Marya Martin: New (Flute) Music Midwife

VOLUMEXXXVIII , NO . 2 W INTER 2 0 1 3

THE lut i st QUARTERLY Marya Martin: New (Flute) Music Midwife

Toward a Cuban Flutistry The Powell Spoon Flute at 102 Flute Festival in Honduras

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CONTENTSTHE FLUTIST QUARTERLY VOLUME XXXVIII, NO. 2 WINTER 2013 DEPARTMENTS 11 From the President 52 New Products 13 From the Editor 53 Passing Tones 14 High Notes 61 From the Program Chair 40 Across the Miles 62 Reviews 42 Honor Roll of Donors to the NFA 74 NFA Office, Coordinators, 47 Notes from Around the World Committee Chairs 51 NFA News 78 Index of Advertisers

FEATURES 18 18 Marya Martin: New (Flute) Music Midwife by Paul Taub The Bridgehampton Chamber Music Festival, celebrating its 30th anniversary in 2013, has become one of the leading American chamber music festivals, thanks largely to the dedication and vision of its founder and artistic director, a fierce proponent of new music. Correction: a fierce proponent of new flute music. 22 Toward a Cuban Flutistry: An Exploration of the Charanga Flute Tradition by Martha Councell-Vargas From the ballrooms of France to the Spanish courtyards to the African rhythms of the Congo Basin, Cuba’s charanga—cooked in a long-simmering international stew of musical tones and timbres—is today a distinct, and very specific, national tradition of flutistry. 30 Second Wind: The Powell Spoon Flute at 102 by Gail Powell Dearing The granddaughter of Verne Q. Powell describes the history of the family’s cherished heirloom, the “spoon flute” her grandfather made more than a century ago. 34 The Confidence Factor 22 by Laura Kaufman The 2012 winner of the Young Artist Competition battled a bad case of perfectionism and deeply waning confidence. Then she let go of her impossible goals to focus on playing the way she wanted the music to be performed. The rest is history. 36 “Now We Can Go On”: The Flute Festival in Honduras by Helen Spielman The author describes her experiences traveling to one of Latin America’s poorest nations to teach at an annual flute festival. She brought gifts to leave with the children, but she returned far richer than she had been when she left.

Cover: Photo of Marya Martin courtesy of Jeffrey Hornstein.

THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE, SUITE H SANTA CLARITA, CA 91351 FOUNDED NOVEMBER 18, 1972, IN ELKHART, INDIANA

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 National Flute Association, Inc., which reserves the right to refuse to print any advertisement.

MURAMATSU AMERICA SALES & SERVICE tel: (248) 336-2323 fax: (248) 336-2320 [email protected] www.muramatsu-america.com OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] markthomasflutist.com

President Beth Chandler (2012) James Madison University School of Music, MSC-7301 880 S. Main St. Harrisonburg, VA 22807 540-568-6836 (w); 540-574-3772 (h) Fax: 540-568-7819 [email protected]

Vice President Zart Dombourian-Eby (2012) 2515 10th Ave. West Seattle, WA 98119 206-285-0206 [email protected]

Secretary Lisa Garner Santa (2012) 3211 22nd St. Lubbock, TX 79410 806-780-3649 [email protected]

Treasurer Shelley Binder (2012) 8635 Constance Way Knoxville, TN 37923 865-385-9537 [email protected]

Assistant Secretary Ellen Huntington (2012) 104 S. Hi-Lusi Avenue Mount Prospect, IL 60056 847-204-2153 [email protected]

BOARD OF DIRECTORS Aaron Goldman (2012–2015) 2817 Spencer Road Chevy Chase, MD 20815 202-298-8586 [email protected]

Sarah Jackson (2010–2013) 31 Martos Dr. South Pasadena, CA 91030 213-393-2223 [email protected]

Janet Kinmonth (2012–2015) 33 Page Brook Road Carlisle, MA 01741-1617 978-371-2454 [email protected]

Catherine Miller (2011–2014) 1212 5th St. Coralville, IA 52241 319-341-0042 [email protected]

Alison Brown Sincoff (2011–2013) 155 Columbia Ave. Athens, Ohio 45701 740-593-1622 [email protected]

Terri Sundberg (2011–2014) UNT College of Music 1155 Union Circle #311367 Denton, TX 76203-5017 940-565-3756 [email protected]

THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Dolores August, Christine Beard, Lee Chivers, Amy Hamilton, Contributing Editors Victoria Stehl, Art Director Steve Wafalosky, 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 Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah, Salt Lake City, Utah Ellen Huntington Flutist, Lyrebird Ensemble Flute Instructor, Loyola University, Chicago Mount Prospect, Illinois 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 Nina Perlove Executive Director, American Classical Music Hall of Fame “Internet Flutist,” realfluteproject.com Adjunct Instructor of Flute, Northern Kentucky University Cincinnati, Ohio Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino, California Rebecca Quigley Flutist and Studio Teacher, Westchester, New York 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 Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon and 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 Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Ruth Ann McClain Flutist and Studio Teacher, Memphis, Tennessee John Wion Professor of Flute, The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff Katha Kissman, Interim Executive Director Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, IT Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. The Panoramic Flutist

3DQRUDPLF)OXWLVW • May 28-31, 2013 •

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Our Bright Future

n this, my first president’s letter, I I am grateful to my predecessor, would like to express how honored I Jonathan Keeble, who so ably shepherd- Iam to serve the National Flute ed the organization for the past two Association. I am enthusiastic about the years. Thank you also to our other out- challenges of the position and look for- going colleagues: Secretary Joanna ward to continuing to steward the Cowan White, Treasurer Debbie organization along the right path, with MacMurray, and Board members the help of so many people who have Daniel Dorff and Linda Toote. Their come before me and those who serve wisdom and genuine good natures will alongside me today. be missed, and their devotion and tire- Our cherished organization is in the less service has helped to ensure a midst of significant organizational strong future for the NFA. change. Transitions are inevitable, and In their stead, we welcome Vice Beth Chandler although they can be daunting, they President Zart Dombourian-Eby, are necessary for any entity to evolve Treasurer Shelley Binder, Assistant and thrive. With both a leadership Secretary Ellen Huntington, and Board organizational governance and over- transition in progress and the annual members Aaron Goldman and Janet sight. The staff also is working to November change in board members Kinmonth. They join our returning streamline office processes. We will and volunteer committee chairs and board members, and we are already emerge more efficient and better coordinators, it is as important as ever hard at work, with many projects equipped to implement more of our to hold fast to the ideals for which the ahead of us. dreams, programs, publications, educa- NFA stands. Our mission is clear, our We are privileged to have Interim tional projects, scholarship opportuni- projects vast and varied, our volun- Executive Director Katha Kissman at ties—all of the activities that are impor- the helm of our staff. As a professional teers dedicated and energized. We tant to the NFA. honor those who so devotedly helped nonprofit interim leader, Katha brings As we look forward to a permanent guide our association from its early to the NFA significant experience leader, we have established a search beginnings, through its definitive gained managing and consulting with committee for our next executive direc- establishment as an important unify- other nonprofits through transition. tor. We are fortunate to have gathered a ing force amongst flutists of all back- One of the most valuable benefits she group of experienced NFA members grounds, to its ever-evolving effort to offers is an objective perspective on how and past leaders, including Jonathan be more and do more—at a higher we, as an organization, do things. The Keeble, immediate past president; Zart level of excellence—and to stay rele- nonprofit industry has changed signifi- Dombourian-Eby, vice president; vant to its members. cantly over the past decades, and Katha Catherine Miller and Terri Sundberg, How the NFA embraces this change has been an excellent resource in help- current board members; Angeleita affords us the opportunity to grow and ing us determine how to evolve appro- Floyd, past president and 2013 National prosper. While we have addressed chal- priately and adopt industry-standard Service Award recipient; Nancy Toff, lenges pertaining to certain unexpect- best practices to make our limited past board member and 2012 National ed costs at our past two annual con- resources go farther. She has worked Service Award recipient; and myself as ventions and to staff transitions, oper- tirelessly to update many of our proce- NFA president and chair of the search ational cash on hand is strong, and our dures and processes—in fact, the list of committee. I am privileged to work endowment is healthy. We anticipate what we have accomplished with with this group of devoted members. its continued growth, thanks in the Katha’s direction in these past few weeks And I am grateful for their commitment largest part to the many contributions is astounding! to assist the Board in finding an experi- from so many of you. It is the act of Additionally, the board is working to enced nonprofit leader to help shape the giving, not merely the size of the gift, define and refine our roles as volunteer bright future of the NFA.

KATE L PHOTOGRAPHY that is so vital to the organization. board members to be more effective in —Beth Chandler

nfaonline.org Winter 2013 The Flutist Quarterly 11 ShenandoahShenandoah CConservatoryonservatory iiss pproudroud ttoo announceannounce tthehe aappointmentppointment ooff wworld-renownedorld-renowned !uutisttist JONATHANJONATATHAN SNOWDENSNOWDEN !"#$%#&'#()*('+,&!,-.%&()&./%&,")0")&'/(,/+#$")(*1&!"#$%#&'#()*('& '+,+,&!,-.%&()&./%&,")0")&'/(,/+#$")(*1& #"2+,&'/(,/+#$")(*&+)0&'/(,/+#$")(+&"#*/%3.#+3#"22+,+,&'/(,/+#$")(*&+)0&'/(,/+#$")(+& /(,/+#$")(++&"#*/%3.#+3&"#*/%3.#+3 toto ourour distinguisheddistinguished facultyfaculty

“…one of the most brilliant !utists of his generation.” —!e Guardian

ProfessorProfesfessor SnowdenSnowden hashas taughttaught atat conservatoriesconservatories aroundaround thethe world,world, performedperfoformed asas a soloist,soloist, orchestralorchestral mmusician,usician, solosolo recordingrecording artistartist andand !utistutist onon hundredshundreds ofof moviemovie scores.scores.

His teaching has been described as “…dynamic and inspirational, pirational, , conducting the class with energyenergy and sheer enthusiasm.. Each studentstud was encouraged to look deeper into themselvthemselveses and their music,music, exploring the manymany possibilities of dynamic range and color…. Most of all, people came awayaway feelingfeeling MRWTMVIHIRGSYVEKIHERHJYP½PPIHERHMRWTMVIHIRGSYVEKIH ERH JYP½PPIH ERH sursurelyely that’that’ss what mmusicusic is all about.”about.” —British Flute Society From the EDITOR Cold Hands, Warm Hearts intertime inevitably tempts strived for. In addition to notices those of us who inhabit cer- about upcoming events all throughout Wtain portions of the globe to the year 2013, it includes several envy those of us who inhabit toastier accounts of recent festivals by NFA ones, and with this issue of The Flutist flutists who participated. Quarterly, I invite you to bask (men- Coincidentally, a couple of these tally if not in the flesh) in its healthy reports hail from southern climes—last dose of content regarding flute matters summer’s ninth world flutes festival in south of the equator. Argentina and Chile’s 11th international I am pleased with the recent growth of flute festival. There’s also a write-up of our department covering international the recent international flute gathering news under the capable leadership of hosted by “the Paganini of the flute,” Christine Beard since she joined us as Jean-Louis Beaumadier, in France’s spec- that column’s contributing editor a year tacular Haute Provence region. or so ago. My long-held goal for “Notes Our feature article on the Charanga from Around the World” has been to flute tradition in Cuba also should warm Anne Welsbacher expand its coverage across the full space- up those of us trapped in cold climes— time continuum. Primarily, I’ve wanted and not just because of that country’s Laura Kaufman, the 2012 winner of us to provide more comprehensive news weather. Martha Councell-Vargas trav- the Young Artist Competition (held in of flute events happening throughout the eled to Cuba to interview its legendary sizzling Las Vegas), hails from New Jersey planet—in Western Europe, sure, but also masters as part of her research for this but is currently sunning herself in her in Latin American countries, Asia, article on the history and nature of this studies at Colburn in Los Angeles. For Central Asia, and Eastern Europe. (I can hot, distinctive music. this issue, she writes about her experi- think of at least one flute-related event Helen Spielman, author of another ences preparing and performing for the that took place in Antarctica a few years article in this issue, found warmth—in competition she won last summer. ago that might have been a contender for every sense of the word—during her visit Our cover article brings us back to the this department.) But beyond broaden- to Honduras to teach at its flute festival. beautiful but undeniably chillier East ing our geographical range, I’ve also The affection of the people she met pro- coast of the United States. In his article wanted to provide news of these events vided more (and longer lasting) heat than “Marya Martin: New (Flute) Music early enough to allow our globe-trotting any “winter getaway” climate alone could Midwife,” Paul Taub describes the festival members to actually attend them. have done. She carried much of that love at Bridgehampton—devoted specifically With this issue, thanks to Beard’s back home with her when she brokered to new flute music—that Martin, a pas- steady persistence (not to mention her the attendance of some of the festival’s sionate advocate of new music, gave birth personal fondness for travel), this participants at the NFA’s 2011 conven- to 30 years ago this year. department finally reaches the level of tion, and plans are underway for more Happy Winter Solstice—and happy reportage—that is, going forward and appearances by these flutists this fall in reading! backward in time—that I have long New Orleans (speaking of hot). —Anne Welsbacher

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nfaonline.org Winter 2013 The Flutist Quarterly 13 High Notes News and activities about the accomplishments of National Flute Association members and the flute world

three C flutes, and alto and bass flute. McMichael was on hand during the camp to lead a rehearsal of the work with the flute choir. She conducted a discussion on writing for the instrument and on the creative process. Participants were treated to a reading session of her works with McMichael accompanying them at the piano, followed by a question and answer session held after- ward at a local brewery. The Interlochen Flute Choir Camp is directed by NFA member Jane Berkner. Visit interlochen.org.

honda Larson performed RMozart’s Concerto in G Major with Oregon’s Rogue Valley Symphony Orchestra to capacity audiences November 2–4, 2012, in Ashland, The Verismo Trio, from left: Theresa Bogard, Nicole Riner, and Scott Turpen. Medford, and Grants Pass. icole Riner premiered a new commissioned work dedi- Larson followed the Mozart Ncated to her and pianist Theresa Bogard on October 29, Concerto with her composi- 2012, in Goiania, Brazil, where she served as guest artist facul- tion, “Be Still My Soul,” based Rhonda Larson ty at the 37th annual Festival de Musica de EMAC-UFG. Riner on Jean Sibelius’ theme, commissioned the piece for flute and piano by Los Angeles “Finlandia.” The piece opens with the familiar melody, which composer Jason Barabba. The work is entitled “fl...” and is a Larson sings and performs on flute simultaneously. The com- collection of seven brief movements, each named after a word position continues with virtuosic variations on this theme, that begins with the letters “fl” (flanerie, flit, flyswatter, fluster, accompanied by symphony orchestra. The Rogue Valley fluphenazine, floating, and flippant). “Fl…” was funded by the Symphony is led by music director Martin Majkut, a native of Wyoming Arts Council and University of Wyoming Music Bratislava, Slovakia. Department. Riner is a member of the Verismo Trio, which also has announced a new commissioning project offering a iviana Guzman per- $2,000 prize and sponsored by Wyoming Music Teacher’s Vformed her arrangement Association. There is no application fee; submission deadline of Tango Suite for Flute is February 1. Visit nicoleriner.info or verismotrio.com. and Orchestra in Manaus, Brazil, with the Amazonias Filharmonica for the Brazilian Flute Festival, ABRAF, in late August 2012. Other NFA members who performed in Brazil were Michel Viviana Guzman Bellavance, Rogerio Wolf, Manuel Guerrero Ruiz, Benoit Fromanger, and Shivhan Dohse. Following the concert in Brazil, Guzman performed in a world tour spanning 10 countries and two continents: Chile, Argentina, Bali, Vietnam, Singapore, Malaysia, China, Japan, A new work by Catherine McMichael was premiered at Interlochen camp. Korea, and Thailand. In Mendoza, Argentina, she and NFA member Christine Erlander Beard performed for the World he adult Flute Choir Camp at Interlochen premiered a Flutes Festival, and subsequently, Guzman presented a master- Tnew work by Catherine McMichael during its annual class and recital in Santiago, Chile. She also performed in recital summer session. “Interlochen Vignette” was commissioned by works by Piazzolla, Paredes, Ginastera, Lenge, and Corniglio Interlochen College of Creative Arts and scored for piccolo, with fellow Chilean pianist Mahani Teave.

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JEFFREY HORNSTEIN

Marya Martin: New (Flute)

Music Midwife by Paul Taub

18 The Flutist Quarterly Winter 2013 nfaonline.org The Bridgehampton Chamber Music Festival, course we had to raise money. But the concerts! There was a line down the church path those two nights—we basically celebrating its 30th anniversary in 2013, sold out the place twice. And that was a shot in the arm. So has become one of the leading American the next year we did two more concerts and then the next chamber music festivals, thanks largely to year we did two weekends, four concerts. We sort of gradu- the dedication and vision of its founder ally just slowly kept [adding] concerts.” and artistic director, a fierce proponent of Key Ingredients: “New” and “Flute” new music. Correction: a fierce proponent Over the years, the Bridgehampton Chamber Music Festival of new flute music. has emerged as one of the leading American chamber music festivals, with 11 concerts in 2012 (its 29th year), featuring 40 musicians, and its own record label (inaugurated in arya Martin’s career as a flutist had a daunting start. 2012). In its wonderful venue and with a supportive board She was born in New Zealand, and studying the flute and loyal audience, one would think that the BCMF could Mduring the last three years she lived there involved, be a success just playing the great music from the canon of every few weeks, a 600-mile flight for her lessons! historical chamber music. But there are two aspects to this Martin moved to the United States to attend Yale festival that make it stand out among the dozens of top sum- University where she studied with Thomas Nyfinger in the mer festivals in the United States. late 1970s, and her career was jumpstarted with a number of First and foremost, Martin is committed to the creation and successful auditions and competitions. Like so many successful flutists of her generation, she attended the Nice sum- Commissions from the Bridgehampton mer classes taught by Jean-Pierre Rampal. Despite the uncertainties of acceptance at the Paris Conservatoire, but Chamber Music Festival with Rampal’s encouragement, she took a leave from Yale to audition at the Conservatoire (“They start with around 120 Ned Rorem, “Bright Music” for flute, two violins, candidates and then narrow it down to about 20, then give cello, and piano (1988); New World Records (1992) you one chosen—usually obscure—piece to learn, and then Bruce Adolphe, “Bridgehampton Concerto” (1992) you have the final round”), and was one of two students accepted to study with Rampal that term. Kenji Bunch, “Changes of Phase” for wind quintet That same year, “in exchange for alphabetizing his (1999); bcmfrecords (2012) library,” Martin took daily lessons with Sir James Galway in Lucerne during her vacation weeks from the Conservatory. David Shohl, “The Distant Bell” for flute, cello, and Upon her return to New York, she entered the competition for piano (1999) Young Concert Artists, won second prize in the Jean-Pierre Bruce MacCombie, “Anecdotes” for wind quintet (1999) Rampal International Competition and third in the Munich International Competition—and sent her career on an Paul Moravec, “Cool Fire” for flute, string quartet, ascending trajectory. and piano (2001); Naxos (2008) The Young Concert Artist prize essentially gives a young player management and engagements, and Martin hit the Paul Moravec, Chamber Symphony (2003); Naxos (2008) road, performing all over the country. But at the same time, Mark O’Connor, “The Fallen” for flute and string she and her husband-to-be starting renting a house in quintet (2003) Bridgehampton, New York, where they could spend their little bit of “spare” time. The house was 99 miles from the heart of Ned Rorem, “The Unanswered Question” for flute, two Manhattan on the south shore of Long Island, where there was violins, cello, and piano (2003); bcmfrecords (2012) a concert organization that presented two concerts a year. Following a six-week stint at the fabled Santa Fe Chamber Eric Ewazen, “Bridgehampton Suite” for flute, violin, Music Festival, Martin had a “light bulb” moment. viola, and cello (2006) “There are a lot of people around here who love music,” Kenji Bunch, “New Moon and Morning” for flute and she says. “If I could bring some great musicians out and see string quartet (2008) what happens… There is a beautiful old church in our area, built in 1880. One day I called up the pastor and took out Aaron Jay Kernis, “Air” for flute and string quartet my flute and I just played some notes and the acoustics in (2008) this church were stunning. They weren’t too live, but it was the sound where you just feel warm and fuzzy playing there. Bruce MacCombie, “Light Upon the Turning Leaf” for It was the perfect combination.” flute, clarinet, bassoon, string trio, and piano (2010); That was 1984. Martin organized two concerts that year. bcmfrecords (2012) “There were all sorts of problems; we weren’t allowed to Kevin Puts, TBD for flute, horn, string trio, double charge admission to the sanctuary, so it was all by donation. bass, and piano (2013) I didn’t know anything about running a festival. And of

nfaonline.org Winter 2013 The Flutist Quarterly 19 MARYA MARTIN: NEW (FLUTE) MUSIC MIDWIFE performance of new works every year, by the best-recognized composers. So I take risks with some composers and gener- and pedigreed composers (“We have commissioned works ally less risk [with others.] I can honestly say that I think all by three Pulitzer Prize winners,” she told me proudly), but our works are good works. I think the composers in every also by emerging composers whose music has caught single situation have taken me seriously, taken the combi- Martin’s attention. “To me life is a real process,” she says. “The nation of instruments seriously, and written us good commissioning and playing of contemporary music is part of works.” Martin develops a relationship with each composer that process.” she works with. “Paul Moravec is now is a good friend. Ned Second, all the new works include the flute! Martin says Rorem? I adore him.” she thinks her interest in commissioning “came out of being Mixing contemporary music into an essentially “classical” a flutist and being, as we all are, frustrated with the reper- music festival is an art, at least in part because of a general toire in the chamber music world. This sounds a little belief that classical music lovers won’t like it. Martin blasé—I love the Mozart flute quartets, but I don’t want to debunks that myth. Her audience loves the new works— program them every year. I want other works to be out “amazingly so” she says. A board member who “is not a big there. It’s not that I got bored with the old repertoire, but for fan of contemporary music” told Martin that because she me the exciting thing each year was to learn new repertoire has brought the audience throughout the development of and to find new composers and new works to play.” the series, they trust her, and don’t avoid attending because Through her innovative commissioning program, the of programming. addition of top-notch chamber music with flute is truly “Generally it’s a good work and we’ve worked hard on it, remarkable. Under Martin’s leadership, the festival has com- and we get standing ovations after these contemporary missioned 11 pieces (see sidebar). With an extremely sup- works,” she says. “I talk to the audience every night, I tell portive board and colleagues, Martin is in the unusual posi- them about the work. The composer is generally there. And tion of making the composer choices by herself. the audience feels the excitement and energy that I think we She says, “The programs are all mine, and actually the have playing the work. And they buy into it and they trust commissioning is all mine. But the people that I play with, [us] and it’s just a very lovely situation.” my colleagues, I’ve known these guys [such as violinist Ani I ask Marya to describe how she works with a commis- Kavafian] forever, and if we are sitting around dinner or if sioned composer. The Paul Moravec Chamber Concerto we’re playing somewhere else, I might say, ‘Hey, who have starts with a discussion about instrumentation. you heard recently?’ “I never say I want to [have] a sextet,” Martin says. “I “People know that I’m interested; I get probably two calls might say ‘you know there’s not many larger works around a week from people saying, ‘I just composed this, I wondered right now with three winds and three strings, what do you if you’d take a listen.’ ” think of that?’ I start off by saying it would be nice to make And listen she does. “I love the young composers of a bigger work. He says, ‘what wind instruments do you love today,” she says. “I think there are so many talented people. playing with?’ To me, when you combine flute and French You know if you go with a Pulitzer Prize winner or someone horn, you make another 10 instruments. The colors that you who’s already well established, of course you can’t go wrong. can make when you combine them I find always quite won- But it’s the young people who I think have [the] need [to derful. And then you stick a clarinet in there and then you’ve have] works played.” got another 10 different colors. “So we start off with flute, clarinet, horn. We then add Quantifiable Success violin, viola, cello, piano, plus marimba and vibraphone. During my stint on the board of directors of Chamber And the piece evolves into that instrumentation, and that is Music America, I led a study that aimed to measure the suc- Paul’s doing. So in that sort of situation, the flute is very cess of the CMA commission program. Among the parame- much one of the gang. It’s not that the flute has a superior ters we used as a measuring stick were multiple perform- roll or solo roll. It’s a part of the whole.” ances, publication, recordings, and how many different artists had taken the pieces into their repertoire. Eight Visions Martin concurs with this criteria selection. “CMA [shares] Martin’s zeal for commissioning has expanded beyond the exactly my endeavor,” she says. “In fact, now we have our score of her work as artistic director of her chamber festi- own record label, and when I commission, I tell the com- val. After hearing the Enesco Cantabile et Presto “30 times poser that I’m going to make sure that he will get published in one year at Manhattan School of the Music [where she is and recorded. So now I’ve made a real commitment to any on the faculty], I said to myself, why aren’t flutists playing work that we will record, and if they have no sort of pub- something else, why are they going to all the old stuff? Of lishing relationship I will see to it that they get published.” course Enesco is perfect in a way for auditions, it’s the right When asked about the artistic success of the commission- time frame and it was composed for the early competition ing program, Martin responds, “Of course you have to at the conservatoire.” build into the equation that I commission some complete- She discovered that the Paris Conservatory had stopped its ly unknown composers and some highly distinguished annual competition commission in 1985, and she thought: “If

20 The Flutist Quarterly Winter 2013 nfaonline.org Other Works Commissioned by Marya Martin

Eight Visions (flute and piano) (2006); Naxos (2008), published by Theodore Presser: Kenji Bunch, “Velocity” Paul Moravec, “Nancye’s Song” Chen Yi, Three Bagatelles from China West Tania León, “Alma” Eve Beglarian, “I will not be sad in this world” David Sanford, “Klatka Still” Melissa Hui, “Trace” Ned Rorem, Four Prayers Russell Platt, “Memoir” for flute and piano (2010) Eric Ewazen, Sonata No. 1 for flute and piano (2011); Albany Records (2011) Paul Brantley, Swevens Sonata for flute and piano (2012)

