Scales: an Incomplete Look at What Every Flutist Should Know

VOLUMEXXXVII , NO . 3 S PRING 2 0 1 2

THE lut i st QUARTERLY Scales: An Incomplete Look at What Every Flutist Should Know

Developing an Online Presence Michel Debost: Teaching Artistry Remembering Jack Wellbaum

THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC

Table of

CONTENTSTHE FLUTIST QUARTERLY VOLUME XXXVII, NO. 3 SPRING 2012 DEPARTMENTS 5 From the Chair 64 From Your Convention Director 11 From the Editor 70 NFA News 14 High Notes 71 Notes from Around the World 30 Where Are They Now? 73 Passing Tones; (see also pages 60, 79, and 82) Remembering Jack Wellbaum 44 Masterclass Listings 78 Honor Roll of Donors to the NFA 49 Across the Miles 80 New Products 56 The Inner Flute 84 Reviews 59 From the Local Arrangements Chair 96 NFA Office, Coordinators, Committee Chairs 61 Rubies! Celebrating 40 Years of Artistry and Vision 100 Index of Advertisers 20 FEATURES 20 Scales: An Incomplete Look at What Every Flutist Should Know by Eldred Spell What’s in a scale? More to the point, what’s in “the Cooper scale”? This short primer on scale—and why every flutist needs to understand its importance—includes a heartfelt appeal for the open information-sharing that defined the character of the late Albert Cooper. 26 Michel Debost: Teaching Artistry by Martha Councell-Vargas Michel Debost, who retired from his position with the Orchestre de Paris and joined the faculty of Oberlin Conservatory in 1989, retired from that position in 2011. He speaks here with a former student about his long career, teaching, and the beauty of scales. 32 Developing an Online Presence to Enhance a Flute Career by Leonard Garrison Five flutists share insights and information about how they use online media to develop their careers, promote their work—and help the flute community as a whole. 38 When We Were Very Young: A Conversation with Emma Resmini and Zachary Kellogg 26 by Rebecca Johnson A “serious little girl” and a budding tap dancer started their performance careers while still in their single digits. By their preteen years they were performing on the national scene. At the 2011 convention in Charlotte, they talked about their music, their goals, and their pastimes. 66 The Elusive Goal of Simplicity: Bonita Boyd by Jonathan Keeble This 2012 Lifetime Achievement Award recipient enjoyed a phenomenally fast rise in her career, turning down major offers before she was 20. Tempering it has been a long-simmering growth as an artist and teacher.

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nfaonline.org Spring 2012 The Flutist Quarterly 3

From the CHAIR

Las Vegas, Caesars Palace, Donnie Osmond . . . Flutes?

uring a dead-of-winter visit to about how different this space seems the sunshine-drenched venue of from our usual convention site. Dthe NFA’s 40th-anniversary con- Two days of meetings later, these vention in Las Vegas, I picked up a num- thoughts had been obliterated by the ber of interesting tidbits of information. splendor of Caesars. Never has the NFA Among them, I learned that an average hosted a convention in a hotel as grand, four-day conference (that is to say, a exciting, and stuffed with so many gathering of Other People whose food amenities. The sheer entertainment and beverage consumption habits are value offered—by Caesars Palace, in the Jonathan Keeble not shared by most NFA members at a city surrounding the hotel, and in the flute convention) results in such an beautiful geography a short drive extraordinarily high tab that I find away—makes this summer’s event a myself too embarrassed to even share the marvelous opportunity for our mem- specific number. I also learned the (cor- bers and their families to enjoy a relative) fact that while our peers at other thrilling vacation. conventions routinely lay waste to their When planning your flute vacation in host cities’ food reserves, our NFA mem- Las Vegas, I urge you to book your room bers fail to live up to these indulgence reservations at Caesars Palace, our host levels at our own conventions. hotel. You’ll get the best access possible It was this thought that persistently to all our convention activities; it’s like- tickled my mind as I wove my way ly you’ll unexpectedly run into old through Caesars Palace, where we soon friends in the elevators (or over a slot will regale the city with our music and machine); and finally—as our conven- our collective tendency to pursue it tion director explains in more detail from early morning until well into the wee hours. But even with our flutes in elsewhere in this issue—you’ll be sup- hand, can we possibly live up to the porting the concert space rental for all place that will house us for four packed, the NFA’s activities and helping to keep noisy days? our future convention fees low. Hallways flanked by fantastic restau- Despite my eased worries at the close rants, stunning faux-Romanic sculp- of my visit, I must confess to one, last, tures hanging from the walls, slot unresolved concern. So enticing are the machines carefully placed to entice even myriad distractions Caesars Palace the most hardened non-gambler: offers hotel patrons that I remain a little Caesars Palace is truly an amazing, worried that all our members will get exhilarating space. But as I walked, I sidetracked on their way to flute events. couldn’t help but consider the striking Based on past experiences, it’s unlikely incongruity of placing a flute conven- we’ll be eating and drinking much, but tion in the heart of an area renowned the prospect of seeing Donnie Osmond for its wild extravagance. Our members at the slot machines? certainly know how to enjoy a good That’s enough to stop me in my tracks. time, but persistent worries dogged me —Jonathan Keeble

nfaonline.org Spring 2012 The Flutist Quarterly 5 Color a do C a se COMPANY

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Join us for a concert celebrating the retirement of former Chicago Symphony Orchestra piccoloist Walfrid Kujala after 50 years as Professor of Flute at Northwestern University

Guest artists: Mindy Kaufman (New York Philharmonic) Erinn Frechette (Charlotte Symphony) Lindsey Goodman (Pittsburgh New Music Ensemble) Robert Cronin (Atlanta Symphony) Zart Dombourian-Eby (Seattle Symphony) Jonathan Keeble (Professor of Flute, University of Illinois)

a World Premiere performance commissioned in honor of Wally’s retirement: Monday, June 4, 2012 7:30 PM TAKING CHARGE, Pick Staiger Concert Hall trio for ute/piccolo, piano and percussion Bienen School of Music by Northwestern University Evanston, Illinois Joseph Schwantner OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] markthomasflutist.com

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

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

Secretary Joanna Cowan White 400 Crescent Dr. Mt. Pleasant, MI 48858 989-772-6175 [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 Lisa Garner Santa 3211 22nd St. Lubbock, TX 79410 806-780-3649 [email protected]

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

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

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

Alison Brown Sincoff (2011–2013) 155 Columbia Ave. 10167 Royalton Road Athens, Ohio 45701 740-593-1622 North Royalton, OH 44133 [email protected] (440) 237-9400 | (877) RMC-1964 Terri Sundberg (2011–2014) UNT College of Music www.professionalsuitebyrmc.com 1155 Union Circle #311367 Denton, TX 76203-5017 www.royaltonmusic.com 940-565-3756 [email protected]

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

THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Dolores August, Christine Beard, Lee Chivers, Amy Hamilton, Contributing Editors Victoria Stehl, Art Director Marsha Jacobson, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln L M 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 Happy Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington 40th Birthday Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah National Flute Ellen Huntington Flutist, Lyrebird Ensemble Flute Instructor, Loyola University Chicago Mount Prospect, Illinois Amy Likar Association Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa from Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Johann Sebastian Bach Nina Perlove Executive Director, American Classical Music Hall of Fame “Internet Flutist” realfluteproject.com Theobald Boehm Adjunct Instructor of Flute, Northern Kentucky University Jerrold Pritchard Professor of Music Emeritus Sandy Drelinger California State University–San Bernardino San Bernardino, California Rebecca Quigley Flutist, Webmaster, The New York Flute Club Westchester, New York Eldred Spell Professor of Flute Hear their Western Carolina University Cullowhee, North Carolina Michael Stoune 40th Birthday Associate Director of Graduate Studies, School of Music Texas Tech University Lubbock, Texas Musical Salute Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington www.drelinger.com Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon and Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Ruth Ann McClain Flutist and Studio Teacher Memphis, Tennessee John Wion Professor of Flute The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff M Phyllis T. Pemberton, Chief Executive Officer L 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

Innovation On and Off the Page

nvention and innovation stir up this exclusively on the NFA’s website. Along Iissue of The Flutist Quarterly with our with the printed and online versions of cover article (a primer, really, for those the member magazine, members will Anne Welsbacher of us un-brilliant at musical math) find additional articles (of the same explaining in simplified terms the con- editorial caliber) solely on the website. cepts behind the elusive Scale that flute Articles, to be posted intermittently, Kujala’s spirited youth is met inside players and technicians have struggled will remain online indefinitely as part these pages with the chronological with for more than a century. “Scales: of the Flutist Quarterly editorial youth of Emma Resmini and Zachary An Incomplete Look at What Every archives. We’ll feature especially those Kellogg, who are revealed to be wise but Flutist Should Know” describes a bit of pieces that best lend themselves to the not too jaded at ages 11 and 14, respec- the theory behind the numbers, but it interactive nature of the Internet, tively, in an article written by Rebecca also makes a heartfelt plea to flutemak- with live links and other electronic Johnson following her interview with ers everywhere to work together on the features that can’t be utilized on the them at the NFA convention in 2011. task that Theodore Böhm took up and printed page. This issue is especially rich with that others have continued with devo- It seemed wholly appropriate to people. Michel Debost, also freshly tion and persistence. introduce FQ Plus with an article about retired (from the Orchestre de Paris), The article’s byline belongs to a computer technology and why flutists speaks of his life and career with his American Eldred Spell, one of a cadre of ought to embrace it. A “new” computer- signature peppery charm in an inter- fellows who “agree to disagree” on any assisted flute was invented in the early view with his former student, Martha number of controversial ideas, but its 1970s, and the forward-thinking author Councell-Vargas. Our coverage of the ideas and information are from several of “I Have a Flute Dream” wonders why people honored this year with NFA of the group’s key players from across it never caught on. awards continues with a profile (by her the pond: William Bennett, Trevor Wye, That author is Walfrid Kujala, who former student, Jonathan Keeble), of Elmer Cole, and, throughout, the gentle retires this year after an active teaching Lifetime Achievement Award recipient spirit of the late Albert Cooper. I hope and performing career spanning 50 Bonita Boyd. that in addition to reading it, flutists years. Later this year, a profile of Kujala An article by Leonard Garrison com- and flutemakers will refer to the web- in The Flutist Quarterly will celebrate bines people and innovation: a look at sites cited in the piece. They contain this occasion (the Chicago celebration how five creative flutists are using tons of information including The takes place in June). But clearly, this online media in their careers, teaching, Scale itself (in its most recent but young-in-spirit flutist won’t be resting and performance. always-evolving iterations), available on his laurels—he has plenty of plans We also continue our celebratory for anyone willing to seek it out. now that he has the time to carry them 40th-anniversary “Where Are They Innovation leaps beyond the page in out. Perhaps a future NFA convention Now?” sightings offering glimpses at this 40th-anniversary year as well with will feature Kujala performing on his past NFA competition winners. the spring debut of FQ Plus, a new fea- new computer-assisted flute as outlined Lots more awaits, so I’ll leave you to it. ture for NFA members to be found in his article. —Anne Welsbacher nfaonline.org Spring 2012 The Flutist Quarterly 11

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

Robert Willoughby, Spencer continued her studies with Marcel Moyse, John Wummer, and Josef Marx. She teaches flute and chamber music at Bard College and Hofstra University. The Da Capo Chamber Players is the resident ensemble with the Composition Program of the Bard College Conservatory of Music. Spencer has performed premieres of Carter’s Enchanted Preludes, Stockhausen’s Kathinkas Gesang (U.S. premiere), Harvey Sollberger’s Riding the Wind, and Shulamit Ran’s concerto, Voices. She also performed the Boulez Sonatine for the Bard Music Festival, Joan Tower’s Flute Concerto for the NFA Convention in Nashville, and, as a guest with the Avalon String

Patricia Spencer Elliott Carter Quartet, Mario Davidovsky’s Quartetto for the Washington Square Music Society. Spencer has commissioned dozens of FA member Patricia Spencer performed the New York pieces, including Thea Musgrave’s Narcissus and Judith Npremiere of Elliott Carter’s Concerto for Flute (2008) Shatin’s Kairos. She has received awards from the National September 28, 2011, at Lincoln Center’s Alice Tully Hall. David Endowment for the Arts, the Mary Flagler Cary Charitable Hayes conducted the Mannes Orchestra. Elliott Carter (who Trust, and the Aaron Copland Fund for Music for her solo was profiled by Spencer in the cover story for the summer recordings and commissioning projects. 2008 issue of The Flutist Quarterly) has composed multiple Recent appearances by Spencer include Pierre Boulez’s major orchestral scores and chamber works in recent years. Sonatine at the Bard and Look & Listen Festivals; the flute His flute concerto received its world premiere performance by concertos of Ran and Tower and a Telemann Duo (with flutist Emmanuel Pahud with Daniel Barenboim conducting the Carol Wincenc) at various NFA conventions; George Crumb’s Jerusalem International Chamber Orchestra on September 9, Idyll for the Misbegotten with So Percussion and Mario

2008, at the YMCA in Jerusalem. Davidovsky’s Quartetto with the Avalon String Quartet in 100 Carter notes, “For many years flutists have been asking for a New York; solo performances at an International Computer flute concerto, yet I kept putting it off because I felt that the Music Conference in Beijing, China, and in Moscow at the flute could not produce the sharp attacks that I use so fre- Alternativa Festival; and commissions and first performances quently. But the idea of the beautiful qualities of the different with Da Capo Chamber Players at New York venues including registers of the instrument and the extraordinary agility Merkin Concert Hall, Miller Theatre, Cooper Union, and the attracted me more and more, so when Elena Bashkirova asked Knitting Factory. me to write something for her and the Jerusalem International Elliott Carter has twice won the Pulitzer Prize, is the first COURTESY ELLIOTT CARTER CENTENARY Chamber Music Festival, I decided it would be a flute concer- composer to receive the United States National Medal of Arts, , to. From mid-September 2007 to March 2008, ideas and notes and is one of the only composers ever awarded Germany’s for it fascinated me without relief.” Ernst Von Siemens Music Prize. In 1988, Carter made

Patricia Spencer is known for her respect for traditions, a “Commandeur dans l’Ordre des Arts et des Lettres” by the MEREDITH HEUR passion for new works, theatrical solo shows, and member- Government of France. Carter is internationally recognized as

ship in the Naumburg Award-winning ensemble Da Capo one of the leading American voices of the classical music tra- : © 2000 Chamber Players. Spencer has traveled around the world to dition. He recently received the Prince Pierre Foundation perform, and she has played the music of composers from Music Award and is one of only a handful of living composers CARTER PHOTO

across the globe. In a March 2011 Merkin Concert Hall elected to the Classical Music Hall of Fame. ; recital, she gave the U.S. premiere of Karlheinz Carter was recognized by the Pulitzer Prize Committee for the Stockhausen’s Bijou, a theatrical work for which she was first time in 1960 for his String Quartet No. 2. Igor Stravinsky PETER SCHAAF

joined by bass clarinetist Lisa Preimesberger, along with the called “masterpieces” Carter’s Double Concerto for harpsichord, : world premiere (revised version) of Shirish Korde’s Lalit, piano, and two chamber orchestras (1961) and Piano Concerto written for her and tabla player Samir Chatterjee. A gradu- (1967). Carter has composed 130 works; more than 40 of them ate of the Oberlin Conservatory, where she was a student of have been composed in the past decade. SPENCER PHOTO

14 The Flutist Quarterly Spring 2012 nfaonline.org FA Lifetime Achievement Stony Brook University. She has performed with the Atlanta, NAward recipient Leone Buyse Chicago, London, St. Louis, San Francisco, and Seattle sym- was presented the Frank A. Beach phony orchestras and with the English, Los Angeles, and St. Hall of Distinction Award as part Paul chamber orchestras. She has collaborated with the of her appearance at a gala benefit Guarneri, Emerson, and Tokyo string quartets, is flutist of concert at Emporia State the New York Woodwind Quintet, and is a founding mem- University (Kansas) September ber of the trio Les Amies. She has had works written for her 17–19, 2011. This award recog- by Lukas Foss, Henryk Gorecki, Jake Heggie, Thea nizes outstanding achievements in Musgrave, Tobias Picker, Christopher Rouse, Peter music administration, composi- Schickele, Paul Schoenfield, Michael Torke, and Joan Tower. tion, performance, service, and teaching by Emporia State FA member Daniel Dorff’s University music alumni, music new 21-minute work Per- Leone Buyse N faculty, or advocates of the ennials for flute, clarinet, and Department of Music. Buyse has appeared as soloist with piano was premiered in multiple l’Orchestre de la Suisse Romande, the Boston Symphony, the performances last fall and this Boston Pops, the San Francisco Symphony, the Utah spring and will be performed at Symphony, the Rochester Philharmonic, and the New the 2012 convention in Las Vegas. Hampshire Music Festival, of which she was principal flutist The world premier of Perennials for 10 years. A former member of the San Francisco was October 12, 2011, in Evanston Symphony and the Rochester Philharmonic Orchestra, Buyse (near Chicago), featuring Sherry subsequently served as principal flutist of the Boston Pops and Kujala, flute; Larry Combs, clar- acting principal flutist of the Boston Symphony. She has per- inet; and Nolan Pearson, piano. formed with the Boston Symphony Chamber Players through- Two days later, its East Coast pre- Daniel Dorff out Europe and Japan; with the Tokyo, Juilliard, and Muir miere was performed by NFA String Quartets; and in recital with Jessye Norman and Yo-Yo member Lois Herbine in the Philadelphia area. In December, Ma. After 22 years as an orchestral musician, Buyse turned her NFA member Cindy Ann Broz performed the piece in the San pursuits to an active solo and teaching career. She taught at the Diego area; Broz also will perform it at this August’s convention. University of Michigan before joining the faculty at Rice On February 7, NFA member and former chair Leonard University’s Shepherd School of Music, where she serves as the Garrison performed the work in Moscow, Idaho, and will per- Joseph and Ida Kirkland Mullen Professor of Flute and Chair form it for a new CD of all-Dorff music for flute and clarinet. of Woodwinds. Perennials was commissioned by NFA members Walfrid and Buyse’s students hold positions in many major orchestras, Sherry Kujala to celebrate the retirement of Helen Ann Shanley including the symphony orchestras of Cleveland, San Francisco, and Richard Shanley, the flute and clarinet professors at Baylor St. Louis, Houston, Charlotte, and Kansas City, the Minnesota University, where Sherry had studied with Helen Ann. Orchestra, the Rochester Philharmonic, the Colorado About the piece, Dorff wrote, “While beginning the trio, I Symphony, the Louisiana Philharmonic, the Florida Orchestra, was learning to garden and had decided to spend the summer the New Zealand Symphony, the Singapore Symphony, the enriching my new backyard with perennials that I could plant National Taiwan Symphony, and the Adelaide Symphony. Others once and enjoy forever. I have always felt composing is about are professors at such schools as the University of Texas at building repertoire that endures, rather than popping out Austin, the University of Colorado at Boulder, the University of annual crops. In celebrating the Shanleys teaching together at Wisconsin-Milwaukee, Western Michigan University, and Ball Baylor for many decades, the parallels between all these State University in Muncie, Indiana. ‘perennial vs. annual’ metaphors became striking.” To hear Buyse graduated with distinction from the Eastman School excerpts, visit danieldorff.com/flute.htm . of Music. Awarded a Fulbright grant, she studied in France with Michel Debost, Jean-Pierre Rampal, and Marcel Moyse. iviana Guzman was interviewed and performed on televi- She attended ESU as a graduate student during the 1970–71 Vsion for Univision’s morning show “Al Despertar,” academic year and received her Master of Music in 1980. announcing the premiere of her 3D music video and its 2011 performances in California movie theaters in Moraga August FA member and 2011 7 and Orinda September 18. The European premiere of the NNFA Lifetime Achievement video was held in Edinburgh August 17–18, along with a Award recipient Carol Wincenc recital with pianist Amy Abler. On October 2, Guzman per- received the Manhattan School formed as “Queen of the Flute” with a big band orchestra in

YU KUSANO of Music Distinguished Alumni Puerto Vallarta, Mexico, followed by a performance in : Award October 14, 2011. Cartagena, Colombia, on October 10. Guzman presented a

Wincenc with Robert Sirota, president Wincenc is a professor of flute classical recital and masterclass in Bangkok, Thailand, October

BUYSE PHOTO of the Manhattan School of Music. at the Juilliard School and 16–17 with Korean pianist Sun Hee Kim.

nfaonline.org Spring 2012 The Flutist Quarterly 15 H 16 IGH Katherine Borst Jones and the Ohio State UniversityFlute State Troupe.Ohio the and Jones Borst Katherine Ohio, February 23. On February 10, Jones presented “So, presented Jones Bluffton, 10, in February University On 23. Bluffton February at Ohio, series artist guest the N and commissioned premiered also She Thomas. Read Augusta by her for written orchestra chamber and flute forconcerto ,a Orbits recordedpremiereworldand the of performed she Opera Orchestra, Chamber New York, of Orchestra Bart’sSt.Music1998, Festival. and In Y the 92nd of Orchestra, flute Chamber English principal Orchestra, as Chamber Paul St. served Symphony, American has She others. among Orchestra, Opera Metropolitan the and Philharmonic York Newmusician,the tral pedagogue.appearedwith and has She She career leads a varied as soloist, chamber musician, orches- listen.Pleasure is the law.” rendertohear.can whatI theory. Therenois You haveonlyto “Some people wish above all to Debussy:conform Claude to composer the fromrules. inspiration I wish and only name their premiererecording of repertoireElliott includesCarter,by FrankMartin,Hurník, 2009,Ilja the and in Records Boston by produced CD, group’s 20th-centurytechniques.18th-centurywithblendscolors The combination traditional Baroque and this for composed toire ensembledevotedis explorationtheto contemporaryof reper- Telemannand November Juilliard’s10,2011,in PaulHall. The Carter,ElliottHurník,MadeleineHaydn,byDring, Iljaworks performed Beck), harpsichordist/pianist Steven and Adkins, P oim a te ho ui Euain Association Education with trio Music COSMOS The Ohio. Ohio Columbus, in the Convention at the Podium” from Section Flute the Improving Flutist? a YouAren’t faculty Music. of a Conservatory College the Bard of member is with She Center. Lincoln appeared of has Society Music and Chamber label Naxos Flute the Avshamalov’s for Aaron Concerto recorded has She Schiff. David The Flutist Quarterly Flutist The Asin is an active advocate for new repertoire for the flute. the for repertoire new for advocate active an is Asin Nadine Asin (along with oboist Elaine Douvas, cellist Darrett leasure is the Law, a mixed ensemble featuring NFA member N h Oi Sae nvriy lt Top promd in performed Troupe Flute University State Ohio and the Jones Borst Katherine chair past and member FA OTES After Hours After Spring 2012 Spring FeastDay for flute and piano, written for her by her for written piano, and flute for nfaonline.org by PeterbyLieberson. take They Enchanted deadlineMayof 15; visit wcsu.edu/summermusic. MasterClassheldbeJulywill 29–August 3,applicationwithan the third-place winner was Audrey Emata. The 32nd Julius Bakerwinner was Carin Powell; in second place was Katherine Althen; Allegro from the Sonata in C Major by J. S. Bach. The first-place Jones,performanceclosedconcerttraditionalthethea with of Mark. The Julius Baker Flute Choir, Linda pianist under with performed the all direction who winners, Yamaha prizeof Vanita the included concert final University. The StateConnecticut certo from his his from certo con- Winter Vivaldi’s of arrangement period rare a offered program holiday 18 December The Boston. in 2011, 13, and 11 musical puzzles,made of November labyrinths, and circles in works century classical of concert 18th a with late opened season The Europe. the in popular Bohemia from posers com- of migrations musical the trace will Bohemians” “The Cambridge. in Worcester21 in April 20 and April is program ings along the path Newof England’s Old Post of Road. The final performances build- historic to centuries 19th instrument and 18th,17th, the of music period bringing concerts of T and organ program. Visit lutheransummermusic.org. Visit program. keyboard organ and comprehensive a and choir, and orchestra band, ensembles: major three from features and States United 8–12 the academy across grades musicians training student 150 music than in more serves College residential Luther The at Iowa. 22 24–July Decorah, June held & be Academy to Music Summer Festival Lutheran annual 31st the for torin Decorah, Iowa, will serve as flute teachers and performers N M the dramatic dramatic the various and gallant, highlighting court—Baroque, “Fritz’s” within works popular styles were Featured monarch. ing music-mak- and a was music-loving the 300” to tribute at birthday Great 300th the Frederick King: a for “Fit Boston, and Stephen Main’sStephen and “ATriptych”Columbus (2006). Hovhaness COS- MOS: Andrew Boysen’s Alan by “Beautiful, Sweet commissionedand Delicate” (2005) by works two piece included featured (1911–2000), the for named gram, pro- This 31. University, October and State Ohio at Auditorium Peace of clinic, Prince LutheranDublin,Church at Ohio,in in Weigel and 23,October Ground” masterclass, Enchanted “Upon program, a New Keene, lecture/recital,Novemberon in presentedthe 5, 2011.COSMOS presenting College State Hampshire, Keene at Fest First the Woodwind for artist guest featured the was Jones 15. January PresbyterianFirst the Churchat and 17 Granville,in Ohio, on January on Ohio,Oxford, in University Miami at performed harp, Norton,Jeanne and Harris E.M. Mary and flute,Jones, Kerry Walker, was held in the summer of 2011 at Westernat 2011Kerry Walker,summerof the in heldwas annual31stJuliushe Baker FluteMaster Class, directed by LutherCollege, Suzanneand Ernst, performer educa-and at flute Hester, Carol professor associateof members FA scas f h Od ot od wt NA member NFA with Road, director, Post season 23rdartistic its as in is Stumpf Suzanne Old the of usicians empfindsamer stil empfindsamer Four Seasons Four . The March 9 and 10 program in program 10 and 9 March . The Visitoldpostroad.org. .

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OneO ClockkcolCen TowerTToo Place, Maynard,M,ecalPrew Maayy MA 01754 USAU45710AM,dran SSAA | p 978.461.61119p| | www.facebook.com/powellflutesw|1116.164.879 www..ffaaceebb koo ||setuflllewop/moc.k www.twitter.com/powell_fluteswwwwwww.ttwwiw tttterr.. etufl_llewop/moc s www.powellflutes.comww oc.setulfllewop.ww m Holes, the crux of the matter. Top to bottom: Figures 1A, 1B, 1C, and 1D.

Scales: An What’s in a scale? More to the point, what’s in “the Cooper scale”? This short Incomplete primer on scale—and why every flutist needs to understand its importance— Look at What includes a heartfelt appeal for the open information-sharing that defined the Every Flutist character of the late Albert Cooper. Should Know by Eldred Spell

he crucial concept of “scale” in the lives of flutists began, more or less, with Theobald Böhm—and, sadly, its technical understanding largely ended with his death in 1881. But throughout much of the 20th century, a gang of mostly British flutist- Ttechnicians (along with myself as a token American), searched for ways to improve the tuning (and with it the sound quality) of the modern flute. Following the death in 2011 of the group’s key member, Albert Cooper, the man whose name will be forever linked with the flutemaker’s Holy Grail—the Cooper Scale—there has come a renewed interest in explaining, disseminating, and perfecting the details of this approach, so that future flutists can continue the work that Cooper and his friends began.

