VOLUME XXXV , NO . 1 FALL 2009

THE LUTI ST QUARTERLY

The Flute in Argentin a: Beyond Piazzolla and Ginastera

The Voice of Composer George Crumb

Quality Resources for Jazz Flute

François Devienne, Part Two

THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC

Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 1 F ALL 2009 DEPARTMENTS 5 From the Chair 57 NFA News 7 From the Editor 59 Passing Tones 11 High Notes 62 New Products 14 Annotations 64 Reviews 47 Across the Miles 70 NFA Office, Coordinators, 52 From the Research Chair Committee Chairs 54 Lifetime Achievement Awards 74 Index of Advertisers

18 FEATURES 18 The Flute in Argentina: Beyond Piazzolla and Ginastera by Ana Laura González In the 19th century, t he relatively young nation of Argentina found its musical identity . Three composers—Amancio Alcorta, Alberto Williams, and Ángel Lasala—represent the country’s musical evolution into a nationalistic sound through selected works for flute.

24 Vox Crumb by Julie Hobbs The celebrated American composer George Crumb speaks about his music, “contemporary” composers such as Mozart, nature’s role in his writing, and voices of whales

30 Quality Resources for Jazz by Lisa Lorenzino Whether you are seeking books to peruse, articles to read, or Web sites to use as springboards for further information, the best sources for information and enlightenment about all things jazz flute are reviewed here in one comprehensive space.

24 38 Seeking François Devienne, Part Two by William Montgomery Despite his associations with recently rousted royalty, the business-savvy composer of 18th-century France not only survived but thrived in the Revolutionary era, performing, composing—and collecting healthy royalties. He wrote his two most notable works during this period; Les Visitandines, which became the most popular French opera of the M

O Revolutionary period, and the Flute Method. C . Z Z A J N I A T N U O M Y K C THE NATIONAL FLUTE ASSOCIATION O R Y

S UETHER VENUE UITE

E 26951 R A , S H T R U

O SANTA CLARITA , CA 91351 C , Y FOUNDED NOVEMBER 18, 1972 IN ELKHART , I NDIANA K S N I D A R This magazine is published quarterly by the National Flute Association, Inc., a nonprofit D E

N organization. The statements of writers and advertisers are not necessarily those of the : T National Flute Association, Inc., which reserves the right to refuse to print any advertisement. F E L M

O ISSN 8756-8667 2009 National Flute Association, Inc. T

T 30 38 O B nfaonline.org Fall 2009 The Flutist Quarterly 3 OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected]

Chair of the Board Leonard Garrison Lionel Hampton School of Music Music Room #206, University of Idaho Moscow, ID 83844-4015 208-885-6709 fax: 208-885-7254 [email protected]

Vice Chair of the Board Jonathan Keeble University of Illinois 1114 West Nevada St. Urbana, IL 61801 217-333-8142 [email protected]

Secretary Sandra Saathoff 1515 223rd Pl. NE Sammamish, WA 98074 425-836-4758 [email protected]

Chair of the Finance Committee Debbie MacMurray 4554 Leathers St. San Diego, CA 92117-3419 858-663-6389 fax: 513-492-4580 [email protected]

Assistant Secretary Francesca Arnone West Virginia University Division of Music P.O. BOX 6111 Morgantown, WV 26506-6111 304-293-4841 x3191 [email protected]

BOARD OF DIRECTORS Kimberly Clark (2009-2011) 15202 Circling Hawk Ct. Houston, TX 77095 281-550-4275 [email protected]

Daniel Dorff (2009–2012) 221 Meadowbrook Ave. Upper Darby, PA 19082 610-306-9480 [email protected]

Adrianne Greenbaum (2008–2010) 58 Ridgeview Ave. Fairfield, CT 06825 203-374-0607 [email protected] www.klezmerflute.com

Paul Taub (2008–2011) 1513 25th Ave. Seattle, WA 98122 206-328-5010 [email protected]

Linda Toote (2009- 2012) 55 Arlington St. Newton, MA 02458 617-964-3571 [email protected]

Clifford Tretick (2008–2011) PO Box 1066 Mechanicsburg, PA 17055 828-242-4489 [email protected] From the CHAIR

he New York convention was members Kimberly Clark, Daniel Dorff,

simply amazing, thanks to pro - and Linda Toote and assistant secretary Leonard Garrison Tgram chair Linda Toote and her Francesca Arnone. team of volunteers. I congratulate her for The board approved a strategic plan her transformation from musician to that articulates a new vision for the magician. People showed up in record NFA. Our vision statement is “By 2012 coordinator; Diane Boyd Schultz, pro - numbers to hear one great performance the National Flute Association will be fessional flute choir coordinator; Ruth after another, sample a program of splen - known as a premier resource world - Ann McClain, high school soloist coordi - did diversity with just the right balance of wide, valued by its members and rele - nator; and Virginia Schulze-Johnson, flutists from America and abroad, and vant to all interested in the flute.” The National High School Flute Choir coor - visit a huge array of exhibits. strategic plan shows us how to get there. dinator. I especially thank Lisa and I was honored to present a Lifetime It took several years, many hours of Diane, who are too valuable to let go: Lisa Achievement Award to Sir James meetings, and hundreds of e-mails to has agreed to serve as program chair for Galway, who with Lady Jeanne Galway produce this plan, which is posted on our 2011 convention in Charlotte, and and pianist Phillip Moll regaled us with the NFA Web site. Please give a heartfelt Diane will succeed Lisa as general com - a gala recital of extraordinary breadth thanks to the strategic planning com - petitions coordinator. and virtuosity. We also set a new world’s mittee, chaired by Joanna Bassett. Thanks go to our marvelous NFA staff record for the largest flute ensemble. We have already implemented part of The excitement in the room was palpa - the plan, establishing two new commit - who, throughout the year and during the ble, as flutists officially numbering tees: Christine Potter will chair the low convention, keep the NFA moving for - 1,989 from every corner of the globe flutes committee, and Laura Barron will ward. For the size of our organization, it’s played together. head the career development and busi - amazing that we have only four full-time The NFA board of directors met ness of music committee. staff, and they work their tails off! Their every day during the convention and The NFA benefits greatly from the loyalty to the organization, professional - tackled a full agenda. It has been a pleas - work of its volunteers, and we honor ism, and expertise is an invaluable asset. ure to work with this board. Each mem - those who have completed their terms On to Anaheim! I am thrilled to ber brings a different perspective to the of service, including Christine Cleary, announce 2010 Lifetime Achievement table but has consistently kept the best flute clubs coordinator; Mary Kay Award honorees, who will be active par - interests of the NFA at heart. We will Ferguson, piccolo committee chair; ticipants in our next convention: Leone miss outgoing members Bickford Rebecca Hovan, pedagogy committee Buyse and Fenwick Smith. We also will Brannen, Robert Dick, Christopher chair; Matej Zupan, international liai - present a National Service Award to Krueger, and secretary Shelley Collins. I son; Lisa Garner Santa, general compe - Gwen Powell. will continue to serve as your chair for titions coordinator; Rebecca Arrensen, Best to you throughout the year. one more year and welcome new board piccolo artist and piccolo masterclass —Leonard Garrison, Chair

nfaonline.org Fall 2009 The Flutist Quarterly 5 THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Christine Cleary, Amy Hamilton, Contributing Editors Lee Chivers, Masterclass Reporter Victoria Stehl, Art Director Steve diLauro, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies School of Music Texas Tech University Lubbock, Texas Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Patricia George Professor, Performer, Masterclass Teacher, Author Pocatello, Idaho Ruth Ann McClain Flutist and Studio Teacher Memphis, Tennessee John Wion Professor of Flute The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, Web Design Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. From the EDITOR

very issue of The Flutist Quarterly All that culminated, in a word, is the includes a listing of committee same as that page in your magazine: Echairs and other key people who crowded. As experience in New York help run the NFA. It’s an innocuous this August, you created more events, little page that I’m guessing nobody more information, more offerings, pays any attention to until they need to more sharing, more music. I saw this fulfill some administrative need. It’s a everywhere, as no doubt you did if you difficult page for me, because it’s filled were lucky enough to attend. with minutiae that hold the potential— To begin with, there were more presen - Anne Welsbacher often realized—of being inaccurate, as tations. More than there were supposed the names and places of our volunteers to be, more than people could possibly change throughout the year. It’s never select, but all worthy of inclusion, so admonished a flash photographer with 100 percent accurate (to the despair of what’s a program chair to do? a hurried “no pictures!” while per - our fine NFA staff, who work so hard Most of these many sessions were forming a particularly fast riff); and to get accurate information to our overflowing, standing room only (or, the premieres of works that included members despite the failings of their as I know from direct experience, sitting- Alexa Still’s performance of a new hapless publications colleague). on-the-floor room only). Most were piece by Joseph Schwantner. These are I bring up this rather tedious topic handled with the usual pluck and can-do only a tiny splash in the sea of remark - because when we put together the issue approach that I’ve noted in the flute able sessions in New York this year—I you hold in your hands, I found the community at large. I witnessed on- leave out some obvious candidates page, reflecting the new year’s chairs the-spot, guerrilla management— because others speak of them else - and leadership, especially difficult, not directives to keep open the aisle to where in this issue, and some because because of its content, but because of accommodate traffic, admonishments to of simple space restrictions. the sheer volume of its content. Our art the younger, healthier souls to relinquish I hope that those of you able to director had to stretch her creative capa - their seats for the “more distinguished” join us in New York—whether breaking bilities to make all your names fit on this among us who really couldn’t manage the world’s largest flute ensemble one loaded page. My copy editor and I, without a chair. Without exception, record, meeting friends old and new, and the NFA staff and volunteers, had our accommodations to the crowd perusing the booths of our stuffed to put in a little extra time to proofread were well worth it—speaking for exhibit hall, or slipping off to enjoy a bit the higher volume of names appearing myself, at least, every session I attended of the city’s fine offerings—had as good on the page. And our webmaster had to was splendid, whether I saw it from a time as I did. For those unable to manage a way to get all this information behind a sea of heads or from the floor attend, I hope to meet you next year, on the NFA Web site intact and in an with my legs crossed. across the street from Disneyland, in easily readable fashion. Among the highlights for me (and you southern California. This is all true because of all the can get a much better and broader cross- In between those dates, please raise a work that went into this year—the new section from our annual Convention glass to the many names that go into committees you created, reflecting our Chronicles on the NFA Web site, at that troublesome page in every issue of times (professional flute choir, jazz, nfaonline.org/convention/chronicles) this magazine, and thank all those who business, low flutes) and the fulfillment were Rachel Brown’s Quantz lecture/ work so hard year-round to make the of your passions and vision as a com - recital; Nancy Toff’s historical survey of NFA a truly global, premiere resource munity—which all culminated at this New York orchestral flutists; Lew for all things flute. year’s convention. Tabackin’s jazz recital (during which he —Anne Welsbacher, Editor nfaonline.org Fall 2009 The Flutist Quarterly 7

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FA life member Carol For more information about the series, visit http://kaufman- NWincenc celebrates her center.org (the November concert); themorgan.org (the 40th anniversary on the concert February concert); and juilliard.edu (the March concert). Visit stage in the 2009–2010 season Carol Wincenc at myspace.com/carolwincenc. And watch future with a four-concert series at issues of The Flutist Quarterly for a feature article on Wincenc venues across New York City. and her 40 years as a concert performer. The Carol Wincenc Ruby Anniversary Series was laun- FA member and board member ched at the NFA Convention NDaniel Dorff won the inaugural on August 13 and includes International Piccolo Symposium Comp- concerts at Merkin Concert osition Competition for his new composi - Hall (November 9, 2009), The tion, “Flash!” for piccolo and piano. Morgan Library & Museum Written in 2008, the work was written for Carol Wincenc (February 22, 2010), and the Kate Prestia-Schaub , who performed the Peter J. Sharp Auditorium at Daniel Dorff work on her guest artist recital held June 14 The Juilliard School (March 31, 2010). on the final day of IPS 09 and again on The series features six world premieres, new works written August 16 on the closing day of the NFA convention . for Wincenc by Jonathan Berger, Shih-Hui Chen, Andrea Clearfield, Jake Heggie, Thea Musgrave, and Joan Tower . The programs also feature works written for Wincenc over her career, including those by David Del Tredici, Lukas Foss, Jake Heggie, and Paul Schoenfield; the 20th-century flute piece “Voice of the Whale ,” by George Crumb, in honor of the composer’s 80th birthday year; and works by Bach, Debussy, and Vivaldi. The Shi-Hui Chen, Jake Heggie, Thea Musgrave, and Joan Tower works were commissioned by Backshore Artists Projects, Inc. and funded by a generous grant from Linda and Stuart Nelson. The trio Les Amies, featuring Wincenc and New York Philharmonic principals Nancy Allen, harp, and Cynthia Phelps, viola, makes its New York debut on the Morgan pro - gram in February. Composer Jake Heggie is one of the pianists Left to right: Jyhyun Goo, Emma Resmini, Linda Mark, Karen Hauge, Ruth Baker, performing on November’s Merkin program featuring his Kerry Walker, Vanita Hall Jones works, and that program also features soprano Elise Quagliata and Metropolitan Opera Orchestra principal cellist Rafael he 31st annual Julius Baker Master Class competition was Figueroa in “Voice of the Whale.” The Juilliard String Quartet Theld August 4–9 at Western Connecticut State University joins Wincenc in the new Joan Tower work on the Juilliard in Danbury. Winners include Jyhyun Goo, first place; Karen program in March. That program will conclude—as did her Hauge, second place; and Emma Resmini, third place. The

N NFA recital in August—with dozens of Wincenc’s current and final concert featured the prize winners as soloists with Linda U A R

B former students joining in another work written for her, Mark on piano. Guest performers/teachers during the week S L L

E Andrew Thomas’s “Samba.” included Tadeu Coelho, Sandra Church, Bradley Garner, W I R Susan Hoeppner, Trudy Kane, Jeffrey Khaner, and Gary O “Now that I have reached 40th anniversary milestone, there C Y

B is nothing I want more than to bring new works into the Schocker. Coordinator Vanita Hall Jones conducted the flute O T

O ensembles in an evening performance. The international event

H world, while reveling in the magnificence of the classics writ - P C

N ten for the flute, and celebrate with revered and dear col - continues in 2010 in the memory of Julius Baker. Visit E C N I leagues, friends, and students,” says Wincenc. wcsu.edu/summermusic or call 203-837-8614. W

nfaonline.org Fall 2009 The Flutist Quarterly 11 HIGH NOTES FA member Sandra NMiller joins the Juilliard School ’s newest faculty ensemble, Juilliard Baroque, along with violinist and artistic director of Juilliard’s Historical Performance Program, Monica Huggett, cellist Phoebe Carrai, violin - ist Robert Mealy, double bassist Robert Nairn, violin - ist Cynthia Roberts, oboist Gonzalo Ruiz, bassoonist Dominic Teresi, and harpsi - chordist Kenneth Weiss. The Sandra Miller ensemble’s teaching resi - dency at Juilliard and its ability to schedule concerts internationally will be modeled on Celine-Marie Ferland with students in Ethiopia that of the Juilliard String Quartet, the conservatory’s resident quartet since 1946. Miller performs and records frequently FA member Celine-Marie Ferland has set up a thriving with period-instrument ensembles. She is a founding member Nflute school in the remote village of Adigrat, Ethiopia , for and associate director of New York-based Concert Royal. The girls who are orphaned by AIDS. The village is located about ensemble debuted October 27 in Juilliard’s Paul Hall . Juilliard 40 kilometers south of Eritrea , nestled in the Tigrai Baroque performs a second concert in collaboration with Mountains, and is a two-hour winding drive from the nearest Music Before 1800 February 7 at Corpus Christi Church. The airport , located in the capital, Makele. Ferland’s initial plan program features Bach’s Brandenburg Concertos Nos. 3, 4, was to help the orphaned girls, but news of her presence and 5. Visit juillard.edu . spread quickly, and within one week she went from teaching 10 girls to teaching 45 youth and adults . olce Suono, featuring NFA member Mimi Stillman, Before her departure in March, Ferland organized two announces its Chamber Music Concert Series 2009– 2010 , benefit/lecture concerts to collect flutes to take with her, D celebrating its fifth anniversary and the anniversaries of and received nine flutes for the trip. With the increased vol - Handel, Haydn, and Barber. The season includes nine con - ume of students, she continues to seek flute donations, and certs, four at Philadelphia’s historic First Unitarian Church, hopes to gather 30 more instruments. (All donations are tax and concert collaborations with presenters including deductable and receive a letter for tax purposes from the Philadelphia Chamber Music Society, Curtis Institute of Religious Teachers of Filippini , a nonprofit 501c3 organiza - Music, Philadelphia Museum of Art, Moore College of Art and tion.) Visit stlucyorphanagefluteschool.blogspot.com . Design, and Swarthmore College. Visit mimistillman.org. FA member Jose n May 9, NFA member Viviana Guzman performed a Valentino Ruiz was N program of tango music for the FALAUT Festival in named college soloist win - O Milan, Italy. The program included Histoire du Tango by ner by Downbeat maga - Astor Piazzolla and Anibal Corniglio’s Guarda Con la zine in two categories: Banquina with Italian guitarist Emanuele Segre. Other NFA classical (flute) and blues/ members who performed included Gary Schocker, Jamie pop/rock (flute, saxo - Baum, Ian Clarke, Andrea Griminelli, and Andrea Oliva. phone, EWI, bass). Ruiz Also on her European summer tour, Guzman performed in has performed at the NFA Athens, Messina, Rome, Istanbul, Cofru, Venice , and convention cabaret and Ukraine. In August, Guzman performed in Boston and at won the opportunity to the NFA convention with guitarist Zaira Meneses, and in perform at the jazz master - September, she performed as a soloist with the Sinfonica de class several years ago. He Santiago, Chile. Visit vivianaguzman.com . was a guest of Paquito D’Rivera for the Tangle- Jose Ruiz wood Jazz Festival in inda Pereksta, chair of the NFA Historical Flutes commit - September. His flute teacher Ltee, was named assistant professor of flute at the University is Kim McCormick, flute professor at the University of South of Wisconsin Oshkosh. She is also the newly appointed editor Florida. Visit josevalentino.com/node/285 . of the Traverso Historical Flute Newsletter .

12 The Flutist Quarterly Fall 2009 nfaonline.org At the Wm. S. Haynes Company,

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he NFA Music Library holds its collection at the University  Beginning digitization of rare, out of print (and out of of Arizona Fine Arts Library in Tucson, Arizona. In 1974, copyright) music, to be available online ; the library started with approximately 1 ,000 items. With T  Increasing the use of the library through convention and generous donations and music from the NFA Newly Published online tutorials ; Music competition, the collection has grown to more than 15,000 scores, including both rare editions and out-of-print scores.  Raising the profile of the library among members with Music from the NFA Library may be circulated to NFA regular updates in The Flutist Quarterly (watch future issues members within the U.S. and Canada and to people enrolled for this new column); in or employed by the University of Arizona, and new works are continually added to the collection.  Listing recent acquisitions or featured titles in a space on the NFA Web site, with a link to the library page . Upcoming plans include:  Creating downloadable PDFs of the Library Catalog and Stay tuned for updates about your library! Special Collections ; —Sandra Schwoebel, NFA Music Library Liaison Jeanne Baxtresser Essential Guides for School and Orchestral Auditions ORCHESTRAL ORCHESTRAL GREAT FLUTE A EXCERPTS EXCERPTS DUOS from the GUIDE TO FOR FLUTE FOR FLUTE CD Orchestral Repertoire EDUCATION new edition Performances Valuable commentary Articles, interviews and Spoken by Renée Siebert and more now Piano Reductions Commentary and David Cramer available at by Martha Rearick Summit Records jeannebaxtresser.com/ education Now available directly from www.jeannebaxtresser.com “…an essential resource for any flutist who aspires to play in an orchestra.” —Zubin Mehta “Your advice is not only a mirror of your great experiences but much more proof of your high artistic imagination.” —Kurt Masur

14 The Flutist Quarterly Fall 2009 nfaonline.org

TThhee FFlluutte iinn Argentin a: Beyond Piazzolla and Ginastera

by Ana Laura González

18 The Flutist Quarterly Fall 2009 nfaonline.org In the 19th century, the relatively young nation of Argentina found its musical identity. Three composers—Amancio Alcorta, Alberto Williams, and Ángel Lasala—represent the country’s musical evolution into a nationalistic sound through selected works for flute .

rgentina is most famous for its exotic and sensual mostly carried on through oral tradition. After they were tango. The music of Astor Piazzolla is played interna - defeated, during the last decades of the 19th century, the tionally and has been arranged for every possible weakest cultures disappeared, and their art evaporated with A time. The Northern cultures were the most developed, and ensemble combination. Although the flute (with guitar accompaniment) is the original voice of tango, there is much their musical influence overpowered the conquest of their more Argentinean repertoire for our instrument to explore people. Their musical Argentine modes and cadences can still and to add to our library. Tango is the voice of the city and its be heard in contemporary folk music . inhabitants, synonymous with Buenos Aires and the immi - With this brief background of the polarized formation of grants of the River Plate. It is also the voice of the beginning modern Argentine society, three different periods can be of the 20th century and the post-industrial revolutionary identified in the structure and development of nationalism times of a nation that was already a century old. But vast, in Argentine music. unexplored territory with diverse musical cultures lay still The first is music written by composers born in Argentina beyond the city. whose works followed the trends they learned at the European schools. This type of music is best represented by Amancio In Search of Argentine Music: The Setting Alcorta, who, although born in Argentine territory, had no con - tact with the interior’s folklore and did not cultivate music as The political struggles in Argentina in the 18th century his profession. evolved into its independence from Spain in July 1816. The The second is music written by those composers who young nation ratified its Constitution in 1853. began researching local musical expression and added its During this time, music education was in the charge of elements to their otherwise academic compositions. private maestros and their disciples, who arrived at the Alberto Williams represents this period; he was in the first River Plate’s basin from Europe. The wealthiest families of generation of Argentine composers who intended to create Buenos Aires requested the services of the best musicians a national style, exploring the aesthetic manifestations of for the education of their children. The maestros naturally the creole tradition. taught the music of their homeland, and, because Buenos The final period encompasses music written by composers Aires did not have a concert hall until the 1830s, the only whose works recreated the folk music of Argentina in an aca - concerts given were in private residences. Furthermore, demic environment free of all traditional structures. Ángel cult music was exclusive to the high class, which was con - Lasala represents this third period, as a composer who stud - centrated in the cities. ied the native music of Argentina and sought to create works The first creoles, born in Argentina of aristocratic free from European influence. Spanish immigrants, were considered inferior to Spanish- born residents and forced to migrate to the adjacent plains or pampas after fighting for their rights under the Spanish Amancio Alcorta order. They became the most iconic figures of Argentine In the first group live several works folklore: the gauchos. Clearly described by Mercedes Pilar by Amancio Alcorta for flute and Torres in her book El canto de los argentinos, these indi - piano and chamber music. Alcorta viduals, although raised as Spaniards, understood the his - was born in Santiago del Estero tory of Argentina from a purely Argentinian point of view. and studied flute and harmony in For them, the pampas were not conquered territory but the Argentine city of Córdoba, their only land. The expansive plains felt like home, not but he never fully dedicated him - the urban life of Buenos Aires. With this vision of self to music as his profession. Argentina, they created their own aesthetic expression. Most of his compositions were O N I

