Cover_01.qxd 10/27/05 2:34 PM Page 1

VOLUME XXXI, NO.F1 ALL 2005

THE LUTIST QUARTERLY

THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION, INC Cover_02.qxd 10/19/05 2:28 PM Page 2 Flutist_03.QXD 10/27/05 1:56 PM Page 3 Table of

CONTENTSTHE FLUTIST QUARTERLY VOLUME XXXI, NO. 1 FALL 2005 DEPARTMENTS 5 From the President 66 New Products 9 From the Editor 72 From the Development Director 11 High Notes 77 From the Research Coordinator 15 Passing Tones 79 From the Program Chair 17 Across the Miles 20 Student Spotlight 88 NFA Coordinators & Committee Chairs 23 The Inner Flute 89 Index of Advertisers FEATURES 24 “I think we concert givers must not always play sure shots”: 24 Georges Barrère, Champion of New Music by Nancy Toff Flutist Georges Barrère emigrated to the United States one century ago this year, at a time when the center of musical creativity was beginning to shift west from Paris to New York. He was an outspoken advocate of new music, promoting it through established performing organizations, new-music groups, and his own ensembles. 34 Frances Blaisdell: Living Link to Georges Barrère by Barbara Highton Williams At a time when professional women flutists were rare and their opportunities even rarer, Frances Blaisdell flourished—as a performer, musician, and student of Georges Barrère. 44 The Brazilian Choro: Historical Perspectives and Performance Practices by Tadeu Coelho and Julie Koidin Balanço is to choro as swing is to jazz—in both, mandatory elements to proper performance and enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. 56 Walfrid Kujala, Orchestral “Untangler” 34 by Joanna Cowan White Walfrid Kujala’s students play in more than 30 major orchestras and countless other ensembles, and teach at 20 universities. His influence on symphonic playing is a result of his passion for music tempered with relentless attention to detail. 68 Convention Perspectives by Susan Goodfellow A veteran NFA conventioneer offers accolades and insights on the 33rd annual convention. 70 What We Learned on Our Summer Vacation: Etudes and Equally Excellent Ideas by Cynthia Stevens Pedagogy committee members provide an overview of topics covered at the NFA Convention in San Diego, at which the committee also introduced its new book.

44 Cover Photo: Courtesy of Bibliothèque du Conservatoire, Lausanne, Switzerland

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 non-profit 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.

ISSN 8756-8667 2005 National Flute Association, Inc. 56 23

Fall 2005 The Flutist Quarterly 3 Flutist_04.qxd 10/26/05 3:27 PM Page 4

OFFICERS Mark Thomas • Founder & Honorary Life President 824 Charter Plc. Charlotte, NC 28211-5660 704-365-0369 (phone/fax) [email protected]

Sue Ann Kahn • President 96 Fifth Ave. #4-J New York, NY 10011 212-675-1932 [email protected]

Katherine Borst Jones • Vice President 4635 Rutherford Rd. Powell, OH 43065 740-881-5008 fax: 740-881-5252 jones.6@osu .edu

Wendy Kumer • Secretary 136 Fairfax Rd. Pittsburgh, PA 15221-4616 412-241-0209 [email protected]

Teresa Beaman • Treasurer Department of Music, CSU-Fresno 2380 E. Keats Ave. MS/MB77 Fresno, CA 93740-8024 559-278-3975 [email protected]

Patricia George • Assistant Secretary 311 S. 8th Ave. Pocatello, ID 83201 208-234-4922 [email protected]

BOARD OF DIRECTORS John Bailey • Immediate Past President School of Music University of Nebraska, Lincoln Lincoln, NE 68588-0100 402-472-2651 fax: 402-472-8962 [email protected]

John Barcellona (2005–2007) 9462 Castlegate Dr. Huntington Beach, CA 92646 714-964-2382 fax: 714-964-2650 [email protected]

Mary Karen Clardy (2003–2005) College of Music University of North Texas P.O. Box 311367 Denton, TX 76203 940-565-3722 Fax: 940-565-2002 [email protected]

Rhonda Larson (2005–2007) 514 49th St. Grand Junction, MI 49056 269-434-8462 (phone/fax) [email protected]

Carol Kniebusch Noe (2003–2005) 9142 Old County Rd. Grottoes, VA 24441-5328 540-249-4796 [email protected]

Michael Stoune (2003–2005) 2516 69th St. Lubbock, TX 79413 806-745-6477 fax: 806-742-2294 [email protected]

Jim Walker (2005–2007) 401 Rockedge Dr. Oak Park, CA 91301-3841 818-991-4320 fax: 818/991-9797 [email protected] Flutist_05.qxd 10/20/05 1:09 PM Page 5

From the PRESIDENT

y first NFA convention was Cheryl Bretsnyder; and stage manager in Washington in 1978. My Rebecca Mason. In addition, I person- Mdear teacher and mentor, ally thank the many volunteers who Samuel Baron, was then NFA watched the doors, provided stage President. I dutifully brought my flute help, answered questions, took tickets, to the Sunday closing ceremonies, not and generally stepped in to help in really sure what to expect. When myriad ways. Our NFA staff, conven- Baron announced that he was going to tion manager Madeline Neumann, conduct the Bach Air in G, I didn’t membership manager Maria think anything of it—after all, Baron Stibelman, and last but certainly not conducted Bach all the time. Then we least executive director Phyllis all began to play. I couldn’t believe it: Pemberton, devoted countless hours what a sound, what feeling in the making sure that all details for a suc- room! I realized then that I was part of cessful convention were in place. Sue Ann Kahn a unique experience and a very special The NFA officers and board of group of people. directors met daily during the conven- And now it has been my great privi- tion, and I believe that excellent board members Robert Aitkin, Zart lege, as outgoing NFA President, to progress was made in strengthening Dombourian-Eby, and Amy Porter. lead the Bach Air. The theme of the our programs. We are taking an in- Continuing to serve the NFA are San Diego Convention was “Coming depth look at the NFA Young Artist board members John Barcellona, Together,” and I don’t believe there is a Competition and also at strategies for Rhonda Larson, and Jim Walker, and better example of that sentiment than enhancing our endowment, and there officers Patricia George, secretary, and the inimitable moment when we join are many areas in which significant Teresa Beaman, treasurer. together in such beauty, harmony, and improvements were made. As I move into my new role as NFA joy to say, in music, “It has been won- As we move on to our newly consti- immediate past president, I am following derful, farewell, see you next year.” tuted executive committee and board in the footsteps of someone who has So many of the nearly 2,800 mem- of directors, I express my personal been a marvelous adviser to me and to bers who came to San Diego told me gratitude to outgoing board members the entire board and executive com- what a marvelous convention we had Mary Karen Clardy, Carol Kniebusch mittee, John Bailey. As board member, this year. A large portion of the praise Noe, and Michael Stoune for their program chair, president, and immediate should go to Kyle Dzapo, our Program exemplary contributions to discus- past president, Bailey has informed the Chair. From the moment that Dzapo sions and decisions, for their great work of the NFA for many years. As voice was appointed, she started forming work and unflagging support. of reason, nimble wit, wordsmith, and her vision. She has shown herself to be Secretary Wendy Kumer, who has steady and assured presence, he has never one of the most organized, capable painstakingly maintained a precise failed to assist me every step of the way all people in the service of the NFA. I feel record of board and executive com- through this wonderful year. very fortunate to have presided over a mittee affairs, has been a tireless I am delighted to pass the torch—or year in which Dzapo has held what I organizer of our efforts and has con- shall I say the baton?—to incoming consider to be the most engrossing tributed a priceless measure of good president Katherine Borst Jones. I and challenging volunteer position in nature and enthusiasm to help us wish you a wonderful year, and I look our organization. Congratulations are through the lengthy agenda. forward to seeing all of you, next summer, also in order for the “home team”: I congratulate and welcome those in Pittsburgh! local arrangements Chair Jane Masur; officers and board members newly equipment chair Debbie Hyde-Duby; elected this summer: Alexa Still, vice volunteer chair Denise Woo; informa- president/president-elect; Carol Dale, tion booth managers Cindy Broz and assistant secretary/secretary-elect; and —Sue Ann Kahn, President Fall 2005 The Flutist Quarterly 5 Flutist_06_07.qxd 10/20/05 1:10 PM Page 6

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THE FLUTIST QUARTERLY Anne Welsbacher, Editor Joan Marie Bauman, Christine Cleary, Pascal Gresset, Amy Hamilton, Contributing Editors Tony Watson, Masterclass Reporter Mary Jean Simpson, Consulting Editor Steve DiLauro, Advertising Sales Representative Victoria Stehl, Art Director

Editorial Advisory Board John Bailey Professor of Flute, University of Nebraska-Lincoln Lincoln, Nebraska

Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Seattle, Washington

Arthur Ephross Flute and Piccolo San Antonio, Texas

Susan Goodfellow Associate Professor of Flute, University of Utah Salt Lake City, Utah

Amy Likar Flute, Piccolo and Alexander Technique Oakland, California

Betty Bang Mather Emeritus Professor of Flute, The University of Iowa Iowa City, Iowa

Roger Mather Adjunct Professor of Flute (retired) The University of Iowa Iowa City, Iowa

Michael Stoune Associate Director of Graduate Studies, School of Music, Texas Tech University Lubbock, Texas

Nancy Toff Music Historian New York, New York

Michael Treister, M.D. Orthopaedic and Hand Surgeon, Amateur flutist Chicago, Illinois

NATIONAL FLUTE ASSOCIATION, INC, STAFF

Phyllis T. Pemberton, Executive Director Madeline Neumann, Convention Manager Maria Stibelman, Membership Manager Brian Covington, Web Design Consultant Flutist_09.qxd 10/20/05 1:29 PM Page 9

From the EDITOR

he annual meeting of the National flutists who traveled to Kosovo, the Flute Association, which formally West Bank, Haiti, Brazil, and a commu- Tkicked off this organization’s 33rd nity in Arizona to share music and— Convention, opened in a cavernous room through music—much, much more. I with a huge, but half-filled, seating area. enjoyed my lessons in flute apprecia- Just as I was pondering the empty seats, I tion, comparing the techniques and overheard an NFA officer seated behind sounds of dozens of top-notch per- me comment on the same phenomenon: formers day and night, as well as the “We are an organization of do-ers, not variations among competition players watchers.” Sure enough, on the stage in performing identical selections. front of me, the San Diego Sonorities Behind-the-scenes stories of the lives Flute Orchestra sat waiting to perform, and loves of renowned flutists, from nearly 200 people who, if seated in the movie-making in Hollywood to auditorium, would have filled out the sleuthing out the secrets of Barrère’s life majority of the remaining seats. Throughout the week, this spectacle in New York, offered further insights into the active nature of flutists. reconfigured itself over and over again, as Anne Welsbacher people asking questions from the house I met people I have been communi- in one workshop turned up as perform- cating with through technology over ers a few hours later and, later still, met the past months. E-mail and the tele- with colleagues to do business, share phone are fine inventions, but putting a musical tips, and drool over the wide face to a few of the writers, players, and selection of flutes and flute-related items do-ers I have met since joining the NFA in the exhibit hall. As my colleague staff was especially gratifying. behind me in that first session noted, I can’t claim favorites and won’t begin through more than 150 recitals, concerts, to try, but the memory that lingers hap- lectures, workshops, competition judging pened before the convention’s official sessions, meetings, and more, approxi- opening. As I wandered the campus ori- mately 2,800 flutists did. enting myself—lost, of course, but not An overview of the convention from really caring—snips and swatches of one reporter’s seasoned perspective is music floated down from the balconies included in this issue of The Flutist and among the roses. Scales, eight-bar Quarterly, along with articles about passages, tricky bits tumbled over and pedagogy workshops, winning disserta- around one another like waves in the tions, and esteemed recipients of this ocean. Free music for everyone at the year’s Lifetime Achievement and hotel. Flutists were warming up for the National Service awards. New this year week ahead—doing before the doing are a dozen short convention reports on had even begun. the NFA Web site (nfaonline.org). When you opened this magazine, did I attended as many events as I could but feel as though I barely scratched the you look twice to make sure it was your surface of the convention’s vast offer- Flutist Quarterly? With this issue, we ings—a common sentiment, I am introduce a new design and new look to learning. I saw my first contra bass flute accompany other introductions over (my background is in piano and past and future issues. We hope you strings), and loved the extravagantly enjoy the changes—and, as always, wel- large number of these extravagantly come your comments. large and surprisingly muted instru- ments in the opening concert. I was especially moved by the presentation on —Anne Welsbacher, Editor

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Congratulations to:

Julietta Curenton 1st Place 2005 NFA Young Artist Competition

Paul Gardner 1st Place 2005 NFA High School Sololist Competition

FLUTES & PICCOLOS

Burkart Flutes and Piccolos 20 Main Street · Acton, MA 01720 USA 978-263-7177 · www.burkart.com Flutist_11_12.qxd 10/20/05 1:37 PM Page 11

HighNews andNotes activities about the accomplishments of National Flute Association members and the flute world

ssociate Professor of Flute forums, sight-reading seminars, performance techniques Amy Porter is the recipient classes, and flute-choir classes. The event concluded with a Aof the 2006 Henry Russel finale concert featuring performances by masterclass staff, Award from the University of the Three Rivers Flute Master Class 2005 flute choir, and Michigan. The award, conferred on flutists from the class who were awarded Yamaha Prizes for faculty with fewer than six years in Best Overall Performance at the event. First prize was tenure, recognizes distinguished awarded to Maria Ramey, second prize to Jennifer Avila, and scholarship and conspicuous ability third prize to Amy Honka. The finale concert also included as a teacher. Porter is the third pro- the world premiere of Todd Harris’ chamber flute choir fessor of music since 1926 to receive piece written for solo piccolo, four flutes, and piano, enti- the award. A graduate of the Juilliard School, Porter tled Soliloquy for Julius, written for and dedicated to the became associate professor of Flute at the University of late flutist and teacher Julius Baker. Tracy Harris’s Three Michigan in 1999, leaving the Atlanta Symphony after Rivers Flute Master Class 2006 will be held at St. Anthony eight years as associate principal flute. She founded and Retreat July 20–23, 2006. For more information, visit served as first president of the nonprofit Southeast TracyHarrisFlute.com. Michigan Flute Association, which now includes 184 members and 11 corporate sponsors. She also hosts the annual “Anatomy of Sound: A Workshop for Flutists” in Ann Arbor with professor of theater Jerald Schweibert, an interdisciplinary collaborative workshop that features a guest artist, morning yoga classes, lectures, and gala con- certs. Porter has released two CDs and performed solo concerts in France, Japan, Sweden, and throughout the U.S. She is producing the Karg-Elert Caprice Study Guide DVD, which will be available through Media Ferrago Productions, and her arrangement of “Six Songs by Benjamin Godard,” published by Little Piper Publishing Company, will be available this fall. She served as the American jury member at the Kobe International Flute Competition in August, returning to Japan to judge the competition that she won in 1993. She will also be in resi- dence at Seoul National University in Korea in May 2006. The Henry Russel Award was established in 1925 with a bequest from the late Henry Russel of Detroit. An awards ceremony has been set for 4 p.m. Tuesday, March 14, 2006, From left: Svetlana Rudikova-Harris, Tracy Harris, Jennifer Avila, Maria Ramey, and Amy Honka in the Rackham Auditorium in Ann Arbor, Michigan.

ighteen competitively chosen flutists from across the lizabeth Rowe, who became principal flute of the EUnited States attended the debut Three Rivers Flute EBoston Symphony Orchestra in September 2004, Master Class directed by concert flutist Tracy Harris. joined the New England Conservatory faculty in Class accompanist was concert pianist Svetlana Rudikova- September. Formerly principal flute of the National Harris. The four-day event was held at the St. Anthony Symphony Orchestra, Rowe has held positions with the Retreat in Three Rivers, California. The masterclass Baltimore, Fort Wayne Philharmonic, and New World included flute and harp performance classes, composer symphonies. A native of Eugene, Oregon, she received her

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HIGH NOTES BM degree in 1996 from the University of Southern ew York City–based Chamber Music America, which California in Los Angeles, where she studied with Jim Npromotes and assists small ensembles in the classical Walker, former principal flute of the Los Angeles music and jazz genres, has awarded Karla Harby and her Philharmonic. First prize winner of the 2000 National Flute group, National Boulevard, a Residency Grant. The quar- Association Young Artist Competition, Rowe is a frequent tet will present a series of jazz performance workshops to concerto soloist and participant in national and interna- students in the Roosevelt School District, Long Island, tional music festivals. She has performed the Nielsen Flute New York, in fall 2005. Funds for this residency have been Concerto with the Baltimore Symphony Orchestra and provided by Chamber Music America with support from works by Schoenberg under the direction of Pierre Boulez at the JPMorgan Chase Residency Re-Grant Program, a pro- Carnegie Hall. She is a founding member of the Metropolis gram of the JPMorgan Chase Foundation, and the Winds woodwind quintet, based in southern Florida. Rowe Chamber Music America Residency Endowment Fund. has also issued an instructional recording on video and DVD National Boulevard is a member of Chamber Music called The Ultimate Beginner, volume I. America. For information, visit chamber-music.org and sonicbids.com/NationalBoulevard. lutist Nicole Riner has accepted an appointment to the Fwoodwind faculty of the University of Northern ix members of the National Flute Association are Colorado in Greeley, Colorado. As instructor of flute, she Sentrants vying for the seventh Jean-Pierre Rampal will teach all flute majors, coach chamber music, and teach Flute Prize, and three NFA members—Robert Aiken, orchestral repertoire and pedagogy classes. She also holds Michel Debost, and Ransom Wilson—are judges this year. the position of second flute in the Wyoming Symphony More than 230 people entered the competition, which is (Casper, Wyoming). Past teaching appointments include restricted to players age 30 and younger. About 100 candi- Interlochen Summer Arts Camp 2000–2003. Riner earned dates, nine from the U.S., were admitted into the competi- her DM in flute performance and literature from Indiana tion, which takes place in October. Congratulations to University in 2004. Martha Councell, Megan Emigh, Lindsay Leach, Colleen Matheu, Ryan Rice, and Sarah Tiedemann. hristine E. Beard made her concerto debut on both Cflute and piccolo in two performances with the s a result of the devastation cased by Hurricane Katrina, Mineralnye Vody Festival Orchestra in Kislovodsk, Athe New Orleans-based Louisiana Philharmonic Russia, May 13–14 and one concert with the Sochi Orchestra has had to suspend its operations, with the excep- Philharmonic Orchestra in Sochi, Russia, May 27. tion of a small number of fund-raising concerts hosted by Traveling with conductor and colleague Christopher orchestras in other cities. A relief fund has been established Stanichar, Beard and Stanichar’s programs consisted of to enable the continuation of the musicians’ health and instru- works by American composers, including Stanichar, ment insurance, as well as partial salary support. Checks can Leonard Bernstein, John Williams, George Gershwin, and be made payable to the “Louisiana Philharmonic Relief Fund” Lowell Liebermann. The three-week Russian concert tour and sent to: The Louisiana Philharmonic Orchestra, c/o was made possible through a grant awarded to Beard and the Baton Rouge Symphony Orchestra, PO Box 14209, Stanichar from the University of Nebraska at Omaha’s Baton Rouge, LA 70898. More information is available at University Center for Research. 225-383-0500 or [email protected].

Christine E. Beard, second from right

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avid Colvig, symphony musician, flute soloist, teacher, expert in flute repair, and life Dmember of the National Flute Association, died July 19, 2005, in San Francisco at the age of 86. Born April 8, 1919, in Medford, Oregon, he grew up in Weed, California, and was the fourth of six children in a musical family. He started playing the flute and picco- lo at age 7. Colvig entered San Francisco State College (now University) in 1937, studied privately with flutist Herbert Benkman of the San Francisco Symphony Orchestra, and won a scholarship to the Curtis Institute of Music. He served in the U.S. Army Air Corps throughout World War II, and married Margaret Sullivan. In Philadelphia, Colvig studied at Curtis Institute and took lessons with William Kincaid. Colvig joined the Houston Symphony Orchestra in 1948 as second flutist, piccolo, and solo alto flute, where he remained until his retirement in 1986, serving under conductors Ephrem Kurtz, Leopold Stokowski, Sir John Barbarolli, and Andre Previn. He also performed with Houston’s J. S. Bach Society along with ballet, opera, Broadway musicals, summer “pops,” and private events. He taught at Huntsville State University and gained a reputation as one of the best flute repair craftsmen. After retirement, he played flute at Mission Dolores, in San Francisco, including playing for the visit of Pope John Paul II in 1987. In 1992, following Margaret’s death in 1991, Colvig married fellow flutist Julia Haug. To family and friends, David will be remembered for his music and his cheerful and loving nature, determined optimism, and good humor (including bad puns and bawdy limericks). His survivors, in addition to his wife, include three daughters: Anne Bier (with husband Allan), of Virginia, Minnesota; Sarah Colvig, of Korbel, California; and Kathleen Tobin, of Albuquerque, New Mexico; also stepdaughter Jennifer Sabroe of Martinez, California. Others surviving are a sister, Donna Straight, of San Jose; brothers Richard, of Oakland, and Ray, of Berkeley; grandchildren Asmeret, Laura, and Daniel Bier and Lisa Colvig-Amir (with husband Priotniel Amir); and great-grandson Damar Kamulyan Amir. —Raymond Colvig

erman flutist Karlheinz Zöller, former principal flutist of the Berlin Philharmonic and teacher of a generation of flutists Gin Hamburg and Berlin, died July 29, 2005, at age 81. Born into a musical family on August 24, 1923, Zöller studied in Frankfurt, where he grew up, and in Detmold with Kurt Redel. He was first engaged at age 17 by the Frankfurt Opera and Museum Orchestra in 1945. He won first prize in the Hessian Radio Young Artist Competition in 1949, followed in 1952 by the Kranichsteiner Music Prize. He won positions as principal flutist with the Northwest German Philharmonic (1950) and the West German Radio Orchestra (1952) in Cologne. In 1960 he was appointed principal flute with the Berlin Philharmonic and in 1961 became flute instructor at the Music Hochschule in Berlin, but resigned both posts in 1968 after an auto accident in South America while on tour with the Philharmonic prevented his continued playing. He recovered, rejoined the Philharmonic in 1976, and finally retired in 1993. From 1968 to 1985 he was flute instructor at the Hamburg Hochschule, where he team-taught the flute studio with his wife Gertrud, who died in 1985. He was professor at the Berlin Hochschule from 1985 until his retirement. He also taught summers at the Salzburg Sommer Academy. Among his many students are Slovenian flutist Irena Grafenauer, German flutists Andreas Blau, Roswitha Staege, and Michael Faust, and American flutist Brooks de Wetter-Smith. His discography includes chamber music of Bach and his sons, Händel, and Frederick the Great, plus music of Beethoven, Doppler, Kreutzer, Mozart, Haydn, and others. He also championed 20th-century literature and made recordings of works by Berio, Messiaen, Boulez, Zimmermann, and Maderna. For Sikorski he edited works by Hotteterre, Telemann, and Quantz, and produced a two-volume set of Modern Orchestral Excerpts for Schott. —John Bailey

haron (Juby) Stepson, 27, of DeWitt, NY, died in her home in Crescent Township August 4, 2005. Born Dec. 8, 1977, in SSyracuse, New York, Stepson graduated in 1999 with a BA in Flute Performance and Music History from the University of Michigan School of Music with highest honors. In 2002, she obtained her MM in Flute Performance from Carnegie Mellon University. She taught private flute lessons and performed as a freelance flutist with Erie Philharmonic, Akron Symphony, the Ohio Light Opera, and Youngstown Symphony Orchestra. She was a member of the National Flute Association. In addition to her parents, Peter and Barbara Juby, DeWitt, she is survived by her husband of two and one half years, Steven Stepson; a brother, Michael Juby, Buffalo, New York; a grandmother, Martha Hall, Alexandria, Virginia; and an aunt and three cousins in the UK.

Fall 2005 The Flutist Quarterly 15 Flutist_16.qxd 10/25/05 12:30 PM Page 16

THEHARTTSCHOOL music dance theatre Flute faculty: Janet Arms, Greig Shearer, and John Wion

Audition Dates 3 December 2005 20 January 2006 17 & 18 February 2006

Undergraduate programs in performance, music education, jazz studies, composition, music production and technology, music and performing arts management, music theory, music history, music theatre, actor training, and dance

Graduate programs in performance, music education, composition, theory, history, Suzuki pedagogy, and conducting

For information contact:

Office of Admissions The Hartt School University of Hartford 200 Bloomfield Avenue West Hartford, CT 06117

860.768.4465 860.768.4441 fax [email protected] www.hartford.edu/hartt Flutist_17_19.qxd 10/25/05 2:02 PM Page 17

AcrossAcross by Christine Cleary thethe MilesMiles News about flute club and flute choir activities throughout the United States

The 2006 Central California Flute Festival will be held on The CFC hosted JPFE last summer for their week in Saturday, March 25, 2006, at California State University, Annapolis. The CFC stayed at a hostel in the heart of Paris Fresno, from 8:15 a.m. to 6:30 p.m. The guest artist will be and performed at the American Church there. Its program Susan Milan. For more information, contact Teresa Beaman at featured American composers. For more information, [email protected]. contact Gail Vehslage at 410-867-7957 or [email protected].

