the Listesso Web site and printed. Iflutist in the Liège Philharmonic, published Flûte Litterature. The print version, now in two volumes, is organized much as This massive catalog listed everything from unaccompanied the first edition was: by instrumental combination, and then by solos to works for flute with orchestra, études, methods, histo- composer within each section. Each volume includes the ries, and biographies of flutists. Now a new edition, Le grand Lexicon of abbreviations, the index of instrumental ensembles, répertoire de la flûte, is available as a searchable database and and the list of publishers. Volume I is devoted to works for unac- in a new print version. The coverage has been expanded to an companied flute, flute and piano, flute choir, and flute with incredible 90,000 titles.As in the first edition, the author has orchestra, as well as pedagogical materials and literature on the made an exceptional effort to include both available and flute. Volume II covers all other ensembles with flute. A major out-of-print materials, as well as those that exist only in improvement in the print version is the use of highlighting to manuscript, in institutional collections, or that are men- make the index of instrumental ensembles far more readable. tioned in major reference sources. This review will focus on A highlight of the new edition is that citations for journal the electronic version, the form supplied by the publisher. articles, dissertations, and other publications have increased Instructions provided for both installing and using the dramatically. Coverage is selective: many of the famous treatises, database are minimal (as are the directions in the print ver- methods, and dictionaries from the 19th century and earlier sion). Those familiar with the features of large bibliographic are included, but the periodical articles, dissertations, databases will quickly adapt, but the less experienced searcher brochures, and catalogs are generally from the 1950s or later. may need to go through a process of trial and error before Articles in Continental and British journals are more preva- achieving entirely successful results. Installing the database on lent (Tibia, Pan, Traversière, Flöte aktuell, and Fluit are all a computer is straightforward, although users need to be well represented), but publications from other countries are aware that, even after installation, the compact disc must be not excluded. put into the drive for each use, and that a screen setting of at One obvious asset of the electronic version is that the least 1024 x 768 pixels is essential for the database to function opportunities for combining search elements are greatly properly. The database cannot be loaded on to a hard drive, increased. It is possible to look for Breitkopf editions of Bach’s

74 The Flutist Quarterly Winter 2008 nfaonline.org flute works, for flute duets that are less than three minutes long, uniformly used in creating the database entries. In addition, or for works for flute and voice that have the word “paradise” in there is no automatic translating or cross-referencing between the title. Searching by instrumental combination is perhaps different versions of the same title. For example Paul Wetzger’s the most sophisticated and versatile function. The user can flute solo, “By the Brook,” must be located using either the specify a precise ensemble (flute, trombone, and cello) or use composer’s name or the German title, “Am waldesbach.” broader categories (works for two woodwinds and two brass Such idiosyncracies are common to all electronic resources, with a keyboard instrument). Pull-down menus for each and fortunately none of these are serious enough to prevent Le instrumental classification allow the user to select everything grand répertoire from being completely usable. Of greater from piccolo, to Ondes Martenot, to a dancer. The principal challenge of searching the electronic version importance is the fact that the content of the database is is that of using names and/or titles consistent with the forms impeccable. Because there is no other single resource that entered in the database. If the title “Acht Stücke” is entered, two presents so much detail about flute repertory, it is an essential German-language articles about Hindemith’s unaccompanied purchase for libraries, teachers, and performers. Le grand solos will be retrieved. Entering “Eight Pieces” yields a work répertoire de la flûte will serve as a significant resource for both with the full title “Pieces of Eight.” Citations for the performance and research for many years to come. Hindemith work are found only by entering “8 Pieces,”the title —Susan Nelson