I could commission eight works, six to eight minutes long, from American composers, wouldn’t it be incredible to sit there and audition and hear students doing American music?” The result of this “wouldn’t it be?” thinking is Eight Visions, a collection of works by a variety of American composers for flute solo, flute and piano, and two flutes, published by Theodore Presser and recorded on Martin’s label. For the BCMF’s 30th anniversary in 2013, Martin has commissioned a new, as-yet–untitled work by Kevin Puts. “I’ve played two of his works already, one four years ago called The Traveler (for flute, string trio, and piano). It’s a great work. I had never seen it programmed. But I’d liked his stuff, so I got recordings of every single thing he has written. So I programmed The Traveler. He had written another piece, which we played last year, called Four Airs. So [a year ago] I asked him to write us a piece for our 30th anniversary. “He’s a big composer now. And bigger because he just won the Pulitzer Prize. Luckily I got in under the wire and commissioned it before then. Very lucky—I can tell you it would have been a long waiting list and much more expensive. “But I also had committed to him that we would record a whole CD of his chamber music: three pieces I know already and love, plus the new commission—and he’s going to write me a little work for flute and piano, too.” >

Paul Taub is professor of music at Cornish College of the Arts, Seattle, and a flutist with and executive director of the Seattle Chamber Players. He has toured extensively in Eastern Europe with SCP and has recorded on Periplum, New Albion, New World, Mode, and CRI, having most recently released Edge: Flute Music from the Periphery of Europe on Present Sounds. Taub has served on the boards of Chamber Music America and the NFA and has also served as chair of NFA’s New Music Advisory Committee.

nfaonline.org Winter 2013 The Flutist Quarterly 21 TowardToward aa CubanCuban Flutistry:Flutistry: An Exploration of the Charanga Flute Tradition From the ballrooms of France to the Spanish courtyards to the African rhythms of the Congo Basin, Cuba’s charanga—cooked in a long-simmering international stew of musical tones and timbres—is today a distinct, and very specific, national tradition of flutistry. , 1740 ANTOINE PESNE

by Martha Councell-Vargas II,

Flutists Policarpo Tamayo, left, and Arelys Fernandez, center, are among those

author Martha Councell-Vargas, right, interviewed while in Cuba. FREDERICK

22 The Flutist Quarterly Winter 2013 nfaonline.org he flute plays an essential role in the dance music of Cuba. The rich, diverse history of this music can be Ttraced to the 15th-century English countryside, to the royal courts of France and Spain, to the Bantu speaking tribes of Africa’s Congo Basin, and to the earliest Amerindian inhab- itants of the island. This history culminates in a style of music today that not only displays the roots of its diversity of influ- Eddy Zervigón José Fajardo ences but also is well defined: a Cuban flutistry. To understand the context and development of Cuban flutistry, it is important to explore the history of the danzón, an elegant ballroom dance that became popular around the turn of the 20th century. Diverse musical styles influenced danzón, a tradition that became a symbol of Cuban cultural identity. Its music reflects the kaleidoscope of influences—the English country dance, the Spanish contradanza, the French contredanse, and the undeniable influence of African rhythms Antonio Arcaño Eduardo “Richard” Egües that arrived with slaves—that shaped it and its special tradition of flute playing. The outcome of this mix would at first be Arcaño’s influence was established with the popularity of his considered unrefined by the dominant, mostly Euro-Cuban charangas in the 1930s. In 1937, he joined a charanga led by elite, and later hailed with pride by the same group as Cuba’s the singer Fernando Collazo. Arcaño replaced him as the own traditional dance. director in 1940 and the band reformed under Arcaño’s guid- On New Year’s Day, 1879, Miguel Faílde (1852–1921) pre- ance. His colleagues in the ensemble included an important miered Las Alturas de Simpson, which is reputed to be the first innovator in the development of Cuban dance music, legendary 4 danzón, with an ensemble called orquesta típica consisting of bassist Israel “Cachao” López (1918–2008) and his brother, cornet, valve trombone, opheicleide, two clarinets, two violins, Orestes, who joined the group on cello. Orestes was also the contrabass, timbales, and güiro. The popularity of the orques- composer of the group and is credited with the original idea of ta típica did not last as long as that of the danzones it was play- adding a final rhythmic section to the danzón in a fast tempo, ing; the large and cumbersome ensemble was soon replaced by featuring tumbadoras; they called it mambo. The addition of charangas francesas, a smaller ensemble that featured piano the mambo section meant the flute was required to improvise at and flute as the solo instruments. a fast pace and in its highest register at the end of each danzón. Thus, the standard instrumentation of charangas eventual- Arcaño’s mark on Cuban flutistry was the introduction of the ly established itself as follows: piano, wooden five-keyed flute, flute’s exciting improvisatory role in mambo. violins, bass, timbales, and güiro. As one author notes, “The In addition to his work as the leader of Arcaño y sus trilling French flute sounded wonderful, but it had to soar Maravillas, Arcaño also formed a large radio orchestra, La high above the percussion, greatly taxing the flautists’ stami- Radiofónica, for which he recruited a larger string section, na…”1 Its difficulty notwithstanding, meeting the wooden including eight violins, three violas, and two cellos. The suc- flute’s projection demands also created a particular and signa- cess of Arcaño’s groups meant that from that point on, the ture style of flute playing. cello became part of the best charangas, and he padded his Maravillas with the best strings from La Radiofónica. All in the Flutists What makes this flute tradition so special? The flutists them- Every day we would introduce a danzón. Orestes López com- selves, of course! Cuban flutistry evolved through the contri- posed about two hundred of them…The López brothers butions of solo flutists in each charanga orchestra, defining, played symphonic music, but since the Concert Association developing, and preserving this tradition over time. Charanga paid them fifteen or twenty pesos per month, they were flute playing does not have a discernable pedagogical pedigree; obliged to play at dances or in the dancing academies. It’s the it is an aural tradition, passed down by listening and copying miserable condition of musicians in symphony orchestras other flutists rather than taught in a weekly lesson. “No se that allowed me to have an orchestra of high quality. And we enseña,” says flutist Eddy Zervigón, solo flutist in the New York raised the danzón to the rank of a symphony.5 City-based charanga, Orquesta Broadway. “Nace en la persona.” (“It’s not taught, it’s born in each person.”)2 So, in addition to the mambo section that featured the flute, we Policarpo “Polo” Tamayo, flutist in several of Havana’s lead- have Arcaño to thank for the mass popularization of the cha- ing charangas including Ritmo Oriental, agrees. He says he ranga via its significant radio presence in the 1930s and ’40s. learned to play the instrument through “técnica de la calle” José Fajardo began his career by playing the five-keyed (“technique of the street”).3 Three of the most influential wooden flute in a charanga led by his father, a clarinetist, and Cuban flutists, however—the names that seem to continually soon came to admire Arcaño. He says, “I first heard Arcaño over resurface in conversation, literature, and recordings—are the radio in 1939 while I was in the Cuban army, stationed at El Antonio Arcaño (1911–1994), José Fajardo (1919–2001), and Rancho Bollero. I immediately became an admirer of his. In Eduardo “Richard” Egües (1923–2006). 1940 or 1941 he was playing a modern danzón.”6

nfaonline.org Winter 2013 The Flutist Quarterly 23 ed with Orquesta Aragón for 31 years. After leaving the group, he remade some of the well-known classics that he had made famous with Orquesta Aragón.

The Instrument, Its Melodies, and Its Rhythms The capabilities and limitations of the flute itself dictate the timbre and range in which flutists play in a charanga. The change over time in the ensemble’s size, scope, and repertoire—from danzón to danzonete, to chachachá and mambo, and eventually salsa—also affected the role of the flute as a featured solo instrument. In addition to practical considera- tions such as tessitura and timbre, the instrument used in charanga orchestras dictates, to some extent, the melodic figurations used during flute solos. Most importantly, however, the overriding characteristic that defines charanga flute solos and the language of Cuban flute playing is its role in a complex rhythmic counterpoint, one based in the African rhythmic traditions that contributed to Rumba and the development of the danzón. The Cuban style of flute playing can be analyzed, therefore, within the framework of the following subcategories: specific instrumental capabilities; melodic figuration; and rhythmic complexity.

Instrumental Capabilities The flutes used in the original tumbas francesas were trans- verse wooden flutes that arrived in Cuba with 18th- and 19th- century settlers. Because the French settled much of Haiti, Haitian refugees settled much of eastern Cuba in 1803, and Popular among charanga flutists is Orquesta Aragó’s Edwardo Egües (center). these settlers were the first to establish dance ensembles that used the flute, the flutes used in the tumbas francesas, the After a few years subbing for Arcaño in Las Maravillas, ancestor of the charanga orchestra, were the same as those Fajardo started his own charanga, Fajardo y sus Estrellas made and played in 18th-century France. (Fajardo and his Stars). Their recordings became quite popu- These wooden flutes produced a mellow, hollow timbre in lar—so popular, in fact, that Fajardo eventually created and the middle and low registers. The high register, however, led three bands by the same name, until he started a new cha- sounds loud and can have a penetrating, though still hollow, ranga in New York City, where he found steady work at the timbre. This register projects well, can stand alone to feature most prominent Latin clubs. His recordings became a model the flute as the solo instrument, and can be heard easily with- for New York-based flutists; he had the courage to regroup in in the context of an ensemble. the U.S. and the temerity to bring this tradition to a larger Cuban musician, composer, and legend Paquito D’Rivera audience. His recordings for the Columbia, Fania, and Coco describes his experience with the five-keyed flute: 7 labels are legendary. Did you ever try to play that?…They pull out the [head- Eduardo Egües, famous for his involvement in the legendary joint], and then it’s totally out of tune…Then they made Orquesta Aragón, is perhaps the most celebrated charanga the hole bigger…They open the hole and then they cover flutist because he brought a heightened level of virtuosity and it with metal, because when the hole is bigger you can expression to the tradition. While Arcaño tended to play in a play the high notes easier, but not the low notes. They are melodic style with vibrato, pulling back somewhat on the rest totally out of tune... 12 of the orchestra, Egües played ahead of the orchestra in a more soloistic, virtuosic, and assertive style,8 brought about by the Maestro D’Rivera’s account is supported by information we more percussive approach the repertoire demanded. have about the historical instruments that still exist today. Charangas in the 1950s played mostly chachachás and mam- Key systems developed along national lines…most early bos; the danzón’s popularity had decreased. The improvised 19th-century French flutes had four or five keys, with a solos played by Egües—who had begun as a classical musician separate joint for each hand. …their head-joints were on the Böhm flute, later taking up the five-keyed wooden now, after innovations by Richard Potter (1726–1806), flute9—were florid, ornamental, exciting, and inventive. often lined with metal.13 The most important things to remember, Egües would say, are that the charanga has to work as a team for a unified Although the five-keyed wooden flute was the original cha- sound10 and that the flute must be communicative, in conver- ranga instrument and is still used by Cuban flutists today, the sation with the dancer’s feet.11 He played, toured, and record- modern, Böhm-system silver flute was and is also used. It is

24 The Flutist Quarterly Winter 2013 nfaonline.org Eddy Zervigón (top right), founded the ensemble Orquesta Broadway, shown here in 1964.

more typical, however, for a charanga flutist to use the five- cover the holes, as there are only five keys. There’s only a keyed flute from the beginning, or for a Böhm player to handful of five-key flute players in Cuba at present.16 change to the five-keyed flute to play in a charanga orchestra. Why would a Böhm system (or “sistema”) player return to Eddy Zervigón moved from Havana to New York City in 1962 the traditional instrument? The five-keyed wooden flute offers and started Orquesta Broadway with his twin brother Ruddy, a a distinctive timbre, one that stands in complimentary con- charanga that maintains an active touring and recording trast to the charanga ensemble’s string section. Typically, the schedule today. Zervigón started on a wood flute and prefers it charanga flutist improvises in the high register (C6-C7) and to metal because of its clarity in the high register. The wood beyond, often reaching to high E7.14 flute is also lighter than a metal flute, which makes it more In fact, Orquesta Broadway’s founder and flutist, Eddy comfortable to play. Zervigón (b. 1940), regularly hits top F sharp and G in the Ultimately, however, Zervigón tells us that when it comes to fourth octave. The use of this register makes sense because the great flute playing, it doesn’t matter what equipment we use. “No register’s timbral contrast means it projects well over the es la flecha, es el indio!” (“It’s not the arrow, but the Indian.”)17 string and piano ensemble and is thus well suited for performance in a large dance hall. A listener cannot help but Melodic Figuration notice a flute featuring its very highest range.15 The all-encompassing term used today to describe the impro- In an interview in 2006, Cuban flutist Melquiades Fundora, visatory style of charanga flutistry is típico.18 Literally, típico known for his exceptional solos in the Havana-based cha- means typical, but the more accurate translation in this case ranga, Orquesta Sublime, describes his experience as follows: has to do with being traditional; típico also means old-fash- …(t)he five-key wooden flute is very powerful and very ioned. Típico encompasses the types of melodic figuration difficult to play. You have to battle with it to get the right used in charanga flute solos; the color, quality, and range of sound. Friends often ask me, “How do you get the sound the flute sound; and the solo’s rhythmic complexity and con-

COURTESY EDDY ZERVIGÓN you want with that flute?” It is difficult to stretch and trapuntal interaction with the rest of the ensemble.

nfaonline.org Winter 2013 The Flutist Quarterly 25 Legendary flutist Policarpo Tamayo speaks to author of “es bonito” playing. Councell-Vargas and Sergio “Chucho” Sarmiento (center) with members of Estrellas Cubanas. Interestingly, the flute’s improvisational style within a Harmonic Language danzón is derived from the 18th-century ornamentation style The language of charanga flute players’ solos is diatonic and clas- typically used by players of the five-keyed wooden flute. As sical in nature. Rarely are flute solos in a danzón chromatic or flutist Policarpo Tamayo puts it, “The wood flute (itself) dis- harmonically complex; chromaticism in improvisation is more tinguishes the style of improvisation.”19 Specifically, the figures typical of the jazz tradition than that of Cuban dance music.24 used in the flute solos of a charanga orchestra are idiomatic to Generally, flute solos are based on the simple alternation of the instrument itself; figures similar to the ornaments used in the tonic and dominant harmony. Flutist Arelys Fernandez, who late baroque and early classical flute tradition are commonly plays with the Havana charanga Orquesta Sublime, describes a used because they sit well beneath the fingers on the five-keyed typical charanga flute solo as follows: “Es muy sencillo y muy 25 instrument. Turns, trills, mordents, and grace notes embellish rítmico.” (“It’s really simple and really rhythmic.”) the melodic figurations used in flute improvisation.20 A typical charanga flute solo is made up of several brief Rhythmic Complexity: The heart of Cuban Flutistry melodic interjections, rather than an extended lyrical melodic The most important characteristic of a charanga flute solo is line, that take place in the highest register of the flute, serving its rhythmic complexity, and the virtuosity of charanga flute players lies in their ability to make it rhythmically interesting. the practical need of the flutist for phrase duration in that As Melquiades Fundora puts it: range to be relatively brief. Playing in the flute’s highest range In jazz, you improvise on a theme; but it’s different in requires advanced breath support, a compressed, fast air Cuban music. For us, music is much more of a rhythm stream to reach the upper partials, and a relaxed but firm thing—we play to lift our spirits, while we walk, talk, embouchure. To play an extended, slurred melodic line in this smile… we feel the syncopation and play from the heart.26 register would be taxing for the flutist. Articulation of these figures is clear and percussive; slurs and vibrato are rarely The foundation of all Cuban dance music is the clave rhyth- 21 used. In rehearsal with legendary flutist Policarpo Tamayo mic cell. Flute solos must adhere to the clave pattern and fit and the group Charanga de Oro, he avoids holding the tied into the unrelenting structure it provides to accomplish the notes on the page full value, and when asked, he replies sim- rhythmic accuracy and contrapuntal complexity that makes 22 ply, “Porque no es bonito.” (“Because it just isn’t pretty.”) this music so appealing. Melodic figuration in charanga flute solos developed over Several common rhythmic figures are typically used in cha- time at the hands of the flutists themselves. The solo style of ranga flute solos. Use of these stock rhythmic fragments is an Arcaño, for instance, is to remain behind the rest of the important part of the tradition of Cuban flutistry. These partic- ensemble, almost pulling back the orchestra; he uses notice- ular rhythms interlock well with the clave foundation, creating a able (fast, French style) vibrato and plays melodically much of complex rhythmic counterpoint with the rest of the ensemble. VARGAS - the time. Egües, by contrast, seems to be playing ahead of the Most prominently, the use of syncopated eighth notes and orchestra, almost propelling it with his virtuosic energy. Egües triplets ornamented by mordents and grace notes dominates the was famous for his virtuosity, especially a fast single-tongue overall rhythmic figuration of a charanga flute solo. and an aggressive rhythmic style, described by flutist Rene The importance of the flute’s role in the charanga orchestra Lorente as “notas picadas, en estilo conversacional, y percusivo.” is clear. It provides timbral contrast; it is featured as a soloist; 23 (“Pointed notes, in a conversational style, and percussive.”) its sound—particularly in the case of a five-keyed wooden COURTESY MARTHA COUNCELL

26 The Flutist Quarterly Winter 2013 nfaonline.org flute in the high register—projects well in a large dance hall; 20 Sue Miller, “Cuba’s Charanga Flute Style,” Pan: The Flute Magazine, 27, no 2 (June 2008), 45. and its rhythmically complex interjections provide an irre- 21 Paquito D’Rivera, Interview by author, digital recording, North Bergen, New Jersey, sistible musical idiom that has established itself in Cuba and August 20, 2008. has become popular throughout the world. 22 Policarpo Tamayo, Interview and translation by author, digital recording, Havana, Cuba, August 15, 2011. However, the flute’s importance goes beyond that of a char- 23 Rene Lorente, Interview and translation by author, Miami, Florida, October acteristic sound and catchy rhythms: 15, 2011. 24 John Murphy, “The Charanga in New York and the Persistence of the Tipico Style,” With its distinctive high-register filigree on a hard-to-play Essays on Cuban Music: North American and Cuban Perspectives, ed. Peter Manuel, wooden five-key flute, the peculiar timbre of the charanga (Lanham, Maryland: University Press of America, 1991), 122. became the sonic seal of Cuban nationalism.27 25 Arelys Fernandez, Interview and translation by author, Havana, Cuba, August 14, 2011. 26 Sue Miller, “An interview with Melquiades Fundora,” Pan: The Flute Magazine, 22, Indeed, the important role of the solo flute—with its per- no. 1 (March 2003), 22. 27 Ned Sublette, Cuba and its Music: From the First Drums to the Mambo (Chicago: cussive articulation, chirping phraselets, high-register filigree, Chicago Review Press, 2004), 309. and irresistible rhythmic interjections—is the identifiable marker of Cuban popular music. Because it unifies African Bibliography Acosta, Leonardo. Cubano Be, Cubano Bop: One Hundred Years of Jazz in and European musical elements, the sound of the charanga Cuba. Washington: Smithsonian Books, 2003. orchestra is a symbol of Cuban national identity. Thus, the Banfield, Stephen and Ian Russel. “England.” Grove Music Online. Oxford Music charanga orchestra—especially the delightful and recogniza- Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/ ble sound of the solo flute—is a defining symbol of Cuban article/grove/music/06926). cultural identity, a musical representation of what it means to Béhague, Gerard and Robin Moore. “Cuba.” In Grove Music Online. Oxford > Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/ be Cuban. subscriber/article/grove/music/06926. Burford, Freda and Anne Daye. “Contredanse.” Grove Music Online. Oxford Author’s note: This research would not have been possible with- Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/ out the generosity of the following artists, whom I am privileged subscriber/article/grove/music/06926. to call mentors, colleagues, and friends: Cuban flutists Arelys Carpentier, Alejo. Music in Cuba. Translated by Alan West-Duran. Minneapolis: Fernandez, Policarpo Tamayo, and Sergio Sarmiento, and University of Minnesota Press, 2001. Cuban-American artists Paquito D’Rivera, Rene Lorente, and Chomsky, Aviva, Barry Karr, and Pamela Maria Smorkaloff, Eds. The Cuba Reader: History, Culture, Politics. Durham: Duke University Press, 2003. Eddy Zervigón. Collins, Catherine and Barry Kernfeld. “Paquito D’Rivera.” Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/ Martha Councell-Vargas is a flute soloist and chamber musi- subscriber/article/grove/music/06926. cian with an artistic and scholarly specialization in the music Daniel, Yvonne. Rumba: Dance and Social Change in Socialist Cuba. of Latin America and the Caribbean. She performs frequently Bloomington: Indiana University Press, 1995. in Central and South America, having traveled most recently to D’Rivera, Paquito. My Sax Life. Evanston: Northwestern University Press, 2005. Venezuela and Cuba for continued research on the Cuban flute Fernandez, Raul A. From Afro-Cuban Rhythms to Latin Jazz. Berkeley: University tradition. Currently, she is assistant professor of flute at of California Press, 2006. Western Michigan University in Kalamazoo. Flores y Escalante, Jesús. Salón México: Historia Documental y Gráfica del Danzón en México. Mexico, D.F.: Asociación Mexicana de Estudios End Notes Fonográficos, A.C., 2000. 1 Isabelle Leymarie, Cuban Fire: The Story of Salsa and Latin Jazz, (London: Giró, Radames, ed. Panorama de la musica popular Cubana. Havana: Letras Continuum, 2002), 69. Cubanas, 1979. 2 Eddy Zervigon, interview by author, New York, NY, December 21, 2011. Gurza, Agustin. “Richard Egues, 82; Cuban Flutist Wrote Catchy, Playful Songs.” 3 Policarpo Tamayo, interview by author, Havana, Cuba, August 14, 2011. Los Angeles Times (September 7, 2006) 4 Jon Pareles, “Cachao, Mambo’s Inventor, dies at 89,” New York Times, March 24, Gradante, William and Jan Fairley. “Danzón.” Grove Music Online. Oxford Music 2008. Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/arti- 5 Erena Hernandez, “La Historia de un Monarca,” La Musica en Persona (Havana: cle/grove/music/06926. Letras Cubanas, 1986), 55. 6 Max Salazar. Mambo Kingdom: Latin Music in New York, (New York: Schirmer Trade Halfyard, Janet. “Country Dance.” Grove Music Online. Oxford Music Online, Books, 2002), 179. http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ 7 Ibid. music/06926. 8 Rene Lorente, Interview with Author, October 15, 2011, Miami, Florida. Hernandez, Erena. “La Historia de un Monarca” in La Musica en Persona. 9 Sue Miller, “An interview with Richard Egües,” Pan: The Flute Magazine, 19, no. 4 Havana: Letras Cubanas, 1986 (December 2000), 46, and Paquito D’Rivera, interview by author, North Bergen, New Jersey, August 20, 2008. Lapique, Zoila. “Aportes franco-haitianos a la contradanza cubana: Mitos y reali- 10 Sue Miller, “An interview with Richard Egües,” Pan: The Flute Magazine, 19, no. 4 dades,” in Panorama de la Musica Popular Cubana, Radames Giro, ed. Havana, (December 2000), 46. Cuba: Editorial Letras Cubanas, 1998. 11 Rene Lorente, Interview and translation by author, Miami, Florida, October 15, Leymarie, Isabelle. Cuban Fire: The Story of Salsa and Latin Jazz. London: 2011. Continuum, 1997. 12 Paquito D’Rivera, Interview by author, North Bergen, New Jersey, August 20, 2008. 13 Jeremy Montague, et al., “Flute,” Grove Music Online, ed. L. Macy. Miller, Sue. “The Charanga Flute Players of Cuba.” Pan: The Journal of the British 14 Ibid. Flute Society 27/2 (2008): 45–51. 15 Eddy Zervigón, Interview by author, New York City, December 22, 2011. ______. “Cuba’s Charanga Flute Style.” Pan: The Flute Magazine 27 (June 2008). 16 Sue Miller, “An Interview with Melquiades Fundora,” Pan: The Flute Magazine, 22, ______. “An interview with Melquiades Fundora.” Pan: The Flute Magazine 22 no 1 (March 2003), 22. (March 2003). 17 Eddy Zervigon, Interview and translation by author, New York, December 22, 2011. ______. “An interview with Richard Egües.” Pan: The Flute Magazine 19 18 John Murphy, “The Charanga in New York and the Persistence of the Tipico Style,” (December 2000). Essays on Cuban Music: North American and Cuban Perspectives, ed. Peter Manuel (Lanham, Maryland: University Press of America, 1991), 117. Montague, Jeremy et al., “Flute.” Grove Music Online. Oxford Music Online, 19 Policarpo Tamayo: Interview and translation by author, Havana, Cuba, August http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ 14, 2011. music/06926.

nfaonline.org Winter 2013 The Flutist Quarterly 27 Moore, Robin. Music and Revolution: Cultural Change in Socialist Cuba. Los Angeles: University of California Press, 2006. Murphy, John. “The Charanga in New York and the Persistence of the Típico Style,” in Essays on Cuban Music: North American and Cuban Perspectives, ed. Peter Manuel. Lanham, Maryland: University Press of America, 1991. Orovio, Helio. Cuban Music from A to Z. North Carolina: Duke University Press, 2004. Pareles, Jon. “Cachao, Mambo’s Inventor, dies at 89.” New York Times (March 24, 2008). Pareles, Jon. “Jose Fajardo, 82, Flutist and Bandleader, Is Dead.” New York Times, December 20, 2001. Playford, John. The English Dancing Master. London: E. Jones, 1651. Rodríguez, Olavo Alén. “Cuba.” In The Garland Handbook of Latin American Music, 2nd Edition. New York: Routledge, 2008. Rodriguez Domingues, Ezequiel. Iconografia del Danzon. Havana: s.n.,1967. Roy, Maya: Cuban Music: From Son and Rumba to the Buena Vista Social Club and Timba Cubana. Translated by Denise Asfar and Gabriel Asfar. Princeton: Markus Wiener Publishers, 2002. Salazar, Max. Mambo Kingdom: Latin Music in New York. New York: Schirmer Trade Books, 2002. Sublette, Ned. Cuba and its Music: From the First Drums to the Mambo. Chicago: Chicago Review Press, Inc., 2004.