The Central Ohio Flute Association at Ohio State Mark Sparks, principal flutist of the Saint Louis Symphony, University announces a return engagement by the Chris will give a recital and masterclass on October 30 to open the Norman Ensemble November 14 at 8 p.m. at Weigel Hall on Chicago Flute Club’s 2005–2006 season. The Annual the OSU campus. The program, “Ceil Kitchen,” features Student Competition will follow on November 13, with selections that take a peek behind the cupboard doors of students ages 9 to 18 competing. Last year’s Solo Artist early English, Irish, and Scots musical traditions at their Competition winners, Elizabeth Phelps (first place) and intersection with the culinary arts. Also featured will be Ellen Huntington (second place), will perform a recital on favorites from the Ensemble’s signature repertoire from January 15. Guest artist Jonathan Keeble of the University of Maritime Canada, Scotland, and Ireland, with an emphasis on Illinois joins the season on March 12 to give a recital and exploring points of contact with the music’s roots in 16th- masterclass. The season will wrap up with the Flute Fair on through 19th-century Europe. With flutes, pipes, guitar, April 30 including featured guest artist Amy Porter of the mandolin, mandola, harmonium, bass, percussion, drums, University of Michigan in a recital and masterclass. The and vocals, the Ensemble reaches across five centuries of tra- Flute Fair also features Brazilian flutist Celso Woltzenlogel in ditional, Renaissance, and baroque music. On February 13, a recital of Brazilian flute music. Piccolo events will be anoth- 2006, at 8 p.m. in Weigel Hall, the faculty recital series will fea- er highlight of the fair with a piccolo competition and mas- ture “Cosmos”: Katherine Borst Jones, flute, Jeanne Norton, terclass. Applications and further information are available harp, Mary Harris, viola, and friends will perform the music of online at chicagofluteclub.org. Libby Larsen. The program will include the world premiere of a piece for flute, viola, and harp; Aubade for unaccompanied Applications for the Gilbert Study Grants are now available flute, and other pieces by Larsen. The COFA Flute Festival from the Florida Flute Association. A Teaching Study Grant will be April 8, 2006, at Ohio State University; guest artist to in the amount of $1,000 will be offered in 2006. be announced. Competition, flute choir concert, and The grant will be awarded to an adult currently teaching exhibitor information is available at music.osu.edu/cofa, or more than 10 private students. Selection will be based on contact Katherine Borst Jones at 614-292-4618, 614-571-8820, commitment to teaching, reasons for wanting further study, or [email protected]. past contributions to students, and letters of recommendation from two current or past students or parents of students. The Charlotte Flute Choir is planning a Halloween concert, The grant receipient’s report of the funded event may be holiday performances in November and December, and a published in the Florida Flute Association newsletter. formal spring concert. Locations and dates to be announced. To receive a brochure/application, send an e-mail to For more information, visit geocities.com/charlotteflutes04/. [email protected] or [email protected] and put “Gilbert Grant” in the subject line. Include your name The Chesapeake Flute Choir, under the direction of Gail D. and mailing address. Vehslage, toured Belgium and France July 5–16. Ages of participants ranged from 13 to 58. The CFC performed four The Flute Society of Greater Philadelphia announces its concerts and were hosted in Belgium by the Jozef Pauly Flute 2005–2006 season. Highlights include a “Flute Spa” with Ensemble of the Jozef Pauly School of Music in Antwerp. Patricia George on October 1 and a masterclass with Ransom

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ACROSS THE MILES Wilson on April 29. Other events include a flute repair work- mid-January and are open to high school flutists and shop with Windworks Studio on November 12, and the adults. For information about upcoming events and/or an annual Open Members Recital on March 25. The Flute application, contact the choir coordinator, Mary Pope, at Society will also sponsor two student-only events, a mock 865-981-2906. audition and coaching on November 5, and a Student Ensemble Day on April 8. For more information on these and Recent activities of the Greater Cleveland Flute Society other programs, visit philaflutesociety.org. include a “Really Cool Event” at the Cleveland Heights Ice Rink and “Concert on the Balcony” at the Shaker Heights The Flute Society of Kentucky announces its 2006 Kentucky Nature Center on December 5, 2004. At the ice rink, members Flute Festival, to be held January 13, 2006, in Louisville. of the flute society bundled in many layers and provided Tadeu Coelho is the guest artist at the festival, in its skating music in an array of solos, trios, and quartets. The seventh year. Coelho will present a solo recital, master- concert at the Shaker Lakes Nature Center was well received class, and clinic. The preliminary round for the 2005–2006 by those who visited the grounds and wandered inside to competitions will be judged by recording, and the final warm up on a cool day. On October 24, 2004, Rhonda round will be judged at the festival. All registered participants Larson, hosted by GCFS, performed at the Cleveland Music also will have the opportunity to rehearse and perform School Settlement with an array of flutes and her “Virtual with a flute choir, attend other concerts and clinics Band.” Following the concert, Larson taught a masterclass. presented by Kentucky flutists, and visit the exhibit hall. The GCFS held its 2005 Composer’s Competition Concert There will be a separate set of events for younger students. on April 16 at Plymouth Church of Shaker Heights. The Required literature, competition procedures, forms, winning composition was Gary Schocker’s “Healing and deadlines may be found at FSKentucky.org. For Music.” Second place, “Song, Dance, and Meditation,” was more information, contact Stephanie Rea at awarded to Timothy Stulman, and the student first place [email protected]. composition was awarded to Amanda Stenroos. The 2005 and 2004 composer’s competition selections were Flutes Unlimited, a Chicago-area flute choir organization, performed by members of the GCFS Board. For more will host an open rehearsal for all interested flute players on information, visit GCFS.org. Saturday, October 22. Flutists may rehearse in any of three flute choirs. The Ltd. Flute Choir, an audition-only flute The Greater Portland (Oregon) Flute Society Members’ choir for advanced players, rehearses at 8:30 a.m. Both the Recital will be held on Sunday, October 23, at 2 p.m., at Symphonic Flute Choir, which is geared toward high school Portland State University, Lincoln Hall, Room 75. GPFS is and adult players, and the Tout Suite Flute Choir, which is a also sponsoring Trevor Wye and Clifford Benson in recital grade-school-age ensemble, rehearse at 10:30 a.m. The Friday, November 11, at 8 p.m., at Portland State rehearsals take place in the Music Wing of St. Xavier University, Lincoln Hall, Room 75. The program includes University, 3700 W. 103rd St., Chicago. The open rehearsal is part of the State of Illinois Arts Week. Flutes Unlimited has “Flutes Fantastic.” The Greater Portland Flute Society received grants over the past five years from the State of Flute Fair will be held on Saturday, April 1, with guest Illinois Arts Council and has been invited to celebrate in artist Matthias Ziegler. For more information, visit Illinois Arts Week this year. Call music director Jodi gpfs.org. McLawhorn at 773-509-4946 for further information. The 2005 Christmas Concert of Flutes Unlimited will feature all The Florida Flute Association will hold its 30th Annual three ensembles. Visit flutesunlimited.org for concert date Flute Fair State Convention January 27–29 at the Hilton and details. Orlando, Altamonte Springs. The guest artists will be Robert Langevin and Viviana Guzman. For more information, contact The Grace Notes Flute Choir hosted a Christmas Concert in Kristen Stoner at [email protected]. 2004 at the Blount County Public Library with four other flute choirs from the East Tennessee area. The choirs played The Hampton Roads Flute Faire will be held on February separately and together as a 35-piece orchestra. Many thanks 11, at the Old Dominion University and Governor’s School to Sue Swilley of Carson Newman and Ann Sterli of for the Arts in Norfolk, Virginia. The guest artist is yet to be Knoxville for conducting the event. The Grace Notes Flute determined. For more information, contact Patti Watters at Choir is a nonprofit flute choir located in Maryville, 757-486-1945 or [email protected]. Tennessee (Knoxville area). The choir has grown from a quartet to a standing choir of 12 to 14 flutists. Due to the The Hollywood Hills Flute Reading Group in Los Angeles positive response from the 35 area high school and adult (limited to 10 players per session) meets one Friday evening flutists who attended its first Winter Flute Workshop, the a month (not during summer) from 7:30 to 9:30 p.m., fol- Grace Notes will host another Flute Workshop in winter lowed by refreshments. This year the group 2006. Membership in the choir is by audition. Auditions celebrates its 10th anniversary. For information, call Nora are held from mid-August to mid-September and again in Graham at 323-874-4545.

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The Hot Springs Flute Ensemble will hold a Flute Ensemble anxiety by guest artist Jodi Sowers, and a recital featuring Festival and Masterclass with Prague flutist Zofie Vokalkova Nebraska flutists, festival clinicians, and the festival’s High on Tuesday, November 8, at 6:45 p.m., in the South Side School Honor Flute Choir. The NFC and the Ecoutez! con- Student Center at National Park Community College.For cert series at UNO will present flutist Dora Seres, 2005 more information, contact Jackie Flowers at 501-623-2139 Young Concert Artist winner, in a recital and masterclass or [email protected]. on March 21, in the Strauss Performing Arts Center at the University of Nebraska at Omaha. One or two masterclass The Ninth Annual International Flute Choir Festival will spots will be selected by audition. For more information, be held February 17–18, at Fresno Pacific University in visit nebraskafluteclub.org or contact Christine Beard, at Fresno, California. Guest artist Tadeu Coelho will present a [email protected] or 402-554-2685. solo recital. There also will be flute choir performances, masterclasses, performance classes for all attendees, flute repairs, exhibits, and a festival flute choir for individuals. The Raleigh Area Flute Association is proud to announce The fee is $15 per day, $25 for both days. For information, its 2005–2006 RAFA Season. Christine Gustafson gave a contact Janette Erickson 559-453-2267 or [email protected] concert and masterclass: “The Wind from the East, the or the Music Performance Foundation at 559-243-0303. Wind from the West,” featuring music of Taiwanese and Chinese composers, on Sunday, September 25. The 21st The Louisiana Flute Society announces the Louisiana Annual Review and Contest (scholarship competition) Flute Festival on Saturday, March 25. The festival will be will be Sunday, November 13, from 2 to 6 p.m. The Flute held at the University of Louisiana at Monroe, Louisiana. Fair, with guest artist Rhonda Larson, “Precious Metal, The guest artist will be Gary Schocker. For more informa- Crystal, and Wood—a Performance of Flute Music with tion, contact Sandra Lunte at [email protected]. Rhonda Larson and her Virtual Band,” will be Saturday, November 19, from 9 a.m. to 5 p.m. There will be participato- Magic Flutes Flute Choir will present a Winter Concert in ry classes, a masterclass, workshops, a concert, and December at St. Matthew’s Catholic Church in San exhibits. The Second Annual Solo Fest (graded repertoire Mateo, California. The concert’s program will feature examination based on scales, etudes, and solos) will be dances and will be repeated January 8, at the Foster City Saturday, March 11. Flute Choir Day with guest conductor Library in Foster City, California. Magic Flutes is directed Darlene Dugan will be Sunday, March 19, from 2 to 5 by Pamela Ravenelle. For more information, contact p.m.The RAFA Members’Recital featuring solos, small ensem- Ravenelle at 650-596-9606 or [email protected], or visit magicflutes.org. bles, and flute choirs will be Sunday, May 21, at 3 p.m. For more information, visit RaleighFlutes.org. Middle Tennessee State University in Murfreesboro, Tennessee, will host the annual Flute Festival MidSouth The Raleigh Flute Choir begins its 20th year with a concert in March 24–25. The featured guest artist will be Maryanne Carswell Auditorium on the Meredith College campus on Gedigian, flute professor at the University of Texas at October 16. As is the custom, the Meredith Flute Ensemble Austin. Competitions include the annual Young Artist will join the choir on one selection. The varied program of Competition, with a first prize of $1,000, the High School transcriptions and original works will feature the entire Soloist Competition, and the Junior High Masterclass flute family. On December 4, the choir will perform in Competition. Other events include presentations Ramseur, North Carolina. Its annual concert at the North and workshops selected from proposals, flute choirs, solo Carolina Museum of Art will be held December 18. and ensemble performances, exhibits, concerts featuring Another traditional event will be held January 1, 2006, area flutists, and performances by competition winners. when the flute choir will provide music for the 11 a.m. For more information, including competition rules worship service at Duke Chapel. and requirements, or to send proposals for workshops and clinics, contact Ruth Ann McClain at [email protected], The Texas Flute Society’s 2006 Flute Festival will be held or visit fluteconnection.net/ffms/06ffms.html. May 18–20, at the University of North Texas in Denton. Guest artists include Leah Arsenault, Nancy Clew, The Nebraska Flute Club held its second annual Flute Olympics and Flute Festival featuring guest artist Tadeu Christina Jennings, Liz Goodwin, and Jeanne Larson. For Coelho on Saturday, September 24, at the University of information, contact Erich Tucker at 817-907-8155 or Nebraska at Omaha. Coelho performed a recital followed [email protected]. by a solo masterclass for which performers were selected by taped audition. Additional festival activities included a Please send information about flute club activities to high school soloist competition, Flute Olympics for Christine Cleary, Flute Clubs Coordinator, 2022 Wedgewood junior high/middle school flutists, a class on performance Dr., Grapevine, TX 76051-7706; [email protected].

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STUDENT SPOTLIGHT by Jessi Rosinski Facing the Future Be honest with yourself, and hang on to your tribe. Those were the two most valuable bits of advice this student was given as she looked toward graduation and beyond.

work come from within. My inner work ethic has been an ele- ment of stability for me as I have grown as a musician, but I began to feel disconnected from these senses. It has always been important to me to place precedence on maintaining a levelheaded perspective, but it seemed harder to sustain my reasonable attitude. The confusion began to play a huge role in my life. I was completely weighed down by information I was receiving from outside myself and neglecting my personal commitment to my music and myself. During this period, I received two key elements of counsel that I have held close to my heart ever since. These ideas from two of my admired teachers helped me get back on track, reunite with my focus, and bring my thoughts to a new level of maturity that allowed me to grow as an artist. One of my teachers, Laura Gilbert, gave me the most pure advice. She told me to just keep working really hard and be honest with myself. This so simple, but there are very few days that go by when I don’t think about this. I was looking too far ahead and trying to prescribe my future. I was cor- nering myself in and trying to make a plan that was too spe- cific. I didn’t have to do that, and I didn’t have to allow oth- ers to try to control that for me either. I could focus on the musical process, the richness of quality work, and honest self-evaluation. I began to take the energy I was expending oward the end of my undergrad work I began to expe- on my worries and put it back into my commitment. rience some anxiety about the future. Like most students, I love working hard. I love the process and the development TI began seriously considering what I would do after I go through to reach the product. Laura’s words made me school. Should I go to grad school right away? With whom realize that I have permission to indulge in this. The process would I study? Had I made enough progress during my four can be a huge part of the plan, and I can use it to help find years of undergrad? Would I be good enough to enter the the best plan as well. field of music? What were my musical passions? What could When I enter a competition, play an audition, or take part I do to make a career in music? The list seemed endless, and in any musical activity, I remember this advice. I am think- constantly scrolled through my head. There were many ing about my dedication to the art. I am focusing on the more questions than answers. musical integrity of my preparation and my performance. In addition to my own musings, external pressures were That is my primary goal. I want the listeners to have a spe- adding up. Suddenly everyone was asking what I was going cial experience; I want the execution of my performance to to do after school or telling me what they thought I should be at a high standard, I want it to be a vehicle that commu- do. All the input was overwhelming. This caused me to nicates the musical ideas effectively. It is more important for become distracted and disconnected from my artistry. I me to go beyond myself and reach out to the music than to became bogged down by it all. take all the emphasis and place it on the final product. To Always one to be dedicated and internally motivated, I me, the path it takes to get to a winning performance is what enjoy being very focused on what I am doing and letting my is fulfilling and creates success.

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Elena Duran gave the second bit of guidance to me. She cease, especially in a life of music. There seems to be more taught me the importance of having a “tribe”—a support promise and assurance knowing that I will be plugging away, system of people to help keep me in balance. There will be trusting myself, and with my tribe. The challenges are much people who like what you do and there will be others who more inviting with these personal factors of stability. I was only find your weaknesses. Your tribe is the group that so daunted as I prepared to graduate college, but now I really appreciates your work. They can be constructive and inspir- enjoy the fact that I can actually expect and be prepared for ing. In other words, they are your fans. the unknown during my career. It is a constant opportunity While I was feeling overwhelmed, I began to think about for growth. I’ve discovered that I am lucky to be choosing a the members in my tribe. I have an endlessly supportive musical life. We all know it is a hard field, but it is a lifestyle family, several amazing teachers, and friends and colleagues, in which I will never stop learning. who all inspire me. It was vital for me to realize that envi- ronment is crucial. The people we surround ourselves with make a big difference in our attitude. Jessi Rosinski studies at the New England Conservatory with I think it is great to know who my core tribe is; to whom Renee Krimsier and Fenwick Smith. She won top prizes at I can look for constructive feedback, thoughtful advice, care, recent Pappoutsakis, New York Flute Club, and NFA and good times. It is also wonderful to know I am part of a Masterclass Performer competitions. Rosinski is a member of few tribes, too. Boston’s Callithumpian Consort and an artist in residence at I think about these things all the time. They are key concepts Harvard with the White Rabbit Ensemble. She has studied that I believe I will always hold close to me. We are living in an with Elena Duran, Laura Gilbert, Barbara Hopkins, and ever-changing world. Questions and challenges will never John Wion.

Editor’s Note: Our new department features insights, ideas, advice, and other information for and by students. The aim of Student Spotlight is to provide practical, meaningful content for young flutists from their peers, ranging from middle and high school students to college-aged flutists. Anyone who enjoys writing and considers the flute an important part of her or his future is welcome to contact us with article ideas and submissions.We also look forward to feedback and suggestions from adult flutists.

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THE INNER FLUTE

A Disciplined Life: by Hubert Laws Classical Training, Jazz Improvisation

or those who aspire to Leonard Bernstein, Zuben Mehta, Pierre Boulez, Herbert become a musician, an Von Karajan, Mark Levine, and other guest conductors. Fhonest assessment of Development and use of the flute tone as used in the one’s inherent talent should be symphony orchestra perhaps contributed to a distinctive primary. The rest is hard work approach when improvising in the jazz idiom—and perhaps out of which perfect practice to my garnering Downbeat critics and readers poll awards can yield perfect performance. from 1975 through the early 1980s. Quincy Jones flew me to Piano was my first instru- the West Coast for various projects; others sent me to ment, played by ear until my Europe for film soundtracks. The discipline applied from my mom enrolled me for lessons. classical training no doubt had an impact on my approach to Exposure to jazz came by way jazz improvisation. Focus on long tones for control of the of my elementary band sound continues to be my practice to this day. teacher, Carl Owens, who was a wiz. With funds from my My baptism into the Latin music culture occurred when I newspaper delivery route, I bought an alto saxophone. played with Mongo Santamaria’s band in 1963. We toured In high school, band director Sammy Harris exposed me throughout the United States and Puerto Rico. Appearing to jazz and classical music. I first connected with the flute in with Tito Puente, Tito Rodriguez, and Eddie and Charlie high school. The band needed a flute for the solo from the Palmieri were enjoyable experiences, and inspired me to William Tell Overture. My friend and schoolmate Sonny King begin writing and arranging for Santamaria. This proved to found an old flute in his attic and gave it to me to perform the be a most profitable venture. Royalties from those early days solo. To this day, that solo is inseparable from the flute in my continue to be a good source of revenue. mind. It was also in high school that I connected with the It was while working with Santamaria that I was acclaimed group the Jazz Crusaders, with whom I later toured. approached by a record producer, who signed me to Atlantic At Texas Southern University, I discovered that there was no Records. After three recordings, I was signed with CTI flute instructor, and it was left to me to find my own. I met Records. This company virtually changed the face of jazz Clement Barone en route to a Houston Symphony orchestra recordings during the early 1970s with its packaging and concert one evening and asked him for lessons. Clem taught image concepts, and with its elaborate use of strings and rich embouchure formation and overall mechanics of flute playing. arrangements to accompany jazz artists. In 1975 CBS Incidentally, for a small fee Clem transferred to me the Records signed me, and I enjoyed greater worldwide product ownership of his father’s Haynes flute, which he played in the distribution. This is when I formed Spirit Productions Inc. to Philadelphia Orchestra in 1910. He had me promise never to produce my own records and those of other artists. Although sell it. This promise has remained intact to this day. not taught in school, I learned quickly how necessary it is to A scholarship to the Juilliard School of Music landed me know the business of music as well as playing your instrument. in New York and began my private studies with Julius Baker. Since much of my life embraces belief in a supreme Much of Julie’s instruction was by demonstration. Many Creator who gives us this gift of music, the following counsel students fare better with more detailed coaching, but I from Hebrews 5:14 outlines advice for musical maturity in found that my advancement was best served by observation whatever field of endeavor chosen: “ … solid food belongs to during my connection with Julius Baker. His tone and those who through use have their perceptive powers trained technique were highlights for me. to distinguish both right and wrong.”“Solid food” is figurative During the first summer break at Juilliard, I auditioned for profound information. “Perceptive powers trained with Doriot Anthony Dwyer, who was first flute with the through use” highlights practice, which will yield results Boston Symphony, and I was accepted into the Berkshire from bad notes to good ones! Festival Orchestra at Tanglewood, where Leonard Bernstein introduced us to Aaron Copland and conducted Hubert Laws is a classically trained flutist who also is skilled his compositions. in jazz, pop, and rhythm-and-blues genres. He has appeared After finishing Juilliard, I remained in New York recording as a soloist with the New York Philharmonic, with the in various environments: TV commercials, Broadway shows, orchestras of Los Angeles, Dallas, Chicago, Cleveland, woodwind quintet concerts, orchestra concerts, and jazz Amsterdam, Japan, and Detroit, and with the Stanford recordings were typical events in a week. I was eventually String Quartet. He has performed at Carnegie Hall, at the hired by the New York Metropolitan Opera and New York Hollywood Bowl with fellow flutist Jean-Pierre Rampal, and Philharmonic orchestras from 1969 through 1972, often at the Montreux, Playboy, and Kool Jazz festivals. His Web sitting next to my mentor Julius Baker and performing with site is hubertlaws.com.

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“I think we concert givers must not always play sure shots”: Georges Barrère, Champion of New Music

by Nancy Toff

Flutist Georges Barrère emigrated to the United States one century ago this year, at a time when the center of musical creativity was beginning to shift west from Paris to New York. Both before and after his move, he was an outspoken advocate of new music, promoting it through established performing organizations, new-music groups, and his own ensembles. He never commissioned a piece; rather, he inspired new works.

o the Proustian flutist biting into the madeleine that is as composer, conductor, and musicians worked together in Georges Barrère’s life, the usual associations are the rehearsals. Debussy constantly modified the sound of the TGriffes Poem, which he premiered in 1919, and Edgard piece, trying minute variations until he felt it was right. Varèse’s Density 21.5, which was written for Barrère’s new plat- “The instrumentalists, familiarized with the new style, inum flute in 1936. Those two landmark compositions are, understood that we were going to do serious battle,” Doret however, but two of the more than 180 works that he pre- remembered. “Debussy was not unknown by the true dilet- miered, and some 50 works were dedicated to him by com- tantes, but the greater public was still ignorant of him.” 1 posers grateful for his artistry and advocacy. He pursued this Of the performance itself, Doret wrote, “An impressive interest in new music with existing mainstream organizations, silence reigned when our marvelous flutist Barrère unrolled his with the major new-music groups in Paris and New York, and initial theme. Suddenly, I sensed behind my back—it is a distinct with his own ensembles of various configurations. With a faculty of certain conductors!—the public was completely blend of intellectual curiosity, musicianship, and diplomacy, captivated! The triumph is complete, so much so that despite the he navigated the highly factionalized musical scene in both rule that forbade the ‘bis [encore],’ I did not hesitate to violate cities, and all the competing parties benefited from his renown. the rule. And the orchestra, carried away, repeated with joy the 2 SWITZERLAND

Barrère’s inclination toward new music began early, during work that they loved.” It was the 32-year-old Debussy’s great- , his studies with Paul Taffanel at the Paris Conservatoire in the est success to date—and the young Barrère’s, as well.

early 1890s. The master’s own chamber music society, the LAUSANNE , Société de Musique de Chambre pour Instruments à Vent, had Promoting the Jeune École been responsible for the premieres of 25 works for woodwind The Société Nationale was perhaps the most important of the ensemble in its 14-year existence (1879–1893). And it was chamber music presenters in Paris—in the years from 1871 to Taffanel who initiated the Conservatoire’s custom of commis- 1918 it was responsible for more than 400 concerts, mostly of sioning new works for the annual concours, or examinations. French music—and it was an influential force in promoting the While still a student—he was just 18—Barrère played so-called jeune école, or young school. Under its auspices, principal flute in the premiere of Debussy’s Prélude à Barrère also gave the first performance, with the soprano l’après-midi d’un faune at the Société Nationale de Musique Charlotte Lormont and pianist Blanche Selva, of Georges Hüe’s 3

on December 22, 1894. Barrère was present at the creation, song “Soir païen.” COURTESY BIBLIOTHÈQUE DU CONSERVATOIRE

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Another organization intent on promoting the young The Société Moderne d’Instruments à Vent French school was the Concerts de l’Opéra, and here too Immediately upon graduation from the Conservatoire, Barrère played a part. The Opéra, even more a symbol of Barrère began his own woodwind ensemble, the Société French musical conservatism than the Conservatoire, was Moderne d’Instruments à Vent (SMIV). Though his first two increasingly being criticized for its tired bel canto repertory, concerts, in the spring of 1896, were appropriately deferential to leavened with Wagner, to the near-exclusion of living the classics, for the third concert he brought in a recent work by French composers. In the spring of 1895 the directors of a woman composer, Hedwige Chrétien, a solfège professor at the Opéra conceived of a Sunday afternoon concert series the Conservatoire, as well as works of his contemporary designed both to reverse its stodgy image and to promote Georges Pfeiffer. In his second season, 1897, he ventured six the neglected young composers, who would gain a venue premieres in three concerts: a Sextuor by violist Albert Seitz, for the performance of their works at no cost. It was a public the French premiere of Reinecke’s Trio, Op. 188, for piano, 4 relations gesture on a bold scale. oboe, and horn, an Aubade each by F. Le Tourneux and Half of each program was given to the jeunes, the other Charles Lefebvre, and the Sextuor of Malherbe.9 half to a combination of historic and “modern” works, gen- His objective was clear: to continue Taffanel’s efforts to erally with an interlude of danses anciennes set to Baroque enlarge the woodwind ensemble repertoire. “Music was scores. Paul Vidal of the Conservatoire faculty recruited scarce for our combination and with the intrepidity of my 20 and auditioned an orchestra of 90 players, choosing years I dangled myself on every composer’s doorbell to Gaubert as principal flute and Barrère as second.5 induce him to write for us,” Barrère recalled. “This gave me At the fourth set of concerts, in January 1896, Gaubert and an opportunity to meet all the French composers of the day. Barrère were soloists in the premiere of Henri Büsser’s A la Villa I also wrote to composers throughout Europe and had some Médicis, Op. 4, a three-part symphonic suite. The Büsser was pleasant correspondence.”10 This strategy also gave the SMIV one of 17 premieres that season; of the 49 works in the series, 35 were by French composers, 22 of them living. But only five an edge over several rival woodwind groups, formed by former of those contemporary French composers had had a work members of the Taffanel group, in attracting critical and public staged at the Opéra.6 attention; though the other groups played their share of pre- Three weeks later, Barrère added an appearance on a mieres, they were far less zealous in their efforts to do so. concert of the Société des Compositeurs de Musique Barrère was not only enterprising in soliciting new com- (SCM) to his curriculum vitae, performing in the premiere positions, but shrewd as well. He worked with members of of Edmond Malherbe’s Sextuor for winds, which had won the establishment—Théodore Dubois, director of the the SCM’s concours for 1896.7 A pupil of Massenet and Conservatoire, that bastion of official taste, and Lefebvre, Fauré at the Conservatoire with a first prize in harmony, who taught the ensemble class—as well as his own contem- Malherbe would go on to win the Prix de Rome in 1899. In poraries. Among the latter was the violinist D.E. contrast to the Société Nationale, which represented the Inghelbrecht, fils, a fellow member of the Concerts de avant-garde of the day, the Société des Compositeurs de l’Opéra, whose Petite Suite for double woodwind quintet and Musique, founded in 1862, was more catholic in its mem- trumpet received its premiere at the SMIV on March 21, bership, encompassing nearly all styles and levels of composers, from popular arrangers to members of the Académie—though it was too conventional for Debussy or Satie. Ever since 1873 the Société des Compositeurs had run an annual composition competition, with a different instrumentation specified each year. A major goal was to pro- mote instrumental music in the face of competition from the operatic world.8 Several of the winning pieces made their way into Barrère’s reper- toire, and he performed at the SCM many times. In February 1901, for instance, Barrère played André Caplet’s quintet for winds and piano, which had just won the SCM prize, and in May of that year he joined organist Eugène Lacroix in Founded by Georges Barrère in 1895, the Société Philippe Gaubert and Barrère were the flute soloists the premiere of his 4 Pièces for flute Moderne d’Instruments à Vent premiered 61 works in the premiere of Henri Büsser’s A la Villa Médicis on

LIBRARY OF CONGRESS and piano. by 40 composers in its first 10 years. January 19, 1896.