In the Beginning “Scale,” for our purposes, means a set of proportions that can be seen in the different placement of frets on a guitar fingerboard and the curve of a rank of organ pipes or piano strings. In equal temperament, these follow a simple mathematical formula. Multiplying by 1.06 (or 1.0594630948 or 12,-2. ) increases the overall length proportionately to eventually reach the octave—exactly.

20 The Flutist Quarterly Spring 2012 nfaonline.org Stringed instruments are well behaved and follow this rule closely. Sadly, flutes are not well behaved. Because we move our lips, intonation is a moving target. Before Theobald Böhm, the concept of “scale” was lost on flutists. Figures 1A and 1B in the photo on the preceding page show two one-key flutes pitched at A=427 and 442, with nearly identical hole placement. While flutemakers were not concerned with mathematical abstractions, they were not ignorant. With the finger position decided on, tuning could be dealt with by changing the size of the holes. A larger hole raises the pitch and a smaller hole lowers it. Makers sometimes also undercut the tonehole, making it larger and raising the pitch without changing what you see on the outside. Remember this principle, as there will be a quiz later. The larger holes of our modern flute absolutely require an accurate “scale.” The photo’s figure 1C shows a Nicholson model flute, with the usual placement and wildly enlarged finger holes. Figure 1D shows an 1832 Böhm model flute as made by Rudall & Rose. This is Böhm’s direct response to the Albert Cooper in the doorway of his shop. Nicholson instrument. Notice the absolute regularity of tonehole size and placement. Böhm’s understanding of “scales” must have been extraordinary, but the knowledge largely died with him. Flutemakers were left to copy existing instruments and make the occasional tweak.

A New Era In the United States, we can easily imagine what happened with scales in the early 20th century. As the French style of playing became fashionable, so did French-style flutes— namely those made by Louis Lot. Most of these were intended for diapason normale, or A=435. These can be played at A=440 by shortening the headjoint, but this leaves the holes too far apart. If A is in tune, C-sharp will be sharp and the low notes will be flat. This is what the famous flutists played, so customers wanted a copy, and makers did their best to provide. A flutemaker might tweak something here or there, but they would have been crazy to deviate significantly from the “ideal.” Left: Young Cooper in the Navy. Right: Cooper’s favorite tool. Players learned to adjust for the errant notes (with mixed success), creating a paradox: a theoretically perfect flute would Tampering was strictly forbidden and so experimentation was have been unacceptable, because established players would discouraged. Verne Powell left us with many colorful quotes, find the low notes sharp and the C-sharp flat! And this is one of which nicely sums up the American attitude toward exactly what happened. innovation: “I made it, it’s right, go play it!” In 1974, Bickford Brannen visited Albert Cooper in The situation in England could not have been more differ- London, brought the scale back to Powell Flutes, and so con- ent. Like the Powell scale in the U.S., the Rudall & Carte tributed to an historic decision. Powell, at the height of pres- “schema” was presumed perfect. However, Rudall & Carte tige and with no need to innovate, introduced not just a new made quite a few “HP” (high pitch) flutes, and with the estab- scale but an entirely new instrument and approach to lishment of A=440 as the international standard (1939), these flutemaking. It is difficult today to appreciate the controver- became obsolete. R&C could have sold many new flutes but sy this created. This pivotal moment in our history deserves instead transplanted the old mechanism to a new tube at the a separate article, if not a book. Suffice it to say that we are new pitch. This in itself was not “experimentation”; the con- all deeply indebted to Bick Brannen for taking the first step cept of repurposing flutes was well established. Further, on this groundbreaking journey. London flute players are arguably (pun intended) more critical of flutes and flutemakers. Everyone seems to have strong Across the Pond opinions and “agreeing to disagree” is an absolute tradition. One does wonder why this new scale came from London and By the 1950s, R&C had gone into decline and then folded. not some American corporation or university. The answer This removed the sort of central authority the U.S. had in seems to be found in our different histories and attitudes. In Boston and also left a number of highly skilled craftsmen to the US, flutes were (and are) considered art objects. fend for themselves, most notably Albert Cooper.

nfaonline.org Spring 2012 The Flutist Quarterly 21 what else.) Cole had ordered a flute from Cooper around this time, and as it was being made, Alex Murray (inventor of the Murray-system flute) suggested Cole look into Böhm’s book. He did, but unfortunately, the flute was finished too soon to incorporate the new ideas.

The Cole Factor Regardless, Elmer Cole set the entire effort on a straight course by insisting that, whatever else, the scale must have an underlying mathematical basis. He coined the term “octave length” and laid the groundwork for everything that followed. And octave length continues to be a subject of discussion. It determines the overall pitch of a scale (A=440, 442, or whatever)—and small uncertainties still continue about the best starting measurement and how, exactly, to propor- tion the tonehole placement. Obviously, Albert Cooper made the largest contributions to the effort. Among many things, he developed a “displacement graph” that enabled makers to substitute different- sized toneholes in a predictable way. Just one example of Cooper’s quiet genius: When the strict “Böhm schema” was tried, the left-hand notes were found to be flat—a very serious problem. Instead of belaboring theory, Cooper simply (but rationally) jumped to a workable solution. In essence, he grafted two different scales together—what we now call the “Cooper stretch.” This was a major breakthrough, and one that Cooper could well have kept to himself. Instead, all developments were shared, discussed, and incorporated into the general effort. This attitude A letter to William Bennett from Albert Cooper. of sharing both effort and credit seems difficult for Americans to understand, i.e.: “My scale is better than your scale!” The Cooper Scale “Brand” This is not to say there was agreement on every item. When Powell (and later Brannen Brothers) invested in the Cooper Everyone was working toward a common goal—better scale, it became a brand—and should have. The companies took flutes—but not necessarily a common solution. There are risks, and Cooper certainly deserved financial reward and every bit myriad compromises, and everyone had slightly different of credit. That said, Albert Cooper did not invent the scale out of opinions. Quite remarkably, there was a common under- whole cloth. What became “the Cooper scale” evolved as a group standing of what the compromises were and why certain effort, with input from many different players. What in the United choices were made. States became an industrial property remained “Cooper’s scale” to As an example, the octave between low and middle D tends those who had played a part in its development. to be wide. If you make the low D “in tune,” the middle D will The best known of these is William Bennett (aka WIBB), be sharp. Conversely, if the middle D is “in tune,” low D will author of the William Bennett scale. Cooper and WIBB agreed be flat. What to do? Cooper reasoned that since third-space to disagree on some details but were long-time friends who C-sharp also tends to be sharp, putting two sharp notes shared information and opinions freely. It was WIBB who first together might lead players astray. WIBB reasoned that if the said, “If the hole is in the wrong place, move it!” player is already adjusting the C-sharp, why not humor the D And he did, beginning in 1954. In 1956 he invented the tech- as well? nique of “patching” toneholes. This allowed an incremental They were both right. approach to tuning flutes rather than building an entirely new To be clear: despite superficial differences, both Cooper instrument to test every possibility. The process has always and Bennett scales were always based on these same underly- been one of trial and error, and without this expediency, ing concepts and measurements. I last saw Albert Cooper at progress would have been slow indeed. the 1998 NFA Phoenix convention (at which, along with Cooper left R&C and began making his own flutes around Charles DeLaney, he received the NFA’s Lifetime 1958. Both he and WIBB experimented with fixing the worst Achievement Award). He was his usual cheerful self, but a bit notes, but a systematic approach was needed. contemplative. He said quite clearly that he thought “the The person who most deserves recognition here is Elmer scale” was essentially complete, yet there were still details to Cole, principal flutist with the English National Opera be worked out, and that WIBB would likely run those to Orchestra for nearly 35 years. (Cole also invented the convert- ground. There was nothing about “his scale”—it would have ible footjoint, an improved system of trill keys, and who knows been out of character.

22 The Flutist Quarterly Spring 2012 nfaonline.org Keeping the Scale Alive More than a decade ago, WIBB voiced concern that as the principal characters age and die, the process leading to “the scale” would be lost. This started me on a mission to document as much as possible. Sadly, this was about the time that Albert stepped in front of an oncoming car. He never really recovered, and WIBB’s fears were partially realized. Fortunately, WIBB kept detailed notes from the start. In reviewing five decades of his research, I noted a pattern of uncertainty about the tonehole displacement graph and the adjustments needed for open holes. Trevor Wye (another significant contributor and the engine behind our present effort) had built a mechanical flute player in the early days and got it working well enough to prove that things were actually headed in the right direction. It seemed a simple project to build another, take a few measurements, and settle matters. Right. Wye’s students called his machine an “Automated Trevor.” Borrowing computer technology, I dubbed mine Edred Spell, left, Jack Moore, and William Bennett in 1978. “Trevor 3.0.” Years and sleepless nights later, “Trevor 5.3” is beginning to behave predictably, and the open-hole corrections are taking shape. The displacement graph just might come together in the next year.

Everybody Else As the initial controversy subsided, other makers were left to make tough choices. A few companies really did try to develop their own scales from scratch, with mixed success, but a simpler approach was to copy a “Cooper scale” flute and use it without giving credit. Or they could get the William Bennett scale for asking. Or they could copy either and announce their new “Brand XXX” scale. Or they could tweak something (usually for the worse) and claim to have invented the thing entirely. In any case, these came after the fact. It was the initial concept that mattered, and once the idea of improved tuning was accepted, anything seemed possible. Sadly, in the past few years WIBB, Trevor Wye, and I have Judith Gilbert with a version of Wye’s flute player, dubbed “Trevor 3.2.” become increasingly concerned (annoyed/frustrated) at having students with expensive flutes that are obviously (in our opinion) out of tune. We don’t mean to appoint ourselves the “pitch police,” but it’s been a long road, and the desire to make everyone’s lives easier remains. We hoped that if we published the actual numbers, flutemakers could use them directly or at least compare their numbers to ours and note the differences. Thus, we offer—in a gesture of the openness and sharing that was a hallmark Albert Cooper’s character—our most recent numbers for all to view and use. You can find them (and much more useful information from Wye, a 2011 Lifetime Achievement Award recipient) at trevorwye.com. They also are available in one easy-to-find location at eldredspellflutes.com/scales/index.htm >

Eldred Spell is professor of flute at Western Carolina University. A later version of Wye’s mechanical flute player, “Trevor 5.”

nfaonline.org Spring 2012 The Flutist Quarterly 23

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302.479.5000 [email protected] www.fluteproshop.com facebook/fluteproshop @FluteProShop Michel Debost: Teaching Artistry

Michel Debost, who retired from his position with the Orchestre de Paris and joined the faculty of Oberlin Conservatory in 1989, retired from that position in 2011. He speaks here with a former student about his long career, teaching, and the beauty of scales. SHERMAN by Martha Councell-Vargas . PHOTO OF DEBOST COURTESY OF STEVE J

aving built a playing and teaching career that spans more and he asked what I was doing. I told him I was a professional flute than 50 years, Michel Debost is one of the world’s most player and he said, “I don’t believe it.” He didn’t believe it because Hhighly respected flutists and teachers. Charming and I didn’t practice! I got to California, coming out of the war—the delightful, personable and passionate, Debost’s effectiveness as schools in France were like prisons: no sports, no music, no girls. both a teacher and performer comes from his primary focus on Mind you, education is free in France, which is a good thing. So I artistic communication. His teaching, like his playing, strikes a thought I was in paradise because I discovered everything I was balance of focus between technical capability and expressive dreaming of but never could do. All the firsts! At that time, I intention. His students have achieved success in a wide variety played like an amateur; I played to occupy my time. of flute careers; they hold positions in major orchestras, new music ensembles, chamber groups, and military bands and pro- How did you transition from an amateur’s approach to a fessorships at top universities and conservatories. On the occa- more serious one? sion of his retirement from Oberlin Conservatory, I sat down A friend of my father, Maurice Maréchal, was a famous cellist. with my former teacher to look back on a monumental career He had played the premiere of Debussy’s sonata for cello. His and to learn how he developed his approach to teaching American wife, Lois Perkins, was a really funny character. We artistry. were very good friends with them. Maréchal told my parents “You should encourage him to play more.” So that’s how it How did you get started? started. I had been studying with an amateur and after that I In 1943, a friend of my father’s, Jan Merry, started me on the studied with Gaston Crunelle at the Paris Conservatory. flute. He loved to play. His teaching was based on reading—first The Paris Conservatory was then a 150-year-old institution the original Altès Method, then duets of the Baroque, and many where everything was set in stone. There were 12 flute students Mozart duets. I still think this reading skill is essential, because and every time you played there were 11 other people listening, many technical hurdles in repertoire are just bad reading. masterclass all the way. Crunelle was a very thorough professor. In 1946, I came to study one year in California. I was 12 and I He never made a career as a performer because he was not took lessons with Merrill Jordan of the San Francisco Symphony interested in it, but he taught us the basic stuff, like how to play who didn’t think I was good for anything. I called him up later relatively in tune, move the fingers, use a good tone, etcetera. All

26 The Flutist Quarterly Spring 2012 nfaonline.org Michel Debost with his sister, Ann. Michel Debost in San Francisco in 1947. Jan Merry, left, and Michel Debost. his students were pretty good—Nicolet, Rampal, Larrieu, The last time I applied for the opera, there was a member of myself. So I entered the Conservatory and was very happy the jury that was first flute in the Société des Concerts. He told because that is what I really wanted to do. me there would soon be an opening [for second flute] in that orchestra. Everybody told me not to bother trying because How did that structured environment influence your there was someone who had been doing the job for two years own teaching? and the job was his. But I got in there and I was the first one I don’t think I could avoid it! I did take lessons from Moyse, surprised! The Société was a prestigious orchestra. A year later but Moyse was a very hard person to deal with. He refused to the principal flutist fell sick and I became first flute. The deal with technique. We talked only about interpretation. Société eventually went bankrupt and reformed as the Many of his students in America knew nothing about the Orchestre de Paris. When the new orchestra was founded, it basics of the flute. They worked with him on opera melodies was funded half by the city of Paris and half by the Republic of and things like that. He could be really mean because he was France, so I had to take another audition for that. I got the job, basically an unhappy, paranoid person. He always thought that and the rest is history. somebody was offending him. He left Paris in 1949. When I called Moyse to ask if I could come see him in Switzerland, he said, “Bring your flute.” When I played for him, he gave me a terrible time. Finally I said, “Mr. Moyse, I have come here to learn.” And Moyse responded, “I thought you had come to Boswil to show me how the flute was played in Paris since I left!” He was tough when people played well. However, he was patient with some who had problems in their playing or interpretation. In hindsight, I think Moyse had more imagination and fame but as a teacher was not as thorough as Crunelle. This personal opinion will raise eyebrows with the worshipers. But I am too old to care!

You spent more than two years in the army after your time at the Conservatory. How did you rebuild your flute playing? I went with the French Army in Algeria, which was a post- colonial war. I had been a translator for Boeing Aircraft in The Paris Conservatoire in 1952 with Crunelle. Algeria. When I came back [to Paris] I had kind of a nervous breakdown. I hadn’t played for two years! Boeing offered me a A lot of people don’t try to take auditions because they job to open an office in Paris. I said “Well, I would like to try think, “They don’t want how I play, they have other ideas,” but my flute for six months,” and the guy very nicely said, “If you who knows? That’s what I did with Mathieu Dufour. [The change your mind in six months, I have a job for you.” So they Chicago Symphony Orchestra] heard 150 flute players they liked me, but they didn’t know how I played the flute! didn’t like. Then I called my friend Daniel Barenboim and So, I had to build my playing from the ground up. After two said, “Listen, if you haven’t found someone, try this guy who is years you don’t really forget, but the fluency is not quite there. wonderful,” and he was hired after an audition with the I took all the auditions in Paris; I decided I would do every- orchestra. It’s not because he’s French—he was not even a stu- thing. All the second flute, third flute, fifth flute, jazz, saxo- dent of mine—but he’s a fantastic player. phone—I decided I would do everything and something So you must always encourage your students to keep an would give at some point, and it worked out! open mind and try everything, especially competitions and performing. That’s what I tell the kids here [at the Oberlin Try Everything Flute Institute]. I told them on the first day, “There are three I applied six times for the Paris Opera Orchestra, and six times I things you have to do here this week: Perform, perform, and was rejected. But you know, every time I would say, “Okay, next perform.” They’ve all played and they’ve all performed, and one!” [The winners] were all people who played very well, so I they’re happy as larks because they did things that they didn’t wasn’t upset. I thought, “They’re better than me. I’ll go practice.” think they could do.

nfaonline.org Spring 2012 The Flutist Quarterly 27 28 and orchestra ; and Serenades flute for works American and French of include CDs Flute Ivaldi, book piano.His Christian is partner time Lifelong Achievement its Award. with Debost honored NFA the 2001, In Paris. the at professor as Rampal Pierre Jean- succeeded he 1982, In Barenboïm. Daniel and Solti, Georg Sir Karajan, von Herbert Munch, Charles directors the was he (Moscow,Munich,years,Turin).Geneva,manyPrague, For M the only way to find out is to try it! try to is out find toway only the and wrong, was professor your maybe or right was professor your maybe don’tand work,that things and arework that things there that realize you performance, in but yes, practice, practice, Practice, much. very practicing by even learn don’t you that things perform, you when yourself about You learn per- one-hour a class. formance by followed masterclass two-hour class—a studio weekly three-hour the it’s Oberlin experience, my from out stands that thing one there’s If important. important. really are that yourself about and things about learn you it, them. play doing By anyway. it completely do but ready, completely really be You’ll never can’t you if try even to things important it’s new believe I but things, same the always request they auditions in course Of track. beaten the off are Elert’s Karg like unknown, something in put also would I mixture. a be to has there think I Baroque. only play who people or music it. with think contact I in be music, to good it’s contemporary do to specialty it’s my really although not pieces; solo and century 20th the from pieces Linos and four Lieberman, Boulez, Ballade, Martin Prokofiev, [over Schubert, Bach, C.P.E. repertoire Partita, biggies: whole the covered I the years]. practically included yearly list My also. Conservatoire Paris the in that do to used I introducing repertoire. flute to standard the to approach students thorough a have also You The Flutist Quarterly Quarterly Flutist The Debost has recorded most of the fluterecordedthe has repertoire; Debost long-of his most ICHEL I have doubts about people who play only contemporary only play who people about doubts have I was published in 2002 by Oxford UniversityOxfordPress. Hisby 2002 in published was —every year a different two of those. Then I would do would I Then those. of two different a year —every D with Cleveland Orchestra members. Orchestra Cleveland with EBOST picpl lt udr music under flute principal Paris’ de Orchestre lt aoaa ,I,II V n ;Panorama IV,V; III,and II, I,Panoramas Flute ifnsh Canzone Sinfonische Spring 2012 Spring : T EACHING nfaonline.org A RTISTRY inl lt competitions flute tional interna- major the won he 1960s, the During Paris. de the B A Life A Debost: Michel Conservatoire National de National Conservatoire I icvrd hns that things discovered I . Debost graduated from graduated Debost r i Prs Michel Paris, in orn osraor National Conservatoire The Simple The Chant de Chant that scale. That was a lesson in and of itself.” of and in lesson a was That scale. that say, Taffanel. play Taffanel would He heard “Youhave Paul should of student devoted very a was He that. for grateful I’m modulation. the with poetic be to how me to explained He scale. beautiful very It’sa time. the all used I’ve that and got for- never I that opera lesson a me gave he his and scale, minor of flat G a one him, for scale a play play to me to asked he instead and tried melodies, I Vermont. in Moyse see to went I day One me. told Moyse That music. still are Scales Youmusic.as fundamentals the teach That’s what I really enjoyed the most about your teaching. staccato. play or loud play to or piano play to learn and with scales Youeven scales. learn can do can you which feeling, poetic a with play and sound the vary also to but loud, so play to issue only the not it’s but think I manage. can’t merchandise, just you their headjoints some are sell there to want they obviously joints, head- make who people the and flutes make who people the few hear think I I sound. big the beyond that looking are who is students flute sometimes regret I What basics. the practice to have you and practice, to how know to have really you that difficult so is Violin players. violin in admired always I immersed and between artistry. and flutist interpretation teaching, a as your competent designed becoming you’ve way the in balance a is There also fundamentals. are the you stress to able repertoire, of range broad a such With ics f ui yu a ee ha; ts ely motn to important really it’s Liberty,for: Love,stands it Courage. what know hear; ever can you music of pieces beautiful most the of one is #3 Leonore is. contextexcerpt’s That brainstorm! times. last my was three repeated but year per excerpts six About Mendelssohn, Wolf). the and Peter or Beethoven, (Classical Prokofiev (Aviary), Birdies Daphnis, years two over would I of rotate them. of lot more a do to added decided I that, colleagues to my importance or America in kids the ized real- I When States. United the in as much so not excerpts, teach to common it’s as Europe, not throughout and Paris In Yourunique.also is excerptsteaching to approach tones.long on muchpracticeyoucansoyou thatdon’t havespendforeverto staccato.There’s triple a to going are or staccato a from come you if even legato,always slurred, be always should It music. lot. a it changed runs. and I because game tuning scale the of versionsdifferent many are runs,There slow runs, fast notes, repeated like are just [in abitGaubert] limited. to Istarted make So variations, examples Exercises the Daily thought I Seventeen but scales, played always I’ve game? scale the for idea the got you where that Is teaching? your affect lesson that did How Whatstudentsoftenthat is havetoo bad is the clue no what of piece a like connection the do to important very It’s y al afnl n Phillippe and Taffanel Paul by

PHOTO BY BROOKS DE WETTER-SMITH 1968: With Daniel Barenboim at the piano. Paris 1982: Jean-Pierre Rampal, Jimmy Galway, and Debost. Munich 1984: Flötenabend (Aurèle Nicolet, left).

Your students have found success in all different areas What advice do you have for today’s teachers? of music. There are specialists in new music, principal Accept the fact that if you accept four or five students, some players in great orchestras, and accomplished solo will be better than you expected and some will be worse than and chamber artists. How is it that they all come from you thought. You must adapt to teach them all and be willing one studio? to start from scratch with those who need it. A good way to improve those who need improvement is to As far as I’m concerned, as I told you, I decided to never say have them play something simple but well. Scales, for sure, no. That’s why I learned how to sight-read. I think sight-read- make you improve better than anything else, but some resist ing is very important. You have to be able to do the first gig that. They say, “I didn’t come to college to play a scale!” and I that comes along without saying no because you haven’t had say, “Well, what did you come to college for?” and they say, “To your part for three weeks. If you are really on top of your play- play repertoire,” and I say, “Okay. Play a G flat minor scale.” ing, you don’t need to practice too much. It comes naturally if you’re in good shape. Martha Councell-Vargas has performed as a soloist and chamber musician in Central and South America, Europe, Asia, and Did your approach to teaching change once you started across the United States. With a scholarly and artistic special- teaching in the U.S.? ization in the music of Latin America and the Caribbean, she At the Paris Conservatoire the level was very high. I taught the has participated as a guest solo artist in Honduras, Peru, and basics there, too. When I got to Oberlin, I realized that U.S. Ecuador, and recently returned from a research trip to Cuba. students don’t really start from the ground up but rather in She earned degrees from the Oberlin Conservatory, Rice band, and they learn bad habits in band. I had to adapt and University’s Shepherd School of Music, and the University of tried to do that without being mean. Of course, there were Iowa (DMA). She is assistant professor of flute at Western some students who would always have a better solution, but Michigan University in Kalamazoo. then the performance was always the moment of truth. In Paris I would say, “That’s the way it is!” Here I became more Marcel Moyse, Kathleen Chastain-Debost, and Debost, Marlboro, July 1974. lenient and tried to help students along.

I Would Do It Again If I had to live my life again, I would do the same. I came from a well-to-do family, and I was lucky to find a really perfect woman (flutist Kathleen Chastain). I was 33 and she was 18. In those days you didn’t go to jail for that! I told her mom that she should come study with me in Paris, and her mom said, “No way,” so we got married. We said, “If it works out, great!” Forty-four years later, I think it’s safe to say it worked out. I was lucky to have two children, and my daughter has three boys. Her husband is a conductor and she is an opera director. I loved the flute and I was very fortunate to play with great artists like Pavarotti, Rubinstein, Horowitz, Rampal, and great conductors. I don’t regret anything. I left the orchestra because I had a little bit of a nervous breakdown. There were co-principals on every instrument except flute, so I had to play everything, and it was exhausting. Of the flutes in the orchestra, the second flute had focal dystonia and I didn’t have the heart to let him go, the third didn’t want to play principal, and the fourth flute/piccolo player wanted to play principal, but nobody wanted him to! So I left the orchestra because my section was not functioning properly. I believe in the U.S. system of higher education. There is a respect for knowledge, books, culture, and information that puts others to shame.

nfaonline.org Spring 2012 The Flutist Quarterly 29 WHERE ARE THEy NOW ? Rachel Brown 1984 Young Artist Competition, first place “I still have vivid memories of the competition. I would not have entered but for Trevor’s insistence,” says British flutist Rachel Brown, referring to her teacher, Trevor Wye. “He came with me and wore his Union Jack socks! I did not play my best at the semifinal—I was nervous and it was freezing cold—and we both assumed I was out, so I was quite surprised to reach the final, which was a much more enjoyable performance. I remember the judges’ comments and reflected on how different their views were. After I added one grace note in a Bach Sonata, one juror wrote “Bach needs no ornament from a mere mortal.” Those words have stayed with me. I think about them often, as I both agree and disagree!” Rachel Brown performs on a huge range of flutes and recorders, and is in demand as a teacher and speaker. While training on modern flute at Manchester University and the Royal Northern College of Music with Wye, she won numerous prizes leading to performances of flute concertos by Ibert and Nielsen. She gave first performances of works by Robin Walker, John Ogden, Judith Weir, and Barry Guy. However, her interest in early music had already been captured by her recorder teacher, Ross Winters, leading to study of the baroque flute with Lisa Beznosiuk and Stephen Preston and an exploration of the many diverse classical and 19th-century flutes. Brown has toured in Europe, Japan, and North America and recorded extensively, including the Quantz and C.P.E. Bach

Jan Vinci Jeffrey Khaner Mark Vinci Concertos, Telemann Fantasias, and Quantz and Handel Sonatas. Skidmore Flute Institute Brown has played principal flute with *ULYn!UGUST Kent Opera, the Academy of Ancient Music, the Hanover Band, the Kings Consort, Jan Vinci Collegium Musicum 90, Ex Cathedra, and Jeffrey Khaner the Brandenburg Consort. She has given Mark Vinci masterclasses in Europe, North and South America, and New Zealand, and is professor of baroque flute at the Royal College of Music in London. “Even with a travel grant from my college, I could not really afford to come,” says Brown of the NFA competition. “The prize money paid summer off my student debt. However, in many ways the greatest reward from the experience has /FlCEOFTHE$EANOF3PECIAL0ROGRAMSssWWWSKIDMOREEDUSUMMER been to be welcomed among the flute community worldwide, and for that I am very grateful.”