Recordings Lopez, Israel “Cachao.” Cachao Master Sessions, Vol. I. New York: Sony Music Entertainment, 1994. Orquesta Folklórica Nacionál Cubana. The Cuban Danzón, Its Ancestors and Descendents. New York: Folkways, 1982. FE4066. Orquesta de Córdoba. “Gran Danzón, the Bel-Air Concerto for Flute and Orchestra,” Luis Julio Toro, flute and Manuel Hernández-Silva, conductor. New York: Havana New York Music, 2003. Orquesta Aragón. La Cubanísima Orquesta Aragón. Ciudad de la Habana, Cuba: EGREM, 1992. Orquesta Aragón. Danzones de Ayer y Hoy. New York: Discuba, distributed by Casino Records, 1990. DCD-515.

Second Wind: The Powell Spoon Flute at 102

The granddaughter of Verne Q. Powell describes the history of the family’s cherished heirloom, the “spoon flute” her grandfather made more than a century ago.

by Gail Powell Dearing

egendary to the older generation of flutists, but not Powell Meets Barrère well known by younger musicians.” I’ve heard so In 1910, the 31-year-old Verne Q. Powell traveled to Chicago to “Lmany people say that the predecessor of the modern seek flute lessons with Alfred Quinsel. While there, he attended American silver flute doesn’t exist or has disappeared. However, a performance by the famed French flutist Georges Barrère with the famed “spoon flute” is alive and well. I know that, because Walter Damrosch’s New York Symphony. At the time, most the man who made it, my grandfather Verne Q. Powell, willed flutists in America played wooden instruments. Barrère’s silver it to me, and it’s a cherished family heirloom. flute was made by the famous Louis Lot in Paris, and other At more than 100 years old, the flute is in incredibly good European instrument makers were experimenting with metal condition—probably because it has resided in a bank vault for flutes. When Powell heard the sound of Barrère’s silver flute, he the past few decades. What’s more, it has a beautiful, pure committed to making one for himself. sound. It made its 21st-century debut in October 2011, when Powell returned home to Fort Scott, Kansas, where he had English flutist Paul Edmund-Davies played it at a private recital followed his brothers into the jewelry and engraving business. in Los Angeles—and was visibly surprised at its sweet tone. He gathered the materials he would need to make a silver flute, which he described as “scrap silver consisting of seven tea- Philip Dikeman, associate pro- spoons, three silver watch cases, and some plugged silver coins.” fessor of flute at Vanderbilt He melted gold for inlays in the flute’s keys. University and former assistant Powell based the measurements for the silver flute on his wood- principal flute of the Detroit en flute—a Böhm model by Rudall-Carte. Using a small watch- Symphony, played Charles maker’s bench lathe in his jewelry and engraving shop, he worked Woodall’s Serenade on the evenings, weekends, and holidays and completed the flute in four spoon flute during the 2012 months. Although he called it “a rather crude affair,” he played it NFA Convention in Las Vegas. for years and later routinely loaned it to professionals when they left their instruments at his shop for repair.

The Flutist It’s not well known that Powell was an accomplished flutist. He started playing the ocarina when he was 8 years old and at the age of 10 started a small fife and drum corps with a couple of Gail Dearing and Philip Dikeman at the 2012 NFA Convention in Las Vegas. his friends. When he first heard a piccolo, he had to have one,

so his brother bought him one for $3.40. Powell said he shined PHOTOS COURTESY GAIL POWELL DEARING

30 The Flutist Quarterly Winter 2013 nfaonline.org The Spoon Flute is Not Powell Flute #1 Although he called it “a rather Confusions linger regarding the “spoon flute” and the crude affair,” he played it for years Powell Flute #1. The “spoon flute” is not numbered. Powell and later routinely loaned it to added his distinctive VQP logo when he opened his own com- professionals when they left their pany in 1926; the first flute he made at that time is the gen- instruments at his shop for repair. uine Number 1. He gave it to me when I was in high school. I had learned to play on the principal flutist with the Boston Symphony Orchestra for Number 595, a closed-hole many years, he “made such wonderful flutes that the Powell model that he felt would be immediately became established as the flute of the principal easier to finger. But by the late players in the major symphonies of the United States and of 1950s, his arthritis was imped- the world.” Powell was quoted in 1961 as saying that of the ing his fingering, so he asked 100 finest flutists in the world, all but one played a Powell. me to swap with him and I (He declined to identify the one.) played the Number 1 open- Years-long waiting lists were the norm for the Powell Flute hole model from then until January 1977, when it was stolen Company. As other manufacturers turned to technology to from my home in Los Angeles. Neither I nor the Powell Flute speed up the manufacturing process, Powell continued to make Company is aware of its current location. —GPD all of his flutes by hand. As late as 1960, with six craftsmen working for him, the company produced just 140 flutes or pic- his brothers’ shoes for the rest of his life to repay him for the colos that year. A year later, he retired and sold the company to piccolo. Then he expanded his group to six piccolos, six snare four employees. drums, and a bass drum; the group played at local ball games Powell always went his own pace and followed his own for the price of admission. methods. “I suppose I could have made more money making He bought his first Böhm flute when he was 17, and four more instruments,” he observed, “but I have enjoyed my years later purchased his “first good flute,” a Rudall-Carte work, and I envy no one.” > wooden flute. Largely self-taught, Powell had a reputation as a superior flute player long before he became better known as a Gail Powell Dearing is one of Verne Q. Powell’s six grandchil- fine flutemaker. dren and the only one to play the flute. She studied with Wallace Thus his spoon flute was born of the combination of his skill Mann, principal flutist with the National Symphony in as a jeweler and engraver with his love of music and facility Washington, D.C., and was accepted by Oberlin Conservatory. with the instrument. However, her family—including her grandfather—opposed her pursuit of a music career. She is a health-care writer in Los The Silver Powell Angeles and plays flute in two community groups—a symphony This instrument played a major role in the transition from orchestra and a concert band. wood to silver as the standard material for American flutes— “perhaps the biggest change in flute manufacture since Theobald Boehm devised a different mechanism for fingering Fond Memories in Munich in 1832,” according to a 1948 article in The Christian This picture is of me Science Monitor. with my grandfather, News about Powell’s flute spread beyond Kansas all the way Verne Q. Powell, in to Boston, where William S. Haynes heard about it. His firm 1954. Every summer was experimenting with silver flutes, and he sent for the one our family visited our Powell had created. He was so impressed with the workman- relatives in Boston. As ship that he offered Powell a job, and the young family moved the only grandchild to Boston in 1913. who played flute, I was Powell worked as foreman at the Haynes company for 13 treated each year to a years, when he resigned to become an independent flutemak- visit to the VQP compa- er. In 1926, he set up a small shop in the Gainesborough ny on Huntington Ave. Building on Huntington Avenue, across from the New After lunch, my grand- Gail Dearing and her grandfather, Verne Q. Powell. England Conservatory of Music and close to Symphony Hall. father and I would He incorporated in 1927. return to the shop to play Kuhlau duets—which we did He made the first 10 Powell flutes completely by himself. under the watchful eyes of the hundreds of famous flutists His small shop quickly attained a reputation for excellence, whose photos lined the walls. —GPD and orders poured in. According to Doriot Anthony Dwyer, nfaonline.org Winter 2013 The Flutist Quarterly 31 THE PACKARD HUMANITIES INSTITUTE CARL PHILIPP EMANUEL BACH he omplete orks VOLUMES WITH WORKS FOR FLUTE

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The Confidence Factor The 2012 winner of the Young Artist Competition battled a bad case of perfectionism and deeply waning confidence. Then she let go of her impossible goals to focus on playing the way she wanted the music to be performed. The rest is history.

by Laura Kaufman

almost didn’t send in the preliminary CD for the National That first flute had a curved headjoint so that the fingers on Flute Association Young Artist competition. There were my small hands could reach the keys. My first major teacher Ialways a million reasons not to do that competition, that was Mary Ann Archer, who was playing in the Metropolitan audition, or that other thing that had the potential of “failure”: Opera Orchestra—not a bad start to a list of inspirational “I’m not prepared”; “I don’t have time”; “I don’t have enough teachers. After Archer left New Jersey, I studied with money”; “That person is going to win anyway”; “I don’t feel Manhattan School of Music Preparatory School teacher Soo like it;” “I’m not good enough.” Those thoughts probably have Kyung Park. Soo Kyung really pushed me to make the decision plagued the minds of all of us at some point or another; in the of what I wanted to do with the flute. I’m so glad she did! year preceding this competition, almost every one of them My junior and senior years of high school were spent went through my head. studying with Tadeu Coelho at the North Carolina School of the Arts. Coelho profoundly affected the way I practiced and Shiny Appeal engaged in a piece of music. He made each studio member I first picked up the flute at age 7. I lived in Ridgewood, New perform two memorized pieces in studio each semester. Jersey, and grew up in a family where going to classical music This was a wake-up call for a junior in high school! After concerts was a common occasion. My brother and sister, both two years, I was lucky enough to be accepted into Eastman a few years older, were playing the tuba and cello respectively. School of Music. Sibling rivalry, combined with instrument jealousy, may have At Eastman, Bonita Boyd was not only a wonderful teacher been a factor in begging my mother to let me play an instru- but she cared deeply about the personal wellness of each ment. At seven years old, I found the flute appealing because it individual student; this helped my flute playing on a level was…shiny. deeper than technique. We worked on many things. Her KATE L PHOTOGRAPHY

34 The Flutist Quarterly Winter 2013 nfaonline.org greatest contributions were to add consistency and beauty to my too far either way—having too much or not enough. I had got- sound and to impress the importance of artistry in every phrase. ten mixed opinions from the few people I had played it for, and I placed in a few national competitions and got into some I wanted just one more opinion to convince me that upon great summer festivals. My confidence soared. Following hearing the ornaments, the judges weren’t going to throw their Eastman, I was accepted in the Colburn School as an artist hands in the air and cry “blasphemy!” I sent Skala an e-mail diploma student to study with Jim Walker. I was headed to with a recording attached, praying that she would have time to Southern California, where I would seriously miss the wonder- listen to it. Amazing teacher that she is, she did listen to it, and ful winter weather in Rochester, New York—not! gave me comments that were not only helpful but put aside all I took eight orchestral auditions the following year. At first my doubts for the first round. I did quite well, getting to the final-three round of the Pacific Symphony audition. But I subsequently put so much pressure on myself to do well that I didn’t advance at all for the Time to Play Some Bach next six auditions! I arrived in Las Vegas the day before the first round. The hotel My confidence ebbed to a new low. I tried reading all of the where I stayed was a good distance away from the convention books recommended to me: The Inner Game of Tennis, Zen in hotel. I didn’t run into any other flute players; not exactly good the Art of Archery, and others. Those books were great inspira- for socializing, but quite good for staying focused. I remember tion tools, but the practices described in them were not work- walking through all of the amazing glitz and glamour of Las ing out for me. I was so in my head while I was playing—con- Vegas and thinking “I’m going to play some Bach now!” The stantly second guessing almost everything that came out of my juxtaposition was comical but also inspiring. flute—that it seemed hopeless. Jim Walker was incredibly sup- During the competition itself, I was lucky enough to have portive. I’m not sure any other teacher could have dealt with most of my major teachers present at the convention. Jim my almost complete loss of confidence. Walker, Bonita Boyd, Tadeu Coelho, and Emily Skala were sup- At this point my ego was not exactly on my shoulders. It was portive and excited for me throughout. I played the first round closer to the floor, dragging behind me. So how did I get my act at 8:40 p.m. Although I had arrived in Las Vegas the night together to win the Young Artist competition? before, my East Coast body clock was still set for three hours later. I rode on pure adrenaline. Pressure and Perfectionism Maybe the combination of tiredness and adrenaline—in Well, I’m still a bit in shock from it, but the major difference addition to my preparation—kept me focused and calm between how I prepared and practiced for the past difficult enough to go on to the next round. In fact, my only goal for the year of auditions and this competition was giving up the idea whole competition was just getting to the semifinal round. of perfection. Maybe this seems obvious to some readers, and I was absolutely shocked to get the finals. At that point, I had I always knew abstractly that perfection wasn’t possible. But already accomplished my goal, and I felt as though a weight had to come to real terms with it is a different matter. been lifted. I refused to think about winning; I focused on how What exactly do I mean by “giving up perfection”? Simply, I gave up perfection as a goal for preparing a piece of music. I needed to practice before the finals. My only goal was to pres- What is a perfect performance anyway? Music is incredibly ent the music the way that I wanted to. interpretive. Somebody will find a performance less than “perfect” even if all the notes are played accurately, in tune, The Power of Confidence and in tempo. Therefore, why even have “perfection” as a I am extremely grateful for the competition experience. Not goal? You, as the player, must completely agree with and only did I get to perform at the NFA convention, I got to play appreciate all the preparation you have made on a work. But for extremely respected and accomplished flutists! you also have to make peace with yourself that not everyone Winning this competition meant more than getting first is going to like it. prize. It meant I could finally shed the idea that it was risky The way I prepared for the competition was by recording to have confidence because I might fail. At the end of the and listening back constantly. I decided that, particularly semester at Colburn, while discussing my competition prepa- with a competition judged by flute players, the only way to be ration, Jim Walker had told me, “You are really a contender!” convincing enough to the judges was if I completely sold I definitely didn’t believe him at the time. But after all I had myself. If I listened back to a recording I had just made and been through, when I reached that final round, my only goal there was a phrase I didn’t like, I decided that the judges had been to perform like a true contender: to present the wouldn’t like it either. Since I am the most critical person of myself, this process instilled a lot of confidence into my play- music in the way that I wanted. ing during the competition. When I got on stage to play that final round I wasn’t thinking, During the three months preceding the NFA competition, I “I hope this goes well.” > only had two lessons, with Emily Skala, Baltimore Symphony I was thinking, “I’m ready to perform.” principal flutist. They were wonderful lessons, but a few days before the competition I was in a panic, second guessing the Laura Kaufman is pursuing a performance studies certificate ornamentation (required for the first round) in Bach’s from the Colburn School in Los Angeles, studying with Jim Sarabande from the Partita in A Minor. I worried about going Walker. Visit laurakaufmanmusic.com.

nfaonline.org Winter 2013 The Flutist Quarterly 35 “Now We Can Go On”: The Flute Festival in Honduras

Susan Berdahl conducts students in rehearsal.

The author describes her experiences traveling to one of Latin America’s poorest nations to teach at an annual flute festival. She brought gifts to leave with the children, but she returned far richer than she had been when she left.

by Helen Spielman

36 The Flutist Quarterly Winter 2013 nfaonline.org wo adorable 13-year-old girls appeared next to me as I rehearsing the flute orchestra. The students enjoyed master- Tlistened to the flute orchestra rehearse during my first classes and individual lessons taught by Mary Karen Clardy. moments at the National Music School in Tegucigalpa, Tadeu brought phenomenal passion into his teaching. Honduras. “Can we sit with you?” they asked in perfect Many students filled the auditorium, and at one point, Tadeu English. “Well, of course!” I answered in delight. I discovered stopped teaching to call out, “Isabelle, what did I just say?” that Isabelle and Michelle were best friends and did “every- Isabelle couldn’t answer because she, like many others, had thing” together—“eat, study, practice flute, and sleep at each been talking and whispering. other’s houses.” “I’m working very hard up here,” Tadeu said to everyone. “How did you learn to speak English so well?” “I want you to work, too, and learn. Now, everyone, take out “We went to the bilingual school before we came to study a notebook. You should be writing down everything you see music here.” happening here.” How did I come to be at La Escuela Nacional de Música? I The room hushed as the students fished in their backpacks, had received an e-mail one day from Jessie Godoy, the flute and not another word was spoken. Although Tadeu had been teacher, inviting me to teach performance confidence at the strict with them, when each of the faculty was announced at Fifth Latinoamerican Flute Festival. I had never heard of her or the final concert, Tadeu received the most robust applause. of this school, but she had noticed my online articles using her electronic translator. At the time (fall 2009) there was political unrest in Honduras, and although I cautiously accepted, I was pleased when the festival was postponed to October 2010, when the unrest was resolved and the U.S. State Department declared it safe to travel. Now my unrestrained curiosity and excitement about visiting this country could build. I became motivated to study Spanish again, which I’d studied with great passion in school for 12 years and then forgotten. I noticed how much more difficult it was to remember vocab- ulary and to conjugate verbs as an older woman! Jessie and I corresponded via e-mail in Spanish because she doesn’t speak English. As I reacquainted myself with the language, I needed to get incoming and outgoing messages translated until I was fluent enough again. One day, Jessie asked me to fill out the Fulbright “rooster” so that the American Embassy in Honduras could pay for my travel. It took me weeks to unravel what this “rooster” was and which Fulbright application to write. When I finally under- stood that I was to apply for the Fulbright Senior Specialist ros- ter, I only had three weeks until the deadline. The application was extremely lengthy and detailed. I barely made it on time.

To Tegucigalpa Isabel and Michelle were among participants in the Latin American Flute Festival. I traveled with Tadeu Coelho, professor of flute at University of North Carolina School of the Arts, who has taught at the These youngsters knew who pushed them to their highest Honduras Flute Festival for two years. Once in Tegucigalpa, I potential. participated in the flute orchestra. Susan Berdahl, professor of Other teachers at the festival were Margareth Chinchilla flute at Texas A & M International University, who had been from Costa Rica, Laura Sierra from Honduras, and Yvan Bertet, instrumental in developing this festival over the years and in a young Frenchman who is the first professor of flute at the developing flute pedagogy in Honduras, conducted the 66 par- Universidad Autónoma de Honduras. He is a fine flutist and ticipants in the festival. Many were from the school, but others conductor who played the Mozart G Major Concerto with the came from Costa Rica and Panama. flute orchestra at the final concert. His goal is to raise the level The National Music School is not a boarding school; it is a free of flute playing in Honduras. public school, beginning at middle school. Rehearsals took place in the concert hall and in an outbuilding with aluminum siding. Sharing Stories and Suppers The school’s campus had lush greenery, but the buildings looked My conference was scheduled for the evening, and the audi- old. The signs for the offices were handwritten. A colorful poster torium was packed as I told of my own struggles with severe for the festival had been enthusiastically painted by students. performance anxiety as a flutist and speaker and how I over- Music stands looked ancient and rickety. Reminders of the coun- came it completely. I spoke in Spanish, which by now I had try’s poverty were everywhere. (See sidebar.) become more comfortable speaking. I switched to English I was deeply impressed with the energy, constant hard work, when I began teaching the technical aspects of performance and selfless devotion that Susan extended into teaching and confidence skills. Nelia Chavarría, the director of the school, nfaonline.org Winter 2013 The Flutist Quarterly 37 Students created the welcoming banner for the fifth Latin American Flute Festival, held at the National Music School in Teguchigalpa, Honduras.

served as my translator. Although completely fluent and an If Music Be the Food of Love excellent interpreter, at one point she stumbled in her words, which opened the chance for a joke. With a glint in my eye, Honduras is one of the poorest countries in Latin I leaned my elbow on the podium, crossed my ankles, and America, and the shacks in the neighborhood of the in Spanish asked her, “Do you have stage fright?” The audi- National Music School bear witness to this fact. ence roared. Not a single flute repair person exists in the entire The students openly shared their fears regarding perform- country, nor is it possible to buy a good flute. The ance. I had heard that Honduran students sometimes believe only ones sold are the cheap ones that fall apart they are inferior because of their poor socioeconomic status. I quickly. Flutists receive their instruments when encouraged them to think positively about themselves and to someone brings one or when they (infrequently) remember that each person has enormous, limitless value. I have the opportunity to visit another country. saw a lot of bright eyes shining at me. Prior to our trip, Tadeu Coelho had established a Each evening we had dinner together—the faculty, Nelia, Facebook “cause” called Flutes for Honduras Jessie, her husband Cristóbal, and their three children, all of whom hugged me hello and goodbye each time they saw me. through which anyone could donate a flute. By trav- I’ve rarely met as warm, loving, and friendly people as the el time, we had collected 13 flutes and piccolos from Hondurans. We had Cuban food one night and went to a generous donors. Pupusería another. Pupusas—thick corn tortillas usually filled The best of the flutes was donated to a 17-year-old with cheese, meat, or beans—actually come from El Salvador student named Evelyn, who had been on a bus when but are popular in Honduras, and so delicious. We also ate at a thief slashed her hand and stole her flute. For two Nelia’s lovely art-filled home one evening, and what was on years, her parents had been unable to save enough the menu? Pupusas. That was fine with me; I couldn’t get money to buy her a new flute. When she received the enough of them! flute from the Facebook fund, her huge smile The morning after my presentation I learned the horrifying emanated sunshine. news that Juan Omar García, a violin and flute teacher at the Two years later, Evelyn won First Prize in the Sixth school, had been killed. He was driving to the school with two Latinoamerican Flute Festival. of his teenage children in the back seat when four men tried to Another student recipient of an Emerson flute, steal his car. The youngsters were unhurt physically. Walter, 21, excited beyond description, said, “Now, Juan Omar had been a beloved teacher, and the school went now I can do anything!” into shock and mourning, closing down all classes and activi- Carolyn Nussbaum Music Company donated ties, including my scheduled private performance anxiety les- enough flute pencils and cleaning cloths for every sons. The final concert that evening was held in his honor, and participant of the festival. When these were distrib- a fine occasion it was, with visiting dignitaries from the uted during rehearsal, the students applauded me. Embassy, fresh flowers across the front of the stage, and Can you imagine U.S. teenagers applauding with speeches, awards, and wonderful music. After the concert, vis- excitement for a pencil and cleaning cloth? Tears iting faculty went out for dinner, but I learned that Señor pricked my eyes because of their touching gratitude; Garcías’ body had been brought to the stage of the auditorium the joy and appreciation of these students was over- for an all-night vigil. Each student approached the casket, one whelming.—HS by one, to play a piece of music for him.

38 The Flutist Quarterly Winter 2013 nfaonline.org From left: Margareth Chincilla, Mary Karen Clardy, Susan Berdahl, Helen Spielman (author), Jessie Godoy, Tadeu Coelho, and Yvan Berdet.

Two-Way Tickets plan to attend the NFA convention in 2013 along with 12 stu- Honduras has the highest homicide rate in the world (Time dents aged 16–22 if they can obtain visas. Magazine, May 2011). These children live with violence every If you want to welcome them to our country, please be on day. Music is their way to find joy and beauty—and to earn the lookout for them in New Orleans. Your gifts of attention money for their families. If they go to college to study further, and hugs will be more welcome than you can imagine. every single music student works a job in military or other But you will find, as did I, that no matter how much you ensembles to generate income while taking a full load of give, the much greater gift will be what you will feel coming courses. Their courage and determination, their happy, loving, back to your own heart. > gentle, and kind nature in these harsh and painful condi- tions—these features are beyond my understanding. How the Helen Spielman is a performance anxiety coach who teaches teachers, the school, and the students have accomplished so musicians how to maximize their results by increasing confi- much is nothing short of a miracle. dence, improving concentration, and performing consistently. Instead of going on a trip to see a Mayan ruin, we donated Her book A Flute in My Refrigerator: Celebrating a Life in Music the money to the García family and left for home a day early. will be released in 2013. Please visit PerformConfidently.com. We had gone to Honduras to be of service, but the teachers and students sent us off at the airport with gifts. I couldn’t comprehend this; I had given so little and received so much. Thank You! Once home, I found myself in an extended, heightened state of overwhelming gratitude for life in the U.S. Even the most bur- These people donated flutes and piccolos for dened music student in America lives in paradise in comparison. our trip: I determined to do something more for this group of peo- Karen Bogardus ple with whom I had fallen in love. The following year, I Lisa Hedley helped Jessie and her husband Cristóbal, the percussion Helen Spielman teacher at the school, obtain visas to attend the 2011 NFA con- Patty Tidwell vention in Charlotte. The U.S. Embassy paid for their flight, and a group of enormously generous flutists donated money Additional donators through the “Facebook for their hotel, food, and exhibit hall purchases. (See sidebar.) Flutes for Honduras” Cause Page Along with Susan, Tadeu, and myself (Mary Karen was unable to attend), Jessie presented “Miracle Flute Festival in These people donated funds to support Jessie Honduras” at the convention. Dressed in traditional clothes, and Cristóbal’s visit to the 2011 NFA Convention: she played her flute and danced, while Cristóbal played the Tadeu Coelho drums. She cried through part of it because the experience was Stephen Preston so meaningful to her. Helen Spielman “Now we can go on—because what we do is part of the rest Norman Thibodeau of the world,” Jessie told me. Finally, thank you to Carolyn Nussbaum, of Carolyn Enduring Friendships Nussbaum Music Company, for donating cleaning I still correspond with my wonderful host family in Tegucigalpa. cloths and flute pencils for all 66 festival partici- One day I hope they will visit me. Jessie, Cristóbal, and Nelia pants.—HS

nfaonline.org Winter 2013 The Flutist Quarterly 39 Across by Dolores August the Miles News about flute club and flute choir activities throughout the United States

In September 2012, the Nashville Flute Choir, under the direction of Karen Mitchell, performed a concert of classical music at Forest Hills Methodist Church. In October, the flute choir participated in the Nashville Symphony’s Free Day of Music at the Schermerhorn Symphony Center, an event the symphony sponsored to support its mission to make the concert hall accessible to everyone. The entire community was invited to enjoy free musical performances that lasted all day and night and featured more than two dozen local ensembles. The Nashville Flute Choir performed at Cheekwood Botanical Gardens’ “A Storybook Christmas,” that featured a different Christmas tree in each room of the Flutissimo! Cheekwood Mansion. Visit nashvilleflutechoir.com. Flutissimo! Flute Choir finished its fall 2012 series with a Quad City Flutes Unlimited performed the fall concert of Halloween-themed event titled “Goblins, Gremlins and its 30th season October 26, 2012, at St. John’s Lutheran Ghosts! Oh, My!” The concert featured two world premieres Church, Rock Island, Illinois. “String of Pearls” featured by Scottish composer Alexander Abbott, “The Troll’s Rave- favorites of the flute choir repertoire performed by the 20- Up” and “Halloween Hi-Jinks”; “Ritual Fire Dance” arranged member group over the years. Works by Louke, Byrd, Grieg, by Shaul Ben-Meir; “Of Wizards and Witches” by Phyllis Via, Wiren, Hirose, and Feld were performed, as well as a Louke; and piccolo octet “Petrushka’s Ghost” by Melvin Lauf. new arrangement by director Mary Kae Waytenick. Janet The fall series traditionally includes the Susan G. Komen Stodd is the ensemble’s founder and artistic director. Breast Cancer Benefit in honor of a member of the flute choir and all of the choir’s friends and family members afflicted with The Hot Springs (Arkansas) Flute Ensemble, conducted by the disease. In December, Flutissimo! performed Christmas Kristin Grant, presented a youth concert in the outdoor favorites at Dallas Heritage Park, St. Paul United Methodist pavilion at Garvan Woodland Gardens in September 2012. Church, and various retirement communities. A local youth choir joined the group to sing “Talk to the Animals,” “Spoonful of Sugar,” and “Piccolo Pete.” The children and audience blew bubbles and sang the chorus as the ensemble played “I’m Forever Blowing Bubbles.” Other tunes included “The Throne Room” from the film Star Wars, “The Children’s March,” “Introduction to the Flute Family and Childhood Favorites,” “Casper the Friendly Ghost,” and “Yankee Doodle on Tour.” Seventh grade NFA member and youth scholarship winner Sarah Marie Linneman performed Anderson’s “Scherzino” with the ensemble. A grant was . obtained to fund the choir and bubbles and to provide free admission tickets, distributed by area music directors, for The Long Island Flute Club Professional Flute Choir, with Debra Schild, children in the audience. The program was repeated for a conductor (front row, far left). local assisted living facility. The Long Island Flute Club celebrated the opening of its Flute Festival Mid-South 2013 will take place March 22–23 28th season with a concert October 28, 2012, at Westbury at the University of Memphis. A diverse program of per- Memorial Public Library featuring the Honors Student formances and presentations will feature guest artist Alexa Flute Choir under the direction of Danielle Schulman and Still. Competitions and flute choir opportunities for stu- the LIFC Professional Flute Choir under the direction of dents from middle school to grad school round out the Debra Schild. The club held the 24th annual LIFC Flute Festival at Oyster Bay High School November 17. The festi-

weekend. Visit midsouthflute.org. PHOTO OF THE LONG ISLAND FLUTE CLUB BY LAUREN OSNATO

40 The Flutist Quarterly Winter 2013 nfaonline.org val featured flutist Linda Toote, solo and ensemble classes, workshops, and exhibits. The annual LIFC Holiday Flute Choir, under the direction of Lauren Osnato, performed December 1 at the United Methodist Church of Lake Ronkonkoma in a performance benefitting United Cerebral Palsy, and again December 2 as part of the holiday festival in the Red Ballroom at Old Westbury Gardens. LIFC will hold its annual high school and college competitions February 2–3. Visit longislandfluteclub.org.