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GEORGES BARRÈRE, CHAMPION OF NEW MUSIC 1902. The mature Inghelbrecht would write in his memoirs, 61 pieces by 40 composers.14 In 1905, when Walter “Once, young musicians were protected from their haste to Damrosch lured Barrère to the United States to become be published by the resistance of the publishers. If my first first flutist of the New York Symphony, leadership of the attempts had been published, I would have regretted it later.” 11 Société Moderne passed into the capable hands of Louis But Barrère had no regrets about supporting young Fleury; over the next 22 years the group was responsible composers, even when their early works might not stand for another 69 premieres, among them the Enesco Dixtuor the test of time, even if future generations might not consider and the Roussel Divertissement.15 them “Groveworthy.” Perhaps his greatest single contribution to the woodwind From Paris to New York repertoire was his collaboration with André Caplet, a rising Barrère lived in Paris when it was the undisputed musical star of their generation. Caplet’s first published pieces, capital of the world; he left for New York as the balance of Rêverie and Petite Valse for flute and piano, were issued by creativity was shifting west to a new metropolis. And he his hometown publisher, Hurstel of Le Havre, in 1897 and quickly found new opportunities to foster new music. dedicated to Barrère. Although Caplet had entered the The most mainstream presenter was his employer, the Conservatoire in 1896, just after Barrère left, he was a friend New York Symphony Orchestra (NYSO). In November of several SMIV members and studied with Xavier Leroux, 1919, Barrère and the NYSO gave the world premiere of also Barrère’s harmony teacher. While still a student, he the Griffes Poem. The young composer had been trying for became assistant conductor of the Colonne Orchestra, so some time to interest Damrosch in his works, but had been through one or both of these routes, the orchestra or the brushed off by his assistants. It was Barrère who succeed- closely knit community of woodwind players, he quickly ed in getting him a hearing with the Symphony, and he met Barrère. The flutist would become his greatest champi- worked closely with Griffes to perfect the work. on as a chamber music composer—well before Caplet forged The reaction of the critics was as much a measure of the his fruitful collaboration with Debussy—and the quality of times as of the piece, from the remarks on the work’s “ori- his music would in turn reflect well upon the Société ental” character, to the clichéd comments on the flute and Moderne. Indeed, Barrère’s colleagues credited him with its small solo literature, to the implicit and explicit hopes “discovering” Caplet as a woodwind composer.12 they expressed for the development of American com- Caplet’s inaugural performance with the Société Moderne, posers. Grenville Vernon of the New York Tribune wrote: on April 19, 1899, was glowingly anticipated by the newspa- “Compositions for the flute even when played by such a pers and journals. The Société Moderne played the Allegro splendid musician as Georges Barrère, do not as a rule give of his Quintet for piano and winds, still in progress. In rise to wild enthusiasm, yet, yesterday’s audience applaud- March 1901, the Société ed the work and the soloist for several minutes. The Poem Moderne gave an all- is a composition of such grace and variety of expression Caplet program that rich in melodic ideas and written with an unusual feeling included the full quintet, both for the solo instrument and for the orchestra. If which had just won the Americans can but continue to produce such works, all SCM concours; Feuillets talk of the unrequited native composer will be speedily set d’Album (five pieces for at rest. Mr. Griffes is a composer who will bear watching.”16 flute and piano, including Two years later, Barrère and the NYSO premiered Fête the two already published); galante, Op. 48, a work for flute and orchestra by David and the Suite Persane for Stanley Smith of the Yale faculty. In 1924, with oboe soloist double wind quintet. Pierre Mathieu, the same forces gave the U.S. premiere of By 1904, Barrère had Gustav Holst’s Fugal Concerto; in 1926, he debuted Daniel succeeded in obtaining a Gregory Mason’s Three Country Pictures,Op.9. subvention for the SMIV All of Barrère’s own chamber music ventures, beginning from the French Ministry with the Barrère Ensemble of Wind Instruments, founded of Fine Arts, in great part in 1910, promoted “novelties” as part of their attraction. because of his advocacy of With that group, Barrère gave the New York premiere of new French music. This the Dixtuor (which the SMIV had introduced in 1906) by was something of a Good Enesco, Barrère’s friend from their Conservatoire days. But Housekeeping Seal of he also began working closely with American composers, Approval, and the group among them Christiaan Kriens, a fellow member of the proudly trumpeted this NYSO; Seth Bingham, a New York organist with many endorsement in all its pub- French connections; Mabel Wood Hill, a New York com- licity.13 By the 10th season poser; Griffes; John Parsons Beach, another French-edu- of the Société Moderne, cated New Yorker; Daniel Gregory Mason of Columbia

In 1901, Barrère performed in Le Havre those efforts had resulted University; and Henry Cowell (whose suite the Barrère at a festival in Caplet’s honor. in the premieres of some quintet recorded in 1935). NANCY TOFF

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For the Spring 1930 New York series of the Barrère Little Symphony, which marked his 25th year in the United States, Barrère offered varied programs of classic and modern works, including seven premieres (one of which was canceled).

The Barrère Little Symphony of Still’s works—From the Black Belt (1927), Log Cabin The Barrère Little Symphony (BLS), a 13-man chamber Ballads (1928), and Africa (1930), and gave the New York orchestra founded in 1913, had an even more extensive rela- premiere of the Suite from Sahdji (1936). At the premiere of tionship with composers, among them John Alden From the Black Belt, Barrère, with his typically impish sense Carpenter; New York Philharmonic violinist Arcady of humor, warned the audience that Still was a pupil of Dubensky; Poldowski, daughter of the Polish violinist Henri Varèse. His scare tactics failed, though, as F. D. Perkins point- Wieniawski; Mabel Wood Hill; the Boston classicist Mabel ed out in the Herald Tribune: “his music, after starting with a Wheeler Daniels; Mary Howe, an impressionist composer suggestion of jazz, seemed unlikely to shock conservative and music patron in Washington, D.C.; and his old friend ears. The ensuing music proved tuneful and showed skill in Edgard Varèse. the use of instrumental sonorities....”18 Indeed, they were suf- Announcing his three Sunday night programs for the ficiently approachable for Barrère to play Still’s works in spring of 1927, Barrère noted that they were linked by a com- community concerts across the country. Still dedicated mon endeavor: each would have a work by an American Africa “To Mr. Georges Barrère as an expression of gratitude woman composer—and, the press noted, “American male for his kindness and encouragement.”19 composers will also be represented,” among them NYSO and A December 1932 concert of the Little Symphony was typ- BLS violist Giulio Harnisch and Quinto Maganini, Barrère’s ical. It featured the first performance of the Fifth Avenue Suite former student, then his colleague in the NYSO.17 All of the by Ruth Coleman Caldor, a local schoolteacher; Pupazzi,Op. programs demonstrated Barrère’s singular skills as program 36, by Florent Schmitt, who was visiting New York at the time; maker, affording pleasure and novelty, and as raconteur, pro- and a repeat performance of Still’s From the Black Belt.After viding informal commentary that lent an air of intimacy and the concert there was “A Talk and Debate on General Musical friendliness to the proceedings—and provided an unthreat- Subjects.” Barrère pulled a chair up to the footlights and ening setting in which to introduce the public to new works. counseled his listeners, that they must support modern music The composer who perhaps derived the most benefit from and young composers.“Don’t dislike music only because it is in Barrère’s interest was the African American composer the new idiom,” he said, “because sooner or later you will be William Grant Still, a former student of Barrère’s good accustomed to that method of writing, and will get to suspect 20 NANCY TOFF friend Varèse. The Barrère Little Symphony premiered three new compositions done in the conservative manner.”

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GEORGES BARRÈRE, CHAMPION OF NEW MUSIC “Right away I thought, Now what could be grander than if some day so great a player would play a piece that I would write?”

New Alliances illustrated by the reaction at times of a conservative wing of In 1932, Barrère and two Paris Conservatoire friends, cellist contemporary musicians who have considered the League Horace Britt and harpist Carlos Salzedo, formed a trio that far too much to the ‘left’ and too experimental; and that of a inspired several works: Boris Koutzen’s trio, Wallingford very radical group which has berated the organization for Riegger’s Divertissement; and a Triple Concerto by Bernard being ‘so reactionary’!”21 Wagenaar, a colleague on the Juilliard faculty, which received Reis, a pianist trained at the Institute of Musical Art and a its premiere with Barrère-Salzedo-Britt and the Philadelphia formidable organizer, worked tirelessly on behalf of composers: Orchestra under Eugene Ormandy in March 1938. Each of “Today, music is generally heard under conditions which the performers wrote his own cadenza. An expanded group, have almost obliterated the composer as the raison d’être of the Barrère-Britt Concertino, gave the 1938 premiere of the a program. The interpreter is the object of attention, the quintet for flute, string trio, and piano, by David Diamond, magnet for the audience.”22 The marquee performers, then a student of Nadia Boulanger at the American School at Barrère included, lent their prestige to the organization, but Fontainebleau, commissioned by the League of Composers. it was the composers whom Reis really cared about. It is a Several of the premieres for which Barrère was responsible nice twist that the first League program included Roussel’s were the result of his long and mutually beneficial associa- Divertissement for piano and woodwinds, which the Société tion with the Lady Bountiful of American chamber music, Moderne had premiered in 1906.23 Elizabeth Sprague Coolidge. Josef Hüttel’s Divertissement In 1930, Barrère appeared at the League in the premiere of grotesque for woodwind quintet and piano was the winner of Wallingford Riegger’s Suite for Flute Alone, Op. 8, which the Coolidge Foundation prize in 1929, and the Barrère shared the program with works of Nicolai Berezowsky, Ensemble and Harold Bauer premiered it at the Library of Carlos Chávez, Dane Rudhyar, and Jerzy Fitelberg. There was Congress that fall. It was Coolidge who commissioned the some irony in the venue for the Riegger premiere, for Roussel Trio, Op. 40, which Barrère premiered in Prague Riegger was more aligned with the radical avant-garde of the with violist Lionel Tertis and cellist Hans Kindler in October time, and his institutional affiliations were the International 1929. The U.S. premiere of Mario Pilati’s flute sonata took Composers’ Guild (1921–27), Pro Musica, Henry Cowell’s place at the Chicago Festival of Chamber Music, which New Music Society, and the Pan American Association of Coolidge sponsored in 1930, and she also arranged for the Composers (PAAC), founded in 1928, for which he served as world premiere of the Hindemith flute sonata at the Library treasurer. In a gesture of musical ecumenism, the Suite for of Congress in 1937. Flute Alone was premiered at the League but published in Cowell’s journal New Music. The League represented a more New Music in New York moderate wing of the new music movement, sometimes Barrère was involved with most of the new music organizations called the “Boulangerie” after the neoclassical students of the in New York, of which there were a multitude. He avoided French pedagogue Nadia Boulanger. Nevertheless, Riegger the internal conflicts that plagued the International was grateful for the League’s efforts. He wrote to Reis, “In Composers Guild (ICG), founded by his friends Salzedo and stressing the more progressive side of creative music (in such Varèse, but he was very much involved with the League of a way as not to offend the more conservative minded) you Composers, founded by a group that resulted from a schism have done a valuable service to music in America.”24 in the ICG. After the American premiere of Schoenberg’s In 1932, Barrère returned to the League for the U.S. Pierrot Lunaire at the ICG in 1923, the members gave a premiere of Jean Cartan’s Sonatine for flute and clarinet; in second performance—a violation of the Guild’s bylaws, 1933, he introduced the Small Suite by Suzanne Bloch, with which specified that it would offer only first performances, the composer at the keyboard. An impressionistic work in no repetitions. the French style, it demonstrated the results of her training By March, Claire Reis, previously executive secretary of with Nadia Boulanger. The New York Times critic could not the ICG, along with several composers, philanthropist Alma resist the admittedly “low temptation to say that it was a chip Wertheim, and publicist Minna Lederman, had formed the of[f] the old Bloch”—for the composer was the youngest League. “The new League preferred to repeat good works daughter of Ernest Bloch.25 rather than to present compositions too immature for public performance,” Reis later wrote, and it is often argued that Angels and Devils second performances are more important than first hearings. Barrère also gave his time to the Pan American Association The League also had an open-minded view of what modern of Composers (PAAC), a group founded in 1928 by Varèse, music should be. As Reis and Marion Bauer explained some Henry Cowell, Chávez, Carl Ruggles, and Emerson years later, “The success in attaining this goal is perhaps best Whithorne. With a membership that included composers

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from throughout the Americas, it was a group determined to make American, not European, musical history. In February 1933, Barrère was soloist in the premiere of Henry Brant’s Concerto for Flute with Orchestra of 10 Flutes (three piccolos, five C flutes, and two alto flutes), with 10 of his Juilliard students serving as the “orchestra.”Brant had arrived in New York in 1929 to study composition at Juilliard. “I heard about Barrère and I heard him play and right away I thought, Now what could be grander than if some day so great a player would play a piece that I would write? … It seemed to me that he did things that no violinist I’d ever heard or cellist was able to.… Tone quality, of which he had more than most string players had, and ability to phrase and ability to change tempo slightly or not very slightly the way few people can do it.”26 Like the League of Composers, the PAAC permitted, even encouraged, multiple performances of new works. Thus it was on course when it reprogrammed the Brant Concerto in December 1933, along with Ruggles’s Angels and the Divertissement for flute, cello, and harp by Riegger, which was written for Barrère-Salzedo-Britt. Angels,origi- nally written for six trumpets, was rescored by the com- poser for the occasion, and this was the premiere of the flute version. The criticism of the concert said as much about the

reviewers as it did about the music. The World-Telegram Barrère’s platinum flute, made in 1935, was the first one made in the United began, “A bunch of the musical boys whipped it up over at States. Varèse wrote Density 21.5 for the instrument, and Barrère premiered the the New School for Social Research last evening before a work on February 16, 1936. gathering of some of New York’s alertest watchers of the Cowell was an informal businessman at best). Despite the tonal horizon.” The Riegger, it continued, was “a Pandora’s cooperation of such prestigious names as Barrère, it could not box of surprises that included the buzzing device of inserting a survive. It died, essentially, of neglect. strip of paper among the strings of the harp.” But it gave the Much of the repertoire played at the PAAC did survive, performers their due: “The masterly playing of the new however. The Brant Concerto endures in a revised version ensemble transmuted Mr. Riegger’s coiling atonalities into a known as Angels and Devils, which has become a staple of glittery chain of sound.” 20th-century flute choirs. The Riegger, though seldom per- Leonard Liebling of the New York American was more formed today, was published in manuscript facsimile by the supportive of the entire endeavor: “Lest we forget our American Composers Alliance, later in edited form by American composer[s], special concerts of their works are Peters, and also survives on record. In November 1933, arranged from time to time by various producing centers Henry Cowell proposed to Charles Ives, the principal backer and groups. Some of them feel prompted by patriotism, of the nascent New Music Quarterly label, that they record others by motives of propaganda, and a few are influenced the Ruggles, Brant, and Riegger, since they were already in purely by musical conviction. However, no matter what rehearsal for the PAAC concert and would lend the fledgling 29 the impulse, such concerts give continued ambition and label the prestigious names of Barrère and Salzedo. Ives was courage to our native tonal creators.”Noting that the program unsympathetic to the Brant, which he knew nothing about.30 was “strongly flutish,”he wrote, “one suspects that Georges Cowell responded with a curious lack of confidence, “I agree Barrère’s kindly assistance has something to do with its with you that Brant had better wait, although his work for 11 character.”27 flutes is interesting, and it may never be in rehearsal again.”31 The Pan American Association fought the good fight The Ruggles was ultimately rejected as well. Barrère-Salzedo- through 1934, but it was plagued by infighting. As Henry Britt recorded the Riegger on December 31, 1933, and it was Cowell, admittedly a rival in the new music arena, noted,“their issued on NMQ’s second release, in April 1934. work is marred by constant intrigue, politics, and a very nar- 28 COURTESY NANCY TOFF row and cliquish range of likes and dislikes.” Moreover, the Solo Recitals , PAAC lacked both the financial backing of the high-society For all his involvement in chamber and orchestral music, types who had supported the European-oriented ICG and per- Barrère also was an innovator in solo recitals. His two

JULIA DENECKE manent, consistent management (Varèse had returned to Paris; recitals in the Salle des Quatuors Pleyel in February 1903,

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GEORGES BARRÈRE, CHAMPION OF NEW MUSIC with pianist Celiny Richez, may well have been the first flute other Baroque masters; even the smaller works of Chopin, recitals in Paris. The second one featured the premiere of a Leroux, and Godard. Most of all, though, he inspired a new substantial flute sonata by Henry Woollett, Caplet’s teacher generation of works for flute: the most enduring by Gaubert, in Le Havre.32 Caplet, Roussel, Varèse, Griffes, and Riegger; and others, less In New York, Barrère continued to give flute recitals, most known but of considerable musical interest, by Seitz, notably a three-concert series in Steinway Hall in January Goldman, Woollett, Wagenaar, Wailly, Lefebvre, Marion 1926 with harpsichordist and pianist Lewis Richards. The Bauer, and many others. core of those concerts was the first traversal of the Bach It is a measure of his stature that he never commissioned sonatas in concert in the city, but they were surrounded by a piece; there is no evidence that any money ever flowed the U.S. premieres of several European works: the Ibert Jeux, from flutist to composer. He asked for new works, inspired the Philipp Jarnach Sonatine, Op. 12, the Milhaud Sonatine, them, promoted them, and did everything but pay for them. and Roussel’s Joueurs de flûte. The results gave him enormous satisfaction. As he wrote to Many of those recitals took place at the New York Flute Nicolai Berezowsky, “I am very well known for my champi- Club, one of whose goals, as stated in its certificate of onship of Modern compositions and I am proud of my incorporation, was “To encourage the composition and record on this line.”35 dissemination of music for the flute.”33 Both solo and An adventurous spirit served Barrère well. He was willing ensemble pieces, works of flutists and nonflutists, had to take a chance on himself, on his audiences, and most of their first hearings at the club. The climax, perhaps, came all on composers. “I think we concert givers must not in December 1938, when Barrère gave an ambitious recital always play sure shots but give a chance to new composers of “New Music for Flute.” Opening the program was to be presented to the general public.”36 A vastly expanded Gaubert’s Sonatine, dedicated to Barrère and listed as repertoire for flute, woodwind ensembles, and chamber “new, first time.” Also dedicated to Barrère and receiving orchestra is the happy result. > its world premiere was Marion Bauer’s Five Greek Lyrics (also known as Forgotten Modes) for flute alone, a work © 2005 by Nancy Toff based on Greek modes. Yoritsune Matsudaira’s Sonatine Nancy Toff’s most recent book is Monarch of the Flute: The was next, followed by the New York premiere of Eugène Life of Georges Barrère (Oxford University Press, 2005). In Goossens’s Three Pictures for flute and piano and the world 1994 she was curator of the exhibition Georges Barrère and the premiere of Richard Franko Goldman’s Divertimento, Flute in America at the New York Public Library for the with the composer at the piano. Performing Arts, for which she wrote the catalog. For her Perhaps Barrère’s most famous premiere took place not research on Barrère she has received the Music Library at a recital, but at a benefit concert for the Lycée Français Association’s Dena Epstein Award for Archival and Library of New York at Carnegie Hall on February 16, 1936. His Research in American Music Association and grants from the old friend Edgard Varèse wrote a three-minute work for Sinfonia Foundation and the American Musicological Society. solo flute to commemorate Barrère’s new Haynes plat- inum flute. Density 21.5, which Varèse dedicated to Notes Barrère, was the first in the literature to employ audible Locations of concert programs, flyers, and pamphlets are not key slaps, and it has become a veritable cornerstone of the indicated in the notes for lack of space; the author will provide 20th-century flute literature. But at its debut it was incon- citations to researchers who need more specific information. gruously sandwiched between the Hüe Serenade and the Performance and publication details for works dedicated to Godard Allegretto on a program that also featured Lily and premiered by Barrère can be found in the author’s Pons, Léon Rothier, and pianists Gaby and Robert Monarch of the Flute: The Life of Georges Barrère (New York: Casadesus, and it was all but ignored. Oxford University Press, 2005), appendixes 1 and 2. The Herald Tribune, for example, reported, “This pleasant rhapsody took three minutes to play in the latter part of The following abbreviations are used in the notes: the program.” Pitts Sanborn wrote unhelpfully in the BNF-M: Bibliothèque Nationale de France, Departement World-Telegram, “This brief monody … might be a half- de Musique remembered fragment of ‘Tristan’ heard through the pensive NYPL-M: New York Public Library Music Division 34 pipe of an Anatolian shepherd.” Endnotes An Adventurous Spirit 1. Gustave Doret, Temps et contretemps: Souvenirs d'un musicien (Fribourg: Editions de la Librairie de l'Université, 1942), 95. From his earliest days as a professional flutist, Barrère made 2. Ibid., 96. Doret noted that the triumph did not prevent some of Debussy’s biogra- enormous efforts to raise the level of literature for his instru- phers, intent on making the composer a musical martyr in the best romantic tradi- ment, discarding potboilers in favor of meaty works by tion, from writing that the Prélude was hissed at its premiere. That event occurred, Reinecke, Widor, Enesco, and Milhaud; the suites and however, when the Colonne Orchestra first performed it, on October 13, 1895. Barrère referred to this same Colonne incident, in a talk to the New York Flute Club sonatas of Bach, Handel, Marcello, Rameau, Couperin, and in March 1923, as an example of audience intolerance for a work that later became

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a classic; see The New York Flute Club, Inc. (May 1923, pamphlet in author’s col- 17. F. D. Perkins, “Little Symphony Program Varied in Second Recital,” NY Herald lection). Nor did Doret’s account prevent the false assertion attributed to Marcel Tribune, March 21, 1927. Moyse and members of his family that he had played the premiere; Moyse was only 18. Ms. in William Grant Still and Verna Arvey Papers, University of Arkansas, box five years old at the time, though he may have played in the 1912 Diaghilev/Nijinsky 93, folder 7. ballet production, which indeed provoked something of a scandal. 19. Leonard Liebling, “Variations,” Musical Courier 105 (December 10, 1932): 19. 3. SNM program, January 25, 1902, summarized in Michel Duchesneau, L’Avant-Garde musicale et ses sociétés à Paris de 1871 à 1939 (Sprimont: 20. Marion Bauer and Claire R. Reis. “Twenty-five Years with the League of Mardaga, 1997): 262. Composers.” Musical Quarterly 34 (January 1948): 2. 4. See Elinor Olin, “The Concerts de l’Opéra, 1895–1897: New Music at the 21. Penny Thomas, “Claire Reis: Advocate for Contemporary Music” (Ph.D. diss., Monument Garnier,” 19th-century Music 16 (Spring 1993): 253-66. University of Florida, 1991), 3. 13 5. Records of Concerts de l'Opéra, Archives Nationales de France, AJ 1294, 22. The League of Composers: A Record of Performances and a Survey of General folder III. Activities from 1923 to 1935 (New York: League of Composers, [1936]). 6. Olin, “The Concerts de l’Opéra,” 256, 259–60. “Jeunes compositeurs joués pen- 23. Riegger to Reis, September 7, 1930, League of Composers Collection, NYPL-M, 13 dant ces concerts,” ms. list in ANF, AJ 1294, folder II, Concerts à l'Opéra 1869- box 6. 1895, lists 15 premieres; Erlanger’s St. Julien is included in the master list of per- 24. H. H., “Composers Give Native Works,” NY Times, February 6, 1933. formances but not indicated as a premiere; it omits the Saint-Saëns Symphony No.1 in E-flat. 25. Henry Brant, oral history interview, February 5, 1995. 7. Annuaire de la Société des Compositeurs de Musique (Paris, 1897), 20; “Courrier 26. “Play Modern American Music,” NY World Telegram, December 12, 1933. de la semaine,” Monde Artiste 37 (March 14, 1897): 174. 27. Leonard Liebling, “Research School Sponsors Program of American Music,” 8. On the SCM see Laure Schnapper, “La Société des Compositeurs de Musique,” New York American, December 12, 1933. RIMF 16 (April 1985): 95-106, and Laure Schnapper, “Société des Compositeurs de e 28. Cowell to Ives, March 14, 1934, Cowell Collection, NYPL-M, folder 479. Musique,” in Dictionnaire de la musique en France au XIX siècle, ed. Joël-Marie Fauquet (Paris: Fayard, 2003), 1156–59. 29. Cowell to Ives, November 8, 1933, Cowell Collection, NYPL-M, folder 478. 9. La Musique de Chambre Année 1896. Séances Musicales donnés dans les Salons 30. Ives to Cowell, November 12, 1933, quoted in Rita H. Mead, Henry Cowell's de la Maison Pleyel, Wolff et Cie. (Paris: Salons Pleyel, Wolff & Cie, [1897]): 90, 110, New Music 1925–1936: The Society, the Music Editions, and the Recordings (New 133; La Musique de Chambre Année 1897. Séances Musicales donnés dans les York: UMI Research Press, 1981), 256. Salons de la Maison Pleyel, Wolff et Cie. (Paris: Salons Pleyel, Wolff & Cie, [1898]), 31. Cowell to Ives, November 14, 1933, Cowell Collection, NYPL-M, folder 478. 44, 68, 135. 32. “Chronique de la semaine,” Guide Musical 49 (March 1, 1903): 187. The com- 10. Georges Barrère, Georges Barrère (New York: privately printed, [1928]), 5. prehensive listing of SNM programs in Duchesneau, L’Avant-Garde musicale, 270, 11. D. E. Inghelbrecht, Mouvement contraire: Souvenirs d'un musicien (Paris: states incorrectly (apparently based on the SNM program) that the Woollett was pre- Domat, 1947), 259. miered at the SNM’s concert no. 362, March 27, 1909, Salle Érard, by Philippe 12. Édouard Flament, “Société Moderne d'Instruments à Vent,” ms., BNF-M, Res. F. Gaubert and Lucien Wurmser. 1569. 33. Certificate of Incorporation, The New York Flute Club, Inc., NYFC Archives, 13. Revue Musicale 4 (February 15, 1904): 112; Lola M. Allison, “Georges Barrère,” NYPL-M. Flutist 2 (March 1921): 340. 34. “Pons and Boyer Aid Benefit for Lycée Français,” New York Herald Tribune, 14. Société Moderne d’Instruments à Vent 1895–1905 (Paris, 1905), Dayton C. February 17, 1936; Pitts Sanborn, “Pons Sings at Benefit for Lycée,” NY World Miller Collection, Library of Congress. Telegram, February 17, 1936. 15. Société Moderne d’Instruments à Vent, 1926 brochure, André Caplet collection, 35. Barrère to Berezowsky, October 1, 1932, Berezowsky Collection, Columbia BNF-M. University, folder 76. 16. “Barrère Symphony to Introduce Novelties,” Musical America 43 (February 20, 36. Barrère to Coolidge, March 25, 1930, Elizabeth Sprague Coolidge collection, 1926): 38. Library of Congress, box 5.