T They culturally needed a telluric voice that was not a intended as mere entertainment for T O B derivative of any European expression. That need came the social gatherings often given at his O G N I from the creole’s social stratum: they were neither residence in Buenos Aires. M O D

Y Spaniards nor mestizos or aborigines. Some of Alcorta’s music was lost, but his family published B S

O Until the government organized cleansing expeditions, a the remaining in two volumes. These include two works for T O H

P considerable extension of the Argentine territory was still to flute and piano, the Nocturno and the Gran Fantasía , and E G

A works for flute and string ensemble: two trios, one in G

P be colonized. It was inhabited by those aborigines who could G N I resist the attacks of Spaniard conquerors. These aborigines major and one in E-flat major, and a quartet for flute, violin, N E P

O ruled that territory and had their own cultural expressions, violoncello, and piano.

nfaonline.org Fall 2009 The Flutist Quarterly 19 THE FLUTE IN ARGENTINA : B EYOND PIAZZOLLA AND GINASTERA

The texture of these works is typical of European compo - Alberto Williams sitions of the first half of the 19th century, with recurrent use By the turn of the 20th century, of Alberti bass in the piano accompaniment. The harmonic Argentine composers created their content is also very traditional and includes primarily major, works based on national folk music, minor, and diminished chords, with the eventual appearance but still without abandoning the of an augmented sixth chord. European musical form. National elements were fundamental, while the cult and erudite treatment uni - versalized them to the elitist music listener. Composers in this period wanted to identify their works with the gaucho culture while retaining a European structure that would appeal to the dominant elite. Ex.1, Nocturno para flauta y piano, m.73–76 Among these composers, Alberto Williams is commonly referred as the father of Argentine music. He was born in Both pieces for flute and piano are structured in theme and vari - Buenos Aires, where he started his musical studies, but trav - ations form, with the Nocturno as the simplest and shortest of elled to Europe at the age of 20 after being accepted at the the two. In contrast, the Gran Fantasía flute part is very virtuosic Paris Conservatoire, where he studied with Cesar Franck, (see example 2). Such technical display as probably inspired by among others. Upon his return to Argentina, he took a trip to the visits of many virtuosos of the flute during the period, such the inner provinces to learn and study the music and dances as maestros Cambeses and Reichert, who brought the music of performed in the countryside. He toured many provinces, Tulou and Briccialdi to Argentina. There is no evidence of any seeking art music—new compositions that would recreate Argentine dance, rhythm, or melody in these works, while form, the ambience and color of the native essence, avoiding mere harmony, and texture all indicate European trends. transcriptions of folkloric tunes. He returned to Buenos Aires with a better idea of how to create a nationalistic style. Williams created completely new music that, while maintaining the structure of the Western forms he had studied, applied the rhythm, melodic turns, and meters of the traditional Argentine dances. Williams’ Flute Sonata was written in 1900 and pub - lished in 1905 in Buenos Aires, Berlin, London, and Paris, Ex.2, Gran Fantasia, m.56–59

20 The Flutist Quarterly Fall 2009 nfaonline.org as evidenced by the Diccionario de la Música Española e Hispanoamericana by Carmen García Muñoz and Ana María Mondolo. Selected Bibliography The sonata includes three movements organized in the tra - ditional manner fast-slow-fast, with both fast movements in Gesualdo, Vicente. Historia de la Música Argentina. clear sonata form. Both movements are comprised of two Buenos Aires: Editorial Beta, 1961. contrasting themes; a development section and a recapitula - tion of the opening themes. The key of the opening themes is Schwartz-Kates, Deborah. “The Popularized Gaucho E minor, transformed into E major on the recapitulation of Image as a Source of Argentinean Classical Music” in both first and third movement. From Tejano to Tango. Walter Aaron Clark, ed. New The second movement is written in sonata rondo form in York: Routledge, 2002. two sections separated by a piano interlude and lacks any evi - dence of the nationalistic trends that Williams utilizes in the Torres, Mercedes Pilar. El canto de los argentinos. outer movements. The first of these trends are ternary meters Buenos Aires: Ediciones del Valle, 1985. or subdivisions. Here, the meter denominator is the eight- note, in compound meter. All folk dances from Argentina Vega, Carlos. Las Danzas Populares Argentinas. share this characteristic as seen in the traditional cielitos, Buenos Aires: Ministerio de Educación de la gatos, zambas, etc. The second of the trends lacking in this Nación, 1952. movement are strong syncopations and rhythmic patterns that resemble the horse gallop found across the folk music Veniard, Juan María. La Música Nacional Argentina. repertoire of the countryside (see example 3). In spite of the Buenos Aires: Instituto Nacional de Musicología presence of harmonic progressions typical of European “Carlos Vega,” 1986. Romanticism, the rhythmic content of these motifs is very strong, giving the two outer movements of the sonata a strong creole character. The presence of rhythmic hemiolas Among these composers was Ángel Eugenio Lasala, who implies alternance of 6/8 and 3/4 meters, also commonly based several works on the music of the Northwestern region used in popular dances in Argentina, a resource widely used of Argentina, home to the descendents of the Omaguaca, by Alberto Ginastera. Diaguita, and Atacameña tribes, also known as coyas. As stated by his widow in an interview with the author in June 2006, he was not only a nationalist but an indigenist. The fokloric ele - ments almost prevailed over the academic training. Lasala was also born in Buenos Aires and graduated from the National Conservatory. From the beginning, his aesthet - ic inclinations towards nationalism and tonal music were clear. He extended his nationalistic and indigenist expression to symphonic music, but especially to chamber music, in which a genuine search for different timbric combinations is Ex.3, Sonate Op.48, third movement, m.1–2 observed. He did not intend to insert folk music into European shaped compositions, as Williams did. His approach was more direct and less eclectic. Attracted by the Ángel Eugenio Lasala music of the Northwest, Lasala used the scales and modes of After the first experiences of the pio - the folklore of the region. He did not extract the rhythm of a neers of nationalism, many com - certain dance to compose his pieces but made them sound posers began to explore the possi - like that dance itself. bilities of folklore, a new element Two of the most popular pieces for flute written by Lasala in their compositions. Alberto are his Poema del Pastor Coya (Coya Shepherd’s poem) for Ginastera became the icon of flute and piano and Poemas Norteños (Northern Poems) for almost all Argentine music influ - voice, flute, and piano. Although they are both three-move - enced by folklore, and his oeuvre ment –like, these are placed together like a set of songs and is well known internationally. not three movements of a sonata, with titles instead of indi - However, many other composers con - cations of tempo. tributed to solidify the style. While com - The use of the ternary meter follows the same principle of posers like Williams and Ginastera merged into academic Williams’ choice: to mirror the meter of the national folkloric music those folk trends from regions adjacent to the capital dances. The harmonic content of Lasala’s pieces is tonal, city, other composers were interested in merging the music of although interesting sonorities can be observed. The most more remote areas of the country. relevant is a sonority formed by stacked fifth chords, or the

nfaonline.org Fall 2009 The Flutist Quarterly 21 THE FLUTE IN ARGENTINA : B EYOND PIAZZOLLA AND GINASTERA

combination of fifths and fourths. This chord evokes the joyful and its meter is typically binary, with the alternation of sound that a guitar produces when played with open strings. one eighth-note and two 16th-notes as its most common This was a device that Ginastera employed quite often, label - rhythm. The pentatonic scale is also the prevailing melodic ing it as “symbolic chord,” and that Lasala used as well. content of these pieces.

Ex.6, Poemas Nortenos, Angel, m.13–14

Into the 20th Century The inclusion of folklore elements in Argentine music was progressive and radical. Music in urban areas, where European influence was dominant, began to add elements of aboriginal Ex.4, Poema del Pastor Coya, final measure folk music in the 19th century. By the 20th century, the impact of Argentina’s folk music on academic compositions was The second piece of the Coya Shepherd’s Poem is titled clearly evident . “Quena.” Quena is the traditional flute of the Andean abo - The works shown here represent in small scale the evolu - rigines and a stable member of the Northwestern folklore, tion of the nationalistic style in Argentina. The description of even nowadays. Although it is a vertical tube, the the social situation and certain folkloric elements used in embouchure of the quena resembles that of the transverse these works might help the performer understand this music flute, as it has a dent that splits the air blown from a short dis - and give a background on more specific stylistic aspects that tance. Although contemporary quenas are chromatic, the should be taken into account when performing these pieces. first quenas were pentatonic. Coincidentally, the melodic While the flute was an instrument of fashion in Europe dur - content of this particular piece is also pentatonic and imi - ing the Romantic Era, it is also the instrument that could more tates the simple melodic turns of Andean tunes, while the accurately reproduce the sound of the woodwind instruments piano patterns imitate the beats of the frame drum, an of the Argentine aborigines. From cosmopolitan works such as instrument mostly used to accompany bagualas or yaravíes , Alcorta’s to folklorist works such as Lasala’s, the use of the flute both typical sad and slow airs from the Northwest. was recurrent. In the same manner, different performance practices should be applied to each extreme, as the choice for the instrument comes from different perspectives. In earlier works, it should assume the tone and technique employed in French and Italian works of the period, full of brightness and velocity. When the flute is used in later works that incorporate aboriginal styles, the tone should resemble the rustic sound and character of the quena. >

Ex.5, Poema del Pastor Coya, Quena, m.13–17 Ana Laura González is an Argentinean flutist and native of Buenos Aires. She The same mood of letany is created in Nube (cloud), the first of earned her doctorate in performance the three Northern Poems also in pentatonic mode and with from the University of Arizona and the same drumlike accompaniment in the piano. In this set, the her master’s from Ohio University. N E L L

addition of words in the voice part that are a mix of Spanish She served as the National Flute A K I V

and quechua, the dialect of the Coyas, such as ansinita or Association Library Assistant from G N I Y

naides , contributes to set the indigenist style of the work. 2004 to 2007. She resides in Dallas, B O T

Both the Coya Shepherd’s poem and the Northern poems O

Texas, where she freelances with local H P

end with a piece in the form of a carnavalito . Carnavalitos are R orchestras and teaches at the Carrollton O H T

traditional of the Argentine northwest. Their music is always U School District. A

22 The Flutist Quarterly Fall 2009 nfaonline.org Andersen Etudes Edited by Donald Peck At the early stages of study, these etudes can feel overwhelming and perhaps beyond the grasp of a young flutist. Part of the obstacle with these etudes is that the student often fails to understand the musical, or expressive, value of these works. While the young student will approach these etudes as technical studies, a more mature flutist will return to these studies with a deeper appreciation of them as masterpieces of musical expression, and will occasionally even program Andersen Etudes as recital pieces.

Donald Peck, Principal Flutist of the Chicago Symphony Orchestra for 42 years, has edited three opus numbers of Andersen Etudes - Nos. 30, 33, and 63 - and has provided comments in the introduction which will assist the flutist in achieving a better understanding of the artistic value of the etudes as he or she is learning them for the first time. A better understanding of the music will in most cases assist in one's grasp of the technique. $12.95 each or ALL THREE for a discount Purchase online from our website at www.walfridkujala.com price of or contact your local music bookstore. $30.00 progress press

222 Main St. #504 Evanston, IL 60202 847-869-2998 VOX CRUMB The celebrated American composer George Crumb speaks about his music, “contemporary” composers such as Mozart, nature’s role in his writing, and voices of whales.

by Julie Hobbs

Seemingly endless praise and a host of contradicting descriptions make it difficult to classify the music of American composer George Crumb, who celebrates his 80th birthday this year. His music has been described as imaginative, innovative, and even controversial, ranging from darkly evocative and enigmatic to ritualistic and mystical. In his music, he demonstrates knowledge of 20th-century current events, and yet he quotes music and poetry from as early as the eighth century. References to Mahler and Haydn, parodies of Richard Strauss, and excerpts from Schubert and Debussy abound, mixed with gypsy music, folk tunes, dance melodies, and spirituals. Throughout these disparate stylistic elements are universal themes reflected in a programmatic component and an obvious love for the flute.

In 2003, I had the opportunity to talk with Crumb about his brother’s flute because I wanted to try out some of those [tech - interest in the flute in general and, more specifically, how that niques]. I didn’t need to know how to play it, I just wanted to interest applies to his eight chamber works that include flute. see what it was like to do the singing and the playing, so I experimented a little bit on that. GC: I had to think—are there really eight? [laughs] I use flute more than, for example, clarinet, even though my father was a Do your experiments with the flute come from first-hand clarinetist. I love the clarinet, but I became obsessed with the knowledge? flute, you know. Not really, it was just that one thing that I wanted to try. But I first met a lot of flute players and they told me some things. JH: How long ago did that obsession with the flute begin? Sue Ann Kahn invented that turtle-dove sound that I use [in I guess, really, with the second book of Madrigals , the first of the Idyll for the Misbegotten ]. N I B O

those works you mentioned. My brother was an amateur That was with the augmented fourth tremolos [playing an A R A T S

flutist, so I heard it around the house a little. I remember when and then executing a tremolo between A and E-flat by using Y K C E

I was asked to write the Voice of the Whale, I borrowed my both trill keys]. B

24 The Flutist Quarterly Fall 2009 nfaonline.org And works by other composers—how they use harmonics, and so forth. What’s interesting is that the flute became for the 20th century what the clarinet was for the 19th—a kind of a dominant voice of the woodwinds. Generally, the flute is kind of the step-child of the 19th century; there isn’t an awful lot, but the 20th century more than made up for that.

We’re grateful for that as flutists. An early work of yours is a duo for flute and clarinet. Have you thought about com - ing back to those two instruments together? I doubt that I would ever do that. I wrote a couple of those little duos and actually played them with my brother—I played clarinet some when I was a kid too, although piano is my main instrument just because it is a tool for composition. [Those duos] were kind of in an ersatz Mozart style. I thought that’s what “contemporary” music was. I thought, “this is contemporary music.” [laughs]

Are there any instruments that you don’t currently play but wish you did? I dropped the clarinet after high school. I tried to play a little viola, but it was atrocious, I was too late. I read someplace that we should all play a little viola, but it was too late for me. But I learned enough just holding the darned thing and feeling what the change in positions was like, that I could produce enough sound to experiment with Black Angels . Some of the special techniques in that work I did directly. Julie Hobbs I invented a couple of things that strings had never done pulled that in some, you know. But it’s true that it’ll fill a larger before, I suppose. They had some different things to learn hall; if all the instruments are amplified. that can be adjust - how to do, like bow behind the left hand and bow on the ed to fill a much larger space. And the second advantage: if wrong side of the hand and thimbles on the strings, you know, to produce that effect at the end of the work. But of you have a really dead hall, you can completely correct that course, in piano, all those things I felt more at home in by adding a little reverberation. So there are real dividends exploring those possibilities. It’s funny the way instruments that never occurred to me when I first got into that, but at times blossom as being the voice of a certain time. those are possibilities.

Do you find yourself enjoying working with smaller genres You’ve commented about how people can over-analyze a as opposed to larger orchestral ones? piece to a point where you think “I didn’t know I was doing I really do. I think the music of our time has more to do that.” with a chamber dimension. And, by the way, I think the That probably happens a lot, and that’s nothing against the chamber dimension can be orchestral. I’ve always felt that analysis, it’s just that the composers don’t think of their a work like Voice of the Whale makes a kind of orchestral music in quite a verbal way, so they’re amazed that it’s all gesture. First of all, it’s amplified and the piano is expanded — written out explained. They sense it more as musical events, all the instruments are rather extended beyond their normal a series. The logic is musical rather than linguistic. playing in some cases, and that gives a sense of an enlarged ensemble, and the style is probably more orchestral than it For most of your pieces, form is very important. Do you is, actually, chamber. usually start with a form or does it evolve? It usually evolves. When I start with an idea it always changes— So when you’re composing a piece, do you think of a larger sometimes it’s thrown out and reinvented as developing. hall—do you think of things in terms of where it might be performed? So you’re constantly revising your works? Well, that is one advantage of amplification, which I guess I Yeah. As a matter of fact, that’s the hardest element for me in didn’t think of in the beginning. I first got into amplification composition, just making the form work. Finding a form. I as a way of making some of the internal piano things project think it’s true that a piece has to fulfill itself, and maybe that a little more—the pizzicato on a piano string doesn’t carry as concept has something to do with the form—it has to, first of much, of course, as a tone played on a keyboard, and that all, be the right length. It’s like what Stravinsky said: “The

nfaonline.org Fall 2009 The Flutist Quarterly 25 VOX CRUMB

think is a Romanticist also in so much of his music. Chamber Works with Flute [Brahms] was an ideal, too. I think all music is interrelated. by George Crumb If I refer to traditional composers, it’s just because philo - sophically I think they’re just as contemporaneous as rock Madrigals Books 2 and 4 (1965) music or jazz or classical Japanese music—it’s all part of Eleven Echoes of Autumn (1966) one big picture, you know. Night of the Four Moons (1969) I’ve read where you said in many ways music is all the same, Lux Aeterna (1971) the personalities are the things that differ. Vox Balaenae (1971) Oh yeah, I think really everything is interrelated. I don’t think it could be any other way, it’s simply the way that we’re built. An Idyll for the Misbegotten (1986) We have memories, we never forget the great songs that we Federico’s Little Songs for Children (1986) knew, and even so-called original thinking must be a mixture of all the music we’ve ever heard in our life.

When you’re composing a new piece, do you have an idea in trouble with a lot of new music is that it goes on a long time your ear about the timbres that you want first and then you after it’s over.” The sense of timing is an element—it shouldn’t find instruments that can fit that? Or do you start with sound too short, it shouldn’t sound too long. It’s important. instrument groups and then play around with those? At what point does instrumentation come into your Your pieces have been described as having an “economy compositional process? of expression,” that there aren’t necessarily gestures They come in pretty early, but it can involve a lot of for the sake of novelty, that everything has a purpose. searching, too, to make sure you have the right Do you agree? instruments. Maybe certain instruments have to be You know, I bet that comes from an early Mozart. I in my ensemble. The classic case of that is the suppose Mozart was an early influence and I loved Stravinsky Les Noces. There’s four different that music, and if there were ever a model for versions—he just couldn’t get it right, economy—he was so chintzy about notes. At least he didn’t know what he wanted. But in the really good Mozart, which probably starts he had to go through all of that stuff about the 200s—that early on—every note to arrive at an ideal collection of counts. I think I use that unconsciously as a instruments to project what he model. I noticed in a cell too that those few lit - wanted there. I think probably tle notes accomplished everything you a lot of composers go through wanted—he didn’t waste notes. And of that same process. Brahms course, Beethoven didn’t waste notes is another case—some - either, but Mozart especially— times he couldn’t get it’s hard to account for these it right the first time, colossal effects with so few you know. dots on the page. How about the timbres you Also, Mozart was a product of his time. How do used when you were writing you feel that your music fits in with these times? Voice of the Whale ? It’s confusing now. I wouldn’t know myself, You know, that was a different I wouldn’t have the objectivity, but there’s case. That was a commissioned such a range of styles. I think that’s up in the piece by the New York Camerata, M

air. As for 50, maybe 100 years, people will O C

so I was asked to write a piece . E M sort it all out, what were the mainstream or I specifically for flute, cello, and T S M

main thrusts of music. It’s hard to know now, A piano.… Charles Forbes kind of E R D

at this point. , directed that group—at that time L E G N

he was a New York cellist who A R W

If you were to classify yourself in a category, was in our area, in and out of C T R A

what would it be? Philadelphia. He himself had Z O M

I don’t think Neo-classic, because there’s heard the [whale] recordings, S U E

a strong romantic component in my D the first recordings made by A M A

music, and I loved all that as a student Roger Paine, the marine G N A

of piano. I played all my Chopin and G biologist who put micro - F L O

Schumann and Beethoven, who I phones down there. He W

26 The Flutist Quarterly Fall 2009 nfaonline.org I suppose Mozart was an early influence and I loved that music, and if there were ever a model for economy—he was so chintzy about notes. At least in the really good Mozart, every note counts. I think I use that unconsciously as a model.