Developing an Online Presence to Enhance a Flute Career Five flutists share insights and information about how they use online media to develop their careers, promote their work—and help the flute community as a whole. by Leonard Garrison

n the early 1980s, Sam Baron told me Nina Perlove One reason Perlove likes to use he felt sorry for my generation, because With more than 7 million views of her YouTube is because her videos get a high Iperforming experience was harder to videos, Nina Perlove, aka “The Internet ranking on Google searches. Google, obtain than it was in his youth when Flutist,” probably uses multiple plat- which owns YouTube, automatically every theater in New York and even forms more effectively than any other gives high priority to YouTube results small towns had a pit orchestra. There flutist. She stresses the importance of related to a search term. Perlove recom- was live music everywhere. an easy-to-remember web address, not mends including key terms in the title Since then, finding performing experi- one with lots of slashes as part of a larg- and “tag” section of the video informa- ence has become even more difficult, as er organization. Perlove’s own site is tion, such as composer, instrument, title, many orchestras have fallen victim to realfluteproject.com; she decided not to and performers’ names, so that Google financial troubles, Broadway shows and use her personal name, because “every- crawlers can find the video and boost its Hollywood films employ smaller ensem- thing is about the users, not about me. ranking. For example: if a user types bles, government support for the arts lags, A successful site is a ‘gift to the audi- “Telemann Flute” in a Google search, and tighter purses translate to fewer ence’ and is not there to promote ‘me’ Perlove’s video performance of gigs—live performances at weddings, but to entertain.” Although she success- Telemann Fantasy in B Minor appears as receptions, bar mitzvahs, or churches. As fully uses other platforms, her website is the top search result, and two of her in the wider world, flute careers are her focus, and she “does everything to additional Telemann videos are also list- changing rapidly. There are fewer tradi- drive traffic” to her site, encouraging ed on the first page. A combination of tional opportunities, but savvy flutists are users to return by constantly adding factors contribute to this high rating, finding new ones. new content. When she presents a live including the video being hosted on Flutists now forge new paths, using concert, she gives out a free code that YouTube, targeted title and tags, and websites, blogs, Facebook, Twitter, enables those who visit her site to increased ranking status based on the YouTube, and other resources to commu- download a free “gift” of an mp3 video’s popularity, with more than nicate with potential audiences. These recording of her playing. One way she 570,000 views. media have become essential tools, and attracts more visitors is through search The resources on Perlove’s site include this article profiles five flutists who have engine optimization, a tactic to list a more than 180 performing and teaching exploited them effectively, all at minimum site higher in search results through videos on topics such as vibrato, breath- cost: Nina Perlove, Jennifer Cluff, Laura creating specialized content and effec- ing technique, sound production, and Barron, Rhonda Larson, and Greg Pattillo. tive use of tags and links. articulation; “mini masterclass” and

32 The Flutist Quarterly Spring 2012 nfaonline.org “quick tip” videos; annual All-State tuto- collections of flute educational resource internet traffic too closely, so she checks rial videos; written answers to questions links, sheet music for flutists that can be her numbers just one a year and from users; links to other flute videos purchased, and flute method books sold includes as much free, factual flute and articles; her Alain Marion Pedagogy using PayPal and simple e-mail. Because information as she can provide. project; streaming music; and down- she has included well-known flute tech- A primary focus is Cluff’s blog, a jour- loadable copies of her DMA thesis and nique keywords and commonly asked nal detailing her thoughts about teaching other published writings. She says that questions that flute teachers and stu- and flute playing and answering common the teaching videos get more views than dents use when they look up topics on student questions. In the days before the performances—she has found that the web, search engines such as Google blogs, Cluff submitted frequent, detailed, people are more interested in improving rate Cluff’s site high in search results list, and highly regarded postings on the their own playing. She values a personal, and this has dramatically increased the Flutelist and other online discussion informal touch, adding a sense of humor, number of interested readers. groups; a fan helped her incorporate her and mixing playing and teaching. Despite Cluff’s current visitor numbers are at thoughts into jennifercluff.blogspot.com. the huge reach of YouTube, there are audi- about 24,000 individual visits per month “Blogs are free and easy to use, and any- ences it fails to reach, as most K–12 (as of late 2011). She says one can go one can use the basic template,” says Cluff. schools and China restrict access. crazy monitoring the ebb and flow of Hers includes photos, drawings, sound Perlove values social networking because she likes to go to people, rather than making the audience have to work to find her. She thinks fast-growing Google Plus may have potential. Her entire strategy is based on developing a relationship with an online audience, and her Facebook and Twitter pages are integrated with her website and YouTube channel. She also communi- cates through an e-mail newsletter, a blog, apps for iPhone and Android, and InstantEncore.com, a site dedicated to classical musicians. Perlove places greater importance on good content than on fancy design, although her site is attractive and well organized. She does everything herself, from web design to filming and audio editing. The best way to learn technology is just to jump in and do it, she says—there are plenty of online tutorials and FAQs.

Jennifer Cluff In the past decade, Canadian flutist Jennifer Cluff has been moving from working as a performer and full-time flute teacher to web-publishing flute books and sheet music developed from her involve- ment in flute education. (See the fall 2010 issue of this magazine for a profile of Cluff.) Her site, jennifercluff.com, has gained prominence by offering valuable services to flute players: hundreds of free flute articles, scale and exercise pages with audio backing tracks, links to flute how-to videos on her YouTube channel,

nfaonline.org Spring 2012 The Flutist Quarterly 33 DEVELOPING AN ONLINE PRESENCE TO ENHANCE A FLUTE CAREER files. and videos, and ranges from Her own site, which she began in bridge so that flute hopefuls could find ephemeral to philosophical. She offers 2004 and maintains herself, emphasizes a clear route to qualified flute teachers. appreciation of specific performances content over design; she jokes that it is “The trick of a good communicator is by well-known flutists and words of noticeably “low-tech.” to make things simple and straightfor- wisdom about tonguing problems, tone “Honestly, one doesn’t have time to ward, and to really communicate easily color, flute books, repertoire, and the be both a flute expert and a website and well,” Cluff says. “No single web strat- nature of progress (it never proceeds in expert, so my best advice is to learn egy can do that for you. It’s still a question a straight line). how to use a very simple web design, of writing a good sentence, or demon- She says, “Being highly visible on the and do it yourself,” she says. “Simplicity strating an effective flute exercise visual- Internet makes communication with makes updating easier, and if one ini- ly and audibly, and describing accurately the world’s ‘great flute minds’ easier to tially relies on a web professional, it how a technique is taught. Yes, the com- achieve.” She has been able to contact may become difficult to maintain your munication speed has changed, but flute well-known flute performers, teach- site if that person becomes unavail- players and humans in general are very ers, and recording artists for interviews able.” Cluff spends about $100 per year much like they were back in the time of and to ask them clarifying questions on her site and believes in the flute Quantz. They still need to figure out about complex flute topics, and they community openly sharing resources how to hold the flute well, how to recognize her name from her web pres- to enhance the art form. breathe without excess effort, and how ence. Her website has led to invitations This willingness to share a huge to create a beautiful sound on the flute. to adjudicate, be a keynote speaker at amount of excellent information for In essence, great flute teaching remains flute events, and publish in the NFA free (although her site takes donations, unchanged; but facts are easier to access pedagogy anthology. (Editor’s note: A as does Perlove’s site) is the most through the internet.” new edition of this anthology featuring admirable and unusual aspect of 40 essays by leading pedagogues will be Jennifer’s Internet presence. What Laura Barron available at the NFA’s 2012 40th motivates her to offer these resources? To promote a career through the web, Anniversary Rubies! convention.) When she started, she says she received Laura Barron, the former (and inaugu- Cluff recommends a specific and mem- a barrage of questions from flutists ral) chair of the NFA’s Career and orable domain name for a website. She hungry for knowledge, so she “decided Artistic Development Committee, advis- asserts that high-quality content is that any information I could offer for es, “Flutists need to ask themselves what more important than innovative design free, that would be Google-able, would the purpose of the site will be: To identi- and that fancy design may be a turnoff. lead the way so these self-teaching stu- fy who they are as an artist? To sell CDs? Among her pet peeves are “Flash websites dents would eventually find their way To promote their work in order to that seem to take forever to load the main to an actual flute teacher who would arrange concerts?” If so, Barron notes page, blare loud music at me, and waste assist them further.” There was already essential elements that are important to precious moments by starting with an a large amount of misinformation and include: bios, sound files, photos, per- unnecessary ‘enter’ page that you have to old myths online, so there “seemed an formance schedules, reviews, sample pro- wait to load.” urgent need to build an informational grams, and a press kit. If the site serves a more distinct purpose, such as providing resources to the flute community, one can then distinguish one’s site from others through differentiated resources. Barron has two sites, laurabarron.net and forbiddenflutes.com. The former reaches a broad student population and thus serves as a teaching tool, so she includes repertoire lists, warm-up exercises, practice techniques, reading and recording lists, and pedagogical articles. By contrast, forbiddenflutes.com, the home page of her duo with flutist Liesa Norman, adds to the basic promotional ingredients a blog, “The Flute Doctors,” intended to “get new listeners jazzed about classical music,” the primary mission of the duo.

34 The Flutist Quarterly Spring 2012 nfaonline.org “We also have a strong philanthropic download. “A biography should be writ- “The trouble with component to our work, so we devote ten from the third person point of view, several pages to information about our not first person,” she says. “It is not a outreach performances, benefit con- brag sheet of how wonderful you are, it social media is that certs, and therapeutic music services is a document that further details who (which actually link to a third site, you are, where you have been, and what one can spend a instrumentsofchange.org, a nonprofit). you have done. You can either begin with This allows the audience for these activ- the present and work backwards or vice- great deal of time ities—underserved school populations, versa.” She advises that photos, available in prisons, hospices, charities—to learn 300 dpi for printing, show you with your more about our work and request our flute; “otherwise, there is no identifying attending to them, services appropriately.” you with what you do, and you may be Barron believes the importance of good mistaken for a novelist or a speaker.” but in the interests design is often overlooked and has always Larson designs her own site using Adobe hired professional graphic/web designers, Dreamweaver. She advises that a design of creativity, nothing usually students who have just graduated “truly reflect who you are, from back- and are, thus, more affordable. She uses ground images to how you lay out the site. Google Analytics to monitor traffic. Her Most of all, keep it simple and navigable.” is happening on any sites’ visitors are attracted by both her blog Larson has dabbled with Facebook and the useful educational resources. and Twitter but is dubious about substantive level.” investing a lot of time in them. “As Rhonda Larson much as I like the idea of ‘social media,’ — Rhonda Larson Freelance flutist Rhonda Larson’s career the trouble is that one can spend a started the old-fashioned way but has great deal of time attending to it, but in evolved to take advantage of new media. the interests of productivity or creativ- You must first know yourself, what you She came to prominence by winning the ity, nothing is happening on any sub- value most in human character and in NFA’s Young Artist Competition in 1985 stantive level,” she says. “The Internet art, and what kind of person you want to and soon thereafter joined the Paul launches you in warp speed into a be in life. This makes our directive obvi- world of myriad voices saying this and Winter Consort. Today she manages her ous: Practice getting to know exactly that, all contradicting one another. own career, and the centerpiece of her these things, day by day. You simply have “As for my own time spent in life, I’m internet presence is rhondalarson.com. to stop, breath, and be. No electricity “Too many people these days are always on the lookout for content, required. Meanwhile, your website is relying solely on social-media sites to meaning, depth, authenticity, beauty, present their materials,” she says. aliveness, and the present tense of our working for you all by itself, while you “There is nothing wrong with these souls, here and now. I measure anything are blissfully exploring the mysteries of except that you don’t have any control on the Internet by this same standard. the Bigger Picture in life!” over the design that is presenting you—it is completely generic. Plus, it is too much work for any person curious about you to find out what you do on these overloaded pages. It is essential to present on your website who you are and what you do. Larson personalizes her site with a background—the stunning snow-capped peaks of Montana—that reflects her roots; her favorite colors; a layout displaying her preference for “a slightly ‘book’ approach to a website rather than a ‘Hollywood’ approach”; various artworks; and headers that she created consisting of pictures that illustrate what a particular page is about. Larson recommends bios be in short and long form and available in PDF

nfaonline.org Spring 2012 The Flutist Quarterly 35 DEVELOPING AN ONLINE PRESENCE TO ENHANCE A FLUTE CAREER

Greg Pattillo static shots, phone cameras, and HD Pattillo didn’t even When his YouTube video, “Beatboxing cameras. A film student from NYU Flute Super Mario Brothers Theme,” shot his first five videos with a profes- own a computer went viral in 2006, Greg Pattillo sional camera, lights, and a black-box became an instant celebrity; the video theater. He has usually relied on others, now has more than 21 million views. “but it’s better to do it yourself if you when he made his Classically trained, Pattillo planned to can.” He now uses his own HD camera play in an orchestra. Failing to win an and has recently uploaded a duet in a first videos. audition, he moved to San Francisco park in Nice, France, with beatbox flutist and then to New York, hoping to estab- Alexis Sorba. Viewers are now demand- how to use it themselves. It’s only a lish himself as a freelancer and teacher, ing high quality, as people watch matter of time, and one should keep but when that did not pan out, he YouTube video on large-screen TVs. one’s perspective—practicing is the turned his creative energies to beatbox- Pattillo says, “My whole career has most important investment. ing on the flute and has been wildly been about accessibility.” He is com- The Internet launched Pattillo’s career successful, even winning a commission mitted to enabling all flutists to per- and continues to support it, but his from the NFA, Three Beats for Beatbox form in a beatbox style and was the ensemble, Project Trio, echoes what any Flute, for its 2011 High School Soloist first NFA-commissioned composer to successful group did in Sam Baron’s Competition. upload videos of his own piece. He time, with tours of Europe and North He didn’t even own a computer developed the piece by continually try- America, Australia, and Hong Kong; when he made his first videos and feels ing out ideas in the New York subway appearances with the St. Louis he been “catching up” ever since his and gauging the reactions of listeners. Symphony, the Los Angeles Chamber first success. He maintains his own His YouTube channel features 15-year- Orchestra, and the Charlotte Symphony; website, pattillostyle.com, but consid- old flutist Annie Wu, winner of the and a 2010 Carnegie Hall debut. Along ers it a “placeholder” until he has more 2011 NFA High School Soloist with cellist Eric Stephenson and bassist time to develop it and use it to sell Competition, performing Three Beats. Peter Seymour, Pattillo combines classi- products. In the meantime, he relies on As people ask questions about the cal music with hip-hop, jazz, and rock. external sites: YouTube, Facebook, piece, he uploads explanations and Twitter, and store.kagi.com for selling demonstrations of specific effects. Connections PDF downloads of his Three Beats. He anticipates that the Internet will There is no one way to become successful Pattillo’s YouTube channel, Freedom- continue to evolve, and new tools will online. It doesn’t take a big investment. workfilms, is the hub of his online perhaps usurp Facebook and YouTube. These five flutists followed their own presence; he receives income from Musicians will surely receive an paths using their own mix of resources. advertising and views. He has produced increasing amount of income online. A common denominator is an easily videos in a wide variety of methods— Meanwhile, he says, they should feel navigable website with a distinct multi-cameras with edits, live concerts, empowered by technology and learn domain name. Another commonality is having something valuable to communicate, so before “going live,” one needs to develop artistic excellence. In the old days, a flutist could depend on being successful by practicing, studying with a good teacher, and making the right connections. This is still true, but now there is even more emphasis on connections—global connections—and this requires intelligent use of modern resources. >

Leonard Garrison is immediate past chair of the National Flute Association, associate professor of flute at the University of Idaho, soloist on five CDs, and flutist in the Walla Walla Symphony, the Northwest Wind Quintet, the Scott/Garrison Duo, and the IWO Flute Quartet.

36 The Flutist Quarterly Spring 2012 nfaonline.org

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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

Gps!Uif Qjddpmp!Tqfdjbmjtu 1'/& boe!gps Uiptf!Xip!Offe up!Tpvoe!Mjlf!Pof +*/$-$340*$ LFFGF 65!Divsdi!Tusffu +-'*%+-)!/'+*!*#-$,$-/+-3('./ QJDDPMPT Xjodiftufs-!Nbttbdivtfuut!129:1!VTB $)!'(,!/-'"'!,!/-'"'!&!-,$-"+) CPTUPO Qipof;!892.47:.2737 F.nbjm;!kjnAlffgfqjddpmp/dpn /$($,&+*$%!2 xxx/lffgfqjddpmp/dpn When We Were Very Young: A Conversation with Emma Resmini and Zachary Kellogg by Rebecca Johnson

A “serious little girl” and a budding tap dancer started their performance careers while still in their single digits. Their flute playing took the Internet by storm, and by their pre-teen years, their performances had extended to live stages on the national scene. At the 2011 convention in Charlotte, they talked about their music, their goals, and their pastimes.

achary Kellogg and Emma Resmini are two of the flute Seattle-area flutist Zachary Kellogg, 14, has performed at world’s most visible young players. Now 14 and 11 several NFA conventions. He performs jazz and classical gen- Zrespectively, both started the instrument at a young age res with ease and thus has won a variety of competitions, from and have been playing for national audiences the entirety of the Seattle Young Artist competition to the NFA’s Jazz Flute their young careers. They began their musical studies at the Big Band competition. He performed at Carnegie Hall in 2010 right moment, a moment when curved headjoints were readily after winning the Alexander and Bouno International Flute available and video-sharing sites such as YouTube had taken the Competition. He studies regularly with Jim Walker and Greg Internet by storm. The easy publicity has helped these two Metcalf. young flutists become known throughout the musical world. Emma Resmini, 11, already has performed with the Dallas How did you come to start flute studies? Symphony, the Pittsburgh Symphony, the National ER: I was 3 years old. Before I played the flute, I wouldn’t real- Symphony, and the McLean Orchestra. She has twice per- ly talk. I was a very serious little girl. While my sister was at a formed at the National Flute Association convention. Emma camp, I was in Kindermusik classes. At the end of each class, lives in the Washington D.C. area and is a student of Alice the lady teaching the class would turn off the lights and play

Kogan Weinreb. the flute, and I thought, “Yes, that’s me!” PHOTOS OF RESMINI AND KELLOGG BY INGRID TOTH

38 The Flutist Quarterly Spring 2012 nfaonline.org Have you studied with the same teacher the whole time? sometimes Sundays), and then I spend the rest of the day hang- ER: No, I started off with a Suzuki teacher, and I’ve had three ing out with the neighbors. teachers so far. What do you think, Zach? Zach? ZK: I like to take breaks, because I have a fear of burning out ZK: Well, I was a good tap dancer, and my mom wanted me to and getting tired of the instrument. I don’t want to stop obvi- be able to read music to choreograph the score. She had worked ously, but I think it’s also important to have social skills, you with woodwinds, so the flute was something she could start me know, to meet other people, and that’s really important. I like on. I was 6 when I started. Since then, the tap teacher went to practicing. How much I practice depends if I’m really gearing join Cirque du Soleis, and the flute hasn’t stopped! up for something. I try to be really efficient and productive with the practice, so I don’t look at the total time too much. When you were just starting and you were really quite young, Right now, about an hour and a half is normal most days. do you remember what your flute lessons were like? ER: It’s hard to remember being 3! But my mom told me that So, you’re both home-schooled. Do you have a strict schedule since I wouldn’t really talk, when I started flute lessons the for your days? teacher would actually just teach my mom, and then she would ER: I stopped regular school halfway through second grade teach me at home. because it was so hard spending seven or eight hours in school, then going home for another couple of hours of work, and it Do you remember your early lessons at all? was a lot of school time. Also, it was just hard to find practice ZK: I remember playing “Puff, the Magic Dragon.” That’s real- time, because when you get home from school, you’re tired! ly it. I didn’t have a first serious flute teacher until Shelley Starting home-schooling has made it easier. I just do all my Collins, but before that I had my mom’s help. And my third schoolwork in the morning, and get it done quickly. After grade teacher played some flute—I just thought she had the lunchtime, I do my flute practice, then all my neighbors come best tone at the time. home, and I go outside with them.

What model flute do you play now? ZK: We’re pretty loose with it. If there’s a competition coming ER: I play a Powell, and before that I had a Jupiter curved head up, we don’t focus as much on the schoolwork. I think it is a joint. I went straight to the Powell from there. healthy amount of flexibility.

ZK: I have a Pearl Artist, and I love it! So you usually take Saturdays and sometimes Sundays off from playing. What do you like to do with that time? How did you end up with your current instrument? ER: Usually on Saturdays we go to the mall, and other regular ZK: I took my alto flute to the Pearl booth at a convention because family stuff. it needed some work. While they were working on it, I was talking to Holly Hofmann, who is also a Pearl artist. While we were talk- What do you like to do on the weekends, Zach? ing, I picked up this flute, and I just knew it was right for me. ZK: We don’t do a lot. Sundays are for church, and we’re the music directors, so we’re always there. In the summer there’s Emma, when you switched to your Powell, did you try a lot of only one service, so that’s a little easier. During the year there different instruments? are four per weekend, and one is in Spanish! ER: Yeah, because my flute wasn’t actually a match, and the headjoint didn’t come with my flute body, so I had to try a lot Do you speak Spanish? of flutes. I think my teacher probably thought I shouldn’t keep ZK: No! switching from flute to flute to flute, and that I should get a flute I could grow into, so that’s how I got the Powell. Do you have a favorite type of music to play, or a favorite piece? When did you come to your first NFA convention? ER: I like playing French pieces, actually. My teacher always ZK: I came to mine a couple years ago. This (Charlotte in 2011) gives me a lot of French pieces. Sometimes they sound is my fifth one, and the first was in Albuquerque, New Mexico. Japanese, but it still turns out they’re French! I had the best time, hooked up with all these people, went to great events, and I had to go back. Both of you memorize really well. Is it easy for you? ZK: Memory usually comes once I’ve played a piece a lot. Usually ER: My first NFA convention was two years ago—(to Zach:) you it’s ingrained forever. I don’t know how I started memorizing, but were there!—in New York. I played in the Up and Coming Recital I played with the radio a bunch. On the way to school the flute and a duet with Carol Wincenc in her Ruby Anniversary concert. was always out, and it drove my sisters and brothers nuts.

Do you spend a lot of time on practicing and music? How else Is it the same for you? do you spend your time? ER: When I memorize a piece, if I don’t play it for a while, usually ER: I don’t practice a ton, eight hours a day or anything. It’s it starts to go, but I tend to remember it again when I play it. I’ve usually maybe two or three hours a day, Saturdays off (and played a lot of pieces, and sometimes I get the names all mixed up.

nfaonline.org Spring 2012 The Flutist Quarterly 39 WHEN WE WERE VERY YOUNG: A CONVERSATION WITH EMMA RESMINI AND ZACHARY KELLOGG So, sisters and brothers, how many? goal. You know, there’s not a lot of crossovers, you have your jazz ZK: Two brothers and three sisters, so there are six of us. Three and your classical, and they’re not normally brought together. older and two younger. I’m in the middle. ER: So maybe you can figure out how to do a jazz version of What about you, Emma—siblings? Mozart? ER: One sister, she’s 16. ZK: Right. You know, like Wynton Marsalis stopped doing clas- Is she also a musician? sical…it’s hard to do both, but I’m up for the challenge. ER: Yeah, but she plays the electric guitar, acoustic guitar, she’s not like me—no one really believe that we’re sisters. What useful flute advice has come to you from the masterclasses and camps you’ve attended? Are your other siblings into music? ER: When I go to camps usually I’m really happy to see Sue ZK: My littler sister really wants to be a singer, and she’s play- Hoeppner there, because (and she knows that I say this!) I always ing the flute to learn to read music. The one above her, number call her “nice and picky.” The first time I went to her was three or five, she’s playing the viola. The older ones all did band and four years ago, and she pointed out all the things I needed to work stuff like that. on, especially tonguing. She gave me this scale book…maybe it’s called Gilbert Scales? I think it really helped my tonguing.

Do you hope to keep involved What about you, Zach, have you had any good masterclass experiences to share? with music for a long time? ZK: I just did one with Walfrid Kujala and Zart Eby, and there was so much good stuff in that. It was based on orchestral Zach: Can’t really stop now! excerpts, which I don’t know much about, so it was really good Emma: A music career sounds to stick my toe in the water and learn a bit of the repertoire. really nice. It sounds like a Do you all listen to music for fun, when you’re not doing flute stuff? sweet deal. ER: Well, since my sister plays electric guitar, she has a lot of rock CDs in the car, so we listen to that! If I could pick, I’d choose Lady Gaga! Are you hoping to keep involved with music for a long time? ZK: Can’t really stop now! I mean, with how important it is. No, Zach? I don’t plan to stop! ZK: Yeah, I don’t sit around just listening to Mozart operas; I really like show tunes. My whole family, we’re very theatrical, ER: Well, a music career sounds really nice. It sounds like a and I like things like the new Adams Family musical. I like a sweet deal. big variety.

And do you like going to all these things? The conventions, What other interests do you have other than music? the traveling, the competitions? Is it fun? ER: I have a dog, and she’s really fun. She’s really tiny, a maltese ER: It’s fun, but the traveling part isn’t my most favorite part. poodle mix. I also build model rockets with my dad, ones you can actually launch! Those are fun, and we have a lot of them— ZK: Mine either. so many I can’t really count accurately. Some can fly over 1,000 feet and can actually disappear in clouds for a while. For those, ER: My mom drove me to Canada last year, and that was really we have a really shiny parachute so that you can see them come weird. It was a long way. It was an hour past Quebec, so you down. We did lose one, but we replaced it with the exact same were in the middle of nowhere, where nobody really speaks one, and just put a “2” at the end of the name, like it’s the sec- English. (to Zach:) Kind of like your Spanish deal. ond generation.

What were you going for? What about you, Zach? Other interests? ER: A flute camp, up there. ZK: I like cooking a lot. I don’t do it as much as I could, but I do enjoy cooking and watching the Food Network. Zach, you’re probably a little closer to feeling the next transition in life, since you’re a few years older. Do you have an idea Do you play music with other kids your age? of what you might want to do after high school? ER: I mostly play by myself or with a pianist, because where I ZK: Flute! Flute! I got it! am there just aren’t a lot of people my age who play pretty well, and even if they do, they’re usually busy. I’ve also been accept- You’re envisioning going to college, studying music, then ed into the National Symphony Youth Fellowship program. doing something with flute? Usually it’s for 11th and 12th graders, but they’re realizing that ZK: Right. I just want to do both, classical and jazz. That’s my by the time kids are that age they’re already at Curtis or Juilliard

40 The Flutist Quarterly Spring 2012 nfaonline.org or something like that, so my teacher and a couple of other What do you think of Emma? musicians in the National Symphony worked to get kids that ZK: Great! Really, seriously, your performance yesterday was are younger in there, and I got accepted! just so clean and fantastic. It really was.