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by Barbara Highton Williams At a time when professional women flutists were rare and their opportunities even rarer, Frances Blaisdell flourished— as a performer, musician, and student of Georges Barrère.

rances Blaisdell might be the oldest living student of legendary flutist Georges Barrère. In this centennial- Fyear celebration of his arrival in the United States, it was a privilege to talk with her about him, her other teachers, and flutists of an earlier era. Blaisdell was an active part of the New York musical scene for 50 years. In 1930 she became first flute, under Leon Barzin, of the National Orchestral Association, and soon after, joined Barrère to play Bach’s Brandenburg Concerto No. 4 under the baton of Walter Damrosch at Madison Square Garden. She was first flute in the New Opera Company, under Fritz Busch, and in the New Friends of Music under Fritz Stiedry, and was soloist at Radio City Music Hall. In 1933, she played first flute in the orchestra when Stokowski conducted the opening concert of the new Juilliard School. In 1937 she was refused an audition for the opening as assistant first flute of the New York Philharmonic, but 25 years later became the first woman wind player to play (as extra) in that orchestra. With her husband, clarinetist Alexander Williams, she and three other Philharmonic players formed the Blaisdell Woodwind Quintet, which toured the East Coast and had a regular series on NBC and CBS radio. In the late 1930s, she played numerous con- certs with soprano Lily Pons. During the war, she played on Broadway, and later taught at Mannes, the Manhattan School of Music, NYU, and the Dalcroze School. In 1959 she became principal flute of the New York City Ballet. She has taught at Stanford University since “retiring” from New

York in 1973. PHOTO COURTESY FRANCES BLAISDELL 34 The Flutist Quarterly Fall 2005 Flutist_34_41.qxd 10/25/05 2:34 PM Page 35

BHW: I understand you began your flute studies at the office, and you tell zem I want you, and, if nécéssaire, you tender age of 5! have full scholarship. Comprenez-vous?” I understood FB: Yes, my father, who owned a lumber business, was an very well! I can remember gathering up my flute case— amateur flutist. He had played an eight-key wooden Meyers didn’t bother to take the flute apart—I just got out of that flute, until he went to the University of Pennsylvania in room, my heart pounding, and rejoicing so much, so dif- Philadelphia in 1905 and came across a Boehm system flute. ferent from the way I had walked up 10 minutes before! So On examining it, he was sure it must be better than his, and down I went to the lobby, all the time saying, “I’m in, I’m bought it. But he didn’t buy a fingering chart. He just figured in!” The secretary sent for the registrar, a very grim it out for himself. The fingerings he worked out were actual- person. I told her what he’d said, and she said, “I think it is ly harmonics. And that’s what he taught me, starting me out a great mistake! A great mistake.” on the piccolo. When I was 11, my father wrote to Ernest Wagner to ask him if he would teach “my Jim.” (My father BHW: Would you describe Barrère’s class lessons? had been terribly disappointed that I was a girl, and always FB: Amazing. They were 60 minutes to the dot. He never called me Jim.) Mr. Wagner saw me and said, “No. I won’t looked at his watch that I remember. But you never got any take a girl, because there is nothing she can do with it. It extra time. He was busy. He didn’t have it. Barrère was a nat- would be a waste of my time and of your money.” My father ural, and a great teacher, though not in the traditional way. said, “Your time will not be wasted, nor will my money,”and He couldn’t explain how to produce a beautiful tone, but you insisted that I play for him. So I did, and Mr. Wagner asked, learned by listening to him. I heard [a student ask him], “Who taught the little girl?” My father was so proud of me it “Could you help me with my tone?” And Barrère said “No, was pathetic. But, of course, everything was wrong—tongu- you figure it out for yourself—you’ll remember it much bet- ing, fingering, everything. But Mr. Wagner agreed to try me ter.” That’s a pretty big order.… I played with a fast nanny- for six initial lessons. I had to learn everything over from the goat vibrato, which he hated, and so did I. He said, “Sing! beginning. It would have been so much easier for both of us Can’t you sing?” And angry about it, you know. And meekly if my father had never taught me anything. I would say, “Mr. Barrère, how do you sing?” And he would pick up the flute and play something like the Orpheus, until BHW: Tell us about how you came to study with Georges Barrère. FB: In 1928 I applied for admission to the Institute of Musical Art in New York (the undergraduate school of the future Juilliard). I was given a date to audition for Mr. Barrère. As I walked into the foyer, a woman [at the] desk said “And what can I do for you?” I said, “I’m Frances Blaisdell, and I’ve come to play for Mr. Barrère.” She said, “You’re Francis Blaisdell!? Oh, there must be some mistake … We expected a boy.… Every student accepted into this school is a potential professional musician, and there’s noth- ing you can do with it, because there is not one woman play- ing any instrument in any orchestra anywhere in the world. So there is no future for you at all, and we would lose our investment. I am sure you understand….” I said, “No, I do not understand. I can’t go home and tell my father that I did- n’t play for Mr. Barrère. Can’t I even play for him?” And she said, “Well, the time has been reserved. I guess you can play for him, but he will not take you. I want that understood.” So I climbed the long stairs up to his studio, with such a heavy heart, and just about in tears, to think that I was going to be denied this opportunity just because I was a girl. I’ll never forget the shock when he opened the door. I came from a farm in New Jersey, where all were everyday, ordinary New Jersey people. And there stood this man, very tall, with a full black beard (unusual in 1928) and glasses without rims on a black ribbon. And he said, “Come in. Your name?” He was very much annoyed that I had no accompanist. And I could hardly understand him, he had such an accent. He let COURTESY NANCY TOFF , me play my piece all the way through—and you can guess— it was Chaminade, our well-worn friend. When I finished, he just looked right through me with Georges Barrère, circa 1941. “He had a presence,” notes Blaisdell.

ED TREUTEL PHOTO those little black beady eyes. Finally he said, “You go to zee

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FRANCES BLAISDELL: LIVING LINK TO GEORGES BARRÈRE

Barrère was a fixture of the Berkshire Blaisdell appeared in a classic series of early This method for beginners by Blaisdell’s first teacher, Festivals of Chamber Music, where he music concerts at the restored Colonial Ernest Wagner, was published in 1918. Wagner played performed with Blaisdell. Williamsburg in Virginia. in the NY Philharmonic from 1900 to 1928.

you would just melt, it was so gorgeous, and I had no idea BHW: What was he like? how he did it. Then when I went to Moyse, he said the same FB: Barrère had a very high opinion of himself (as he thing—“The vibrato is too fast!” I said, “I know. What should should have). He really wanted us to call him “Maître”—I I do?” “Well, you sing. It should sound like a singer. You never could quite bring myself to do that. He was always shouldn’t be conscious of the vibrations. It should be a warm, “Mr. Barrère” to me. At that time, and for many years, if singing tone.” you were not a Barrère student in New York, you had very And when I went to Kincaid, he said, “The vibrato is too little opportunity. He controlled the market completely. fast.” I thought, “If he tells me to sing, I’m going to hit him The [number one teacher] before Barrère had been Carl with my gold flute!” But he didn’t. Kincaid was something Wehner [first flute in the New York Philharmonic]. I never else. He had an analytical mind, and he could say to you, heard him, but I have heard that he was a fine player. Mr. “Two plus two is four because…” He could spell things out, Wagner used to talk about him a lot. It was very sad and there are some of us who have to have it spelled out. It because his pupils dropped him like a hotcake [for was just wonderful. He said, “There’s a muscle in your Barrère]. Everyone wanted the new French school, so dif- throat with which you cough, and that controls the speed ferent from the heavier German style. Barrère had such of the vibrato.” And he said, “Now play this little exercise: gorgeous sound … mellifluous. It wasn’t always [uniform- start on C and play chromatically down through low G, ly] sweet. It was lush, and beautiful, and big, but he had a four notes to a beat, four beats to a measure, four pulsa- thousand colors. And he could change it so much—it was tions to a beat, 16 pulsations to a measure, at [MM=] 72, just wonderful what he could do with that. I don’t think I and no tone, just like a little tea kettle whispering on the ever heard a flute player who was his equal. And I wasn’t the stove, and get that perfectly even with the metronome.” only one who thought so. It was remarkable … just beauti- And then the same thing again: “Don’t make it hard. All ful, what he did. He wore a great big fedora. He looked you do is say, ‘Ha ha ha ha ha ha.’ ” A throat staccato. And wonderful in it. With that big hat and his beard, he was a the next step is the same production, but you put the sup- commanding figure. At parties, time after time, he would COURTESY NANCY TOFF port under it and it’s more of a “Whoo whoo whoo whoo come into a room, and a silence would come over the , RIGHT

whoo whoo.” But it has to be controlled. Kincaid would crowd. He had a presence. He told me that he worked very ; have us [apply this controlled vibrato to] things like Handel hard to keep his French accent—that it was one of his sonatas—any slow movements. And that settled that prob- biggest assets when he went on the road. lem. But Barrère had no idea how to teach vibrato. He was a very warm and caring man, but kept a profes- sional distance. BHW: So at that point, it was all repertoire? FB: That’s right. Of course, we did all the Bach sonatas; we BHW: Did he give you great moral support throughout your COURTESY LIBRARY OF CONGRESS did much Handel; and the Mozart concerti, and Quantz; career? , and then there were a lot of French things, like the Fauré FB: Oh, yes. All the students at Juilliard adored him. We felt Fantaisie and the Enesco Cantabile and Presto. He played a he took a personal interest in each one of us. But there was

great deal, and that was the wonderful thing, to hear that. one incident in the spring of 1932. At Christmastime in 1931, LEFT AND CENTER

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Juilliard had put on a children’s opera called Jack and the Beanstalk. And it was so successful, even up there at 120th Street, that they decided to take it down to Broadway, where we played it for about a month. Of course it was a union job, and I made a lot of money for those times. “I don’t think I ever heard a flute player who was his equal.” And always in the back of my mind had been the thought I would like to go to France and study with Gaubert. There was a contest in New York, for which I was hoping to play, called the Naumburg, and you had to memorize two concert programs, and the committee would choose from those pro- grams. You could win a New York recital, probably Town Hall, and a contract with a manager, and a tour through the United States. It was a big prize. That year the committee had decided to include winds [for the first time], although the will stated it was for strings, piano, and voice. So I was work- ing very hard on these two programs with Mr. Barrère…. And I walked into my lesson one day and I said, “I’m going to France this summer to study with Gaubert.” I was so stu- pid! The temperature in that room fell about 30 degrees in one split second, and his eyes narrowed and he said, “You have the best teacher in the world right now! Why would you think of another?” And I said I thought it would be a won- derful experience to go to France, and I’d always liked Gaubert’s music. He said, “Go to France, but don’t study.” So I said,“I don’t think my family would support that idea.”And he said, “Well, are you trying for the Naumburg prize? I can’t Blaisdell’s active career spanned 50 years, but she continues to teach since arrange for you to win that, but I can arrange for you to lose “retiring” in 1973. it. And if you go to France you will not win that prize.” I was stunned … and said,“Very well. I don’t go to France.”And we recognition. And when I went for my next lesson, he knew went on with the lesson. I’d played that, and he just held out his arms, and gave me a Well about a month later, the [Naumburg] family took the great big hug, and the [tension] was all over. committee to court and said their father did not want winds competing for this prize, and we were not allowed to play. BHW: Tell us a bit about your later studies with Kincaid. And I went to France. There I met [someone who] knew FB: He of course was a Barrère student, too. But Kincaid also Gaubert well, and said “I’ll set up an audition for you.” learned a great deal from [Philadelphia Orchestra oboist] Gaubert was a tremendously respected flutist and musician. Marcel Tabuteau, who was such a great artist, and disciplined [But he said that] he didn’t teach in the summer, adding “And everybody around him. I heard more than once that at a I couldn’t care less about an American girl flute player.”So that Philadelphia concert, when the strings were going too high, was out. But [the friend arranged for an audition with Marcel Tabuteau would come out after intermission and give a much Moyse]. So I played for Moyse, and studied with him. lower A than the 440, just to bring them down—(laughs) right in the middle of a concert! And people like [Julius] BHW: Was there a radical difference in what you brought Baker told me that when he played at Curtis and Tabuteau back? was coaching the woodwind quintet, Tabuteau demanded FB: I had had three lessons a week, and there was an enor- much from those people, and got it. I know that he worked mous improvement in my technique. Barrère was disap- with Kincaid a lot after he went into the orchestra. And to get pointed that I had studied with another teacher and the les- into the Philadelphia Orchestra, Kincaid had to do a piano sons were uncomfortable all that fall. But I was playing in the and theory audition for Stokowski! He didn’t want just a flute National Orchestral Association, which Leon Barzin con- player. He wanted a good musician. Kincaid was a wonderful ducted. And at the December 1932 concert, when the vio- man. I loved him very much. I didn’t study with him regu- lin soloist was indisposed, I was asked on short notice to larly… because by then I was busy with a family, and with a

COURTESY FRANCES BLAISDELL play Mozart’s D Major Concerto. From this I got a lot of career. It’s not easy to juggle both, you know.

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FRANCES BLAISDELL: LIVING LINK TO GEORGES BARRÈRE

After Barrère had a stroke in August 1941, Blaisdell The Berkshire Festivals of Chamber Music, in Pittsfield, Massachusetts, were run by patron Elizabeth took his place in the newly formed Barrère Trio, with Sprague Coolidge. Most of the performers signed the program for Coolidge, but for some reason, Frances which she toured nationwide. Blaisdell did not.

BHW: What impact did he have on your playing? door closes, another opens. And there always seemed to be FB: Well he got that vibrato straightened out. That was the something. I played a lot of chamber music. I played a lot of biggest thing. And a much more open tone, because he was things with ensembles like the Gordon Quartet, which was a a first flute in the orchestra, and knew what that meant … recognized, fine quartet. I played at the Library of Congress to build up that sound, whereas Barrère was more of a with them. There was the New Opera Company. There were chamber music player. My technique was pretty well estab- always interesting things to do. I never lacked for work. lished by that time. We worked some on it, but not a lot. I learned grouping from him. [Editor’s note: See John C. BHW: How did you avoid becoming bitter, and not lose Krell, Kincaidiana, p. 31, published by the National Flute your wonderful sense of humor, and contentment, and Association.] This was always so helpful in the ballet, when generosity? we did the big works and never had much time to rehearse FB: Well, I had no reason to be bitter at all! I had so many them. They were hard—a lot of Bartok, and things like opportunities. I could only be grateful. Sometimes it was dif- that. Without that grouping I would have had trouble. I ficult, especially at the beginning. Very difficult. I remember am not a writer, but I’ve often thought that I might like to when I was first starting out. At first, after I’d played the solo write a book about these four great teachers, because the with the Philharmonic, and another with the National contrast was so interesting. And each one had much to Orchestral Association, I had lots of opportunities because I offer. But certainly the giant of them all was Barrère. No was sort of a freak, and people couldn’t imagine a girl flutist. question about that. But then opportunities dried up. I too had to earn my living. It was Depression time, and my family couldn’t help me BHW: Back to your career—I know you weren’t allowed to much at all. So I got quite depressed, and I remember going play in the New York Philharmonic for a few decades after with a friend one night to see Porgy and Bess. And when I that initial breakthrough as soloist under Barzin, and that heard that song, “I got plenty o’ nuthin,” it just … I don’t after you played with Stokowski for the opening of the know why it spoke to me so much, but it just seemed to Juilliard, he couldn’t get you into the Philadelphia break the gloom! And I thought, well I’ve got plenty of Orchestra. How did you cope with that kind of rejection? nuthin’, too! There was always so much good around me. COURTESY LIBRARY OF CONGRESS FB: I remember Stokowski saying, “I would like to take you And my mother was so supportive … that was a big help, to , to the Philadelphia Orchestra, but I would never get you past have that support, always. So, I never was bitter. the board of directors, and the women on the board would be the ones that would fight you the most.” Amazing. BHW: You were married to [the late] Alexander Williams, RIGHT AND CENTER first clarinetist of the Philharmonic. ; BHW: Why? FB: Yes.He was the assistant first when we were married, and FB: (Laughs) When I was young, [women] didn’t like to then he became first. Then he went to the NBC Symphony as [see] women as soloists. They wanted men. It was more solo clarinet with Toscanini for the last 10 years of the

interesting for them. I wouldn’t say I expected it, but I was orchestra. So we had a wonderful life, and he especially, COURTESY NANCY TOFF ,

not surprised. But you know, almost always in life, when one because he had no prejudice to fight, the way I did. He was LEFT

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Barrère frequently presented his students, including In October 1944, Blaisdell was chosen to play the New York Flute Club’s memorial concert for Georges Blaisdell, at concerts of the New York Flute Club, Barrère. He had died the previous June. Above and right, the front and inside of the program. which he founded in 1920.

“Almost always in life, when one door closes, another opens. And there always seemed to be something. I never lacked for work.”

18 when he went into the New York Symphony with Walter businessman. He wouldn’t have understood that I had to play Damrosch conducting, and from there he went to the Christmas day, and holidays, and nights, and Sundays. But Philharmonic, and from there to NBC. So all his life, he Alex, of course, understood. It was a little hard when I was played the best music with the best conductors in the best playing the ballet [beginning in 1958-59], because we had halls with the best soloists in the world. And as an orchestral eight performances a week and many rehearsals, and I had musician, you can’t ask for more than that. And he thor- two children then—John was there. But I had Mondays off, oughly enjoyed it all. He adored Toscanini. For many, he was so I remember on Mondays I used to cook a roast or bake a very disagreeable to work with, but Alex loved him. ham or a turkey. So I had the nucleus of a meal, and then if I were teaching, I could just add a baked potato, and a veg- BHW: How did you manage the “juggling” of family and etable or salad. So we had dinner… and then I’d go off and career? play the ballet. I would wait on the bridge until the train FB: Well, that was hard, too, because I had met Alex when I came in (we were now living in Middletown, New Jersey) to was 18 and he was 23, and he had a good job, and wanted to make sure Alex got off it, because the children were alone in be married, and I didn’t want to be married. I’d been bitten the house. And then as soon as I knew he had come home, I by this career bug, and I felt I couldn’t juggle both, unless I would drive the 50 miles to New York. It’s amusing now when were well-established. And so I went on, and he’d get very I look back, but it didn’t always seem that way. We worked at much annoyed, you know…. We would play a job together, it, and it all worked out. and then we would start having dates again, and he’d say, “Let’s be married now!” And I would say, “No I’m not ready BHW: Let’s back up a moment and talk about your career in yet.” Finally, when I was 25, he said, “I am going to ask you the earlier years. once more, and I’ll never ask you again.” So I said, “All right. FB: In 1932 I started playing with the Phil Spitalny Girls’ This time I’ll say yes.” We’d been married about six years Orchestra, and we had the General Electric Radio Show every before Alexandra was born. I had a chance to get used to the Sunday night on NBC, and that paid $29.70 a week. Thirty one role before I added still another. When she was only 5 cents was taken out for Social Security, believe it or not. So months old, he was drafted. Ninety dollars a month from the that was the mainstay of my support, and we played some government wasn’t enough to pay the rent in New York. But vaudeville, but not a lot. But when we did, it was $72 a week I soon got a show, and there was a wonderful older woman in more, and that was big money in those days. Living was our apartment building (at 116th Street and Riverside cheap. I paid six dollars a week for a room in New York. I Drive), who came down at seven o’clock every night and sat shared an apartment with three other girls on 112th Street there until I got home at midnight, for a dollar each night. So near Broadway, and food was inexpensive. So it was easy to

COURTESY NEW YORK FLUTE CLUBit ARCHIVES all worked out. I couldn’t have had a career married to a save money to go to Europe in the summer.

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FRANCES BLAISDELL: LIVING LINK TO GEORGES BARRÈRE

This 1953 program included the premiere of Anis This advertisement appeared in the music press in 1946. At the time, Blaisdell was pursuing a busy career as Fuleiman’s Sonata for flute and cello, Debussy’s soloist and chamber musician. Syrinx, and the Martinu Trio.

Then there were things like the job at Radio City Music And then, I had a fascinating experience with the Bach Hall. They made a beautiful gold lamé dress for me and I Circle, organized by harpsichordist Yella Pessl. We gave played five shows a day there for two weeks. They wrote a wonderful concerts in Town Hall. All these things took special little piece for me, and I stood at the very back of the time, of course, to rehearse, and I loved doing that kind of stage, and there were two Rockettes on either side of me— playing. We played a lot of other places, too. We never went for decoration, I guess! There was an eight-bar intro when I further than Indianapolis. But we did small tours and we was to walk from the back of the stage up to the footlights…. played in the New Jersey–New York area. And there was the And the first day, when that curtain opened, and I saw that New Opera Company, conducted by Fritz Busch; and the vast, enormous, tremendous auditorium, all black, I just New Friends of Music, organized by the president of froze, absolutely terrified, and one of these Rockettes said, Bloomingdale’s, whose wife was Hortense Monath, a “Get going, kid, and smile.” And I did both those things. pianist whose career he wanted to launch. We did mostly (Laughs) After a couple of shows it was easy, of course, but Mozart and Haydn symphonies with [conductor] Fritz I’ll never forget that experience. I just assumed I was walking Stiedry. Almost all in the orchestra were refugees. This was into the caverns of hell or something. It was awful. (Laughs) when so many were coming from Vienna. They were fine That must have been 1934 or ’35. musicians, and played so well. Stiedry was very demanding, Then I did quite a little work in the studio of Frank but he did a great job. And there were many, many small LaForge, I think the best accompanist in New York. He choral societies around the New York area, in New Jersey, mainly played for Metropolitan Opera singers. And one Connecticut, and so on. I would play a group of solos at day he said to me, “Lily Pons is coming here next week for their concert, and then an obbligato with the choir. I did a a rehearsal. I am playing for her New York recital, and she lot of that. needs a flutist. You come to that rehearsal, and if she likes you, maybe she will want you to play the recital.” And I played for her for a number of years. BHW: What a varied and wonderful career! FB: It’s been quite a ride! > BHW: What was she like? FB: She was just lovely … so beautiful. She didn’t even have to Barbara Highton Williams is a freelance flutist in Princeton, sing. She could just stand there, and the audience would have New Jersey, where she maintains a private studio, and teaches gone wild, they loved her so much. And she made such a beau- at Westminster Conservatory. She thanks Nancy Toff and tiful picture. But it was the hardest job I think I ever had, because Alexandra Hawley for helpful background and editorial you can’t wait until you hear the voice. That’s too late. [You have] assistance. to be in perfect sync with the voice. So I memorized everything she did, things like the mad scene from Lucia, and just watched Editor’s note: This article was adapted from an interview her very carefully, because I could tell a little bit, and anticipate published in the April 2005 issue of the New York Flute Club what she was going to do. I never had any problem. We did some newsletter © 2005 by the New York Flute Club, Inc. The origi-

recording, too, and there is a CD still available. nal interview will be available at nyfluteclub.org. COURTESY NANCY TOFF

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“I couldn’t have had a career married to a businessman. But Alex, of course, understood.” ERPLTNOEAARCHIVES OPERA METROPOLITAN

Frances Blaisdell and Lily Pons appeared together often in concert. Here they perform for the open- ing of the French pavilion at the 1939 World’s Fair in New York. OREYFACSBLAISDELL FRANCES COURTESY

Bruno of Hollywood took this publicity photo. R TOFF IRA

In 1992, Blaisdell (center) spoke about her life at a standing-room-only concert of the New York Flute Club. On hand to celebrate were her granddaughter Allison (left) and daughter Alexandra. RNE BLAISDELL FRANCES RNE BLAISDELL FRANCES , OREYNNYTOFF NANCY COURTESY , OREYNNYTOFF NANCY COURTESY

From the earliest days of her career, Blaisdell won repeated critical plaudits for her solo and cham- ber music performances. Blaisdell and husband Alexander Williams, circa 2000.

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ARTIST DIPLOMA PROGRAM Flute Performance

Featuring Artist-in-Residence Jonathan Snowden

Faculty: Offered in partnership with Karen Johnson Rebecca Collaros

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The Brazilian

by Tadeu Coelho and Julie Koidin Choro Historical Perspectives and Performance Practices

alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful.

Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together toward broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and toward the creation of a more vibrant Choro’s limited dissemination is furthered by its lack of musical culture? Should such a culture comprise only accurate printed music. The vast majority of sheet music materials imported from Western Europe? Should it not publications have accompaniment that is written in a lead synthesize musical repertories, of various kinds, from all sheet format, i.e. chord symbols over melody. Without a over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics. Although most musician’s accurate musical interpretation. sources credit the beginnings of the style (which later led to the establishment of choro as a genre—see below) to Historical Background Joaquim Calado in the second half of the 19th century, it has The lundú dance arrived in Brazil with the first African slaves only recently begun to receive formal research and analysis. brought by the Portuguese during the end of the 16th and Its aural tradition of study and performance practice has the beginning of the 17th centuries. The first reference to it contributed to its regionalism. In the past, it was difficult to dates from the 1780s. The lundú was a sensual dance from encounter enthusiasts of choro outside of its birthplace, Rio the regions of Angola and the Congo. It was so sensual that de Janeiro. Even with the availability of recordings and by the end of the 18th century it was considered indecent. printed music, the essence of the performance practice of By the late 19th century, however, it had grown to become choro is difficult to obtain without experiencing firsthand accepted as either a dance or song format at all social levels. the medium in its native environment. From the time of its emergence into Brazil to the beginning Musicians who perform choro, known as chorões, use the of the 20th century, the lundú was transformed by its expressions balanço, ginga, and malandro to indicate the contact with other Brazilian dances. This transformation proper feel and attitude for the performance of choro. A was hastened by the many European influences on direct translation of balanço is awkward, but suffice it to say Brazilian culture, including the introduction of the polka, that the word indicates a “swing” to the music, much like a around 1845, and the Spanish habanera, a result of Spain’s veteran performer of jazz would “swing” music otherwise advances in the continent. Another dance, the modinha, indicated as two even eighth notes. The literal translation of was eventually combined with the lundú. The modinha, malandro is “scoundrel,”and applies to the soloist who takes unlike the lundú, was a slow lyrical and sentimental song,

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usually referring to a distant past, and popular in the royal In its infancy as a style, choro was primarily a way of Portuguese court during the 18th century. In Brazil however, performing European dance music, such as waltzes, polkas, it went from the court to the streets, with the guitar as its schottisches, and mazurkas, rather than a genre unto itself. primary instrument.2 Its newly created renditions of European dances were mixed At the end of the 19th century, still another dance arose— with the syncopation and flair of Afro-Brazilian music.9 By the maxixe—a mixture of the lundú and the modinha, with the beginning of the 20th century, choro had developed into syncopated rhythms linked to the habañera.3 As the first urban an independent genre, as an outgrowth of the performance dance of Brazil, arising from ballrooms, it was also the first practice, having its own distinctive characteristics. truly “Brazilian” development in music. The most common Originally, amateur musicians performed choro in a terno instrumentation was piano solo or a trio consisting of flute, (trio) or pau e corda (group consisting of flute, guitar, and guitar, and cavaquinho.4 Although the maxixe had certain cavaquinho). The flute played the ornamented melodies, consistent characteristics, such as a fast 2/4 tempo, and a major while the guitar and cavaquinho provided the improvised tonality, it was without a defined formal structure. It was, how- harmonic and rhythmic accompaniment as well as the ever, most often set in variation form or a ternary ABA. melodic counterpoint.10 Since there were no written arrange- The maxixe was considered a risqué dance, and in fact, ments, each instrument randomly alternated between solo outlawed. Some composers of this period would often dis- and accompanying parts. Later on, with the famous collabo- guise their maxixes for publishing by calling them tango ration between Pixinguinha and Benedicto Lacerda, two of brasileiro in order to meet choro’s most illustrious wind general social acceptance. This players, the countermelody period was a time in Brazil The word choro was introduced to choro. when ballroom dances It is possible that the became extremely popular, in Portuguese comes from freedom of the instrumental and the necessity grew to solo line of choro paved the either copy or create new the verb chorar, which way for improvisation to be music. Thus the maxixe later included in its performance lent its influence to other means to cry or weep. practice. Additionally, or Brazilian music forms such as alternatively, the rise in the the samba, choro, and the bossa nova. Modifications to the improvisatory nature of choro was possibly due to the prac- form came about naturally and informally in that it was tice of embellishing the melody as was happening concur- primarily amateur musicians who played these forms of rently with North American jazz. Virtuosity, therefore, devel- music in their free time. oped to a high level, and continues to be a hallmark in the style,11 although, with Calado, we already see the virtuoso The Choro element taking shape. The choro represents the height of Brazilian nationalism, After the turn of the century, new instruments such as having its birthdate estimated to be between 1867 and the bandolim (Brazilian mandolin), piccolo, clarinet, saxophone, early 1870s. According to José Maria Neves, the choro is the trumpet, baritone, and trombone were integrated into the most authentic manifestation of popular Brazilian music.5 groups as solo instruments. According to Tinhorão, it was Choro, as a genre, was born of the unconscious necessity to during the 1930s that percussion instruments were also nationalize foreign music—not to repeat it, but to create a added to the choro.12 Lyrics were added to some of the unique musical identity.6 It is probably a good analogy with most popular choros (Tico-Tico No Fubá, Carinhoso, the national dish feijoada, where a lot of different ingredients Lamento) during the 1930s and ’40s, as an influence of the are thrown in to make the stew. North American big bands.13 According to Thomas Garcia, The word choro in Portuguese comes from the verb chorar, “It is an ironic twist that great choros were preserved by the which means to cry or weep. Some experts suggest that the very change in popularity and foreign influence which music gained its appellation because of its occasional melan- precipitated its decline.”14 choly sound (although its character is often jovial). Other sources trace a connection with the Afro-Brazilian dances or Choro Performers parties called xolo, or with the Charamelas, instrumental fra- Flutist Joaquim Antonio da Silva Calado Júnior ternity groups that performed at certain religious activities (1848–1880) is traditionally credited as the founder of the and at occasional private parties. The Charamela musicians original choro group, introducing the flute as a solo were referred to as Charameleiros or Choromeleiros and they instrument in this genre. Not only is the first choro group used the Charamella, a double reed instrument in their attributed to Calado, but the first choro composition as groups.7 A connection to the Latin, chorus melleus, or sweet well. Querida por Todos (Loved by All) was published in sounds, is another possibility.8 By the end of the 19th century, 1869, subtitled “Polka,” and dedicated to Chiquinha the word choro was also used to designate instrumental Gonzaga (1847–1935). This composition merges polka, groups comprised of cariocas (natives of Rio de Janeiro), Spanish habañera, and the Brazilian maxixe.15 who would perform tangos, waltzes, and polkas in serenades Calado’s group consisted of flute, cavaquinho, and two and at family gatherings and popular festivities. guitars. Other musicians, such as Viriato Figueira da Silva

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THE BRAZILIAN CHORO: HISTORICAL PERSPECTIVES AND PERFORMANCE PRACTICES Brazilian: light, syncopated, and enjoyable for the performer and audience alike. Probably the most influential composer in the preservation of choro during the 20th century was the flutist Alfredo da Rocha Vianna Jr. (1897–1973), or Pixinguinha, as he was more commonly known. Unquestionably the most prolific choro composer in history, Pixinguinha has composed the majority of the most popular choros for flute, namely Um a Zero, Naquele Tempo, Vou Vivendo, Segura Ele, Tapa Buraco, Ingênuo, Chorei, Lamento, Urubú Malandro, and Carinhoso, among others. Benedicto Lacerda (1903–1958), composer and flutist, was a contemporary of Pixinguinha. With his popular group Conjunto Regional appearing regularly on radio and recordings, Lacerda was influential in the choro milieu. He was a leading force in establishing the “correct” swing for choro by being more faithful to the Brazilian feel without the intrusion of styles such as polka and ragtime. In addition to Julie Koidin and Altamiro Carrilho in August 2005. his role as bandleader and flutist extraordinaire, Lacerda also spearheaded the copyright laws for musicians, and headed (1863–1934) and Chiquinha Gonzaga (1847–1935), were the Brazilian musicians’ union. Beginning in 1945, Lacerda, important contributors and frequent guests. Considered the on flute, teamed up with Pixinguinha, on tenor sax, to form successor of Calado, Viriato was an accomplished flutist, but one of the most famous duos in choro history. Their style of not a prolific composer. Mentored by Calado, Gonzaga was melody and counterpoint has been preserved in 34 record- ings on the RCA Victor label. These recordings, which key in the development of the choro. It is probable that Lacerda negotiated along with publishing contracts, helped Calados’s early death prompted Gonzaga to pursue the choro promote Pixinguinha’s music anew at a time when even further. In 1889, he composed a Brazilian tango entitled Pixinguinha was in a financial crisis due to a decline in Só no Choro. This is one of the first instances in which the word work16 In exchange, Pixinguinha agreed to include Lacerda's “choro” appears in print. name as “co-composer” on approximately two dozen of his The pianist/composer Ernesto Nazareth (1863–1934) already composed works.17 expanded Calado’s pioneering work in popular urban music by employing a style of playing that resulted in a Altamiro Carrilho “delayed downbeat,”three-plus-three-plus-two units and a Probably choro’s greatest flutist of all times, Altamiro fine sense of wit in his compositions. As a silent movie Carrilho is also a prolific choro composer. Carrilho, born in pianist in a famous movie theater in Rio, Nazareth was 1924, was a young musician at the height of choro’s popularity also influenced by American ragtime, Argentinean tango, (mid 1940s), and has accumulated a wealth of experience and the Spanish habañera. playing with Brazil’s most famous musicians, including Pattápio Silva (1880–1907) is perhaps the only flutist of Pixinguinha and Lacerda. Carrilho began playing the flute mulatto origin to acquire national fame in the classical genre (bamboo) at age 5. At 11, he played in the “Banda Lira de around the turn of the century in Brazil. In 1888, when Silva Arion” with his uncles and cousins. At 12 he began to study was just 8 years old, Brazil became the last country in the the flute, and finished his course work in only two years. Americas to abolish slavery. He struggled throughout his life At age 15 he recorded his first album. On many occasions for social acceptance because of his mixed ancestry. In 1901, he he substituted for Lacerda, and accompanied famous singers moved to Rio de Janeiro, where he worked as a barber and later such as Francisco Alves, Orlando Silva, Vicente Celestino, in a printing shop. He finally gathered enough courage to audi- Sílvio Caldas, and Augusto Calheiros. He succeeded Lacerda tion at the National Institute of Music, studying with Duque in the popular group Regional do Canhoto (formerly known Estrada Meyer (1846–1905), the most famous flute teacher in as the Conjunto Regional Benedicto Lacerda). Brazil at the time. Silva completed the six-year course require- According to Carrilho, he has more than 110 recordings, ments in only two years, graduating in 1903. At the final exam, most of which are now out of print, and more than 200 he received the Institute’s first prize and the gold medal. compositions, and has toured Europe and the Americas. Although he had a very limited output, he captured the hearts Carrilho indicated that he was most influenced by flutists of his audiences. His compositions, written in the style of salon Dante Santoro and Lacerda, but his style emerged from lis- pieces of the Romantic period, are technically demanding and tening to a variety of music, including American and reflect his incredible virtuosity. The music portrays European European jazz, Dixieland, Scott Joplin, and classical, which influences as the subtitles imply, but the character is truly he combined into one style he calls his own.18 Altamiro’s

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style is based on his sense of humor and his love of per- provides both chordal and rhythmic accompaniment forming. Playing in a “teasing” manner—in Portuguese, as well as the bass line. The bass line contains runs, brincando—is key to his musical personality. Carrilho providing a melodious line called the baixaria.The often uses this term to describe his style and the necessity baixaria line is akin to the contrapuntal bass lines found in of having fun with the music. Baroque music.21

Formal Structure of the Choro Ex. 122

Form and Harmony Rhythmic Accompaniment Having a strong lineage from the European dance idioms, choro patterns its harmonic and melodic structure after its close relatives. The majority of choros are in rondo form, ABACA, with each section approximately the same length and in a 2/4 time signature. If the piece is in a major key, the B section would move to the dominant, parallel or relative The rhythmic accompaniment is crucial to choro’s style, and minor, or tonic, and the C section would be in the subdom- consists of several “standard” figures, as noted below. In inant or dominant. If the choro is in a minor key, the C section some choros, to specify the accompaniment style, a descriptive might move to the parallel or relative major.19 Initially, the subtitle appears on the sheet music, such as “choro-maxixe,” harmonies were not complex, and used the contemporary “choro-polka,” “choro-tango,” “choro-samba,” “choro harmonic language as did the modinha and lundú. schottisch,” and “choro-baião.” According to Altamiro Although standard progressions are still used, I-IV-V7-I in Carrilho, there are more than 20 “styles” of choro.23 major, and I-III-VI-II-V7-I in minor, for example, current composers and arrangers are branching out to Below are examples of how a rhythmical accompaniment include chord substitutions and chromaticism, found in might be provided by a guitar or piano.24 contemporary classical music and jazz. Contemporary stylistic fusions abound, with groups such as Rabo de Lagartixa and Nó em Pingo D’Água not only incorporating Ex. 2 Choro Maxixe Accompaniment funk and rock into their arrangements of traditional and newly composed choros, but also adding nontraditional instruments such as electric or acoustic bass, and eliminating the seven-string guitar. Conversely, and perhaps heralding from choro’s earliest days of setting European dance tunes, Henrique Cazes and Carrilho are two notable arrangers who have remained within the boundaries of traditional choro harmonies and instrumentations to accompany non-choro melodies. Cazes has produced choro albums of the Beatles and Ex. 3 Choro Polka Accompaniment J.S. Bach, while Carrilho has recorded well-known classical repertoire by Chopin, Bach, and Beethoven.

Melody The vast majority of choros begin with pick-up notes, usually starting in the second beat (in 2/4), with three 16th notes, an eighth and 16th note, or simply, an eighth note. It is conceivable that the pick-ups assisted the accompaniment musicians, who did not read music, as a preparation for the performance.20 In general, melodies are outlines of the harmonic accompaniment, with chromatic and diatonic Ex. 4 Choro Tango Accompaniment (as exemplified in scales as passing tones. It is important to note that the Chiquinha Gonzaga’s Gaúcho) melody also includes facets of the rhythmic accompaniment, as well as elements of the baixaria (bass line).

Bass Line The bass line was traditionally played by the common six-string guitar. Later, the seven-string guitar assumed that role. In the terno, the original configuration of the choro ensemble—flute, guitar, and cavaquinho—the guitar

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THE BRAZILIAN CHORO: HISTORICAL PERSPECTIVES AND PERFORMANCE PRACTICES Ex. 5 Choro Samba Accompaniment difficult to capture. I then purchased a large quantity of maxixes and tangos and tried to play them with the syncopation which alternated from one hand to the other. My efforts were rewarded and I was finally able to express and analyze this “little nothing” so typically Brazilian.26 This inherent characteristic swing, so essential to choro, is one of the most difficult interpretational aspects of the performance practice for those not acclimated to this music. The predominant rhythm of 16th-eighth-16th, is not played as written, much like even eighths are not played as such in jazz. OR Instead, the choro rhythm is played more like two 16th, 16th rest, 16th, or like an even triplet. According to Thomas Garcia: Ex. 6 Choro Samba Accompaniment The choro divides the bar and the beat differently than American jazz. Whereas in jazz, [the] weight in each measure is on [the] second and fourth division (what Brazilians call suínge americano [American swing], in choro the empha- sis is on the first and third. Another difference between the choro and jazz is the division of the beat. In jazz the beat in 4/4 is divided in triplets, producing the effect of a 12/8. The beat in choro is divided evenly into four 16th notes.27

Ex. 7 Choro Schottisch Accompaniment Examples of Choro rhythm

Ex. 9 Standardly written, and played as follows:

Ex. 10 Alternative manner to play example #9:

Ex. 8 Choro Baião Accompaniment

Ex. 11 Alternative manner to play example #9:

A mixture of these rhythms in the accompaniment, as well as the inclusion of the baixaria, gives the genre its trademark.

Performance Practices Rhythmic Nuances Most non-Brazilians have a characteristic “accent”while playing Swing choro. In order to diminish or even eliminate an “accent,” European composers have long noted this rhythmic swing or one needs to pay close attention to nuances in articulation the aforementioned balanço. Perhaps the first to write about and rhythmic feel, including anticipation of the beat. It is these rhythmic nuances in reference to the music of Ernesto helpful to hear a native speaker sing-speak the melody. Nazareth was Darius Milhaud, who lived in Brazil from This can be referred to as the “first step to glory” when February 1917 to November 1918.25 During the First World learning music.28 It involves the monosyllabic pronunciation of War, Milhaud accompanied Paul Claudel, the appointed the music: pa ru di da du – da, pa ru di da du – da, which French Minister to Brazil, as his secretary. He was particularly reflects the beginning of Tico-Tico. This process reveals the impressed with the style and swing in the music of Nazareth, phrasing, the stresses and releases of the notes, dynamics, and wrote the following: note lengths, and the “emotional” content of the music. It The rhythms of this popular music intrigued and fascinated is an effective device to use with students, as they can me. There was in the syncopation an imperceptible suspension, quickly assimilate the “accent” of the music by hearing it a languorous breath, a subtle pause, which seemed to me very and feeling its “pronunciation.”

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Ex. 12

Example: Tico-Tico No Fubá by Zequinha de Abreu, lyrics by Eurico Barreiros, measures 1–4.

Although choro is mainly an instrumental genre, several have added lyrics. It is helpful to learn the lyrics with their proper pronunciation and natural cadence to acquire the characteristic phrasing and timing. Typically, the melody is played slightly before the beat, instead of on the back end of the beat as is standard in jazz. Lamento by Pixinguinha is a good example of a choro that anticipates the beat in its melody, and indicates its phrasing via its lyrics.

Lamento, first verse:

Morena, Dear (Woman with dark skin, hair and eyes,) Tem pena Take pity Mas ouve o meu lamento But hear my lament Tento em vão I try in vain Te esquecer To forget you Mas olhe o meu tormento é tanto But, listen, my torment is so much Que eu vivo em pranto e sou todo infeliz That I live weeping and I am totally unhappy Não ha coisa mais triste meu benzinho My dear, there is nothing sadder Que esse chorinho que eu ti fiz.29 Than that chorinho that I composed for you

Ex. 13

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THE BRAZILIAN CHORO: HISTORICAL PERSPECTIVES AND PERFORMANCE PRACTICES Performance practice of articulation is similar to that of baroque music. Articulation carefully to this instrument to imitate the rhythmical In the case of articulations, the length and the harmonic accentuation and apply it to his or her own articulation. stress each note receives are very much connected to the melodic inflections of the music. Articulation is highly variable Tone Color and subject to the style of the player and the idiomatic For flutists, as with vocalists, tone color is one of the most tendencies of the instrument. Generally, note lengths vary, personal aspects of an individual’s style. Within each person’s depending on the mood of the piece. According to Carrilho, tonal palette, the lighter “color” of tone is usually preferable to a “dry” articulation is appropriate for faster choros, but slow- a heavy sound when performing choro. The style itself should er, more “romantic” choros should have more of a triplet be the determining factor on how a performer uses vibrato. feel—almost equal.30 Um a Zero is an example of the fast, The focus on tone quality is not of utmost importance within technical, and dry choro, while “Carinhoso” exemplifies the choro flute playing, as it is in “classically” trained circles. slower, romantic choro. In André de Sapato Novo, the notes Instead, the swing and improvisatory inventiveness of the can be played very detached and short, or, alternatively, flutist are held in much higher esteem. smoothly, in a legato style, if the performer wants to convey Tone color, however, can be used to enhance certain a relaxed feel. changes within the choro. A fuller, more intense tone can The performance practice of articulation is in fact similar be introduced during the dominant key areas (as well as to that of baroque music. Rarely are sweeping slurs used. For more vibrato if in a slow tempo choro). Imitation of vowel the most part, all tongued, slur three/tongue one, or slur sounds in choros with lyrics can be helpful. For example, two/tongue two, are common articulations for wind players. in the choro Carinhoso, the “ão” sound (approximately Like baroque urtext editions, the majority of choro sheet nasal “ahwun”) found in the word coração (heart), can be music is written without articulations, leaving it up to the imitated by using a darker sound. performer’s discretion. Also, akin to baroque performance According to Carrilho, some flutists play too brightly in practice, it is commonplace to change articulations upon the the upper register, and too forcefully.31 It is better to play in the repeat of a section to give variety. third register with a rounded sound, less aggressive. To address Choro has become characterized by amazing virtuosic dis- this issue, Carrilho often employs alternate fingerings to pro- plays by the soloist. To this end, double tonguing on the part duce a less piercing sound in the third octave. of the flutist is a necessity. In choro, double tonguing keeps with the swing of the music, much as in jazz, and therefore Improvisation leans toward a more legato approach in slower choros. In Improvisation in choro is very different from improvisation moderate-to-slow tempo choros, double tonguing generally used in jazz, and in fact, has more similarities to Baroque will follow the accents of the pandeiro (Brazilian tam- music. Whereas in jazz the musicians oftentimes play “outside” bourine) to propel the music forward without sounding of the harmony—notes that are either not in the chord, or rushed. Very fast double tonguing, however, needs to be ninths, 11ths, 13ths, etc.—in traditional choro, the musician lighter, much like the Ti díll of the baroque or jazz articula- needs to stay within the harmony, normally not straying any tion. One should keep in mind that few Brazilian flutists at farther than seventh chords. A typical embellishment would be the turn of the 19th century knew how to double tongue, but creating a turn, grupetto, out of a couple of eighth notes, or the technique developed as the virtuosity of the music arpeggiating a chord. Filling in intervals greater than a third gained popularity. Also, clarinet and saxophone players do with scales is very common. not generally double tongue. When used in choro, these Flutists often use flutter tonguing as an embellishment. instruments will use a more legato and relaxed approach. On It can be used to highlight a phrase in the melody, to the other hand, the mandolin repeats its notes to sustain the emphasize a held note at the peak of a phrase, or even to sound. When this technique is translated to the flute, it will ornament a descending scale, especially if it is chromatic. most often be used as flutter tonguing or other ornamental Several choros, such as Flôr Amorosa, Naquele Tempo, Vê devices such as trills. Poyares used a distinct vibrato (almost Se Gostas, and André de Sapato Novo, can benefit from this like a double-flutter tonguing) technique. technique. Flutter tonguing has the connotation of play- fulness, and can even represent “birdlike” characteristics. Influence of the Pandeiro in Articulation In Urubú Malandro (Mischievous Crow), for example, Today, the pandeiro is the rhythmic backbone—the driving this technique can be exploited to enhance the playfulness force—of the choro ensemble. To understand the rhyth- of the bird. mic complexities of this instrument is to understand the According to Carrilho, Lamento is particularly good for basis of the Brazilian “swing” in choro. Generally, the pan- improvisation because of the harmony. When improvising deiro plays even 16ths, with occasional rhythmical punc- a second part to the melody—a countermelody—one tuations during “breaks” in the music. The running 16ths, should embellish the first part and reflect either the simplicity however, are not created equal—they take on different or complexity of the first player’s improvisation. The counter stress/accents within the beat. The flutist should listen melody should be played more rhythmically, outlining the

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harmony, and using motifs that emphasize four 16ths per at the beginning of this “Polka-Choro,” and could be inter- beat, or combinations of eighths and 16ths.32 preted as the canário (canary).

Trills and Mordents Example: O Gato e O Canário by Pixinguinha Many flute chorões favor the use of mordents, trills, and tremolos. In most situations, the trills or mordents will be Glissandi used quickly, on eighth notes or shorter, and are not sus- Glissandi, mostly descending, are popular with choro tained since notes held longer than half notes are relatively flutists, especially at the end of phrases. They are usually per- rare. The longer note values in Carinhoso provide an formed with an extreme decrescendo, perhaps to reflect a opportunity to use sustained trills. sigh or other element related to crying (chorar). Carrilho Tico-Tico No Fubá offers opportunities for quick mor- suggests that descending glissandi are always chromatic at dents on the downbeats of each measure in the A section the end of phrases, but within a phrase, or if ascending, they (see example #12). would reflect the current key.33 An interesting aspect related Mordents, which are usually played before the beat, can be to the technique of choro flutists is that most of them prefer used throughout choro to emphasize downbeats, as well as using the Bb thumb lever in the chromatic, descending glis- endings of phrases and cadences. Overuse of this technique, sando as an effect, more so than the right-hand lever or first however, creates predictability and staleness. finger right-hand fingering.

Appogiaturas Endings Appogiaturas are used in conjunction with the anticipation Typically, the endings of choro are an arpeggiated triad, of the downbeat or otherwise performed quickly, before the either ascending or descending (see examples below). beat. In the latter case they typically portray birds, such as in However, oftentimes they are embellished or improvised. the choros Urubú Malandro and O Gato e O Canário (The Cat Carrilho stated “whatever you want to end with is fine— and the Canary) (see example below). Appogiaturas are used nothing is standard.”34

Below are typical choro endings, without ornamentation:

Ex. 14

Ex. 15 Downward: Ex. 16 Upward:

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THE BRAZILIAN CHORO: HISTORICAL PERSPECTIVES AND PERFORMANCE PRACTICES Conclusion Julie Koidin is pursuing her DM in flute performance at Choro has endured over a century. It has survived the pop- Northwestern University and writing her dissertation on ularity of various movements of Brazilian music—bossa Benedicto Lacerda. Her duo, Dois no Choro, with nova, pagode, samba, tropicalia—as well as influences from guitarist/vocalist Paulinho Garcia, has recorded two CDs, abroad. Most Brazilians have heard choro at some point in Carinhoso and Juntos; the latter, having the participation of their lives, and for the younger set it was considered the Altamiro Carrilho and Maria Teresa Madeira, received a music of older generations. Choro’s popularity has fluctuated grant from the Illinois Arts Council and two first-round since its inception, and it has been having its latest increase nominations for the 2003 Latin Grammy Awards. In 2002 in popularity beginning in the late 1990s, especially among she received a Fulbright Lecture/Research Grant to Brazil. young musicians. For the first time in choro’s history, She has performed extensively throughout Brazil with artists music schools specifically dedicated to teaching choro such as Carrilho and Madeira. For more information, please have sprung up in various locations throughout Brazil. see atouchofclassensembles.com. The resurgence of interest in choro is directly connected to Brazilians’ desire to salvage their cultural identity. Within Endnotes the new generation of choro musicians, there is a wide range of performance styles, from the traditional to the 1. College Music Society Newsletter, November 1998. innovative. What remains consistent, however, and a staple 2. Marcos Antônio Marcondes, ed. Enciclopédia da Música Brasileira (São Paulo: of choro, is the “feel”—the balanço—and the inventive Art Ed., 1977) s.v. “Modinha,” by Mozart de Araújo. (Translated by Tadeu spirit—the malandro—in which it is rendered. Coelho.) 3. Sérgio Vasconcellos Corrêa, “Nazareth, o Brasileiro,” Correio Musical, August 1992, 8. (Translated by Tadeu Coelho.) The resurgence of interest 4. “Cavaquinho: small Brazilian guitar, extremely popular among folk and pop- ular musicians.” From David Appleby, The Music of Brazil (Austin, Texas: in choro is directly University of Texas Press, 1989), 193. 5. José Maria Neves, Villa-Lobos, o Choro e os Choros (São Paulo: Ricordi, 1977), 17. connected to Brazilians’ 6. Marcos Antônio Marcondes, Ed., Enciclopédia da Música Brasileira, 1977, s.v. “Choro” by Mozart de Araújo. (Translated by Tadeu Coelho.) desire to salvage their 7. Thomas Garcia. The Brazilian Choro: Music, Politics and Performance. Duke University, 1997. pp. 76, 77 cultural identity. 8. Ibid. p. 75. 9. Chris McGowan and Ricardo Pessanha, The Brazilian Sound: Bossa Nova and Just as close listening and immersion are the best ways the Popular Music of Brazil (New York: Watson-Guptill Publications, 1991), 151. to learn a spoken language and the subtleties of its 10. Thomas Garcia. The Brazilian Choro: Music, Politics and Performance. Duke pronunciation and accent, so too, do these tools apply University, 1997. pp. 85. when learning choro. It is therefore recommended that the 11. Ibid. p. 199. reader acquire various choro recordings, transcribe the 12. José Ramos Tinhorão. Pequena História da Música Popular. São Paulo: Art Editora, 1991, pg. 105. pieces or order music from the various sources available 13. Thomas Garcia. The Brazilian Choro: Music, Politics and Performance. Duke online, and, if possible, listen to live ensembles. These University, 1997. p. 202, 203 strategies will pave the way toward achieving a convincing 14. Ibid. p. 203. performance of this intriguing, imaginative, and beautiful 15. Ibid., p. 291. > music called choro. 16. Cabral, Sérgio. Pixinguinha: Vida e Obra. Rio de Janeiro: Lumiar Editora, 1997: 160-161. Tadeu Coelho joined the faculty of the North Carolina 17. Ibid. School of the Arts in fall 2002. He appears frequently as a guest 18. Altamiro Carrilho. Personal Interview by Julie Koidin, Rio de Janeiro, Brazil. artist in national and international festivals throughout 1997. Europe, Asia, Australia, and the Americas. Coelho received his 19. Thomas Garcia. The Brazilian Choro: Music, Politics and Performance. Duke University, 1997. p. 107. DMA from the Manhattan School of Music as a student of 20. Ibid., p. 105. Julius Baker and Ransom Wilson. He gave his New York recital 21. José Ramos Tinhorão. Pequena história da Música Popular. São Paulo: debut at Weill Recital Hall at Carnegie Hall in April 1992. Círculo do Livro, 1980 Coelho is an avid proponent of new music and the music of the 22. Paulinho Garcia. Chicago, IL. January 4, 2002. Americas. His solo CDs include Life-Drawing: Works for Solo 23. Altamiro Carrilho. Personal Interview by Julie Koidin, Rio de Janeiro, Brazil. Flute, Rompe!, Flutists of the World, and Flute Music from 1997. Brazil. His newest recording, 18th Century Flute Sonatas,was 24. Paulinho Garcia. Chicago, IL. January 4, 2002. released in summer 2005. He can also be heard performing 25. Tadeu Coelho, Guidelines to the Performance of Selected Chamber Music works by Thomas Delio on 3D Classics and Villa-Lobos on for the Flute of Heitor Villa-Lobos. (Doctoral dissertation, Manhattan School of Music, 1994), 17. Albany Records. Coelho has published the complete works of 26. Mozart de Araújo, A Modinha e o Lundú no Século XVIII (Chapel Hill: Pattápio Silva and other pieces for solo flute and collections University of North Caroline Press, 1959), 14. (Translated by Tadeu Coelho.) of daily exercises with accompanying CDs. More information 27. Thomas Garcia. The Brazilian Choro: Music, Politics and Performance. Duke is available at tadeucoelho.com. University, 1997. p. 114.