George Crumb was the first one to record the singing of the humpback whales. environmental piece. Those two pieces [ Vox Balaenae and This cellist, Forbes, was interested and he just sent me the tape. Idyll for the Misbegotten ] are kind of alike. But I was so con - No one had even heard these tapes yet—there were no com - scious, in both pieces, of the danger, the extinction of the mercial recordings, but these tapes were circulating. Several whales, the earth degenerating or being threatened, so they composers, of course, picked it up and wrote some pieces about have something a little in common. the whale, so the idea wasn’t even mine originally. But when I heard these tapes I was kind of blown away, because they were In the program notes, you also mentioned how the flute fascinating. And I decided not to use the tapes as a concrete ele - and the drums seemed like natural instruments—instru - ment in the piece and just have the tapes as part of the piece, ments that had been used throughout time. but to make that a point of departure. So that suggested a lot of That piece was written for Robert Aitken, and I was in the kind of echoing, submarine-sound environment that I built Canada just a few weeks ago and heard him do it again. He into the piece in a way. The idea came from outside, you really is an incredible player. And he was one of the best per - know—it was the commissioner’s idea to have that as the sub - formers of the whistle tone, you know, he was able to do that. ject. It was just a suggestion. They sent a tape, [and said] “you Those are so precarious in the piece that I suggest the alter - use this in any way in the piece that you’re going to write for us.” nate harmonics as a substitute. And even he has to concen - So that’s how that happened. trate—even Bob Aitken, who was early on to whistle tones, he has to concentrate very much to produce the ones that are That tied in nicely with your love of nature. written in the score. Oh, yes. That was the influence of several composers. I’ve always loved Mahler’s music, and he says it’s like a sound of nature Since we were talking about the Idyll , there is a quotation of sometimes. Debussy is full of nature. In the piano preludes, Debussy’s Syrinx in the middle. At what point in the com - every other one refers to some sound of nature: the wind on the positional process did you decide to put that in there? Were plains, the sunken cathedral, that submarine-sound environ - you experimenting with things? ment again. And then Béla Bartók… one thinks of the insect I don’t remember exactly, it just came in, like it was an evo - music in pieces like Musique Nocturne from the Out of Doors cation, a moment in the history of music where the flute sud - Suite , evocations I think of a love of nature—of nature in music. denly becomes the voice. And it’s the voice of nature there, too—it’s symbolic of the Greek Idyll, the Grecian concept. So when you’re using natural elements, you’re not neces - That was a rather hard piece for me to write. The problem sarily trying to recreate those sounds but rather use them, was finding the form for that piece. I remember making it like you said, as a point of departure, generally? seem natural, so that it will fulfill itself and so forth, but it Exactly. Artistically, the sound may not even, you know, be wasn’t so easy. But the idea of flute and drums, I’ve always mistaken. Let’s face it, when you hear the thunderstorm in thought of those [as] kind of the two primeval instruments. Beethoven’s Pastorale , no way is anyone going to run for his All the cultures have some form of flute and drums. They umbrella. It’s an artistic kind of representation of the storm. don’t all necessarily have an oboe type, or bassoon, or a More emotional; kind of a symbolic storm; it doesn’t really French horn, but they would have some kind of flute. sound altogether like a real rain storm. It’s nice to see you using all the members of the flute fami - In the Idyll for the Misbegotten , your program notes discuss ly in fairly even balance. Do you have a fondness for any the [eroding] relationship of mankind with nature, and one particular instrument? there are many musical elements where erosion is depicted: You know, it’s interesting. I guess one of the earliest I used the dynamics taper off, timbres fade away. I was wondering was the alto flute, which wasn’t incredibly common in the N

I how much of that was a conscious decision, or was it more time that I wrote [ Eleven Echoes of Autumn ]. There were a B O

R of an overall feeling? few of them here and there, maybe in the large cities, but in A T S

Y A lot of things are sort of subconscious in composition, but places where such a piece was played, in some smaller city, K C E

B it was definitely conscious, the fact that it was kind of an they might not have an alto flute. Of course now they’re so

nfaonline.org Fall 2009 The Flutist Quarterly 27 VOX CRUMB

Obviously, you’ve had a great relationship with the text of Lorca and the Spanish language. Had you ever considered using English translations, or did you want to maintain the integrity of the Spanish? Yeah, all the nine works that I wrote on Lorca were in Spanish. I had thought of one day maybe doing a few more Lorca texts that I liked very much. It’d be fun to try them in English—you’d lose a little, but it would be interesting. The poetry would be there basically because it translates almost word for word. It is so simple in the language, in the Spanish. You would lose the coloration of the Spanish sounds, that’s all. But I’ve done more Spanish than I’ve set English words.

And you translate them yourself. A couple of them I’ve translated, with some help from a student.

What appeals to you about the specific text? I’m thinking about the Madrigals now, how there are so many sections: “The Towers of Cordoba” or “Death going in and out of the Tavern,” “galloping horses.” They’re all very dramatic images.

So it’s the drama that draws you to those particular texts? Well, and it was the musical quality of the images—one of George Crumb Lorca’s lines is “the sounds of bones and flutes.” I mean, how can you resist that? It just lays it out for you to capture that. horribly common. The same thing later, when I first wrote Another Lorca line would be “the deep paths of the guitar.” for bass flute. But now, those are strangely more common. That is so musically exciting. His poetry is full of images that And flute players sometimes have the whole set, so you don’t convert right away. And he was a musician himself—his early feel so living dangerously. And they’re beautiful sounds. It’s years, he was composing a little. He knew notation. He was a funny how that developed. It was like evolution through time friend of de Falla. that the other voices got more common enough to write for. About the Madrigals , I was struck by the similarities Plus, I think the alto flute, with its lower register timbre, between your style and that of Monteverdi—how he fits nicely with the clarinet for the Eleven Echoes . enjoyed using nature sounds, how he was true to the text, Yes, I love that timbre. And I was probably influenced too a that the text needed to be brought out by as many musical little by Boulez, who used alto flute quite a lot. European techniques as possible, that he was very much interested in music was probably ahead of us here in the states. the language and how that translated into music and also his adherence to form, and that he wasn’t afraid to use Regarding Eleven Echoes of Autumn , you started it in chromaticism and dissonance. spring, and yet it was about autumn. At that point was your [laughing] Well, history repeats itself, it’s cyclical, and concept of autumn a reference that you used before you things I’m sure are repeating like that. The Greeks said wrote the composition, or did you title it afterward? that art should imitate nature, and there’s probably some I don’t remember exactly when the title came in. It was kind larger meaning that they had in mind, but also the very of an autumnal work, you know, and it was a sad fall, the fall simple meaning: the sounds of the wind, the ocean, the of ’65, our youngest son was a baby. He had cancer as a birds, the insects, those are immediate models for musical baby—he had a Wilms tumor. He’s fine now. It was a horri - gestures perhaps. ble fall, and the character of the piece has a little unpre - dictable side. I didn’t want to mention that in the notes. When you entitled these books Madrigals , were you think - ing of the idea of text painting and imagery and that kind There’s definitely a somber aspect to the composition—the of thing? bell chimes, the echoes, and the references to autumn. I just liked the title, Madrigals , and I was told once by a musi - All those images, and poetically, of course, autumn is usually a cologist that there did once exist a kind of solo madrigal. It N I B

symbol of something winding down. We think of Brahms’ wasn’t always the part-singing that we associate with that cat - O R A T Clarinet Quintet as sort of autumnal, which it is. It has sort of egory of Italian madrigal. I love the word “madrigal”— S Y K C

an air of autumn about it, and this piece definitely does too. a short piece symbolizing a short poem. E B

28 The Flutist Quarterly Fall 2009 nfaonline.org In the Madrigals, if you were to write program notes, what Especially with certain lighting effects, and like at the would you want your audience to understand prior to their end of Night of the Four Moons , the performers all exit - experiencing the piece? ing the stage—you’re not going to catch those same sub - Of course, the main thing is the poems—they should have tleties in a recording. the English available if they don’t understand the Spanish. That’s right, you’re losing a lot. It’s like opera, you lose a lot They should understand that these are the smallest little of it in a recording I guess. But live is just so great, and also excerpts from other poems, from longer poems in some psychologically, the element is precarious. A performance is a cases, that they represent little images. They’re like little slices precarious thing. Which lends psychological excitement for of a poem, a single image, or two or three lines—they’re very the audience—they realize that it’s not foolproof like a short. The instruments and the voice are equal in the sense of recording. It’s not pretested and put together, it’s kind of a the chamber music, and the voice can become a little instru - danger. Danger is proper. I think, “Is the performer going to mental and the instruments can become a little more vocal, overcome this passage?” They’re waiting; if they know the and even vocalize a little, saying words. It’s supposed to be piece, they’re waiting: “It’s coming up!” And when he spills over, there’s kind of an elan that runs through the audience. tightly knit in a chamber style, rather than, “here’s the solo They’re thinking: “Bravo!” Performers tell me about my own voice and these instruments are just the back-up guys for the music that there’s no place to hide. I think that’s Mozartian— voice.” [chuckles] You know, everybody is equal there, and it I think you could say that about Mozart’s music generally— interweaves, and now the instrument that comes out is the everything is exposed. It has its complexity, too. most important maybe, and so forth. That was the idea. It forces the performers to keep honest about their parts How important is the program aspect to your music? It and remain true to everything. You’re probably elevating seems like it’s a very prominent part, sort of as an inspira - the quality of players. tion, or at least to get you started. And it’s not difficult technically in the old-fashioned sense. It’s Yes, especially if you’re dealing with a vocal work. Of course in clarity and projection of certain timbres [and] little delicate it’s bound to be connected. If it’s vocal, it’s automatically kind nuances and that sort of thing, but it’s not the difficulty of a of programmatic music, unless one is ignoring the sense of Chopin etude, or something technical. Musicians are getting so the word—that’s only a convention, just to have words sung. good, the standards just keep going up. Part of it is the styles— But usually composers would be influenced by the meaning they’re more familiar as they move through time. Pieces of of the words, you know. Yeah, that’s very important, and in a mine that are 30 years old, many of the young players have total work, the images as we’ve said are so musical and strik - observed all of that stuff from their teachers. What used to be > ing, haunting. “Death is watching me from the Towers of impossible is now something they just learned to do. Grenada.” There are so many dark images, too. Lorca was the Julie Hobbs is assistant professor of flute and musicianship at one who said that in Spain, dead people are deader than in the University of Wisconsin –Stevens Point. Her dissertation any other place in the world. [chuckles] on the use of program in the chamber works of George Crumb was a winner of the 2009 NFA PhD/DMA Dissertation And I particularly liked how, much later, in Federico’s Competition. She holds a doctor of music degree in flute per - Little Songs for Children , you chose to use happier refer - formance from Northwestern University as well as degrees ences, and it’s much more upbeat. Obviously, if you’re from Baylor University and the University of Iowa. thinking about children’s songs, you won’t want anything too heavy or morbid. I set those literally, too; they’re not excerpted little lines, but I set them exactly as Lorca wrote them. I may have juggled the Two decades of experience order of the seven little songs a little bit, but all of them are there intact. And that’s the total set—it’s a little suite of serving professional flutists poems that he put together, and I set them all, and with all and their instruments the words they’re short little songs anyway—short little poems. And I thought the bass flute—I couldn’t think of a with craftsmanship and care better instrument to represent the snail. [chuckles] t s u R x i l e F

Definitely. Are you thinking of doing some future composi - : o t o h tions using the flute? Sarah Merrow P I’m sure that will come into it. 343 Medford Street 2nd Floor Your music works so well live that you miss a lot in a Somerville, MA 02145 recording. If you’re listening just to recordings, you miss 978.771.7945 the interaction of the instrumentalists. www.syrinxflute.com Yes. I find that in all music, actually, but I guess especially in Syrinx sarah@syrinxflute.com Fine Flute Repair mine, too. There’s a little bit of a sense of theater sometimes.

nfaonline.org Fall 2009 The Flutist Quarterly 29 Quality Resources Jazz for Flute Whether you are seeking by Lisa Lorenzino books to peruse, articles to read, or Web sites to explore—or use as springboards for further information—the best sources for information and enlightenment about all things jazz flute are reviewed here in one comprehensive space.

istorically, the flute has not been considered a main - Whatever your interest, whether you are a band director, stream jazz instrument, and when compared to the private flute teacher, performing flutist, doubler, or simply a Hsaxophone or the trumpet, resource materials for flute person interested in jazz flute, it is my wish that you find this are much less prevalent than for more “traditional” jazz material informative and useful, and that this article reduces instruments. That said, a simple online search for “jazz flute” the time you spend searching for quality resources and allows yields more than 2.5 million results. A similar search for “jazz you more time to enjoy playing and teaching jazz flute. flute pedagogical materials” results in more than 62,000 refer - ences. With such information overload, it is easy to get lost in Historical Materials the search for quality resources. I am convinced that there is no book currently available in Over the past five years, I have spent a substantial amount of English that focuses solely on the history of jazz flute. This gap time on such a quest. I have sifted through Web pages, scoured will be relieved very soon with the projected release of The music stores and libraries, and persistently pestered flutists for Flute in Jazz: Window on World Music by Peter Westbrook, a favorite resources. What follows is a compendium of what I believe to be the best resources readily available for teaching Maryland-based musicologist and long-time researcher into and learning jazz flute. the history of jazz flute . His upcoming volume is anticipated I have organized my findings into three main sections. The to be comprehensive, and slated to include an accompanying first lists historical references that can aid in understanding from DVD featuring historical footage of seminal jazz flutists. There whence the genre of jazz flute emerged. The second focuses on will also be online support for the publication. jazz flute method books and transcriptions , and section three Until Westbrook’s volume is published, jazz flute aficiona - outlines online materials available to jazz flutists. In addition, I dos must make do with existing publications. Unfortunately , have organized all materials into a bibliography (see sidebars). however, current resources for the history of jazz flute are

30 The Flutist Quarterly Fall 2009 nfaonline.org scat tered , and a comprehensive understanding of the genre can only be gained via a significant, time-consuming search. Despite this, there are useful , albeit limited , resources. A good point of departure is via two brief, chronological histories: A Short History of the Jazz Flute , by Peter Guidi , and A Brief History of the Latin Flute, Part One and Two , by Luis Tamargo. Originally published in print form, both histories are easily accessed online. Guidi’s article, published in his The Jazz Flute, Volume II, is notable in that it outlines the major stylistic developments of the genre. The article focuses on the influence of early saxo - phonists-turned-flute specialists (Wayman Carver, Frank Wess) while also citing the influence of the multi-instrumen - talists (Yusef Lateef, Rolank Kirk). Guidi highlights the impact of the classically trained flutists (Herbie Mann, Hubert Laws) and the “cross-pollination” of jazz and ethnic music. Tamargo’s two-part article, originally published in Latin Beat Magazine , looks to the roots of jazz flute in the music of Cuba. Part one investigates the role of the flute as a solo improvising instrument in early 20th-century Cuban popular music. The article traces this influence to the output of such contemporary Latin flutists as Orlando “Maraca” Valle and José Luis Cortés. Part two of Tamargo’s article focuses on the influence of Brazilian and Cuban flutists on the Latin jazz and salsa scene in the United States. In this second article, the author high - lights the career of Cuban-born Alberto Socarrás, believed to have recorded the first jazz flute solo in 1928. Tamargo traces the development of salsa music in North America and the subsequent emergence of four virtuoso Latin flutists: Johnny Pacheco, Dave Valentin, Nestor Torres, and Art Webb. Both articles provide an excellent starting point from which to analyze the symbiotic relationship of jazz and Latin popular music. Additional print sources provide a narrower range of information relating to the history of jazz flute. Bob Afifi’s introduction to Ronny S. Schiff’s transcription book, Solos for Jazz Flute , outlines the development of jazz flute playing from 1950 to 1980. Afifi also includes brief bibliographic introductions for each soloist featured in the publication. Javier Zalba’s recent publication , Flute Soneando: the Flute in Cuban Popular Music, contains a comprehensive historical overview of Cuban charanga flutists along with an analysis of the different genres found in this tradition (cha-cha-cha, son, bolero). Both are excellent historical references. Detailed information on the career of Alberto Socarrás, the godfather of jazz flute, can be found in Leonardo Acosta’s recently translated Cubano Be Cubano Bop . A renowned ethno - musicologist, Acosta is considered one of the foremost authori - ties on Cuban jazz. The book is a worthy and interesting read. Materials on the emergence of female flutists onto the jazz scene can be found in Leslie Gourse’s Madame Jazz: Contemporary Women Instrumentalists . This publication fea - tures chapters on female jazz flutists such as Jamie Baum and Ali Ryerson. Additional sources on this topic include Sherrie Tucker’s The Other Side of Nowhere, Linda Dahl’s Stormy Weather: The Music and Lives of a Century of Jazz Women, and the Women in Jazz Archive , available at jazzusa.org .

nfaonline.org Fall 2009 The Flutist Quarterly 31 QUALITY RESOURCES FOR JAZZ FLUTE

History Books Whereas they do not provide an extensive amount of Acosta, L. (2003). Cubano Be Cubano Bop: One hundred years information, several trade journals and magazines do con - of jazz in Cuba . Washington, DC: Smithsonian Books. tain materials relating to the history of jazz flute. Three specialist journals, The Flutist Quarterly (the publication Dahl, L. (1989). Stormy weather: The music and lives of a century of the National Flute Association), Flute Talk (published by of jazzwomen. New York: Limelight Editions. The Instrumentalist Magazine ) and Pan ( published by the Gourse, L. (1995). Madame jazz: Contemporary women British Flute Society ) are notable for their extended inter - instrumentalists . New York, NY: Oxford University Press. views with jazz flutists. On occasion, the journals publish feature articles on jazz flute techniques and exercises. Tucker, S. (2004). The other side of nowhere. Middletown CT: Down Beat , Latin Beat , Jazz Times , and JazzIz , popular Wesleyan University Press. magazines intended for a general readership, additionally serve as excellent sources for album reviews and short Westbrook, P. (in press). The flute in jazz: Window on world interviews. Two additional Web sites, jazzreview.com (an music. Aspen Hill, MD: Harmonia Books. excellent source for all things jazz related) and allabout - History Articles jazz.com, are also useful in this regard. Guidi, P . A short history of the jazz flute. An extract from the method The Jazz Flute, Volume II. Molenaar Edition., B.V. by per - Method and Transcription Books mission of the author and publisher. Retrieved May 10, 2008, In recent years, there has been an influx of new books relat - from flutehistory.com . ed to the teaching of jazz. Many seem best suited for group jazz instruction; others are intended for individual instru - Tamargo, L . A brief history of the Latin flute, part one, Latin mentalists of any genre. Quality pedagogical materials writ - Beat Magazine, March 2000 . Retrieved May10, 2008, from ten specifically by jazz flutists seem to be relatively small in bnet.com . number. Nonetheless, excellent resources are available for the jazz flute specialist in two major categories: method books Tamargo, L . A brief history of the Latin flute, part two, Latin and transcription books. Beat Magazine, April 2000 . Retrieved May10, 2008, from bnet.com . Method Books M ethod and Transcription Books Peter Guidi’s two-volume set , The Jazz Flute: A Individual Books Comprehensive Jazz Improvisation Method , is perhaps one Adler, M. Jazz Flute Etudes. Milwaukee, WI: Houston/Hal of the best-known jazz flute method books . Volume one Leonard, 1997. focuses on chord construction, scales, major and minor blues, ballad playing, and articulation, all basic concepts Allen, J. Introduction to Jazz Flute. Boulder, CO: University covered in most improvisation method books. Volume of Northern Colorado Press, 1999. two , however , distinguishes this publication; in it, Guidi Brandão, F. Brazilian and Afrocuban Jazz Conception. features sections on flute-specific topics such as flutter- Tübingen, Germany: Advance Music , 2006 tonguing, note bending, and singing. Here he also devel - ops topics such as scales, jazz harmony, turnarounds, and Gale, J . 12 Jazz Flute Duets (with play-along CD) . Pueblo, CO: practice routines. Tezak-Music Express, 1998. James Newton’s The Improvising Flute, part of Hal Leonard’s Artist Series, is another good resource written by a Gordon, A. 100 Ultimate Jazz Riffs for Flute (with CD) . jazz flutist for flute specialists. Touted as a book that “focus - Lawndale, CA: A.D.G. Productions, 2007. es on transcriptions, chordal outlines, and solos from Guidi, P. The Jazz Flute, volume I & II. Wormerveer, Newton’s various albums,” this book is an excellent addition Netherlands: Molenaar Edition B.V., 1997. to any jazz flutist’s library. Newton’s recent release, Daily Focus for the Flut e, is also noteworthy for its sections on jazz Newton, J. Daily Focus for the Flute . Los Angeles, CA: Janew flute articulation. Music Publishing, 2006 Advance Music has two recent Latin publications of interest. Osland. M. Music of Nestor Torres. Miami, FL: Warner Bros, Fernando Brandão’s Brazilian and Afro Cuban Jazz Conception 2003. features the Brazilian-born flutist fronting a piano, bass, and drums and percussion quintet on the accompanying CD. In the Schiff, R. (ed). Solos for Jazz Flute. New York, NY: Carl written text, Brandão employs original compositions to intro - Fischer, 1993. duce the reader to a range of Brazilian and Afro Cuban styles. Tompsett, B. Ultimate Funk Grooves for Flute (with CD) . Exercises are useful, especially in terms of rhythm, articulation Lawndale, CA: A.D.G. Productions, 2007. and motivic development, and the author provides insightful analysis of the two genres. Zalba, J. (2007). Flute Soneando: the Flute in Cuban Popular Javier Zalba’s Flute Soneando (with accompanying CD) Music. Tübingen, Germany: Advance Music, 2007 outlines the history of Cuban flute playing. The book

32 The Flutist Quarterly Fall 2009 nfaonline.org includes challenging exercises and highlights technical Collections aspects such as articulation, embellishments, and upper- Artist transcription series: Eric Dolphy collection . Milwaukee, octave playing over a wide range of genres . WI: Hal Leonard. An 89-page book by Jill Allen, Introduction to Jazz Flute (with two accompanying CDs) is described by the author as Artist transcription series: James Moody collection . Milwaukee, a “comprehensive, user-friendly method designed for flutists WI: Hal Leonard. who wish to explore jazz improvisation.” Published by the Artist transcription series : James Newton: The improvising flute. University of Northern Colorado, the book focuses on a Milwaukee, WI: Hal Leonard. range of styles with the accompanying CDs containing a full rhythm section. The method is suited for intermediate and Artist transcription series: Jethro Tull: Flute solos as performed advanced players. by Ian Anderson . Milwaukee, WI: Hal Leonard. The British-based Associated Board of the Royal Schools Artist transcription series: Lew Tabackin collection. Milwaukee, of Music (ABRSM) has published the most comprehensive offering of jazz method books for flute. This accredited WI: Hal Leonard. school has developed a five-volume graded series of method Jazz series: Jazz flute aural tests & quick studies, level books with accompaniment CDs. The ABRSM (abrsm.org) 1–5. London, England: Associated Board of Royal also offers a full spectrum of aural tests, scales, and technical Schools of Music. materials in sequence with the method books. The series is well researched , and online support in the form of curricu - Jazz series: Jazz flute scales, level 1–5. London, England: lar materials is useful and informative. Associated Board of Royal Schools of Music. Although technically they are not method books, addi - Jazz series: Jazz flute tunes, level 1–5. London, England: tional print resources that should be noted include Jack Associated Board of Royal Schools of Music. Gale’s 12 Jazz Flute Duets, with play-along CD, a useful tool for understanding jazz articulation and phrasing; Mark Adler’s Jazz Flute Etudes ; and A. D. G. Productions’ 100 M agazines a nd Journals Ultimate Jazz Riffs for Flute and Ultimate Funk Grooves for Down Beat Magazine: downbeat.com Flute, with CD. Free downloadable jazz flute exercises, focus - Flutist Quarterly (National Flute Association): ing on II-V-I progressions, are available at jazz-flute.com . nfaonline.org/quarterly Transcription Books Flute Talk (Instrumentalist Magazine): Several publishing houses produce jazz flute transcription instrumentalistmagazine.com books. A release by Warner Brothers, entitled The Music of JazzIz: jazziz.com Nestor Torres, contains elements common to both method and transcription books . The printed portion features solo Jazz Times: jazztimes.com transcriptions of original material by Torres and other jazz Latin Beat Magazine: latinbeatmagazine.com standards. The accompanying CD features an inter - view/masterclass by the Puerto Rican born flutist. Highlights Pan (British Flute Society): bfs.org.uk/pan.htm of the audio CD include Torres’ description/demonstration of jazz flute techniques such as singing while playing, flutter- Online Resources tonguing, ornamentation, fourth-octave playing , and the use allaboutjazz.com of the piccolo in jazz. budshank.alto.com Two additional series of transcription books are worthy of jmdevitt.googlepages.com mention. Carl Fischer’s All That Jazz Serie s has published members.chello.nl/guidiflute Solos for Jazz Flute , a small volume that presents, in addition abrsm.org to its extensive historical listing, a wide range of styles in its aliryerson.com transcriptions. Featuring classical jazz solos performed by fluteworld.com Buddy Collette, Herbie Mann, Eric Dolphy, Hubert Laws, and contemporaries, the book is an excellent introductory hubertlaws.com volume. Edited by Ronny Schiff, the final pages of the publi - jazz-flute.com cation catalogue the various V-I and II-V-I chord progres - jazzflute.ch sions found in the transcriptions. jazzreview.com Hal Leonard has published a series of transcription books jazzusa.org of great jazz flutists. Although the series is small, it is still a jennifercluff.org worthwhile purchase for those interested in jazz flute. jeremysteig.info Featuring individual volumes for Eric Dolphy, Ian Anderson, myspace.com James Moody, and Lew Tabackin, the series provides an in- wikipedia.org depth glimpse into the stylistic range of these artists. youtube.com

nfaonline.org Fall 2009 The Flutist Quarterly 33 QUALITY RESOURCES FOR JAZZ FLUTE

With the rise of the Internet, many flutists are posting transcriptions of jazz flute solos on personal Web pages. Whereas the quality of these transcriptions is unpre - dictable, the work is nonetheless interesting to peruse. Some of the best quality, free, downloadable transcriptions can be found on the personal Web pages of flutists John Devitt (http://jmdevitt.googlepages.com) and Peter Guidi (http://members.chello.nl/guidiflute ). Additionally, Hubert Laws has posted more than 50 transcriptions of his improvised solos in downloadable form , available for purchase at a mini - mal cost, on his official Web site (hubertlaws.com ).