Do you know what you’re going to get to do? You guys both sounded really good. Did any of the kids who ER: I think it’s mostly chamber music. I think I’m doing some- were there (for a day of youth activities) come and talk to thing with a harpist and then we’ll see. you afterward? ZK: This one girl came up to me and asked me what the great- Do you play with other people? est piece of advice I had was, and I totally drew a blank. I even- ZK: Well, since I play jazz, we have our quartet that I play with, tually gave an answer, but I don’t think it was a very good and then we have church, where I’m the choir accompanist. I answer. really want to play the Mozart flute and harp concerto, and want to get to know string players so we can do trios and stuff; Now that you’ve had time to think, do you have any advice I think that would be fun. for young flutists? ZK: Stay very levelheaded and don’t get ahead of yourself. Is your jazz group kids or adults? Even if you’re a novelty, you still have to keep very levelhead- ZK: No no, they’re oldies. ed and just keep practicing and the etudes and everything else really pays off. You just have to keep doing it. What do you mean by oldies? ZK: Oh, 40, maybe? We play at bars, and I drink my lemonade What about you, Emma? while they drink scotch. ER: I agree with the practicing thing. I was playing with the Dallas Symphony last year, and on the last concert I got really You also play piano? What about other instruments? sick. It was actually pretty bad. But since I had practiced so ZK: Piano and piccolo. I’m self-taught on the piano, and though hard, muscle memory got me through it. > I can’t play a piano concerto, if I have an arrangement of a piece, I can improvise the rest to go with singers, and that’s a useful skill. Rebecca Johnson is flute professor at Eastern Illinois University and second flutist of the orchestra Sinfonia da Camera. She ER: I really stink at the piano, but sometimes I just play holds a DMA degree from the University of Illinois. around with it. I used to take piano lessons, but I didn’t really want to take the lessons, so I kind of quit. Mom said we could take summer vacation off, but that’s lasted like two years! For the National Symphony Youth Fellowship program, there’s a theory test, and I know enough to help with bass clef and such.

Who inspires you? ER: Sue Hoeppner. When I was younger, I always used to like her CDs, so I was really excited when I heard that she was going to be at one of those camps I went to.

ZK: I haven’t seen her perform live, but in lessons, Paula Robison’s energy is ridiculous! And I remember when Jim Walker got his lifetime achievement award in Kansas City, and Freeflight was on stage and he ran up the aisle playing the flute. Holly Hofmann, Ali Ryerson—just everybody!

Do you get nervous when you play in front of people? ER: Somewhat, sort of, but it’s just kind of normal now.

What about you, Zach? Do you get nervous? ZK: I just try to keep my cool when I get up there. If you’re really rattled, you’ll play that way.

Emma, what do you think of Zach? ER: You’re a good jazz flutist!

ZK: We didn’t really officially meet until a couple of days ago.

ER: I don’t know…didn’t we have a short interview in New York? Remember that? I think it was us.

nfaonline.org Spring 2012 The Flutist Quarterly 41 he ABELL FLUTE 8DBE6CN Y Specializing in oehm system wooden )utes, headjoints and whi les, handmad in grenadill% and erling silve . % $ Y Grovewood Road Asheville, C8 JH6 KD>8: ;6M www.abellflute.com -IYAZAWAs(AYNES -URAMATSUs!LTUS (AMMIGs!RISTA 'RENADITTE.EW6OICE +OTATOs4OM'REEN 6ERTICAL3WAN(EADJOINTS !ZUMIs!VANTIs,YRIC *UPITERsDI-EDICI 29 !MADEUSs%MERSON $EAN9ANGs$E&ORD *AMES'ALWAY3PIRIT 4REVOR*AMESs$I:HAO Masterclasses

The following abridged masterclass listing was compiled by Lee Chivers for the National Flute Association, Inc., and its The Flutist Quarterly magazine, and is used by permission. For full and updated information about these and other masterclasses added after publication deadline, consult nfaonline.org. 2012 10 DAY COURSE OF 20TH SUMMER FLUTE CLASS ANTWERP (B) CONSERVATORI- BEYOND THE MASTERCLASS V PERFECTIONMENT Arosa, Switzerland UM MASTERCLASS AT EASTER Los Angeles, CA Salerno, Italy August 5–11, 2012 Antwerp, Belgium July 22–28, 2012 August 17–26, 2012 kulturkreisarosa.ch April 9–13, 2012 beyondthemasterclass.com [email protected] [email protected] aldobaerten.be [email protected] Diego Collino Edmund Wächter; [email protected] Greg Pattillo; Jim Walker; Elisabeth Weinzierl Aldo Baerten Jed Wentz 11TH ANNUAL NEW ENGLAND AREON SUMMER FLUTE 21ST FLUTE SUMMER COURSE BILL CONNINGTON CONSERVATORY SUMMER INSTITUTE WITH WIL OFFERMANS “FOR ALEXANDER TECHNIQUE METROPOLITAN FLUTE Los Altos, CA THE CONTEMPORARY WEEKEND RETREAT FESTIVAL ORCHESTRA July 23–27, 2012 FLUTIST” Hudson Valley, NY Boston, MA areonflutes.com Sayalonga, Spain June 15–17, 2012 July 19–22, 2012 [email protected] August 18–25, 2012 createabalance.org necmusic.edu/ce/metropolitan- Jill Heinke; Kassey Plaha; flutesummercourse.com [email protected] flute-festival-orchestra Amelia Vitarelli Wil Offermans Bill Connington [email protected] ARIA INTERNATIONAL SUM- Paige Dashner Long THE 23RD SIR JAMES GALWAY MER ACADEMY BLUE LAKE FINE ARTS CAMP FLUTE FESTIVAL 2012 South Hadley, MA Twin Lake, MI 14TH ANNUAL SUMMER FLUTE Weggis, Switzerland June 23–August 11, 2012 June 27–August 19, 2012 RETREAT, ILLINOIS VALLEY July 20–28, 2012 ariaacademy.com bluelake.org COMMUNITY COLLEGE www.jamesgalway.com [email protected] Leonard Garrison; Susan Hayes; Peru, IL [email protected] Bonita Boyd; Damian Bursill-Hall; Rita Linard; Danilo Mezzadri; June 24–30, 2012 James Galway; Jeanne Galway Marianne Gedigian; Réné Miska opus111musicstudio.com Christina Jennings; [email protected] ADULT FLUTE CHOIR CAMP Jonathan Keeble; Marya Martin; BOSTON UNIVERSITY Rachel Bailey; Gerald Carey; AT INTERLOCHEN Judith Mendenhall; Alexa Still; TANGLEWOOD INSTITUTE Susan Gillio; Ellen Huntington Interlochen, MI Linda Toote; Keith Underwood Lenox, MA July 9–14, 2012 July 1–August 11, 2012 interlochen.org ARIZONA FLUTE SOCIETY 2011 JULIUS BAKER FLUTE bu.edu/cfa/tanglewood [email protected] Phoenix, AZ MASTERCLASSES [email protected] Jane Berkner June 6–9, 2012 Danbury, CT azflutes.org Joanna Goldstein; Linda Toote July 29–August 3, 2012 ALI RYERSON JAZZ FLUTE [email protected] wcsu.edu/summermusic MASTER CLASS Mary Karen Clardy BOSTON UNIVERSITY [email protected] Carmel Valley, CA TANGLEWOOD INSTITUTE Sandra Church; Tadeu Coelho; August 12–17, 2012 ART OF BEATBOXING, THE FLUTE WORKSHOP Bradley Garner; Susan Hoeppner; hiddenvalleymusic.org Ann Arbor, MI Lenox, MA Trudy Kane; Jeffrey Khaner; [email protected] June 28–30, 2012 June 17–30, 2012 brandyhudelson.com Marina Piccinini; Gary Schocker Ali Ryerson bu.edu/cfa/tanglewood [email protected] [email protected] Brandy Hudelson Linda Toote 2012 IMANI WINDS CHAMBER ALTO AND BASS FLUTE MUSIC FESTIVAL RETREAT: CHAMBER MUSIC ASHEVILLE FLUTE VACATION BOWDOIN INTERNATIONAL New York City, NY Boulder, CO Asheville, NC MUSIC FESTIVAL June 22–26, 2012 May 14–20, 2012 July 29–August 7, 2012 Brunswick, ME altoflute.net ashevilleflute.com imaniwindsfestival.com June 23–August 4, 2012 [email protected] [email protected] [email protected] bowdoinfestival.org Christine Potter Deborah Heller; Lea Kibler Valerie Coleman; Paula Robison [email protected] ANATOMY OF SOUND BAYLOR FLUTE SEMINAR Randy Bowman 20TH SUMMER FLUTE CLASS FLUTE WORKSHOP - Waco, TX Blonay, Switzerland 10TH ANNIVERSARY June 3–9, 2012 BUILD YOUR OWN FLUTE July 28–August 4, 2012 Ann Arbor, MI baylor.edu/busmc/index.php?id= Richmond, VT weinzierl-waechter.de June 2–5, 2012 43152 August 20 – September 29, 2012 [email protected] music.umich.edu/adultprograms [email protected] landellflutes.com Edmund Wächter; [email protected] Francesca Arnone; [email protected] Elisabeth Weinzierl Amy Porter; Paula Robison Marianne Gedigian; Jim Walker Jonathon A. Landell

44 The Flutist Quarterly Spring 2012 nfaonline.org BUILD YOUR OWN HEAD JOINT FLUTE INTENSIVE FREDONIA SUMMER MUSIC INTERHARMONY INTERNA- Richmond, VT Ann Arbor, MI FESTIVAL TIONAL MUSIC FESTIVAL July 23–27, 2012 June 20–23, 2012 Fredonia, NY Tuscany, Italy June 25–29, 2012 brandyhudelson.com June 24–30, 2012 July 4–29, 2012 landellflutes.com [email protected] fredonia.edu/music/festival interharmony.com [email protected] Brandy Hudelson [email protected]; [email protected]; Jonathon A. Landell [email protected] [email protected] FLUTE MASTERCLASS Susan Royal Francesca Arnone; CAMPUS FALAUT ITALY IN MALTA Jonathan Baumgarten; Sue Cava de’ Tirreni, Italy Valletta, Malta Ann Kahn; Mihoko Watanabe August 28–September 2, 2012 June 24–July 8, 2012 GARNER MALIBU FLUTE CLASS aldobaerten.be vfimf.com/master-classes Malibu, CA INTERLOCHEN ARTS CAMP [email protected]; [email protected] July 1–8, 2012 Interlochen, MI [email protected] Rita D’Arcangelo cincyflute.com June 23–August 6, 2012 Aldo Baerten [email protected] camp.interlochen.org FLUTE OVERHAUL Bradley Garner [email protected] CAMPUS INTERNAZIONALE TECHNIQUES Virginia Crabtree; Martha Fabrique; DI MUSICA David Fedele; Jill Heyboer; Sermoneta, Italy Richmond, VT GARY SCHOCKER JULY 2012 July 18–26, 2012 July 16–20, 2012 SUMMER MASTER CLASS Tallon Perkes June 18–22, 2012 Hudson Valley, NY campusmusica.it INTERLOCHEN FLUTE [email protected] landellflutes.com July 10–15, 2012 INSTITUTE Peter-Lukas Graf [email protected] garyschocker.com Interlochen, MI Jonathon A. Landell [email protected] June 16–22, 2012 CAPE COD FLUTE INSTITUTE Gary Schocker Falmouth, MA FLUTE PADDING TECHNIQUES camp.interlochen.org/program/ Richmond, VT flute-institute July 5–8, 2012 GARY SCHOCKER WINTER capecodfluteinstitute.jimdo.com June 11–15, 2012 [email protected] FLUTE RETREAT [email protected] July 9–13, 2012 Judith Mendenhall; Paula Robison; Marco Granados; Stephanie Jutt; landellflutes.com Hudson Valley, NY Nancy Stagnitta Paula Robison; Michelle Stanley [email protected] March 9–11, 2012 Jonathon A. Landell garyschocker.com INTERNATIONAL FLUTE CONTEMPORARY FLUTE [email protected] SUMMER COURSES WORKSHOP FLUTE! HIGH SCHOOL Gary Schocker Pucisca, Croatia Ann Arbor, MI MASTERCLASS AT UNT 2012 July 20–30, 2012 June 7–9, 2012 Denton, TX GARY SCHOCKER, FLUTE, AND music-school-pucisca.com [email protected] brandyhudelson.com June 6–10, 2012 JASON VIEAUX, GUITAR, JUNE Luisa Sello [email protected] FLUTE! FUNDAMENTALS FOR 2012 MASTER CLASS Brandy Hudelson TEACHERS AT UNT 2012 Hudson Valley, NY INTERNATIONAL LUISA SELLO’S Denton, TX June 19–24, 2012 EAST TENNESSEE SUZUKI FLUTE FLUTE MASTERCLASS June 11–15, 2012 garyschocker.com INSTITUTE INTERNATIONAL St. Paul Im Lavanttal, Austria FLUTE! REPERTOIRE AND [email protected] August 2–8, 2012 Johnson City, TN PERFORMANCE MASTERCLASS June 24–29, 2012 Gary Schocker sommerkurse-st-paul.at/intro.html AT UNT 2012 [email protected] einstein.etsu.edu/csci/suzuki Denton, TX GRUMO FESTIVAL Luisa Sello [email protected] June 22–24, 2012 Joyce Bennett; David Gerry; Bari, Italy FLUTE! IN HAWAII 2012 INTERNATIONAL MUSIC Rebecca Paluzzi; Wendy Stern; July 2–7, 2012 Honolulu, HI ACADEMY OF BELGIUM Toshio Takahashi grumofestival.com July 5–9, 2012 Dinant, Belgium FLUTE! AT CRESTED BUTTE 2012 [email protected] EURO ARTS GERMANY-COREA August 20–26, 2012 Crested Butte, CO Francesca Arnone; Cologne, Germany aldobaerten.be July 12–16, 2012 Francesca Salvemini July 28–August 6, 2012 [email protected] mkclardy.com aldobaerten.be Aldo Baerten [email protected] HINDHEAD MUSIC CENTRE [email protected]; INTERPRETATION AND [email protected] Mary Karen Clardy FLUTE COURSE Aldo Baerten Surrey, United Kingdom CONTROL FOR THE THE FLUTIST AS SOLOIST & July 19–23, 2012 CONCERT FLUTIST FAIRBANKS SUMMER CHAMBER MUSICIAN hindheadmusiccentre.co.uk Castelnuovo Don Bosco, Italy ARTS FESTIVAL Brookville, NY [email protected] September 2–3, 2012 Fairbanks, AK July 10–19, 2012 Paul Edmund-Davies; clarawieckacademy.com July 15–29, 2012 liu.edu/cwpost/svpa/music/festival Helen Grange; Susan Milan; [email protected] fsaf.org [email protected] Stephen O’Regan; Nina Robertson Marlaena Kessick [email protected] Susan Deaver John Barcellona; Dorli McWayne IOWA PICCOLO INTENSIVE FORUM FLUTE AND PIANO INSPIRATION AND PRAISE Iowa City, IA FLUTE MASTERCLASS FLORIDA FLUTE WORKSHOP Diekirch, Luxembourg May 29–June 1, 2012 DeLand, FL July 20–29, 2012 Greenville, SC iowapiccolointensive.com/iowapic- June 26–30, 2012 forumflutepiano.com June 11–15, 2012 colointensive.com/Welcome.html stetson.edu/music/events [email protected] tempoprimoenterprises.com [email protected] [email protected] Philippe Benoit; Anne- [email protected] Matjaz Debeljak; Zart Dombourian- Nancy Clew; Lindsay Hager; Catherine Heinzmann; Carlo Jans; Amanda Barrett; Tadeu Coelho; Eby; Nicole Esposito; Deborah Heller; Susan McQuinn Matej Zupan Irna Priore Nicola Mazzanti

nfaonline.org Spring 2012 The Flutist Quarterly 45 2012 Masterclasses JILL FELBER AT MARROW- LUISA SELLO ADVANCED NETHERLANDS FLUTE OXFORD FLUTE SUMMER STONE MUSIC FESTIVAL FLUTE MASTERCLASS ACADEMY SCHOOL Bellingham, WA Mistelbach, Austria Arnhem, Netherlands Oxfordshire, United Kingdom July 22–August 5, 2012 August 12–19, 2012 July 15–22, 2012 August 19–24, 2012 marrowstone.org karinreda.com neflac.nl OXFORD FLUTE SUMMER Jill Felber [email protected] [email protected] SCHOOL, ADVANCED CLASS Furuh Karimi-Zadeh; Karin Reda; Emily Beynon; Jeroen Bron; Oxfordshire, United Kingdom JILL FELBER IN FLORENCE Luisa Sello Wieke Karsten August 17–24, 2012 oxford-flutes.co.uk Florence, Italy NEW ENGLAND MUSIC CAMP, MARINA PICCININI [email protected] July 1–11, 2012 FULL SESSION INTERNATIONAL FLUTE Sam Coles; Michael Cox; [email protected] Sidney, ME MASTERCLASSES Kate Hill; Katherine Kemler Jill Felber Baltimore, MD June 24–August 13, 2012 nemusiccamp.com June 15–20, 2012 PANORAMIC FLUTIST JUNIOR STUDENT SEMINAR [email protected] peabody.jhu.edu/piccininimc Boulder, CO Estes Park, CO Leslie Marrs; Sarah Schettler [email protected] May 29–June 1, 2012 June 12–24, 2012 Kristin Bacchiocchi-Stewart; music.colorado.edu/flute/ rockyridge.org Brook Ferguson; Marina Piccinini NEW ENGLAND MUSIC CAMP, FIRST SESSION panoramic-flutist [email protected] Sidney, ME [email protected] Claudia Anderson MINNESOTA FLUTE CAMP Duluth, MN June 24–July 23, 2012 Leone Buyse; Marianne Gedigian; June 1–2, 2012 nemusiccamp.com Christina Jennings KEITH UNDERWOOD FLUTE [email protected] MASTERCLASS [email protected] Mary Karen Clardy; Lorie Scott Leslie Marrs; Sarah Schettler PASSION FLUTE IV: Carmel Valley, CA FOUNDATIONS FOR July 8–13, 2012 NEW ENGLAND MUSIC CAMP, MONTECITO INTERNATIONAL CREATIVE PERFORMING hiddenvalleymusic.org SECOND SESSION CHAMBER MUSIC FESTIVAL Cedar Falls, IA Sidney, ME [email protected] Santa Barbara, CA July 17–21, 2012 July 23–August 13, 2012 Keith Underwood July 16–August 4, 2012 uni.edu/music/events/passion_ nemusiccamp.com montecitomusicfestival.com flute/registration.html [email protected] KEITH UNDERWOOD FLUTE [email protected] [email protected] Leslie Marrs; Sarah Schettler MASTERCLASS Martin Glicklich; Nancy Stagnitta Claudia Anderson; Jill Felber; Abiquiu, NM Angeleita Floyd; Nicole Molumby NORTHERN CALIFORNIA August 13–18, 2012 MONTGOMERY MASTER FLUTE CAMP CLASS FOR FLUTISTS PENDER ISLAND FLUTE taoschambermusicgroup.org/ Carmel Valley, CA College Park, MD RETREAT WITH WILLIAM masterclass July 21–29, 2012 July 28–August 5, 2012 BENNETT AND LORNA [email protected] flutecamp.com [email protected] MCGHEE Keith Underwood [email protected] William Montgomery; Michelle Caimotto; British Columbia, Canada LAMONT SCHOOL OF MUSIC Kathleen Trahan Karen Johnson; Nina Perlove; June 30–July 7, 2012 SUMMER PRE-COLLEGE Tomiko Tsai; Karen Van Dyke; fluteretreat.com MOZARTEUM INTERNA- ACADEMY Gary Woodward [email protected] TIONALE SOMMERAKADEMIE Denver, CO William Bennett; Gwen Klassen; Salzburg, Austria June 17–July 1, 2012 NOW AND PRESENT FLUTE Lorna McGhee August 13–25, 2012 du.edu/lamont/summeracademy SEMINAR [email protected] PERFORM CONFIDENTLY [email protected]; Annandale-on-Hudson, NY Peter-Lukas Graf Little Switzerland, NC [email protected] June 14–19, 2012 June 23–30, 2012 Pamela Endsley k-c-p.com/pspencer MPULSE—PERFORMING ARTS [email protected] PERFORM CONFIDENTLY SUMMER INSTITUTE Patricia Spencer FROM INSIDE OUT LONG BEACH FLUTE Ann Arbor, MI Barcelona, Spain INSTITUTE ADULT July 1–14, 2012 OBERLIN FLUTE INTENSIVE March 23–25, 2012 FLUTE DAY music.umich.edu/mpulse WORKSHOP PerformConfidently.com [email protected] Long Beach, CA Oberlin, OH [email protected] Amy Porter June 30, 2012 July 20–22, 2012 Helen Spielman darrinthaves.com/camp.html THE MUSIC ACADEMY OBERLIN FLUTE ACADEMY [email protected] PERFORM WITH CONFIDENCE OF THE WEST SUMMER Oberlin, OH John Barcellona; Oaxaca, Mexico SCHOOL AND FESTIVAL July 25–29, 2012 Rena Urso-Trapani July 20–26, 2012 Santa Barbara, CA new.oberlin.edu/conservatory/sum June 15–August 11, 2012 wp.me/p1v1Ek-pc LONG BEACH FLUTE mer/flute-institute/ musicacademy.org [email protected] [email protected] INSTITUTE SUMMER [email protected] Alexa Still Helen Spielman DAY CAMP Jeanne Baxtresser; Timothy Day Long Beach, CA OHIO STATE UNIVERSITY PREPARING June 26–30, 2012 MUSICA RESERVATA FLUTE WORKSHOP FOR EMPLOYMENT darrinthaves.com/camp.html Brugge, Belgium Columbus, OH Boston, MA [email protected] July 21–28, 2012 June 17–21, 2012 May 30–June 6, 2012 John Barcellona; Katie Cox; aldobaerten.be music.osu.edu trevorwyeboston.com Kathleen Dyer; Darrin Thaves; [email protected] [email protected] [email protected] Rena Urso-Trapani Aldo Baerten Katherine Borst Jones Trevor Wye, Linda Toote

46 The Flutist Quarterly Spring 2012 nfaonline.org PRIVATE TEACHER TRAINING SKIDMORE FLUTE INSTITUTE THOMAS ROBERTELLO uwyo.edu/faoutreach/summer- SEMINAR Saratoga Springs, NY FLUTE MASTERCLASSES music-camp/index.html Chicago, IL July 29–August 4, 2012 IN BEIJING, CHINA [email protected] July 14–17, 2012 cms.skidmore.edu/odsp/programs/ Beijing, Republic of China Nicole Riner [email protected] arts/flute/index.cfm April 1–14, 2012 Thomas Robertello [email protected] [email protected] UTSA FLUTE CAMP Jeffrey Khaner; Jan Vinci; Thomas Robertello San Antonio, TX PROJECT: THE CAMP Mark Vinci Bay View, MI June 11–15, 2012 TIBOR VARGA SUMMER June 18–June 23, 2012 SUMMER ACADEMY OF MUSIC music.utsa.edu/flutecamp MUSIC ACADEMY projecttrio.com Cracow, Poland [email protected] [email protected] August 27–31, 2012 Sion, Valais, Switzerland Jeanne Gnecco; Kristin Hayes; Greg Pattillo [email protected] July 30–August 4, 2012 Rita Linard; Rebecca Murphy Peter-Lukas Graf amsion.ch RED LODGE MUSIC FESTIVAL [email protected] VCM SUMMER FLUTE Red Lodge, MT SUMMER COMPOSITION Frédéric Berteletti; ACADEMY June 2–10, 2012 COURSE IN CROATIA José-Daniel Castellon Victoria BC, Canada rlmf.org Milna, Croatia August 14–24, 2012 [email protected] July 14–25, 2012 TOTALLY FLUTE FORUM vcm.bc.ca Leonard Garrison; Sue Makeever upbeat.hr Madison, WI [email protected] [email protected] July 26–29, 2012 Mary Byrne; Richard Volet ROBERT DICK/PAUL TAUB Joel Hoffman fabulousflute.com FLUTE MASTERCLASS [email protected] SUMMER FLUTE ACADEMY WHITE MOUNTAIN FLUTE Seattle, WA Alberto Almarza; Patricia George; July 30–August 4, 2012 Victoria, BC, Canada CONSERVATORY ADULT Stephanie Jutt cornish.edu/summer/music August 14–24, 2012 FLUTE WEEKEND [email protected] vcm.bc.ca White Mountains, NH TREVOR WYE MASTER CLASS Robert Dick; Paul Taub [email protected] July 20–22, 2012 Mary Byrne; Richard Volet Taipei, Taiwan judybraude.com SANTA FE FLUTE IMMERSION August 2–9, 2012 [email protected] Santa Fe, NM SUMMER FLUTE CLASS [email protected] Judy Braude; Beverly Pugh June 25–July 2, 2012 Monterey, CA Trevor Wye June 24–28, 2012 ihmretreat.com WHITE MOUNTAIN FLUTE patriciaharper.com TREVOR WYE’S INTERNATIONAL [email protected] CONSERVATORY JR/SR HIGH [email protected] FLUTE SUMMER COURSE Susan Levitin; Linda Marianiello; SCHOOL CLASS Patricia Harper Tonbridge, United Kingdom Michael Parloff White Mountains, NH August 22–30, 2012 SUMMER FLUTE July 23–27, 2012 SARASOTA MUSIC FESTIVAL flutesummercourse.co.uk EXPERIENCE 2012 judybraude.com FLUTE MASTER CLASSES [email protected] Akron, OH [email protected] Sarasota, FL Rachel Brown; Juliet Edwards; June 4–21, 2012 July 23–26, 2012 Judy Braude; Beverly Pugh sites.google.com/site/neofasite Patricia Morris; Julie Wright; sarasotaorchestra.org Trevor Wye [email protected] [email protected] WILDACRES FLUTE RETREAT Leone Buyse; Thomas Robertello; Jane Berkner; Eric Charnofsky; Little Switzerland, NC George Pope; Rich Shanklin UCF SUMMER FLUTE & Carol Wincenc PICCOLO INSTITUTE June 23–30, 2012 SUMMER FLUTE MASTERCLASS Orlando, FL wildacresflute.com SAVONLINNA SUMMER COURSE [email protected] Savonlinna, Finland FEATURING THE DAHLIA FLUTE June 18–22, 2012 DUO music.cah.ucf.edu/camps/flute.php Bradley Garner; Amara Guitry; June 30–July 8, 2012 Göran Marcusson; Lea Pearson; savonlinnankesayliopisto.net/info/ West Hartford, CT [email protected] August 13–17, 2012 Nora Lee García-Velázquez; Stephen Preston; Joy Sears; in-english.html Helen Spielman; [email protected]; TheDahliaFluteDuoSummer Lois Herbine; Deirdre Manning; Norman Thibodeau [email protected] Masterclass.com Ashley Mudge Camilla Hoitenga [email protected] Mary Matthews; UNIVERSITY OF WISCONSIN- WILLIAM BENNETT THE SCOTTISH INTERNATION- Melissa Wertheimer WHITEWATER HIGH SCHOOL INTERNATIONAL FLUTE AL FLUTE SUMMER SCHOOL FLUTE CAMP SUMMER SCHOOL St. Andrews, United Kingdom SUMMERFLUTE: MUSIC- Whitewater, WI Bruges, Belgium July 24–30, 2012 MOVEMENT-MIND July 8–13, 2012 July 24–August 1, 2012 flutescotland.co.uk Columbus, GA uww.edu/conteduc/camps/flute williambennettflute.com [email protected] June 25–29, 2012 [email protected] [email protected] [email protected] Wissam Boustany; Ian Clarke; Robin Fellows; Eliza Bangert; William Bennett; Michie Bennett; Amy Likar; Stacey Pelinka; Lis Dooner; Peter Lloyd; Rosemary Bennett; Meret Bitticks; Denis Bouriakov; Vytenis Gurstis; Liisa Ruoho Ruth Morley Morgann Davis; Shanna Gutierrez; Zoia Vyazovskaya Liz Marshall; Chelsea Rammelt; SEWANEE SUMMER SUONARE IN ITALIA Kim Sopata; Joelle Willems YOUNG ARTIST SEMINAR MUSIC FESTIVAL (PLAY MUSIC IN ITALY) Estes Park, CO Sewanee, TN Assisi, Italy June 26–July 29, 2012 June 23–July 22, 2012 June 13–20, 2012 UNIVERSITY OF WYOMING sewaneemusicfestival.org playmusicinitaly.com SUMMER MUSIC CAMP rockyridge.org [email protected] [email protected] Laramie, WY [email protected] Patricia George Jane Berkner; Bonita Boyd June 10–16, 2012 Claudia Anderson