Johann Sebastian Bach: each movement, as in other partitas of Bach, is patterned after Partita in A Minor for a traditional baroque dance form. Solo Flute BWV 1013, In the past 44 years many articles have been published about with Emphasis on the the Partita, but the recent book by Betty Bang Mather and Allemande—Historical Elizabeth Sadilek achieves an extraordinarily high standard of Clues and New Discoveries scholarly research coupled with an impressive amount of for Performance practical performance advice. Betty Bang Mather and Part One of their book gives a historical background of the Elizabeth A. Sadilek Partita, and includes a manuscript facsimile of the work and the © 2004 Falls House Press authors’ transcription of the music in modern notation. Part Two begins with a comparison study of five contemporary alle- can still remember my exciting mandes—four by Bach for solo keyboard, cello, and violin, and Ifirst encounter with the J. S. one by Johann Blockwitz for solo flute. This study discusses such Bach Partita while a student at topics as affect, tempo, texture, harmony, rhythm, melody, and Eastman in the 1940s. Having repeated strains. A second study titled “Ongoing Movement already studied the six “standard” despite Breaths” explains the forward motion of the allemande, Bach sonatas, I happened one day to run across another its poetic phrase structure, and the need for speechlike enuncia- Sonate by J. S. Bach appended on page 133 of my Albert J. tion by the flute. The entire allemande is then notated twice, first Andraud (now Southern Music) publication, Famous Flute with a structural analysis and then with a suggested struc- Studies & Duets. The dark blue cover of this oversize book tural enunciation scheme, along with helpful practice prompted me always to refer to it admiringly as my “Big Blue suggestions for “delivering Bach’s flute allemande as recited Book,” because in addition to the Andersen Op. 30 and 63 poetry.” In the third study, “Poetic Images and Emphases,” the Études, there were 55 delightful pages of duets and solos, the authors argue that“the structure of Bach’s flute allemande is that very last one being my newly discovered four-page J. S. Bach of a psalm,” and they present fascinating rhetorical analogies Sonate, “revised” by Robert Cavally, and with a clarifying foot- between this allemande and the verses of Psalms 19 and 27. note—“originally written for flute alone.” The reviser’s printed Part Three is devoted to the other three movements, Corrente, tempo for the allemande first movement was animato e spiri- Sarabande, and Bourrée Anglaise. Though not as detailed as the toso. That marking, along with the generous number of staccato allemande coverage, Mather and Sadilek show how the four dots, accents, and dynamics sprinkled through the movement, dances relate and how faithful each is to its dance type, and they led me to adopt a very fast tempo modeled after the virtuosic give excellent advice on how each can be performed. preludio movement of the E Major Violin Partita BWV 1006. At the 2006 NFA convention in Pittsburgh, I attended an Being clueless about the proper character of an allemande, I illuminating lecture/demonstration on the Bach partita by blithely forged ahead with a 126 to the quarter-note metronome Mather and Sadilek. Among other things, I learned that, speed, a ludicrously rapid tempo by today’s standards. according to Thoinot Arbeau, the allemande is a “dance of At that time there were no recordings of the Partita (alias moderate gravity.” Thus, with Mather as the expert dance Sonate), and apparently it was not often performed. In fact, instructor and Sadilek as the poetic flutist, my classmates there had been doubts by some musicologists concerning its and I learned the relatively sedate double and single steps authenticity (the original autograph was lost). However, by that comprise a stylish allemande dance. This was indeed a the late 1950s, a resurgence of interest took hold, a consensus convincing demonstration that 126 is definitely not the was reached that it was indeed authentic, and in the new 1963 proper allemande tempo! Bärenreiter edition Hans Peter Schmitz retitled it Partita, since —Walfrid Kujala

nfaonline.org Winter 2008 The Flutist Quarterly 75 CDs

Franz Josef Haydn; Georg Friedrich Händel; C. Ph. E. Bach; Sonata in G Londoner Trios, Hob. IV: 3 Hallenser Sonaten, Minor for violin (or flute) Nr. 1–3 (two flutes and cello HWV 374–376 (flute or vio- and Harpsichord (originally or flute, violin and cello) lin and Basso Continuo) attributed to J. S. Bach BWV with play-along CD with play-along CD 1020) with play-along CD © 2006 C. F. Peters © 2006 C. F. Peters © 2006 C. F. Peters hese products are the C. F. Peters incarnation of the old Pastor Fido Sonatas for students who are transitioning from Tstalwart—Music Minus One (MMO). Obviously, technology beginning flute books to “real” music. For students who are has progressed radically since my parents bought me an MMO more advanced, Handel’s “skeleton” writing in this group of record of the Mozart flute quartets several eons ago. Additionally, sonatas provides an ideal template for experimentation with as I recall, on my record of yesteryear,the quality of playing by the baroque ornamentation. One caveat, however—editor unidentified performers was questionable, the rhythm unstable, Waldemar Woehl’s print realization of the continuo in the entrances were a guessing game, and the vagaries of pitch were music package is somewhat different than Petrenz’s on the held prisoner by the efficacy of the turntable. enclosed CD. Additionally, most of the movements on the Times have changed. The vinyl has been replaced by a digitally CD have two measures of preparatory beats, but several stable CD, and the accompanying performers are first class. have only one measure. I enjoyed my play-along with this The Haydn CD features Imre Kovacs, flute; Zsuzsanna CD—especially No. 3 in B Minor—and I think that you will, too. Molnar, violin; and Zsolt Bartha, violoncello. Kovacs has The C. Ph. E. Bach CD features Siegfried Petrenz, harpsi- served as principal flutist in the Hungarian State Orchestra chord. I’m not sure what it says about me that three of my since 1976. He is a member of the faculty of the Bela Bartok favorite flute works by Bach—the A Minor Partita, the E-flat School and Conservatory in Budapest. His two colleagues on Sonata, and the G Minor Sonata—have all had doubts cast this recording are excellent musicians. The obligatory rhythmic upon their authenticity. There is substantial scholarship to prove consistency (whether by click-track or not) is steely accurate. that Johann’s G Minor sonata was actually composed by son The package includes the CD, two instrumental parts, and a Carl, and to add insult to injury, it was most likely for violin orig- score—all in urtext form. There are two complete performances inally. Some oboists even claim ownership. So be it—it is vintage on the CD. The first is YOU, second flute, and cello; the second baroque music, and we’re lucky to have it in our repertoire. is YOU, second violin, and cello. Petrenz’s keyboard artistry is very straightforward and accu- If your violin (or flute) and cello buddies decide to bag your weekly chamber music evening for a Jewel concert instead, this rate—necessities for a play-along CD. Don’t count on CD would be a hearty substitute. preparatory beats in the third movement! The spotless Edition The Handel CD features Siegfried Petrenz, cembalo/harpsi- Peters urtext is included. This package is the only one of the chord, and Gregory Johns, violoncello. In The Flute Book three above that has an English translation of frontispiece (indispensible to all of us!), Nancy Toff mentions that over the remarks in German, which is helpful. years, editors have clouded compositional dates and attribution Bottom line: These play-along performance packages are of Handel’s works for flute. The three sonatas above were well-crafted and well-conceived products. The performances allegedly composed by Handel while he was a student and on the play-along CDs are high quality and the sparkling organist in Halle. Both the compositional date (1702) and the Peters Editions can function as stand-alone additions to your authorship remain in doubt. music library. Each package provides multiple templates for These sonatas are easier to play than Handel’s “standard the purchaser—study, practice, and enjoyment. six.” I have periodically utilized them along with the Vivaldi Il —Erich Graf