Online Resources Increasingly, online materials are proving to be excellent resources for specialist topics. In the field of jazz flute, several comprehensive Web sites offer well-researched links . Information relating to the genre is well served by the Internet. Hubert Laws The French Web site jazzflute.ch is, in my belief, the most useful place to begin an online search for quality jazz flute resources . The site is comprehensive and offers not only an extensive listing of jazz flutists but also a corresponding discography, listed chronologically by release date. For French speakers, this resource is additionally useful in that it includes information on the history of jazz flute, a glossary of jazz flute terms, and extensive artist biographies. A fasci - nating photo gallery is included . But the best feature of this site is its “links” (or “liens”) page, which offers direct access to a plethora of predomi - nantly English pages featuring interviews, biographies, discographies, and the official Web sites of numerous artists. That said, unfortunately, not all jazz flutists listed on the site are directly linked . In addition, several links in the “miscella - neous ” category of the site, when checked, were no longer accessible. Nonetheless, this site can save hours of fruitless searching , as it coordinates a comprehensive listing of resources into one central location. Individual artists’ Web pages are also excellent sources of Ali Ryerson information, especially in terms of album reviews, upcoming concert listings, masterclasses, and biographies. In addition, these sites are often the best place to purchase CDs and other promotional materials. Several artists have created distinc - tive Web sites that venture beyond strictly promotional materials to include educational content and links to addi - tional jazz flute resources, most notably those of Bud Shank and Hubert Laws . (Editor’s note: Bud Shank died April 2, 2009, but as of this printing his Web site is still up.) T H

Shank was a West Coast saxophonist-turned-flutist, first C E R T

popular in the 1950s . Of interest on his site (bud - U 8 9 9

shank.alto.com ) is Budnotes, a sub-section featuring flute- 1

, S K

related musings. From Bud’s Room III, an informative reply R I S

.

to a fan’s question as to why Shank is no longer active as a S S N A

jazz flutist gives candid insight into the professional world of H Y B

jazz flutists. This page alone is well worth the read. K N A H

Hubert Laws’ site, like the artist himself, is colorful, well S D U

marketed , and creative (hubertlaws.com). The extensive site B F provides excellent historical/bibliographical information; of O O T O

note are numerous press articles analyzing his artistic suc - H Bud Shank P

34 The Flutist Quarterly Fall 2009 nfaonline.org cesses. A large number of MP3 audio samples are available for listening via QuickTime or Windows Media. Laws heads a long list of jazz flutists who offer easily accessible, online audio resources on their Web sites . The page also contains an extensive online retail store for CD and DVD purchases. Other artist Web sites are easily accessed through an online search using the artist’s name and the cue “Official Site .” Of those perused, the sites of Ali Ryerson, Jeremy Steig, and Maraca stand out. Ryerson’s site (aliryerson.com) is notable for Ryerson’s involvement with the National Flute Association Jazz Flute Big Band Orchestra and her commit - ment to summer/collegiate jazz flute workshops. On the other hand, Steig’s Web page (jeremysteig.info) is of interest for its extensive discography outlining the artist’s massive output as well as an impressive collection of audio samples. Surprisingly, coming from a country that severely limits Internet usage, the official Web site of Cuban technical wizard

Orlando “Maraca” Valle (maraca.cult.cu) is impressive. Alberto Sacarras Available in French, English , and Spanish, the site is one of the most up-to-date available online. Not only does it offer exten - sive downloads, photos, biographical information , and press releases, but it also features numerous videos of Maraca in concert. A link to Maraca’s MySpace page is also provided. Maraca is but one artist to have taken advantage of the marketing capabilities of MySpace (myspace.com). Indeed, this tool appears to be increasingly effective for the dissemi - nation of artistic output. The site offers performers the abil - ity to post downloadable lyrics, chords, sheet music, and audio files in a venue that is easily searchable. For the com - puter savvy, MySpace, along with YouTube (youtube.com) and Wikipedia (wikipedia.org), are undeniably the fastest and most surefire ways of accessing audio and video format information relating to jazz flute.

Further Information For purchasing print materials listed here, contact the pub - lisher or your local music dealer, or visit fluteworld.com. Additional links and information related to playing the flute Holly Hoffman are available at the Web site of Canadian flutist/teacher Jennifer Cluff at jennifercluff.org and those of the National Flute Association (nfaonline.org) and the British Flute Society (bfs.org.uk) . All historical materials, method books, transcription books, and online materials presented here are the result of an enjoyable and informative search. I hope you find these materials of use on stage, in the studio, or in the practice room. May this article serve as a point of departure from which to further investigate the realm of jazz flute. >

Lisa Lorenzino is chair of music education at McGill University, where she works with pre-service music educa - tors. She is also an avid jazz flutist and clinician in the Montreal area. As a result of her studies at the Istituto Superior de Artes in Havana, Lorenzino has extensively researched Cuban music education and continues to be fasci - nated by the music of that country. She may be contacted at [email protected]. James Newton

nfaonline.org Fall 2009 The Flutist Quarterly 35

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“The Emanuel flute has been an incredible discovery for me. This superior Visit instrument has incredible beauty of sound, from the softest to the loudest of dynamics with endless colors and articulation.” nfaonline.org Stefán Ragnar Höskuldsson Principal Flute, The Metropolitan Opera Orchestra Seeking

François M O C . E M I T S M A E R D

, K I T I K

©

, S

Devienne, E L L I A S R E V E D U A E T A H Part 2 by William Montgomery C

38 The Flutist Quarterly Fall 2009 nfaonline.org Despite his associations with recently rousted royalty, the business- savvy composer of 18th-century France not only survived but thrived in the Revolutionary era, performing, composing—and collecting healthy royalties. He wrote his two most notable works during this period, Les Visitandines, an opera that became the most popular French opera of the Revolutionary period, and the Flute Method .

his is the second of two articles about François The Years of the Revolution, 1789–1795 Devienne (1759–1803), commemorating the 250th Devienne returned to Paris some time before the Théâtre de Tanniversary of his birth. The first (Summer 2009, The Monsieur (named for the King’s brother) opened its doors in Flutist Quarterly ), covered Devienne’s early years in a small Paris for the first time on January 26, 1789. G.B. Viotti (one town near Paris; his move at age 17, not long after his father’s of the most influential violinists of the time) was the admin - death, to Deux Ponts near the German border, where he lived istrator of the new venue, and Luigi Cherubini (a famous with his older brother and made social and political contacts; Italian composer and teacher who was a dominant figure in his employment at age 2 0 in the bassoon section of the Paris French music for over half a century) was the musical direc - Opera Orchestra and one year later as a musician in the Paris tor. Devienne was the second bassoonist, but he moved up to palace of Cardinal Rohan; and his success in Paris over the principal bassoonist in 1792, where he remained until following five years as an orchestral musician and as a popu - September 1801. It seems odd that a famous bassoon and lar soloist on both the bassoon and flute. On August 15, 1785, flute soloist would take the position of second bassoon at a Rohan was arrested and thrown in the Bastille for his part in new theater in Paris. Perhaps Devienne was with the Band of the infamous “Diamond Necklace Affair,” leaving Devienne the Swiss Guards in Versailles (as Fétis claimed), perceived without employment in Paris at age 26. what was on the revolutionary horizon for the French monarchy, and took the first available position in Paris out - Time Away from Paris, 1785–1789 side the service of royalty. Little is known about Devienne’s activities for the next three The Bastille fell on July 14, 1789, the first summer after musical seasons (1785–1788). He played a “flute concerto” in Devienne returned to Paris . The French Revolution abruptly Paris on December 25, 1785, and his Sinfonie Concertante changed the lives of Parisian musicians in many ways, partic - No. 7 (flute, oboe, bassoon, and orchestra) on May 4, 1787, ularly regarding performance opportunities, pensions, and so he must have maintained his Parisian connections. Fétis even private teaching. The first season’s concerts of the states in his Biographie (written 1835–1844) that Devienne Théâtre de Monsieur orchestra had been given at the King’s “next went into the Band of the Swiss Guard [in Versailles], winter residence in Paris, the Tuileries Palace, since that winter which he left in order to enter the orchestra of the Théâtre de the King had decided to stay at his palace in Versailles. The King Monsieur in 1788,” but without substantiation. returned to Paris the next winter, 1790, so a temporary hall had Fétis’ comment is our only substantive clue to Devienne’s to be found for the Théâtre de Monsieur orchestra’s second sea - occupation during this time, since no records exist listing the membership of the Band of the Swiss Guard. Devienne is list - ed in the Calendrier Musical 1788 in Paris among the profes - sors of “flute and oboe” and the professors of “bassoon and serpent.” The Parisian journals of the 1787–1788 season list a M O C . number of performances of Devienne’s works, but none with E M I T

S him as the soloist: the Bassoon Concerto No. 2 (at least five M A E

R times), the Horn Concertos Nos. 1 and 2, and the Sinfonies D

, S

L Concertantes Nos. 2 and 3. If Devienne had been living in L A F T

E Paris at that time, he probably would have appeared as soloist N

©

in his own works. In 1788, Devienne’s first extended work for , E C

A voice, the Romances d’Estelle , a collection of 19 romances for L A P

N voice, flute, and piano, was published. This vocal work was A H O

R possibly the beginning of his many successful operas, the first S E

D of which was produced just two years later. Des Rohan Palace in Strasbourg, France, the former residence of Cardinal Rohan.

nfaonline.org Fall 2009 The Flutist Quarterly 39 SEEKING FRANCOIS DEVIENNE , PART 2 Band of the French National Guard and The Sinfonie Concertantes Beginnings of the Paris Conservatory Devienne’s second documented solo appearance in Paris The principal military band in Paris when the Revolution began was on Christmas Day 1787, when he performed the was the Band of the French National Guard, which, at that time, premiere of his Sinfonie Concertante No. 7 for flute, consisted of 45 instrumentalists from the National Guard, most oboe, bassoon, and orchestra. Devienne also wrote of whom were children of its soldiers. In charge of this young two of his sinfonies concertantes for flute, oboe, horn, band was a minor officer of the French National Guard, Bernard bassoon, and orchestra (No. 4 [1789] and No. 5 [1793 or 1794]), both in F Major. No. 4 is one of Devienne’s Sarrette, who was commissioned as a captain on September 1, finest works and well deserves a place on today’s concert 1789, and who was not a musician. Eight months later, in May stage, as does No. 5 . Unfortunately, I know of no modern 1790, the 66 instrumentalists in the Band were charged with ful - copy of the score and parts for either work; it would be filling the musical requirements of the 25 great national festivals a very worthwhile project for someone to copy the that began in 1790 and lasted through 1794. parts and create scores, so we would have more works In spring 1790, Sarrette persuaded several distinguished for four solo winds and orchestra, in addition to Parisian musicians to join the Band of the French National Mozart’s Sinfonie Concertante—and ones that include Guard. That fall, he rented a house so his musicians “might the flute! better serve the ‘people’ by also teaching music to the young.” The Paris journals mention that Devienne performed In November he recruited the famous composer, François- the Sinfonie Concertante No. 4 three times in 1789, Joseph Gossec, to be lieutenant–maître de musique ; about the twice in 1790, four times in 1791 (once with the orches - same time Devienne probably joined this growing band. The tra of the Concert Spirituel, twice at the Cirque duties of its members were to teach music to the children of National, and once at the Théâtre Montansier, not to be the soldiers and to participate in the numerous great nation - confused with the Théâtre de Monsieur), and once in al festivals; Devienne was probably required to participate in 1793 at the Théâtre Feydeau . all of them. In 1793, in preparation for one of the festivals, The first performance of No. 5 may have been on November 20, 1793. However, it was definitely performed Devienne was sent into the streets of Paris to teach “the peo - in a November 7, 1794, concert. Both concerts were at ple” the songs of the upcoming festival by singing the songs the “National Institute of Music.” The 1794 concert was loudly on the street corners ! Devienne’s final documented appearance as a soloist. His duties with the Band of the French National Guard were The 1793 concert was performed by the Institute’s probably administrative as well as musical and did not seem to Wind Band; there were no string players on the faculty conflict with his concerts at the Théâtre de Monsieur or the of the “National Institute of Music” at that time, nor Théâtre Feydeau. In 1792, when the duties of the music school were there any string players mentioned in the program. were officially recognized, Devienne was listed as one of three Therefore, if Devienne’s Sinfonie Concertante No. 5 (for sergeants. This music school was given the official titles of “Free flute, oboe, horn, bassoon, and orchestra) was performed School of Music of the National Guard” (June 9, 1792), on the 1793 concert, it is possible that this work was first “National Institute of Music” (November 8, 1793), and, finally, performed with the accompaniment of a wind band, and “Conservatory of Music” (August 3, 1795). The organizational that the accompaniment for orchestra was written later. It chart of the “Free School of Music of the National Guard” was, should make an excellent 18th-century work for solo at the time of its official establishment in 1792, Capt. Sarrette, woodwind quartet accompanied by wind band. Lt. Gossec, Asst. Music Master and clarinetist Xavier Lefèvre, —WM Sergeant-Major and oboist Louis August Venit, three sergeants, of whom Devienne was one, three corporals, 30 professors of son, which put Devienne out of work for a few months. The the “first class,” 10 professors of the “second class,” and eight opening concert of the third season was also delayed several professors of the “third class.” months, again temporarily putting Devienne out of work , while Devienne was listed as a professor at the Conservatory of a new permanent hall was completed. Six months after the Music from its creation in 1795 until his death in 1803. In orchestra moved into its new hall, the names of the concert hall 1800 the conservatory reduced the number of professors, and the orchestra were changed to Théâtre de la Rue Feydeau . but no flute teachers were dismissed, and in 1802 the Devienne married Mlle. Maillard (her first name is not school reduced the salaries of the professors of the “first known) between 1789 and 1791, and they had five children. class” from 2,500 livres to 2,000 livres per year. The other Four of these children, according to Humblot in 1909, seem to flute professors at the Conservatory during Devienne’s have lived comfortable, middle-class adult lives: Louise- time were Nicolas Duverger (dates unknown), Antoine Madeleine married a music editor who was the younger broth - Hugot (1761–1803), Jacques Schneitzhoeffer (1754 or er of the famous composer, F. A. Boieldieu; Adèle also married 1757–1829), and Johann Georg Wunderlich (1755–1819). a music editor who became a very successful music publisher; During Devienne’s eight years at the Conservatory, six first Alexis was a captain in the engineers; and Emile was a music prizes, eight second prizes, and three honorable mentions engraver. Devienne’s most famous opera, Les Visitandines were awarded in flute. Two of the first prize winners were (1792) was dedicated to his father-in-law, Louis Maillard, as students of Devienne: Antoine Grandjean (1798) and was the Six Sonatas for Violin and Basse, Opus 59 (1799). Alexandre Moudre (1800). Four of the second prize winners

40 The Flutist Quarterly Fall 2009 nfaonline.org were his students: Antoine Grandjean (1797), Alexandre Moudre (1798), Joseph Guillou (1798 and 1799), and Joseph Cardon (1801). One of the three honorable mentions was Devienne’s student Jean-Baptiste Leblond (1800).

Music in Revolutionary Paris Between 1789 and 1791, both the number of orchestral con - certs given in Paris and Devienne’s soloistic activities declined drastically. Devienne made five solo appearances in 1789, but only two in 1790, three in 1791, and one each in 1792, 1793, and 1794. In these 13 concerts from 1789 through 1794, he per - formed no concertos , only his Sinfonie Concertante No. 4 eight or nine times, his Sinfonie Concertante No. 5 once or twice, his Sinfonie Concertante No. 7 twice, and one work by another composer. On November 7, 1794 , he performed his Sinfonie Concertante No. 5, and that was Devienne’s final documented appearance as a soloist. The number of newly published works by Devienne also declined after the Revolution began in 1789 . He published 11 new works in 1788, but in 1789 there were only three newly published works, two in 1790, three in 1791, six in 1792, and three in 1793. However, in 1794, the year in which the Revolution ended, Devienne published the amazingly large number of 18 new works.

The Flute Method Among 1794 ’s prolific output was Devienne’s Flute Method, one of his most important works. It contains a summary of the general principles of musical performance, some easy teaching pieces, more advanced sonatas for two flutes, and 11 articles concerning articulation and ornamentation practices in the late 1700s. Articles 1–3 discuss flute playing in general, Articles 4–7 describe common articulation practices in the classic era, and Articles 8–11 deal with ornamentation. Colonne de Juillet at Place de la Bastille, Paris, France, where the Bastille stood Unfortunately, many subsequent editions of the Flute before it was destroyed. Method changed or deleted these Articles. In 1999, a facsimi - le edition of the first edition was printed by Ashgate otherwise they remain unfinished.” In Article 11, Devienne Publishing Co. (ISBN #1-8414-642-7) with an English trans - reminds the reader that a small note, preceding a large note lation by Jane Bowers. The Preliminary Remarks and the divisible by three, always gets 2/3 of the value of the large Articles were also translated into English in my 1975 disser - note (not 1/3 the value of the large note, as is sometimes tation (which is available searching on my name at heard today).

M http://disexpress.umi.com/dxweb). O C . E Articles 4–7 on articulation are particularly valuable The Operas M I T S

M because they illustrate which articulation is appropriate for Devienne’s first opera was produced at the Théâtre A E R

D each specific type of passage during that era, and it is one of Montansier in November 1790, just 16 months after the

, Y U

G the few documents written in the late 1700s dealing with this beginning of the French Revolution, and his second opera 1 1 9 1

important subject. Article 4 also compares the use of the was produced there nine months later. Four additional ©

,

N tongue to the use of the violin bow, and recommends using a operas were produced the next year in February, July, M U L rather strong articulation with the syllable “Tu,” but not with October, and December 1792 in well-established Parisian O C Y L “Te” or “Ta.” Devienne strongly criticizes double tonguing as opera houses. His most famous opera , Les Visitandines , was U J E

H “a disagreeable rolling” with which it is “impossible to have a the second of the four operas produced in 1792. It was first T R

O clarity of execution” and which is similar to “stammering.” performed on July 7, 1792, at the Théâtre Feydeau, three N M

U Article 8 very clearly shows how to play gruppettos as they years after the fall of the Bastille. Devienne produced 12 L O C

R occur in different types of passages, how they are sometimes operas between 1790 and 1799. E T I

P written out by the composer, and when they are sometimes In later years an interesting debate developed concerning the U J N

E meant to be played as mordants. Article 9 states that “all similarity of one aria from Les Visitandines (No. 4, “Enfant D L O

G cadential trills and gruppettos ought to have a termination, chéri”) with the popular and familiar “Papageno’s Aria” in

nfaonline.org Fall 2009 The Flutist Quarterly 41 SEEKING FRANCOIS DEVIENNE , PART 2

Recordings Many recordings of Devienne’s flute music exist, and new ones constantly appear, so I am certain that I have omitted many excel - lent recordings in this brief survey, for which I apologize, and I urge the reader to search for them.