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28. Tadeu Coelho. Pedagogical approach. 29. Vinicius de Moraes. 30.Altamiro Carrilho. Personal interview by Julie Koidin, Rio de Janeiro, Brazil, 1997. 31. Ibid. 32. Ibid. 33. Ibid. 34. Ibid.

Bibliography

Appleby, David P. The Music of Brazil. Austin, Texas: University of Texas Press, 1989, pp. 76, 193. Araújo, Mozart de. A Modinha e o Lundú no Século XVIII. Chapel Hill: University of North Carolina Press, 1959: p. 14. (Translated by Tadeu Coelho.) Carlson-Leavitt, Joyce, “Chiquinha Gonzaga,” Afro-Caribbean & U.S. Black Music Interconnections Newsletter. Kalinda!: Winter, 1996. Coelho, Tadeu. Guidelines to the Performance of Selected Chamber Music for the Flute of Heitor Villa-Lobos, doctoral dissertation, Manhattan School of Music, 1994, p. 17. College Music Society Newsletter, November, 1998. Corrêa, Sérgio Vasconcello. Nazareth, o Brasileiro. Correio Musical, August 1992, p. 8. (Translated by Tadeu Coelho.) Garcia, Thomas. The Brazilian Choro: Music, Politics and Performance. Duke University, 1997, pp. 75–79, 85, 105, 107, 114, 199, 202, 203. Marcondes, Marcos Antônio, Ed. Enciclopédia da Música Brasileira, Popular, Erudita e Folclórica. São Paulo: Art Editora, Ltda., PubliFolha. 1998. Marcondes, Marcos Antônio, Ed. Enciclopédia da Música Brasileira, 1977, s.v. “Choro, and Modinha” by Mozart de Araújo (Translated by Tadeu Coelho); “Benedicto Lacerda.” McGowan, Chris and Ricardo Pessanha. The Brazilian Sound: Bossa Nova and the Popular Music of Brazil. New York: Watson-Guptill Publications, 1991, p. 151. Neves, José Maria. Villa-Lobos, O Choro e Os Choros. São Paulo: Ricordi, 1977, p. 17. Tinhorão, José Ramos. Pequena História da Música Popular. São Paulo: Art Editora, 1991, p. 105. Vasconcelos, Ary. Raízes da Música Popular Brasileira. Rio de Janeiro: Rio Fundo, 1991, p. 80, 291, 292.

Correction The Summer 2005 issue of The Flutist Quarterly identified Valerie Simosko as a flute technician. This was an error; Simosko is a flute clinician.

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WalfridWalfrid Kujala,Kujala, by Joanna Cowan White Orchestral “Untangler”

The proof of Kujala’s success as an orchestral teacher is in the numbers—his students play in more than 30 major orchestras and countless other ensembles, and teach at 20 universities. His influence on symphonic playing is a result of his passion for music tempered with relentless attention to detail.

alfrid Kujala has influenced the symphonic play- played along with recordings (inspiring the later flute stu- ing and orchestral teaching of many American dio class format at Northwestern). Wflutists. This soft-spoken thinker has trained After high school, Kujala was accepted to the Curtis scores of flutists who perform in more than 30 major orches- Institute of Music only to have his dream dashed by the tras and countless other ensembles, and teach in more World War II closing of the school’s wind and percussion than 20 universities around the country. Kujala has con- program. A scholarship to Eastman to study with tributed to the flute world as Chicago Symphony flutist Mariano was interrupted by wartime service, which and piccoloist for 47 years, professor of flute at meant a stint in an army band. After returning to graduate, Northwestern University since 1962, author of numerous Kujala won the second flute/piccolo position in the articles, founder of the Progress Press publishing compa- Rochester Philharmonic conducted by Erich Leinsdorf, ny, and past president of the National Flute Association where he sat next to his teacher Mariano. He stayed for and winner of its Lifetime Achievement award. As a for- six years, earning a MM in Music Literature from mer student of Walfrid Kujala, I decided to explore the Eastman (before performance degrees were the norm) reason he has influenced so many flutists. I spoke with him and teaching in the “rigorous curriculum” of the Eastman and many of his students to find out. Preparatory Department. He also completed a visiting instructorship at SUNY Fredonia and, while a faculty Formative Influences member at the New England Music Camp, studied briefly While in high school, Kujala played second flute and pic- with William Kincaid. colo in the Huntington, West Virginia, Symphony with his When Kujala auditioned for the Chicago Symphony under bassoonist father; learned Db piccolo for his high school Fritz Reiner in 1954, Reiner had just fired two members of marching band; and studied with Parker Taylor, an the flute section. Kujala, already comfortable in the orchestral Eastman student of Leonardo DeLorenzo and Joseph setting on both flute and piccolo, began as assistant principal Mariano. Kujala listened to weekly live radio broadcasts flute, but moved to the piccolo position in 1957, when Ben including radio orchestras, the Philadelphia Orchestra, Gaskins died, and stayed there until his own orchestral Metropolitan Opera, NBC Symphony with Toscanini, retirement in 2001. Kujala started his CSO career with Ernest New York Philharmonic, and the Detroit Symphony. Liegl as principal flutist and Ralph Johnson as second flutist. Inspired by what he heard, Kujala began a hobby of (Julius Baker had been principal from 1950 to 1953.) Soon, checking scores out of the library and hand copying the however, the orchestra settled in with the same “stellar flute and piccolo parts. In the days before copy machines, team,” in the words of Minnesota Orchestra flutist Barbara he amassed 400 pages of parts, which he studied and Leibundguth, for 25 years: Donald Peck, Richard Graef,

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Louise Dixon, and Kujala. Kujala also played principal flute in the Grant Park Orchestra from 1955 to 1960. Kujala gained a musical education, he says, from sitting next to string players. Many conductors also influenced the orchestral ideas he passes on to his students. Because Kujala was “young and impressionable” in Rochester, Leinsdorf was “especially influential, almost a grandfather figure,” Kujala says. “He talked quite a lot at rehearsals, explaining what was behind the music. He was a well-read conductor and explained to us what the music meant.” Other ideas came from Reiner, Martinon, and especially Solti and Barenboim. Flutists shaping Kujala’s orchestral vision included “Mariano and some of the older recordings of Baker before the New York Philharmonic, freelance record- ings, for example, with Reiner and the RCA Victor Undergraduate students follow a comprehensive, four-year plan for learning Orchestra,” Kujala says. “Also recordings of Georges Laurent important flute and piccolo parts from orchestral literature. in Boston under Koussevitsky, and of course, William Kincaid in Philadelphia.”

Teaching Format Kujala was appointed professor at Northwestern University in 1962. He now teaches 12 students at Northwestern, where Richard Graef from the Chicago Symphony also teaches flute. Undergraduate students get a balanced course of technical development, using Kujala’s published Vade Mecum warm-up book, etudes (Andersen, Op. 33 and Op. 15, Karg-Elert, 30 Caprices, Altes, 26 Studies, and Casterede, Genzmer, or Bitsch) and standard solos. They also follow a comprehensive, four- year plan for learning the important flute and piccolo parts from the orchestral literature. (See sidebar, “Pool Plan.”) Graduate students catch up on technical problems, study solos, and compress as much of the orchestral curriculum Walfrid Kujala records all lessons and burns CDs weekly for each student. Flute as possible into their time of study. Kujala records all flute les- faculty hear quarterly “behind-the-screen” auditions. sons and burns a weekly CD for each student. The behind-the- of flute at the University of Iowa, initially wanted to study screen flute auditions for the “pool” happen each quarter to with him because she noticed how successful his students determine rotated placement in orchestra and wind groups were and “what a clean and even sound and presentation and are heard by flute faculty. they had.” She, like many, often uses his orchestral book and Lessons are not the only place for orchestral teaching at his “indispensable fingering tricks,” and considers him “one Northwestern. Students once gathered in small groups with of my most treasured teachers.” parts from the assigned works, and wore headphones to hear a In addition to his focus on physical aspects of playing the famous orchestral recording while playing along as a section. instrument, Kujala also spends a great deal of time on musi- Kujala had a box custom-made with six headphone-jack cal interpretation and style. His teaching is analytical, thought- inputs that connected to the single headphone input of the ful, and patient, and almost every one of the former students amplifier. Now, in orchestral techniques studio classes, I spoke with mentions his phenomenal attention to detail. students rotate real parts of works such as Bartok’s Concerto Kyle Dzapo, associate professor of flute at Bradley For Orchestra, while Mr. Kujala conducts. “All parts are stud- University and principal flutist in the Peoria Symphony ied, not just the solos,” he says. “Occasional works are Orchestra, admires Kujala’s “remarkable precision and played, en mass in flute choir mode, while the solos are clarity of expression,” and comments that “after playing for studied in a more traditional masterclass setting.”The annu- guest teachers, we learned to appreciate our teacher, who al summer orchestral flute masterclass at Northwestern is a was so specific.” valuable chance for many non-Northwestern students to ben- John Bailey, professor of flute at the University of efit from Kujala’s orchestral coaching, and he also conducts for Nebraska, Lincoln, and principal flutist in the Lincoln the flute sectionals of the Civic Orchestra of Chicago. Symphony, vividly remembers taking Leonore No. 3 to his lesson with Kujala week after week. “Each time, I thought Teaching Style I had it,”he says. “This was frustrating but ultimately good Kujala’s reputation as a teacher draws many to study with for my musical soul.” him. Tamara Thweatt, for example, who played piccolo in Joanna Bassett of the Rochester Philharmonic remembers the Los Angeles Philharmonic and is now assistant professor studying the same work. “Even though I was probably the

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WALFRID KUJALA, ORCHESTRAL “UNTANGLER” positive” (Amy Hamilton), “consistent, nonshaming, respectful, and calming” (Leibundguth), and “philosophical and the quintessential gentleman” (Pope). Mary Stolper, flute teacher at DePaul University, principal flutist of the Grant Park Symphony and leading Chicago flutist, says, “Wally is always so even, whether you are having a good or a bad day, and never seems perturbed at you. I used to be nervous that I would be prepared enough in lessons, but he just worked on something that needed to be done and I always left feeling I got another great lesson. He was later helpful and collegial when I subbed with the CSO.” Leibundguth also mentions the “welcome absence of favoritism or political game-playing in his studio. I would guess that everyone came away with increased well-being because of this emotionally healthy atmosphere.” The author and Walfrid Kujala Well-known jazz flutist and composer Steve Kujala, Walfrid Kujala’s son, has a unique perspective of his two-thousandth person who played Leonore No. 3 for him, father’s teaching. “My early lessons were not so ‘formal’ I never felt like it was tedious for him.” Despite Kujala’s dis- due to my dad’s schedule, but were ‘catch as catch can’, ciplined teaching, Louise Dixon, Chicago Symphony col- anywhere from three-hour marathons to 10 minutes—or league and former student, marvels that he fosters individu- even 10 seconds,” he says. “We had an intercom in our ality and that his students each sound unique. house, so my dad might interrupt my practice by pressing Linda Lukas from the San Francisco Symphony pinpoints the intercom button downstairs to say ‘It’s A-flat.’ I would Kujala’s ability to analyze exactly what needed to be done. rifle through his file cabinet and take a piece that caught Bailey agrees that Kujala gives constructive suggestions my fancy and learn it to study with him. On vacations we and maintains that there are two types of teacher, “the would bring flutes and practice in the bathroom of the ‘lavender-mist-on-the-mountain’ type and the ‘this-note-is- Holiday Inn. My first formal lessons with my dad were sharp/ this-note-is-flat’ type”—with Kujala falling into the during my second year at Eastman when Mariano retired latter category. and Sam Baron and my dad flew in to share teaching. I “I think he helps flutists free up musically by helping find studied with him there.” solutions to technical problems,”says Valerie Watts, associate professor of flute at the University of Oklahoma and principal Teaching with an Orchestral Focus flutist of the Oklahoma City Philharmonic. A teaching focus on orchestral music helps to account for Kujala’s quick sense of humor and delight in puns and the success Kujala’s students have in the orchestral arena. word play often emerge. When I reminded him of a lesson in Dombourian-Eby notes the amount of time and impor- which he did not have an immediate answer to my question tance excerpts are given in Kujala’s studio and “all the but was ready with a detailed reply the following week, he trouble he goes to” to teach that literature. Lukas remem- quipped, “That’s why I have my ‘palm pilot,’ ” and pulled a bers the way he would break down every excerpt phrase by tiny piece of paper out of his pocket, for jotting down notes. phrase, and Amy Hamilton, professor of flute at Wilfrid He answers questions in lessons, conducts often, demon- Laurier University in Toronto and orchestral, solo, and strates on flute and piccolo, and admits he even sings once in chamber player, agrees that “he made us such well-trained awhile. Zart Dombourian-Eby, piccolo player in the Seattle orchestral players.” Symphony, recalls his ability to imitate a student’s playing, Watts still pulls out notes from her time studying with an important teaching tool that “helped to train your ear.” Kujala.“He set such a wonderfully high standard,”she says, Karin Ursin was amazed by Kujala’s ability to “demonstrate a “and had us cover the important orchestral repertoire, using musical phrase or finger-busting passage beautifully and specific excerpts to teach different aspects of playing and flawlessly the first time.” George Pope, professor of flute at to teach a methodical way of thinking about rubato.I don’t the University of Akron and Baldwin Wallace Conservatory, think he imposed a certain interpretation for each excerpt, flutist in the Solaris Quintet, and former Akron Symphony just great guidelines.” principal flutist, remembers being mesmerized by hearing Although his students have had orchestral success on Kujala play the Nielsen Concerto in a class. “It was a real piccolo, Kujala and his former students agree that he turning point for me when I asked him how he made every- teaches piccolo not as a separate entity, but within the thing sound so right,” Pope says, “and he replied that he had context of the solo and orchestral literature. played a lot of Nielsen Symphonies and had the sound in his Steve Kujala says, “Upon hearing the CSO recording of head.” Shostakovich’s Symphony No. 4 with André Previn (and Words used by Kujala’s former students to describe him my dad playing piccolo), I was so taken that it started me include “cool and collected” (Bailey), “kind, low-keyed, and on my ‘journey into the land of Shostakovich.’ My dad

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checked the part out of the CSO library and taught me that piece even though it is rarely performed. Last year the LA Philharmonic, in a three-year Shostakovich cycle, called me to play the second piccolo part, and since I had no studio jobs that week, I was delighted to play the piece that was so deeply ingrained. I dug out my LP, borrowed a turntable, and began shedding the part. I was so fascinated by a particular canon between several instruments that I went into my digital recording studio with the score and recorded all the parts to isolate them from the orchestra. Plugging this knowledge into experience gave me the feeling of ‘Oh, that’s what dad was talking about.’ I used every- thing he taught me, using him as the model from the recording. I ended up sharing his fingerings with others, too, taking that wisdom and knowledge and passing it on. One former student recalls the “emotionally healthy atmosphere” of Kujala’s “When I got to sit in his chair in the CSO and sub for lessons. him in 1986, I played four pieces in 10 days under Michael Tilson Thomas. I realized I was the same age my father was when he came to the orchestra at 29. I had the feeling of what it must have been like—although I was not in as hot a seat as my dad, who had to face Reiner. All those years of listening were helpful, as were the wonderful fingerings. But it made me realize I did not want to do that for a living, to keep that kind of focus day in and day out. “We recently played Scheherazade in the Hollywood Bowl Orchestra, and my father happened to visit three weeks before, arriving with the CSO/Reiner recording of it as a gift,” Steve Kujala notes. “I’ve never heard double tonguing that fast. He got together with me and helped me notch mine up. Even now I might have a quick lesson with him on the phone if I get stuck on something. So lessons A large focus of studies in Kujala’s classes is on orchestral excerpts. still continue today at the age of 50.” He adds, “You know why my father is so successful at orchestra teaching? He takes an analytical approach. He breaks it down, regroups Kujala’s use of Dr. Beat and rhythm tapes to teach pieces like notes, gives fingerings, stories, and advice like ‘tune with Leonore No. 3. Dombourian-Eby says, “I love excerpts, love the Eb clarinet there.’ He really gives you all of that practical to teach them, and pull out his books all the time.”Pope tries stuff. Nothing can replace that experience he has, and to duplicate Kujala’s teaching of orchestral context and col- with more young people getting major jobs, it is important legial treatment of students. Stolper catches herself thinking they have the benefit of a teacher with experience.” occasionally when helping a student, “What would Wally When asked what critical orchestral tips he passes on to say?” his students, Kujala notes “the importance of being a good “I think he has fostered a new generation or two of teachers colleague,” and also says, “intonation almost goes without who follow his example in trying to be respectful, kind, and saying. People should ask, ‘How do I fit in to the complex encouraging,” says Bassett. “I think it is his genuine love of sonority?’” His students also mention the importance of learning and teaching, which I have inherited and try to pass the alternate fingerings he teaches and his focus on orches- along to my students.” tral excerpts. “Perhaps the most important thing I learned Kujala has helped many students learn how to audition from him,” says Hamilton, “was artistic integrity, to play successfully for jobs. He revealed that the Chicago every part you were given as well as you possibly could. Symphony, under Jean Martinon in 1964 or 1965, pioneered There was always the challenge to keep the change at the major orchestra level from auditions for a perfecting your skill and artistry. He is just a great role conductor alone to behind-the-screen committee auditions. model for a whole generation of flutists.” “We had fought for this through our negotiation for a master Leonard Garrison, instructor of flute at the University of agreement. Almost every orchestra does auditions behind Tulsa and chamber and orchestral player, agrees: “It is impor- a screen now, and I was proud to serve on the CSO’s first tant for young people to know how much he has done for us.” elected committee,” he says. The four-year audition repertoire study schedule at Influence on Teaching and Auditioning Northwestern includes major concertos and orchestral In their own teaching, Kathryn Diener, formerly of the works with important flute and piccolo parts. There are six President’s Own Marine Band, Lukas, and Watts remember pieces that appear more than once since they are the most

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WALFRID KUJALA, ORCHESTRAL “UNTANGLER” other way. We all know what famous pieces and solos to “Kujala has more concentrate on, but sometimes at the expense of knowing the context of the solo and knowing the repertoire in general. rhythm in his pinky Too many times, when you actually audition, you don’t have the feeling for the big context. That’s one of my moti- than we have in our vations for the classes where we familiarize ourselves with the bigger picture.” whole bodies.” Published Study Material Kujala’s comprehensive book of warm-ups, Vade Mecum, often asked in professional auditions. When asked if any gives flutists a methodical way to develop embouchure works formerly in auditions are omitted today, Kujala cites flexibility, finger dexterity, and fluency with alternate Mahler’s Das Lied Von der Erde. As for whether any should fingerings to help negotiate technical passages more easily. be asked for that are not, he says, “Yes, the first and second Besides working on a spin-off from that book to be published movements of Beethoven’s Seventh Symphony for rhythm soon, he will also update and republish his Orchestra and style. I was very happy to see this on the recent Technique Book: An Audition Guide, a detailed treatise on Pittsburgh Symphony principal flute list.” how to learn and play more than 20 of the most essential Kujala stresses that dynamics often need to be adjusted for flute and piccolo excerpts. He also publishes works by auditions. In orchestral passages, “p” or “pp” cannot always other composers. be taken literally, since the flutist must often play out to get Retirement from the Chicago Symphony in 2001 did not a good balance. “But an audition requires a more literal dis- play of the wide range of dynamics you hopefully possess. In lead to a slow schedule for Kujala, who still teaches, per- Hindemith’s Symphonic Metamorphosis, for example, you forms, and manages his many ventures. He and his wife, can easily be covered in the orchestra and you must play flutist Sherry Kujala, collaborate on Progress Press and manage forte almost constantly just to be heard. This would sound a Web site. In 2001, many attended the bash for Kujala’s CSO too loud in an audition.” retirement, highlighted by Piccolo Pops, arranged and And what are audition committees really looking for? “At conducted by Steve Kujala. Walfrid Kujala’s violinist daughter the preliminary stage, rhythm is definitely the first,” says Gwen, cellist son Daniel, and many flutists joined the Kujala. “Committees are looking for ways to eliminate people, tongue-in-cheek romp through the piccolo “biggies,” which and rhythm separates the ‘men from the boys’ and the ‘ladies can be enjoyed by all in video on his Web site. from the girls.’ A beautiful sound is taken for granted at all At Kujala’s “senior recital” at Northwestern in February, stages…then a sense of musical style. The committee must friends and colleagues gathered again for a celebration of his feel that the musician really knows what the piece is about, 80th birthday. The “Four Score and Seven Players” concert its character and its structure. This is especially true as they included the world premiere of “Wally’s Caprice,” commis- listen to the concerto that starts the audition, especially sioned from M. William Karlins, a Northwestern colleague Mozart.” Kujala recounts the story of his first audition for who died in May. The grand finale, a collaboration inspired Fritz Reiner, then with the Pittsburgh Symphony, six years by Piccolo Pops, was The Compleat Audition tAngler, snippets before Kujala won the job in Chicago. The audition went well from 29 orchestral flute parts and four flute concertos seam- until he reached number 33 in Richard Strauss’s Till lessly woven by Kujala and pianist Martin Amlin with a fanfare Eulenspiegel. Not having studied the score, he played the played by former CSO trumpet player Charles Geyer. incorrect interpretation of the meter change and was George Pope noted that when John Bailey asked Kujala’s deemed not yet experienced enough.“Kujala,”says Garrison, students and colleagues to rise, about a third of the enormous “has more rhythm in his pinky than we have in our whole audience stood up. Steve Kujala enjoyed his father’s “tour de bodies.” force” and laughed that audition committees could make Kujala’s students are successful at auditions not only their lives easier by using that piece. At our interview, because of his focus on orchestral literature, but because of Walfrid Kujala sang animatedly through the parts to The his teaching of excerpts in musical context. Richard Compleat Audition tAngler, demonstrating the amusing Sherman, professor of flute at Michigan State University and juxtapositions of fragments from works he has spent a career principal flutist in the Lansing Symphony and Chautauqua untangling and helping us all to understand. > Symphony Orchestra, remembers this “comprehensive inte- gration of excerpts into the literature.” Joanna Cowan White, professor of flute at Central Kujala feels strongly about this method of teaching. Michigan University, is principal flutist with the Midland “When I was in school, little or no attention was given to Symphony and Saginaw Bay Orchestra, and performs with teaching the orchestral literature. We all did scales, etudes, the Crescent Duo, Eclectic Trio, and Powers Woodwind exercises, and solos, which were expected to carry over into Quintet, which can be heard on Centaur Records. She studied our orchestral playing. That was before the days of competitive with Janet Woodhams, Patricia Garside, Roger Stevens, auditions and would be unthinkable now when you really Judith Bentley, Clement Barone, Thomas Nyfenger, Leone need to know the literature. The pendulum has swung the Buyse, and Walfrid Kujala.