nfaonline.org Spring 2012 The Flutist Quarterly 47 Leone Buyse was principal flute of Bos- ton Symphony, now on faculty of Rice University. She has six CDs on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid playing and a glis- tening recording” Fanfare. CD319: Rivier Revisited. Chamber Mu- CD314: Love Letters. David Shostac, flute. Borne, Carmen Fantaisie; Kosins, Love sic for Flute by Jean Rivier. “loaded with charm” Fanfare. Letters & Winter Moods; plus Boehm, Dinicu, & Debussy. Shostac is principal Los CD356: Tour de France. Music by Fauré, Saint-Saëns, Bizet, & Angeles Chamber Orch. “outstanding fluent technique” BBC Music Mag. Debussy, “A charming entertainment.” Fanfare. CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- CD357: World Wide Webster. Dvorak, Debussy, Brahms, & cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle Gottschalk. W/Michael Webster, clarinet; & Robert Moeling, piano. Symphony. “nothing short of amazing.” American Rcd. Guide. CD715: Dedicated to Barrère. Music composed for celebrat- CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas ed flutist Georges Barrère, by Caplet, Woollett, Gaubert, Seitz, by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- Lacroix, Lefort, and Damaré. “marvelous recording” Flute Talk. formed with rare sympathy and expertise.” Fanfare. CD716: Dedicated to Barrère, Vol. 2. Leone Buyse w/Martin CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Taffa- Amlin, piano; & Paula Page, harp. Griffes, Poem; Varèse, Density nel, Fantaisie; Griffes, Poem; plus Dzubay, Van Brink, & Zupko. Robertello: faculty of 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, Indiana University; previously: Pittsburgh & National Sym., Cleveland Orchestra. Sonatine and Invocation. Also De Lorenzo, Kriens, Jacquet. CD714: Flute Agréable. April Clayton, flute. Sonatines by Dutilleux, Francaix, CD710: Wind Effusions. Danilo Lozano, Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ ” Musicweb. Flute; David Muller, Bassoon. Duos by CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, Villa-Lobos, Schröder, Gabaye, Jan Bach, & High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- Bozza; solos by Piazzolla & Osborne. Lozano: ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. founding member of Hollywood Bowl Orch. CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. Muller is former princ. Mexico City Phil. Music by Sawai, Yamamoto, Hirai, Miyagi. “quite beautiful” Amer. Record Guide. CD354: Weiss Family Woodwinds. CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Wood- Dawn Weiss, flute; David, oboe; Abraham, wind Quintet. Ten Waltzes; From the Animal Kingdom; From the Plant World (all for bassoon. Trios by Svoboda, Worthey, and flute and piano); Serenade and Th. & Variations (for woodwind quintet). “Blumer’s lush style reminds me of Vivaldi, plus Messiaen, Le Merle Noir (flute Richard Strauss. Fine flute playing; [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. & pa.), Hindemith, & Bourdeau. Dawn was CDs $16.95 each. U.S. Shipping: $2./order; foreign: $10/order. solo flute Oregon Symphony for 25 years. ® Visit www.crystalrecords.com to see all CRYSTAL RECORDS [email protected] listings, hear sound samples, & order. 28818 NE Hancock Road, Camas, WA 98607 USA • phone 360-834-7022 Across by Dolores August the Miles News about flute club and flute choir activities throughout the United States

The Chicago Flute Club began Schild, performed works by Saint-Saens, McMichael, and its 2011–2012 season with a others. The Honors Flute Choir, under of the direction of workshop and performance by Danielle Schulman, is a student flute choir consisting of Ian Clarke, who had partici- advanced-level flutists nominated by their teachers. The pants growling and singing into concert concluded with combined flute choirs performing their flutes, playing chords with Let There Be Peace on Earth by Ricky Lombardo. On themselves, and enjoyably November 19, the LIFC held the 23rd Annual LIFC Flute learning how to play extended Festival at Gelinas Jr. High School in Setauket, New techniques. The workshop York. The day featured solo masterclasses and ensembles Mary Stolper ended with audience members for students of all ages, a performance by the Hofstra Flute performing a quartet using the skills Clarke had taught Choir under the direction of Pat Spencer, and a concert them. The club celebrated “The Unconventional Flute” for by flutist Tara Helen O’Connor, who performed the its 2011 Flute Festival. More than 300 flutists visited work- Schulhoff Sonata for Flute and Piano, the Dutilleux shops, competitions, recitals, and exhibition tables. Among Sonatina, Righteous Babe by Randall Woolf, and the Carl the events were two high-energy jazz concerts with Jim Vine Sonata. The event closed with all festival participants Walker & Free Flight, a comparison of varied flutes in the and instructors performing the Gounod-Bach Meditation. concert “Music around the Globe,” a performance of three In what has become a yearly tradition, the LIFC Holiday world premieres at a contemporary concert, and a dialogue Flute Choir, under the direction of Lauren Osnato, per- about “Building Flutes in the 21st Century” led by current formed concerts of seasonal music December 3 at the innovative flute builders. Philip Dikeman, former acting United Methodist Church of Lake Ronkonkoma and principal flute in the Detroit Symphony and currently on the December 4 in the Red Ballroom at Old Westbury faculty at Vanderbilt University, presented a masterclass and Gardens. The spring season will feature a recital of the recital in March. Dikeman, with broad experience as both a winners of the LIFC High School and College symphonic player and conservatory teacher, advised partici- Competitions and a recital by Judith Mendenhall May 6 in pants about career cross-over and how to plan for a future in the Red Ballroom at Old Westbury Gardens. For more the music business. The season will draw to a close with a information, visit longislandfluteclub.org. workshop and recital with Chicago flutist and teacher Mary Stolper and a member showcase concert. The Hot Springs Flute Ensemble, under the direction of Kristin Grant, performed its annual “Old & New Renaissance” fall concert in the outdoor Pavilion of Garvan Woodland Gardens on September 15, 2011. The event this year included uninvited audience members: a muster of peacocks, positioned strategically (and unfortunately) above the flutists during the performance. Executive Director Jackie Flowers has invited her dog to the 2012 event.

Directed by flutist Pamela Ravenelle, Magic Flutes Flute Orchestra will perform four concerts, all in California, during the spring and summer: at the Menlo Park Presbyterian Church in Menlo Park; at the Sequoias in The Long Island Flute Club Portola Valley; for its annual spring concert at St. Matthew’s Catholic Church in San Mateo; and at the The Long Island Flute Club kicked off its 28th season International Flute Festival at the San Francisco October 30, 2011, with a recital featuring the LIFC Conservatory of Music. Programs will include Espana by Professional Flute Choir and the LIFC Honors Flute Choir. Chabrier, Peer Gynt by Grieg, Overture to “The Magic The Professional Flute Choir, under the direction of Debra Flute” by Mozart, and others.

nfaonline.org Spring 2012 The Flutist Quarterly 49 SPOTLIGHT ACROSSTHE MILES Texas Flute Society The Texas Flute Society is a North The Arizona Flute Society Flute Festival and Competition Texas-area, nonprofit organization. was held at Phoenix College in November 2011. Winners Originally called The Texas Flute Club, were Supriya Weiss (debut), Ruth Lee (junior), Kaela Walker the Society was founded in 1974 by (senior), Jordan Pearson (college), and Derek Cochran George Morey and Joe Tallal to bring (adult). In January, a masterclass taught by Arizona flute together flutists and flute lovers of all teachers Christina Steffen and Katrina King was held for high ages in the North Texas community. school students competing for places in regional and all state During its first year, organizational Myrna Brown bands. On February 12, Alla Breve flute choir held a concert meetings were held throughout the at Beatitudes Campus Life Center directed by composer Dallas-Fort Worth metroplex with Tallal serving as the first presi- Melvin Lauf, whose compositions were also played in the per- dent. At the end of the first year, the Texas Flute Club hired a small string orchestra and sponsored an inaugural concert featuring area formance. June 13–16 are the dates for the AFS flute camp, flutists. The club continued to grow during its second year, and in which will feature guest artist Mary Karen Clardy. spring 1976 many members formed a flute choir that performed under Morey’s direction at the Texas Music Educator’s Convention Winners of the Central Ohio in Dallas. As the third year commenced, meetings continued to Flute Association’s 2011 competi- inform area flutists on a variety of topics. Under the leadership of tion last April will perform for the third president, Myrna Brown, plans began for the club’s first guest artist Jean Ferrandis, who flute festival, which premiered in 1977 with 100 flutists in atten- will teach a masterclass and per- dance. Since then, the society has seen a significant growth, with form a recital with Dianne Frazer more than 2,000 flute enthusiasts attending the annual festival. at the annual Flute Festival April The society has 400 members including students, teachers, and adults (amateur and professional flutists), as well as commercial 14. Other activities include a flute members, patrons, and friends. Throughout the year, the Texas choir showcase concert, exhibits, a Flute Society hosts varied fall and spring events. The Texas Flute morning warm-up, and other Jean Ferrandis Festival, the centerpiece of the organization’s activities, consists of clinics and performances. Winners concerts, recitals, masterclasses, and workshops providing flutists of the 2011 Junior Division Competition were Clara Fishlock of all levels the opportunity to play for and receive feedback from (first), Elena Olshin (second), and Henry Woolf (third). a clinician and flute choirs of beginner, intermediate, and advanced Winners of the Senior Division were Audrey Watkins (first), levels to rehearse and perform short concerts. Two exhibit halls Justine Chu (second), and Mary Hartwick (third). Winners of house international exhibitors with flutes, flute merchandise, sheet the Collegiate Division were Erin O’Shea (first), Kari Boyer music, CDs, and other items. (See “Across the Miles” for more (second), and Rachel Lynn Smith (third). Winners of the details on the 2012 festival in May.) Young Artist Division were Jessica Leeth (first), Cheryl Lim For more information, visit texasflutesociety.org, or e-mail the (second), and Robert Shane Paul (third). president, Heidi Kay Begay, at [email protected]. Spotlight profiles active flute clubs and choirs. Articles are assigned in advance, but we welcome queries from active organizations for consideration. Contact Dolores August for information.

Felber, second from right, with members of the Raleigh Area Flute Association. The Nashua Flute Choir The Raleigh Area Flute Association hosted Jill Felber and pianist Dianne Frazer for its annual Flute Fair on November 12, 2011. A Collaborations Concert February 26 featured The Nashua Flute Choir began its 29th annual concert sea- works for flute and other instruments or media performed by son with two Autumn Bouquet concerts held in October RAFA’s professional flutists. The University of North Carolina 2011 in Danvers and North Andover, Massachusetts. This 18- at Chapel Hill and RAFA will present Lebanese/British flutist member ensemble, led by Eileen Yarrison in her 15th season Wissam Boustany for a weekend of masterclasses and concerts with the group, presented such favorites as America the March 16–18. The weekend will culminate with a concert fea- Beautiful, arranged by Kelly Via, and Sousa’s Liberty Bell turing Boustany with Polish/British pianist Aleks Szram March. New music included Di Rayze Nokh Amerika arranged performing the entire concert, including two U.S. premieres, by Klezmer flutist Adrienne Greenbaum and Eventide from memory. Visit raleighflutes.org. Soliloquy by Paige Dashner Long. Audience survey feedback

50 The Flutist Quarterly Spring 2012 nfaonline.org indicated that favorites were Abfahrt einer Dampflokomotive a 50-minute showcase of works as part of the festival. In (Departure of a Steam Engine) by Tilo Medek and Tropical December, board members of GCFS played at Lakewood Flute Punch by Jonathan Cohen. The NFC’s Christmas concert Congregational Church and the First Unitarian Church of was a collaboration with youthful dancers from the Kathy Cleveland for their Sunday worship services. In January the Blake Studio in Nashua, New Hampshire. Ballerinas danced ensemble performed a second “Just Us” recital and presented while the flutes played Martha Rearick’s Excerpts from the a pedagogy roundtable at Lakewood Congregational Church. Nutcracker and modern dancers improvised to Ann Cameron A student flute festival featuring Kimberlee Goodman was Pearce’s African Noel. Performance also featured upper, mid- held in February, and the society will conclude its 2012 pro- dle, and lower flutes in three pieces: Trevor Wye’s arrangement gram in April with the annual Cleveland Composers of Away in a Manger for C flutes; Deborah Andersen’s Winter’s Connection concert. Gifts, played by an alto flute quartet; and I Wonder as I Wander for three basses and contrabass flute by Claudia Bissett. On The Raleigh Flute Choir celebrated its 25th anniversary, first March 18, the choir performs a world premiere: Charcoal by adding two new accomplished members, bringing the Landscape for solo cello and flute ensemble by composer/flu- choir’s total to 10, and second by performing selections from tist/harpist Lisa Duke Lamb, with Boston cellist Emmanuel the season of 1986, the choir’s first year, at each of its three Feldman. The Nashua Flute Choir presents four to six concerts major concerts in 2011. A highlight for the choir was per- per season around Massachusetts and New Hampshire and forming at the NFA convention in Charlotte. The music of has been heard at several NFA conventions. Ann Cameron Pearce, one of the choir’s founding members, was presented at the convention and at two other concerts pre- Flutissimo! Flute Choir finished its fall series with its fourth miering new arrangements during the year. The choir provid- annual Susan G. Komen Benefit. The benefit began with the ed fundraising concerts for Stop Hunger Now and the diagnosis four years ago of breast cancer for a member of the Hurricane Irene Relief Fund. Closing out this anniversary choir and has continued since that time adding new names to year, founding members Pearce and Rosene Rohrer supplied an already lengthy list. The fall highlighted colors in “The silver monogrammed pencils for audience members at the Sounds of Color,” which featured Samantha Cooke’s “Purple choir’s annual Christmas concert at the North Carolina Earth,” Burnett’s “Stained Glass Images,” and others. The high- Museum of Art. light of the series was being selected to play a lobby performance in the Meyerson Symphony Center for Sir James Galway’s appearance with the Dallas Symphony. The choir gave Christmas performances at local libraries and senior centers. The spring series is titled “Planes, Trains, and Automobiles.”

Quad City Flutes Unlimited performed its fall concert, “Holiday Harmonies,” with Director Mary Kae Waytenick and Artistic Director Janet Stodd, in Rock Island, Illinois November 8, 2011. Musical selections were included for holidays in each month of the calendar year except September, which was “vacation” (inter- mission). Composers included Leech, Louke, Lombardo, Mozart/Axtell, Via, Sousa, and Tchaikovsky. Quad City Flutes

Unlimited performed the program for the Chicago Flute Festival His Grace Notes Flute Ensemble in Evanston on November 12 and performed two Christmas programs in Moline, Illinois, December 3. His Grace Notes Flute Ensemble (Lansdale , Pennsylvania), in its 21st season, includes current members Dorothy Loffer, The Greater Cleveland Flute Amy Hail, Lisa Baxter, Kristi Moore, Kimberly Bryan, Tracey Society kicked off its season in Mousley, and Nancy Etris. The ensemble performed concerts September 2011 with “Just Us,” a in regional senior communities. The ensemble has recorded its members-only performance and fourth CD, An American Triptych, to be released this fall, recital at the Ahuja Medical reflecting the many diverse expressions of American music Center in Beachwood, Ohio. In throughout American history. The CD is dedicated in memo- November the society hosted riam to Bill Holcombe, who wrote many of the arrangements Alexa Still, associate professor of on the CD and was a long-time friend and supporter of His flute at Oberlin College, who pre- Grace Notes Ensemble. sented a recital and masterclass in what was Still’s first perform- The Woodbridge Flute Choir, located in Northern Virginia Alexa Still ance in Northeast Ohio. Also in and directed by Debbie Gilbert and assisted by Lisa Sheldone, November, the Erie Waters Flute Ensemble (the performing opened its 2011–2012 concert season November 6, 2011, with an arm of GCFS) attended the Chicago Flute Festival and played appearance by guest artist Aaron Goldman, assistant principal HIS GRACE NOTES FLUTE ENSEMBLE PHOTO COURTESY OF NANCY ETRIS

nfaonline.org Spring 2012 The Flutist Quarterly 51 ACROSSTHE MILES flutist of the National Symphony. The concert marked the first May 19. First and second place winners will be awarded $1,000 performance of the choir at the new Hylton Performing Arts and $500, respectively. Visit texasflutesociety.org. Center in Manassas, Virgina. Goldman performed the Francois Borne version of Georges Bizet’s Carmen Fantaisie, The Rochester (New York) Flute arranged for solo flute and flute choir by Mary Jean Simpson. Association featured Amy Porter as The Woodbridge Flute Choir also performed La Garde guest artist for its Flute Fair Montante by Bizet, arranged by Nancy Nourse; Imaginings by November 4–5, 2011. She performed Melvin Lauf, Jr.; and Flautista by John W. N. Palmer, among a recital with pianist Irina Lupines at others. On December 10, the group performed its annual Nazareth College’s Wilmot Hall, Holiday Concert at Greenwich Presbyterian Church in playing music of Martinu, Nokesville, Virginia, as a benefit concert for Farthest Corners, Telemann, Schubert, Griffes, David a nonprofit organization based in Nokesville and Thailand Sampson, and Christopher Caliendo. that provides humanitarian, medical, spiritual, and education- On Saturday, Porter gave a master- al assistance to the displaced people of Burma. Visit mission- class and a workshop called “The forburma.org and woodbridgeflutechoir.org. ABC’s of Flute Playing.” Other fea- Nancy Toff tured events at Flute Fair included Flute Festival Mid-South 2012 will take place March 23–24 on “Gems of the 20th Century Piccolo Repertoire” by Patricia the campus of the University of Alabama in Tuscaloosa, Surman, “Women Composers of the 20th and 21st Centuries” Alabama. Along with recitals and masterclasses given by fea- by the Dahlia Duo, “Legends, Myths and Magic” by Nina tured guest artists Jill Felber and Dianne Frazer, the festival Assimakopoulos, flute choir reading sessions with Alexandra will feature several competitions, additional presentations, Barbato and Rebekah Polvino, and a flute repair workshop by and exhibits. Visit midsouthflute.org. Jeff Dening. Winners of Friday’s Performance Competition, who performed in a winners’ recital at the fair on Saturday, The Texas Flute Society hosted were Kerry Huang (high school); Kate Lemmon free clinics on improving prac- (college/emerging artist); and Joyce Kang (adult). The associ- tice methods and audition ation will host two spring 2012 events. Nancy Toff presented preparation/performance for the lecture “Georges Barrere and the Flute in America” March Dallas/Fort Worth-area high 8 at the Eastman School of Music, and Rhonda Larson will school students preparing for appear in concert April 20 and leading workshops April 21 at the Texas All-State Auditions. the First Unitarian Church. Marina Piccinini will be featured Francesca Arnone hosted a clinic at Flute Fair 2012 November 9–10. Visit rfaonline.org. October 16 discussing three pre- determined etudes of varying The Middle Tennessee State University Flute Choir released Carol Wincenc styles and difficulties. Sir James its first CD, entitled The Silver Sounds of Christmas, Galway presented a masterclass November 12 at Texas December 12, 2011. The CD includes 20 tracks of Christmas Christian University with three performers chosen based on favorites ranging from solo flutes to flutes with choir, flutes recordings submitted to a judging panel in the high school, with voices, and duets. The choir collaborated with the undergraduate, and graduate/adult categories. The 35th Lebanon First United Methodist Church Singers & Ringers Annual Texas Flute Festival will be held on the campuses of and included its new Eva Kingma contrabass flute for this Texas Woman’s University and the University of North Texas, project. The MTSU Flute Studio held its annual flute festival May 17–19. Guest artists include Carol Wincenc, faculty January 28. The festival included a recital, masterclass, and member at the Juilliard School of Music and artist in residence flute-related discussions by guest artist Alexa Still. The day at Stony Brook University; Mark Sparks, principal flutist of also included competitions for high school and junior age stu- the St. Louis Symphony Orchestra; David G. Weiss, New York dents, an orchestral excerpt competition, a flute choir reading City-based performer and recording artist of ethnic wood- session, a session for parents of flutists, and exhibits. winds; and Shauna Kay Thompson, winner of the 2011 Myrna Brown Artist Competition. Ann Vinod, NFA member and past The Colorado Flute Association president of the Texas Flute Society, has been appointed as the welcomes its new board members competition coordinator for the Donna Marie Haire Young and new president, Christine Artist Competition. This new annual competition is funded Potter of Boulder, for the by a charity established by the family of NFA member 2011–2013 term. Potter is an Matthew Haire to continue his mother’s wishes to support internationally recognized alto classical music and encourage the musical development of our and bass flute player and is chair of IRA TOFF

youth. Awarded to the Texas Flute Society in March, this the NFA’s Low Flutes Committee. © national competition is open to all high school flutists, grades The flute association hosted 9 through 12, or equivalent, during the 2011–2012 school year. Cobus du Toit with the Recorded round entries were due February 15; the final round Christine Potter BoulderChamber Orchestra per-

will be held in conjunction with the Texas Flute Festival on forming J.S. Bach Suite No. 2 in B Minor December 16 and 17, NANCY TOFF PHOTO

52 The Flutist Quarterly Spring 2012 nfaonline.org 2011. The Holiday Flute Choir held a “Meet-n-Play” event December 15–18. The Colorado Flute Association Student Competition was held January 28 at the Colorado Academy in Denver. On March 10, the Colorado Flute Association Flute Fair featured guest artist Carol Wincenc at the University of Colorado-Boulder, followed by a Flute Day with Tracey Doyle March 24 at Colorado Mesa University in Grand Junction. On April 28, the CFA Flute Choir Festival will be held at Longs Peak United Methodist Church in Longmont, Colorado. Visit coloradofluteassociation.org.

The Southern Illinois Flute Choir, under the direction of Douglas Worthen, sponsored The Charlotte Flute Choir performed in its home town for the 2011 convention. Gary Schocker and the Illinois Flute Society at its annual con- The Charlotte Flute Choir performed for the 39th annual vention at Southern Illinois NFA convention, held in its Carolina home town. This was an University, Carbondale, October important event for the choir and provided the opportunity 22, 2011. Schocker taught a mas- for some of its members to experience a convention for the terclass and concert. The flute first time. The choir performed at Southminster December 1, choir presented its annual 2011, and was asked back by enthusiastic audience members.

Gary Schocker Holiday Concert December 2. The flute choir also presented a Christmas program for the The Southern Illinois Flute residents of Charlotte Square. Society, with the support of a generous grant by the Brannen- Cooper Fund, presented Swiss flutist Christian Delafontaine Send information about flute club activities, and high-resolu- February 27 on the campus of Southern Illinois University, tion images if available, to Dolores August, Flute Clubs Carbondale, February 27. Visit siflutes.org Coordinator, [email protected].

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nfaonline.org Spring 2012 The Flutist Quarterly 53

Simon Polak good intonation, traverso dynamics +31 653323203 and The Netherlands easily speaking

www.earlyflute.com [email protected]

THE INNER FLUTE From Childhood Body Cast to the World Stage Viviana Guzman’s signature smile shines not despite her painful past, but because of it. She overcame physical disabilities to become the success story she is today: a globe- trotting flutist, dancer, poet, composer, pro- ducer, and photographer who has performed on all seven continents. by Viviana Guzman

didn’t plan to be a musician, let alone a jet-set, international recording artist. Born with congenital bilateral hip Idislocation in a small town in Chile, I was told that I would never walk. Determined to change my destiny, I immigrated to the United States with my parents and underwent 11 surgeries. I grew up in and out of hospitals. My childhood was colored by body casts, wheelchairs, and crutches. Refusing to abandon my passions, I started playing music when I was 5 years old. When I was 7 and in a body cast, the only thing I could do was read. But I found that if they flipped me over on my hospital gurney where I lived, I could practice the piano. I have always found solace in my music.