The Texas Flute Society hosted Masterclass participants included, from left: Justin Holguin, Nicole Ozdowski, free clinics in the Dallas/Fort Kaitlin Troutman, Carol Wincenc, Carolyn Brown, and Zahra Ahmed. Worth area in fall 2012 for society’s traditional Holiday Flute Choir reading and con- the 2012–2013 Texas All-State cert took place at the Evesham Flute Studio on December Auditions. On September 22, 16. The fifth Annual Young Artist Competition will be held guest presenter Mark Trimble, March 18 at the Willow Grove Branch of the Settlement who selected the audition etudes Music School. On April 13, the society will host its first for the state of Texas, conducted Flute Fair Day with guest flute soloist Susan Milan and also an interactive masterclass on featuring the finals rounds of the new collegiate category of flute and piccolo demonstrating the Young Artist Competition. The event will be sponsored Conor Nelson the All-State audition process. in part by the Flute Pro Shop. The season closes with the On September 29, the society society’s annual Open Members Recital and Party May 18. hosted European recording artist This event will be sponsored by the Windworks Studio of and scholar Dorothea Seel in Philadelphia. Visit philaflutesociety.org. Texas Wesleyan University’s Martin Hall. Seel’s presentation, Send information about flute club activities, and high-resolu- “The Sounds of the Flute: A tion images if available, to Dolores August, Flute Clubs Discovery,” included a demon- Coordinator, [email protected]. stration of eight flutes and a discussion of the effects of the developing flute in the 19th cen- Thomas Robertello tury, with special attention given toward its influence on musical interpretation and stylistic choices. The guest artists for the 36th Annual Texas Flute Festival in Denton, Texas, will be Holly

. Hofmann, jazz performer and recording artist; Conor Nelson, assistant professor of flute at Bowling Green State University; Thomas Robertello, associate Holly Hofmann professor of flute at Indiana University; and Valerie Estes, winner of the 2012 Myrna Brown Competition. The festival, to be held May 16–18, includes the Myrna Brown Competition, the Donna Marie Haire Competition, and masterclass competitions. Visit texasflutesociety.org.

The Flute Society of Greater Philadelphia began its 11th season on September 23, 2012, with its annual Open Member Meeting and Flute Choir Reading Session at the Evesham Flute Studio. The season continued October 13 with a masterclass featuring flute soloist Carol Wincenc. The event was sponsored in part by the Flute Pro Shop. On November 19, the FSGP had its first “performathon” to benefit its expanded Young Artist Competition. The venue for this event was the new Performing Arts Complex of Delaware County. The PHOTO OF THE FLUTE SOCIETY OF GREATER PHILADELPHIA MASTERCLASS PARTICIPANTS BY THOMAS MEANY

nfaonline.org Winter 2013 The Flutist Quarterly 41 Honor Roll of Donors to the National Flute Association The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings, and flute choir), and endowments. The list reflects donations received from November 1, 2010, through November 30, 2012.

Sapphire ($10,000–$49,999) Chesapeake Flute Consort Catherine Miller Beth Behning Catherine Ramirez Bickford W. and Laura Sandra Church Linda Mintener Judith Bentley Judith A. Ranheim Brannen Eugenia L. Cline Catherine Montano Jan Boland Ginger (Virginia) Robert F. Cole Sharon Muller-Ho Wissam Boustany Rombach-Adams Emerald ($5,000–9,999) Margaret Cornils Luke Madeline Neumann Bonita Boyd Jean Rosenblum Mark & Judith Thomas David Cramer Edith K. Nishimura Morgan M. Bresett-Brown Sue Rudholm Linda Crisafulli Joyce Oakes Elizabeth M. Brightbill Ali Ryerson Platinum ($2,500–$4,999) Linda Cykert Linda Pereksta Roberta Brokaw Elaine Marie Schaeffer Eleanor Duncan Richard L. Dalton George S. Pope Jean M. Burnett Janet See Armstrong Monica Daniel-Barker Christine E. Potter Bret Burns Peter Sheridan Angeleita S. Floyd Brooks de Wetter-Smith Ronald Prechel Joanne K. Chadima Ken Sherman Wm. S. Haynes Flute Co. Karen B. Demsey Margaret Jane Radin Chesapeake Flute Consort Emily Hope Skala Katherine Borst Jones Judy Diez d’Aux Wendy H. Rolfe Carol Christofferson Ann D Smith Zart Dombourian-Eby Helene Rosenblatt Andrea Clark Zoe Sorrell Gold ($1,000–$2,499) Daniel Dorff Sue A. Rupp Kimberly Clark Diana Sparacin Anonymous Darlene Dugan Edith Sagul Susan J. Clark Alexa Still Sue Blessing William J. Egnatoff Sam Ash Music Shelley Collins Cynthia C. Stokes Gerald V. Carey Arthur J. Ephross Mary Novak Sand Harriet Coppoc Patricia Stortz Marilyn First Ann Fairbanks Lisa Garner Santa Nan Wood Davies Sue Swilley Flute Center of New York Jill Felber Patricia Schmid William R. Davis, Jr Natalie Syring Leonard L. Garrison Steven Finley Therese Schneider Marcela DeFaria Lew Tabackin Sarah Jackson The Flute Pro Shop Frances Shelly Claire Durand-Racamato Rae P. Terpenning Victoria & Andrew Jicha Noreen B. Friedman Sherry’s Flute Repair & Sales Charlotte Ellis Michael Treister Marie Jureit-Beamish Elena Gagon Angela Allen Sherzer Rev. William Morris Evans Gail D. Vehslage Nagahara Flutes NNI Inc. Colin Garnett Mary DeLano Sholkovitz Lisa Ann Fahlstrom Verne Q. Powell Flutes, Inc. Sandra Saathoff Patricia George Sign of the Silver Birch Music Penelope Fischer James R. Walker Fenwick Smith Lisa Gerber Ellen Silverman Lewis T. Fitch Lenora Warkentin Aaron Goldman Alison Brown Sincoff Cynthia J. Folio Mihoko Watanabe Silver ($500–$999) Susan S. Goodfellow Lucille Snell Sarah B. Fouse Anne Welsbacher The Abell Flute Co. Kimberlee R. Goodman John Solum Lynne L. (Hadley) Fowlkes Jean Ohlsson West Andrew D. Callimahos Susan Greenberg Patricia Spencer Diane Gold-Toulson Theresa H. Wilson Patrice, Fred, Angela and Penny Griffy Corydon S. Sperry Ai Goldsmith Harbor Winds- Woodwind Jessica Ficken Carl D. Hall Wayne Summers Jacqueline Goudey Repair Services Jerry Jenkin Yvonne Chavez Hansbrough Terri Sundberg Gaile Griffore Richard Wyton Marjorie Koharski Wilda M. Heiss Cynthia R. Tate Vanessa Gwynne Ruth M. Yanagi Sherry & Walfrid Kujala Betty Austin Hensley Paul Taub Julie Guitry Harris Eileen Yarrison Martin Melicharek III Dorothy (Dot) Holcomb Betsy Templeton Susan Hayes Alan Zaring William Montgomery Eric Hoover Brooke Thayer Lisa Hedley Deborah L. Ragsdale Sue Ann Kahn The Flute School Sandra Howard Friend ($1–$49) David Robbins Trudy Kane The Flutist’s Faire Don Hulbert Patti Adams Nancy Schneeloch-Bingham Ellen Kaner Nancy E. Toff Ellen Huntington Melanie Addington Straubinger Flutes Robert Katayama Ruth Toff Carolyn Krysl Hutchinson Claudia Anderson Nancy M. Vinson Peter Katz Linda Toote Jennifer Isadore Sara Andon Richard E. Winslow Mindy Kaufman Anna Tough Margaret Foote Jamner Arista Flutes Tara Kazak Philip Trackman Rebecca R. Johnson Timothy E. Arnette Wood ($100–$499) Jonathan Keeble Peggy Vagts Rose V. Johnson Alice D Avouris Anonymous Donor Keefe Piccolo Company Ignace Vanmoerkerke Melonie M. Jones Joanna Bassett Robert Aitken Janet D. Kinmonth Julia K. Vasquez Kris Keith Vicki Bell Altus Flutes Linda Kirkpatrick Ann S. Vinod Katherine Kemler Sandra Benke Eva Amsler Christopher Krueger Susan Waller Amalie C. Kempton Debra Blecher Rebecca Tryon Andres Sherry Kujala Michel Wapler Laura Sanborn Kuhlman Nancy Budd Bostwick Francesca Arnone Gay Landstrom Alice Kogan Weinreb Jane Lenoir Carla Bowman Deborah Rebeck Ash Joanne Lazzaro Jasper Welch Elie Litov Beverly Bradley Frances Lapp Averitt Dorothy Tutt Lee Patricia Wheeler Andrew Liu Danielle R. Breisach Peggy F. Baird Levit Flute Company Stephanie A. Wheeler Nancy Loomba Jennie Brown Teresa Beaman Amy Likar Robert Willoughby Marcia Strom Metzger Elizabeth Buck Laura Benning Gail E. Looney Carol Wincenc Catherine Miller Emily Butterfield Laurie Benson Phyllis Louke Windward Flutes Ltd. Mary Minsk Michelle Caimotto Mary Berk Leslie Maaser Kara Wuchner Polly Monson Elise Campbell Amy Rice Blumenthal Deborah MacMurray Ying-Yu Emily Yeh Elizabeth Z Morales Trish Campos Joanne Ennis Bourquin Janet Maestre Howard E. Motteler Jeanine Cariri Brannen Brothers Claire Della Mahon Donor ($50–$99) Anna-Katharina Mueller Hiram G. Carrasquillo Rivera Flutemakers, Inc Julie Martin Maisel Anonymous Conor Nelson Nikolaos Chalkias Carol Brecker Rebecca Malone Dianne Aitken Marissa Heartly Olin Sandy Chang Claudia H. Brill Leslie Seid Margolis Lori Akins Lauren Osnato Xue Chen Burkart Flutes & Piccolos Roger B. Martin ALRY Publications, LLC Ann C. Pearce Cathy Clare Leone Buyse Betty Bang Mather Jan H. Angus Margaret A. Peterson Tadeu Coelho Beth E. Chandler Richard A. Mc Pherson John R. Bailey Mary Peterson Cara Conway Gary & Kathryn Chandler Dorli McWayne Diane Barton-Brown Rolfe Pitts Mary E. Craig

42 The Flutist Quarterly Winter 2013 nfaonline.org Tara Novy Crawford Diane J. Lynch Albert Vreeland Stephanie A. Wheeler Eve E. Slater Mark Dannenbring Michael Lynn Ulrika Wallersteiner Robert Willoughby Glennis M. Stout Luella Daugherty Carlen Mandas Agatha Juichih Wang Mary E. Wilson Nancy E. Toff Maretha Davel Susan J. Manwaring Maya Washington Ransom Wilson Karen Van Dyke Morgann E. Davis Samantha Marshall Valerie L. Watts Eileen Yarrison Susan Waller Caroline Dawson J.T. Martin Kristin Webb Dr. Alan Zoloth Arnie Wernick Maria Luisa Cory Maxfield Carol Weinstein Jeffery Zook Jean Ohlsson West De La Cerda Rohde Karen B. McClintock Arnie Wernick Amy Rice Blumenthal Alan Zaring Marilyn Deavers Diane McCloskey Frederick Westphal Ann Droste Erin Delaney Audrey McPherson Joanna Cowan White Darlene Dugan Myrna Brown Fund Jessica Deskin Wendy Mehne Kerrie Wrather Vespaziani Sally Grant Darima Alexandru Alaina B. Diehl Kayoko Minamino Elena Yarritu Ellen Kaner Eva Amsler Ann Droste Kelly A. Mollnow-Wilson Leung Ka Yau Janice S. King Clarissa Andersen Sophie Dufeutrelle Nicole Molumby Kelly K. Yeung Elaine Layne Asako Arai Suzanne Duffy Julianna Moore Martin Melicharek III Frances Lapp Averitt Emily Duncan Roland F. Moritz David Hart Fund Ann C. Pearce Kelli Bahner Donna Morse Dymond Christine Fish Moulton Peggy F. Baird Virginia Schulze-Johnson Peggy F. Baird Deborah Egekvist Nancy L. Mulholland Laurie Benson Ellen Silverman Diane Barton-Brown Susan Fain Kana Murakoshi Mary Berk Corydon S. Sperry Donna Swarts Bath Katherine Fink Tomiko Nakagawa Paul Bolman Glennis M. Stout Jeanne Baxtresser Christa Anne Flueck Jean Nakamoto David Brinker Eileen Yarrison Laurel J. Beavers Donald Garcia Barbara Neal Carol Kaulfus Codrescu Joyce M. Bennett Roberta Gillette Susan Nelson Charles & Maria Coldwell Frances Blaisdell Fund Susan M. Berdahl Sheryl Goodnight Roger Neumann Grady E. Coyle The Abell Flute Co. Karen Bergquist Lueth Jennifer Grady Susan Nguyen Linda Crisafulli Eva Amsler Mary Berk K. Dawn Grapes Erica Nightengale Tina S. Dreisbach Rebecca Tryon Andres Francis Blaisdell Alyssa Greengrass Lisa Norton Paul Dutka Peggy F. Baird Joanne Ennis Bourquin Christine Gustafson Alex Ogle Greer Ellison Laurie Benson Leone Buyse Doris Hall Yeji Oh Susan Fain Mary Berk Linda Caillavet Maria K. Harding Kris Palmer Lewis T. Fitch Joanne Ennis Bourquin Jenna Charles Calixto Courtenay Hardy Dan Parasky Jackie Flowers Mimi Carlson Andrew D. Callimahos Jean M. Harling Jennifer Parker-Harley Leonard L. Garrison Carol Christofferson Gerald V. Carey Linda Hartig September Payne Gulab H. Gidwani Susan J. Clark Kim Carey Pamela Hawley Martha Peltier Elaine Goldfarb Charlotte Ellis Mary Ellen Cerroni Stephanie Hegedus Sibel Pensel Dr. Ralph Guenther Greer Ellison Chesapeake Flute Consort Sy Helderman Jason Peterson Yvonne Chavez Hansbrough Colin Garnett Timothy A. Cholyway Kimberly Helton Amy Porter Anne Harper Leonard L. Garrison Cathy Clare Ellen Hershey Donna Prather Jim V. Hart Jacqueline Goudey Robert F. Cole Gunn Hill Kathryn A. Prinz Jodi Himes Susan Greenberg Loretta Contino Julie R. Hobbs Linda M. Prior Don Hulbert Jean M. Harling Albert Cooper Brendan Hogan Irene Pruzan Paul R. Jacobson Patricia Harper Richard Cooper Gail Holsclaw Sandra Ragusa Margaret Foote Jamner Alexandra Hawley Linda Crisafulli Priscilla Ochran Holt Arlene H. Renico Dr. Leonie L. Jenkins Hawley Family Charitable CYSO Jr. & Sr. Flute Ensemble David Houston Rachel Rodgers Helen Jenner Foundation Monica Daniel-Barker Amber Hrynczyszyn Rebecca Carson Rogers Barbara Kallaur Wilda M. Heiss Rachel Roxanne Davidson Alison Hubbard Charlotte Jane Roth Christopher Krueger Eric Hoover Maria Luisa Caroline Calabro Hughes Rita Roth Gerardo Levy Alison Hubbard De La Cerda Rohde Maria Infurchia Ronnie Rothchild Louis W. Lewis Jerry Jenkin Melanie Delcid Sarah Jackson Toby Rotman Michael Lynn Marie Jureit-Beamish Claire Durand-Racamato Christina Jennings Sonia Ruiz Julie Martin Maisel Robert Katayama Paul Dutka Emlyn Johnson Crystal Safarian Andrea Mason Sue Kurian Jennifer A. Elliott Yeva Johnson Debra C. Schild Carolyn Riedell May Joanne Lazzaro Emanuel Flutes Boston Catherine Kapoor Paul Schliffer Linda Mintener Dorothy Tutt Lee Sarah B. Fouse Melissa Keeling Mary Schneider Clara B. Mortiboy Janet Maestre Lynne L. (Hadley) Fowlkes Margaret Linnan Kegel Lisa Schroeder Karin L. Nelson Julie Martin Maisel Leonard L. Garrison Crys Keiser Heidi Schuller T. Richard Nichols Leslie Seid Margolis Elaine Goldfarb Janice S. King Magda Schwerzmann Edith K. Nishimura Clara B. Mortiboy Ai Goldsmith Eden Klepper April Showers Ann Marie Ouellette Jean Nakamoto Susan S. Goodfellow Elyse Knobloch Robert Singer Linda Pereksta Merryl D. Newler Sheryl Goodnight Laura Koenig Harvey Sollberger Mary Peterson Edith K. Nishimura Erich Graf Mary Kopsieker Janet Sperry Mary Louise Poor James J. Pellerite Winona Richards Grant Karl F. (Fritz) Kraber Mark Spuria Ardal Powell Gwen C. Powell Hollie Grosklos Sue Kurian Rosalind Stack Calliope Inc. Linda M. Prior Christine Gustafson Esther Landau Keri Starling Renaissance Band Mardee Reed-Ulmer Anders Hansen Mary Laurie Deborah Steinbacher Wendy H. Rolfe Janet Davidson Romanishin Anne Harper Zara Lawler Maria Stibelman Sue A. Rupp Ginger (Virginia) Patricia Harper Elaine Layne Glennis M. Stout Nancy Schneeloch-Bingham Rombach-Adams Linda Hartig Matthew Lee Syrinx Flute Repair Janet See Jean Rosenblum Betty Austin Hensley Gina Leija Sebastian Ayana Terauchi Shorey Antique Flutes Ronnie Rothchild Lynn Hertel Harvey Leikind The Flute Market Marilyn Shotola Sue Rudholm Priscilla Ochran Holt Carmen A. Lemoine Judith Thomas Fenwick Smith Edith Sagul Sandra Howard Kasumi Leonard Heidi Toevs Sheridan Francis Soges Patricia Schmid Amber Hrynczyszyn Gerardo Levy Rosalyn Trotter Paul Thompson Sandy Schwoebel Helen Callimahos Hurry Tzu-Ying Jennie Lin Karen Van Dyke Keith Underwood Mary DeLano Sholkovitz Gene Isayev Charles E. Lofties Jessica Vogel Anne Welsbacher April Showers Jerry Jenkin Nikki Lohr Jane Voyles Jed Wentz Robert Singer Trudy Kane

nfaonline.org Winter 2013 The Flutist Quarterly 43 Ellen Kaner Barbara S. Rives Andrew Callimahos in Honor Robert Katayama Cynthia Rugolo of Chesapeake Youth Thank You to the Linda Kirkpatrick Sue A. Rupp Symphony Orchestra Martha Kitterman Patricia Schmid Patrice, Fred, Angela, and Wm. S. Haynes Company Lake Erie Flute Choir Max Schoenfeld Jessica Ficken in Honor of Haynes Challenge o celebrate 125 years Dawn L. Larson Sandra Seefeld Katherine Borst Jones of extraordinary flut- Rhonda Larson Peter Sheridan Marjorie Koharski in Memory Leaders T ing, the Wm. S. Haynes Joanne Lazzaro Angela Allen Sherzer of Helen Callimahos Hurry Nancy Budd Bostwick Company has donated an Frances Leek Mary DeLano Sholkovitz Leone Buyse and the Rice Andrew D. Callimahos unprecedented grant of Harvey Leikind Alison Brown Sincoff University Flute Studio Gerald Carey $125,000 to the National Gerardo Levy Christine Michelle Smith In Memory of Helen Richard L. Dalton Flute Association to sup- Marlee Lindon Mary T. Stolper Callimahos Hurry by The Flute Center of NY port future conventions. Jan Luoma Glennis M. Stout Chesapeake Flute Consort Leonard L. Garrison This is the largest dona- Leslie Maaser Terri Sundberg Lisa Gerber in Memory of Patricia George Betty Austin Hensley tion ever received in the Julie Martin Maisel Paul Taub Jack Wellbaum Debby Malnic Katherine Borst Jones NFA’s history. A huge Brooke Thayer Wayne Summers in Memory Roger B. Martin Barbara Todd-Simard Peter Katz thank you to the Wm. S. of Helen Callimahos Hurry Krystal Mata Anna Tough Linda Mintener Haynes Company! Anna Tough in Memory of McCanless Flutes G. Warren Turner Angela Allen Sherzer Now, the challenge is Helen Callimahos Hurry Dennette Derby McDermott Nancy Urbscheit Lucille Snell up to you. The Wm. S. Patricia Wheeler in Memory Nancy Mentch Ignace Vanmoerkerke Ruth. B. Toff Haynes Company has of John Thomas Alan S. Miller Gail D. Vehslage Ignace Vanmoerkerke made its gift a matching Anonymous in Honor of Eileen Yarrison Townes Miller Rachel Lynn Waddell challenge to raise an addi- Robert Willoughy’s 90th Virginia L. Miller Michel Wapler tional $125,000 for the Birthday Linda Mintener Kristin Webb NFA endowment, which To join the Haynes Sharon Muller-Ho Jack H. Wellbaum enables the NFA to pro- Legacy Circle/ Challenge Leaders, send Alexander Murray Jean Ohlsson West vide compelling new Nagahara Flutes NNI Inc. Mary E. Wilson Planned Gifts your check and a note on how you would like to be music commissions, his- Carol Naveira-Nicholson John Wion The NFA Legacy Circle honors recognized in the listing to torical recordings, special Edith K. Nishimura Katherine Wood visionary individuals who help Haynes Challenge Grant publications, and scholar- Ann Marie Ouellette Debbie Woods ensure the future excellence of c/o The National Flute ships and competitions. Karen Perkins Lois A. Wynn the NFA through planned gifts. Association, Inc. 26951 As of November 30, Margaret A. Peterson Edward M. Young It is with deep appreciation Ruether Ave. Suite H, 2012, the endowment Mary Peterson Leslie Zieren that we recognize members of Santa Clarita, CA 91351. stands at $1,134,831.82. Mary Louise Poor Jeffery Zook this prestigious group: Thank you! Now is the George S. Pope Linda and Harry Fegley time to play your part Christine E. Potter Dedications Katherine Borst Jones from the start. Join the Irene Pruzan Marilyn First in Memory of Carol Kniebusch Noe Haynes Challenge! Deborah L. Ragsdale Vickie Bigley Gwen and Richard Powell