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Kujala’s Recommended Recordings for Study (all from Kujala’s Chicago Symphony Recordings)

Fritz Reiner, Rimsky-Korsakov: Scheherazade Fritz Reiner, Rossini: Overtures Georg Solti, Mahler: Symphony No. 2, Resurrection Georg Solti, Bartok: Concerto for Orchestra Claudio Abbado, Tchaikovsky: Symphony No. 4 Leopold Stokowski, Shostakovich: Symphony No. 6 Leonard Bernstein, Shostakovich: Symphonies No. 1 and 7 Georg Solti, Shostakovich: Symphony No. 15

Web sites of Interest

walfridkujala.com personal.utulsa.edu/~leonard-garrison/kujala.html Major Orchestral Homes of Former Students (Partial List) Atlanta Symphony, Baltimore Symphony, Boston Symphony, Chicago Symphony, Chicago Lyric Opera, Charlotte Symphony, Colorado Symphony, Dallas Opera, Fort Wayne Philharmonic, Frankfurt Radio Orchestra, Grant Park Orchestra, Hollywood Bowl Orchestra, Honolulu Symphony, Indianapolis Symphony, Kansas City Symphony, Lincoln Symphony, Los Angeles Philharmonic, Louisville Orchestra, Minnesota Orchestra, Nashville Symphony, National Symphony, New Mexico Symphony, New York Philharmonic, Oklahoma City Philharmonic, Oregon Symphony, Phoenix Symphony, Richmond Symphony Orchestra, Rochester Philharmonic, San Francisco Symphony, Seattle Symphony, and the Syracuse Symphony Major Teaching Homes of Former Students (Partial List) Baldwin-Wallace College Conservatory; Bradley University; Butler University (Indianapolis); Carthage College (Wisconsin); Central Michigan University; DePaul University; Michigan State University; Northeastern Illinois University; Oklahoma City University; Puget Sound University; Southwest Missouri State University; University of Akron; University of Idaho; University of Illinois; University of Iowa; University of Nebraska, Lincoln; University of Oklahoma; University of Tulsa; University of Wisconsin, Whitewater; Wheaton College; Wilfred-Laurier University; (Toronto) Kujala Scholarship

s part of the celebrations surrounding Walfrid Kujala’s 80th birthday, current and former Kujala students have Acreated the Walfrid Kujala Scholarship Fund at Northwestern University. This permanent, endowed fund will provide tuition assistance to deserving flute students in the School of Music. It is a perfect way to congratulate and honor Walfrid Kujala for the influence he has had on several generations of flutists. A minimum of $50,000 is required to endow a scholarship, and more than $25,000 has been received to date. Gifts are tax-deductible, and will be gratefully accepted in any amount. Please make checks payable to the Northwestern University School of Music, specifying the Kujala Fund on the memo line, and mail to: The Walfrid Kujala Scholarship Fund, c/o Office of the Dean, School of Music, Northwestern University, 711 Elgin Road, Evanston, IL 60208.

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WALFRID KUJALA, ORCHESTRAL “UNTANGLER”

Pool Plan Fall Winter Spring

2001–2002 •IBERT: CONCERTO, MVT 1 •BEETHOVEN: SYMPHONY NO 4 •IBERT: CONCERTO, MVT 3 •BACH: ST MATTHEW PASSION •MAHLER: SONG OF THE EARTH •RIMSKY-KORSAKOV: •BEETHOVEN: SYMPHONY NO 3 •PROKOFIEV: PETER AND THE SCHEHERAZADE “EROICA” WOLF •PROKOFIEV: CLASSICAL SYMPHONY •SHOSTAKOVICH: SYMPHONY NO 5 •RAVEL: DAPHNIS AND CHLOE •STRAVINSKY: JEU DE CARTE •SHOSTAKOVICH: SYMPHONY NO 8 •BERLIOZ: DANCE OF THE •RIMSKY-KORSAKOV: (PICCOLO) SPRITES (PICCOLO) SCHEHERAZADE (PICCOLO)

2002–2003 •MOZART: CONCERTO IN G, •MENDELSSOHN: SCHERZO FROM •MOZART: CONCERTO IN G, MVT 1 MIDSUMMER NIGHT’S DREAM MVTS 2 AND 3 •ROSSINI: WILLIAM TELL •RIMSKY-KORSAKOV: •BEETHOVEN: LEONORE NO 3 OVERTURE CAPRICCIO ESPAGNOLE •DEBUSSY: AFTERNOON OF A •SAINT-SAENS: CARNIVAL OF •SHOSTAKOVICH: SYMPHONY FAUN THE ANIMALS NO 6 •STRAVINSKY: SONGOFTHE •RAVEL: BOLERO •STRAVINSKY: PETROUCHKA NIGHTINGALE •RAVEL: MOTHER GOOSE •SHOSTAKOVICH: SYMPHONY •ROSSINI: LA GAZZA LADRA BOLERO (PICCOLO ALSO) NO 6 (PICCOLO) SEMIRAMIDE (PICCOLO)

2003–2004 •MENDELSSOHN: SYMPHONY •NIELSEN: CONCERTO, MVT 1 •VIVALDI: PICCOLO CONCERTO NO 4 “ITALIAN” •BEETHOVEN: SYMPHONY NO 6 IN C, P 79 MVTS 2 AND 3 •BRAHMS: SYMPHONY NO 4 •PROKOFIEV: CLASSICAL •TCHAIKOVSKY: SYMPHONY NO 4 •STRAUSS: TILL EULENSPIEGEL SYMPHONY •STRAUSS: SALOME’S DANCE •HINDEMITH: SYMPHONIC •RAVEL: DAPHNIS AND CHLOÉ •PROKOFIEV: PETER AND THE METAMORPHOSIS •RAVEL: DAPHNIS AND CHLOÉ WOLF •SHOSTAKOVICH: SYMPHONY (PICCOLO) •TCHAIKOVSKY: SYMPHONY NO 4 NO 9 (PICCOLO) (PICCOLO)

2004–2005 •MOZART: CONCERTO IN D, •DVORAK: SYMPHONY NO 8 •MOZART: CONCERTO IN D, MVT 1 •MENDELSSOHN: SCHERZO FROM MVTS 2 AND 3 •BEETHOVEN: SYMPHONY NO 7 MIDSUMMER NIGHT’S DREAM •BEETHOVEN: LEONORE NO 3 •BRAHMS: SYMPHONY NO 1 •RIMSKY-KORSAKOV: RUSSIAN •DEBUSSY: AFTERNOON OF A •BIZET: INTERMEZZO (CARMEN) EASTER OVERTURE FAUN •SCHUMANN: SYMPHONY NO 1 •STRAVINSKY: FIREBIRD (PICCOLO •BARTOK: CONCERTO FOR “SPRING” ALSO) ORCHESTRA (PICCOLO ALSO) •BEETHOVEN: SYMPHONY NO 9 (PICCOLO)

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Flute Stories 101 Inspirational Stories from the World’s Best Flute Players

In the pages of this book, you’ll read how the world’s top flute players solved their problems and went on to successful careers.

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Read reviews, information & order at windplayer.com -or- call (800) 946-3305 Flutist_64.qxd 10/20/05 2:46 PM Page 64 Flutist_65.qxd 10/20/05 2:47 PM Page 65 Flutist_66.qxd 10/20/05 2:48 PM Page 66

NEW PRODUCTS Recordings, music, and other products by and for NFA members

ALRY Publications, Etc., Inc., presents Mary Karen Clardy and Steven its newest CD, Silver. Celebrating Harlos, faculty members at the ALRY Publications’ 25th anniversary, University of North Texas College of Silver is the 10th recording by The Music in Denton, announce the National Flute Choir, Amy Rice release of their collaborative CD, Blumenthal, director. With the addi- Sonatas and Sonatinas on the Encore tion of a contrabass flute, Silver fea- Performance Recordings label. This tures a sampling of recent original project features the world premiere recording of Sonata compositions from ALRY’s catalog. The National Flute Choir Rubata for flute and piano, by Steven Harlos, and works by is composed of 20 professional flutists from across the United four other composers. Harlos, who is staff keyboardist for the States, including contrabass, bass, E-flat, alto, and C flutists Dallas Symphony Orchestra, composed the sonata in 2002, from Alaska, Oregon, Florida, Connecticut, California, New and it was published in 2004 by Southern Music Company of York, Georgia, Illinois, Pennsylvania, Tennessee, North San Antonio. Other works on the CD include a sonata by the Carolina and South Carolina, and the flutists of the Charlotte American composer Alec Wilder (1907–1980) and three Symphony Orchestra. Director/conductor Rice Blumenthal sonatinas by French composer Jean Rivier (1896–1987), has been an active flute ensemble player, soloist, teacher, direc- Brazilian M. Camargo Guarnieri (1907–1993), and Dutch tor, clinician, and editor for many years. Also from The composer Jaap Geraedts (1904–2003). The CD was recorded National Flute Choir is Breathless, which features 15 arrange- at the Mesquite Arts Center and is available through Flute ments from the ALRY inventory. Contact ALRY Publications, World, Carolyn Nussbaum Music, or the artist’s Web site Etc., Inc., P.O. Box 36542, Charlotte, NC 28236; 704-334-3413; (mkclardy.com). [email protected], or visit alrypublications.com.

Gabriel Fauré Melodies, Classic Duets for Flute, Volume 2, volumes II and III, selected and introduced by Mary transcribed for flute Karen Clardy, was recently and piano by Mary released by Universal Edition, Karen Clardy, was Vienna. Including works by recently released by Telemann, Quantz, Wilhelm Alphonse Leduc, Paris, Friedemann Bach, Devienne, completing the set of and Koehler, this second volume three volumes begun by Alain Marion. The music is appro- in the series is available, with U.S. priate for all levels of flutists from intermediate to advanced. distribution from Theodore Presser. Capstone Records has released a new CD, Superflute, featuring flutist Leonard Garrison and pianist Roger Price performing music for flute, alto flute, and piccolo by Michael Colquhoun, A new CD has been released Gordon Jacob, Meyer Kupferman, Roger Price, Howard from Crystal Records featur- Sandroff, Alex Wilder, and Klaus Wusthoff. The CD is avail- ing the self-titled Camerata able at capstonerecords.org, amazon.com, Flute World, and Woodwind Quintet, with from Leonard Garrison at [email protected]. flutist Andrea Redcave Graves. The CD includes new works performed by the quintet, The Los Angeles Flute Orchestra has released its first CD, The ensemble-in-residence at Stroke of Twelve. The new CD was unveiled by the L.A. Flute Western Illinois University Orchestra at the 2005 NFA Convention in San Diego, since 1966. The group regularly California, and contains all original compositions and tours the U.S. and Europe, presenting commissioned works arrangements by Christopher Caliendo, Ron Gorow, Vinny and traditional repertoire. Included in the CD are Golia, Peter Senchuk, and Eddie Sobenes. The CD is for sale Quintette, Opus 13, by Jacques Hétu; Anthony Iannaccone’s through Flute World. The recording is supported [in part] Woodwind Quintet No. 2, “Scenes after Hart Crane”; and through Subito, the quick advancement grant program of the Quintet, by John Steinmetz. Los Angeles Chapter of the American Composers Forum.

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NFA Convention By Susan Goodfellow onvention Perspectives C A veteran NFA conventioneer offers accolades and insights on the 33rd annu- al convention in San Diego.

he NFA is very healthy,” Immediate Past President The finalists in this year’s Young John Bailey was heard to say after the closing cer- Artist Competition were especially “Temonies. “It is healthy financially and artistically, outstanding. Emerging as laureates and it is especially healthy in the number of people who love were, third, Mercedes Smith, principal this organization.” This was evident in the 119 sessions, 21 flutist of the Houston Grand Opera exhibitors showcases, and more than 160 exhibits available to and Houston Ballet; second, Gloria the nearly 2,800 people who attended the 33rd annual con- Huh, currently a student at the vention in San Diego. University of British Columbia; and Because this year marks the centenary of Georges Barrère’s the winner, Julietta Curenton, who arrival in the U.S. from France, much was said and heard of has recently completed a graduate this first major flutist in America. Those attending Nancy degree at the Royal Northern College Toff’s engaging and informative illustrated lecture were met at of Music as a student of Peter Lloyd. the door by a nearly life-size, free-standing cardboard cutaway Already a dynamic and evocative per- statue of Barrère, realistic enough that I started to wish it good Julietta Curenton former at 23, her advice to young morning. The lecture was followed by a concert that simulat- flutists is to “be sure you love music. It’s a long process and you ed the concerts given by Barrère’s pioneering woodwind must be patient, especially with yourself.”Her favorite part of the ensembles in Paris and New York. In a second commemorative competition was “being around amazing musicians.” concert, Leone Buyse and Fenwick Smith with Martin Amlin Paul Gardner, from Phoenix, the High School Competition as accompanist performed works all of which had been dedi- winner and a finalist last year, also enjoyed learning from the cated to Barrère. Of special interest was the Invocation by other finalists and working on challenging repertoire. His advice Andre Caplet, graceful and seductive, which comes from the to his peers is to “play for other flutists as much as possible.” same group of Feuillets d’album as the popular Reverie and The Cultural Outreach Committee sponsored a fascinating Petit Valse. This piece, which had been lost and was recently and moving panel of NFA members who had taught and per- discovered in France by Toff, was receiving what was perhaps formed in parts of the world, some damaged by war, where its first performance in a century. resources and opportunities do not exist. All of the presenters had slides showing the joy on the faces of the people, many of them children, with whom they had worked. Ernestine Whitman taught at Holy Trinity Music School in Haiti and Wendy Rolfe has returned to work in Brazil regularly since 1987. Brooks de Wetter-Smith spoke of the richness that he received from the musical traditions of Palestine’s West Bank as the people reciprocated his gift of music with their own. (“I was amazed that these people had never seen a Western flute,” he said, “until I realized that I had never seen an oud.’”) Terri Sundberg went to Kosovo (“A group of children could actually sing ‘Supercalifragilisticexpialidocious’ ”) with the goal that children would become “instruments of peace.” Judy Conrad teaches flute at Rosie’s House, an after-school music academy for inner-city children in Phoenix. The 260 students in grades K–12 are required to practice, keep their grades up, and attend rehearsals. Among the rewards: students have won scholarships to Stanford and Interlochen, and one 6-year-old boy said, “My goal is to be better than Nancy Toff, Leone Buyse, and Martin Amlin with nearly life-size convention lec- ture greeter, Georges Barrère. Beethoven.”

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performances had many supernatural demonstrations of what the flute can be. For me, the flute is magic, as in Dufour’s Poulenc Sonata; it is joy, as in Thomas Jensen’s Variations Drolatiques by Andersen, performed with the excellent San Diego Chamber Orchestra; it is elegance, as in Lifetime Achievement award recipient Peter-Lukas Graf’s solo sonata of C.P.E. Bach; it is inspiration, as in the Amy Beach sonata performed by Brooks de Wetter-Smith; it is the excitement of the unfamiliar, as in Lior Eitan’s performance of Avner Dorman’s piccolo concerto; and the excitement of the familiar, as in Young Artist winner Julietta Curenton’s Fantaisie by Hue; it is universality, as in the Korean songs performed by the Seoul Flute Orchestra. And in the four days of sounds and colors and multifaceted personal expressions, it is Ellen Kaner, Judy Conrad, Wendy Rolfe, Ernestine Whitman, Terri Sundberg, and another year’s worth of beauty. Brooks de Wetter-Smith See you in Pittsburgh. Without doubt, the Show- Susan Goodfellow is associate professor of flute at the Must-Go-On award goes to University of Utah. She has soloed with the Carmel Bach England-based Headliner Festival and on the national broadcasts of the Mormon Concert performer Denis Tabernacle Choir and was a music editor for Encyclopaedia Bouriakov. When his scheduled Britannica. She has served as Secretary of the NFA and is a repertoire got lost, he e-mailed member of the editorial advisory board. to himself, at the convention, a new program: the monumental Bach G Minor Chaconne, transcribed by Toke-Lund Denis Bouriakov Christiansen and revised by William Bennett and himself, and his own arrangement (for which he also gave Bennett credit for assistance) of the first movement of the Sibelius Violin Concerto. “It was on my computer,” he modestly said of the two ultrastunning tran- scriptions, “because I did it, you see.” Fortunately for us all, he had brought his own pianist and they played as if nothing untoward had happened. Much of the color of the convention can be captured in random quotes.

Some give depth to our practicing COURTESY LISA FAHLSTROM (Peter-Lukas Graf: “Flute playing has Lauren Stilzelman and Americo Vergari were among the volunteers who greeted three elements: dolce, flexibility, approximately 2,800 convention attendees. intensity”); others make an axiom memorable (Mathieu Dufour, on Mozart’s rhythms: “Mozart is not Stravinsky or any other composer”); some carry wisdom beyond the prac- tice room (Wissam Boustany: “Living on the edge is what brings out the best in you”). Some are from the Wissam Boustany nice-to-hear department (composer Benjamin Boone: “Intrinsically flutists play well, so the num- ber of good performances of new music is high”); and some are pure fun (an attendee at Dufour’s virtuosic performance: “Gee, he lives a block from me. I see him out walking his dog.”) COURTESY LISA FAHLSTROM

“Music isn’t about what’s natural,” said Boustany in his Lisa Hedley plays a contra bass flute similar to the many “big flutes” featured in masterclass. “It’s about what’s supernatural.” The convention the San Diego Flute Orchestra’s opening ceremonies performance.

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NFA Convention By Cynthia Stevens What We Learned on Our Summer Vacation: Etudes and Equally Excellent Ideas

Members of the Pedagogy Committee offer an overview of the topics covered at the 33rd annual NFA Convention in San Diego. The committee also introduced its new book, Selected Flute Repertoire: A Graded Guide for Teachers and Students, used in several workshops.

he first event sponsored by the while playing. Suggestions for keeping and Other Related Topics.” Besides NFA’s Pedagogy Committee the throat open included Donner’s ref- flute lessons and studio classes, these Tevent was Pedagogy Potpourri I, erence to Peter-Lukas Graf’s “flute professors teach classes in flute litera- “Teaching Your Students to Practice checkup,” and, for the issue of straight ture, pedagogy, woodwind literature, for Success.” Karen Suzanne Smithson vs. bent wrists, Zuback suggested chamber music, music appreciation, introduced panelists Julia Larson straight in right, bent in left as in the music history, music theory, and ear Mattern, Helen Spielman, and Chris Rockstro position. One person asked training. Glencross stressed that anyone Potter. Mattern emphasized that when to introduce Bb thumb, and preparing for a college teaching position teaching students how to practice for both Smithson and Blocki said, needs to have a secondary area of special- success is the best motivator we know, “immediately!” For ways to help master ization for marketability. Johnson told including such tips as “set goals, stay difficult technical passages, Clemans how her students provide service to the in the moment, practice in shorter ses- recommended the “link and chain” community while developing needed sions, focus on one thing at a time, practicing of 4 + 1 patterns, then skills. Paluzzi runs one of the few Suzuki look for known patterns.” Spielman stringing them together. teacher-training programs in the coun- shared stories about how teachers can Bonnie Buhler-Tanouye introduced try. She emphasizes the importance of inspire their students through trips, teacher Mary C.J. Byrne of Victoria teacher/parent relationships with her parties, and performances. Potter’s Conservatory, Canada, for the first of students. Mattern provides students “Got Rhythm?” handout came filled two junior masterclasses. Byrne’s with an overview of literature so they with examples and good ideas for upbeat style had the performers know how to discover by themselves a helping students work out rhythmic relaxed and the audience laughing variety of musical genres. Dunnell difficulties. almost immediately. Performers emphasized that prospective teachers In the afternoon, Mary C.J. Byrne played music from Levels C through F should learn how to diagnose rather introduced panelists Amy Zuback, (Selected Flute Repertoire: A Graded than fix instrumental problems. Holly Clemans, Karen Suzanne Guide for Teachers and Students). That afternoon, Holly Clemans intro- Smithson, Kathryn Blocki, Ann Byrne worked on issues of dynamic duced presenters Cynthia Stevens, Donner, and Cynthia Ellis for the “Ped contrasts, breathing, style, and playing Byrne, and Smithson for Pedagogy Comm Fix-It Workshop.” The audi- longer phrases. She suggested stepping Potpourri II, “Not Just Another ence blitzed these teachers with such away from the stand when bowing so Breathing Workshop!” Stevens suggest- questions as, “How do you deal with a that the audience can see you. ed that when students have to “get it student who says it is easier to hold the Friday morning, Buhler-Tanouye right” in front of their peers, they are flute wrong?” and “How do you cor- introduced professors Rebecca Lyle very motivated to practice. Her junior rect ‘flying fingers’?” Ellis suggested Paluzzi, Rebecca Dunnell, Laurie ensembles (grades 4–9) provide per- using a pencil or ruler to play “limbo” Glencross (Millikin University), Julia formance opportunities during Advent, while admonishing, “Keep touching Larson Mattern, and Deb Johnson, who and she gears six rehearsals toward the silver!” Smithson suggested trying discussed “Teaching Outside the Studio: improving students’ practice habits, to keep a tissue on top of the hand Courses on Pedagogy and Literature rhythmic skills, and intonation.

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Byrne’s home-baked cookie scheme Guide, and all agreed that consistent all these young students handled them- had everyone laughing! Tempt them etude study should begin as soon as selves with steady grace under pressure. with cookies and they’ll follow you possible after completion of basic Editor’s note: Presenters who provided anywhere was her message: Have regular method books. Finger technique, read- handouts and offered to send files to “studio classes” (followed by cookies) in ing skills, endurance, instilling solid those interested are Jennifer Binney- which you can work with issues com- practice skills, ear training, pattern iden- Clippert, Mary Byrne, Bonnie Buhler- mon to all students such as breathing, tification, and isolation of specific tech- Tanouye, Julia Larson Mattern, Chris tone work, tuning, listening, theory, nical difficulties are all areas that etude Potter, Cynthia Stevens, and Erich expression, rhythm, and technique. study can help develop. Tucker. We invite you to use the NFA Smithson provided breathing tips. After introducing the new guide Directory to contact any of these people. Bending at the waist while inhaling (sit- briefly, Stevens explained how she ting or standing) allows one to feel deeper begins to use the word “etude” early in breaths. Tying a belt under one’s bodice lessons, suggesting that the word itself First Junior Masterclass with Mary Byrne aids the feeling of proper exhalation. connotes the seriousness of the lesson. Byrne welcomed nine young students She showed through overheads how who played repertoire from Levels A–J she integrates etudes into the rest of (Selected Flute Repertoire: A Graded the lesson plan. Steele described practice Guide for Teachers and Students) in tools such as covering notes as a student Sampler Concert 1. All these young per- plays, the one line check off, and finding formers seemed to enjoy their perform- the “home speed.” Buhler-Tanouye ance debuts at a National Flute presented a four-step method for Association Convention and handled learning new etudes: count and clap, Chelsea Lim, Alexa Hayon, Cora Cull, and Corrina themselves with poise and grace. Sam count and finger, say and finger, and Kroeker Magrill, Paul Switzler, and Lisa Mannel play. Tucker suggested the use of col- Sampler Concert I accompanied the students. ored highlighters to code etude On Saturday, Rebecca Hovan intro- dynamics, articulations, and accidentals duced Andrea Redcay Graves, who along with other motivational ideas worked with four students presenting for getting students to enjoy etudes repertoire from Levels G–J (Selected more. Binney-Clippert assigns etudes Flute Repertoire: A Graded Guide for with one specific identified goal in Teachers and Students) in the second mind. For example, Anderson Op.33, junior masterclass. Her suggestions No. 2 makes a great double-tonguing focused on style (“listen to a violinist”), exercise by changing the eighth notes playing softly (“lift from the rib cage”), progressively into double-tongued and physical movements (“make certain 16th notes. Front: Rachel Fleisher, Lauren Worley, Ellie Dunbar, that movements are with, not against, All the panelists discussed the Allison Han; back: Fiona Lair, Lisa Hwang, Lisa musical line”). She showed how alter- importance of correlating/adapting Mannel, Marie Forney, Tracy Goodwin nating measures with a teacher could etude materials to match specific skills Sampler Concert II help a student learn how to maintain found in the student’s current solo the “pressure” for both loud and soft repertoire. A comprehensive list of passages. graded etudes can be found in Selected On Sunday morning, moderator Etudes, Methods, and Daily Studies Chris Potter introduced panelists Guide, available from the NFA for $5. Stevens, Buhler-Tanouye, Stacey Steele, (See nfaonline.org.) Erich Tucker, and Jennifer Binney- The final event was Sunday’s Sampler Clippert to discuss “Tips for integrating Concert II. Once again, students pre- etude study into private lessons.” All sented repertoire representing Levels panelists had worked either on the A–J (Selected Flute Repertoire: A Graded Pedagogy Committee or one of its sub- Guide for Teachers and Students). Krissy Front: Stephanie Morris, Heather Norris, Megan Day, committees to help assemble Selected Han and Wendy Stofer joined Magrill Avinash Nanjundiah; back: Melody Li, Crystal Doan, Etudes, Methods, and Daily Studies and Switzler as accompanists, and again Shelley Ackerman, Allison Wagner, Alberta Brown

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From the DEVELOPMENT DIRECTOR By Richard Soule, NFA Development Director and Banquet Chair 13th Annual Lifetime Achievement Awards Banquet National Flute Association Convention August 13, 2005, San Diego, California t was my pleasure to organize this year’s Lifetime Awards encouragement. Now we can all see how the NFA has totally Banquet at the NFA Convention in San Diego and to serve changed the flute landscape. Everyone shares ideas in an atmos- Ias its master of ceremonies. More than 150 banquet atten- phere of mutual respect. The flute world has been made much dees greeted Mark Thomas, recipient of the NFA National better for the work that you inspired back in 1972.” Service Award, and Peter-Lukas Graf and Sheridan Stokes, In addition to founding the NFA, Mark Thomas has taught Lifetime Achievement Award recipients. many students who have gone on to illustrious careers, and he Before the dinner began, it was my honor to formally wel- has performed worldwide, including playing for royalty and come the banquet attendees (up 50 percent from last year) and U.S. presidents. He has written a flute method and numerous to announce that the NFA is fiscally sound with an endow- journal articles, has served as a consultant for a major flute ment that grew by many thousands of dollars this fiscal year. magazine, and was artistic consultant and educational liaison The awards presentation immediately followed the meal with for several leading flute manufacturers. In what little spare Katherine Borst Jones presenting Thomas with his award and time was available, Mark designed and built a nationally John Bailey and Sue Ann Kahn presenting the awards to Graf famous garden railroad! and Stokes, respectively. Jones concluded her presentation speech with these words: “We come together tonight to thank you, to recognize you for “We thank you for your vision, your courage, and your willing- your contributions as Founder and Honorary Life President of ness to stick your neck out. …33 years later we celebrate as an the National Flute Association. You were the person [who] association of over 6,000 members from over 20 countries.” pulled together the forces to create our NFA. Now over 3,000 —Katherine Borst Jones on Mark Thomas’ service to the of us gather together every summer for inspiration, friend- National Flute Association ship, and renewal. Congratulations!”