Concerto No. 7 in E Minor (c. 1787) is by far the most the quartets from Opus 66 on this recording are really excel - popular of Devienne’s 13 flute concertos—exciting to hear lent works. The first three quartets of Opus 66 are my and to play, it possesses musical and technical challenges that favorites of all his 21 quartets, having strong musical direction are fun to negotiate. Some of the more popular recordings and sincere expressiveness. All four quartets on this CD are (listed alphabetically) are by James Galway (MHS #5175617, beautifully performed. CD, 1999: A brilliant performance), Marc Grauwels (Naxos Devienne wrote 148 duos. There are 16 sets of duos origi - #555918, CD, 2003: Brilliant playing and lovely sound), nally written for two flutes, four sets written for flute and vio - Maxence Larrieu (Peters #PLE 038, 33 rpm, 1973: Very excit - lin or viola, and five sets written for other instrumental com - ing and dramatic), and Jean-Pierre Rampal (MHS #1127, 33 binations. Many were also transcribed and published for other rpm: Great articulation and style). wind and/or string combinations. Concerto No. 4 in G Major (date unknown) is one of Opus 5 is probably the most popular set of his recorded duos, Devienne’s best concertos, with very solid themes, much con - and, interestingly, the version for flute and viola seems to be trast, and a melodically oriented accompaniment—and yet the most recorded set. The set was published for flute and there are surprisingly few recordings! The one by Eric viola in 1783 and 1784. Shortly afterwards, it was published for Dequeker (EUFODA #1172, CD) is an excellent perform - two flutes, and then for clarinet and viola; there were many re- ance, but it is in a set of three CDs of concertos from publications of each combination. Excellent recordings from Mozart’s time with only one by Devienne, and you must pur - this set for flute and viola are by Mary Karen Clardy per - chase the entire set. forming Duo No. 2 in G Major (Encore, #EPR2521, 2005: Concerto No. 8 in G Major (c. 1794), also a beautiful, chal - With delightful playing that captures the spirit of the work), lenging work, has been recorded by James Galway (MHS Jeanne Baxtresser performing Duo No. 3 in C Minor (Cala #5175617, CD, 1999: A captivating performance) and Jean- Records, #0544, 2006: Very expressive and dynamic playing, Pierre Rampal (MHS #1127, 33 rpm: Brilliant articulation and really enjoyable), and Paula Robison, also performing Duo exciting style). No. 3 in C Minor (Vanguard Classics, #DA32441, 2001: Very strong and exciting playing with great ensemble work). There are three interesting recordings of Devienne’s Concerto No. 2 in D Major (1783), a piece I find to be Devienne wrote 66 works in 11 sets for one instrument slightly easier than some of the later concertos. They are by and “basse” —a word Devienne seems to use to describe a Peter-Lucas Graf (Claves #50-0501, CD, 1997: Lots of verve class of instruments. I believe he uses it to refer to a melodic and excitement), Marc Grauwels (Naxos #555918, CD, 2003: instrument, frequently a lower-pitched instrument such as a Very well performed), and Jean-Pierre Rampal (Phillips #402- bassoon or a cello (since it is usually written in the bass 719-2, CD: A beautiful, caring performance). clef) rather than a keyboard instrument with harmonic implications. I reach this conclusion because of the number An interesting recording of the Concerto No. 5 in G Major of “basse” parts that were subsequently transcribed and (composed prior to 1792, containing only two movements) is by published for a treble or bass instrument, or a wind or Jean-Pierre Rampal (MHS #1127, 33 rpm: Jaunty good fun, nice stringed instrument (often a second flute part). There are spirit, and a great technical show-off in the second movement). occasional double or triple stops in some of the transcribed An excellent recording of four quartets for flute, violin, string parts, and there are no figured bass numbers in any of viola, and cello features Barthold Kuijken playing traverso the “basse” parts. It could be that when Devienne taught the (Accent #24162). Devienne wrote 21 quartets for this combi - flute, he simply enjoyed playing flute and bassoon duets with nation, and Opus 16 is the second set of his quartets. The his flute students. recording of Opus 16, No. 3 , is very lovely, and all three of A work that deserves to be better known and that should

42 The Flutist Quarterly Fall 2009 nfaonline.org have more performances on today’s concerts is Devienne’s of the earlier Six Trios for Flute, Violin, and “Basse,” Opus Sinfonie Concertante No. 6 in G Major, Opus 76 (c. 66. There is some confusion concerning the opus number 1799–1801) for two flutes and orchestra (a version with a for these trios, but in 1830, Fétis referred to these trios as piano reduction is published by Musica Rara). Devienne’s gift Opus 66, as did Briquet and Wallon in MGG in 1949. The for writing an appealing melody is combined with a tasteful transcription for three flutes is rather free, using the same display of technical virtuosity for the soloists. Jean-Pierre notes, but distributing the melodic lines rather equally Rampal and Ransom Wilson give an exciting performance of between the three flutes, creating a texture of three nearly this work (MHS # 3371, 33 rpm, recorded by Erato, released equal voices. These trios, each with three movements, are in 1976: A lilting style, a brilliant technical showpiece, and some of Devienne’s finest chamber works, particularly No. delightfully melodic playing). 4 in F Major and No. 6 in A Major . The playing on this CD is brilliant, lively, and exciting, and all the trios are won - A wonderful recording, Six Trios for Three Flutes, is by derful to hear. For anyone trying to understand the essence Jean-Pierre Rampal, Alain Marion, and Claudi Arimany of Devienne’s writing and performance style, I highly rec - (Traversieres #210/259, CD, 1996). These trios are listed as ommend listening to the performances on this recording! Opus 19 on the record jacket, but they are a transcription —WM

Mozart’s Marriage of Figaro , since the two arias begin with opening performance of a new Parisian theater, and later that almost exactly the same melodic line. Mozart’s opera was first same year it was also produced at the Théâtre Lyri-Comique. produced on September 30, 1791, in Vienna, and Devienne’s Devienne’s final opera was produced on November 2, 1799, just opera was first produced nine months later, in Paris. Devienne six days before Napoleon seized power. was accused of plagiarism, but , given the frenetic pace of his life The only teacher that Devienne acknowledges is J. Félix in 1792 revolutionary Paris, he could not possibly have heard Rault (1736–c. 1800), whom Devienne cites as “his teacher” Mozart’s opera in Vienna. The melody could well have been a in the dedication of his Flute Concerto No. 13 in D Major. popular song of the time or, more likely in my opinion, a Rault was principal flutist in the Paris Opera Orchestra dur - Masonic melody, since both composers were active Masons. At ing the year Devienne was last bassoonist (Rault retired at the that time, surprisingly, Devienne was much more popular in end of that season), but no mention has been found of when , Paris than Mozart, so Devienne would have had little to gain by or for how long, Devienne studied with Rault . copying Mozart’s melody. In April 1801, the Théâtre Feydeau, where Devienne had been employed since 1789, abruptly closed its doors with no The Declining Years, 1795–1803 advance notice, as did another Parisian theater, the Théâtre With the overthrow of Robespierre on July 27, 1794, and the Favart. Five months later, the two theaters merged and installation of the Executive Directory and Legislative Council reopened as the Théâtre de l’Opéra-Comique with many of of France in October 1795, a relative calm returned to France. the musicians from the two former theaters. Devienne likely Devienne’s life probably settled down to more of a routine. may not have been rehired because of his possibly declining There are no notices of any solo appearances by Devienne in mental health, but we don’t know, since there are no records the final eight years of his life. He probably spent most of his of the Opéra-Comique’s orchestra members at that time. energies at the Conservatory, playing in the orchestra of the Balteau and Prévost state (in the mid-20th century) that “his Théâtre Feydeau , and primarily writing operas—he produced a excess of work has been given as the cause of the insanity of new opera each year in 1797, 1798, and 1799. The 1798 opera which he had an attack in 1799,” but no source is cited con - was quite popular, but those before and after did not fare as cerning the date. Devienne wrote no operas after 1799, and well. In February 1799, Les Visitandines was chosen for the many of his compositions written after about 1800 do not seem

nfaonline.org Fall 2009 The Flutist Quarterly 43 SEEKING FRANCOIS DEVIENNE , PART 2

Making a Living in 18th-century France In 1779, Devienne was paid 700–1,000 livres per year as a full-time bassoonist in the Paris Opera Orchestra. In 1792, he earned 200 livres annually as principal bassoonist in the Théâtre Feydeau orchestra—obviously a part-time position—and 1,100 livres per year as a sergeant of the Free School of the National Guard. (By contrast, Capt. Sarrette received three times that amount, 3,500 livres per year, and Lt. Gossec earned 2,500 livres annually). In 1795, when the Free School finally became the Paris Conservatory, Devienne was one of nine elected administrators who received an annual salary of 5,000 livres, twice the salary of the professors of the “First Class.” The opera Les Visitandines was very profitable for Devienne. He had negotiated agreements whereby he would receive a percentage of the profits from every performance of his operas. In just the first two months of its performances in 1792 at the Théâtre Feydeau, Devienne received 684 livres for his share of the profits, in addition to his regular salary of about 28 livres for those same two months in the orchestra pit of the Théâtre Feydeau. One document shows that, in 1795, Devienne received 400 livres for a single performance of Les Visitandines . These profits added considerably to Devienne’s income in the decade from 1790 to 1800; from 1792 to 1797 alone, the opera was performed more than 200 times. In 1795, at the age of 36, Devienne’s salaries at the Conservatory and the Théâtre Feydeau, his income from sales of his composi - tions and his private teaching, and particularly his royalties from his opera performances must have provided for him a very comfort - able living indeed. —WM

to have the same brilliance as his earli - er works. He only published about nine sets of works and one concerto LY NN from 1800 through 1803. On May 7, UNIVERSITY CONSERVATORY OF MUSIC 1803, Devienne was admitted to Charenton, the Parisian home for the When talent meets inspiration, the results are extraordinary. mentally ill. François Devienne died there about four months later on World-renowned flutist Renée Siebert September 5, 1803, at the age of 43. is Distinguished Artist-in-Residence Two obituaries appeared in Parisian at the Lynn University Conservatory journals on September 9 and 22 , 1803 (the former written by Devienne’s stu - of Music. Since joining the New York dent at the Conservatory, Joseph Philharmonic in 1974, Siebert has Guillon, a.k.a. Guillon fils, and the lat - appeared as a chamber musician and ter by “Cocatrix,” probably Adele soloist throughout America, Europe Cocatrix, to whom Devienne had ded - icated his song cycle, the Romances de and Asia, performed on numerous Lablée , in 1797). Devienne’s two most recordings and dedicated much of outstanding achievements are his 1792 her time to teaching and writing. opera, Les Visitandines, and his 1794 Flute Method . Probably Devienne’s Winds at Lynn most lasting legacy is derived from his Renée position as the first flute teacher at the Renée Siebert, Paris Conservatory. > Flute artist-faculty William Montgomery is a flute recital - Siebert Joseph Robinson, ist and masterclass presenter, professor Oboe artist-faculty of music and immediate past chair of the University Senate at the University Jon Manasse, of Maryland, and former principal Clarinet artist-faculty flutist and soloist with Kennedy Center Opera House Orchestra, National Michael Ellert, Gallery Orchestra, Theater Chamber Bassoon artist-faculty Players, and U.S. Marine Band. He is a past president and past convention program chair of the NFA and past president of the Flute Society of 3601 N. Military Trail, Boca Raton, FL 33431 G www.lynn.edu/music G 561-237-7000 Washington. His degrees are in music Lynn University does not discriminate on the basis of race, color, gender, religion, nationality, ethnic origin, disability and/or performance, education, and musicol - age in administration of its educational and admission policies, scholarship and loan programs, athletic and/or other school- administered programs. ogy. His flute teachers were William Kincaid and Marcel Moyse.

44 The Flutist Quarterly Fall 2009 nfaonline.org The College of Christina Jennings, Assistant Professor of Flute

University of Colorado at Boulder Degree Offerings at the University of Colorado at Boulder include:

- Bachelor, Master and Doctorate in Flute Performance - Bachelor of Music Education - Master of Music Education - Doctorate in Flute Performance and Pedagogy - Woodwind Certificate Pre-screening recording & application deadline: Dec. 1, 2009

Fall 2010 audition dates: Jan. 30, 2010 Feb. 6, 2010 For an application and information visit: www.colorado.edu/music/flutestudio www.christinajennings.com

Walfrid Kujala’s new book: The “sequel” to the Vade Mecum

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

The 26th Annual Central Ohio Flute Association Competition finals were held April 18, 2009, at Ohio State University. Winners were Emma Huelskamp, first place, Susan Noel Negowski, second place, Ruijie Zhang, third place, junior high division; Erica Jung, first place, Mary-Kathryn Krizman, second place, Kim He, third place, senior high division; Anna Reisenweaver, Cedarville University, first place; Julianne Bruce, Oberlin Conservatory, second place; Elizabeth Reeves, Wright State University, third place, colle - giate division; Norman Gonzales, Eastman School of Music, first place; Sunghyun Cho, Oberlin Conservatory, second place; Sang Ae Kim, Peabody Conservatory, third place, young artist division. The 2010 Competition information is Jim Walker was guest artist at the Arizona Flute Society’s flute camp. posted at cofa.osu.edu. Recordings will be due in February The Arizona Flute Society’s Second Annual Flute Camp at 2010, with finals on April 24, 2010. Tempe Church of the Nazarene featured guest artist Jim Walker, thanks to generous grants from the Yamaha Corporation and the The Charlotte Flute Choir held its annual spring concert in City of Tempe, and the support of our corporate sponsors. The late April. Performance selections included a wide array of four-day camp for all ages also featured masterclasses and recitals music styles and pieces from its CD in progress. Featured by Emily McKay, Brian Gordon, and Keh O’Daniel. Featured was Marriage of Figaro , arranged by Robert Maddox. The presenters were Marla Flannagan on Irish music, Mike Nye on summer months were spent working on the group’s latest flute maintenance and repair, and Jessica Kelley on breathing CD as well as trying out a mixture of smaller ensembles for gym. The Members Recital was the final event of camp and musical variety within the group. included Arizona Flute Society Flute Festival 2008 Competition winners as well as ensemble groups and soloists who are AFS members. AFS will present a concert and workshop with Greg Several members of the Chattanooga Flute Choir toured Patillo and Project in October 2010. The AFS Annual Flute Ireland, Wales, Scotland, and England in June. Lead by Festival and Competition will be held on November 21, 2009, at Nora Kile, the choir spent two weeks touring, including a Phoenix College. The Alla Breve Flute Choir Concert will be held concert in Scotland with the award-winning Carluke in February 2010. AFS is raising funds to have a five-minute flute Primrose Orchestral Flutes, one of Scotland’s top flute choir piece by composer Gary Schocker commissioned for the bands. The Carluke group introduced its new Kingma sub- Alla Breve Flute Choir. The piece will be premiered on March 27, contra flute in that concert. It was also joined by the Arctic 2010, at the Gary Schocker Flute Choir Masterclass and Recital. Winds Flute Choir from Anchorage, Alaska, lead by Barbara Persons interested in donating to the fund for this commission Eberhart. This was Chattanooga’s second trip to Carluke to may contact Sherry Finzer at [email protected]. The Arizona Flute perform with the CPOF and the first for the Arctic Winds Society is a nonprofit organization, and a receipt is available for group. After its concert, the Chattanooga group toured tax purposes. The Arizona Flute Society will present its Third England with stops in York, Bath, Stonehenge, and London. Annual Flute Camp in June 2010. Contact Karen Kontos at The ensemble traveled with EF Tours; the tour director, a [email protected] . bodhran (drum) player, joined in for jamming.

nfaonline.org Fall 2009 The Flutist Quarterly 47 ACROSS THE MILES

The Chicago Flute Club will hold its “20 Years and Beyond” Flute Festival November 6–8 in Evanston, Illinois. Guest artists for the two-and-a-half- day event include William Bennett , Denis Bouriakov, Marco Granados, and Matthias Ziegler. In addition there will be a Solo Artist Competition, masterclass - es, and informative sessions on topics from examining the

Suzuki Flute Method to a The Flutists of the Kennedy Center group class in extended flute techniques. The event honors The Flute Society of Washington presented The Flutists of the Bennett and celebrates the Kennedy Center in recital at the Chevy Chase Presbyterian contributions of Jack Moore Church in Washington, D.C., May 16. The flutists of the William Bennett with his fine workmanship National Symphony and Kennedy Center Opera House and beautifully designed instru - Orchestras performed works by Alwyn, Brahms, Jolivet, ments. For its 20th Anniversary, the CFC commissioned a new Morlacchi, Roussel, Telemann, and Sancan. The performers were flute quartet by Chicagoan Lita Grier to be given its world Toshiko Kohno, Aaron Goldman, Alice Kogan Weinreb, and pre mière at the event. Visit chicagofluteclub.org . Carole Bean of the NSO, and Adria Sternstein Foster, Stephani Stang-McCusker, and John Lagerquist of the Kennedy Center The Florida Flute Association Opera House Orchestra, assisted by Lisa Emenheiser, piano, and will host the 34th annu - Susan Robinson, harp. All donations received benefit the Wallace al Florida Flute Convention Mann Orchestral Scholarship Fund. January 29–31, 2010, at the Marriott Orlando Airport The Flutes of Howard Univer- Hotel . Beatboxing flutist sity (Washington, D.C.) pre - Greg Pattillo will perform sented its Ninth Annual Flute Saturday evening with his Fête January 15. The event group Project and give a celebrated the 80th anniver - masterclass and workshop sary of the birth of the Rev. Dr. during the convention . Martin Luther King, Jr. The Featured performers on the guest artist was flutist James Friday evening concert will Spaulding, who performed be Eva Amsler, professor excerpts from his original of flute at Florida State extended composition, Song of University, and Jean West, Courage Suite, which com - dean of Stetson University’s memorated the assassinations Greg Pattillo School of Music. The three- of King and Malcolm X. day event will include pro - Ali Ryerson Norman Brently will perform fessional and student flutists in concerts, workshops, master- at Flute Fête 2010. In fall 2008, classes, flute choir showcases, junior and senior juried FOHU sponsored an improvisation workshop conducted by Honors Flute Choirs, and exhibits of flutes, music , and NFA Jazz Chair Ali Ryerson. Attendees included members of accessories. The High School and College Young Artist com - the regionally based Washington, D.C., flute ensemble the petitions have cash prize awards. The Florida Flute Flute Collective (Bill Haymon, Arch Thompson, and Peter Convention will include sessions to inspire and motivate Westbrook). In February, the Flute Collective (which also flutists of all levels and ages with numerous opportunities to includes FOHU founder/director Saïs Kamalidiin) performed participate in open flute choir reading sessions, small a showcase concert at the 2009 Mid-Atlantic Flute Fair spon - ensembles, open masterclasses, solo and ensemble coach - sored by the Flute Society of Washington. In April, the Flutes ing, and participatory workshops. Admission to the Florida of Howard University toured Louisiana, performing concerts Flute Convention, which includes membership in the in Baton Rouge and New Orleans. On May 16, the Flutes of Florida Flute Association, is $50 for adults and $25 for full- Howard University hosted the National Flute Association’s time students if postmarked by January 15, 2010. There is an Jazz Flute Big Band Reading Session in preparation for its first additional $10 fee for on-site registration. Call 941- 962-1649 performance under the new adjudication process that was or visit floridaflute.org . given at the NFA national convention in New York City.