44 The Flutist Quarterly Winter 2013 nfaonline.org Compact Discs from Crystal Records Leone Buyse was principal flute of Bos- ton Symphony, now on faculty of Rice University. She has six CDs on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid playing and a glis- tening recording” Fanfare. CD319: Rivier Revisited. Chamber Mu- CD314: Love Letters. David Shostac, flute. Borne, Carmen Fantaisie; Kosins, Love sic for Flute by Jean Rivier. “loaded with charm” Fanfare. Letters & Winter Moods; plus Boehm, Dinicu, & Debussy. Shostac is principal Los CD356: Tour de France. Music by Fauré, Saint-Saëns, Bizet, & Angeles Chamber Orch. “outstanding fluent technique” BBC Music Mag. Debussy, “A charming entertainment.” Fanfare. CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- CD357: World Wide Webster. Dvorak, Debussy, Brahms, & cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle Gottschalk. W/Michael Webster, clarinet; & Robert Moeling, piano. Symphony. “nothing short of amazing.” American Rcd. Guide. CD715: Dedicated to Barrère. Music composed for celebrat- CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas ed flutist Georges Barrère, by Caplet, Woollett, Gaubert, Seitz, by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- Lacroix, Lefort, and Damaré. “marvelous recording” Flute Talk. formed with rare sympathy and expertise.” Fanfare. CD716: Dedicated to Barrère, Vol. 2. Leone Buyse w/Martin CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Amlin, piano; & Paula Page, harp. Griffes, Poem; Varèse, Densi- Taffanel, Fantaisie; Griffes, Poem; plus Dzubay, Van Brink, & Zupko. Robertello: faculty 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, ty of Indiana University; previously: Pittsburgh & National Sym., Cleveland Orchestra. Sonatine and Invocation. Also De Lorenzo, Kriens, & Jacquet. CD714: Flute Agréable. April Clayton, flute. Sonatines by Dutilleux, Francaix, CD710: Wind Effusions. Danilo Lozano, Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ ” Musicweb. Flute; David Muller, Bassoon. Duos by CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, Villa-Lobos, Schröder, Gabaye, Jan Bach, & High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- Bozza; solos by Piazzolla & Osborne. Lozano: ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. founding member of Hollywood Bowl Orch. CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. Muller is former princ. Mexico City Phil. Music by Sawai, Yamamoto, Hirai, Miyagi. “quite beautiful” Amer. Record Guide. CD354: Weiss Family Woodwinds. CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Wood- Dawn Weiss, flute; David, oboe; Abraham, wind Quintet. Ten Waltzes; From the Animal Kingdom; From the Plant World (all for bassoon. Trios by Svoboda, Worthey, and flute and piano); Serenade and Th. & Variations (for woodwind quintet). “Blumer’s lush style reminds me Vivaldi, plus Messiaen, Le Merle Noir (flute of Richard Strauss. Fine flute playing; [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. & pa.), Hindemith, & Bourdeau. Dawn was CDs $16.95 each. U.S. Shipping: $2./order; foreign: $10/order. solo flute Oregon Symphony for 25 years. ® Visit www.crystalrecords.com to see all CRYSTAL RECORDS [email protected] listings, hear sound samples, & order. .%(ANCOCK2OAD #AMAS 7!53!sPHONE

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(A printed index to issues prior to volume 16 is available from the NFA office on request.) Notes from Around Conventions, festivals, competitions, and other global flute activities the by Christine Erlander Beard World Festival Flautas del Mundos IV: The 2012 World Flutes Festival Tibetan healing bowls, didgeridoos, and crocodile sounds were topics of presentations at this international affair. Outstanding flute performances abounded as well. by Christine Erlander Beard Flutists and musicians from across South America, North America, and the United Kingdom gathered in Mendoza, Argentina, September 19–23, 2012, for the fourth annual From left: Zephyrus members Tomm Roland and Christine Beard, Viviana World Flutes Festival, an event not widely known among Guzman, and Pablo Salcedo, organizer of the World Flutes Festival. American flutists but deserving of more attention. Although the festival’s focus is on world music and performances on traditional and ethnic flutes, sessions and performances on Western flutes and other instruments were also showcased. The festival’s organizer, Pablo Salcedo, has served on the faculty at the National University of Cuyo since 1994 and is a recognized specialist in world flutes, having received a masters degree in ethnomusicology from the University of Maryland. (Visit pablosalcedo.org.) The schedule of sessions throughout the festival was diverse: Viviana Sánchez (Argentina) presented an inspiring lecture on Tibetan healing bowls. Rafael Fuchigami Hirochi (who teaches at the State University of Campinas in São Paulo, Brazil) pre- Markama, from left: Pablo Salcedo, Gabriel Narváez, and Fabrizio Amicarelli. sented a lecture entitled “Music and Spirituality in the History Bernardo Monk (Argentina) discussed the use of the saxophone of the Shakuhachi,” in which he gave an overview of the many in tango music and promoted his new pedagogical book written uses for the shakuhachi flute throughout its history and demon- to help teach tango style. Viviana Guzman, who lives in the U.S. strated techniques used in playing this traditional Japanese and was one of the Americans attending, was invited along with instrument. Didgeridoo expert Maximiliano Reitz (Argentina) myself to lead flute masterclasses, for which several of the festi- led two workshops on how to play the instrument, indigenous val attendees signed up to work with the American artists. to Australia, which included a visual representation of the ani- Perhaps the most thought-provoking session of the festival was mal sounds the instrument can emulate, such as kangaroos, a lecture presented by Giovanny Molina (Columbia) whose crocodiles, and snakes, to name a few. Although this instrument paper, “The First Quenas: Los Guanes,” offered compelling evi- is a member of the brass/aerophone category and not related to dence to suggest that the true history of the quena is not as a flute family, the festival attendees enthusiastically took part in deeply rooted in the Spanish tradition as is commonly thought. the clinic, each being given a didgeridoo on which to practice This was apparently a very controversial stance, evidenced by throughout the duration of each session. the reaction of many of the audience members who responded Bolivian flutemaker Adrian Villanueva Quisbert demon- with animated questions and comments. strated and discussed indigenous Andean instruments, The first headliner concert was held at the Independence Manuel Rojas explained the role of the flute in Venezuela and Theater, the main concert hall in the city of Mendoza, but the also performed tracks off his new CD Retribution, and Sergio remaining sessions and concerts took place in the more inti- Garcia (Chile) lectured about the ocarina. Saxophonist mate Adolfo Calle Auditorium. It was during the concert at

nfaonline.org Winter 2013 The Flutist Quarterly 47 NOTES FROM AROUNDTHE WORLD the Theater that the American delegates in the festival were ber is clearly a virtuoso on his respective instrument, and it was introduced. Throughout the duration of the festival, Viviana obvious that they enjoyed every second of making music togeth- Guzman performed on both flute and various non-Western er in this dynamic group. The result was a highly energetic show flutes, including a commanding performance of “Three Beats comparable to a rock concert. (Visit markama.com.) for Solo Flute” by Greg Pattillo, “Carnival of Venice” varia- I am honored to have taken part in the World Flutes Festival tions, and her own arrangement of “Flight of the Bumble Bee” IV and am delighted to have met so many amazing and inspir- infused with a Latin-inspired accompaniment. On her second ing musicians from across South America with whom lifelong recital, Guzman invited me to join her in performing a lovely friendships were forged. Pablo Salcedo is to be commended for arrangement of Gabriel Fauré’s “Pavanne” for two flutes and masterminding such an unforgettable event! However, I would piano, and another program featured short selections on var- be amiss if I failed to mention his brother, Cristian Salcedo, who ious ethnic flutes she has collected throughout her life, artful- acted as my interpreter for the duration of the festival. Not only ly accompanied by a slide show of photos from her travels. was he a gracious host who offered his time freely and indulged Zephyrus (my own flute and percussion duo with Tomm us with a walking tour of the city of Mendoza, but Cristian also Roland) performed two concerts that featured works by North relentlessly sat at a computer each day and typed translations of American composers influenced by world music: the Latin- each speaker during their lectures so I could fully understand the inspired “Charanga” for solo flute by Michael Colquhoun; information being presented. I am indebted to him for allowing “Flute and Drum Under the Setting Sun,” a Chinese folk tune me to fully take in all the festival had to offer. arranged for flute and percussion by Mizi Tan; John Bergamo’s The World Flutes Festival V will take place in Mendoza, south Indian-inspired “Piru Bole” for solo hand drum; Argentina, September 18–22. Visit worldflutesfestival.org. Variations on “Amba Kamashi” (an Indian folk tune) for alto flute and vibraphone by American composer David Claman; Christine Erlander Beard edits the Notes from Around the and Katherine Hoover’s haunting “Kokopeli,” which I World department for The Flutist Quarterly. arranged for flute and hand drum for this event. Our final selection was the world premiere of “Elements” for flute and percussion by American composer Barry Ford. Based on the In the spectacular region of Chinese folk tune “Xi Siang Qu,” it was written for Zephyrus villages surrounded by the and is inspired by the five Chinese elements of earth, wind, lavender fields of Provence, water, metal, and fire—the last movement showcasing both the association Music in the players on our specialty instruments: piccolo and hand drum. Alps of Haute Provence pre- As expected, the festival highlighted performances by tradi- sented Fête Internationale de tional Andean flute groups: the Mauricio Velasierra Quintett la Flûte August 12, 2012, in (U.K.), Totolincho (Colombia), and Apthapi (Chile), who the Cathedral of Riez, France. played—often accompanied by drums—on native flutes such Musicians from France, Bel- as tarkas, quenas, pan pipes, and the moseno. Manuel Rojas gium, Latin America, the (Venezuela) showed off his virtuosic Latin jazz skills coupled United States, Slovenia, Italy, with 21st-century technology as he performed with real-time and Spain came together to loop tracks before a brilliant Wismer Jimenez joined him on perform a gala recital featuring cuatro (a Latin American member of the guitar family). On a Sheryl Cohen music for flute and piccolo, separate recital, Rojas and members of his flute quartet, piccolo duos and trios, duos Madera 4 (Manuel Jimenez, Ana Paola Rincones, and Javier for flute and oboe, and music for piccolo and piano and for Torres), joined Wismer Jimenez for an impressive perform- flute and piano. ance that demonstrated their exceptional ensemble skills. Known in the flute world as the “Paganini of the Piccolo,” Argentine artists included a Baroque ensemble comprised of Jean-Louis Beaumadier hosted the musicians; I was one of Gabriela Guembe, Lucas Ramallo, Mario Masera, and Ramiro them. We arrived in Haute Provence in time to rehearse with Albino; the aforementioned Viviana Sanchez, who performed masterful Spanish pianist Jordi Torrent. Torrent’s immense on Tibetan bowls; and flutist Juan Ignacio Molina, who per- virtuosity reflects his training in the Tarrangona and Barceloa formed with guitarist David Bajda. Fabian Murua was com- Conservatories, the Rotterdam Conservatory in the mandingly skillful, improvising a performance on solo flute Netherlands, the Guildhall School of Music and Drama in pervaded with modern sounds, while Patricia Garcia and London, and Indiana University. He rehearsed virtually nonstop Juliana Moreno of the flute duo Mei were brilliant in their per- with aplomb and good cheer. In true Provençal fashion, we filled formance of the exceptionally difficult program of works by two days with memorable conversations, meals, and music. Bertola, Franciosi, and Luzuriaga. One of the festival’s high- Beaumadier opened the concert with his performance of lights was the performance by Markama, formed in 1975 with Johannès Donjon’s Bambouch. His remarkable musician- 14 albums to its credit. The current “front man” for Markama ship is well known worldwide and he is especially beloved in is Pablo Salcedo, who joined the band in 1994. Markama writes his native region. He also served as the master of ceremonies original music deeply rooted in traditional Latin American folk- for the concert. Next to perform was Costa Rican Gabriel song and style, often utilizing traditional instruments of the Goni, flutist with the National Symphony Orchestra of region but infused with elements of popular music. Every mem- Costa Rica and dean and flute professor of the National

48 The Flutist Quarterly Winter 2013 nfaonline.org Institute of Music in Costa Rica. He performed a flawless, The 11th Encuentro Internacional expressive performance of Otar Taktakishvili’s Sonata for de Flauta del Sur del Mundo flute and piano. Italian virtuoso Elena Cecconi followed (Chilean International Flute with captivating performances of music for solo flute: Festival) took place October Saverino Mercadante’s Cara perte quest’anima and Eagle by 31–November 2, 2012, in Santiago, Teresa Procaccini. Cecconi is professor of flute at the Chile. This annual event organized Conservatorio-Music University of Genova in Italy. by the principal flutist of the Next was Duo for flute and oboe by Joseph Landers, writ- Orquestra Sinfónica de Chile, ten for the performers, oboist Rebecca Henderson, professor Hernán Jara, was held at the of oboe at UT-Austin, and flutist Sheryl Cohen (me), fol- Escuela Moderna de Música y lowed by Madeleine Dring’s Trio for flute, oboe, and piano. Danza in Santiago. Guest artists Henderson has performed as concerto soloist with orches- for this event included myself, tras worldwide, and her orchestral career includes serving as Nicole Esposito (United States), acting principal oboist with the National Symphony in Nicole Esposito Horacio Parravicini (Argentina/ Washington, D.C., and guest principal oboist with the St. Spain), Carlos Enguix Pelufo Paul Chamber Orchestra and the Rochester Philharmonic. (Spain/Chile), and Hernán Jara Salas, Felipe Egaña, Wilson Her liquid tones provided a lovely change of timbre for the Padilla, Maximiliano Trigo, Beatrice Ovalle, Luthier Hans concert. Beaumadier and Goni ended the first half with Ehrlich, and pianist Pablo Morales, all from Chile. Tango, Vincio A. Meza’s duo for two piccolos, and Soja I always enjoy participating in festivals in Latin American Voglar’s Tango Ptic (“Bird tango”) for three piccolos with because of the enthusiasm and commitment of those involved, Solvenian piccoloist Matjaž Debeljak joining the group. and this encuentro was certainly a great representation of this Debeljak began the second half of the concert playing a passion and dedication to musicmaking. Jara did an impressive delightful piccolo version of John M. Rutter’s Suite Antique job of organizing this event, which primarily focuses on offering and Eugène Damaré’s Les Amours d’un Rossignol. Debeljak an outstanding experience to flute students in Chile. As many as performs as piccoloist and flutist in the Orchestra of the four to five masterclasses with guest artists were held daily, Slovene National Theatre Opera and Ballet in Ljubljana and including those on advanced repertoire, baroque flute, and pic- is a frequent guest in international festivals. Next was Jean- colo, and including classes for younger students and beginners. Michel Tanguy, a Frenchman who is professor at both the A showcase recital was offered each evening. In the first con- Staatliche Hichschule für Musil of Heidelberg-Marrheim cert, we heard an energetic performance by a flute quartet led and at the Brussels Royal Conservatoire. In 1973 he was a by Wilson Padilla of the Universidad de Chile, followed by prizewinner in the international contest of musical interpre- Baroque flutist Felipe Egaña, who performed works by tation in Geneva. He displayed his brilliant musicianship in Quantz, Telemann, and W.F. Bach, among others. Hernán Jara Martinu’s Sonata for flute and piano. Following Tanguy, completed the recital with solo works and a performance of Elena Cecconi returned, performing two additional virtuosic the Mozart Flute Quartet in D Major. The second evening works for solo flute with great flair: The Train Ride Home by recital opened with a performance by a young duo from Chile, Howard Buss and Astor Piazzola’s Tango Etude No. 3. Maximiliano Trigo and Beatrice Ovalle, who presented a The concert concluded as it began, with Beaumadier per- delightfully varied program including the Doppler Rigoletto forming Jan Novak’s brilliant Marsyas for flute and piano. Fantasy and the theatric Synchronie by Yoshihisa Taira. They The ensuing applause resounded throughout the cathedral. handled each work with great distinction and finesse. When our time together came to an end, we musicians Carlos Enguix Pelufo, Spain native and newly appointed were sad to part company, yet happy to have met and shared piccoloist of the Orquestra Filarmónica de Santiago de Chile, the music of our hearts with each other and with the people presented his first ever solo piccolo recital. Performing works of Provence. Some of us enjoyed reuniting a few days later in by Damare, Genin, and Schocker, he showed his natural abili- Manchester, U.K., at the British Flute Society’s Convention. ties on the instrument and demonstrated how beautifully the Through these musical collaborations, the international piccolo can handle itself as a solo voice. Principal flutist of the family of flutists shows the world how people from all coun- Bilbao Symphony Orchestra (Spain) Horacio Parravicini tries can work together in an atmosphere of peace, joy, and closed out the concert with the charming Serenade aux Etoiles love, and make the world a better place. by Chaminade, the Rodrigo Fantasia para un Gentilhombre, —Sheryl Cohen and an incredibly virtuosic performance of the Grand Fantasy on themes from Mignon by Paul Taffanel. Through these musical collaborations, The Ensamble de Flautas Escuela Monderna de Música the international family of flutists shows under the direction of Hernán Jara performed on the final evening recital after a new flute donated by the Trevor James the world how people from all countries Flute Company was raffled off to one lucky student winner. I can work together in an atmosphere of performed works by Reynaldo Hahn, Karg-Elert, Griffes, Aitken, and Taffanel, and the Encuentro concluded with a peace, joy, and love, and make the world group performance of Astor Piazzolla’s Primavera Porteña. a better place. —Nicole Esposito

nfaonline.org Winter 2013 The Flutist Quarterly 49

NOTES FROM AROUNDTHE WORLD Britain’s South West Flute Festival, featuring Michael Cox, principal flute with the British Broadcasting Corporation ! Symphony Orchestra and professor at the Royal Academy of Music, with pianist Tim Carey, will be held March 16–17 at ! Saint Joseph’s School in Launceston, United Kingdom. The 2(0' schedule of events includes masterclasses, workshops, flute choir activities, concerts, exhibitors, and more. Tickets are £55 for the entire festival, or £30 per day. Visit flutecocktail.co.uk. The Eighth International Flute Festival of Costa Rica, hosted ,+0%.%451+% 1)4 by flutist Gabriel Goñi (National Symphony Orchestra of Costa Rica), will take place at the National Theater in San José, Costa Rica, April 1–6. The week’s events this year will ,.(+&,.*"0(,+"+$.%-%.0,.4)(/0 include the inaugural Latin-American Piccolo Symposium, %*"()-"0.(#("-"0.(#("'".-%.#,* featuring piccoloists Jean-Louis Beaumadier (France), Lior Eitan (Israel), Christine Erlander Beard (United States), and 0%)%-',+%&"3 Matjas Debeljak (Slovenia); the event’s flutists have not yet been announced. Visit the acofla.org. The Canadian Flute Association is proud to announce the inaugural Canadian Flute Convention to be held June 29–July 1 at Appleby College in Oakville, Ontario, Canada. Confirmed international guest artists include the United Kingdom’s William Erich Graf Bennett, Carla Rees, and Atarah Ben-Tovim, Peter Sheridan A Flute Recital: (Australia), Alena Lugovkina (Russia), Niall O’Riordan Bach (c minor suite) (Ireland), Bill McBirnie (Canada), Jean-Louis Beauamdier Roussel (Joueurs de Flute) (France), and Christine Erlander Beard (United States). Berio (Sequenza) Registration began December 2012. Visit canadaflute.com. Gaubert (Sonata #3) Flute Masterworks: The Artephonia Flute Symposium 2013 will be held in Saint- Poulenc (Sonata) Cast le Guildo, France, August 18–25. The symposium will Debussy (Syrinx) feature a week of intensive private lessons for flute and ensem- Varése (Density 21.5) bles, three concerts, workshops, and conferences. Teachers will Bourne (Carmen Fantasie) include Denis-Pierre Gustin (principal flute of the Belgian Nobis (from western mountains) National Orchestra and professor at the Higher Institute of Prokofiev (Sonata) Music and Pedagogy of Namur), Eric Bescond (principal flute Classical Musings: A VHS music video setting of Britanny Orchestra, Rennes, France), Päivi Kauffmann (assis- excerpts from A Flute Recital to the beauty of Utah’s tant professor at the Luxembourg Conservatoire), and Gladys National Parks and their environs. Bouchet (honorary professor at the Rennes Conservatory), with Erich Graf . Aeolus Recordings an additional masterclass option led by Davide Formisano (former principal flute, Orchestra del Teatro alla Scala, and profes- www.erichgraf.com sor at Musikhochschule Stuttgart). Tuition, which includes the course, accommodation, and meals, is €650. Visit artephonia.be. The Australian Flute Festival will be held at the Australian National University School of Music, in Canberra, Australia, October 4–7. The festival will feature American headliners Jim Walker and Marianna Gedigian, along with international guest artists Michel Bellevance (Switzerland-Canada), the Haga Duo (Sweden), Wouter Kellerman (South Africa), Rebecca Steel (New Zealand), Jeffrey Smith (United States), and Australian flutists Lina Andonovska, Alan Aungles, Shaun Barlow, Margaret Crawford, Morwenna Collett, Christine Draeger, Prue Farnsworth, Jocelyn Fazzone, Vernon Hill, Jude Huxtable, James Kortum, Janet McKay, Lamorna Nightingale, Gabriella Pusner, Jane Rayner, Peter Sheridan, and Virginia Taylor. Visit australianflutefestival.com or send inquiries to [email protected]. The 24th annual Haverhill Sinfonia Soloist Competition will be held September 28 in Haverhill, United Kingdom. Visit haverhillsinfonia.co.uk/9.html.

50 The Flutist Quarterly Winter 2013 nfaonline.org NFA News Updates on committee activities and other news of interest from the national office Jazz! Jazz! Jazz! Ali Ryerson describes the party she has planned for the 2013 convention—her last as Jazz Flute Big Band Competition coordinator. In addition to news about this convention’s performances (and a reminder to get in your competition application to be a part of them), read on for news about more jazz flute goings-on. by Ali Ryerson

ark this date! February 11 is the deadline for enter- the first-ever recording of this type of jazz ensemble. A stel- ing the Third Biennial Jazz Flute Big Band lar line-up of jazz flutists was assembled for the date, along MCompetition for the 41st Annual NFA Convention with a world-class rhythm section. in New Orleans August 8–13. Competition winners will per- Since many of the flutists involved in the recording proj- form at multiple venues during the convention’s four-day ect have performed with the Jazz Flute Big Band at the NFA run, culminating in the closing ceremonies, when the largest conventions at one time or another, they’ve become an inte- jazz flute ensemble ever assembled will perform. All experi- gral part of its journey. With the CD release set for August enced and aspiring jazz flutists are encouraged to enter the 2013, we plan to celebrate it big time at the NFA convention competition. Please visit nfaonline.org for details and your in New Orleans, Louisiana! online application. Thanks to the inspired vision of 2013 Program Chair Looking Backward and Forward: 10 Years Later Tadeu Coelho, next summer’s convention promises to be The Jazz Flute Big Band recording project has been 10 years in jazz-centric—and appropriately so, since New Orleans is the making. Since the band’s inception in 2002, originally cre- the birthplace of jazz. ated for my students at my annual jazz flute masterclass at Winners of the 2013 Jazz Flute Big Band competition, cho- Hidden Valley Music Seminars in California, I’ve added nearly sen by a panel of judges, will begin rehearsals in New Orleans 40 commissioned arrangements to the Jazz Flute Big Band on Wednesday, August 7, the day before the official opening of repertoire, several of which have been funded by the NFA. the convention. On Thursday, at Coelho’s invitation, the Jazz At least a dozen renowned jazz arrangers now write for the Flute Big Band will perform in the evening’s opening Gala Concert, when members will have the opportunity to perform Jazz Flute Big Band. In the near future, I hope to publish with the Gala’s guest artists, Nestor Torres and Maraca. some of these commissioned arrangements for flute choirs. Saturday, the Jazz Flute Big Band will be the featured star The NFA proposal I originally submitted in 2005 forged the of what has become a new NFA convention tradition: the way toward the NFA establishing the biennial Jazz Flute Big Saturday night Cabaret. In addition to the band, the concert Band Competition in 2009. will feature selected soloists within the ensemble, plus spe- With full support from the NFA, the winners of the first cial guests Jim Walker, Nestor Torres, vocalist Madeline biennial Jazz Flute Big Band Competition debuted at our Vergari, and surprise guests. 2009 New York City convention. We were especially honored Finally, on Sunday afternoon, any Jazz Flute Big Band when NFA Lifetime Achievement Award recipient Hubert member wishing to join forces with me as conductor can be Laws headed the line-up of featured soloists that evening. part of the largest jazz flute ensemble ever assembled when Thanks in part to the NFA lending its support to this vision, we perform in the closing ceremonies. the Jazz Flute Big Band has indeed come a long way! In all, three rehearsals will be scheduled prior to the ensemble’s Saturday night cabaret performance. Join Us in the Big Easy August 2013 marks the end of my term as Jazz Flute Big Jazz Flute Big Band Records in New York City Band Competition Coordinator, so let’s make New Orleans The Jazz Flute Big Band made history in New York City the biggest jazz flute year ever at NFA! Enter the Jazz Flute October 8–9, 2012, when Capri Records recorded my 19- Big Band competition by February 11, and come join us in piece Jazz Flute Big Band at Avatar Studios in Manhattan, the Big Easy!

nfaonline.org Winter 2013 The Flutist Quarterly 51 NEW PRODUCTS

Jan Krzywicki’s “Five Lyrics” is now available from Theodore Presser Company. In the composition, Krzywicki uses haiku-like poems by W. S. Merwin and authentic haiku by the Japanese poet Basho to create five evocative movements, each descrip- tive of birds in nature at a particular time of day, the succession creating a dawn-to-moonlight cycle. The work is suitable for advanced performers and has a duration of 17 minutes. Flute Concerto with Tango, written for soloist Sharon The music of Jan Krzywicki has been heard throughout the Bezaly by Grammy award-winning conductor José United States and in Europe, South America, and Asia. He has Serebrier, is the featured work on the CD Pipe Dreams, received commissions from the Philadelphia Chamber Music released in October 2012 by BIS Records. Also on the CD Society, the Music Group, Orchestra 2001, the Mendelssohn are works by Adina Izarra, Carl Vine, and Alberto Club, and others. His works have received various awards Ginastera. The Australian Chamber Orchestra, with artistic including a Pew Fellowship in the Arts and a Rockefeller director and violinist Richard Tognetti, performs. The Foundation grant. His works can be heard on the Albany, sheet music for Flute Concerto with Tango also has been Capstone, North/South, and De Haske labels. published by Peermusic. Bezaly, who gave her debut con- New Method for the Traverso, the cert at 14 with the Israel Philharmonic Orchestra under English translation of a Dutch Zubin Mehta, performed Flute Concerto with Tango with methodology book on playing the tra- the American Composers Orchestra in Carnegie Hall verso, has been released. Edited and October 26, 2012. Serebrier, a prolific composer, has published by Doretthe Janssens, it is received 39 Grammy nominations including Best Classical based on concepts by Johann Recording in 2012. Visit joseserebrier.com. Mattheson about the traverso’s tonali- ties and feelings they can generate, with extensive attention given to MakeMusic, Inc., has expanded its program offerings into baroque articulation. The book also various iPad applications. In spring 2013, it will release an includes a repertoire of music of vary- iPad version of SmartMusic, the interactive practice soft- ing levels of difficulty. The spiral-bound, looseleaf book is 204 ware, which it previewed in late 2012. Offering much of the pages. Visit pumbo.nl/boek/new-method-for-the-traverso. functionality found in the desktop version, the app includes practice tools, assessment and accompaniment Theodore Presser Company is features, and access to the content library with a pleased to distribute Amy Porter’s SmartMusic subscription. The company received a DVD workshop, Anatomy of Sound, a Minnesota Tekne Award for its free iPad app Finale two-disc study guide for musicians to SongBook, which allows musicians to view, print, and play use as a teaching tool for instrumen- music anywhere. The Tekne Awards honor those who play tal sound production. The DVD, a significant role in discovering new technologies that edu- which has a three-hour duration, is cate, improve lifestyles, and impact the lives and futures of suitable for players at any ability people living in Minnesota and all over the world. level. International soloist and MakeMusic’s Finale SongBook won the Mobile & recording artist Amy Porter is a gradu- Communication Technologies Award, which honors inno- ate of the Juilliard School in New York, vation in mobile applications and electronic communica- where she received a full scholarship for her degrees as well as fel- tion. The Finale SongBook is available free from Apple’s lowships to Tanglewood and the Mozarteum Summer Academy iTunes Store, as will be the new SmartMusic app this in Salzburg, Austria. Her teachers at Juilliard were Samuel Baron spring. Additional information about Finale SongBook is and Jeanne Baxtresser, and in Austria her teachers were Alain at finalemusic.com/songbook. For information about the Marion and Peter-Lukas Graf. She was associate principal flute in Tekne Awards, visit tekneawards.org. More information the Atlanta Symphony Orchestra and is professor of flute at the about SmartMusic and other MakeMusic brands is at University of Michigan School of Music, Theatre, and Dance in makemusic.com. Ann Arbor. Visit amyporter.com and presser.com.