Learning to Walk After being in a body cast for so long, I had to re-learn how to walk. I endured an entire year of migrating from body cast to wheelchair to crutches to cane while undergoing extensive physical therapy. At 7, I thought that studying dance might be more entertaining than physical therapy, and hence I started my ballet training. At 14, after discovering that my psoas muscles were inadvertently cut during a previous surgery, and realizing that my hip muscles continued to be weak as a result of the numerous surgeries, I enrolled in my first belly dance class to try to strengthen my severely atrophied hip muscles. Thus began my dance training alongside my musical training. By age 15, I had played as a soloist with an orchestra, studied with Jean-Pierre Rampal, and been featured on NBC’s nationally televised John Denver music special. But as a young musician, my life still had its challenges. Throughout my entire life I could only walk for about 15 minutes a day before feeling the agonizing throbbing pain of my arthritic hips. My days as a student at the Juilliard School in that classic walking city, New York, were among the most challenging physically. To make matters worse, I lived on a fifth-floor walk-up! Going to the grocery store and standing in line at the check-out counter was always quite a feat. If there was any sort

56 The Flutist Quarterly Spring 2012 nfaonline.org Viviana Guzman’s smile shines through a childhood spent for a time in a full body cast, multiple surgeries, and her current life of daily gratitude. of line, I had to leave everything and go sit down, as I couldn’t Lastly, I truly believe in the importance of the daily stand for more than five minutes before the pain started creep- acknowledgment of gratitude. In fact, I think that I would not ing in. My body was crumbling. However, I was determined to be as happy as I am now had I not endured the challenges of remain positive. my early life. Every day, throughout the day, I praise the mira- cle that is my life and its many wondrous gifts. I feel a deep California Dream gratitude for the fact that I am finally healthy, pain free, and It was during a tour with my quartet that I played a concert in pursuing my dream of being a world-travelling musician. Carmel, California. I had a week before another concert in Los After graduation, I realized I had been perfectly manicured Angeles, so I went camping with friends during my week off. I to play in an orchestra. But although I played briefly in the fell in love with Big Sur, one of the most beautiful places on Houston Grand Opera and the New World Symphony, I knew the planet. In an instant, I decided to leave New York. I became that I wanted to travel internationally rather than sit in an a minimalist: I left all my belongings downstairs on the street orchestra—and certainly not in an orchestra pit. I have per- at 75th and Columbus. I didn’t even close out my post office formed across the world, including Singapore, Bali, Egypt, box. Within six weeks, I had moved to California. Turkey, Italy, Greenland, Iceland, Sweden, South Africa, This was the best impulsive decision I have ever made, Namibia, Tahiti, Fiji, China, Japan, and Korea. In 2010–11 because living in California allowed me to drive rather than alone I performed as a soloist with the San Jose Chamber walk everywhere. Immediately, I was relieved of much pain. In Orchestra, played a Tango Concerto with the Stockton a flash, life became infinitely more tolerable in the absence of Symphony Orchestra, and performed concerts in Chile, having to—literally—pound the streets of New York. Argentina, Barbados, Colombia, Peru, Brazil, the Canary Islands, After my second hip replacement in 2008, the pain in my Thailand, Scotland, and California. Indelibly influenced by my hips finally was gone for the first time in my life. The only travels, I play a repertoire global in scale: classical concertos as thing that remained was the acute pain in my lower back as a well as tango, samba, Celtic, and other world music genres. result of having had uneven leg lengths for most of my life. After battling this for two years, I discovered Pilates; it has Upcoming Projects remedied my lower back issues. In fall 2011, I premiered my music video in 3D in movie theaters Today, I am living in the San Francisco Bay area, walking in Northern California and hosted its European premiere in and healthy. For the first time ever in my life, I am pain free Edinburgh, Scotland; the video, set to the music of Erik Satie and limp free. with guitarist Jeremy Jouve, will have its general release this summer with the recording French Music for Flute and Guitar. Life Lessons Last year I embarked on a project that has changed my life. Because I lived my early life severely physically challenged, I Simply looking for a productive project inbetween my concert at feel fortunate to have learned a few important life lessons. First the August 2011 NFA convention in Charlotte and my fall con- on my list is the importance of practicing something every cert in Edinburgh, I created a set of 27 interviews, or “Flute day. Whether it be music, dance, or Pilates, I learned from a Chats,” with prominent flutists including Greg Pattillo, Paula young age the necessity of discipline and the beauty of build- Robison, Carol Wincenc, and many more, all archived at ing something every day, even if for just 15 minutes a day. FluteChats.com. As a result of this project, I have been build- The second lesson is to maintain a positive outlook on life. ing my video production skills and am excited to be releasing I am always looking for ways to turn a weakness into a quite a few music videos in the upcoming months. (Visit strength, a negative into a positive. I have become a master at VivianaGuzman.com or YouTube.com/EmpressViviana.) turning lemons into lemonade. It was through my positive After having performed an average of 80 concerts a year for 10 thinking that I was able to basically ignore my early doctors’ years and touring worldwide for 15 years, living for periods of prognoses. I was determined to walk, so I made sure to find a time in Buenos Aires, Budapest, and Tahiti, I am now looking to way. Today I travel the world as a full-time flutist. I have doc- find the balance between the road and my home in San tor’s orders never to ride a horse, as it could damage my hips. Francisco. I am also interested in giving back to my community So instead, I am proud to say that I have ridden five camels, and mentoring young aspiring flutists. It is with this spirit in three dolphins, and an elephant! mind that I created the San Francisco Flute Festival and the San

nfaonline.org Spring 2012 The Flutist Quarterly 57 FROM CHILDHOOD BODY CAST TO THE WORLD STAGE

Francisco Flute Society. In 2010 our head- Viviana Guzman has been featured on liners were Timothy Day and Robin programs for PBS, NPR, and NBC and McKee, Bulent Evcil, and Matej Zupan. has performed in 119 countries and This year’s festival will take place June recorded eight albums. First prize win- 16–17 with featured guest artists Gary ner of the New York Flute Club Schocker, Christina Jennings, Mario Competition, Five Towns Music and Caroli, Nicole Esposito, and Linda Lukas. (Visit SFFluteFestival.com.) Arts Competition, Connecticut Young Artists Competition, and Artists Life Lessons Learned International Award, Guzman per- Perhaps most among those things I feel formed in Carnegie Hall five times gratitude for, I am deeply grateful for the (Weill Recital Hall and the main hall) incredible parents I had who sacrificed and has performed with Placido everything to make sure I got the best Domingo, John Denver, Glenn Close medical attention. My father, who was (Sunset Boulevard), and Mikhail an electrical engineer before he got can- Baryshnikov. She has studied with cer at 49 and died 14 years ago, was Julius Baker and Albert Tipton and in determined to find the best possible numerous masterclasses with Jean- doctors for me. My mother, a pianist and Pierre Rampal and Sir James Galway. accordionist, was my very first music teacher. What a joy it is that we still per- As an author/poet, she has been pub- form together. lished by Simon and Schuster, and her When I was little, I was told I would book of poetry is Love Soliloquies. She never be able to walk. But they never will at the NFA’s 2012 Rubies! said anything about flying! Convention in August.

58 The Flutist Quarterly Spring 2012 nfaonline.org From the LOCAL ARRANGEMENTS CHAIR

Rubies! 40 Years of Vision and Artistry

appy 40th Anniversary to the Gift Store is located at the north end of National Flute Association! the strip. Especially for kids: the HWhat better place to celebrate Adventuredome at Circus Circus! “40 Years of Artistry and Vision” than Each hotel has its own spa, pool, cab Las Vegas, home of Elvis imperson- service, and fast-food restaurants. In fact, ators, the Las Vegas Flute Club, the Las Las Vegas is one of the best destinations Vegas Philharmonic, the Las Vegas for culinary delights. Here are some of Chamber Music Society, the the favorites: Sushi Roku (Caesars), Mesa University of Nevada-Las Vegas, Grill (Caesars), PF Chang’s (Planet Cirque du Soleil, Jersey Boys, Terry Hollywood), Olives (Bellagio), and I Jennifer Kuk-Bonora Fator, Phantom of the Opera, and Love Burgers (Palazzo). Celine Dion—just to name a few! If you are adding a day or two before Traveling by bus or car, the I-15 free- or after the convention, check out the way leads right to the “strip” (the center tours of Hoover Dam, the Grand of Las Vegas where all the major hotels Canyon, Red Rock Canyon, Valley of are located) and is just 10 minutes from Fire, Area 51, or Lake Mead/Colorado the airport. River. Sip your way through a Pahrump Caesars Palace (caesars.com), located Valley Wine tour, check out the conveniently near the center of the NASCAR Speedway rides, or take a trip strip, gives you easy access to all the up to Mt. Charleston and enjoy a hike shows and attractions that Las Vegas has followed by lunch at the lodge located to offer. Included with the nightlife you at the top of the mountain. can participate in CSI: the Experience All events/attractions listed are locat- (MGM), Titanic: The Artifact Exhibit ed on the strip. Check out vegas.com for (Luxor), the Gallery of Fine Art, the more information or visit the informa- Fountains or Conservatory (Bellagio), tion booth at the convention. the Las Vegas Mob Experience An exciting new addition to Las Vegas (Tropicana), the Shark Reef (Mandalay is the Smith Center for the arts. Located Bay), the Wildlife Habitat (Flamingo), off the strip (I-15/Charleston, north of and the Dolphin Habitat (Mirage). the strip), this new venue hosts touring For you romantics, be serenaded by an shows, orchestras, dance companies, Italian singer on a gondola ride at the operas, singers, jazz artists, student Venetian, and if you are a thrill seeker, events, and the Philharmonic. For more check out the helicopter tours, the Big information, visit thesmithcenter.com. Shot at the Stratosphere, or the roller The Las Vegas Flute Club and UNLV coaster at New York, New York Hotel. Flute Studio are honored to host the Epic views of Las Vegas can be seen NFA Convention and look forward to from the top of the Eiffel Tower (at the seeing you all again! Paris Las Vegas), the top of the Rio Hotel, and MIX Bar/Restaurant at the Local Arrangements Chair Jennifer top of Mandalay Bay. Shopping fanatics Kuk-Bonora is flute/piccolo player at will love the Fashion Show Mall. Of Phantom! The Las Vegas Spectacular course, there is also shopping at every and a DMA candidate at the University hotel, and the famous World’s Largest of Las Vegas. PHOTO COURTESY OF DENNIS WILSON

nfaonline.org Spring 2012 The Flutist Quarterly 59

WHEREARETHEYNOW ? Virginia Broffitt The Lopatin 2004 Young Artist Competition, Flute Company first place “I remember being overwhelmed by the 2000 Riverside Drive, Ste 10-B, Box 1 entire experience of performing for such Woodfin, NC 28804 a large audience of flute players,” says USA 828.290.5734 Virginia Broffitt of her first NFA competition experience. “I had never been to a Specializing in the convention before, so I had no idea what SquareONE Family of Flutes to expect. I also clearly remember find- 100% Made in America! ing my past/present teachers—Irna Priore, Tadeu Coelho, and Brad Garner—right after my semifinal performance and realizing how lucky I was to have studied with each of them Having trouble hitting the low notes? and how they have all had such a positive impact on my life. Discover the virtues of square tone holes! I would never have been there—or where I am now—without each one of them.” www.lopatinflutes.com Virginia Broffitt has established a successful career as a teacher, soloist, orchestral musician, and chamber musician. She is assistant professor of flute at Oklahoma State University; previously she served as faculty at Western Erich Graf Illinois University and flutist in the Camerata Woodwind A Flute Recital: Quintet. She has also held positions in the Fort Wayne Bach (c minor suite) Philharmonic and Evansville Philharmonic Orchestra. She Roussel (Joueurs de Flute) was a faculty member with the University of Cincinnati Berio (Sequenza) College-Conservatory of Music Preparatory Department Gaubert (Sonata #3) and was guest artist and faculty in residence for the North Flute Masterworks: Carolina School of the Arts Musica Piccola festival. Poulenc (Sonata) She has given performance masterclasses and performed Debussy (Syrinx) concerts throughout the United States and Europe, Varése (Density 21.5) Bourne (Carmen Fantasie) appeared as a soloist with the INTY Ensemble, CCM Nobis (from western mountains) Philharmonia, the OSU Wind Ensemble, and the WIU Prokofiev (Sonata) Symphony Orchestra, and performed at numerous NFA Classical Musings: A VHS music video setting of conventions.Broffitt has worked with contemporary com- excerpts from A Flute Recital to the beauty of Utah’s posers Chen Yi, Derek Bermel, George Tsontakis, Jake National Parks and their environs. Heggie, Michael Fiday, and Moritz Eggert. Broffitt received her BM degree in flute performance from . Erich Graf Aeolus Recordings the University of North Carolina School of the Arts, where www.erichgraf.com she studied with Tadeu Coelho. Her MM and DMA degrees are from the University of Cincinnati College-Conservatory of Music. Past teachers include Bradley Garner, Randy Bowman, Tadeu Coelho, Jack Wellbaum, and Irna Priore. Broffitt is a Miyazawa Performing Artist. “Winning this competition has had a huge impact on my career,” says Broffitt. “When applying for teaching jobs I know that the NFA competitions gave my CV a big boost. In fact, the search committee for my first teaching appointment mentioned that as something that really stuck out to them. I always encourage students to enter competitions. It gives them great exposure and experience; it’s important as musicians that we take every opportunity that we can. In today’s world, doors are not frequently opened for us. We must open them for ourselves.” As with many past competitors, Broffitt remains active with the NFA. “Now that several years have passed, I’ve enjoyed coordinating the competition and getting to know all of the contestants. I love hearing about their own stories and what they do, why they play the flute, where they’ve studied. It’s a good reminder that successful musicians come from an incredibly wide variety of backgrounds!” 4 0 THANNUALNATIONALFLUTEASSOCIATIONCONVENTION Rubies! National Flute Association Celebrating 40 Years of Artistry and Vision August 9-12, 2012 LasLas Vegas,Vegas, NevadaNevada BREATHE IN... AND, FOUR DAYSCaesarsCaesars LATER PalacePalace, EXHALE!

Get ready for four exhilarating days of celebrating all things flute! by Zart Dombourian-Eby, Program Chair

very NFA convention is a magnificent whirlwind of activity and inspiration, and Las Vegas 2012 will proudly carry on that tradition, with something for everyone throughout the 80 or so hours we’ll spend together in August. EDuring the past 40 years, we have grown from Mark Thomas’ vision into the most comprehensive instrumental association on the planet. In Las Vegas, we will be commemorating our heritage, visiting our milestones along the way, and looking to our future. Caesars Palace is a fitting venue for our festivities—elegant, luxurious, and welcoming. (And don’t forget the seven swimming pools!) One of the greatest attributes of the NFA is the many components of the flute world represented by our members and showcased at our conventions. Come prepared to greet old friends and meet new ones as we all celebrate together.

nfaonline.org Spring 2012 The Flutist Quarterly 61 CELEBRATING 40 YEARS OF ARTISTRY AND VISION

Aaron Goldman Jasmine Choi Ian Clarke Holly Hofmann

hursday night’s Gala Concert, flute and percussion including the Jolivet Pellerite, Catherine Ransom-Karoly, Carla “Generations of Excellence,” kicks off Suite en Concert. Rees, Ali Ryerson, Jonathan Snowden, Tour party by presenting renowned The Saturday night Concerto Gala is Harvey Sollberger, Mimi Stillman, Peter flutists from across the flute universe—start- always a highlight, and this year’s concert will Verhoyen, Rogerio Wolf, and Matthias ing with a VIP flute orchestra consisting of feature an incredible lineup with many Ziegler. The fun doesn’t stop at 10 p.m., past NFA presidents and Lifetime “firsts.” Aldo Baerten and Peter-Lukas Graf either—late night concerts will feature Jim Achievement and National Service Award will continue our “generations of excellence” Walker and Free Flight, Holly Hofmann, and winners. Following that introduction, Ian theme as flutist and teacher playing the Viviana Guzman. Additional concerts will Clarke will perform several of his own Mozart Rondo and Andante, giving us Graf’s present the winner of the 2011 Young Artist works, including a new trio with Gergely first-ever performance at an NFA conven- competition, Shin Jihoon, and the winner of Ittzes and Aaron Goldman, followed by tion. Linda Toote will give the world pre- the 2010 Piccolo Artist competition, Anke Demarre McGill, who will be joined by miere of a concerto written expressly for her Lauwers, as well as many flutists from all over Jasmine Choi. Jim Walker will round out the by Martin Amlin, and Walfrid Kujala will the globe, from Japan to Norway, Australia to night with Mike Garson, featuring perform a Vivaldi piccolo concerto for the South Africa, Brazil to Korea. “Thirty Years of Classical/Jazz/Original first time at an NFA convention in 35 years! Tributes will be held to honor master Crossover Music.” Rounding out the evening will be Alexa Still teacher/players Frances Blaisdell, Geoffrey Friday evening opens with the illustri- in a fascinating piece by Matthew Hindson Gilbert, and Jack Wellbaum; Lifetime ous Imani Winds performing the winning called House Music and Amy Porter playing Achievement Award recipients Mather and piece of the Joint Wind Quintet Project Michael Daugherty’s poignant Trail of Tears, Boyd; and National Service Award recipient competition, Hardwood, by Lansing which portrays the tragedy of the removal of Nancy Toff. And be sure to register for at McLoskey. The balance of the evening will 15,000 Cherokees from their homeland. least one of the sponsored meals: You won’t be devoted to Lifetime Achievement Other headliners presenting concerts in want to miss Walfrid Kujala speaking at the Award winners Betty Bang Mather and Las Vegas include Jasmine Choi, Mary Karen Pedagogy Breakfast or Leone Buyse address- Bonita Boyd. The varied facets of Mather’s Clardy, Robert Dick, Elena Duran, Nicole ing the Flute Lovers’ Lunch! flute life will be showcased by perform- Esposito, Flutetronix, Paul Fried, Adrienne Masterclasses, taught by the most out- ances by her former students, and Boyd Greenbaum, Gergely Ittzes, Trudy Kane, standing teachers in our field, will abound will perform several stunning pieces for Wouter Kellerman, Greg Pattillo, James this year. Boyd will lead the orchestral

Imani Winds Lansing McLoskey

62 The Flutist Quarterly Spring 2012 nfaonline.org Gergely Ittzes Amy Porter Demarre McGill Mimi Stillman

audition masterclass while Graf and ing ceremonies on Thursday morning; 2012, ranging from flute choirs to Baroque Ransom Wilson will coach the winners of check the annual convention section at Artist to Young Artist to Jazz Soloist! Many the Masterclass Performers competition. nfaonline.org for more details. There will of these will be held live at the convention; Verhoyen will lead an open class for piccolo also be three open reading sessions for in other cases, you will hear the winning and Carla Rees will give tips on playing alto flute choir, one for low flutes, and a Jazz “grand finale results” in concert. and bass flute. In a new feature this year, Flute Big Band reading session. Bring all Other highlights will be Toff’s presenta- “Masterclass Circles,” experts in piccolo, your instruments and join in! tion on the World of Louis Fleury paired flute, and low flutes will offer all comers There will be piccolo events galore— with a concert of works premiered individual tips and advice! masterclasses, the Piccolo Artist competi- by/dedicated to Fleury; a lecture-recital Special emphasis is being placed on tion, Vivaldi, a panel on orchestral piccolo by Mary Oleskiewicz on Frederick the enduring convention favorites: participatory playing, an entire concert of Piccolo All Great commemorating his 300th birth- events. Don’t miss Pattillo’s Intro to Stars, even a piccolo nonet! Deborah day; and a pair of lecture-workshops by Beatbox, Jill Felber’s Extreme Makeover, Baron, Christine Beard, Cynthia Ellis, our newest committee, World Flutes, in Clarke’s workshop on his own music, Susan Greenberg, Carl Hall, Regina which members will demonstrate the uni- Ziegler’s class on extended techniques, and Helcher-Yost, Sarah Jackson, Amy Likar, verse of flutes and examine the improvi- Dick’s workshop on circular breathing. Horacio Massone, and Nan Raphael will sation traditions of a wide variety of cul- Wanna dance? Tangos to zumba to add their beautiful upper octaves to the tures. Mather’s Poetry and Dance in Bach’s B halls of Caesars. Finally, there will be, as always, the Minor Suite should be on your “must do” Flute choirs of all shapes and sizes will amazing array of flutes, flute music, flute list. Plus, there will be hands-on explo- be an integral part of the Las Vegas festiv- gadgets—everything flute—in our spa- rations of playing baroque flute and Irish ities as well. In addition to Flautino cious Exhibit Hall. Add to that the lure of flute and practical workshops on practic- Royale and the competition choirs, we’ll the lights of Las Vegas and the surrounding ing, breathing, yoga, movement…you feature 20 outstanding flute ensembles grandeur of the 10 or more National Parks name it! from all over the world, in repertoire and Monuments within a few hours’ drive If you “just” want to play the flute, sign ranging from Bach to rock! of the city and you have an irresistible up now for Flautino Royale, the open It’s a big year for competitions at the summer vacation week—celebrating our flute orchestra that performs at the open- NFA—a record-breaking 14 will be held in Ruby Anniversary! >

Jim Walker Conservatory of Music of Puerto Rico Flute Choir

nfaonline.org Spring 2012 The Flutist Quarterly 63 From Your CONVENTION DIRECTOR The theme of this year’s convention is “Rubies! Celebrating 40 Years of Artistry and Vision” Two hotels will serve us this year. Find hotel and reservations information at nfaonline.org/convention.

Caesars Palace Flamingo Hotel Standard Room $159 single/double $69–$129 rate Tower Deluxe Room $179 single/double, triple, or quad $30 additional per person, per night, with a 3555 Las Vegas Blvd. South maximum of 4 persons per guestroom Las Vegas, Nevada (Limited number of rooms; 3570 Las Vegas Blvd. South call-in line only) Las Vegas, Nevada 888-373-9855 866-227-5944 Use Code: SFNFA2 Use Code: SCNFA2 This hotel is across the street from the You can also visit nfaonline.org and click Caesars Convention Center, which due to its size the convention tab to reserve your room. is approximately a 20-minute walk.

Tax at both hotels is 12%; no resort fees. Cut off date is July 6, 2012, for convention rate. One-night deposit at time of booking. Cancel policy is 72 hours prior to arrival for full refund. Check in 3:00 p.m. Check out 11:00 a.m.

To take advantage of the conference room rate, please make your reservation early, as NFA cannot guarantee the rate once the block is full. Reservations will be accepted on a first-come, first-served basis until the room block is full or until July 6, 2012. After July 6, you can still make reservations, but will be charged the hotel rate. Parking for hotels is free The official airline for the convention is American Airlines 800-433-1790 • aa.com At checkout use the promotion code #4982BH* Other Airlines Allegiant, Delta, US Air, Virgin America, Spirit, and Southwest Please search online for the most competitive rates. Getting to the hotel from the airport Many shuttles are located outside of baggage claim at McCarran International Airport. Taxis are approximately $15 one way. For different rates for airport transportation to the hotel, visit vegas.com/transportation/shuttles.html Registration Schedule Preregistered attendees: Wednesday, August 8, 3:00–6:00 p.m. On-site registration for all attendees: 7:00–9:00 p.m. The exhibit hall is open Thursday–Saturday 10:00 a.m.–5:30p.m. and Sunday 10:00 a.m.–4:00 p.m. Instrument Security Room The instrument security room will be open from noon, Wednesday, August, 8, to 11:00 p.m. Sunday, August 12.

I am looking forward to seeing all of you in August! —Madeline Neumann, Convention Director

64 The Flutist Quarterly Spring 2012 nfaonline.org Important Information for our convention attendees: The reason I am writing to you is to explain the impor- It is important to look at the entire picture. The quality tance of your booking rooms at the NFA-designated con- and value our meetings provide is made possible by the vention hotel. When you book at another hotel, you are deals that the NFA negotiates with the hotels. The issue actually hurting the NFA’s “room block.” For those of you belongs to all of us, because it affects our entire associa- who don’t understand what a room block is: Every year I tion. We need to work together so that we don’t get hit negotiate a guaranteed room block as part of our getting with costly penalties again; otherwise, we will have to the meeting space—at no cost to the NFA—where all the raise all of our fees. We can’t pay penalties and expect to events take place. Without a room block guaranteed to hold the convention every year status quo. the hotel, this meeting space alone typically would cost The hotel this year is a 5-star hotel and they get top dol- the Association between $50,000 and $75,000—or more. lar for their hotel rooms. I was able to negotiate a rate for If we do not meet 80–85 percent of our room block, the our members well below the hotel’s rack rate. If even this NFA has to pay an attrition penalty to cover the cost of the reduced rate is too high, you might consider sharing a hotel rooms that were not used, plus costs for the meeting room with a friend. Please consider this info when book- space. This could cost tens of thousands of dollars. The ing your reservations. We would appreciate your staying number of rooms included in the room block is decided at Caesars Palace. by looking at patterns from year to year and determining We have also secured a limited number of rooms for how many rooms we usually need for each night of the our students across the street at the Flamingo at a lower convention. rate. Please be aware that it will be very hot in August and Last year in Charlotte, many people booked cheaper it will take about 20 minutes to make the walk from the hotels in the downtown area and walked to the conven- Flamingo to the convention center of Caesars Palace. tion center. As a result, NFA was hit with a costly attrition Keep in mind that “across the street” in Vegas is farther penalty by the Westin Hotel. than just “crossing the street” at home! We have always kept our registration fees lower than Thank you and looking forward to seeing you in Vegas! industry average so that our members can afford to come to the convention. However, if we don’t meet our attrition, Madeline Neumann we will have to raise these fees to offset room penalties. NFA Convention Director LifetimeAchievement Award2012 The Elusive Goal of Simplicity: Bonita Boyd This 2012 Lifetime Achievement Award recipient enjoyed a phenomenally fast rise in her career, turning down major offers before she was 20. Tempering it has been a long-simmering growth as an artist and teacher.