A special presentation of the NFA’s National Service award “For Mr. Graf, the flute is only a means to an end—his was made to Founder and Honorary Life President Mark thought is not about the instrument but about the musical Thomas, who along with his wife Judy, James Pellerite, expression: the line, the architecture and structure of the Walfrid Kujala, and Philip Swanson founded the NFA in music, intelligent phrasing, and above all, communication.” 1972. Hosting a gathering of flutists in Anaheim, California, —John Bailey, from his presentation speech Mark and Judy Thomas assumed personal financial liability for a contract they signed with the Royal Inn of Anaheim. The Lifetime Achievement Award was presented to Peter- This meeting became known as the first convention of the Lukas Graf. In his speech, John Bailey, NFA Immediate Past- National Flute Association. President, spoke of Graf’s international reputation as a flutist, Following on the success of this first meeting, Thomas chamber musician, recording artist, teacher, and conductor. formed an ad hoc committee to organize the association, hold Graf was solo flutist with the Winterthur Orchestra in initial elections, and write the bylaws. Thanks to Thomas’ Switzerland, conductor at the Lucerne Opera, and later guest efforts and those of the other committee members, the NFA conductor for major orchestras worldwide. charter and the organization’s not-for-profit status became His awards as a flutist include first prize at the Munich ARD official on September 10, 1973, just 11 months after that first International Competition and the Bablock Prize from the Harriet gathering in Anaheim. Cohan International Music Awards in London. Since 1973, Graf In her presentation speech, NFA Vice President/President- has served as professor of flute at the Basle Conservatory. elect Kathy Jones spoke of the many attributes that make our As an author, Graf has published three books on flute playing, organization so vital in today’s world. She said,“…the spirit of The Singing Flute, Check-up, and Interpretation: How to Shape a volunteerism extends from the individuals who run the conven- Melodic Line. He has made more than 40 solo and chamber tion and organization to the performers who inspire us. From recordings; his recording of the Krommer concertos with the beginning the exhibitors have been on board, providing the English Chamber Orchestra won the Grand Prix many services at their own expense as well as their support and International du Disque.

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Graf’s eloquent thoughts have been quoted in many publi- NFA continues to remain in sound financial condition. cations, including a 1983 interview published in Gespräche mit For information on how you can make a tax-deductible Flötisten (Conversations with Flutists), in which he character- donation to the NFA, or to learn about including the NFA in your izes his intentions, “… to play so that the listener forgets the will or estate, please contact Richard Soule, NFA Development flute; so that he listens to the music and no longer thinks Director at (702) 895-3377 or [email protected]. about the instrument; that he can take me seriously and doesn’t need to forgive me for my instrument.” In his con- cluding remarks, Bailey quoted from a 1989 interview in which Graf comments on his life as a musician, “Music lives, and everything alive constantly changes. One never stops learning. Such is life, and such is music.”

“The legend goes that he makes everything sound so easy no matter how difficult the part, sitting in a session, relaxed in his chair with his legs crossed … the only way you know if he’s play- ing a ridiculously hard part is if he uncrosses his legs.” —Sue Ann Kahn quoting a comment made about Sheridan Stokes

The NFA also honored long-time Hollywood recording stu- Mark Thomas and Katherine Borst Jones dio flutist Sheridan Stokes with its Lifetime Achievement Award. Stokes is best known to movie goers for his flute playing on the sound track of films such as ET, Out of Africa, Kung Fu, Roots, Apollo 13, and thousands other movie and TV scores. Television viewers in the early 1970s will remember Sheridan’s opening flute lines in Lalo Schifrin’s flashy score to Mission Impossible. In addition to his studio work, Stokes serves as senior lec- turer and flute instructor at UCLA, where he also directs the UCLA Flute Consort. His books, Special Effects for Flute and The Illustrated Method for Flute I (the latter has been translat- ed and published in Japan) are sold worldwide. Stokes’ CD recordings include his transcription of six sonatas by the Italian composer Luigi Boccherini (Orion-Naxos), Torbellino by Caliendo for flute and guitar (Efficaci), the Henri Lazarof trio for flute, clarinet, and oboe (Laurel), and Quintet by Sue Ann Kahn and Sheridan Stokes Levitch for flute and strings (Orion). He has served as principal flute and soloist of the Glendale Symphony for 25 years and previously held this position with the American Ballet Theatre and the Houston, San Francisco, and Harlem ballets. Stokes received the Lifetime Achievement Award from Kahn, president of the NFA. In preparation for her speech, Kahn interviewed many longtime colleagues of Sheridan’s, including Louise DiTullio, David Shostac, Susan Greenberg, Earle Dumler, Gary Grey, and Jim Walker. After sharing anec- dotes of Sheridan’s long career, she commented that all who spoke in his behalf characterized Sheridan as “one of the most gifted people they ever met.” Besides honoring the best of the best in the flute world, the NFA’s Annual Banquet provides revenue to the endow- ment through a portion of each ticket sold. Because of this event, and through the generosity of the membership, the John Bailey and Peter-Lukas Graf

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From the RESEARCH COORDINATOR Winning Dissertations

he 2005 Convention in San Diego Eleven exemplary published peda- Orchestra for more than 40 years. A featured presentations by the two gogical books are thoroughly examined native of Philadelphia, Barone plays an Twinners of this year’s Doctoral in terms of their level of difficulty, open G-sharp system, which he learned Dissertation Competition sponsored by which techniques are included, how from his first teacher, his flutist father the NFA Research Committee (Susan the execution of techniques is Clemente Barone. Subsequent teachers Nelson, Ardal Powell, Michael Stoune, explained, notation, any other impor- included Joseph La Monaca, Frank Nancy Toff). Dissertations by Leslie Ann tant features, and its contribution to the Versaci, Fernando Morrone, and the Marrs, DMA, University of North repertoire. The 11 books are divided eminent William Kincaid, who recom- Carolina–Greensboro, 2004, and Emily J. into two categories: manuals— mended Barone for his first major Butterfield, DMA, Ohio State University, resources for the pedagogical materials; orchestral position: piccolo and assistant 2003, were selected for their outstanding and studies—methods for teaching the first flute in the Houston Symphony contributions to flute study. techniques, with etudes and relevant Orchestra. exercises. The manuals examined are by While playing in Houston, Barone “Integrating Extended Techniques into Pierre-Yves Artaud, Robert Dick, Hiroshi Flute Pedagogy: A Resource Guide for Koizumi, Carin Levine and Catherine secured and refined his piccolo technique Flutists, Teachers, and Composers” Mitropoulos-Bott, and James J. Pellerite. performing for conductors Efrem Kurtz, Studies featured in this paper are by Sir Thomas Beecham, and Leopold Leslie Ann Marrs Michael Colquhoun, Robert Dick, Linda Stokowski. In 1959 Barone moved to University of North Carolina–Greensboro Holland, Aurèle Nicolet, Wil Offermans, Detroit to play piccolo in the Detroit and Harvey Sollberger. The techniques Symphony Orchestra under principal This document is a comprehensive will be discussed in terms of five groups: conductor Paul Paray. During his 32-year resource guide to the pedagogical lit- 1) techniques common to flute pedagogy, career in Detroit, Barone collaborated erature for extended techniques for but also considered a departure from with fellow flutists Albert Tipton, Irvin flute. A brief discussion of the history typical classical flute repertoire, 2) Gilman, and later members Ervin of extended techniques in flute reper- multiphonics, 3) microtones, 4) per- Monroe, Shaul Ben-Meir, and Robert toire and typical concerns regarding cussive effects, and 5) aspects of circular Patrick. these techniques introduces the paper. breathing. In addition to a chronological study of Dissertations and theses that relate Appendices include a bibliography Barone’s professional activities, this doc- directly to the pedagogy of extended of related dissertations that do not ument also discusses selected aspects of techniques are summarized. The 15 contain pedagogical information on Barone’s flute and piccolo pedagogy, pertinent dissertations and theses are extended techniques, annotated bibli- formed from his premise that the flute grouped in terms of papers that ographies of the 43 other manuals and “should imitate the human singing voice address specific challenges of playing studies reviewed for this paper, and in style and quality of lyricism.” music that contains extended tech- examples of the techniques illustrated Additional chapters focus on an niques; those that consider extended in notation and recorded for audio account of lessons with William Kincaid; techniques in relation to the flute’s reference. a discussion of Barone’s publication, acoustical properties; dissertations that connect extended techniques to “The Professional Life and Pedagogy of Learning the Piccolo: A Treatise on the musics of other cultures; “how-to” Clement Barone” Subtleties and Problems of Playing the documents for extended techniques; Piccolo in Relation to the Flute (1975); and and dissertations that classify the ped- Emily J. Butterfield Barone’s perception of changes in agogical materials that support all Ohio State University orchestral procedures as they impact the musical styles in the 20th century. professional orchestral musician. Terminology pertaining to the flute Orchestral musician and teacher and to extended techniques is defined Clement Barone (1921–2004) played and levels of flute playing ability are piccolo in the Detroit Symphony —Rachel Lynn Waddell described. Orchestra and the Houston Symphony NFA Research Coordinator

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From the PROGRAM CHAIR

any thanks are due to Kyle memory is embedded in my experience Dzapo and her army of assis- and has, in some way, shaped my think- Mtants for creating a memo- ing about music. rable convention in San Diego. Kyle’s These musical “icons” from our past passion, leadership, and energy, along experiences led us to form a convention with the contributions of all partici- based on iconographical experiences. It pants, organizers, and attendees, define is our hope that the theme of “Icons” our great organization. will create lasting, satisfying memories It is an absolute honor to accept the and inspiration to everyone attending. role of program chair for the 2006 The architectural icons of Pittsburgh National Flute Association Convention also lend themselves to complete one’s in Pittsburgh, Pennsylvania, August experience as a tourist in Pittsburgh— 10–13. I look forward to creating a mul- The Carnegie Museum of Art, Andy tifaceted program with the help of my Warhol Museum, Pittsburgh Plate Glass assistant, Emily McKay, and the gener- Building, Cathedral of Learning at the ous members of the Pittsburgh Flute University of Pittsburgh, stone carvings Club, under the leadership of Wendy on the Fine Arts building at Carnegie Thomas Robertello Kumer. The ideas for proposals are Mellon University, Mount Washington, already starting to reach us here at “con- and Stephen Foster Memorial. These vention central.” It is exciting to visual- cultural icons in addition to the ize the various concerts, classes, lec- Allegheny, Monongahela, and Ohio tures, and presentations that reflect the Rivers, which meet at Point Park, all Send all proposals to: diverse NFA membership. Please note make for a scenic backdrop at the next Emily McKay, that proposals are due by November 1, convention. Assistant Program Chair 2005, and that anyone who performed During my final days as a Pittsburgh 717 S. Lincoln St. or presented for conventions of the past resident eight years ago, I had a crazy Bloomington, IN 47401 two years are ineligible for the 2006 dream just before my move. I dreamt [email protected] convention. that I was a giant taller than any build- [email protected] The David L. Lawrence Convention ing in town. I walked easily up the side Center in Pittsburgh is a state-of-the- of Mount Washington, sat down, and Please copy all e-mail to both addresses art facility in an amazing city, where I looked around at the vast urban spent seven years as co-principal flute of panorama with my feet dangling in the the Pittsburgh Symphony. I am person- river below. I reached across the ally thrilled to be going back to a city Monongahela River toward Oakland, that shaped my life in many ways, and plucked the Tower of Learning off its to be able to gather with so many other foundation, and played it like a flute flutists who share similar passions and over the city. At the end of my little solo, interests. I lit the end of the tower and smoked it. When Emily and I were creating the When I finished, I flicked up the overall theme for the convention, we remainder and watched it land in spent a lot of time recalling Pittsburgh downtown Pittsburgh. Then I walked memories, and memories of past con- away. What a memory! ventions we attended. I have always I do hope you will join us in been inspired by the performances at Pittsburgh as a participant, volunteer, the NFA Conventions, and continue to or just plain flute-lover. It is your be every summer. I remember first chance to create some iconic memories attending the convention as a student, and experiences of your own. and I was truly enlightened by the gen- erous musicians who gave themselves completely to the audience. The per- —Thomas Robertello formances were so stunning that each 2006 NFA Program Chair Fall 2005 The Flutist Quarterly 79 Flutist_80.qxd 10/27/05 2:00 PM Page 80 Flutist_81.qxd 10/20/05 2:59 PM Page 81 Flutist_82.qxd 10/20/05 2:59 PM Page 82 Flutist_83.qxd 10/20/05 3:01 PM Page 83 Flutist_84_85.qxd 10/20/05 3:02 PM Page 84 Flutist_84_85.qxd 10/20/05 3:02 PM Page 85

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SUBSCRIPTIONS editor reserves the right to edit all articles for style, content, or space requirements. Receipt of The Flutist Quarterly is a benefit of membership in the National Flute The Flutist Quarterly budget does not include honorariums for authors. Association, Inc. Subscriptions are available to libraries and institutions at a charge Editorial deadlines for The Flutist Quarterly apply primarily to departments of $35 per year. Personal subscriptions are not available. The Music Library Catalog providing news of interest about flutist activities and products. Unsolicited feature (6th ed.) is also available to libraries and institutions at $15 per copy. articles may be sent at any time for consideration; submissions to Across the Miles, Canadian News, and Notes from Abroad departments should be sent to their edi- ADDRESS CORRECTIONS tors at least one week prior to deadline dates to be considered for inclusion. Send Bulk rate mail is not forwarded. Send address corrections to: Maria Stibelman, editorial materials for the Fall issue by July 1; for the Winter issue by October 1; Membership Services, 26951 Ruether Ave., Suite H, Santa Clarita, CA 91351; for the Spring issue by January 2; and for the Summer issue by April 1. 661-250-8920; 661-299-6681 (fax); [email protected]. The NFA will be responsible for one missed magazine in the event an address change crosses in the Please send submissions (except Across the Miles, Canadian News, and Notes mail. Missed issues due to bad addresses are available at the rate of $10 per copy from Abroad—see those departments for contact information) to: through the membership services manager. Anne Welsbacher 13810 NW Passage #302 BACK ISSUES Marina del Rey, CA 90292 Members and nonmembers may purchase back issues of The Flutist Quarterly phone/fax: 310-301-2101 (call before sending fax) at the rate of $10 each through the membership services manager at the [email protected] address listed above. No submissions will be returned unless accompanied by a stamped, EDITORIAL GUIDELINES self-addressed envelope. Please submit manuscripts electronically as Word files attached to an e-mail message that clearly states what you are submitting. (Unidentified attachments ADVERTISING GUIDELINES might be deleted as a virus security precaution.) If you are unable to submit via Guidelines, deadlines, and fees are available on the NFA Web site at e-mail, please send submissions as Word files on a CD or computer disk. Please nfaonline.org/fqadvertising.asp. include a single-spaced, printed copy of your submission. Advertising deadlines for The Flutist Quarterly are: Fall issue, August 15; Winter Submissions should also be accompanied by a signed letter stating that the issue, November 15; Spring issue, February 15; Summer issue, May 1. material contained in your submission (1) is entirely original; (2) has not been previously published; and (3) is not currently under consideration for publication Please send advertising submissions and queries to: elsewhere. (Electronic submissions need not be signed but should include these Steve DiLauro, NFA Advertising Sales Representative three statements.) Manuscripts under copyright need to include permission to LaRich & Associates, Inc. duplicate 10 copies for review purposes only. 153000 Pearl Rd., Ste. 112 You will be notified that your manuscript has been received by the editor. Strongsville, OH 44136-5036 Authors of manuscripts accepted for publication will be sent a permission-to- 440-238-5577 print form. Accepted manuscripts will, when appropriate, go through a review fax: 440-572-2976 process. Authors might be asked to revise manuscripts during this procedure. The [email protected] Flutist_88.qxd 10/20/05 3:03 PM Page 88

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

• NFA OFFICE Troy Etter, Bio Editor Special Publications NFA Library Committee Chair 536 Fort Washington Ave. #3K Susan Waller Brian Luce New York, NY 10033 224 Kent Pl. Phyllis T. Pemberton, Executive Director Music Building, Rm. 236 The National Flute Association, Inc. 917-846-9184 (h) San Ramon, CA 94583-3748 212-580-0210 ext. 262 (w) 925-829-4922 University of Arizona 26951 Ruether Ave., Ste. H fax: 212-580-1738 [email protected] Tucson, AZ 85721-0004 Santa Clarita, CA 91351 [email protected] 661-713-6013 520-621-7015 fax: 661-297-0753 • COMPETITION COORDINATORS fax: 520-621-1307 [email protected] Rachel Lynn Waddell, Flute Research [email protected] Coordinator Lori Akins, General Coordinator Madeline Neumann, Convention Manager Hillsdale College 5113 Glenaire Dr. NFA Librarian 26951 Ruether Ave., Ste. H Howard Music Building Dublin, OH 43017-9479 Santa Clarita, CA 91351 79 E. College St. 614-766-1838 Bob Diaz, Music and Dance Librarian 661-299-6680 Hillsdale, MI 49242 [email protected] NFA Music Library fax: 661-299-6681 517-607-2546 c/o University of Arizona Libraries [email protected] [email protected] Linda Pereksta, Baroque Flute Artist 836 S. Clearview Pkwy., #353 1510 E. University Tucson, AZ 85721-0055 Anne Welsbacher, Publications Director Paula Gudmundson, Visual Documentation River Ridge, LA 70123 13810 NW Passage #302 1128 LaSalle Ave. phone/fax: 504-818-0581 520-621-7010 Marina del Rey, CA 90292 Minneapolis, MN 55403 [email protected] [email protected] [email protected] 612-729-0834 Andrea Graves, Chamber Music Debbie Hyde-Duby, Myrna Brown Society Western Illinois University Myrna Brown International Liaison Maria Stibelman, Membership Services 4554 Leathers St. 1 University Cir.—Browne Hall Dennette Derby McDermott 26951 Reuther Ave., Ste. H San Diego, CA 92117-3419 Macomb, IL 61455 315 South Court Dr. Santa Clarita, CA 91351 858-270-4506 309-298-1064 661-250-8920 [email protected] fax: 309-298-1968 Nachitoches, LA 71457 fax: 662-299-6681 [email protected] 318-357-5761 [email protected] Richard Soule, Lifetime Achievement Awards fax: 318-357-5906 Banquet Chair Amy Hamilton, Convention Performers for 5407 Ramillete Rd. Newly Published Music [email protected] • FLUTIST QUARTERLY Las Vegas, NV 89120 154 King St. 702-895-3377 Oakville, ON, L6J 1B2 Grants Development Anne Welsbacher, Editor [email protected] Canada Patricia Spencer 905-339-2658 13810 NW Passage #302 215 W. 90th St. #1G Marina del Ray, CA 90292 [email protected] New York, NY 10024 310-301-2101 • COMMITTEE CHAIRS [email protected] Rachel Lynn Waddell, Coordinator: Call for 212-873-1065 Amateur Resources DM/PhD Papers fax: 212-873-1065 Brenda Trautman Hillsdale College Steve DiLauro, Advertising Sales Representative 275A Solon Rd. Howard Music Building [email protected] LaRich & Associates, Inc. Chagrin Falls, OH 44022 79 E. College St. 153000 Pearl Rd., Ste. 112 440-247-2548 (h) Hillsdale, MI 49242 Strongsville, OH 44136-5036 440-962-2875 (w) 517-607-2366 440-238-5577 [email protected] [email protected] • OTHER COORDINATORS fax: 440-572-2976 [email protected] Commercial Members Darrin Thaves, High School Soloist Flute Choirs Coordinator John Bailey California State University Dorli McWayne Tony Watson, Masterclass Reporter [see Board of Directors] Department of Music 780 Merlin Ln. 1722 Hummingbird Ln. NE 1250 Bellflower Blvd. Atlanta, GA 30307 Cultural Outreach Long Beach, CA 90840-7101 Fairbanks, AK 99709 404-964-4142 Ellen Kaner 562-858-7697 907-479-6701 [email protected] 5802 Tinsley Dr. [email protected] [email protected] Arlington, TX 76017-6324 817-467-6784 Ali Ryerson, Jazz Flute Masterclass Flute Clubs Coordinator • NFA ONLINE [email protected] 12 Longview Dr. Brookfield, CT 06804 Christine Cleary Historical Flutes 203-740-2044 2022 Wedgewood Dr. Anne Welsbacher, Publications Director Kim Pineda [email protected] [see Flutist Quarterly] 4208 3rd Ave., NW Grapevine, TX 76051-7706 Seattle, WA 98107 Catherine Bull, Masterclass Performers 817-421-6663 Brian Covington, NFA Online Administrator 206-782-0406 303 Augusta Ave. SE [email protected] [email protected] [email protected] Atlanta, GA 30315-1403 404-627-9077 Jazz [email protected] Flute Research • CONVENTION Ali Ryerson Rachel Lynn Waddell 12 Longview Dr. Jane Berkner, National High School Flute [see Convention] Kyle Dzapo, 2004 Program Chair Brookfield, CT 06804 Choir Department of Music 203-740-2044 School of Music Bradley University [email protected] University of Akron Insurance Peoria, IL 61625 Akron, OH 44325-1002 Francesca Arnone Long-Range Planning 330-972-7061 309-677-4978 1620 Vermont Ave. fax: 309-677-3871 Leone Buyse [email protected] 2136 Swift Blvd. Boise, ID 83706 [email protected] Houston, TX 77030 Andrea Loewy, Newly Published Music 208-429-8026 713-838-0420 110 Live Oak Dr. [email protected] Madeline Neumann, Convention Manager fax: 713-838-0078 Lafayette, LA 70503 [see NFA Office] [email protected] 337-988-6323 [email protected] International Liaison Jane Masur, Local Arrangements Chair New Music Advisory Matej ZUPAN 12222 Poway Rd. #25 Paul Taub Joanna Bassett, Orchestral Audition/ C. 9. avgusta 72 Poway, CA 92064 1513 25th Ave. Masterclass 858-748-4721 Seattle, WA 98122 85 Maywood Ave. 1410 Zagorje ob Savi fax: 858-748-8150 206-720-1011 Rochester, NY 14618 Slovenija, Europe [email protected] [email protected] 585-383-0650 +386 40 811 811 [email protected] fax: +386 1 516 11 34 Nominating Jim Magee, Exhibits Management [email protected] N’Awlins Trade Show and Convention Kathy Borst Jones Rebecca Arrensen, Piccolo Masterclass Services, Inc. [see Officers] 1429 Stoney Creek Cir. 612 Highland Ct. Carmel, IN 46032 Director of Public Relations Oral History phone/fax: 317-818-0004 Mandeville, LA 70470-8538 Nancy Toff [email protected] Irene Pruzan 504-626-3046 425 East 79th St. #6F 5951 Petunia Ln. fax: 504-727-3940 New York, NY 10021 Lisa Garner Santa, Professional Flute Choir Orlando, FL 32821 [email protected] 212-772-1343 School of Music phone/fax: 407-238-9378 [email protected] Texas Tech University Patti McCleney, Exhibits Assistant Box 42033 cell: 651-398-7307 N’Awlins Trade Show and Convention Pedagogy Lubbock, TX 79409-2033 [email protected] Services, Inc. Rebecca Hovan 806-742-2270, ext. 279 P.O. Box 8538 23685 Arlene Ave. [email protected] Legal Advisor Mandeville, LA 70470-8538 Elkhart, IN 46517-3643 phone/fax: 504-893-9521 574-875-5447 Karen Moratz, Young Artist Linda Mintener [email protected] [email protected] Jordan College of Fine Arts 3976 Plymouth Cir. Butler University Madison, WI 53705 Nora Kile, Showcase & Exhibitor’s Concert Performance Health Care 4600 Sunset Ave. Lee Van Dusen Indianapolis, IN 46208 phone/fax: 608-231-1680 Coordinator office: 608-266-3049 1802 Glen Stone Ln. 1947 Gravel Rd. 317-253-1891 Seneca Falls, NY 13148-8720 [email protected] Hixson, TN 37343-3106 [email protected] 315-568-1233 423-842-4570 [email protected] • ARCHIVES & LIBRARIES [email protected] Director of Development Piccolo Archivist-Historian Richard Soule Anne Welsbacher, Program Book Editor Rebecca Arrensen Natalie Syring 5407 Ramillete Rd. [see Flutist Quarterly] 1429 Stoney Creek Cir. 9 Mallard Glen Pl. Las Vegas, NV 89120 Carmel, IN 46032 The Woodlands, TX 77381 Steve DiLauro, Advertising Sales Representative phone/fax: 317-818-0004 281-363-0955 702-895-3377 [see NFA Office] [email protected] [email protected] [email protected] Flutist_89.qxd 10/26/05 3:30 PM Page 89

INDEX OF ADVERTISERS

Abell Flute Co. 33 Altus Flutes America, Inc. 64 Brannen Bros. Flutemakers, Inc. 7 Burkart Flutes and Piccolos (2) 10, 86 Cantilena Records 2 Carlini, Louis A. 12 Carnegie Mellon 13 Clarion Insurance 14 Cornils 8 Diller-Quaile 4 Drelinger Headjoint Co. 63 Emerson, division of Conn-Selmer 85 Flute Exchange, The 53 Flute Finds 8 Flute Network/Little Wizard Enterprises 80 flutesonline.com 67 Flute Specialists, Inc. 31 Flute World 42 Garrison 63 Georgetown University 43 Graf, Erich 80 Green (Tom) Flutes, Inc. 4 Guzman, Viviana 89 Hammig Piccolos (see also Miyazawa) 87 Harper, Patricia (Masterclass) 76 Hartt School/University of Hartford 16 Jupiter Band Instruments, Inc. 91 Keefe Picolos 53 Kemler, Katherine 67 Kingma, Eva 76 Landell Flutes 89 Little Piper/Dean Yang Flutes 76 Loewy 67 Lopatin 14 Lyric Flutes (see also Miyazawa) 84 Magnolia Music Press 31 Married Flutes 67 Masters Flutes/ABA Music 6 Miyazawa Flutes, Ltd (3) 83, 84, 87 Muramatsu America 32 Music for Healing & Transition Program 74 Nagahara Flutes 65 National Flute Association (3) 78, 80, 81 Nelidova Records 84 Ogura Flute Works 74 Pearl Flutes 90 Polak, Simon 75 Potter, Christine 82 Powell Flutes 75 Progress Press 22 Sagerman Flutes 53 Sheridan Flute Co. 82 Sonare Winds, a division of Powell Flutes 6 TFDSFU





XFBQPO Stars and Stripes 74 Suzuki 75 Tap Music Sales 53 Williams Flutes 21, back cover Windplayer 63 Winzer Press 54 Woodwind/Brasswind 33 1HZ$UJHQWLXPŒ6WHUOLQJ6LOYHUKDUGHQHGIRUSURMHFWLRQWDUQLVKUHVLVWDQWIRUOLIH Yamaha Corporation of America 55 &DOOIRU\RXUIUHHWULDO(67ZZZODQGHOOÀXWHVFRP(67ZZZODQGHOOÀXWHVFRP Your Flute Works 33 Flutist_90.qxd 10/20/05 3:05 PM Page 90 Flutist_91.qxd 10/20/05 3:13 PM Page 91 Flutist_92.qxd 10/20/05 3:08 PM Page 92

Williams Flutes

Fine quality flutes & headjoints hand-crafted in the Boston tradition. Available in gold,platinum, silver and wood. Phone: 781-643-8839 williamsflutes.com

THE NATIONAL FLUTE ASSOCIATION, INC. PRESORTED STANDARD 26951 RUETHER AVE., SUITE H US POSTAGE PAID SANTA CLARITA, CA 91351 LOS ANGELES, CA PERMIT #1831

ADDRESS SERVICE REQUESTED