76 The Flutist Quarterly Winter 2008 nfaonline.org Music Antonio Vivaldi: includes a treasure trove of historical notes on the compositions; Three Concertos for Piccolo an explanation of the possible instruments denoted by the Zart Dombourian-Eby, ed.; term “flautino”; suggestions for performing ornaments, trills, Piano reductions Martha Rearick and articulations; alternate fingerings; dynamics (not indicated © 2006 Theodore Presser Co. in Vivaldi’s autograph score); and suggestions about playing tutti sections. Based on her study of the manuscript, she has also art Dombourian-Eby, one of the restored pitches, stating that some “accidentals differ from Zforemost piccolo virtuosi of the 21st most other currently published editions.” A section of the century, has created an important con- manuscript is included in the preface. tribution to the piccolo repertoire with this edition of The middle movement of the Concerto in C Major, RV 443, Vivaldi’s concertos for the “flautino.” Dombourian-Eby, the is in two repeated sections. For each, Dombourian-Eby has principal piccoloist of the Seattle Symphony, had been included gorgeous, ornate passages to be played in the repeats. teaching these concertos at her Northwest Flute and Piccolo These tasteful passagi will be welcomed by students learning Forum for several years when a student requested that she how to ornament Italian baroque works. publish her own edition with performance suggestions. The late Martha Rearick created beautiful, tasteful piano Dombourian-Eby’s purpose in creating this new publication reductions from the orchestral scores. This edition is a welcome was to create a “performance ready” edition that stayed as true addition to any serious piccoloists’s library. as possible to baroque performance practice. The preface —Shelley Collins

Classic Duets for Flute, to play. My students particularly enjoyed an arrangement of Volumes 1 and 2 Blavet’s Gavotte from Suite No. 5 (“Harmonious Blacksmith”) Selected and introduced by because of the back-and-forth interplay between the two Mary Karen Clardy parts. They also enjoyed performing the Rossini Overture to © 2006 Theodore Presser Co. The Barber of Seville, although they found the page turns difficult to navigate. s a teacher, I am always on the look- Written introductions to each duet include historical infor- Aout for good duets to play with my mation and performance suggestions that will be useful for intermediate and advanced students. students and teachers alike. Clardy’s duet collections are excellent Volume 2 includes helpful, short biographies of each compos- choices for any flute teacher to consider. Volume 1 contains er and performance suggestions for each work. This volume works by Händel, Blavet, J. S. Bach, Haydn, Mozart, and features works by Telemann, Quantz, W. F. Bach, Devienne, Rossini. Many of these duets are opera arias that were and Koehler. Clardy begins the collection with two canonic arranged by the composers’ contemporaries for the enjoyment sonatas by Telemann. These duets are usually written as a single- of amateurs. Teachers will find the earlier duets useful for stave piece of music in which the players begin one measure teaching baroque style, as Clardy has thoughtfully included a apart. While this method saves space on the page, young players table of J. S. Bach’s realized ornaments. Flutists familiar with will subsequently struggle to find their place if they get lost. the Two Part Inventions may be surprised to see that they have Clardy, however, has solved this problem by writing the canon been transposed to fit the tessiatura of the flute, and will have on two staves. No solution is perfect, as this means that flutists to decide for themselves whether or not the change of key will have more pages to turn. I couldn’t help but think that leav- signatures affects the character of each movement. ing pages blank to facilitate some of the page turns would have A common complaint about duets is that the first player’s been a useful feature in both volumes. However, this is a small part is often more challenging and interesting than that given quibble with what are otherwise excellent collections that will be to the second player. Clardy has avoided this problem by enjoyed both for sight-reading practice and for performance. choosing duets in which each player is given a satisfying part —Shelley Collins