48 The Flutist Quarterly Fall 2009 nfaonline.org Among flute artists present for the reading session were Marc Twenty-eight members of the International Flute Orchestra Adler, Brittney Allen, Jamal Brown, Joy Clark, Dominique completed their 12th international tour in May. Starting in Gagné, Steve Marcus, Howard Motteler, Mark Weinstein, John Krakow, they performed in the Florianka Chamber Recital Wubbenhorst, and members of the Flute Collective. The con - Hall of the Music Academy of Krakow, the Holy Cross Church ductor of the reading session and the founder/director of in Zakopane, the Warsaw Cathedral in Warsaw, and Aula Hall the NFA Jazz Flute Big Band is NFA Jazz Chair Ali Ryerson. in Gdansk University in Gdansk. Shaul Ben-Meir made special Contact Saïs Kamalidiin at [email protected] or arrangements of two works by Chopin. Nancy Nourse 202-806-7093. arranged the Polish national anthem to add to the programs, which were especially well received by enthusiastic audiences The Flute Society of Kentucky throughout Poland. The three contrabass flutes, four bass 2010 Kentucky Flute Festival flutes, and six alto flutes attracted the interest of the audiences will be held at Campbellsville after the concerts, as they were not familiar with these instru - University January 15–16, 2010. ments. Flutists and friends traveling with the IFO came from The event celebrates 10 years California, Iowa, Kansas, Montana, Connecticut, of the FSK . Bart Feller, flutist Pennsylvania, Alabama, Florida, Texas, Michigan, Oregon, with the New Jersey Symphony Virginia, Nebraska, and Canada. Nancy Clew is the music and the New York City Opera, director and John Bailey the conductor for this tour. will be guest artist. Participants Professional flutists interested in traveling with this group in will have the opportunity to the future can contact Clew at [email protected]. hear him and perform for him in a masterclass or sign up to have a private lesson with him while he is in Kentucky. Other Bart Feller events will include competi - tions, clinics on flute playing and teaching, concerts, an exhibit hall with flutes and flute- related items, and possibly a chance at the Olympics. All events, plus a free festival t-shirt, are included in the regis - tration fee; save $15 by pre-registering. Repertoire and guidelines for the competitions are posted on the FSK Web site. In addition to the regular series of competitions, the FSK will also host a concerto competition, with a cash prize and invitation to perform with the Campbellsville University String Ensemble in a concert during the Festival. Visit fskentucky.org and click on 2010 KY Flute Festival; Kansas City Flute Choir please note deadlines for each event, as they differ. Following its first appearance at the NFA Convention in Flutissimo! Flute Choir performed for the Myrna Brown Kansas City in 2008, the Kansas City Flute Choir has com - Reception at the Texas Flute Festival and for local churches. pleted its fifth season. Highlights of the 2008–09 season During the summer, Flutissmo! recorded a second Christmas include the Kansas City premiere of Lamar Stringfield’s CD and performed the national anthem and “God Bless “Mountain Dawn,” arranged for flute choir by Austin Alan America” at a Fort Worth Cats game . Scott and performed by guest soloist Gina Hart-Kemper; a spring performance at Kansas City’s Crown Center; and a per - Greater Portland Flute Society formance in July at the Overland Park Arboretum as part of welcomed British baroque the Friends of the Arboretum’s “Sounds of Summer” series. As flutist Stephen Preston, who the KCFC begins its sixth season, it is working to secure non - performed November 14 with profit status. The 2009–2010 season will include concerts in Portland Baroque Orchestra’s the fall and spring, as well as two holiday performances, harpsichordist, Susan Jensen. On including the annual Crown Center concert. Visit kcflute - November 15, Preston taught a choir.org. three-hour class including a par - ticipatory baroque dance class Magic Flutes Flute Choir in San Mateo, California, performed and instruction on baroque its annual winter concert at St. Matthew’s Catholic Church. ornamentation and a master - The program consisted of selections from the Messiah , class. On October 23, Leonard “African Noel,” and others. Magic Flutes has added an Eva Garrison will perform a recital. Kingma contrabass flute to its choir. Magic Flutes is directed Stephen Preston Visit gpfs.org . by Pamela Ravenelle.

nfaonline.org Fall 2009 The Flutist Quarterly 49 ACROSS THE MILES The Pittsburgh Flute Club is pleased to announce the results second place; and I-Jeng Yeh of Bloomington, Indiana, third of its 2009 Young Artist Concerto Competition held on March place. The Texas Flute Society hosted performances from a 28 at Newlonsburg Presbyterian Church. First prize winner plethora of flute choirs, including the Houston Flute Choir, was Martha Long, student of Jim Walker at the Colburn School Yvonne Kendall, director; Flutasia, Melissa Arthur, director; The in Los Angeles. Tied for third prize were Patrick Williams, stu - Oak Lawn Flute Choir, Christopher Bronson and Ellen Kaner, dent of Michel Debost at the Oberlin Conservatory of Music, directors; and Flutes Unlimited, Ellen Kaner, director. The work - and Gloria Yun, student of Sue Ann Kahn at the Mannes shop “Using Technology to Augment Your Practice” by Tiffany College of Music . Judges for the final round of the competition Holmes was also presented. The Texas Flute Society thanks were Alberto Almarza, Jennifer Conner, and Rhian Kenny. President Tara Richter for her hard work, dedication, and great Congratulations to all the winners. leadership. The Society welcomes the new 2009–2010 president, Mary Reyes. The 33rd Annual Texas Flute Festival will be held on The Raleigh Area Flute Association announces its the campus of the University of North Texas May 20–22, 2010. 2009–2010 season of events: Erinn Frechette concert and picco - Guest artists include Amy Porter, professor of flute at the lo class September 27; Review and Contest annual scholarship University of Michigan; Ian Clarke, professor of flute at the competition November 1; Flute Fair with guest artist Amy Porter Guildhall School of Music and Drama; Elizabeth McNutt, direc - November 14; Solo/Ensemble Fest in spring 2010; Flute Choir tor of the contemporary music ensemble Nova and lecturer on Festival with guest clinician John Bailey March 21, 2010; and contemporary performance practice at the University of North Annual Members’ Recital May 16, 2010. The 300-member organ - Texas; and Daniel Alexander, winner of the 2009 Myrna W. ization also sponsors several flute choirs and bi-monthly activi - Brown Competition. Visit texasflutesociety.org or contact Mary ties for adult amateur flutists. Visit raleighflutes.org . Reyes, president, at [email protected] or 972-956-8553. The 25th Myrna W. Brown Artist Competition is held in con - The South Carolina Flute Society held its 2009 Spring Festival junction with the Texas Flute Festival May 20–21, 2010. This in N. Charleston, South Carolina. The entire society thanks competition is open to anyone and there is no age limit. Prizes Jeanne Baxtresser and Carl Hall for the classes they presented are $1,200, first; $500, second; and $250, third. Visit texasfluteso - and the Brannen-Cooper Fund for their contribution to the ciety.org or contact Pam Adams, [email protected] or festival. The events for the 2009–10 year include a November 817- 236-5687. seminar with Brooks de Wetter-Smith, a spring festival in March 2010, and many flute competitions. Visit scflute.org . The Tucson Flute Club (TFC) hosted its annual Members’ Recital May 8, featuring a range of renditions including presen - tations by the club’s flute choir, a piccolo solo, several duets, trios, and a quartet. A feature of the evening was the world pre - miere of an arrangement by the composer for flute choir and soprano of “Ubi Caritas,” by flutist Joshua Saulle; the soprano soloist was Elena Todd. The evening was dedicated to the mem - ory of the late Helena Swanson, wife of TFC and NFA co- founder and former professor of flute at the University of Arizona Phil Swanson. The audience included TFC members and friends, spouses, and the public, many of whom had never

Left to right: Marianne Gedigian, Horace Alexander Young, Pethrus Gardborn, Tara heard a flute choir (now complete with a contrabass flute). On Richter, Nan Raphael May 9, the annual cookout and members’ meeting was held at The Texas Flute Society hosted the 32nd Annual Texas Flute the home of Sandy Schwoebel. The membership endorsed the Festival May 22–23 at the University of North Texas in continuation of present officers and added two new board mem - Denton. Approximately 2,000 students, teachers, profession - bers. In June there was a “laptop party,” at which members gath - als, amateurs, and auditors participated by performing solos ered to input data for their music library database. Over the sum - and ensembles for flute specialists and attending concerts, mer, TFC members also performed with other groups, including workshops, and masterclasses. The masterclasses were present - the Civic Orchestra of Tucson, the Sonora Winds, the Southern ed by guest artists Marianne Gedigian, associate professor of Arizona Symphony Orchestra, the Symphonic Winds, and the flute at the University of Texas at Austin and former member Tucson Concert Band. Several members also perform about of the Boston Symphony Orchestra; piccoloist and solo per - town with smaller groups including Women in Black, the Tucson former Nan Raphael, who was a member of the U.S. Army Woodwind “Pops” Quintet, the Paloma Winds, Skyline Flutes, Field Band in Washington D. C.; Horace Alexander Young, the High Notes Jazz Flute Quartet, the Silverwood Duo, the “triple threat” recording and touring jazz artist who is also a Elision Quintet, the Day Star Chamber Players, FluteFinity, and multi-instrumentalist, vocalist, and composer; and Pethrus the Harper & Molano Duo. Gardborn, winner of the 2008 Myrna W. Brown Artist Welcome to new flute clubs coordinator Dolores August. Please Competition and assistant flute teacher at Lilla Akademien send information about flute club activities, and high-resolu - (The Junior Academy) in Stockholm, Sweden. Winners of the tion images if available, to Dolores August, Flute Clubs 24th Myrna W. Brown Competition were Daniel Alexander of Coordinator, [email protected]. Please note new Houston, Texas, first place; Brittany Foster of Cincinnati, Ohio, name and address.

50 The Flutist Quarterly Fall 2009 nfaonline.org

From the RESEARCH CHAIR The 2009 New York City convention featured presenta - tions by the two winners of this year’s Doctoral Dissertation Competition sponsored by the NFA Research Committee (Michelle Cheramy, chair, John Bailey, Susan Nelson, Ardal Powell, Michael Stoune, and Nancy Toff). Dissertations by Julie Hobbs, PhD (Northwestern, 2006) and Lori Ann Kessner (University of Cincinnati, 2006) were selected for their outstanding contribution to flute-related research. The abstracts below give a taste of each author’s work. Michelle Cheramy

“Voice of Crumb: George Crumb’s and palindromes to perpetuate the pro - ship between Yehudi Menuhin and Ravi Use of Program in the Chamber grams. A concluding chapter traces the Shankar at the 1966 Bath Festival, Works for Flute” many programmatic themes in Vox Mayer began composing works that Julie Hobbs, Northwestern Balaenae and the musical devices combined these two distinct musics. Crumb uses to depict those themes. Mayer’s and Shankar’s careers have The music of George Crumb (b. 1929) Crumb’s program notes and transla - many parallels with regard to Indian reflects a variety of artistic, personal, tions, if any, for each work and a tran - classical training and exposure to and philosophical interests and a style script of an interview with the compos - Western society. Both also created that is difficult to classify, resulting in an er are included in Appendices A and B. their own musical languages for com - imaginative, expressive voice. Yet one positions that combine elements of defining element of Crumb’s style is its “Krishna Meets Pan: Indian-Western Indian and Western music. However, strongly programmatic character. This Fusion in Two Works for Flute and Harp differences in their biographies have study focuses on the seven chamber by Ravi Shankar and John Mayer ” led to divergent approaches to Indian- works that include members of the flute Lori Ann Kessner, University of Cincinnati Western fusion. family—piccolo, C flute, alto flute, and While learning to compose effectively bass flute: Madrigals , Books II and IV, With a career spanning over six in this new genre, both composers were (1965, 1969), Eleven Echoes of Autumn decades, Ravi Shankar has been the drawn to the combination of the flute (1965), Night of the Four Moons (1969), seminal figure in the dissemination of and harp as a medium for this expres - Vox Balaenae for Three Masked Players Indian classical music to the West. His sion: Shankar composed L’aube enchan - (1971), Lux Aeterna for Five Masked presentation of this music to Western tée (The enchanted dawn ) in 1976, and Musicians (1971), An Idyll for the audiences has heightened interest in Mayer followed with Nava Rasa (Nine Misbegotten (1985), and Federico’s Little and appreciation for Indian music and moods) in 2003. This document pro - Songs for Children (1986). This docu - has resulted in the exportation of thou - vides a comparative study of L’aube ment analyzes the programs for each sands of sitars to Western countries. His enchantée and Nava Rasa and thereby work and the ways in which Crumb extensive training in Indian music, cou - illustrates the composers’ diverse uses timbre, form, melody, and palin - pled with his exposure to Western soci - approaches to Indian-Western fusion. dromes to portray these programs. Of ety, has led to a compositional style that First Indian aspects are explored, fol - particular interest is the composer’s use embraces elements of both cultures. lowed by Western influences, and final - of time and eternity, life and death, and Shankar is not the only Indian musi - ly elements shared by both traditions. nature as programmatic themes. cian, however, to explore Indian- In addition, biographical information The document begins with an Western fusion. A less well-known about Shankar and Mayer demonstrates overview of the programmatic elements Indian musician who has contributed how the degree to which they borrowed that characterize these seven works. extensively to this genre is John Mayer, a from each tradition reflects their differ - The four main chapters examine composer and violinist from Calcutta. ences in background and training. Crumb’s use of timbre, form, melody, More than a decade before the partner - —Michelle Cheramy

52 The Flutist Quarterly Fall 2009 nfaonline.org

Annual Lifetime Achievement Award Honors Sir James Galway More than 225 NFA members and guests gathered in New York City on Saturday, August 15, to honor and celebrate the diverse contributions of Sir James Galway, recipient of the 2009 NFA Lifetime Achievement Award .

By Angeleita Floyd, Gala Fundraising Dinner Chair

n her presentation speech to the 18th recipient of the NFA’s remarks followed by a special musical tribute to Sir James Lifetime Achievement Award, Patti Adams, NFA Advisory Galway. Terry Herald, composer and conductor for the musical ICommittee Chair, explained : “Consummate musician Sir tribute, wrote the selection especially for Galway at the James Galway, whose appeal and artistry has crossed all request of Barbara Ogar, who also served as conductor for the musical boundaries, has inspired generations of flutists. He is event. Flute Choir Coordinator Kelly Via gathered 17 flute a living legend who has revolutionized the entire concept of choirs consisting of close to 200 flutists for a profoundly the flute and its music. As he enters into his 70th year, he is moving and beautiful performance of the Fantasie on Danny one of the most recorded classical artists performing today Boy . Surprise guest soloists included Bulent Evcil, Davide and continues to delight in the flute and its legions of devotees Formisano, Nicola Mazzanti, and Raffaele Trevisani. worldwide, bringing us new recordings, compositions , and The award ceremony immediately followed the meal, with technology to educate and inspire.” Patti Adams presenting heartfelt tributes to Sir James Galway The Gala Dinner, established as a fundraising event, pro - from close friends and musical colleagues such as Phillip Moll, vided revenue to the NFA Endowment through a portion of Leonard Slatkin, Lorin Maazel, Robert Langevin, Cleo Laine each ticket sold. In her opening remarks, Phyllis Pemberton, and John Dankworth, Howard Shore, and Ian Anderson. CEO of the NFA, brought us up-to-date on the current status Leonard Garrison, chair of the board, presented the award and of the endowment, which stands at $777,000. “Year-to-date the official plaque, along with special remarks from distinguished portfolio has risen by $99,000, or 14.6 percent. The allowable musical friends such as Michael Parloff, Lowell Liebermann, annual expenditure from the fund for special commissions, Ervin Monroe, Fenwick Smith , and Jim Walker. special publications, cultural outreach scholarships, and other projects is just four percent, so it is important that we continue “Sir James’ first two solo albums, both released in 1975, to build the endowment,” she noted. established a pattern for his career. One was The Man Thanks to the generous contributions of many NFA With the Golden Flute , a set of light classics brilliantly per - members, the organization is able to underwrite important formed , which became a gold record. The album’s title projects in educational outreach and support major com - became his permanent moniker and image, and since then missioning projects, resulting in several new works every audiences haven’t allowed him to play a silver flute even if year. Your continued contribution to the endowment fund he wanted to. His other LP featured the Franck and demonstrates your commitment to these ideals and stands Prokofiev Sonatas, and many regard it as the definitive as an expression of faith in what the NFA can do and even recording of these great works. more for what we, the membership, dream of doing. On the one hand, Sir James has ventured into the realm of On this celebratory evening, NFA Founder and Honorary a pops superstar, from Sesame Street , to The Tonight Show, Life-President Mark Thomas made additional welcoming John Denver’s “Annie’s Song,” the Oscar-winning music for

54 The Flutist Quarterly Fall 2009 nfaonline.org The Lord of the Rings , and collabora - to be prepared at whatever task is in front quality. If you turn on the radio in the tions with the Chieftains, Cleo Laine, of one, not to be afraid and to share all middle of a flute solo, you can tell right Henry Mancini, Phil Coulter, Peter that we have been given… and there is away if it’s Galway. Of course, you have Ostroushko, and Tiempo Libre. On the that irrepressible laugh, the joy that James a 90 percent chance of guessing that it’s other hand, he has made substantial Galway brings to all around him. Here is him, as his recordings are ubiquitous. contributions to serious classical a man who enjoys and lives life to the John Corigliano writes, ‘ His sound is music, making stellar recordings of the fullest. I salute you, Sir James, my friend, like no other—a sweetness and human - major repertoire and attracting lead - husband, musical partner, and hero.” ing composers to create new master - ity that overwhelms one. Even Mozart, works for him, including Malcolm “What are the hallmarks of Sir James’ who said he didn’t like the flute, would Arnold , William Bolcom, John playing? First and foremost is his have wept, had he heard Sir James play. Corigliano, Lowell Liebermann, and inimitable tone, rich in vibrato and And we would have had a lot more Joaquin Rodrigo. ” harmonics, soaring with ease above a Mozart flute music.’ ” —Leonard Garrison, from his presentation speech full orchestra but never losing its dolce —Leonard Garrison, from his presentation speech

“Howard Shore, composer for the film Lord of the Rings , said: ‘It was a great joy to work with Sir James on The Return of the King , the third film in The Lord of the Rings trilogy. I felt that he defined the sound of the Shire with his beautiful flute and pennywhistle playing. … It was wonderful to work with him and the London Philharmonic. At the beginning of The Fellowship of the Ring , when the Hobbits leave the Shire, they are very innocent. By the end of The Return of the King , the return of the Hobbits to the Shire is a very important moment in the film. The music portrays the Hobbits’ progression after their ardu - ous journey with the many trials and tribulations they encountered. They return to the Shire more sophisticated and worldly. The beautiful yearning At TheThe Banff Centre,Centre, artiststs are celebratedcelebrated for their uniqueq and importantp rolerole.. and plaintive tone of James’ playing Set amid the beauty of Canada’sCanada’anada’s oldest and most renowned nationalational park, perfectly captured the hobbits’ loss of TheThe Banff Centre offers ann exceptional environment for creativity.creativityty. innocence. He is, quite simply, the best in the world.” Our programsprograms put the artist’sartist’ist’s needs above all else,else, offering tailored,tailoored, —Patti Adams, from her presentation speech nurturing support to everyy participating artist. PastPast faculty have includeded TaraTara Helen O’Connor,O’Connorr,, Carol Wincenc,Wincenc, One person knows Sir James’ playing and Nicole Mitchell. more than any other: his wife of 25 years and concert partner, Lady Jeanne ProgramsPrograms include: Galway. After spending almost every s )NTENSIVE SUMMER TRAININGTRAINING PROGRAMS PROGRAMS INCLUDING &LUTE -ASTER #LASS# hour with him for decades, she won - AND &ESTIVAL&ESTIVAL /RCHESTRA/RCHESTRA ders, “How does he do it? That sound … s *AZZ*AZZ AND CREATIVE MUSICC WORKSHOP No matter where I am in the house, in s 2ECORDING OPPORTUNITIESS s &ALL&ALL AND WINTER RESIDENCIESRESIDENCCIES FOR SELF DIRECTED PROJECTS the concert hall, in the hotel room, it within an international community of musicians always makes me sit up and listen… He takes me to a peaceful place deep within. FForor more information andnd to apply: I am truly blessed… He has taught me 1-800-565-9989 through his strength, discipline, innate wwwwww.banffcentre.ca.banffcentre.ca musicality, kindness, and charisma how to enjoy everything and grasp everything that life has to offer. How important it is

nfaonline.org Fall 2009 The Flutist Quarterly 55 )/87( 62/26 ZLWK 25&+(675$/ $&&203$1,0(17

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Can’t Find it? Gotta Have it? The complete index of articles in The Flutist Quarterly, volumes 16 through 32, is now online!

Visit nfaonline.org and look under the Flutist Quarterly section of the site to find the index.

(A printed index to issues prior to volume 16 is available from the NFA office on request.) NFA News Updates on committee activities and other news of interest from the national office

We Did It! The world record for largest flute ensemble was broken at the NFA Convention August 14, 2009. ir James Galway led more than 2, 000 flutists to break the SGuinness World Record™ for World’s Largest Flute Ensemble at the National Flute Association’s 37th Annual Convention in New York Cityon Friday, August 14, 2009. The exact number to be submitted to Guinness will be 1,989 flutists, based on the number of registration forms collected for the event. Leonard Garrison, NFA board chair, noted that Sir James Galway led a world-record-breaking number of flutists in performance people “of every age from every continent” participated, and of, among other works, a specially commissioned adaptation of “Danny Boy.” that the ballroom, which holds 2,400 people, was “packed with Ervin Monroe, James Walker, and Ransom Wilson, with the flutists spilling into the hallway and balcony,” so the actual music displayed on plasma screens throughout the room. number of flutists playing was greater than the number cited Elliott Forrest, Peabody Award-winning host on WQXR, and in the paperwork required by the Guinness officials. Gail Wein, music journalist, served as witnesses. Flute In addition to Galway, the group was led by six conductors groups from France and Australia played at the same time in including John Bailey, Katherine Borst Jones, Paul Dunkel, support of the effort.

nfaonline.org Fall 2009 The Flutist Quarterly 57 Orchestral Techniques for Flute and Piccolo: An Audition Guide by Walfrid Kujala

Orchestral Techniques is the first publication to include comprehensive instructional material that focuses on the technical and stylistic aspects of the main solo and ensemble excerpts from 28 orchestral masterworks.

Some of the topics covered in this 92-page treatise are: tempo choices, rhythmic pitfalls, dynamic adjustments, ensemble considerations, breathing advice, tone qualities, special fingerings, "insider" strategies, articulation style and performance traditions. There are special rhythmic and technical exercises for Beethoven Leonore No.3 and Eroica Symphony, Dvorák 8th Symphony, Shostakovich 15th Symphony, Strauss Till Eulenspiegel, Stravinsky Firebird and Petrouchka, and Tchaikovsky 4th Symphony. $24.95

Purchase online from our website at www.walfridkujala.com or contact your local music bookstore. progress press

222 Main St. #504 Evanston, IL 60202 PH: 847-869-2998 PPaassssiinngg Information about absent friends TToonneess ouis Wilson Lewis, M.D., died peacefully at his home on Saturday, May 23, in Oakland, LCalifornia, at the age of 87. Lewis was born in Chicago, Illinois, and raised in Southern California, where he attended Occidental College and majored in both music and psy - chology. Music played an important role in his life. He worked as a Hollywood studio musician and was a life-long member of the American Federation of Musicians, Local 47; and he played in the Dallas Symphony under the direction of Antal Dorati before attend - ing the University of Texas Southwestern Medical School in Dallas. Throughout his medical career, Lewis stayed active as a musician, playing in ama - teur woodwind quintets and as a member of the Bohemian Club Band for more than 40 years. He was an avid collector of flute music, old maps, and paintings. His flute music collection is housed at the University of Arizona, Tucson. Lewis was active in environmental causes and involved in his local community. He had a quick wit and sharp, creative intellect, and thoroughly enjoyed a good joke. He is survived by his wife of 43 years, Sally, and his four children from his first mar - riage, Kristin Lewis of Boulder, Colorado; Laurie Lewis and Lisa Lewis of Berkeley; Brian Lewis of Sacramento, California; and three granddaughters, Justine Lewis of Berkeley and Chloe and Shannon Forsman of Boulder. Contributions may be made to Cazadero Performing Arts Camp, P.O. Box 7908, Berkeley, CA 94707, attn: Louis W. Lewis Scholarship Fund, or the National Louis Wilson Lewis Flute Association .

had the great honor of meeting Louis Lewis at the San Diego National Flute IAssociation Convention in 2005. I had been working with Louis and his wife Sally for a full semester over the phone and e-mail, and felt like it was the perfect occasion to meet personally. In San Diego, they invited me for breakfast and we had a great time sharing stories about our lives. We shared not only our love for piccolo as a solo instru - ment but our eagerness for the diffusion of works for flute that are currently out of print or have never been properly published. As he described the different stages in which he had collected his music —most of which is currently housed at the NFA library—I realized that this man did indeed have, as he had described it himself , a special “collector gene .” He had the most resourceful ways of making his music library grow! These included encouraging his students to pay him with scores, purchasing other people’s flute and piccolo libraries, and responding to news of music available for purchase by taking extemded drives across the long state of California . Louis started taking lessons as a young boy and played first flute in a Boys’ Band. Later , he became a member of the American Community Symphony , which took him touring to Warsaw, Prague , and Moscow. Finally, he became a member of the Lewis at age 24 Dallas Symphony in its first full season, before he began medical school. All of us who had the chance to look through the collection know what great work he did and what a valuable legacy he has left. Many guest artists that came to the University of Arizona were impressed by the amount and quality of the material, and expressed their interest in performing pieces contained in the collection. But that is only part of what Louis left for us. The collection also includes compositions of his own, such as the Dance for solo flute and the Invention for flute and clarinet. His “Kristin’s story ,” written for his daughter Kristin, is an adaptation of the Greek myth of

nfaonline.org Fall 2009 The Flutist Quarterly 59

PASSING TONES

the God Pan, planned in the “Peter and the Wolf” style of alternating narration and flute solos. His inspiration to write, arrange, and re-edit some of his collected materials came from long years of learning, practicing , and meeting many teachers and figures of the flute world , in California and beyond . His love for music was passed on to his family. He encouraged all his children to play instruments. Kristin became a flute player , and his daughter Laurie is an accomplished multi-instrumentalist, dedi cated to her own style of music with rural roots. Brian joined the Bohemian Club Band as music librarian, and that band was an activity that he and his father enjoyed sharing. Louis and Brian would go to weekly rehearsals together. Even after Louis quit playing because of health issues, he still attended rehearsals. Even over the phone, it was unequivocal what a sweet gentleman he was. At the convention, he showed me his piccolo . I remember looking at this little instrument, thinking about all the history behind it, all the repertoire that had been played by it, all those very high notes! All our sympathies go to his family and friends for his passing on June 6 , 2009. We will keep his memory alive through his legacy: his music, his compositions, his contribution to the flute community , and the souvenir of that little sweet man with the collector’s gene. —Ana Laura González served as the NFA’s library assistant from 2004 to 2007 .