52 The Flutist Quarterly Winter 2013 nfaonline.org PassingPassing Information about absent friends TonesTones

Elliott Carter: 1908–2012 Modernist master Elliott Carter’s vast and varied repertoire of compositions includes an impressive array of works for flute, including Scrivo in vento and Flute Concerto. by Anne Welsbacher

lliott Carter, the Pulitzer Prize-winning American com- Eposer of modernist and technically challenging works that eventually, over his long career, drew ovations worldwide, died November 5, 2012, at his apartment in Greenwich Village in New York City, where he had lived since he and his wife purchased it in 1945. He was 103. The New York Times noted that Carter’s “kaleidoscopic, rig- orously organized works established him as one of the most important and enduring voices in contemporary music”; the Washington Post reported that he “fused European and American modernist traditions in seminal but formidable works,” and “lived to hear ovations for music that was once thought to be anything but listener-friendly.” And The Guardian (London) called him “apart from Pierre Boulez, the last survivor of the heroic age of postwar musical modernism, and perhaps its greatest exponent.” Carter wrote into his 11th decade, until only a few months before his death, composing his last piece in August 2012. Among memorable works for flute was his Scrivo in vento for solo flute, written for Robert Aitken in 1991, and 2008’s Flute Elliot Carter Concerto, premiered by Emmanuel Pahud in Jerusalem. “I had the privilege of performing as the soloist in the U.S. Boston Symphony Orchestra. “His concerto is colorful, premiere performances of Elliott Carter’s Flute Concerto, tremendously lyrical, and perfectly suited to our instrument— along with my colleagues in the Boston Symphony Orchestra,” a marvelously compelling contribution to the repertoire. says NFA member Elizabeth Rowe, principal flute with the Working with Mr. Carter was a true pleasure; he was charming, witty, and possessed a razor sharp mind. I will always think of him with great respect, fondness, and gratitude for his contributions to both the classical world at large and to the flute community.” Carter and his Scrivo in vento are explored in The Flutist Quarterly—first in 1994 (summer and fall issues) in two articles by former NFA President Leonard Garrison and again in the summer 2008 issue’s cover interview article by Patricia Spencer, a frequent performer of Carter’s works. (See Spencer’s “A Different World.”) Carter also was honored at the August 2008 NFA Annual Convention in Kansas City. Carter with his wife, Helen. “Flutists are indebted to Elliott Carter for enriching us with

nfaonline.org Winter 2013 The Flutist Quarterly 53 a repertoire of solo and chamber music, A Different World that, despite its difficulty, has a firm by Patricia Spencer footing; his solo flute piece, Scrivo in vento (1991), has been recorded at least The world feels different because of Elliott Carter. Joyous musical energy, sponta- ten times,” notes Garrison, associate neous, unpredictable musical shapes, generosity in rehearsals and interviews—he has professor of flute at the University of been a major force in the world of music, has touched countless lives, and will be Idaho. “He first attracted my interest in deeply missed for a long time. At the same time, the legacy he has left us is timeless. the 1970s when a Time magazine article The cellist Fred Sherry told me once that he learned things about the cello, in on the current state of music called him rehearsals with Elliott, that he had never learned from a cello teacher. Of my own ‘the dean of American composers.’ At many wonderful rehearsal experiences with him, an early session on the solo flute the time I served on the new music piece Scrivo in vento, stands out: Passages that had been difficult somehow magically committee at the Oberlin Conservatory became easier. He helped you by shedding light on the musical sense, the musical of Music and had the temerity to invite meaning. It felt a little like speaking a foreign language with a native—the syntax and Carter to Oberlin for a two-concert fes- shapes fall into place more easily. tival of his music in honor of his 70th The immense richness of the body of work that Carter has left the world could never birthday; to everyone’s surprise, he be described in a paragraph—or even a book! Even a short list of works that feature accepted my invitation. Ten years later I the flute is impressive: the Sonata for Flute, Oboe, Cello and Harpsichord (1952), the coached with him at Tanglewood for Eight Etudes and a Fantasy (1949) for woodwind quartet, the Woodwind Quintet concerts celebrating his 80th birthday, (1948); the incredible, brilliant short duos—Enchanted Preludes (1988) for flute and and in 1991 attended Centre Acanthes cello, and Esprit rude/Esprit doux (1984) for flute and clarinet; the above-mentioned in Villeneuve-les-Avignon, France, Scrivo in vento (1991), and of course the recent Flute Concerto (2008), premiered by where he was composer in residence. Emmanuel Pahud in Jerusalem. The Flute Concerto is a monumental contribution to Subsequently, I wrote my doctoral dis- our repertoire—soaring lyricism, expressive depth, and sparkling vivacity combine to sertation on his music and have per- give us a work that captures the essence of our instrument. formed it widely. He had great wit, Prior to my performance of the Concerto (the New York premiere, in September broad culture, and an extremely dis- 2011), I phoned him to ask whether I might rehearse the flute part with him. At that criminating ear; he meant every note, time he was (only) 102, and composing new works at a phenomenal pace. His reply to expressive marking, and dynamic me, given in a tone that conveyed a twinkle in his eye, was: “If you start playing my nuance in his detailed scores.” flute part, I’ll forget the piece I’m writing now.” After that glimpse of his all-absorbing Carter’s works included ballets and compositional priority, I was all the more honored that he not only attended the per- instrumental, chamber, orchestral, and formance but also phoned me the following day to thank me. vocal pieces. At age 90, he premiered his The number of performers, writers, and composers who have had seminal, life-chang- first opera (What Next?), and his 100th ing interaction with Elliott Carter is legion. The number of listeners touched by his work, birthday celebration at New York’s and by his charm and generosity in discussing it, is even larger and still growing. Carnegie Hall included a new work. Elliott Cook Carter Jr. was born Patricia Spencer is flutist with the Da Capa Chamber Players and has performed wide- December 11, 1908, to a prosperous ly throughout the U.S. and abroad. She is an active and longtime member of the NFA. family in New York City. Before he learned to read, he had developed the ability to identify all the music in his parents’ collection. He attended the private Horace Mann School in New York, where he first studied with American modernist Charles Ives, who continued to mentor Carter in his early career. Nevertheless, Carter spent much of his childhood in Europe, where his father, a pacifist, first took him to show him the destruction of World War I. These travels exposed Carter to the music of Stravinsky, Alexander Scriabin, and Arnold Schoenberg. Carter often cited Stravinsky’s Rite of Spring, which he heard at Carnegie Hall while still a teenager, as his inspiration to become a composer. His interest in Europe and European works continued through- Author Patricia Spencer, left, with, left to right, Lisa Moore, Carter, Jo-Ann Sternberg, Ronald Roseman, and André Emelianoff, prior to a 1996 concert at Miller Theatre in New York City titled “Elliott Carter: Classics and Beyond.” out his life.

54 The Flutist Quarterly Winter 2013 nfaonline.org Elliott Carter, center, with the Julliard Quartet, circa 1993.

Carter attended Harvard in 1927, completing a degree in period, he took the National Medal of Arts in 1985 and won a English while also singing in the Harvard Glee Club and writ- Grammy Award in 1994 for best contemporary composition. ing incidental theatrical music, before turning seriously to In September 2012, France awarded him the insignia of composition. Following completion of his master’s degree in Commander of the Legion of Honor. 1932, he studied in Paris with Nadia Boulanger for three years. Carter’s wife Helen died in 2003. They are survived by their (See “Happy Birthdays,” by Michael Webster.) He returned to the United States in 1935, and in 1937 began a two-year term son, David, and a grandson. as music director of Lincoln Kirstein’s Ballet Caravan, continuing to compose during this time. In 1939 he married Helen Anne Welsbacher is editor of The Flutist Quarterly. Frost-Jones, a sculptor and art critic. By the mid-1940s, Carter had won prizes but was not yet popular with the public. His Woodwind Quintet (1948) is one Happy Birthdays of his first works to show an evolution into a sharper-edged by Michael Webster form of composition, but the turning point in his style came in 1950, when he received a Guggenheim Fellowship and a Elliott Carter and my father, Beveridge Webster, were both grant from the National Institute of Arts and Letters and left a born in 1908. They met in Paris studying with Nadia teaching post at Columbia University to spend a year writing Boulanger and became lifelong friends, my father recording in southern Arizona’s Sonoran Desert, outside Tucson. During Elliott’s piano sonata and performing it often. that year he began to move into a process he called “metrical I was born on Elliott’s birthday, so there was a special bond modulation,” in which each instrument moves at an inde- for me, knowing this as I grew. Elliott and his wife, Helen, pendent rhythm. would visit from time to time, so I knew both of them well. Between the 1950s and the late 1970s, Carter worked slowly At some point, I started telephoning Elliott each year to wish on each new work, often devoting thousands of pages to him a happy birthday—easy for me to remember. sketches before composing it. He wrote while teaching during I am amazed that he remembered me and my dad every the academic year—over the course of his career, Carter also single year until the last conversation I had with him on his taught at the Peabody Conservatory, Queens College, 103rd birthday! He was still asking me about my clarinet Harvard, Yale, Princeton, Cornell, and the Juilliard School, playing and reminiscing about my parents. The only negative among others—and more intensively at summer retreats in comment came on his 100th birthday, when he said, “This is upstate New York. all just too much,” fatigued by all of the celebrations taking Carter was awarded his two Pulitzer Prizes in this period, in place nationally and internationally. 1960 and 1973, and was elected to the American Academy of Mostly, I remember him as a warm-hearted and friendly Arts and Sciences in 1963 and the American Academy of Arts person who treated everyone as though they shared a birth- and Letters in 1969. In the late 1980s, his production pace day with him. increased until by 25 years later he was regularly producing new works annually. The 1980 work “Night Fantasies” was the Michael Webber is professor of music at Rice University and first of several subsequent solo instrumental pieces for guitar, devoted husband of longtime NFA member and Lifetime violin, trombone, flute, harp, clarinet, cello, and piano. In this Achievement Award recipient Leone Buyse.

nfaonline.org Winter 2013 The Flutist Quarterly 55 Tal Perkes: 1961–2012 Life Lessons al Perkes, a former NFA Tal Perkes taught one former student not only flute tech- TYoung Artist Competition nique but also the best books to read and how to emerge finalist and principal flute of from her shell. the San Antonio Symphony by Jessica Anastasio until stepping down last year after 18 years with the orches- It is difficult to articulate the qualities that made Tal Perkes tra, died October 20th, 2012. an unbelievable flute teacher. It wasn’t merely his persistent Long afflicted with Charcot- dedication, even in the face of a frustrated student. Nor was Marie-Tooth syndrome, a it his imaginative way of communicating musical ideas, or neurological disorder that his habit of providing triple-length lessons at no extra had weakened his immune charge. It was, rather, the combination of Tal’s full-throttle system, Perkes succumbed to zeal for family, music, art, nature, and life that provided the flu complications. fuel for his genius. Lessons were not just flute lessons, but life Tallon Sterling Perkes was born September 6, 1961. He lessons. And having studied with Tal from age 9 to 18, I began playing flute in the orchestra at Twin Peaks Middle received the benefit of his well-rounded advice, which School in Poway, California, at the age of 8. He won four inter- ranged from book and film recommendations to encourag- national competitions and began his professional career at 18, ing me out of my rigid, shy shell. as substitute player with the San Diego Symphony, the San A student of the Mariano school, Tal often used colorful, Diego Chamber Orchestra, and the San Diego Opera comprehensive metaphors to describe musical phrases or Orchestra. He graduated from the Eastman School of Music, even technical methods. He would call notes of a phrase where he studied with Bonita Boyd and, while at Eastman, strands of pearls on a string, and might compare a piece’s played with the Rochester Philharmonic. Later he studied framework to a city skyline. He told me to imagine spitting with James Galway and other European flutists. He served as grains of rice through my teeth to achieve a French style principal flutist with the City Orchestra of Barcelona and then articulation, or to pretend I’m playing a viola de gamba to with the San Antonio Symphony, the Santa Fe Opera, and the execute broad brush-stroke tones in early Baroque music. Olmos Chamber Ensemble. He guided me through competitions, recitals, and audi- Perkes taught privately and at Interlaken Center for the tions, but also through the difficulties of growing up. He Arts. Among his students were numerous international com- hoped that I would become a professional flutist, but his petition winners. most earnest desire was that music would genuinely inspire Perkes made solo appearances in the United States, Europe, me and inform my life path as the root of my happiness. He Japan, Korea, and Peru. He traveled widely, to India, Egypt, supported me in my decision to go to a liberal arts school Nepal, Thailand, and Mexico. Beyond music, he enjoyed and study a subject other than music, but was thrilled when camping and exploring the wilderness with his wife and fel- I went for a Master of Music degree. low musician Martha and his son Jordan. In recent years, Perkes’s health problems increased and Teaching Legacies eventually forced an end to his musical vocation. While still Tal attended the Eastman School of Music, where he studied playing full time, he earned a degree in architecture and by the with Bonita Boyd. He often talked about her influence on end of 2011 was ready to begin his new career. Prior to a him and about the flute legacy of the school. Last spring, in November 19, 2011, concert with the San Antonio Symphony, one of his last performances, Tal played on the senior recital Perkes announced from the stage that he was stepping down. of one of his former students, who was graduating from A year later, on November 9, 2012, the symphony devoted its Eastman. He cherished the experience of returning to his concert to Perkes’ memory. Local reviewer David Hendricks alma mater for the first time since his graduation and was wrote, referencing the musician who had had sat next to incredibly proud of his pupil, who is now a Master of Music Perkes in the symphony for more than 18 years, that “a mov- student at the New England Conservatory. ing tribute was presented to the audience of about 1,700 by As an adult, I continued to take occasional lessons with Tal principal oboe Mark Ackerman.” whenever I came home. I looked forward to having an adult, Perkes is survived by his wife Martha Fabrique, his son professional relationship with Tal, whom I called “Mr. Jordan Perkes, his father Sterling Perkes, his mother Lynnette Perkes” until very recently (and the switch to “Tal” took Moench Perkes, and his sister Genevieve Perkes Harrington. much stirring up of courage). A memorial service was held in San Antonio November 10. Tal had always pushed me, but he became harder on me as The service included a performance of Faure’s Morceau de I grew older, allowing no minor detail to escape correction. Concours by his student Jessica Anastasio, who performed at Sometimes I felt discouraged after lessons but quickly the Kennedy Center in 2006 as a Presidential Scholar in the remembered that Tal pushed me so hard because he saw Arts. Perkes joined her there to accept the Presidential Medal my potential and wanted so badly for me to approach it. I as Outstanding Teacher of a High School Student in the Arts. felt exceptionally lucky to have a teacher who cared so (See “Life Lessons.”) much about my success. He used to warn me about the dif-

56 The Flutist Quarterly Winter 2013 nfaonline.org ficulties of entering the professional music world but told me what I needed to do to survive: “Just keep banging your head against the wall.” Outside of lessons, Tal’s performances as principal flute of the San Antonio Symphony, my first exposure to orchestra, always inspired me. He was my favorite flutist to listen to, and I relished every performance. One of the most moving musical moments of my life was hearing a San Antonio Symphony concert—the first subscription concert after an out season. The opening piece was Debussy’s Prelude to the Afternoon of a Faun. Upon hearing Tal play the opening bars, which he had taught me in so many lessons, I began to cry. Tal’s playing was so beautiful, so expressive, and so full of colors, and was the perfect way to begin the symphony’s season, a pure manifestation of transcendental beauty. I never told him that story, and I wish I had.

Remembering Tal Tal’s memorial service presented a good sampling of his varie- gated life. His family spoke about his adventurous side. Tal loved to hike and go camping with his family and friends, loved to travel and speak Spanish, loved spending time with his wife, Martha, and young son, Jordi. He taught at Interlochen )/87(62/26 Arts Academy in the summers and would take Martha, Jordi, ZLWK and the dogs with him in a camper, staying by the lake. He had 25&+(675$/$&&203$1,0(17 just begun a career in architecture, not out of financial neces- sity, as one of his professors explained, but because he always FKDQJHWKHWHPSRUHFRUG\RXUVHOI had a clear passion for the art form and was talented and driv- ZLWKWKHDFFRPSDQLPHQWDQGPRUH en in the pursuit. He painted, drew, went to hole-in-the-wall Mexican restaurants with friends, studied architecture, went %DFK'DQ]L'HYLHQQH on remote hiking trips, sometimes getting lost—all while play- 'RQL]HWWL)DXUp*OXFN0DVVHQHW ing the flute and teaching at the highest level. 0R]DUW7HOHPDQQ9LYDOGL Tal’s memorial also exemplified his powerful impact on a wide range of people. My high school Latin teacher, who did IRUPRUHLQIRUPDWLRQ not know Tal well but had met him a few times, had written a SOHDVHYLVLWRXUZHEVLWH beautiful poem inspired by a performance Tal gave of Debussy’s Syrinx and read it out loud to a stunned audience. &ODVVLFDO&ROOHFWLRQ,QF&RP One man, who sat by himself during the ceremony and did not seem to know anyone there, came up to the microphone and announced that he was an architect. Tal had walked by his office window several times, obviously admiring the building. One day, the man waved Tal into his office, and they had a long chat about art and architecture. The architect said, “I knew from that conversation that Tal was special, and that he had something great lying ahead of him. I didn’t know Tal, but I miss him. I miss the friendship we would have had.” It would be too narrow to say that the flute world has lost an unparalleled flutist, which it has. The world has lost a mentor, an architect, an adventurer, a painter—an artistic soul who had so much more to offer than he had time. I will always miss him, and I will try to honor him by remembering his advice and carrying on his legacy, if only as a flutist and teacher.

Jessica Anastasia is a Master of Music student at Rice University, studying with Leone Buyse.

nfaonline.org Winter 2013 The Flutist Quarterly 57 Edna Comerchero: 1932–2012

lutist and pedagogue Edna Comerchero, widely and later part-time at California State University, Facclaimed as a performer and for her teaching skills— Sacramento, from 1965 to 1975—for most of her life, the among her celebrated students is internationally renowned mother of four taught flute and piano in her home. flutist Carol Wincenc—died October 25 of complications In the late 1950s and early 1960s, Comerchero privately from acute myeloid leukemia. She was 80. taught 9-year-old prodigy Carol Wincenc in Buffalo, New Born in 1932 in Austin, Texas, Edna Anna Simonds moved York. Wincenc currently is a professor at the Juilliard School with her family to Denver, where she grew up. Her father and Stony Brook University in New York and in 2010 cele- was an engineer for the U.S. Bureau of Reclamation and brated her Ruby anniversary as an international performer helped design Folsom Dam. and teacher. (See sidebar.) Comerchero earned a piano degree from the University of In 1963, newly moved with her family to their Sacramento Colorado. She later studied the French flute tradition with home, Comerchero began giving lessons to their fourth- René Rateau and received a diploma in solfeggio from the grade neighbor, Gary Woodward, who babysat her young Paris Conservatory. She trained under Marcel Moyse and children. Woodward went on to spend 25 years as principal performed with symphonies in the United States and flutist for the Los Angeles Opera Orchestra and taught at the Europe. She studied at Mozarteum University in Austria and University of Southern California. earned a master’s degree in flute from New England In recent years, Comerchero played the flute in orchestras Conservatory of Music. and small ensembles throughout the Sacramento region and She married Victor Comerchero in 1960, moved with her belonged to the Camellia City Flute Choir. She formed the family to Sacramento in 1963, and raised four sons, one of Primavera Trio, with flute, piano, and cello. whom, Steven Comerchero, died in 1986. A memorial service was held November 10 at Mount Although she taught in university settings—first as a Vernon Memorial Park in Sacramento. Both Woodward and member of the faculty at the University of Iowa in 1957–58 Wincenc performed at the service.

me the Moyse De La Sonorite and was unrelenting, making me play the “Moyse-way”: “Life in the sound, impeccable attention to every nuance and detail, resonant, vibrant, pal- pable with energy.” I took to it immediately, and while under her tutelage became a conscious flutist: listening, perfecting, balancing, expressing. In these lessons the imprint was planted! Years later, when I did indeed study with Marcel Moyse—from 1975 until two weeks before his death in 1984—it all came full circle, making entire sense. She paved the way for my being able to savor every gesture of the “grand old man of the flute,” and our years together were as rich as those pri- mary, delicate—yet bold—ones with Edna. Edna’s memorial service was extraordinary. Never before have I felt the power of the transference of her “sound style,” coming out of the three former students who played—most notably Gary Woodward, who worked with Edna for so many years. I could feel her influence every second of my Syrinx, a work she requested along with the other pieces played. It was all materialized in the ethers: her sound, her warmth, her love, and her presence. The tears were unending; we all felt it. And for that magic, I thank dear Edna. She had a life of pure service, to the most powerful essence of music, something that cannot be spoken Edna Comerchero and Carol Wincenc, circa 1964. about nor even described in words, but only and utterly felt. Edna Comerchero was instrumental in my formative years It was a gift to be there on that Saturday in November, in a of flute study, when as a very young girl I studied with her beautiful, hushed church in Sacramento, surrounded by her privately, from 1958 to 1961. She was tireless in her loving family and friends. demands. Ever infectiously loving in the process, she gave —Carol Wincenc

58 The Flutist Quarterly Winter 2013 nfaonline.org Christian Lardé: 1930–2012

rench flutist Christian Lardé died November 19, 2012. He Fwas 82. Lardé studied at the Paris Conservatoire, where he won first prize for flute and chamber music (1948 and 1951). He made his debut at the age of 19 as principal flute of the Irish Radio Orchestra in Dublin. Two years later, he won the Geneva International Competition. In 1956 he gave his first concerts in the United States and Canada, where he performed frequently throughout his career. In 1969, he was appointed professor of flute at the Conservatoire de Montreal and in 1970 professor of chamber music at the Conservatoire de Paris. Many composers wrote for him, most notably Jean Francaix, and he also premiered works by Castérède and Bancquart. His numerous recordings were of, among others, concertos, Mozart flute quartets, and Kuhlau quintets. His memorial service was held November 21 at a church in the village of Flayosc (in Var) in southeast France.

Patricia Harbach Heller: 1929–2012

atricia Harbach Heller, 83, of West Melbourne, Florida, Pdied July 6, 2012. She was a member of the NFA and active in the local flute community.