by Jonathan Keeble Bonita Boyd

t age 17, Bonita Boyd was offered the assistant principal almost any conversation with her, the topic very quickly steered flute position of the San Francisco Symphony by away from the mundane and into a bigger discussion about AMaestro Josef Krips. At age 19, after turning down that artistry and life. post and enrolling in the Eastman School of Music, she became second flute in the Rochester Philharmonic. From there, at age You worked with two of the field’s legendary teachers in 21, she succeeded her mentor and distinguished Eastman flute Roger Stevens and Joseph Mariano. Are there lessons they teacher Joseph Mariano as principal flute in the Rochester imparted to you that you continue to draw upon today? Philharmonic (while simultaneously turning down the Dallas They were each very different. Roger Stevens felt if you studied Symphony’s offering of principal flute), before stepping in as with a generalist, you became detailed in your approach to the flute professor at Eastman at age 26. playing and teaching. Conversely, if you studied with a detail- Boyd’s meteoric rise to fame in the flute world didn’t end there, oriented teacher, you became more of a generalist. Stevens was as subsequent recordings received worldwide critical acclaim, solo a student of Mariano and was very detailed in his approach to performances occurred at leading concert venues, and her stu- playing and teaching. I’ve found that Stevens and other great dents began claiming major positions around the globe. Mariano students such as Doriot Dwyer and Walfrid Kujala are When I called to let her know she’d received the NFA’s 2012 also very detailed, and I can’t help but think this came as a con- Lifetime Achievement Award, Boyd’s initial response was one scious or unconscious reaction to Mariano’s artistic, big-pic- of ebullience and gratitude, ture approach to teaching. accompanied by her typical Stevens was a scientist in musician’s clothes and in many modest deflection as she asked ways ahead of his time. He had machinery to help with assess- a series of questions about how ing vibrato and was a wizard at picking out the specific prob- I was doing. lem that would help a phrase spring to life. I wouldn’t be any- This response, occurring at a thing without him. My neck and jaw were so tight when I went moment of great personal joy, to him, and in our first lesson he “fixed” me. Of course, for the exemplifies what makes Bonnie next week and more I couldn’t play anything, but he reassured Boyd special. Even when the me and said “don’t worry about it, it will be okay.” And of spotlight is shining upon her, course, he was so right. her thoughts inevitably turn to For technique and scales, Stevens had all his students work those around her. on a set of 32 chords that they had to play every day. They were I had the good fortune to to be done by memory, to take students away from the page. He speak with Boyd about her felt that the Andersen etudes were the most progressive and career and her perspective on instructive, and really isolated technical problems. He felt they flute playing and teaching in absolutely should be played at the marked tempo. If you had Jonathan Keeble today’s environment. As with trouble playing a given etude in the book you were studying PHOTO COURTESY OF KATE LEMMON 66 The Flutist Quarterly Spring 2012 nfaonline.org from, you needed to consider going back to an easier book. I was in Opus 60 by my junior year of high school, playing them at tempo. I just loved it. When I came to Eastman, I brought an etude in for my first lesson, and Mariano told me that would be the last etude he’d hear from me. It had nothing to do with Mariano being against etudes but because of how thorough Stevens had been with me during my high school years. With Stevens I only played the fast stuff, and so when I got to Eastman, Mariano completely shifted me over. During my first year of study, Mariano always wanted to hear the slow movements of Bach sonatas before anything else. For him it was all about developing the art. Up to that point, I had been imma- ture enough to think what I was doing was incredibly exciting. Looking back now, I think I just played everything alike! Mariano kept trying to get me to play with simplicity and more line. I, on the other hand, felt I had to do something interesting all the time, and that what he was asking was tak- Boyd with guitarist Nicholas Goluses. ing away from the excitement in my playing. I thought you the world and have found it consistently eliminates all the had to do things to the music. When I’d get done playing, problems we have on the instrument. When you sing, there’s he’d always reply that the “essence” was missing in my music- nothing between the artist and the music and what comes making, or that things needed to be simpler. Mariano always out is completely natural. When we sing, our egos aren’t referred to three tiers of musician-artists in our lessons. At intertwined in technique the way a professional singer’s can that point I was definitely on the bottom tier. I was a flutist. be. It’s all very natural, and becomes the most direct way to His hope for me, and for all his students, was that eventually find that thing Mariano called the essence of the music. they would become musicians, and, ultimately, artists. A good example would be the great, challenging slow It took well into my second year of study with Mariano for movement of the unaccompanied C.P.E. Bach sonata. Even me to realize what he was asking. There was some hysterical this, which is so hard to sing, springs to life after the simple practicing, and I’d try the same thing over and over, and he’d process of just putting the flute down and giving your voice tell me again that the essence was missing. It took me a long to it. Singing teaches us how to handle rhythm, rubato, and time to realize what a profound area of artistry this was and beyond. This approach even helps with Varese’s Density 21.5, what he was asking of me. giving us a natural sense of timing, space, and line on an As I strove towards this elusive goal of simplicity of line, I extremely technical work. became worried about losing the excitement in my playing. I If you’re looking for a way to naturally bring this singing started listening to old tapes of my playing, and found much quality into your playing, take the time to work out of to my horror that instead of playing with excitement, I was Moyse’s Tone Development through Interpretation. It’s just the actually accenting every other beat and playing everything tops for developing line and color. pretty much the same. That was the beginning of a new quest for me. Every flute studio has inevitable ego struggles amongst stu- From there, it took me many years to come to grips with dents, but a sense of camaraderie and shared purpose perme- the persistent question that if there was a particular way to ates your studio. How do you do it? play Hindemith, and a particular way to play Bach, and yet The way Eastman handles large ensemble assignments goes a another particular way to play Beethoven, then where was the long way toward preventing ego clashes. There are no seating art in what we as performers contribute? Where did the indi- auditions here for the winds and the brass. All the applied viduality of the performer come in? If this was what was teachers do the seating, and we try to be equitable and put required to make music, wasn’t this thing I thought was an students on parts they’re ready for. What emerges is a sense art in fact merely a trade? So there began a long process of of trust, and students know to whom they can talk if they understanding how I fit with the composer without stepping have questions about an assignment. We don’t pit students on his or her intent. It was really at times a painful journey. against each other and this contributes to the wonderful That really characterizes what Mariano imparted to me. He atmosphere. It helps the students grow to understand they’re felt the body should be used like that of a great singer and here to learn from each other, from the ensemble directors, that the art was first. and from their teachers. I also regularly talk in lessons about issues such as envy and I remember when I arrived at Eastman being struck by the jealousy and how we need to focus our energies on develop- individuality and expressive virtuosity in so many of your ing our own musical voice and artistry. Communicating who students. Are there pedagogical tools or an overarching we are is what moves people through our music-making. If teaching philosophy that engenders this in your students? you leave an audience feeling as though they really know who I take a very vocal approach to teaching. We should play it the you are at the end of a concert, then you’ve been successful. way we would sing it. I’ve had students singing for me all over Anything less than that isn’t genuine.

nfaonline.org Spring 2012 The Flutist Quarterly 67 Your color palate on the flute is stunning. Is there anything in particular that guides this approach to music-making? There’s nothing intellectual; it’s quite the opposite. I tend to think abstractly. Some people think in story lines or experiences, but I don’t think that way. My sister was a wonderful singer. She had a book of great paintings that she carried with her to concerts. Before going on stage, she’d look at certain ones. I found it very fascinating, and it makes me think we’re all very different in this. As for me, I rely on my inner voice to guide how I hear the music. We have to be able to accept what other people say, but first of all we have find out what we have to say. I don’t like listening to recordings as I learn a piece. I want my own voice to emerge without external influences.

I have always admired how beautifully you and your husband Chris managed to raise three terrific young men while balancing an active performing career and making your students feel individually valued. Do you have any advice for flutist performer-teacher-parents struggling to find balance in their lives? I could probably go on for five hours about this topic. For a Boyd with husband Christian Soderstrom and sons Henrik (left), Didrik, and Ulrik. while I really worried about how to be with my child. I didn’t My teaching emphasizes that each person is an individual. know anything about raising children, and I worried about Of course my biggest job is to help my students get the tools how to be the parent I wanted to be while still operating at necessary to play the instrument proficiently. My second 100 percent in every other area. When Henrik, my first child, biggest job is to find the golden key that helps each individ- was born, he’d get up at 4 a.m. Now, I realize I didn’t have to ual open the box that is his or her individual musical voice. I get up with him of course, but as a first-time parent, I felt I have to open that box and help the student breathe who they needed to rise and play with him until 8 a.m., at which point are through the instrument. That’s what makes this all so he’d fall back asleep. From there, I’d go off to Eastman to do worthwhile. my teaching. Teaching would be fine, but later in the day I was tired! On evenings there were concerts; it could be a chal- Who or what was the biggest musical influence in your life? lenge, but I’ve always been blessed with a lot of energy. In It’s hard to pinpoint a single person, but I think Joseph spite of this, I worried about being only partially committed Mariano was a profound influence. David Zinman, whom I to all these different things that meant so much to me! worked under in the Rochester Philharmonic, is another. It was at this point that I realized I wasn’t living a life of Both of them put the music first. divided attention, but that I was investing myself 100 percent Joseph Mariano was just an absolute giant artistically. He in each area. I was all of these things—spouse, parent, per- was a person of tremendous integrity and deep faith. All this former, and teacher. It’s funny, I think I’ve always been a bit contributed to his music-making. The whole first year of my of a maniac! When I was in high school, I always competed studies with him, when I didn’t understand what he was talk- separately on flute and piano in the same competitions. ing about, it had to do with simplicity, being in touch with Similarly, I was always devoted to academics, and when I got your self, and allowing that to merge with the composer’s to Eastman I found myself majoring in theory and flute and intent. Of course you also have to be a master on the instru- playing in the Rochester Philharmonic. And so it finally ment to make this happen, but he was always working to a occurred to me after I had kids that this is just who I am! musical end. Extremely important to me as I experienced the early years David Zinman was all about the music, and never used it to of parenting was the great mezzo-soprano Jan DeGaetani. show off or make it about himself. One particular experience When I was having my first child, she excitedly told me, “This I had with Zinman, as I worked in my never-ending quest for is the best thing for your flute playing!” I responded in shock, the line Mariano wanted, occurred during my early years with “It is?!” And she told me that carrying a child would add two the RPO. I was under the mistaken impression that I was inches to my rib cage and that raising kids was absolutely finally getting this elusive sense of line and my job was com- wonderful. I learned from her that when I go home, I can be plete! In the orchestra, we were getting ready to record some completely devoted to my family; when I practice, I’m com- contemporary piece. The violins were playing something pletely immersed in that; and when I teach, my attention goes mindlessly, a bunch of whole notes that didn’t say anything. to my students. Jan at that time was one of the few women Zinman stopped the orchestra and said you “can all play the who did it all and stayed in the field. She was just amazing. line, but you must also make music!” And I had this light bulb My husband is the greatest. He’s supportive and is actually go off! Playing with line wasn’t the end goal but rather was a energized by my activity. He loves to brainstorm ideas for my step toward making music! career and has been a major asset to my career and life.

68 The Flutist Quarterly Spring 2012 nfaonline.org You’ve always loved the music of Johann Sebastian Bach above all others. What is it that draws you to his writing? It’s the profound depth in its most simple terms. There’s that famous quote by Bach: “The final aim and reason for all music is the glorification of God and the refreshment of the spirit.” I think Bach had his finger in the electric socket of composition and in life. His music is profoundly spiritual, and that’s what draws me to it. I’ve met many artists who feel this way. Bach’s music is also phenomenally free in spite of the fact that its structure seems dictated. This profound dichotomy forces us to become free as musicians and artists, and we ultimately find our inner voices through it.

Dancing with the Stars or American Idol? What are they?

I was a flutist. Mariano’s hope for me and all his students was that they would become musicians, and ultimately, artists.

You’ve recently celebrated 35 years at Eastman. Did you think you’d be there this long? When I was offered the job, Joseph Mariano sent me a card that said, “Go ahead and teach at ESM, but don’t stay very long.” What he meant was that this position would be a feather in my cap for a while, but I should find new frontiers. This note was startling to me. Since then, I’ve had opportunities to leave for major orchestras and other positions. As I’ve lived longer, I’ve come to realize that as a performer it’s amazingly gratifying to bring joy to the audience. Having said that, nothing super- sedes the relationship between one person and another. In the end, being able to work with incredibly gifted young musicians is just the greatest. This is extremely important work that I must do extremely well. In this way, teaching and performing work together. Ultimately, I’ve learned a fantastic amount from my students both as musicians and personally. This is a change from my youth, when I was much more concerned about my stage work. Over the years I’ve learned this combination of teaching and performing is where I belong. It’s not a matter of what you’re doing but rather of where your heart is. You can feel trapped no matter where you are and what job you’re doing, but if you keep your heart and spirit free, then you have a chance at living a fulfilling life. I feel very free and joyful, and very fortunate in what I’m doing. >

Jonathan Keeble is chair of the National Flute Association, and the flute professor at the University of Illinois. NFA News Updates on committee activities and other news of interest from the national office Happy Birthday, NFA! n honor of the NFA’s 40th anniversary, two very special selected performances from live concerts, radio broadcasts, publications will be unveiled and available for purchase and commercial LPs spanning more than 50 years of a Ithis summer at the 40th Annual NFA Rubies! Celebrating remarkable career. 40 Years of Vision and Artistry Convention in Las Vegas. Find them at the NFA booth at Caesars Palace Convention A Pedagogy Anthology, Volume 2 Center—and if you miss the convention or need more The second volume of The Flutist’s Handbook: A Pedagogy copies, they will be available on the NFA website after the Anthology will include 40 articles to celebrate and commemo- convention. (Early holiday shopping, perhaps?) rate the NFA’s 40th anniversary. Written by performers and pedagogues from the U.S., Canada, and Europe, the anthology Historic Recordings: Frances Blaisdell will be an indispensible resource guide for performers, The fifth CD in the NFA’s Historic teachers, and students. Recordings series honors and pays The original Anthology, published by NFA in 1998, contribute to the achievements of the sisted of 26 articles focusing on the subjects of technique, American pioneer woman flutist, tone, performance, and instruments. In 2009, the executive Frances Blaisdell (1912–2009), and board asked the Pedagogy Committee to begin work on a coincides with the 100th anniver- second anthology. The committee sought out articles that sary of her birth. As a protege of Georges Barrere, related to the topics found in the first volume but also Blaisdell had a long and varied addressed new topics that have become important to flutists career that included faculty in the past 10 to 15 years—pedagogy, technology, flutists’ Frances Blaisdell appointments at the Manhattan health, and additional kinds of flutes. School of Music, the Mannes College of Music, New York In addition to holding a general open call for and receipt University, and Stanford University. She was principal flutist of articles by NFA members, the committee invited select with the New York City Center Ballet, established her own contributors. The result is a broad spectrum of stellar arti- Woodwind Quintet, recorded significant “firsts,” and was an cles by an international array of flutists who are leaders in active recitalist and clinician. Blaisdell served on the execu- their fields. Each article provides the author’s pedagogical tive board of the NFA and was a recipient of an NFA perspective and expertise on subject matters that all flutists Lifetime Achievement Award in 1994. The CD will offer will find educational and helpful. Hail King Caesars! Election Time The 2012 NFA convention in Las Vegas will take place at NFA elections are coming. The following are candidates for Caesars Palace. July 6 is the cutoff date for reserving at the next year’s officers and members of the board of directors special NFA rate; rooms may be reserved after that date, but for the National Flute Association. (Visit nfaonine.org for not at the specially discounted NFA rate. more information about these candidates.) Please note: A special discounted room rate has been nego- tiated for NFA attendees. Although a few rooms have been Vice Chair/Chair-Elect Chair of the Finance reserved at the Flamingo, the NFA urges members to take (serves two years as Vice Chair and Committee then two years as Chair; one is elected) (serves a five-year term; one is ratified) advantage of the special rate at the NFA-designated hotel, Zart Dombourian-Eby Shelley Binder Caesars Palace. Failure to fill a contracted number of rooms Christopher Krueger will result in severe penalty fees for the NFA and require increased convention fees in future years to cover these loss- Assistant Secretary Board of Directors es. (For more information about this, see a special letter from (serves one year and then one year as (two board member for a three-year your convention director, Madeline Neumann, in this issue.) Secretary; one is elected) term; two are ratified) Visit the NFA convention page for more information Ellen Huntington Aaron Goldman about the convention, including hotel information, or go Rebecca Johnson Janet Kinmonth directly to the Caesars Palace NFA Reservations page.

70 The Flutist Quarterly Spring 2012 nfaonline.org Notes from Around Conventions, festivals, competitions, and other global flute activities the by Christine Erlander Beard World British Flute Society Convention 2012 International Competitions and Festivals by Carla Rees Britain’s South West Flute Festival, featuring Claire Southworth and Tim Carey, will be held March 24–25 at St. Joseph’s The British Flute Society’s Eighth School in Launceston, United Kingdom. Masterclasses, flute International Convention will held at choir sessions, workshops, technical repair services, exhibits, the Royal Northern College of Music, and “rehearsals with Tim” are among the offerings. Visit flute- Manchester, England, August 17–20. cocktail.co.uk/ or send an e-mail to [email protected]. The site for this year’s biennial convention features the new recital hall (for- The Svirél International Chamber Music and Soloist merly the Lord Rhodes Room) in addi- Competitions will take place in Štanjel, Slovenia March 29–April tion to the concert hall and workshop Carla Rees 1. Visit upol.si or send an e-mail to [email protected]. spaces. After a successful trial at the 2010 convention, the Trade High Street returns with large flute The Canadian Flute Association is shops alongside independent makers and publishers. pleased to announce the Third Annual Headline recitals include Amy Porter, Aldo Baerten, CFA Flute Competition, to be held May Shashank, Alena Lugovkina, Michael Cox, Wissam Boustany, 5–6 at the Women’s Art Association Clare Southworth, and Ian Clarke. Early music aficionados Gallery in Toronto, Ontario, Canada. will enjoy contributions by Rachel Brown and Marcello Gatti There is no age limit, and all competi- and workshops on the history of the piccolo and the world’s tions are open to any amateur com- oldest flute. petitor without regard to residence or The piccolo is represented this year by Jean-Louis domicile. Guest adjudicators include Beaumadier, Matjaz Debeljak, and Lior Eitan, while low flutes Christine Erlander Beard (U.S.) and are performed by Matthias Ziegler, Carla Rees, Marion Garver Alheli Pimienta (Mexico). Registration Frederickson, and the Low Flutes Ensemble. Also participating Christine Erlander Beard deadline is April 11. The association also will be Trevor Wye, William Bennett, and Atarah Ben-Tovim. will host a piccolo workshop and masterclass led by Beard For teachers, professional development sessions will cover a May 6 at the Toronto gallery. Call 416-293-1302, send an wide range of topics. A youth day on Sunday offers events e-mail to [email protected], or visit canadaflute.com. designed to encourage and involve younger members; a competition concert, young artist recitals, and new faces concerts The Fifth Israeli Music Competition and Fourth Ernest showcase up-and-coming talent. Participants can perform in Bloch Music Competition are accepting applications through and listen to flute choirs, including the Carluke Primrose May 20. Finals will be held at the Royal College of Music in Orchestral Flutes. For contemporary music fans, there will be London on July 12. (Congratulations to Canadian flutist and workshops on electronic music and commissioning and the NFA member Lindsay Bryden, who took second place in the opportunity to discover new repertoire. 2011 Ernest Bloch Music Competition.) Applicants must be The adult amateur competition includes classes for solo, no more than 35 years of age for the Israeli Music competi- small ensembles, and flute choirs. The friendly and welcom- tion, but there is no age restriction for the Ernest Bloch music ing competition offers the opportunity to perform in a sup- competition. Candidates for both competitions will be asked portive environment. to play both Israeli and Bloch works; candidates for one of the After the convention, we’d love to hear your anecdotes. Send competitions will only be asked to play the piece relevant to photos and stories to the BFS Facebook page (search for their competition. Visit israelimusiccompetition.org. “British Flute Society” on Facebook); items also can be send or by e-mail to [email protected]. For information about The 15th annual Shakuhachi Camp will be held May 28–31, the convention, visit bfs.org.uk. immediately followed by the World Shakuhachi Festival May Carla Rees is an alto and bass flute specialist based in London. 31–June 4. Both events will take place in Kyoto, Japan. The

nfaonline.org Spring 2012 The Flutist Quarterly 71 NOTES FROM AROUNDTHE WORLD festival offers opportunities to see and hear music, talks, and presented a second masterclass and solo performance in exhibits. At Rocky Shakuhachi Camp, the emphasis is on play- Mogilev, Belarus, to a packed house of music academy stu- ing, learning, and experiencing the total world of the dents and their professors. She traveled to Latvia as an artist- shakuhachi with Honkyoku, Sankyoku, folk, modern improv- in-residence providing continuing education workshops and isation, and more. Beginners are welcome. Search on Google masterclasses for top state-certified flute and woodwind for “shakuhachi world festival”, visit 2012wsf.info, or send an instructors and demonstrating teaching methods using flute e-mail to [email protected] for information about the fes- students ranging in age from 7 to 18. She also led a participa- tival; for information about the camp, visit shakucamp.com or tory group masterclass in Jelgava on improvisation for flute send an e-mail to [email protected]. teachers and one tenor sax instructor. Larson worked in the cities of Riga, Jelgava, Cesis, Liepaja, and Daugavpils. The IV World Flutes Festival will be held in Mendoza, Argentina, September 19–23, 2012. General registration Submissions for “Notes from Around the World” should be sent (which will be considered on a limited basis) begins in April. to Christine Beard at [email protected]. Among the festival’s goals are to link music together with activities regarding the preservation of environment, the rights of living beings, and world peace; to explore the rela- Update from Canada tionships of the instrument, the body, and the thinking by Amy Hamilton process; to inform music students and general audience mem- Masterclasses Galore. Ontario and Quebec flutists have bers of the diverse styles of world flutes; and to promote cul- enjoyed a cornucopia of guest masterclasses over the past year. tural exchange between local and foreign musicians and In Toronto, Ian Clarke presented a recital and masterclass in artists. Send an email to [email protected] or visit October 2011, and Jeffrey Khaner, principal flute of the worldflutesfestival.org. Philadelphia Orchestra, visited the University of Toronto for a masterclass that same month. Thomas Robertello gave classes The Associazione Flautisti Italiani announces the I° for the Royal Conservatory of Music Glenn Gould International Flute Competition “Severino Gazzelloni” Professional School flutists in Toronto in October and September 12–16 in the Auditorium San Tommaso, Roccasecca, Ransom Wilson was in town in spring 2012 to work with these Italy. The competition, in three categories, is open to flutists of students. All classes were open to the public. In September, all nationalities. Category A is for those born 1996 to present; Belgian flutist Marc Grauwels visited the University of Ottawa Category B is for those born between 1991 and 1995; and for masterclasses offering an exploration of overall body Category C is for those born between 1981 and 1990. The appli- awareness while playing. Robert Langevin, principal flute of cation form should be sent by e-mail to [email protected], by fax to 39 the New York Philharmonic, was in Montreal in October for a 0899845119, or by airmail to Associazione Falutisti Italiani, via masterclass at the Montreal Conservatoire de musique. Giacomo Puccini N° 2, 84080 Acquamela, Salerno, Italy. Registration deadline is August 31, 2012. Visit falaut.it. New Hall Opens in Montreal. A brand new concert hall, La Maison Symphonique de Montreal, opened in fall 2011 and The Moscow State Conservatory P. I. Tchaikovsky announces completes the downtown arts complex known as Place des the Fourth International Competition of Moscow Conser- Arts. Since its completion, concerts in the new space have vatory for Winds and Percussion November 1–8. On a five-year included Robert Langevin performing the W. A. Mozart rotation, the 2012 competitions will include flute and tuba. Concerto for Flute and Harp with the New York Philharmonic Application deadline is August 31, 2012. Visit mosconsv.ru/en in October and in November Sir James Galway performing and look under the “events” tab. the Mozart Concerto in D Major and, with his wife, Lady Jeanne Galway, the Cimarosa Concerto in G Major for Two Achievements and Activities Flutes with the Orchestra Symphonique de Montreal.

NFA member Viviana Guzman premiered her music video in New Music. As part of the Toronto New Music Concerts 3D and presented a recital in Edinburgh, Scotland, August 2011–12 season, Robert Aitken and members of the New 17–18, 2011. On October 2, she performed in Puerto Vallarta, Music Ensemble gave the Canadian premiere of Elliot Carter’s Mexico, followed by a performance in Cartagena, Colombia, Trije glasbeniki (2011) for flute, harp, and bass clarinet on the October 10 and a recital and masterclass in Bangkok, occasion of the composer’s 103rd birthday. In Moncton, New Thailand, October 16-17. Brunswick, the New Oceans flute, cello, and piano trio featuring Swedish/Canadian flutist Karin Aurell gave in September NFA member Rhonda Larson spent the month of October the premiere of two oceans for bass flute, cello, and piano by 2011 performing and teaching in Eastern Europe. Larson and Canadian composer Anthony Genge. her five-member band Ventus performed in Minsk, Belarus, funded by a Hayes-Fulbright grant and hosted by the U.S. Amy Hamilton is flute professor at Wilfrid Laurier University, Embassy. They presented a masterclass at the Belarusian State Waterloo, Ontario, Canada. Contact her with Canadian flute Music Academy, which included performances by the news at [email protected]. Academy’s flutists and a question-and-answer session. Larson

72 The Flutist Quarterly Spring 2012 nfaonline.org PassingPassing Information about absent friends TonesTones

eorge Hambrecht, principal flutist for the Cincinnati Symphony GOrchestra for more than 28 years, died October 13, 2011. The cause was complications from a broken hip. He was 87. The Syracuse, New York, native first studied flute with his father, Henry J. Hambrecht, who played in the Syracuse Symphony. While studying music and engineering at Syracuse University, Hambrecht was drafted and served for three years until 1946. During World War II, he played Big Band music with the U.S. Army Band at military bases throughout the South. While stationed in New York, he studied flute with Julius Baker, the renowned principal flutist of the New York Philharmonic. After the war, Hambrecht earned bachelor’s and master’s degrees in music from the Eastman School of Music in Rochester, New York. He played in the Rochester Philharmonic under Erich Leinsdorf and was second flutist of the Cleveland Orchestra under George Szell from 1955 to 1962. He retired from the Cincinnati Symphony Orchestra in 1990. Hambrecht was a volunteer co-host of WMKV-FM’s weekly show, “WMKV Goes to the Pops” along with Bill Nimmo, Tom Emmert, and Ken Hacker. He served on the faculty of the University of Cincinnati’s College-Conservatory of Music from 1965 to 1977 and from 1982 to 1995. Hambrecht also was an instrument-rated pilot and was a member of the Flying Neutrons at Cincinnati-Blue Ash Airport. George Hembrecht Hambrecht is survived by his wife Ann B. (née Hunt); his four children from his first marriage (to Marion Garlock Hambrecht) Jane Edgar of Maineville, Lawrence E. Hambrecht of Philadelphia, Robert W. Hambrecht of New York City, and John H. Hambrecht of Port Saint Lucie, Florida; brother Robert S. Hambrecht of Sarasota; and two grandchildren.

lutist, teacher, and NFA Lifetime Member Carolyn Jean Bulson, 83, of Lancaster, Pennsylvania, died May 15, 2011. She and Fhusband Walter T. Bulson would have celebrated their 62nd anniversary in June. Bulson was born to Arthur W. Longfritz and Ruth Peters Longfritz in Gloversville, New York. An honor graduate of the State University of New York at Potsdam, she taught school in Tappan, New York. While in Rockland County, she was principal flutist with two symphony orchestras and taught flute privately. She studied flute with Gerald Rudy of the NBC Radio Orchestra, John Wummer, principal flutist of the New York Philharmonic Orchestra, and in masterclasses with Geoffrey Gilbert and Sir James Galway, among others. After moving to Lancaster in 1955, she became a member of the Lancaster Symphony Orchestra, the Lancaster Opera Company, and Actors Company of Pennsylvania orchestra, and played in the orchestras for Kiwanis shows, dinner theaters, Franklin and Marshall choral presentations, the F&M Band, the Lancaster City Band, and many church occasions. She played with the Reading Symphony, Reading Woodwind Quintet, Regional Symphony, and the Lancaster Pops Orchestra. Through her efforts, the “Music in the Schools” programs became a part of all the schools in the region. She coordinated the programs in Lancaster and Lebanon counties and performed in area city and county schools as well. She led the Lancaster Woodwind Quintet and was a flute instructor at Millersville University. She served on several local musical organization boards and as a faculty member of the county’s music camp. She wrote the children’s book, Children in Wonderland and is listed in Who’s Who in the East, Who’s Who of American Women, and International Who’s Who in Music. In addition to her husband, survivors are daughters Linda R. Kauffman and Nancy G. Shanor; grandchildren Stephanie Shanor and Andrew Shanor; sister and brother-in-law Doris Longfritz Mehne and Paul Mehne; and nephews and nieces.

nfaonline.org Spring 2012 The Flutist Quarterly 73 Remembering Jack Wellbaum

Jack H. Wellbaum, who died in late 2011, is remembered by friends, family, and former students on the following pages and at the 40th NFA Convention in August 2012.