Erich Graf A Flute Recital: Bach (c minor suite) Roussel (Joueurs de Flute) Berio (Sequenza) Gaubert (Sonata #3) Flute Masterworks: Poulenc (Sonata) Debussy (Syrinx) Varése (Density 21.5) Bourne (Carmen Fantasie) Nobis (from western mountains) Prokofiev (Sonata)

Classical Musings: A VHS music video setting of excerpts from A Flute Recital to the beauty of Utah’s National Parks and their environs. Erich Graf . Aeolus Recordings www.erichgraf.com

We did it! Commemorate your NYC convention with this T-shirt proclaiming the World’s Largest Flute Ensemble.

$15 (plus S&H); sizes from small to 2x large. Visit nfaonline.org/store or email [email protected] or call 661-713-2072.

60 The Flutist Quarterly Fall 2009 nfaonline.org

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

Flutist, author, and NFA Lifetime Achievement Awardrecipient John Wion has compiled a two-CD retrospective of his career to accompany his memoir, Wood, Silver and Gold (available through lulu.com). The set contains selections from live performances of solos with orchestra, piano, or tape by Hofmann, Bloch, Dutilleux, Davidovsky, Humble, Reinecke, Saint-Saëns, Lovelock, Molique, Prokofiev, Bach, Messaien, Boulez, Doppler, Briccialdi, and Ibert; chamber music of Foote, Mozart, and Romberg; and excerpts from operas of Mozart, Strauss, Bizet, Thomas, and Donizetti. Performers include the Emerson and Tokyo quartets and pianist Gilbert Kalish. Featured on the CD is the concerto of William Lovelock (1899– 1986) , here included in its entirety. Lovelock was an English composer who spent a number of years in Australia , where he wrote this piece for James Carson. The style, says Wion, could be described as “Vaughan-Williamsy.” See johnwion.com .

Heads Up International, a division of Concord Music Group, has released a new CD by flutist Alexander Zonjic , Doin’ The D , with guest appearances by saxophonist Kenny G, trumpeter Rick Braun, Special EFX guitarist Chieli Minucci, vocalist Maysa Leak , and oth - ers. In addition to the new faces, longtime collaborators Jeff Lorber and Bob James contribute to the CD. Doin’ The D takes its title from a catchphrase common to residents of the greater Detroit area. To “do the D” is to spend an evening or a weekend checking out the various cultural attractions offered by the city of Detroit. The CD’s tracks include “Top Down,” written, produced , and arranged by Lorber, who also performs on keyboards, guitar , and synth bass. Kenny G adds soprano sax to Freddie Hubbard’s “Little Sunflower.” “Passion Island” includes performances by Chieli Minucci, the Motor City Horns , and Bob James. “Undun” is a take on the familiar 1969 song by The Guess Who. “River Raisin Nights ” is a Latin-style track written and produced by Pieces of a Dream co-founder and keyboardist James Lloyd, who contributes keyboard lines as well as synth bass and percussion. “Tongue Twister,” the closer, features Zonjic on flute and Lorber on piano. Visit www.headsup.com

performances by piccolo legend Walfrid Kujala, and was performed by Kate Prestia-Schaub at the 2009 National Flute Association convention and the 2009 International Piccolo Symposium. Dorff’s music has been performed by the Philadelphia Orchestra, commis - sioned five times by the Philadelphia Orchestra’s education department resulting in over 20 performances, and commissioned twice by the Minnesota Orchestra’s Kinder Konzert series. Dorff’s works have also been per - Theodore Presser Company announces the release of three formed by the Baltimore Symphony, new publications. Eight Visions , a collection of commissioned Pittsburgh Symphony, and numerous others. In addition, flute solos by eight distinguished composers, is a result of a col - Dorff was the pre-concert lectu rer for seven Philadelphia laboration between flutist Marya Martin and Meet the Orchestra concerts in March . Composer, the organization dedicated to fostering connec - Theodore Presser Company has released the New Elson’s tions between composer and community. Eight Visions con - Pocket Music Dictionary , edited by composer and educator tains new works by Ned Rorem, Kenji Bunch, Tania León, Matthew Herman and updated to reflect the technologies Chen Yi, Paul Moravec, Melissa Hui, David Sanford, and Eve and theories of 20th- and 21st-century music, along with an Beglarian. For more information on Eight Visions , including augmented composer list and the inclusion of jazz and con - Marya Martin’s preface, composer bios, downloadable track, temporary music definitions. The New Elson’s Pocket Music and sample pages, visit presser.com/downloads. Dictionary provides more than double the number of defi - Building on his Sonatine de Giverny for piccolo, Daniel nitions as any other pocket dictionary and at a lower price. Dorff delivers the sequel, Flash! Inspired by Kate Prestia- For more information about new publications from Theodore Schaub’s request for new recital material, Dorff composed the Presser Company , or to locate a dealer, visit presser.com or piece to showcase her playing . Flash! has been programmed for e-mail [email protected].

62 The Flutist Quarterly Fall 2009 nfaonline.org Flute 101: Mastering the Basics is a R.A.T. Music Stands, new flute method by Phyllis Avidan designer and manufac - Louke and Patricia George. The turer of professional book offers many pedagogical ideas music stands and lights , to enrich the technical, creative , and has announced the musical development of beginning availability of a univer - flutists. The book may also be used sal clip-on version of its as a phrasing guide for advanced “LEDLight .” This is in players. The “Teacher’s Guide” at the response to the rapidly beginning of the method explains increasing demand for the pedagogical approach used in better lighting by musi - the book and includes practicing cians, both individuals and phrasing tips. Flute 101: Mastering the Basics is perfect for and organizations, who are unsatisfied with traditional use in the private studio, university studio , and woodwinds incandescent lights and want to keep their current music methods classes. Visit http://fabulousflute.com. stand. At the heart of the “LEDClip” light are six high-pow - ered LEDs, which provide a very bright , warm white light Norway Lindberg Lyd AS and over the entire score, with very little spillage. Light pro - Musikkonline present Flute Mystery , a CD collection of five duced by the LEDClip is virtually color-free and provides orchestral works by Norwegian for optimum readability of scores without the need for composer Fred Jonny Berg. Emily high power and resulting heat produced by incandescent and Catherine Beynon, soloists on lamps. There are no bulbs to change and the LEDs are flute and harp, perform with the robust and have a long life expectancy. The range of Philharmonia Orchestra conducted ClipLights is fitted with a powerful spring clip that enables by Vladimir Ashkenazy. Fred Jonny them to fit almost any make of stand. A design feature Berg’s sheet music is available online for evaluation and deliv - enables the clip to grip firmly on any thickness of tray and ery. All scores are available for free at symbiophonic.as. Visit yet be moved simply by squeezing the clip. A very slim http://www.2l.musikkonline.no and type “Flute Mystery” in lamp, the LEDClip has a specially designed housing and the search box for “tittel” (title). reflector system to both allow the musician an uninter - rupted view of the conductor as well as maximizing light UpTown Flutes announces the release of its third CD, A New on the score while greatly reducing light radiated to other Road . The CD features the Sonata for Eight Flutes by Andrew musicians nearby. The LEDClip light can be powered by a Downes; “Nonet, Serenade: Peter Bacchus as Flute Soloist ,” by non-dimmable outlet plug power supply or is available Peter Bacchus; “Within ,” by Ian Clarke; and two quartets by with a dimmable power supply. It is constructed of highly Catherine McMichael: “Children of the Wind ” and “Legends durable but lightweight aluminum and is portable and from the Greenwood.” Members of UpTown Flutes are Carla well-suited for travel. A double-width version is also avail - Auld, Elise Carter, Karen Demsey, Jeannie Fessenden, Patricia able for conductors and use with pianos. Optional rugged Lazzara, John McMurtery, Rebecca Vega , and Virginia travel cases for 20 LEDClip lamps are also available. Visit Schulze-Johnson, director. Please visit uptownflutes.com . http://ratstands.com/uni_lamps.htmlratstands.com .

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nfaonline.org Fall 2009 The Flutist Quarterly 63 RREEVVIIEEWWSS Reviews of flute-related recordings, books, and other items of interest CDs Giulio Briccialdi: a rare example of instrumental virtuosity combined with the Four Concertos for ‘bel canto’ of Italian opera.” Flute and Orchestra Briccialdi’s titles and opus numbers are confusing, and the order of composition of these concertos is unknown. The first Ginevra Petrucci, I concerto on the CD, in B-flat Major, is also known as “Terzo Virtuosi Italiani Concerto Op. 65.” The second concerto, in E Minor, is also © 2009 Bongiovanni 2 “Secondo Concertino alla moderna” (no opus). The third con - certo, in C Major, is also “Concerto Brillante Op. 119.” The f young American flutists fourth concerto, in A-flat Major, was also assigned “Op. 104.” Itoday know the name Twenty-year-old Ginevra Petrucci has impressive creden - Briccialdi, it is most likely tials, studying with a who’s who of the international flute for his Carnival of Venice variations, though even there, with world and accumulating a bunch of awards. She is an ideal our French focus, they more likely know Genin’s. flutist for this material, displaying a lovely sound and the Giulio Briccialdi (1818–1881) was an Italian virtuoso flutist, required virtuosity. And she phrases beautifully, with legato described as the “Paganini of the flute” and the “finest living worthy of a great singer and an elegant sense of rubato. It is a flute-player” at a time when Europe was awash with such pleasure to listen to such a young player perform without showmanship. As was typical of the time, he also composed— affectation and with such a mature sense of style. and well. Much of his considerable output was devoted to fan - The music can be described as sounding like Verdi’s ballet tasies on the operas of his contemporaries, notably Donizetti music, absolutely charming and without a trace of genius. and Verdi, capitalizing on their popularity both for his own con - Each concerto is in standard three-movement form. Whatever certs and for the host of amateur flutists to play for their guests drama there is lies in the orchestral tuttis of the outer move - in their living room soirées. He wrote more than 60 of these, and another 50-odd original compositions for flute and piano, in ments, the exception being the E Minor concerto that starts addition to duets and assorted chamber music (including wind directly with an arpeggio for the soloist from high B to low E. quintets). He also wrote a number of solos for his engagements Otherwise the flute part is always sunny, with lovely melodies with orchestras, and these include four concertos. and intricate passagework; the central movements are simple Gian-Luca Petrucci, an eminent flutist and scholar, has arias, quite often with pizzicato accompaniment; and there are devoted much time to Briccialdi research, leading to his 2001 a couple of charming dances to end. The orchestral accompa - biography Giulio Briccialdi—Il Principe dei Flautisti (Edizioni niment is excellent, as is the recorded sound. Thyrus). This exhaustive work lists Briccialdi’s oeuvre and Any one of these concertos would be a great choice for a provides a thematic catalog. In the course of his research, competition and a real crowd-pleaser for anyone’s concert. Let Petrucci discovered the manuscripts for the four concertos at us hope that the Petruccis have plans to make the music avail - the Terni Music Institute, where the composer’s widow had able in print. In the meantime, we will be content to sit back donated his library. with a Prosecco and let this charming music wash over us. A Now Petrucci has shared this discovery via his talented big “bravi” to all involved. daughter in a first-ever recording. He writes, “They represent —John Wion

Flute Naturally: performing works inherently inspired by the natural world. Inspirations for solo Mary Jo White, assistant professor of flute at UNC- flute including com - Wilmington and principal flutist of the Wilmington Symphony, has compiled an eclectic mix of solo flute works plete solo works of inspired either by the natural human voice in the medium of Benjamin Boone folksongs or by the sounds and sights of nature. Mary Jo White The CD begins with Ingolf Dahl’s “Variations on a Swedish © 2008 Mary Jo White Folk Tune,” with the flute emulating the voice that might have sung this folk tune through the generations. Charles Koechlin’s s the main title suggests, Troisiéme Sonatine, Op. 184, No. 3 compliments the Dahl as Athe flute is well suited to his wandering melodies demonstrate his interest in folksongs

64 The Flutist Quarterly Fall 2009 nfaonline.org as well. White’s inclusion of Claude Debussy’s Syrinx might seem of the five movements of this composition depict songs of a obvious; however, the beloved classic is immediately followed by variety of birds. The non-bird movement, entitled “Cherokee A Tribute to Debussy’s Syrinx by Benjamin Boone, giving the lis - Shaman’s Call,” is executed beautifully by the flute, as the tener a chance to compare and contrast the two. This fresh inter - instrument can be as versatile as the voice. This piece allows pretation consists of two movements entitled “The Wood the flutist to explore sound and nuance by taking inspiration Nymph of Nonacris” and “Pandemonium.” “The Wood Nymph” directly from a natural source. is named for Syrinx and seeks to emulate similar musical ele - What strikes me as interesting is that following the Boone ments of Debussy’s seminal piece. “Pandemonium” is named for tryptich, “Hindemith’s Acht Stücke” sounds, in a way, like a con - Pan and uses a wide range of extended techniques, rhythmic tinuation of the bird and nature sounds. I was able to experience excitement, and jazz elements to express the god’s personality. It each of Hindemith’s short pieces in an entirely new light. The is a delightful new look at a well-known, ancient pastoral scene. disc ends with Marin Marais’ theme and variations entitled “Les Benjamin Boone is featured in two other multi-movement Folies d’Espagne,” allowing the disc to end in the way it begins. works that focus specifically on nature. “Rafflesia: Colossal Mary Jo White executes each piece beautifully, although her Flower of the Rain Forest” depicts the giant flower that grows sound relaxed in the Boone works as she cleanly maneuvered her in the Malaysian rain forest. Extended techniques and way through the extended techniques and varied her vibrato and melodies based on Malaysian folk tunes help to capture the tone colors in creative ways. Overall, this is a great CD that will rare and awesome freakishness of this flower that the compos - inspire any flutist to listen a little bit differently to the natural er warns is in danger of destruction. White commissioned the world and to how flute music is often inspired by nature. third solo flute work by Boone, entitled “Nature’s Song.” Four —Tess Miller

Music of the Denisov…) and Morse code rhythmic quotations are SuperPowers: employed as unifying mechanisms in his works,” writes Luce in the illustrative liner notes. Again, Luce provides a lovely Sputnik, Spies, shaping of line that helps the listener understand this some - and the Space Race what elusive, certainly eclectic composition. Brian Luce, flute, Verne Reynolds’ (b. 1926) Sonata (1962) features four move - Rex Woods, piano ments, the first of which reaches out and demands our immedi - ate attention. Its seriousness is first posed as a dialogue between © 2008 Albany Records flute and piano in “a style harkening to that of Hindemith.” The he cover alone is worth second movement, Scherzo , enchants us as it moves from “the Tthe price! And for those ensemble tutti to the three-part fugue.” The third movement, of us who actually remember the 1950s–60s, it’s quite a trip Adagio, “most tuneful,” moves the listener through a journey of through these compositions that, as the introductory liner notes emotional moments—delivered with tastefully expressive vibra - explain, emerge from the turbulent “decade of the 1960s” reveal - to—before propelling the flute into the final movement’s mad - ing how “classically trained composers in both countries [Soviet cap tarantella (Presto). Union and United States] created both conservative and experi - The lovely Sonatina for flute and piano in B Minor, by Galina mental works.” Confessing to never before having heard Brian Smirnova, follows with another enchantingly coordinated per - Luce or Rex Woods perform, I must now, I think, be allowed a formance. This seven-minute composition shows off the lyrical minor rave. These are wonderful presentations. The CD opens and technical capabilities of both performers and provides a with a stunning performance of the Sonata, Op. 14, by Robert delightful transition to their sensitive dialogue in Barber’s lovely Muczynski (b. 1929) who, though born in Chicago, studied com - “Canzone” that always inspires with its brevity and simultaneous position with the great Alexander Tcherepnin at DePaul lushness. The liner notes tell us how Samuel Barber and Manfred University in the 1950s, where he received both his bachelor’s and Ibel, for whom the original Elegy for Flute and Piano (1959) was master’s degrees in piano performance. This combination clearly written, enjoyed playing Bach sonatas together. informs his Sonata for Flute and Piano (1961), as it demands as Otar Taktakishvili’s Sonata for Flute and Piano (1966) much virtuosity from the pianist as it does from the flutist. No “includes all the necessary Soviet realist musical materials, folk mean feat. Both Luce and Woods shine; that final fourth move - ment, Allegro con moto, has more moto than one would have songs, dances, and marches.” Luce‘s liner notes (I’m resisting the thought possible. The sweetness of the flute’s upper register in the temptation to quote them in their entirety here) provide one of sparse lyrical interludes enchants, and the cadenza that leads to the best descriptions of what has been called the “Socialist the exciting climax of the final few notes is clarity defined. Realism Seal of Approval.” Call it what you will, this has been one The second feature on this CD is the Sonata (1960) by of my favorite 20th-century sonatas for as long as I’ve known it: Edison Denisov (1929–1996), a little-heard, three-movement It is clever, upbeat, contemporary in its rhythmic challenges, and work totaling little more than nine minutes, showcasing why just fun to play, teach, and perform. Luce gives one smashingly Denisov is considered “the father of the Soviet avant garde.” great performance here. The final ascending scales of the fourth “He intentionally wrote distinctly individual voices [a Soviet movement, Allegro Scherzando, rocket the listener into the outer dicta no-no] in his mature compositions…. The use of note space orbits pic tured on the cover! Spectacular! spelling motives (e.g. E-D-E-flat or E-D-Es for Edison —Cynthia Stevens

nfaonline.org Fall 2009 The Flutist Quarterly 65 CDs Historic Recordings Honegger Concerto da Camera with English Horn, and the Series, Volume 4: Hanson Serenade, all with the Cleveland Sinfonietta conduct - Maurice Sharp ed by Louis Lane. Waller searched through the archives of the Cleveland Institute of Music, where Sharp taught, and © 2007 National Flute chose, rather than standard repertoire, a 1950s performance Association of a 1940 Sonata by Beryl Rubenstein, a 1969 performance of a Sonatina with accordion by Waldemar Bloch, and a cap - aurice “Mo” Sharp tivating 1977 performance of the Caprice on Danish Airs by was one of the many M Saint-Saëns with colleagues from the orchestra. The per - students of William Kincaid formances show, as expected from such a professional, at the Curtis Institute of Music to assume principal flute chairs in American orchestras in excellent control, breathing, intonation, and phrasing, and the mid-20th century. His tenure with the Cleveland Orchestra immaculate technique. This was a time before the modern was from 1931, when he was 22, until his retirement in 1982. French style had a firm hold on American performers. The Half of it was under the baton of George Szell, at a time when vibrato, when noticeable, is quicker than is fashionable Cleveland’s many recordings were legendary. This was an era today, and anyone expecting the tonal variety cultivated now when a flutist’s goal was to obtain an orchestral position, and the will be disappointed. playing of recitals and the recording of solo repertoire were not The highlights for me really are the eight clips of important as prevalent as they are today. It is our good fortune, then, that flute solos taken from the Cleveland Orchestra recordings. the NFA encouraged Susan Waller, a former student of Sharp, to Here is a master in his element, and students could do no bet - produce this addition to its Historic Recordings Series. ter than to play these passages over and over and strive to The bulk of the CD consists of the reissue of a 1960 LP con - emulate the precision, style, and breath control. taining the Griffes “Poem,” The Foote “Night Piece,” the —John Wion

Scree: Contemporary by Marcel Moyse, providing a wonderful contrast to the power Works for Flute and of the Zyman. The playing here is understated and simple, Piano by Amirov, allowing for a cantabile tone. Fikret Amirov was an Debussy, Martin, Azerbaijani composer. His Six Pieces for flute and piano is a set of short, expressive pieces strongly influenced by folk Mower and Zyman music. These enjoyable pieces are given an excellent per - Elena Yárritu, flute, formance here. Frank Martin’s Ballade , among the best Gabriel Sanchez, loved 20th-century flute pieces, was commissioned in 1939 piano for the First International Flute Competition in Geneva. © 2008 MSR Classics Full of intensity and building tensions, this powerful piece has a wide dynamic range. his CD has a wonderful program of 20th century flute The strongest performance on the CD is that of Mike Tworks (although I wonder about describing Debussy as Mower’s Sonata No 3. This work, in Mower’s inimitable jazz “contemporary”). Samuel Zyman’s exhilarating Sonata, com - style, is infused with Latin rhythms and contemporary tech - posed in 1996, is full of energetic rhythms played with vigor by niques. Yárritu gave the U.S. premiere of this work in 2003, Elena Yárritu and Gabriel Sanchez. The slow movement is and there is a sense of ownership in her playing, which results beautifully phrased and the last movement full of drama and in a wonderfully decisive and enjoyable performance. intensity. Debussy’s Clair de Lune follows, in an arrangement —Carla Rees