Koehler student. Similar in difficulty to the Berbigieur or the easier 15 Easy Exercises, Andersen études, each study is contained on a single page, and Op. 33, Book 1 key signatures go up to three flats and four sharps. Teachers Edition and commentary will find several useful features. Measures are numbered so that by Sir James Galway teachers can refer to them when giving assignments. Galway © 2006 Theodore Presser Co. has included helpful breath marks and suggestions for learning each étude. He has also included a variety of articulations to his collection of études would be an challenge the student. Texcellent choice for the intermediate —Shelley Collins

nfaonline.org Winter 2008 The Flutist Quarterly 77 SUBSCRIPTIONS Editorial deadlines for The Flutist Quarterly apply primarily to departments Receipt of The Flutist Quarterly is a benefit of membership in the National Flute providing news of interest about flutist activities and products. Unsolicited feature Association, Inc. Subscriptions are available to libraries and institutions at a charge articles, items for review, and news about member achievements may be sent at of $35 per year. Personal subscriptions are not available. The Music Library Catalog any time for consideration; submissions to Across the Miles, Canadian News, and (6th ed.) is also available to libraries and institutions at $15 per copy. Notes from Around the World departments should be sent to their editors at least one week prior to deadline dates to be considered for inclusion. Queries via ADDRESS CORRECTIONS e-mail or phone about feature article topics prior to submission are welcome Bulk rate mail is not forwarded. Send address corrections to: Maria Stibelman, at any time. Send editorial materials for the fall issue by June 1; the winter issue Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351; by September 1; the spring issue by December 1; and the summer issue by March 661-250-8920; 661-299-6681 (fax); [email protected] NFA will be 1. Please note these earlier submission deadlines, effective as of May 2007. responsible for one missed magazine in the event an address change crosses in the mail. Missed issues due to bad addresses are available at the rate of $10 per copy Please send submissions (except Across the Miles, Canadian News, and Notes through the membership services manager. from Around the World—see those departments for contact information) to: Anne Welsbacher BACK ISSUES 7213 E. Chelsea St. Members and nonmembers may purchase back issues of The Flutist Quarterly Wichita, KS 67206 at the rate of $10 each through the membership services manager at the 316-440-2800 address listed above. fax: 316-440-2801 [email protected] EDITORIAL GUIDELINES Please submit manuscripts electronically as Word files attached to an e-mail No submissions will be returned unless accompanied by a stamped, message that clearly states what you are submitting. (Unidentified attachments self-addressed envelope. might be deleted as a virus security precaution.) If you are unable to submit via e-mail, please send submissions as Word files on a CD. Please include a single- ADVERTISING GUIDELINES spaced, printed copy of your submission. Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, Submissions should also be accompanied by a signed letter stating that the or contact Steve diLauro. Deadlines for The Flutist Quarterly are: fall issue, material contained in your submission (1) is entirely original; (2) has not been August 1; winter issue, November 1; spring issue, February 1; summer issue, May previously published; and (3) is not currently under consideration for publication 1. Please note these earlier submission deadlines, effective as of May 2007. elsewhere. (Electronic submissions need not be signed but should include these three statements.) Manuscripts under copyright need to include permission to Please send advertising submissions and queries to: duplicate 10 copies for review purposes only. Steve diLauro, NFA Advertising Sales Representative You will be notified that your manuscript has been received by the editor. LaRich & Associates, Inc. Authors of manuscripts accepted for publication will be sent a permission-to- 153000 Pearl Rd., Ste. 112 print form. Accepted manuscripts will, when appropriate, go through a review Strongsville, OH 44136-5036 process. Authors might be asked to revise manuscripts during this procedure. The 440-238-5577 editor reserves the right to edit all articles for style, content, or space requirements. fax: 440-572-2976 The Flutist Quarterly budget does not include honorariums for authors. [email protected]

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