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4 1 STANNUALNATIONALFLUTEASSOCIATIONCONVENTION

Confluence of Cultures & Perseverance of Spirit New Orleans, Louisiana August 8–11, 2013

s they say in New Orleans, Laissez Baroque music on the modern flute. les bons temps rouler! We will “let The wealth of information and scholar- Athe good times roll” when a ly work of this grand master is unsur- parade of flutists comes marching in passable. We are honored that he will Tadeu Coelho from around the globe to the famous join us in New Orleans. French Quarter’s Marriott in New Our Lifetime Service Award recipi- the world’s most highly acclaimed Orleans for the NFA’s 41st Annual ent this year is Angeleita (“Little principal flutists, under the baton of Convention. The history of New Angel”) Floyd, and truly, she is an Maestro Ransom Wilson. Orleans proves that a non-ethnocentric angel. In addition to all she has done Our focus for the New Orleans con- culture can give birth to something spe- for the NFA, this year she will direct vention is you—the amateur, the student, cial. Embracing this premise and hon- the Jambalaya Flute Orchestra at the the teacher, the flute enthusiast, the pro- oring our theme, Confluence of convention’s opening ceremonies. fessional, the friend. The convention will Cultures & Perseverance of Spirit, this Pedagogically speaking, we will savor a reflect that focus with presentations fea- gathering will include a diversity of cul- banquet of multicultural perspectives turing flute ensembles, amateurs, and tures as we persevere to stand for what from pedagogical masters, past and pres- jazz, and with attention to scholarly pur- is good, artistic, beautiful, and sheer fun ent. We will honor two luminaries from suits and to your health, both mental and for all of us who love the flute. the U.S. who still inspire and influence Jazz enthusiasts, take note! In the birth- our playing and teaching: Julius Baker physical. Krisztina and I are having a fab- place of jazz, we will present what some and Keith Underwood. I hope you will be ulous time sorting through the proposals call the most exciting jazz phenomenon infused with their great wisdom as it has that have flooded our mailbox and are of the past 30 years: Nelson “Maraca” evolved through the years; perhaps a for- working closely with all the committees Valle. This Cuban-born flutist, who now gotten method will awaken in your mem- to ensure a diverse and well-represented lives in Paris and won a 2011 Downbeat ory, one that inspired you to achieve convention. I have been carefully listen- Award, will grace us with his amazing higher goals in your playing—or perhaps ing to you and working hard to interpret Latin creativity at the opening Thursday you will become newly informed and your wishes thoughtfully. We feel lucky Gala concert. We are guaranteed to have a excited. We also will explore the pedagog- and fortunate to serve. phenomenal time listening to Maraca’s ical contributions of two of the most Many of you have already volun- virtuosity, the fusion sounds of Nestor influential educators in South America: teered to help. In particular, we thank Torres, the artistry of Ali Ryerson, and João Dias Carrasqueira from Brazil and our local arrangements chair, Patti others on the top jazz circuit. Lars Nilsson from Argentina. We think Adams, who already has been instru- Two of the world’s greatest flute play- you will find their spicy, south-of-the- mental in facilitating many details. If ers and pedagogues will receive the border approach enlightening, perhaps you’d like to join our volunteer corps, NFA’s annual Lifetime Achievement even humbling, and hope that you are we need you—please contact us. We Award: Aurèle Nicolet and Barthold reminded—as have been my assistant appreciate your generosity, and we Kuijken. Nicolet’s students will present Krisztina Dér and I—of how enriching thank you. a concert in his honor, and Kuijken will diversity truly is. A krewe (pronounced “crew”) is a honor us with his talents on the traver- Flute concertos will abound at group of costumed revelers who take part so during the Friday Gala. Perhaps the Saturday’s gala concert, from Mendel- in the parade at the annual Mardi Gras most recorded flutist in history, Kuijken ssohn to Penderecki, Jolivet to Dillon Carnival. Our krewe is just beginning to is a powerhouse of authority regarding and Schocker. Culminating the take shape. Won’t you join in the party? Baroque flute and musicology. He will evening will be a delectable flambé: a When the flutes go marching in, please teach a masterclass for both baroquists journey with Jeanne Baxtresser as be in that number. Bring your inner saint. and modern flutists seeking the confi- master of ceremonies through a chal- We are counting on you and your talents dence to perform baroque music with lenging and gorgeous selection of flute to make this a saintsational convention. appropriate style. He will also partici- orchestral excerpts. These will be per- Laissez les bons temps rouler! pate in an open Q&A about playing formed with full orchestra by some of —Tadeu Coelho

nfaonline.org Winter 2013 The Flutist Quarterly 61 Reviews of flute-related recordings, REVIEWSREVIEWS books, and other items of interest Book The Flute Book: various types of flutes, and on choosing and maintaining an A Complete Guide instrument. It describes, clearly and succinctly, technical mat- for Students and ters of flute playing and gives advice on style, on performance Performers and, rather crucially, on listening, and provides an overview of three centuries of repertoire along with a repertoire list (third edition) extending to some 180 pages. Nancy Toff References and suggestions for further reading are provided. ©2012 Oxford University Press There are lists of manufacturers, repairers, dealers, music sell- ers, flute societies, and journals. Best of all, there is a compre- he Internet is a wonderful hensive bibliography. place: It has given anyone T Toff notes the changes to the flute world, which she with something to say a forum describes simply as “more”: more players, more instruments, to say it. Unfortunately, it is more makers and, most of all, more music. To reflect these also a place full of material that is just plain wrong or changes she has expanded and updated the listings from her (almost as bad) not quite right enough. two earlier editions. This is why Nancy Toff’s The Flute Book is so valuable: In The Flute Book will not provide an answer to every question this volume, unlike some Internet sites, facts are checked, ref- about the flute, but it is by far the best place to start looking. I erences are provided, grammar and spelling are corrected, and would recommend this book to every serious flute student, material is organized, categorized, and indexed. This book and it should be required reading by every teacher. provides basic information on the history of the flute, on the —Robert Bigio CDs Dialogue/Rozmowa Sonatina for flute and piano is a lesser-known work by Adrianna Lis Wojciech Kilar, who composed music for more than 100 films. ©2012 Atoll Records, It was written in 1951 during Kilar’s student years, and for 30 New Zealand years the manuscript was kept private. If it had not been for the inquiring mind of Polish flutist Grzegorz Olkiewicz, this olish flutist Adrianna work—an energetic classic duet in three movements—proba- PLis is a graduate of the bly would still be at the bottom of a drawer. Noteworthy is its University of Southern lovely second movement in which the composer’s deep devo- California Thornton School tion to his birthplace and country can be heard. of Music, where she was a Michael Williams writes about When We Fell, “Having heard mainstay in that campus’s Adrianna Lis in concert, I was thrilled to contribute a piece for Polish Music Center. She now lives in New Zealand and is this CD. We found we shared a common interest in World War principal flutist of the Auckland Chamber Orchestra. This CD II history and decided there and then that this should be the features Lis and Sarah Watkins on piano performing works by central idea.” The horrors of WWII remain very much a part nine composers, including five significant Polish writers. of Polish collective memory, and Lis joins her compatriots in Sonatine: Dialogue Between Wind and Snow was written in hoping that these tragic events—in particular the Polish peo- December 2002 by Chinese pianist and composer Gao Ping, ple’s suffering and treatment—are not forgotten or diluted by now lecturer at the School of Music at the Canterbury time. The folk-like melody that runs through When We Fell is University in Christchurch, New Zealand. The piece has a an adaptation of a Polish song composed in 1936 by Jerzy carefree, fresh, uncomplicated character, with music ideas Petersburski, a nostalgic tango that had the dubious honor of often presented in polyphonic textures. Gao credits the often being played while Jewish prisoners were led to their “exceptionally snowy and windy” winter in Cincinnati, where death in the gas chambers. The vocal track is a recording of he lived at the time, for inspiring some of his musical ideas for text from this song, but near the end, a passage from the piece. Nietzsche’s Thus Spoke Zarathustra is quoted in Polish.

62 The Flutist Quarterly Winter 2013 nfaonline.org Roxanna Panufnik’s The Conversation of Prayer is an explo- by the National Song and Dance Ensemble Slask; Chopin’s ration of the flute’s lyrical abilities and colors. It was commis- (posthumous) Mazurka in A Minor, Op. 68, No. 2; and Polka sioned by Universal Edition for Flute Project, an album con- Szabasowka, not originally from Poland but adopted by Polish sisting of pieces written by five of Europe’s most exciting and folk performers. This version of Polish Dances is based on a prestigious young flutists. Panufnik was chosen by Emily performance of the work on accordion by Miroslaw Marks. Beynon, principal flute with the Royal Concertgebouw The Melbourne Cup for piccolo and snare drum was origi- Orchestra, Amsterdam, who asked her to compose music nally written for flute solo by young Polish flutist and com- inspired by Dylan Thomas’s deeply sad but much loved poem poser Michal Rosiak, who now lives in Australia. (This of the same title. arrangement is by Lis and Vadim Simongauz.) The work, the Sonata Medjugorska is by young composer and pianist Lukasz Wos. The inspiration of this 2001 work was the com- third study from Six Concert Studies, is dedicated to Elizabeth poser’s residence in the Medjugorska-Marian shrine in Koch, head of woodwind studies and performance at the Herzegovina. Woz incorporates the Medjugorska song Gospa University of Adelaide in Australia and for 27 years flutist of Majka Moja and the melody of the Litany of Loreto. This com- the Adelaide Symphony Orchestra. The study is a showpiece position is full of dancing rhythms, melody, and sonorous for both performers, with surprising harmonic changes, harmony, and it requires a great control of fast legato phrasing extreme dynamics, virtuosic passages, and breakneck speed. for flute and piano. Adrianna Lis began her musical training in Poland with Jack Brody’s ebullient Four Pieces from “Rainforest” was Anna Kolarz and Barbara Mazurkiewicz and continued studies commissioned by the New Zealand harp and flute duo Flight at the Wroclaw Academy of Music with Jezry Mrozik. Post-grad- and is a suite of six polyrhythmic transcriptions based on uate studies were with USC’s Jim Walker. In 1995, she studied recordings of the music of the Aka and Ba-Benzele Pygmies of with Jean Claude Gerard at the Staatliche Hochschule fur Musik the Central African Republic. The music weaves fantastic tap- und Darstellende Kunst in Stuttgart. Lis has received numerous estries of cross-rhythms and primal energy. The four move- awards, honors, and prizes internationally in solo and chamber ments presented here—Nos. 1, 3, 4, and 6—are performed on competitions and has performed in Poland, the United States, flute (alto flute in No. 4) and piano. Germany, Switzerland, Holland, Denmark, England, Slovakia, New Zealand composer Anthony Ritchie pays tribute to both Poland and Lis with his Polish Dances Op. 155 for flute Austria, New Zealand, and Malaysia. and piano (2010). These lively pieces incorporate Polish folk This successful debut CD, a delightful, entertaining, and and classical music into a contemporary musical fabric writ- meaningful collection of compositions for flute, promises a ten and dedicated to Lis. Ritchie is notable in the flute world career for Adrianna Lis as magnificent and solid in the recording for his widely performed Flute Concerto, written for Alexa Still studio as it has proved to be thus far on concert stages. We hope in 1993. Polish Dances, composed in 2010 for this CD, is based her next recording is available soon for our listening pleasure. on the three pieces Chlopaki, Chlopaki, a folk song performed —Gary Fitelberg (musicologist and Polish music historian)

From the New Village Dusan Bogdanovic, is “rooted in the folk music of…‘former Duo Resonance Yugoslavia.’ ’’ Bogdanovic’s blending of folk elements with Woodlark Discs (no date) contemporary techniques makes for an engaging and strik- ing work. Alan Toruk’s “Native Rhapsody in Hommage of ne of my favorite James Brown” is a satisfying “interplay between flute and Ochamber music com- guitar with a funky feel to it.” It is free but rhythmic at the binations is the pairing of same time and melodically pleasing. flute and guitar, and I was The CD’s final work revisits the music of Argentina with not disappointed as I lis- “Suite Buenos Aires” by Maximo Diego Pujol. I must say tened to the offerings on that I like this piece as much as I like the Piazzolla. Beautiful, this CD by Duo Resonance lyrical melodies and captivating rhythms. (Sibylle Marquardt, flute, and Wilma Van Berkel, guitar). What Aside from enjoying the content, I was thoroughly impressed an intriguing and unusual selection of pieces and styles, and by the performance of all the selections by this fine duo. They all performed with precision and flair. I was unfamiliar with most of the works except for the ever- convey the passion and beauty of the music, and they make it popular “L’Histoire Du Tango” by Astor Piazzolla. Aside from sound effortless. The balance and feeling of connection between Toru Takemitsu’s well-performed “Toward the Sea” for alto flute them is impeccable, and the quality of the recording is well done. and guitar, which is based on Melville’s Moby Dick, the program I look forward to listening to this recording many more times. I adheres to a multicultural, multinational theme of sorts. highly recommend it for your listening pleasure. The first piece, “Songs and Dances from the New Village” by —Rebecca Hovan

nfaonline.org Winter 2013 The Flutist Quarterly 63 CDs Flouble: The notation common in works of Robert Dick, Ian Clarke, and Multiphonic many others. Compare a double stop of third-octave D and A Capabilities of the in acoustic and graphic fingerings: Some fingerings are the same as in pre-exist- Flute ing sources, but many are newly discovered. Gergely Ittzés One innovation that opens up many new ©2012 Gergely Ittzés possibilities is the covering of approximately half a finger hole, indicated in the acoustic louble (rhymes with notation by a slash and in the graphic nota- F double), created by tion by a slash across an open hole. Hungarian flutist/composer Audiences have been transfixed by Ittzés’s Gergely Ittzés, is new soft- ability to produce remarkably clear and in- ware that runs on both PC and Mac and is an indispensible ref- tune double stops, and his fingerings when erence for multiphonics on the flute. Flouble is more focused than properly executed work beautifully; in fact, I have replaced fin- books like Robert Dick’s The Other Flute and Pierre-Yves Artaud’s gerings in scores by other composers with his improved ones. Flûtes au present, as it presents the best fingerings for every possi- However, some do not come easily. Ittzés’s list gives priority ble double-stop within the chromatic system on the flute; thus, it to tone quality and intonation over ease of fingering, and does not list multiphonics of more than two notes and those some fingerings have one tied up in knots. Furthermore, some based on microtones. Still, it has around 500 fingerings. are at first elusive, demanding an extreme sensitivity to air The software is available in three versions: a free chart of dou- speed, embouchure, size and shape of mouth cavity, and blow- ble stops as a jpg file; Flouble Basic, a limited version of the soft- ing angle. Fortunately, the full version of Flouble contains a ware, also free; and a full version for $30. The latter is worth demonstration lesson that illustrates Ittzés’s patience and abil- every penny, as it is full of nifty features and supplemented by ity to articulate necessary refinements. four videos and five free flute solos that use multiphonics. Each fingering includes an mp3 sound file of Ittzés actually Its chart of double stops is an efficient way to find finger- playing the double stop, proving that, yes, it is possible, and ings, avoiding the cross-listing of other references. One clicks demonstrating the particular characteristics of each double on two notes, and the fingering appears in both “acoustic” stop. My favorite feature of the software is that one can save notation (thoroughly explained on the disc) and graphic nota- each acoustic or graphic fingering for printing or for import- tion (only in the full version). Ittzés strongly advocates the for- ing into a digital score, a great advantage for composers. mer, developed by his teacher, the innovative Hungarian flutist Flouble is destined to become a standard reference, a bril- Istvàn Matuz, but although it is logical and concise, many liant use of new media. It is available at flouble.com. flutists find it to be counterintuitive, preferring the graphic —Leonard Garrison

Bella Danza: The works taken from ballets include a particularly play- Music of the Dance ful and charming rendition of “Morning Serenade” Bell’ Alma Duo (“Aubade”) from Romeo and Juliet by Sergei Prokofiev, Petit Adagio from The Seasons by Alexander Glazunov, and ©2011 Ten Thousand “Adagio of Spartacus and Phrygia” from Spartacus by Aram Lakes Khachaturian. The romantically sweeping moods of each ach piece of this well- ballet excerpt are perfectly suited to the flute and harp Eprogrammed and imagi- ensemble, and violist Rebecca Albers adds drama to the per- natively performed flute and formances of the latter two works. harp CD by the Bell’Alma It is a time-honored tradition for composers to utilize Duo (Michele Frisch, flute, ancient dance forms for new compositions. These pieces are and Kathy Kienzle, harp) was chosen to reflect the dance of its intended for the concert stage and not the dance floor; how- title. Some are arranged from various sources including ballet, ever, the form and elements of dance music are easily heard. opera, and even a movie. Others are based on traditional/ancient Quatre Danses Médiévales, Op. 45 by Joseph Lauber includes dance forms or simply emulate the spirit of dance. the Rigaudon, Mascarade, Pavane, and Gaillarde forms. The The disc opens beautifully and emphatically with the work does not always sound Medieval, but elements are opera excerpt “Spanish Dance No. 1” by Manuel de Falla clearly present. For instance, while the Mascarade, a playful from the La Vida Breve. Later, percussionist Daniel Sturm dance accompanied by the wearing of fancy masks, is adds Spanish-sounding flair using a variety of percussion comedic and paints an image that you can almost see of the instruments in the ballet suite “Madrilène” taken from masks dancers might wear, the music sounds more Massanet’s opera Le Cid. Debbussiaen than Medieval.

64 The Flutist Quarterly Winter 2013 nfaonline.org Mario Broeders bases his two-movement Dances on an Dance No. 5, Andaluza by Enrique Granados reflect this cate- Argentinian Romanza (more of a song-based work) and a gory. Again, you may never see dancers participating in the act Milonga. The Milonga in particular is highly reflective of the during these pieces, although Hoover has suggested that her lively, syncopated, and intense dance. Adagio be choreographed. Sometimes composers simply want to evoke the spirit of This CD sends off listeners joyfully with “Valzer del dance. Danse Rituelle by Marguerite Roesgen-Champion; Commiato” (“Goodbye Waltz”) by Nino Rota from the Italian Adagio from Dances and Variations by Katherine Hoover; movie Il Gattoparda. Ranné vstávání (Early Rising) by Daniel Sturm; and Spanish —Tess A. Miller

A Native American- One particularly touching work is “Remember” (written Jazz Tribute for Bill Anderson), which features C flute and acoustic gui- Pamela Sklar tar. Both voices play a hauntingly beautiful melody that is ©2012 Pamela Sklar repeated; the tone that Sklar lends to the work is touching and full of colors. ative American and Another favorite track of this listener is “Wood Spirit,” Njazz styles collide written for violinist Linda Finegan and cellist Jay Shulman, and join together harmo- who also perform on this piece. Sklar’s melodic sense fills niously in this CD by this piece with longing and hope, and the playing by all Pamela Sklar, whose CD three performers is excellent. Jazz lovers will enjoy the final features Sklar’s original compositions and a broad musical track on this album entitled “A Tune for America,” on which entourage of musicians. Every track is slightly different and Sklar is joined by Sullivan (bass) and Meyer (drums). Here features talented musicians collaborating to make beautiful listeners are treated to a true melting pot of styles including music. (Joining Sklar on flute, piccolo, alto flute, and bass 20th-century flute techniques, jazz form and improvisation, flute are Sarah Davol, English horn; John Arrucci, percussion; and Native American melodies and aesthetics. All three William Anderson, guitar; Richard Locker, cello; Steven musicians show a mastery of their instruments in this work. Hartman, clarinet; Kurt Coble, violin; Leo Grinhauz, cello; Sklar’s website testifies to her extensive performance Linda Finegan, violin; Jay Shulman, cello; Christopher Dean background and history of study with the finest teachers in Sullivan, bass; and Bob Meyer, drums.) our flute lineage. The flute playing on this album is very In “Heritage,” Sklar evokes the Native American flute with her composition for solo flute, which features techniques typically skilled; Sklar plays with a singing tone throughout and only heard in Native American flute playing. “From the Land” shows sensitivity and versatility with each combination of features Sklar on alto and bass flutes and Arrucci on zabumba instruments she plays with. This album is a touching trib- percussion and toms. Sklar creates polyphony in this work ute to a career created by a flutist who is fascinated and through tracking and “playing” duets with herself; the effect is inspired by music of many different genres and cultures. meditative and evocative. When the percussion enters, the lis- Visit pamelasklar.com. tener is transformed into another time and place. —Kimberlee Goodman

Devices and the classical or popular music listener. Desires The sound world of the music is expansive and complex. Carla Rees The engineering and panning between speakers adds a layer of depth to each track; therefore, the CD virtually begs to be ©2012 rarescale records listened to using a set of large speakers or high-quality ear- phones. I get the sense that Carla Rees always is fully in aunting and en- charge of her tone and musical ideas. Her phrasing is Hgaging, this CD impeccable, and her palate of sounds and expressions is var- captivated me from ied due to her command of both traditional and extended beginning to end. techniques. Scott Miller has chosen to use a wide variety of Carla Rees (quarterton sounds that either perfectly correlate with or tastefully con- C flute) and Scott Miller (electronics) are an exceptional trast Rees’s flute playing. duo; the form and artistry in their work is refreshing. I challenge the skeptical reader: This is a contemporary Within each track, there is always something new to come, music CD that will win over any new-music naysayer. and yet a certain feeling of familiarity exists that grounds —Molly Barth

nfaonline.org Winter 2013 The Flutist Quarterly 65 CDs Association award winners. The concerto’s soloist is Peter Sheridan, an active performer and flute pedagogue in Melbourne, Australia. The mystic quality of the low flute sound in the 15-minute Concerto is uncannily appropriate to the creation of the Watts Towers. The work is in four movements, which, as a whole, comprises a historical survey from Rodia’s creation of the Towers to their eventual rebirth as a historical site. The first movement, Rodia’s Journey, features questioning statements by the low flute that spawn harmonic solace Winter Wonderland Nuestro Pueblo from the ensemble. The second movement, Along the Tracks, features haunting railroad train allusions—reminis- Los Angeles Flute Los Angeles Flute cent of Honegger’s orchestral work, Pacific 231. The third Orchestra Orchestra/Peter Sheridan movement, 107th Street Waltz, is a seductive melody refer- ©2011 Los Angeles Flute ©2012 Los Angeles Flute ring to the final location of the monument, followed by a Orchestra Orchestra dramatic fourth movement, Towers Reborn—a solemn flute choir chorale signifying ultimate harmony. All of the haunt- he Los Angeles Flute Orchestra most assuredly defines ing low flute solos are beautifully played by Sheridan. T“flute choir.” The ensemble is comprised of Piccolo, C The final cut on the CD, “Smoke on the Water,” is an flute, alto and bass flutes, contrabass flute, subcontra bass arrangement of a rock-and-roll hit tune by the group Deep flute, F-bass flutes, and various ethnic flutes. The CDs are Purple. While Senchuck’s flute choir arrangement is not as beautifully recorded, and all participants acquit themselves raucous and gritty as the group’s performance at Live at as virtuosi in their own right. Montreux 2006, it does serve the tune well, spotlights the low Recently, this ensemble released two new CDs, Nuestra flute, and demonstrates extended contemporary techniques. Pueblo and Winter Wonderland. The title of the former (translation: Our Town), alludes to the Watts Towers in Los The second CD, Winter Wonderland, is comprised of Angeles. These obelisks were constructed by Simon Rodia familiar Christmas, Hanukah, African, and Ukrainian folk from basically discarded materials—what its critics called tunes. The composers and arrangers, Michael Kibbe, Ann “junk”—between the 1920s and the 1950s. After a troubled Cameron Pearce, Emily Senchuk, and Peter Senchuk, have history of vandalism and demolition attempts, in 1994 the succeeded in creating a musical product that is both entity had its future guaranteed when it was designated as a extremely well-crafted and eminently listenable. Certainly National Historic Landmark. most flutists are familiar with the flute choir sound. Nuestra Pueblo features the Concerto for Low Flutes and However, for the millions of consumers who are not flutists, Orchestra as its centerpiece. The composer, Peter Senchuk, this album presents both standard and non-standard tunes serves as conductor for the concerto. Senchuk is a trombon- in a compelling voice. It is certainly the perfect holiday gift ist and Los Angeles composer with numerous film credits. for “flute and non-flute” families alike. Several of his compositions have been National Flute —Erich Graf

Fantaisie Taffanel’s Fantasie on Themes from Weber’s “Der Freischütz,” and Matthew Dufor finally Fantasie Brillante on Themes from Bizet’s “Carmen.” ©2010 Cedille Records Many NFA members heard Dufour perform at the 2005 San Diego Flute Convention, where the audience was treat- antasie is the aptly ed to stellar live performances of some of the works on this Fnamed CD put out by CD. Dufour has amazing mastery of the use of color and the Chicago Symphony nuance in addition to having a drop-dead gorgeous sound Orchestra principle flutist throughout. He is matched in nuance and phrasing Mathieu Dufour and pianist throughout by Huang. Kuang-Hao Huang. It takes Listening to this CD is like coming home to old friends, listeners on a journey incredibly well preserved. It’s an outstanding CD and belongs through fantasies galore—the Fauré Fantastie, Gaubert Fantasie, in any serious flutists’ collection. Buy it and be inspired. Hüe Fantasie, the Fantasie Pastorale Hongroise by Doppler, —Amy Likar

66 The Flutist Quarterly Winter 2013 nfaonline.org Music Three by Schocker

learly inspired by two of Schocker’s good friends, seems to be rocking gently in her mother’s arms. We even get CWinter Jasmine (for Jasmine Choi) and Don’t Wake the a tiny picture of the star at the end of the fourth movement. Baby (for Sophia Anastasia) contrast nicely. The first, for The three “neopolitan” movements of Three Flavors: A flute and piano, takes its name “from a delicate Asian flower Sweet Suite for Solo Flute are similarly evocative. The first, that sprouts white and pink flowers during winter.” Vivacious Vanilla, tears along at quarter note to 144 in con- Beautifully evocative, this single-movement composition is stantly shifting meters with suggestive accents and sudden indeed “suitable for flutists of all levels” with one proviso: dynamic changes throughout. The second, Chewy not for beginners, not for those whose third registers can- Chocolate, simple time with quarter note at 69, proceeds as not yet be sustained and tapered, not for those whose breath would a particularly recalcitrant chocolate caramel. The support cannot manage the lovely long lyrical phrases. third, Struggling Strawberry, more mixed meter, trumps the The second, Don’t Wake the Baby, was inspired “after per- first with furious breakneck speed (quarter note at 184) and forming Bach’s Brandenburg Concerto No. 4 along with includes a fourth register F—twice! Although I love the flutist Sophia Anastasia on the brink of her due date” (a feat I alliterative titles, I can’t quite make out just why the straw- can only admire and applaud). Its four movements tell a familiar story: I. Pregnant with Meaning, II. Maybe If I Dance berry is struggling. Hmmn. a Jig, III. And Suddenly, IV. Introducing Little Daphne. Asked to sightread this suite at her lesson recently, one of A delightful suite, it presents in each movement the mood my students had what I thought to be a most creative idea: and tempo suggested by the respective title. Anyone who One could do an entire recital with food pieces, she said, has ever either been pregnant, or suffered alongside one and rattled off a few in her experience: Schocker’s Amuse- who is, can identify with the impulse to “dance a jig” that Bouches (hors d’oeuvre), Graham Powning’s Vegetable Suite, might—hopefully—stimulate the onset of labor pains. “And C. P. E. Bach’s Hamburger Sonata, and finally, Three Flavors suddenly” (with delightful mixed meters) there she is! Little (for dessert, you understand). Tempting! Daphne has arrived on scene, and in her own movement —Cynthia Stevens