Heavy Flute delight to listen to. The music has a laid-back groove, and the Robb Hunt improvisations flow naturally. I particularly enjoyed “Mah © 2009 RMHA Jong,” a Wayne Shorter song heard here in a beautifully simple trio that has space within the textures for the music to breathe. his enjoyable jazz CD “Soul Eyes ” is slow and expressive. Johnny Carisi’s “Israel ” is a Tfeatures a trio of flute, well-known standard originally written for Miles Davis. The bass, and drums, plus a final track is “Old Folks,” a gentle-tempo 1950s ballad origi - piano on some of the nally recorded by Charlie Parker. The CD as a whole has a tracks. The short CD lasts delightful, old-style feel to it, with a welcome hint of nostalgia. only half an hour, but its Well worth a listen. four tracks are unedited, live studio recordings, varied and a —Carla Rees

66 The Flutist Quarterly Fall 2009 nfaonline.org CDs Consolations: Third Sonata, played with sensitivity and shape. Widor’s Suite Romantic Music for follows, played in an uncomplicated manner. The Scherzo seemed performed with a sense of deliberate fragmentation, Flute and Piano bringing out accents and giving a sense of short phrases. The Linda Marianiello, Romance has much warmth and beautifully poised phrasing, flute, Robert while the Finale is dramatic and energetic. Marianiello has tran - Morrison, piano scribed three Liszt Consolations , very well suited to the sound of © 2008 MSR Classics these instruments (especially the piano, which comes as no sur - prise considering the heritage of this particular instrument) and ound is t he first thing to it is wonderful to hear the music in this context. There is playing Sgrab the listener’s atten - of great beauty here from both performers, and althought Liszt tion on this CD. The instrumental tone qualities, both from is not one of my favorite composers, this playing inspired me the flute and the piano, differ from what we have become and made me see the music in a new way. accustomed to hearing. The piano is perhaps a little darker Franck’s A Major Sonata ends the CD with a sedate but well than usual, but deeply resonant and sonorous. The flute tone shaped opening movement and a fiery and rhythmically is rich and powerful, but also well shaped and malleable, and played Allegro . The third movement is performed with a won - the two instruments blend particularly well. Upon closer derful range of expression, building intensity and strength inspection, the reason becomes clear: Marianiello is playing a toward the exquisitely played reprise of the melody at the end. 1930 Powell flute, while her duo partner is playing an 1873 The magnificent Finale is played with a passionate, stirring Steingraeber piano, Liszt’s favorite piano in Bayreuth. interpretation, bringing this wonderful CD to a close. This recording of romantic flute music begins with Gaubert’s —Carla Rees

Boismortier formance practice, and the result is a very polished , professional Concertos for performance on an instrument that is quite different from the Five Flutes modern Böhm flute. One can be easily transported to a drawing room in 1730s Paris while listening to this recording. Stephen Schultz Having the same person on the same instrument play all five © 2008 Dorian parts brings up interesting observations. The timbre will be quite homogeneous; there will also be complete agreement as his recording of the to the style and interpretation. This is a double-edged sword. Boismortier six concer - T Having this sameness tends to stifle the excitement of the tos Op. 15 is most distinctive: Stephen Schultz plays all five music just a bit. Also, the constraints of having to line up all of the parts himself. It seems a dichotomy to have an original the tracks of five takes seem to create a little stiffness in the instrument performance of works from the early 1700s per - performance. That said, in this day and age , where can we find formed in a way that was impossible prior to the 20th century. five traverso players of Schultz’s caliber to do such a recording? It is nice to hear the sound of the traverso played in such a Schultz is to be congratulated on very successfully completing way that the uniqueness of the timbre shines through. Schultz this monumental undertaking. has mastered what he has obviously studied of Baroque per - —Keith Pettway

Robert Raines: The a poignant and moving fantasy for nine flutes, written in mem - Return of Odysseus ory of Sarah Jewler, the former managing editor of Rolling Stone and the composer’s friend and colleague . This is a con - © 2008 MSR Classics vincing performance of a well-written piece, which has his extremely enjoyable already had numerous performances and deserves many TCD features well-writ - more. Ménage, a trio for flute, bass clarinet, and piano, follows. ten, energetic compositions The theme here is three: three players, three instruments, three by Robert Raines performed movements, each about three minutes in length. The move - by the Florida State Univer- ments are planned as fast-slow-fast, with exciting outer move - sity Flute Ensemble; the ments framing a more contemplative central movement. Moravian Philharmonic Another excellent performance here shows off the piece in the Orchestra; and a trio consisting of Deanna Bertsche, flute, best possible way. The final work on the CD is a 30-minute Erin Douglas, bass clarinet, Jose Belvia, piano. A New Yorker ballet score, The Return of Odysseus , composed in 2007 and now living in Florida, Raines has worked as a visual artist, recorded here by the Moravian Philharmonic Orchestra. This composer, guitarist, record producer, and writer for Time and fantastic work held my attention for the full duration, with its Rolling Stone magazines, and the influen ces in his music reflect rich orchestration and rhythmic strength. Highly recommended. his life experience. The CD begins with “Echoes for Sarah ,” —Carla Rees

nfaonline.org Fall 2009 The Flutist Quarterly 67 Save the Date: Upcoming NFA Conventions

Anaheim, California August 12-15, 2010 (Anaheim Marriott Hotel)

Charlotte, North Carolina August 11-14, 2011 (Charlotte Convention Center)

Las Vegas, Nevada August 9-12, 2012 (Caesar’s Palace)

New Orleans, Louisiana August 8-11, 2013 (Marriott Hotel at French Quarter)

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

NFA OFFICE Program Book Editor Historical Flutes DMA/PhD Dissertation OTHER APPOINTMENTS Chief Executive Officer Anne Welsbacher Linda Pereksta (2007) Michelle Cheramy (2007) Development Consultant 72 13 E. Chelsea St. School of Music Phyllis T. Pemberton 801 Frontage Rd., #912 Christa Flueck Wichita, KS 67206 Oxford, MS 38655 Memorial University 26951 Ruether Ave., Ste. H [email protected] Santa Clarita, CA 91351 316-440-2800 662-513-0508 of Newfoundland 661-713-6013 fax: 316 -440-2801 [email protected] St. John’s, Newfoundland Director of Public Relations fax: 661-299-6681 [email protected] Canada Ann Rosenblum (2008) [email protected] Jazz A1C 5S7 Program Book Advertising Ali Ryerson (2004) [email protected] 12 Princeton St. Convention Director Sales Representative 12 Longview Dr. Summit, NJ 07901 Madeline Neumann Steve DiLauro Brookfield, CT 06804 High School Soloist 908-608-1325 26951 Ruether Ave., Ste. H LaRich & Associates, Inc. 203-740-2044 Cristina Ballatori (2009) fax: 908-608-1326 Santa Clarita, CA 91351 15300 Pearl Road, Suite 112 [email protected] University of Texas at Brownsville [email protected] 661-299-6680 Strongsville, OH 44136 -5036 aliryerson.com Fine Arts Dept./Music fax: 661-299-6681 440-238-5577 80 Fort Brown Flute Choirs Coordinator fax: 440 -572-2976 Brownsville, TX 78520 [email protected] Low Flutes Kelly Via (2007) [email protected] 585-880-4381 Christine Potter (2009) 965 Daisy Ct. Membership Director [email protected] 2985 18th Street Lawrenceville, GA 30044 Maria Stibelman Program Book Bio Editor Boulder, CO 80304 26951 Ruether Ave., Ste. H Lisa Van Dusen (2007) Jazz Flute Masterclass 770-935-1379 303-443-3330 Santa Clarita, CA 91351 26629 N 45th Pl Holly Hofmann (2005) [email protected] [email protected] 661-713-2072 Cave Creek, AZ 85331 1125 Via Las Cumbres fax: 661-299-6681 480-473-4877 San Diego, CA 92111 Flute Clubs Coordinator [email protected] [email protected] New Music Advisory 858-292-1814 Dolores August (2009) Molly Alicia Barth (2007) [email protected] 1809 Sevilla Road Publications Director Gala Fundraising Dinner Chair University of Oregon Fort Worth, TX 76116 Angeleita Floyd (2008) Anne Welsbacher New Music: Beta Collide Jazz Flute Big Band 682-553-0979 3743 Beaver Ridge Cir. 1225 University of Oregon Ali Ryerson (2009) 7213 E. Chelsea St. [email protected] Wichita, KS 67206 Cedar Falls, IA 50613 Eugene, OR 97403-1225 12 Longview Dr. 316-440-2800 ph/fax: 319-268-1001 w: 541-346-3790 Brookfield, CT 06804 Flute Research fax: 316-440-2801 cell: 319-290-2852 [email protected] 203-740-2044 Committee Chair [email protected] [email protected] [email protected] Nominating aliryerson.com Michelle Cheramy (2007) NFA Online Administrator COMMITTEE CHAIRS Jonathan Keeble (2009) School of Music Brian Covington Advisory Committee University of Ilinois Masterclass Performers Memorial University [email protected] Patti Adams (2008) 1114 W. Nevada St. Jill Heyboer (2007) of Newfoundland 2840 Coliseum St. Urbana, IL 61801 Music Department St. John’s, Newfoundland CONVENTION New Orleans, LA 70115 217-333-8142 Missouri State University Canada A1C 5S7 901 S. National Ave. Program Chair 504-895-5908 [email protected] 709-737-7477 Springfield, MO 65897 Cynthia Ellis [email protected] [email protected] 417-836-4875 California State University Fullerton Pedagogy Amateur Resources [email protected] Department of Music, PO Box 6850 Stacey Graham Steele (2009) Grants Committee Lisa Fahlstrom (2007) Fullerton, CA 92834-6850 110 Poplar Forest Dr. 1216 Travis View Ct. National High School Flute Choir Danielle Hundley (2008) 661-313-8274 Slippery Rock, PA 16057 Gaithersburg, MD 20879 Ronda Ford (2009) 1124 Collier Rd. [email protected] 724-794-2127 301-948-5333 9226 Constance Moscow, OH 45153 [email protected] fax: 301 -279-1323 Lenexa, KS 66215 513-876-0885 Assistant Program Chair [email protected] 913-888-9546 fax: 513 -362-6709 Christina Cobas Performance Health Care [email protected] [email protected] California State University, Fullerton Archives and Oral History Stephen A. Mitchell (2008) Department of Music, PO Box 6850 Nancy Toff (2007) 4820 Redcastle Ridge Newly Published Music International Liaison Fullerton, CA 92834-6850 Nashville, TN 37211 425 East 79th St., #6F Jennifer Robin Lau (2007) Aldo Baerten (2009) [email protected] 615-386-9089 Center of the Arts New York, NY 10075 Mezenlaan, 11 212-772-1343 fax: 615 -832-7888 MSC04 2570 Sint Genesius Rode Convention Director [email protected] [email protected] 1 University of New Mexico Madeline Neumann Albuquerque, NM 87131 Belgium B-1640 26951 Ruether Ave., Suite H Career Development and Piccolo 505-401-2398 Ph/fax: 003223811575 Santa Clarita, CA 91351 Business of Music Carl Hall (2009) [email protected] [email protected] 661-299-6680 Laura Barron (2009) 1352 Metropolitan Ave SE fax: 661 -299-6681 196 W. 18th Ave. Atlanta, GA 30316-1670 Orchestral Audition and Masterclass Legal Advisor [email protected] Vancouver, BC 404-377-6112 Jennifer Parker-Harley (2008) to the Board Canada V5Y 2A5 [email protected] University of South Carolina Linda Mintener Local Arrangements Chair 604-875-8865 School of Music 3976 Plymouth Cir. Julie Long [email protected] Special Publications 813 Assembly St. Madison, WI 53705 4743 Pimenta Ave. Patricia Harper (2008) Columbia, SC 29208 608 -231-1680 Lakewood, CA 90712 Commercial Members 38 Oak Dr. 803-777-4853 fax: 608-266 -3049 310-945-6712 Jonathan Keeble Centerbrook, CT 06409 [email protected] [email protected] University of Illinois [email protected] 860-767-0629 1114 West Nevada St. Piccolo Artist [email protected] Masterclass Reporter, Convention Equipment Chair Urbana, IL 61801 Hillary Feibel (2009) Flutist Quarterly Kimberlee Goodman 217-333-8142 6435 West Jefferson Blvd. #138 4783 Cherry Park Dr. [email protected] COMPETITION COORDINATORS Fort Wayne, IN 46804 Lee Chivers (2008) Columbus, OH 43230 General Coordinator 260-450-6674 1933 E. Renee Dr. Cultural Outreach 614–805–5261 Diane Boyd Schultz (2009) [email protected] Phoenix, AZ 85024 [email protected] Horace Alexander Young (2007) University of Alabama 623-580-5244 5615 Morningside, Suite #309 School of Music, Box 870366 Professional Flute Choir [email protected] Houston, TX 77005 Exhibits Management Tuscaloosa, AL 35487-0366 Pamela Youngblood (2009) 281-660-0025 Jim Magee 205–348–4532 Texas Woman’s University NFA Library Liaison N’Awlins Trade Show and [email protected] [email protected] PO Box 425768 Sandy Schwoebel (2008) Convention Services, Inc. Development Denton, TX 76204 2102 E. Florence Dr . 612 Highland Ct. Baroque Flute Artist 940-898-2495 Mandeville, LA 70448 Katherine Borst Jones (2007) Tucson, AZ 85719 4635 Rutherford Rd. Nancy Schneeloch-Bingham (2007) [email protected] 520-321-4821 985-626-3046 Hayes School of Music fax: 985 -727-3940 Powell, OH 43065 [email protected] Appalachian State University Young Artist [email protected] 740-881-5008 Boone, NC 28608 Donna Shin (2008) fax: 740-881-5252 Myrna Brown 828-262-6447 University of Washington Exhibits Assistant [email protected] International Liaison and [email protected] School of Music Patti McCleney Endowment Box 353450 Scholarship Coordinator N’Awlins Trade Show Angeleita Floyd (2007) Zart Dombourian-Eby (2007) Collegiate Flute Choir Seattle, WA 98195 -3450 and Convention Services, Inc. 3743 Beaver Ridge Cir . 2515 10th Ave. W. Dorli McWayne (2008) 206-543-9877 P.O. Box 8538 Seattle, WA 98119 [email protected] Cedar Falls, IA 50613 Mandeville, LA 70470 -8538 780 Merlin Ln. 206-285-0206 Fairbanks, AK 99709 ph/fax: 319-268-1001 ph/fax: 985 -893-9521 [email protected] 319-290-2852 cell [email protected] 907-479-6701 ARCHIVES AND LIBRARIES [email protected] Forum/Web Site [email protected] NFA Librarian Showcase and Exhibitors’ Brian Luce (2008) Bob Diaz Concert Coordinator P.O. Box 210004 Convention Performers NFA Music Library Myrna Brown Society Rebecca Johnson (2008) University of Arizona Sally Humphreys (2008) c/o University of Arizona Libraries Eva Amsler (2007) 1010 North Busey Ave. Tucson, AZ 85721 -0004 380 E St. 1510 E. University 1650 Snowball Wy . Urbana, IL 61801 520-621-7015 Salt Lake City, UT 84103 Tucson, AZ 85721 -0055 Tallahassee, FL 32301 812-786-4526 fax: 520 -621-8118 801-355-8859 520-621-7010 850-877-2096 [email protected] [email protected] [email protected] [email protected] [email protected] n v s b n b u t v R V B M J U Z T Q F B L T G P S J U T F M G

N V S B N B U T V B N F S J D B T B M F T B O E T F S W J D F

UFM; )359* 651.7535 } GBY; )359* 756.6557 GMVUFANVSBNBUTV.BNFSJDB/DPN XXX/NVSBNBUTV.BNFSJDB/DPN SUBSCRIPTIONS Editorial deadlines for The Flutist Quarterly apply to departments providing Receipt of The Flutist Quarterly is a benefit of membership in the National Flute news of interest about flutist activities and products. Unsolicited feature articles, Association, Inc. Subscriptions are available to libraries and institutions at a charge items for review, and news about member achievements may be sent at any time of $35 per year. Personal subscriptions are not available. The Music Library Catalog for consideration; submissions to Across the Miles and Notes from Around the (6th ed.) is also available to libraries and institutions at $15 per copy. World departments should be sent to their editors at least one week prior to dead - line dates to be considered for inclusion. Queries via e-mail or phone about feature ADDRESS CORRECTIONS article topics prior to submission are welcome at any time. Send editorial materials Bulk rate mail is not forwarded. Send address corrections to: Maria Stibelman, for the fall issue by June 1; the winter issue by September 1; the spring issue by Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351; December 1; and the summer issue by March 1. 661-250-8920; 661-299-6681 (fax); nfamembership@aol. com. 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 and Notes from Around the mail. Missed issues due to bad addresses are available at the rate of $10 per copy World—see those departments for contact information) to: through the membership services manager. Anne Welsbacher 7213 E. Chelsea St. BACK ISSUES Wichita, KS 67206 Members and nonmembers may purchase back issues of The Flutist Quarterly 316-440-2800 at the rate of $10 each through the membership services manager at the fax: 316-440-2801 address listed above. [email protected] EDITORIAL GUIDELINES No submissions will be returned unless accompanied by a stamped, Please submit manuscripts electronically as Word files attached to an e-mail message that clearly states what you are submitting. (Unidentified attachments self-addressed envelope. might be deleted as a virus security precaution.) If you are unable to submit via e-mail, please send submissions as Word files on a CD. Please include a single- ADVERTISING GUIDELINES spaced, printed copy of your submission. Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, Submissions should also be accompanied by a signed letter stating that the or contact Steve diLauro. The following dates are deadlines for The Flutist material contained in your submission (1) is entirely original; (2) has not been Quarterly : fall issue, August 1; winter issue, November 1; spring issue, February previously published; and (3) is not currently under consideration for publication 1; summer issue, May 1. elsewhere. (Electronic submissions need not be signed but should include these three statements.) Manuscripts under copyright need to include permission to Please send advertising submissions and queries to: duplicate 10 copies for review purposes only. Steve diLauro, NFA Advertising Sales Representative You will be notified that your manuscript has been received by the editor. LaRich & Associates, Inc. Authors of manuscripts accepted for publication will be sent a permission-to- 153000 Pearl Rd., Ste. 112 print form. Accepted manuscripts will, when appropriate, go through a review Strongsville, OH 44136-5036 process. Authors might be asked to revise manuscripts during this procedure. The 440-238-5577 editor reserves the right to edit all articles for style, content, or space requirements. fax: 440-572-2976 The Flutist Quarterly budget does not include honorariums for authors. [email protected]

Index of ADVERTISERS Abell Flutes ...... 68 Pearl Corporation ...... 10 University of Colorado at Boulder ...... 45

Banff ...... 55 Polak, Simon ...... 58 Wacha, Sandra Moore ...... 60

BG Frank Bichon ...... 9 Potter, Christine ...... 46 Wehr’s Music House ...... 63 Progress Press (3) ...... 23, 45, 58 William S. Haynes Flute Co...... 13 Bradley Leighton ...... 6 San Diego Flute Guild ...... 6 Williams Flutes ...... 76 Brannen Brothers Flutemakers, Inc...... 2 Sheridan Flute Company ...... 23 Winzer Press ...... 61 Burkart Flutes and Piccolos (2) ...... 8, 69 Syrinx Flute Repair ...... 29 Yamaha Corporation of America ...... 75 Cantilena Records ...... 16 Tai Hei Shakuhachi Flutes ...... 53 Your Flute Works ...... 68 Cardinal Classics ...... 46

Chopsaver ...... 4 “In music, inspiration is a key to success. CIM students are inspired Clarion Insurance ...... 51 to excel in a highly competitive field through their close ties with prom- inent members of The Cleveland Orchestra. Our curriculum stresses Classical Collection, Inc ...... 56 performance and embraces the full range of chamber, orchestral and Cleveland Institute of Music ...... 74 solo repertoire.” Joshua Smith, Principal Flute, The Cleveland Orchestra The flute faculty at CIM includes Joshua Smith, head of the department and Crystal Records ...... 36 Mary Kay Fink, both members of The Cleveland Orchestra. Drelinger Headjoint Co. (2) ...... 56, 68

Emanuel Flutes Boston ...... 37

Fluit ...... 63

Flute Specialists, Inc...... 53

Flute World ...... 37

Graf, Erich ...... 60

Jeanne Baxtresser ...... 14

Karen M. Smith/Sunday Morning Music ...... 6

Keefe Piccolos ...... 56

Kemler, Katherine (2) ...... 23, 56

Kingma Flutes ...... 46

Landell Flutes ...... 53

Little Piper/Dean Yang Flutes ...... 72

Lopatin Flute Company ...... 46

Lynn University Conservatory of Music ...... 44

Lyric Flutes/Hammig Piccolos (see also Miyazawa) ...... 73

Magnolia Music Press ...... 63 Bachelor of Music, Master of Music, Doctor Mancke-Flutes ...... 60 of Musical Arts, Artist Certificate, Artist Diploma and Professional Studies Miles Zentner ...... 46 William Fay, Director of Admission Miyazawa Flutes, Ltd (2) ...... 17, 73 11021 East Blvd., Cleveland, OH 44106 Muramatsu America ...... 71 216.795.3107 National Flute Association (3) ...... 37, 56, 60 cim.edu Ogura Flute Works ...... 58 QUALITY . SUPPORT . PROFESSIONALISM ieenyears.” nineteen past the for exclusively Yamaha the playing been in have I instruments, belief my to testimony further a As professionals. fellow and students to of flutes Yamaha line FULL the recommend JmWalker, -Jim “I nentoa lt Soloist Flute International D J oebigal ohonestly to able being love IM Y PNSON EPENDS AMAHA . W VALUE ALKER 994DH YFL .

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