SAVE THE DATE

New Orleans, Louisiana Chicago, Illinois Washington, D.C. August 8–11, 2013 August 7–10, 2014 August 13–16, 2015 (Marriott Hotel at French Quarter) (Hilton) (Marriott Wardman Park)

nfaonline.org Winter 2013 The Flutist Quarterly 67 Music Wedding Collection played by a second flute. The two parts are beautifully Arr. Rebecca Hovan arranged in ways that share melody lines: for example, in the ©2011 Hovan Enterprises lovely Arioso (J.S.Bach), the melody line passes from violin to flute and back to violin. Other examples with similar sharing o how many weddings have include Air on a G String (J.S. Bach), Chopin’s Nocturne in Eb Syou played? And how many Major and Prelude in A Major, and others. The arrangement of different arrangements of Pachelbel’s Canon really is in D major (not all are), and is the favorite pieces have you tried? most beautiful one I’ve ever seen, with, again, a sharing that And how many are either sparkles throughout. Wagner’s Bridal Chorus, Mouret’s embarrassingly simple or, let’s Rondeau, and Clarke’s Prince of Denmark March all locate the face it, just plain boring? melody line primarily with either flute or violin, but all are Finally, we have a really nice collection of the most asked- nicely arranged. for wedding pieces in arrange- The collection includes separate parts for violin and flute ments that don’t insult and are and a complete score. Highly recommended: this is a very wel- a pleasure to play. Although the collection is for flute and vio- come addition to our working repertoire. lin, the violin parts (edited by Candace Thomas) are easily —Cynthia Stevens

These Flutes are Made fast vib., flutter, raw tone, pretty tone, ugly tone, and angry. for Walkin’ This music flies with reckless abandon in 12/8 at 92mm up Gary Schocker through B3 in lines with triple and duple rhythms heavily pocked with accidentals (though the official key signature in ©2012 Theodore Presser Co. both parts is C). The three parts play with each other, pass- ot for the faint-hearted, ing off the line only to merge with parallel flutter tonguing Nthis trio has two parts: or ascending chromatics. Down and Dirty and Slap Slap That Thang settles down into 4/4 simple time music That Thang. Down and Dirty that any reasonably advanced player could learn, even though requires players to be at ease the tempo (136) requires one to be ever alert! It, too, features with techniques and nota- lines that dance apart only to merge and separate. This is tions such as non vib., pulse music for the adventurous souls among us as well as our more vibrato on every eighth note, advanced students. vib. norm, key slap and tongue —Cynthia Stevens

Items Received March 1, 2012, to December 1, 2012

Books Amuse-Bouches Clowning Around Don’t Wake the Baby Angel in Black: A Musical Life in Gary Schocker Katherine Hoover Gary Schocker Letters, 1925–1973 ©2012 Falls House Press ©2011 Papagena Press ©2012 Theodore Presser Co. Beverly Shaffer Gast ©2011 Trafford Publishing Angels and Bells: Voices of Christmas Compatible Trios for Winds Duggan Theme Ferne Tudor Franz Arr. and composed by Larry Clark Gareth Farr The Flutist’s Vade Mecum, Second ©2012 Falls House Press ©2012 Carl Fischer ©2011 Promethean Editions Edition Walfrid Kujala Arctic Dreams I (with CD) Concerto Easy Jazz Studies For Flute (with CD) ©2012 Progress Press Christos Hatzis Martin Amlin Tilmann Dehnhard ©2007 Promethean Editions ©2012 Theodore Presser Co. ©2008 Universal Edition Motion, Emotion, and Love: The Nature of Artistic Performance at dusk, in shadows… Country Garden Fantasy on the Allemande of the Thomas Carson Mark José Serebrier Trad, arr. Melanie Thorne Partita: Improvising on Bach, A ©2012 GIA Publications ©2009 Peermusic III Ltd. ©2002 Sempre Music Concert Etude Music Peter Bacchus A Bonnie Tune Badinerie Bites Back Czárdás ©2012 Falls House Press Samuel Adler J.S. Bach, arr. Melanie Thorne Vittorio Monti, trans. Jasmine Choi Fantastic Flutes! 60+ Things You ©2012 Theodore Presser ©2002 Sempre Music ©2012 Falls House Press Can Do With Flutes The Alchemist’s Cauldron Cherry Blossoms Dance Etudes Trevor Wye Diana Sanders Gary Schocker Robert Stephenson ©2011 Spartan Press Music ©2012 Falls House Press ©2011 Falls House Press ©2012 Jeanné, Inc. Publishers Limited

68 The Flutist Quarterly Winter 2013 nfaonline.org Fantasy on Syrinx: Improving on Menuet Three Nuns in the Desert Bridgehampton Chamber Music Debussy, A Concert Etude Ignacy Jan Paderewski Gary Schocker Festival Peter Bacchus ©2012 Falls House Press ©2012 Falls House Press Marya Martin, artistic director ©2012 Falls House Press ©2011 BCMF Records Overture-Suite in B Minor (BWV Tritsch-Tratsch-Polka Five Carols for Christmas 1067): Informed Performance Johann Strauss, ed. Bernard Boetto Canti Senza Parole Arr. Gary Schocker Edition ©2011 Billaudot Mario Caroli ©2012 Theodore Presser Co. J.S. Bach, arr. and text by Betty ©2010 Stradivarius Totem Bang Mather and Dean M. Karns Flute Concerto with Tango Gergely Ittzés ©2012 Theodore Presser Co. Celebrating Women! José Serebrier ©2012 Falls House Press Laurel Swinden ©2009 Peermusic III Ltd. ©2012 Laurel Swinden Perennials for Flute, Clarinet in A, Twelve Christmas Duets for Flutes Flute Globetrotters (with CD) and Piano Arr. Kenneth Baird The Chamber Music of Kevin Kaska Ross Stephen with Nicky King Daniel Dorff ©2011 Kenneth Baird, J.W. Pepper and Jack Jarrett ©2012 Oxford University Press ©2012 Tenuto Publications 12 Original Colombian Pieces for Paul Fried Flute 102: Mastering the Basics Philadelphia Portraits (with CD by Flute and Guitar (with CD) ©2011 Denoument Records Patricia George and Phyllis Avidan Lois Herbine) Carmen Liliana Marulanda (Luis Devices and Desires Louke Cynthia Folio Julio Toro and Marco Granados, CD) Carla Rees ©2012 Theodore Presser Co. ©2011 Portfolio Publications ©2012 Carmen Liliana Marulanda ©2012 rarescale records For Friends Puccini: A Treasury of Puccini Duets 24 Progressive Studies The Dreams of Birds Gary Schocker for Flute and Bb Clarinet Taffanel/Gaubert Jenni Olson ©2011 Falls House Press Arr. Dorff, ed. Broz Ed. Stefan Albrecht ©2012 Delos Productions, Inc. ©2012 Theodore Presser Co. ©2012 Schott Music For Piccolo, for piccolo and piano Essence of Christmas Jean-Michel Damase, arr. Réveil Matin Two Pipers Piping Quintessenz Leipzig Flute Beaumadier Johannès Donjon, ed. Baumadier Gary Schocker Ensemble ©2011 Gérrard Billaudot ©2011 Billaudot ©2012 Theodore Presser Co. ©2012 Genuin Forty Little Pieces in Progressive Rondo Voices in the Danish Sky Extended Circles: Táguló Körök Order for Beginner Flutists William Presser David Evan Thomas Gergely Ittzés Ed. Louis Moyse ©2012 Tenuto Productions ©2012 Jeanné, Inc. ©2011 G. Schirmer, Inc. Recorded 2008 Solos for the Flute Player Wedding Collection Ferruccio Busoni Four Seasons Complete Ed. Louis Moyse Arr. Rebecca Hovan Laura Minguzzi Trans. for piano and flute by James ©2011 G. Schirmer, Inc. ©2011 Hovan Enterprises Galway ©2012 Naxos Rights International ©2011 G. Schirmer, Inc. Sonata for Flute and Piano Winds Through the Olive Trees/It Ltd. David DeBoor Canfield Came Upon the Midnight Clear 14 Advanced Christmas Favorites ©2012 Jeanné, Inc. Arr. Rebecca Hovan Flouble: The Multiphonic (with play-along CD) ©2008 Hovan Enterprises Capabilities of the Flute (DVD) Arr. Sean O’Loughlin Sperl-Galopp, Op. 42 Gergely Ittzés Winter Jasmine ©2012 Carl Fischer Johann Strauss, arr. Beaumadier ©Gergely Ittzés 2012 ©2011 Gérrard Billaudot Gary Schocker Harmony in Blue and Gold ©2012 Theodore Presser Company Flute Music of the Americas, vol. 2 Summertime Merrie Siegel Eric Ewazen Wolfgang Amadeus Mozart ©2011, 2012 Theodore Gershwin, arr. Melanie Thorne ©2011 Merri Siegel & Milton ©2012 Sempre Music Cosi Fan Tutte Rubén Laufer Presser Co. ©2011 Universal Edition Telemann Four Sonatas (with Honegger Symphonies 2–4 Hymnus, Op. 57 CDs Julius Klengel, arr. Paige Dashner enhanced CD) Concerto da Camera—John Solum American Flute Masterpieces Long Ed. Wittgenstein-Wilt/CD flute ©2011 EMI Records Ltd. Susan Hoeppner ©2012 Falls House Press Jeannie Yu ©2012 G. Schirmer, Inc. ©2011 Marquis Hep Cats Ardente Duo/Cassandra Eisenreich In the Garden Anatomy of Sound C. Austin Miles, arr. Kenneth Baird These Flutes are Made for Walkin’ ©2012 Emeritus Recordings Gary Schocker Amy Porter ©2011 Kenneth Baird, J.W. Pepper ©2012 Porter Products ©2012 Theodore Presser Co. Ignaz Pleyel: Symphonies in B flat and G; Flute Concerto in C Insectes, 4 pieces for piccolo solo Anton Reicha: Woodwind Quintets This Little Light Sinfonia Finlandia, Jyväskylä Jean-Michel Damase, arr Vol. 1: Op. 88, Nos. 1 & 2 Gary Schocker ©2012 Naxos Beumadier Westwood Wind Quintet ©2011 Gérrard Billaudot ©2012 Theodore Presser ©2012 Crystal Records, Inc. Joseph Gehot: Six Trios, Opus V Irish Folk Tunes for Flute (with CD) Three Beautiful Melodies for Flute Anton Reicha: Woodwind Quintets Bacchanalia Baroque Patrick Steinbach and Piano Vol. 2: Op. 88, Nos. 3 & 4 Ensemble/Laura Thompson ©2011 Schott Music Ltd., London Von Paradis, Prince Albert, Liszt, Westwood Wind Quintet ©2012 Laura Thompson arr. Wye ©2011 Crystal Records, Inc. A Knight’s Tale: The Hollywood ©2012 Falls House Press Kleemation for flute and piano and Warm Up (with CD) Anton Reicha: Woodwind Quintets Other Works Kevin McKenzie/Ed. Kevin Sanders Three Flavors Vol. 12: Op. 100, Nos. 5 & 6 Peter Bloom and Marcus Wiggins Gary Schocker Westwood Wind Quintet ©2012 Navona Records ©2011 Ensemble Essentials ©2012 Theodore Presser Co. ©2011 Crystal Records, Inc. Legacy: 19th-Century Virtuoso Duos Luna’s Magic Flute (with CD) Three Little Sonatas As in Dreams Brooks de Wetter-Smith, Ulrike Blaz Pucihar Drouet Noteworthy Duo/Lisa Schroeder Anton ©2011 Pucihar Music ©2012 Schott ©2011 Noteworthy Duo ©2012 Centaur Records, Inc.

nfaonline.org Winter 2013 The Flutist Quarterly 69 Items Received March 1, 2012, to December 1, 2012

Lights, Camera, Flutes! New American Masters, Vol. 1 Project Trio: When Will Then Be Song of the Black Swan Resonance Flute Consort Palisades Virtuosi Now Aletheia Duo ©2012 Trill Key Records ©2006 Albany Records Greg Pattillo ©2012 Albany Records ©2012 Project Trio Lock and Key: New Chamber Works New American Masters, Vol. 2 Sounds from Within Moravian Chamber Players, Andrea Palisades Virtuosi Random Roads Collection Wissam Boustany Kapell Loewy ©2008 Albany Records Project Trio/Greg Pattillo ©2011 Wyastone Estate Ltd. ©2012 Navona Records ©2012 Tummy Touch Records LLC Spillville & Gilead: Chamber Music New American Masters, Vol. 3 Remembering the Songs by Harvey Sollberger Luigi Boccherini Palisades Virtuosi Music Tradition from the Zuni, Red Cedar Chamber Music Gergely Ittés ©2010 Albany Records ©2011 Hungaroton Records Ltd. Navajo, and Salish/Julie Cajune ©2012 Fleur de Son Classics, Ltd. No date given; Heartlines Mercadante: Arie e Capricci (2 CDs) New American Masters, Vol. 4 Souvenir: Johann Sedlatzek Stefano Parrino Palisades Virtuosi Rota: Chamber Music for Flute Elzbieta Wolenska ©2012 Stradivarius ©2012 Albany Records Mario Carbotta ©2012 JB Records ©2012 Dynamic Delizie Musicali Mozart by Arrangement, Vol. 2 Nostalgy: Chopin for Flute and Through the Reeds: Woodwind Chamber Soloists of Austin Marimba Seven Flute Sonatas by Johann Concerti ©2012 Pierian Recording Society Krzysztof Kaczka Joachim Quantz ©2012 Ravello Records ©2012 Jan A. Jarnicki & Mary Olesciewicz Undine Mirror of Eeternity Wydawnictwo Muzycne Acte ©2011 Hungaroton Records Ltd. Wissam Boustany Mario Caroli Préalabe Seven Flute Sonatas by King ©2011 Wyastone Estate Ltd. ©2012 Stradivarius Frederick “The Great” of Prussia Nuestro Pueblo The Music of Djavan Mary Olesciewicz Vivaldi’s Children Los Angeles Flute Orchestra/Peter Lori Bell ©2011 Hungaroton Records Ltd. Wissam Boustany Sheridan ©2008 Resonance Records ©2011 Wyastone Estate Ltd. ©2012 Los Angeles Flute Orchestra Silver Tunes: Music for Flute and A Native American-Jazz Tribute Organ Wandering Winds Pamela Sklar The Palest Rose Elivi Varga Wissam Boustany ©2012 Pamela Sklar ©2012 Ravello Records ©2011 Sterling ©2011 Wyastone Estate Ltd. NeoBossa—Old Songs New: OSN Pipe Dreams Slices: A Cross-Section of Classical Winter Wonderland Mike Colquhoun Sharon Bezaly Works for Small Ensemble Los Angeles Flute Orchestra No date or publisher given ©2012 BIS Records AB ©2012 Navona Records ©2011 Los Angeles Flute Orchestra

The Galway Flute Festival 2013

July 26th - August 4th

Weggis, Switzerland

Masterclasses, Workshops, Guest Artists, Concerts, Flute Choir, Flute Exhibitors, and more. ZZZ©MDPHVJDOZD\¾XWHIHVWLYDOFRP February 11, 2013, is the deadline for entering the Jazz! Third Biennial Jazz Flute Big Band Competition for the 41st annual NFA Convention—to be held in New Orleans, the birthplace of jazz.

Jazz! The JFBB Competition is open to experienced and aspiring jazz flutists alike. Winners will perform at the convention’s Thursday Opening Night Gala Concert, Jazz! the Saturday Night Cabaret, and the Closing Ceremonies on Sunday afternoon. Play with JFBB guest artists Maraca, Nestor Torres, Jim Walker, and JFBB coordinator Ali Ryerson.

Enter by February 11, 2013, then come join us in the Big Easy! Visit nfaonline.org for details and online application.

41ST ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION

Conf luence of Cultures & Perseverance of Spirit August 8–11 New Orleans, Louisiana

nfaonline.org [email protected] 661-299-6680 Lipstick Katherine Kemler Sonatina Download live performances of additional repertoire for only $1 per track at kkemler.com.

Including works by Including works by ter Veldhuis, Higdon Dutilleux, Sancan, Works available by and Ian Clarke and Gieseking Damase, Fauré,

Virtuoso American Feld, Franck, Sky Loom Flute Works Gaubert, Ginastera, Goddard, Genin, Ferneyhough, Jolivet, Schubert, Takemitsu, and Widor Including works by Including works by Liebermann, Liebermann, Lutosławski, Ibert, Muczynski, and Bartók and Hayden kkemler.com

NFA Office, Coordinators, Committee Chairs Please check the NFA website for any changes and updates to addresses, phone numbers, and e-mail addresses: nfaonline.org

NFA OFFICE Program Book Editor Historical Flutes Flute Choir Composition ARCHIVES AND LIBRARIES Anne Welsbacher Nancy Schneeloch-Bingham (2012) Paige Dashner Long (2011) Interim Executive Director 7213 E. Chelsea St. Hayes School of Music PO Box 1436 NFA Librarian Katha Kissman Wichita, KS 67206 Appalachian State University Flagler Beach, FL 32136-1436 Michelle Monroe-Menjugas 202-669-4423 316-440-2800 Boone, NC 28608 386-569-3010 NFA Music Library [email protected] fax: 316-440-2801 828-262-6447 [email protected] c/o University of Arizona Libraries [email protected] [email protected] 1510 E. University Convention Director Graduate Research Tucson, AZ 85721-0055 Madeline Neumann Program Book Advertising Jazz Jessica Raposo (2012) Kris Keith (2010) 520-621-7010 26951 Ruether Ave., Ste. H Sales Representative 14 N. Taylor Avenue 5129 Glenaire Dr. [email protected] Santa Clarita, CA 91351 Steve Wafalosky Bldg. 2, Apt. 3 Dublin, OH 43017 661-299-6680 LaRich & Associates, Inc. Norwalk, CT 06854 614-263-1702 OTHER APPOINTMENTS fax: 661-299-6681 512 East Washington St. [email protected] 203-858-7992 [email protected] Chagrin Falls, OH 44022 [email protected] 440-247-1060 Development Consultant fax: 440-247-1068 Low Flutes Christa Flueck Information Technology Consultant Christine Potter (2009) High School Flute Choir [email protected] [email protected] Brian Covington 2985 18th Street Kelly Via (2012) [email protected] Boulder, CO 80304 965 Daisy Court Program Book Bio Editor 303-443-3330 Lawrenceville, GA 30044 Flute Choirs Coordinator Lisa Van Dusen Membership Director [email protected] 770-935-1379 Joan da Silva Heit (2012) Maria Stibelman 26629 N. 45th Pl. [email protected] 2604 Amanda Court 26951 Ruether Ave., Ste. H Cave Creek, AZ 85331 New Music Advisory Woodstock, MD 21163 480-473-4877 Santa Clarita, CA 91351 Dianne Aitken (2010) High School Soloist 410-655-6849 [email protected] 661-713-2072 116 Earl Grey Road Cristina Ballatori (2009) [email protected] fax: 661-299-6681 Toronto, Ontario University of Texas at Brownsville Gala Fundraising Dinner Chair [email protected] M4J 3L5 Canada Fine Arts Dept./Music Flute Clubs Coordinator Patti Adams 416-465-3967 80 Fort Brown Dolores August (2009) 2840 Coliseum Street Publications Director [email protected] Brownsville, TX 78520 New Orleans, LA 70115 1809 Sevilla Road Anne Welsbacher 585-880-4381 Fort Worth, TX 76116 7213 E. Chelsea St. 504-895-5908 Nominating [email protected] 682-553-0979 Wichita, KS 67206 [email protected] Zart Dombourian-Eby (2012) 2515 10th Ave. West [email protected] 661-313-8274 Jazz Flute Big Band [email protected] COMMITTEE CHAIRS Seattle, WA 98119 206-285-0206 Ali Ryerson (2010) Flute Research Coordinator 12 Longview Dr. CONVENTION Advisory Committee [email protected] Jessica Raposo (2012) Jonathan Keeble (2012) Brookfield, CT 06804 14 N. Taylor Avenue Pedagogy 203-740-2044 Program Chair University of Illinois Bldg. 2, Apt. 3 Stacey Graham Steele (2009) [email protected] Tadeu Coelho 1114 West Nevada St. Norwalk, CT 06854 110 Poplar Forest Dr. aliryerson.com 120 Harwick Place Court Urbana, IL 61801 203-858-7992 Slippery Rock, PA 16057 Winston-Salem, NC 27103 217-333-8142 [email protected] [email protected] 724-794-2127 Jazz Flute Masterclass 336-659-7860 [email protected] Bryan Kennard (2010) [email protected] Grants Committee Amateur Resources 2015 Cedar Bend Dr., #401 Performance Health Care Austin, TX 78758 Rebecca Collaros (2011) Assistant Program Chair Ann Konopinski (2011) Lea Pearson (2010) 216-224-3123 2112 Wittington Blvd. Krisztina Dér 4100 Teal Lane 3085 Kenlawn St. [email protected] Alexandria, VA 22308 14755 Brenda Agnes Place Wolverine Lake, MI 48390 248-669-9037 Columbus, OH 43224 703-622-6952 Hughesville, MD 20637 614-353-7259 [email protected] Jazz Flute Soloist [email protected] 301-274-0348 [email protected] Bryan Kennard (2010) [email protected] Archives and Oral History 2015 Cedar Bend Dr., #401 International Liaison Piccolo Nancy Toff (2007) Austin, TX 78758 Aldo Baerten (2009) Convention Director Carl Hall (2009) 425 East 79th St., #6F 216-224-3123 Mezenlaan, 11 Madeline Neumann 1352 Metropolitan Ave SE New York, NY 10075 [email protected] 26951 Ruether Ave., Suite H Atlanta, GA 30316-1670 Sint Genesius Rode 212-772-1343 Santa Clarita, CA 91351 404-377-6112 Belgium B-1640 [email protected] Masterclass Performers 661-299-6680 [email protected] Ph/fax: 003223811575 Rebecca Hovan (2012) fax: 661-299-6681 [email protected] Career and Artistic Development 23685 Arlene Ave. [email protected] Special Publications Ellen Johnson (2011) Patricia Harper (2008) Elkhart, IN 46517-3643 Legal Advisor to the Board 605 E. 69th St. N. 574-875-5447 Local Arrangements Chair 38 Oak Dr. Linda Mintener (2009) Wichita, KS 67209 [email protected] Patti Adams Centerbrook, CT 06409 3976 Plymouth Cir. 316-210-0222 2840 Coliseum Street 860-767-0629 Madison, WI 53705 [email protected] [email protected] Newly Published Music New Orleans, LA 70115 608-231-1680 Danilo Mezzadri (2012) 504-895-5908 fax: 608-266-3049 Commercial Members World Music 20 Classic Woods Dr. [email protected] [email protected] Zart Dombourian-Eby (2012) Peter Westbrook (2010) Hattiesburg, MS 39402 2515 10th Ave. West 13012 Magellan Ave. Convention Equipment Chair 601-296-7865 Seattle, WA 98119 Rockville, MD 20853 [email protected] Masterclass Reporter, Kimberlee Goodman 206-285-0206 240-481-2213 Flutist Quarterly 4783 Cherry Park Dr. [email protected] [email protected] Lee Chivers (2008) Columbus, OH 43230 Orchestral Audition and Masterclass 1933 E. Renee Dr. 614-805-5261 Jennifer Parker-Harley (2008) Cultural Outreach COMPETITION COORDINATORS Phoenix, AZ 85024 [email protected] University of South Carolina Terri Sundberg (2010) School of Music 623-580-5244 General Coordinator UNT College of Music [email protected] Exhibits Management Diane Boyd Schultz (2010) 813 Assembly St. 1155 Union Circle #311367 Columbia, SC 29208 Jim Magee Denton, TX 76203-5017 University of Alabama 803-777-4853 Myrna Brown International N’Awlins Trade Show and 940-565-3756 School of Music, Box 870366 [email protected] Liaison and Scholarship Convention Services, Inc. [email protected] Tuscaloosa, AL 35487-0366 612 Highland Ct. 205–348–4532 Coordinator Piccolo Artist Mandeville, LA 70448 Development [email protected] Nicole Molumby (2012) Hillary Feibel (2009) 985-626-3046 Katherine Borst Jones (2008) 5124 W. Outlook Ave. 6435 West Jefferson Blvd. #138 fax: 985-727-3940 4635 Rutherford Rd. Baroque Flute Artist Boise, ID 83703-3517 Sarah Paysnick (2012) Fort Wayne, IN 46804 [email protected] Powell, OH 43065 208-571-5782 42 Calvin Street, Apt. 3R 740-881-5008 260-450-6674 [email protected] Somerville, MA 02143 Exhibits Assistant fax: 740-881-5252 [email protected] 413-654-8462 Patti McCleney [email protected] Myrna Brown Dine-Around [email protected] Professional Flute Choir N’Awlins Trade Show Karen McLaughlin Large (2012) and Convention Services, Inc. Pamela Youngblood (2009) Endowment Collegiate Flute Choir 234 McCain Auditorium P.O. Box 8538 Texas Woman’s University Jim Keefe (2010) Tabatha Easley (2011) Manhattan, KS 66506 Mandeville, LA 70470-8538 PO Box 425768 Keefe Piccolo Company Department of Music 850-345-1446 ph/fax: 985-893-9521 Denton, TX 76204 54 Church St. Virginia Commonwealth University 940-898-2495 [email protected] [email protected] Winchester, MA 01890 922 Park Ave., P.O. Box 842004 781-369-1626 [email protected] Richmond, VA 23284-2004 NFA Library Liaison Showcase and Exhibitors’ [email protected] 804-828-6120 Sandy Schwoebel (2008) Concert Coordinator (2008) [email protected] Young Artist Rebecca Johnson Graduate Research Virginia Broffitt (2010) 638 S. 6th Ave, Unit 1 Tucson, AZ 85701 DFAC 2415 Dept. of Music Jessica Raposo (2012) Convention Performers Oklahoma State University Eastern Illinois University 14 N. Taylor Avenue Sally Humphreys (2008) Department of Music 520-490-1817 600 Lincoln Ave. Bldg. 2, Apt. 3 380 E St. 132 Seretean Center [email protected] Charleston, IL 61920 Norwalk, CT 06854 Salt Lake City, UT 84103 Stillwater, OK 74078-4077 Public Relations Coordinator 74217-581-6627The Flutist Quarterly Winter 2012 nfaonline.org203-858-7992 801-355-8859 405-744-3964 [email protected] [email protected] [email protected] virginia@virginiabroffittcom TBD

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