ack H. Wellbaum, 2000 NFA Lifetime Achievement Award Excerpts for Piccolo with Piano Accompaniment. Wellbaum Jrecipient and a longtime active member of the NFA’s leader- also was an active member of the Cincinnati Musicians’ ship, died December 27, 2011, in Cincinnati. He was 89. Association, Local No. 1, American Federation of Musicians, Jack Wellbaum was born and grew up in Greenville, Ohio. serving as its vice president for 12 years. After serving as a lieutenant in the Navy during World War II, he Wellbaum received CCM’s Distinguished Alumni Award settled in Cincinnati. He met and married harpist Linda in 1985 and, in 2008, was given a special tribute concert at Iacobucci while a student at the university, and the couple had the 2008 NFA Convention in Kansas City. three children, Lisa Geber (recently retired harpist of the “The concert was filled with love, gratitude, and admira- Cleveland Orchestra), Ray Wellbaum (orchestra manager of the tion for one of our community’s most valuable gems,” said Boston Symphony Orchestra), and Laura Kalaitzoglou (of the flutist Erinn Frechette, noting that Wellbaum “touched Cincinnati Public School System). Twenty years after his Navy countless lives and served as a source of information and service, Wellbaum returned to Okinawa, Japan, to perform The inspiration to his students for over 40 years.” Stars and Stripes Forever for 8,000 servicemen during the Cincinnati Symphony Orchestra’s 1966 around-the-world tour. Stars and Stripes Forever Wellbaum was the solo piccolo player of the Cincinnati f her father’s frequent performances of the piccolo solo in Symphony Orchestra from 1950 to 1988 and served as that The Stars and Stripes Forever, Jack Wellbaum’s daughter orchestra’s personnel manager from 1974 to 1990. He also O Lisa Geber, retired principal harpist of the Cleveland was principal flutist with the Cincinnati Summer Opera Orchestra and the Dayton Philharmonic Orchestra. After Orchestra, says, “That was fun for all of us to hear. He tried to studying with Robert Cavally at the University of teach it to me, but I never played it as well as Dad played it.” Cincinnati’s College-Conservatory of Music, Wellbaum Wellbaum’s son Ray Wellbaum, orchestra manager of the served as adjunct professor of flute and piccolo at the school Boston Symphony Orchestra, says his father was “a hard act to and on the faculty of Miami University in Oxford, Ohio. His follow as a role model for me.” former students hold positions in orchestras throughout the He was “an amazing father,” says his daughter Laura United States, Europe, and South America. Kalaitzoglou, senior support specialist at the School for Wellbaum co-authored Facing the Maestro: A Guide to Creative & Performing Arts in Cleveland. “He took life with a Orchestral Auditions and, with Martha Rearick, Orchestral great sense of humor, all the time hoping we would become wise. Dad will be deeply missed by our whole family, his friends, music colleagues, and students.” “He was one of a kind,” says his wife, Linda Wellbaum. “He was outgoing and charismatic, and he had a wonderful sense of humor.” “He was one of the important reasons the orchestra is what it is today,” says Steven Monder, who was CEO of the Cincinnati Symphony from 1976 through June 2008. “In deal- ing with a personnel issue, Jack did not have trouble separat- ing his head from his heart. He simply considered them both and did the right thing. He was a first-class musician, someone whom the musicians respected, and a colleague whom I not Jack Wellbaum and his wife Linda in 2008. only trusted, but relied upon for guidance.” 74 The Flutist Quarterly Spring 2012 nfaonline.org Elegance of Style and Finesse of Execution A former NFA president recalls memories and excerpts from the speech he gave in honor of Wellbaum in 2000. by Kyril Magg

one he knew went there. Instead, Jack and her doctor prohibited her from accepted a full scholarship from going on a four-week train tour with the William Revelli at the University of orchestra, Jack played a trial rehearsal Michigan to be first flute in his band and was hired for the tour. After the tour, and work in the library. He was hoping Jack was given the job permanently at a to establish residence in Michigan so starting salary of $85 per week for the that he could be accepted at Michigan 28-week season, plus an optional six State as a veterinary student. weeks of opera at the zoo. ack Wellbaum was a close friend Life changed after Pearl Harbor and During the next 38 years, Jack per- and colleague for 39 years. We per- a falling-out with the temperamental formed under a variety of music direc- Jformed next to each other in the Revelli. Jack transfered to the College tors. He called Thor Johnson “a true gen- Cincinnati Symphony Orchestra for 15 of Music in Cincinnati, where he tleman—he would hold the door open years and taught as a team at the resumed his flute studies with Cavally for 90 musicians checking into a hotel Cincinnati Conservatory of Music for and joined the Naval Reserve. After his on tour.” Max Rudolf was “an orchestra 21 years. I doubt that there are more sophomore year, Jack went on active builder—he demoted all the principal than half a dozen people with whom I duty, attending two semesters of pre- players to expand the orchestra with had more discussions on a wider range officers training school and then going new principals” and Thomas Schippers of topics than I had with Jack. Of all of to Northwestern for Midshipman’s was “the most interesting—he made the these, however, the memory of one in school. As an ensign, he served on the musicians play better than they thought particular stands out: that was when he USS Neshoba in an amphibious assault the could (sometimes).” Walter Susskind told me about his life. He did this to group; on Easter morning, 1944, he was “someone who could look a musi- help me prepare for a speech that I rode in the fourth wave of the assault cian in the eye and say ‘you know, you gave about him when the NFA present- on Okinawa. He had many Navy sto- don’t play very well’ ”; Michael Gielen ed him with its highest accolade, the ries, about a typhoon that his group was “an organizer, both musically and Lifetime Achievement Award. I share survived and about the Magic Carpet administratively”; and Jesus Lopez- here a summation of that discussion runs that they sailed out of San Cobos was “the greatest human being and the resulting speech, not as my Francisco to pick up sailors from vari- the orchestra ever had.” impressions of Jack’s life but as his ous islands. When Jack joined the Cincinnati own, a kind of “Autobiography of Jack Jack was discharged in 1946 and Symphony, French-Canadian flutist Wellbaum as re-told by Kyril Magg.” resumed his studies in Cincinnati. He Alfred Fenboque was the principal Jack was truly a lifelong Ohio native. married Linda Iacobucci, a harpist in flutist. When Fenboque retired in He was born in Greenville, 38 miles the Louisville Symphony and graduate 1960, Jack began six seasons as princi- northwest of Dayton. His mother of the College of Music, on December pal flutist of the Cincinnati Opera taught piano and violin, and he began 28. But, as with many other things Company during the summer months. piano lessons at the age of 3. His fam- about Jack, there is also a story that The other three principal flutists with ily would sometimes come down to goes with that event. In those days, the whom Jack played in the Cincinnati Cincinnati to see baseball games at old CSO usually performed Ravel’s Symphony were Robert Willoughby Crosley Field. During one of these Daphnis and Chloe with only three (1960–61), Jake Berg (1961–1963), trips, the game was rained out and they flutists, but that year Jack was asked to and George Hambrecht (1963–1990). chose to go to a Cincinnati Opera per- play the second flute/second piccolo Jack worked continuously, first as formance at the Zoo instead. By coin- part in a performance using all four chairman of the orchestra committee cidence, what Jack heard that night flute parts—on December 28. The from 1959 to 1962, then as vice presi- was Lucia, with Ary van Leuwen playing adaptable Jack left his own wedding dent of the union from 1962 to 1972, the Mad Scene, and he decided right reception in mid-stream, resuming the and finally as personnel manager of then that he wanted to play the flute. festivities after the concert was over. the orchestra from 1972 until 1990. For While Jack was still at Greenville Jack graduated in 1948. That year, 16 of his 18 years as personnel manag- High School, he began playing second Robert Cavally resigned as principal er, he continued as the solo piccolo flute in the Dayton Philharmonic with flutist of the Dayton Philharmonic and player, retiring from playing in the his teacher, Robert Cavally, with whom Jack took over that position for two sea- orchestra in 1988 to spend his last two he had been studying since seventh sons while teaching instrumental music years as full-time personnel manager. grade. After high school, he wanted to in the Cincinnati public schools. When After the College of Music merged study to be a veterinarian, but he didn’t the piccolo player of the Cincinnati with the Cincinnati Conservatory, Jack want to go to Ohio State since every- Symphony became pregnant in 1950 joined the faculty of CCM (as it nfaonline.org Spring 2012 The Flutist Quarterly 75 the triplets to the high notes, his Bartok Concerto for Orchestra with each B- natural exploring yet another poignant expression, and his Grand Canyon Suite with those treacherous pre-dawn chirpings sweetly beginning out of nowhere. Jack was always challenging himself: he didn’t “push the envelope,” he made it larger and larger, continually growing as a musician and master instrumentalist. When Jack retired, he

Jack Wellbaum tribute concert, 2008. was playing better than at any previous time in his life. Everyone wants to “go became known) in 1960. Twenty-three dents for more than 20 more years. out on top”; Jack is the only musician I years later, when his personnel manag- What I most remember about Jack’s know who actually was able to do that. er duties were rapidly becoming more piccolo playing was his elegance of style, Jack was justifiably proud of his complex, Jack was concerned about the clarity and sweetness of his tone, wonderful family, his devoted students, having the time to continue his flute and the finesse of his execution. His and his large, far-ranging circle of teaching duties. I persuaded him to recordings of Rossini (with Schippers), friends. He was a greatly admired remain on the faculty to offer a weekly Shostakovich (with Susskind), and musician and human being. He piccolo masterclass to all of the other Ravel (with Lopez-Cobos) were filled embraced life’s possibilities and chal- flute teachers’ students, and he contin- with examples of these qualities. I lenges with commitment and caring, ued to infuse his infectious brand of remember his Gazza Ladra, with con- and left the world around him better piccolo addiction into CCM’s flute stu- sistently breath-taking diminuendi on than he found it.

who was graduating, who was getting married or having babies or making CDs or teaching masterclasses or going to law school. And he kept up with all this information not because he liked gossip, but because he genuinely cared about people. Jack Wellbaum lived a full, blessed life. He followed his passions, married his true love, had children and grandchildren who loved and respected him, was surrounded by friends and colleagues and students who were fiercely loyal to him, served his country with honor and bravery, conducted his relation- ships and business with honesty and integrity, and he made music—beautiful music. Mr. Wellbaum, you know that you were loved. God bless you and your family. —Nina Perlove

Jack Wellbaum and Nina Perlove A Flute and Piccolo Icon ack Wellbaum was and always will be a true icon in the Jflute and piccolo profession. His influence will be felt for generations and extends to the finest orchestras and teachers in the nation. As a leader in the orchestra world, he supported his colleagues with kindness and professionalism. I will always treasure the opportunity I had to be his student and learn from his expertise. He was always supportive, encouraging, and motivating, yet with high standards. Monday night piccolo classes at the Cleveland Conservatory of Music were a highlight of my education. He was also the closest thing the flute world had to an intel- Walfrid Kujala and Jack Wellbaum ligence network! Mr. Wellbaum knew the latest news about every orchestra in the country: which were hiring, which were A Magnificent Musician and Manager firing, which were happy, which were grumpy. He knew the he Cincinnati Symphony has been one of my favorite comings and goings of every flutist and piccolo player—if they Torchestras ever since I was a teenager. The orchestra came were taking auditions, the immediate results, who was studying, to my hometown—Huntington, West Virginia—on tour

76 The Flutist Quarterly Spring 2012 nfaonline.org annually, and I got to know some of the players in the woodwind section quite well. Everyone wants to go In 1950, while in my second year as a member of the Rochester Philharmonic, I learned of the appointment of Jack out on top; Jack is the Wellbaum as principal piccolo of the Cincinnati Symphony and followed his career from then on. Though he was only a few years older than me, I always looked up to Jack as a role only musician I know model because of his magnificent playing on CSO recordings. Later, as I got to know him better personally, thanks to our who actually did that. mutual participation in many NFA affairs and conventions, I began to admire him more and more, and we got to be very good friends. One year I had the fortune of being accepted into the NFA Jack was not only an outstanding musician but also a high- Piccolo Artist Competition semifinals—a surprise for us ly admired personnel manager of the CSO. I always looked both, I think, because although I had always enjoyed playing forward to Deborah Oberschelp, our Chicago Symphony per- piccolo, it had not been a primary focus for me at that point. sonnel manager, conveying news and greetings to me from Jack invested a significant amount of time with me that sum- Jack after their annual national personnel managers confer- mer to help me prepare for the competition, giving me extra ences. Debbie always talked about Jack’s warm and friendly lessons and sharing fingering tricks and ideas about what manner and widely respected management expertise. really made the piccolo sing. My kind teacher, always very I continue to be reminded of Jack’s impressive educational gentle in his critique, exerted motivating toughness that sum- legacy when I work with my students out of his Orchestral mer and really challenged me to get to the next level in my Excerpts for Piccolo book, which he edited and annotated. I piccolo playing. For years after the competition, he would find myself always nodding my head in total agreement with often tell others, in my presence, that he had never seen any- his well-considered instructions and advice. And I love his one work so hard in one summer on their piccolo playing. I opening comment about the Overture to La Gazza Ladra: heard this with humility but also great pride that he felt “Rossini wrote very well for piccolo!” strongly enough to express it to others. Jack, you also wrote very well about the piccolo! A trip to the Wellbaums for a lesson usually involved sever- —Walfrid Kujala al other activities beyond piccolo. Jack and his charming wife, Linda, herself a wonderful harpist and retired member of the Cincinnati Symphony, were gracious hosts. They always welcomed a chat in their living room after the lesson, constantly pushing some wonderful baked good or ice cream, sharing the bounty of their garden, recounting the most recent escapades with the family pets, and relating stories about their children and grandchildren. To many of us, they were our grandparents away from home, but with the added bonus of having wonderful stories to share about their fine careers and experiences as professional musicians. Jack always seemed to be “in the know,” even long after his retirement from the Cincinnati Symphony, about what was happening in the orchestral world. He was wonderful about keeping in frequent contact with former students and colleagues, and thereby instilling in all of us the importance of

Beth Chandler and Jack Wellbaum following the 2000 NFA convention in Columbus. being in touch. His phone would ring often, nearly always to his pleasure. His investment in his students as people was Mondays with Jack remarkable and long lasting. It meant so much to me that hile a doctoral student at the University of Cincinnati when my twins were born, he and Linda were eager to meet WCollege-Conservatory of Music, I had the privilege of them on my next visit to Cincinnati, bearing gifts and pro- studying in a weekly piccolo class with Jack Wellbaum, where viding lots of doting. we studied excerpts, solo repertoire, etudes—all things piccolo. It was and is still a thrill to catch a recording of the Every Monday afternoon, in preparation for that evening’s class, Cincinnati Symphony or Pops during Jack’s time there, you could roam the practice rooms and hear strains of Berlioz’s knowing it is his beautiful sound that rings out at the top of Dance of the Sprites, Rossini overtures, or whatever happened to the orchestra. To those who knew him, Jack Wellbaum was be on the piccolo menu that night. Jack was always a sweet, car- many things—a devoted and loving husband and father, a ing man, and in some of those classes, I think he exhibited great kind and caring man, a generous, dutiful teacher and mentor, patience and sensitivity when perhaps someone hadn’t done and a fine musician. I was fortunate to have had him in my enough practicing for the week. For years after my time at life, and I am forever grateful to be a small part of his won- CCM, on Monday nights I often had this feeling that I was sup- derful legacy. posed to be in piccolo class! —Beth Chandler

nfaonline.org Spring 2012 The Flutist Quarterly 77 Honor Roll of Donors to the Rubies Campaign for the National Flute Association The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings, and flute choir), and endowments. The list reflects donations received from November 1, 2009, to March 1, 2012.

Diamond Laura Benning Dorothy Tutt Lee Stephanie A. Wheeler T. Richard Nichols ($100,000 and above) Laurie Benson Amy Likar Robert Willoughby Lauren Osnato Mary Berk Gail E. Looney Theresa H. Wilson James J. Pellerite Ruby ($50,000–$99,999) Robert L. Berton Deborah MacMurray Carol Wincenc Margaret A. Peterson Joanne Ennis Bourquin Janet Maestre Windward Flutes Ltd. Mary Peterson Sapphire ($10,000–$49,999) Brannen Brothers Claire Della Mahon Richard E. Winslow Rolfe Pitts Bickford W. and Laura Flutemakers, Inc Julie Martin Maisel Ying-Yu Emily Yeh Sandra Ragusa Brannen Claudia H. Brill Rebecca Malone Catherine Ramirez Burkart Flutes & Piccolos Leslie Seid Margolis Donor ($50–$99) Judith A. Ranheim Emerald ($5,000–9,999) Andrew Callimahos in Roger B. Martin Trudi Anderson Eric Robison Anonymous Donor Memory of Lambros Betty Bang Mather Jan H. Angus Ginger Rombach-Adams Hawley Family Charitable Demetrios Callimahos & Richard A. Mc Pherson Anonymous Jean Rosenblum Foundation Helen Callimahos Hurry Dorli McWayne Carla Auld Mary Ross Mark & Judith Thomas Gerald V. Carey Catherine Miller John R. Bailey Sue Rudholm Mary Ellen Cerroni Mary Minsk Diane Barton-Brown Elaine Marie Schaeffer Platinum ($2,500–$4,999) Beth E. Chandler Linda Mintener Janet Becker Heidi Schuller Eleanor Duncan Armstrong Chesapeake Flute Consort Madeline Neumann Beth Behning Janet See Angeleita S. Floyd Kimberly Clark Edith K. Nishimura Jane Elizabeth (Liz) Bell Ken Sherman Leonard L. Garrison Eugenia L. Cline Joyce Oakes Sandra Benke Sherry’s Flute Repair & Sales Keefe Piccolo Company Robert F. Cole Ann C. Pearce Judith Bentley Robert Singer Valerie Coleman-Page Phyllis T. Pemberton Morgan M. Bresett-Brown Zoe Sorrell Gold ($1,000–$2,499) David Cramer George S. Pope Elizabeth M. Brightbill Cynthia C. Stokes The Abell Flute Co. Linda Crisafulli Ardal Powell Roberta Brokaw Glennis M. Stout Conn-Selmer Inc. Linda Cykert Gwen and Dick Powell Bret Burns Sue Swilley Sarah Jackson Brooks de Wetter-Smith Ronald Prechel Mimi Carlson Natalie Syring Victoria & Andrew Jicha Karen B. Demsey Bruce P. Price Chesapeake Flute Consort Judith Thomas Katherine Borst Jones Zart Dombourian-Eby Margaret Jane Radin Karen Q. Christensen Verne Q. Powell Flutes, Inc. Marie Jureit-Beamish Darlene Dugan Deborah L. Ragsdale Carol Christofferson James R. Walker Marjorie Koharski in William J. Egnatoff Wendy H. Rolfe Cathy Clare Jack H. Wellbaum Memory of Helen Cynthia Ellis Helene Rosenblatt Susan J. Clark Anne Welsbacher Callimahos Hurry Greer Ellison Sue A. Rupp CYSO Jr. & Sr. Flute Christian C. Wistehuff Sherry & Walfrid Kujala Arthur J. Ephross Edith Sagul Ensemble Richard Wyton Nagahara Flutes NNI INC. Susan Fain Mary Novak Sand Nan Wood Davies Ruth M. Yanagi Sandra Saathoff Ann Fairbanks Lisa Garner Santa Caroline Dawson Eileen Yarrison Fenwick Smith Jill Felber Therese Schneider Marcela DeFaria Alan Zaring Steven Finley Sandy Schwoebel Judy Diez d’Aux Silver ($500–$999) Lewis T. Fitch Angela Allen Sherzer Claire Durand-Racamato Friend ($1–$49) Sue Blessing The Flute Pro Shop Mary DeLano Sholkovitz Charlotte Ellis Melanie Addington Amy Rice Blumenthal Sarah B. Fouse Sign of the Silver Birch Nicole Esposito Dianne Aitken Leone Buyse and the Rice Noreen B. Friedman Music Rev. William Morris Evans Hideko Amano University Flute Studio Elena Gagon Ellen Silverman Lisa Ann Fahlstrom Sara Andon Patrice, Fred, Angela, and Colin Garnett Alison Brown Sincoff Lynne L. (Hadley) Fowlkes Arista Flutes Jessica Ficken in honor Patricia George Eve E. Slater Nora Lee Garcia Timothy E. Arnette of Katherine Borst Jones Jan Gippo John Solum Kimberlee R. Goodman Julia Michelle Barnett Jerry Jenkin Diane Gold-Toulson Patricia Spencer Jacqueline Goudey Nina Barwell Margaret Cornils Luke Susan S. Goodfellow Corydon S. Sperry Ann E. Graham Vicki Bell Martin Melicharek III Sally Grant Maria Stibelman Adrianne Greenbaum Karen Betz-Griewahn William Montgomery Susan Greenberg Wayne Summers in Gaile Griffore Jackie Jo Blackburn Christine E. Potter Penny Griffy Memory of Helen Julie R. Hobbs Marjorie Bollinger Hogan Janet Davidson Romanishin Carl D. Hall Callimahos Hurry Carolyn Krysl Hutchinson Carla Bowman Nancy Schneeloch-Bingham William S. Haynes Flute Co. Terri Sundberg in Honor of Robert Danielle R. Breisach Straubinger Flutes Wilda M. Heiss Cynthia R. Tate Willoughby’s 90th Elizabeth Buck Paul Taub Betty Austin Hensley Betsy Templeton Birthday Jean M. Burnett Clifford Tretick Dorothy (Dot) Holcomb The Flutist’s Faire Rebecca R. Johnson Emily Butterfield Nancy M. Vinson Eric Hoover Leslie Timmons Rose V. Johnson Michelle Caimotto Jasper Welch Margaret Foote Jamner Nancy E. Toff Gwyn E. Jones Elise Campbell Sue Ann Kahn Linda Toote Kris Keith Trish Campos Wood ($100–$499) Trudy Kane Anna Tough in Zara Lawler Jeanine Cariri Patti Adams Ellen Kaner Memory of Helen Jane Lenoir Xue Chen Robert Aitken Robert Katayama Callimahos Hurry Elie Litov Michelle Cheramy Lori Akins Peter Katz Peggy Vagts Leslie Maaser Sandra Serdahely Clark Altus Flutes Mindy Kaufman Julia K. Vasquez Katherine H. McClure Christina Cobas Eva Amsler Tara Kazak Gail D. Vehslage Audrey McPherson Deborah Coble Rebecca Tryon Andres Jonathan Keeble Ann S. Vinod Wendy Mehne Tadeu Coelho Francesca Arnone Katherine Kemler Susan Waller Marcia Strom Metzger Shelley Collins Deborah Rebeck Ash Linda Kirkpatrick Michel Wapler Catherine Miller Sheri D. Conover Frances Lapp Averitt Christopher Krueger Lenora Warkentin Howard E. Motteler Harriet Coppoc Peggy F. Baird Sherry Kujala Alice Kogan Weinreb Sharon Muller-Ho Martha Anne Teresa Beaman Joanne Lazzaro Jean Ohlsson West Jean Nakamoto Councell-Vargas 78 The Flutist Quarterly Spring 2012 nfaonline.org Brian Covington Sue Kurian Suzanne Teng Susan Greenberg Betty Austin Hensley Mary E. Craig Elaine Layne Caen Thomason-Redus Jean M. Harling Jerry Jenkin Milan Curro Harold Leinbach Paul Thompson Hawley Family Charitable Robert Katayama Morgann E. Davis Shin Ying Lin Michael Treister Foundation Linda Kirkpatrick Robert Dick Andrew Liu Karen Van Dyke Wilda M. Heiss Joanne Lazzaro Alaina B. Diehl Charles E. Lofties Jessica Vogel Eric Hoover Linda Mintener Louise DiTullio Dillon Nancy Loomba Jane Voyles Alison Hubbard Edith K. Nishimura Ann Droste Diane J. Lynch Albert Vreeland Jerry Jenkin Margaret A. Peterson Marie Jureit-Beamish Sophie Dufeutrelle Michael Lynn Ulrika Wallersteiner Deborah L. Ragsdale Mary MacRae Mihoko Watanabe Robert Katayama Suzanne Duffy Anna Tough in Emily Duncan Margaret McGovern Kristin Webb Sue Kurian Memory of Helen Paul Dutka Deborah McAndrew Carol Weinstein Joanne Lazzaro Callimahos Hurry Kirstin Eade Diane McCloskey Arnie Wernick Dorothy Tutt Lee Gail D. Vehslage Deborah Egekvist Kayoko Minamino Frederick Westphal Janet Maestre Jennifer A. Elliott Joseph Mitchell Alexander L. White Julie Martin Maisel Michel Wapler David Etienne Kelly A. Mollnow-Wilson Joanna Cowan White Leslie Seid Margolis Kristin Webb Christa Anne Flueck Nicole Molumby Takanori Yamane Clara B. Mortiboy Donald Garcia Roland F. Moritz Elena Yarritu Jean Nakamoto Marianne Gedigian Clara B. Mortiboy Leung Ka Yau Edith K. Nishimura Dedications Roberta Gillette Christine Fish Moulton Linda Zelonis Merryl D. Newler Andrew Callimahos in Ai Goldsmith Nancy L. Mulholland Jeffery Zook James J. Pellerite Memory of Lambros Sheryl Goodnight Kana Murakoshi Gwen and Dick Powell Demetrios Callimahos & Mildred D. Gottwald Tomiko Nakagawa David Hart Fund Linda M. Prior Helen Callimahos Hurry K. Dawn Grapes Barbara Neal Peggy F. Baird Mardee Reed-Ulmer Patrice, Fred, Angela, and Alyssa Greengrass Conor Nelson Laurie Benson Janet Davidson Romanishin Jessica Ficken in Honor Margaret Griffith Roger Neumann Mary Berk Ginger Rombach-Adams of Katherine Borst Jones Christine Gustafson Merryl D. Newler Paul Dutka Jean Rosenblum Carolyn Krysl Hutchinson Vanessa Gwynne Erica Nightengale Susan Fain Sue Rudholm in Honor of Robert Mary Hunley Norris Leonard L. Garrison Edith Sagul Jane Hahn Willoughby’s 90th Doris Hall Yeji Oh Margaret Foote Jamner Sandy Schwoebel Birthday Jean M. Harling Kris Palmer Christopher Krueger Mary DeLano Sholkovitz Marjorie Koharski in Lisa Hedley Cindy Paradiso Julie Martin Maisel April Showers Memory of Helen Stephanie Hegedus Deborah Sinacore Parker Ardal Powell Robert Singer Sy Helderman September Payne Wendy H. Rolfe Eve E. Slater Callimahos Hurry Fritz M. Hessemer Jordan Pearson Nancy Schneeloch-Bingham Glennis M. Stout Wayne Summers in Brendan Hogan Amy Porter Janet See Nancy E. Toff Memory of Helen Gail Holsclaw Linda M. Prior Fenwick Smith Karen Van Dyke Callimahos Hurry Ina Mae Holt Irene Pruzan Anne Welsbacher Susan Waller Anna Tough in Memory David Houston Mardee Reed-Ulmer Stephanie A. Wheeler Arnie Wernick of Helen Callimahos Alison Hubbard Emily F. Regis Robert Willoughby Jean Ohlsson West Hurry Don Hulbert Arlene H. Renico Eileen Yarrison Alan Zaring Ellen Huntington Rachel Rodgers Legacy Circle/ Jennifer Isadore Roger Holman Enterprises Frances Blaisdell Fund Myrna Brown Fund Planned Gifts Sarah Jackson Rebecca Carson Rogers Anonymous Donor (2) Eva Amsler The NFA Legacy Christina Jennings Toby Rotman The Abell Flute Co. Frances Lapp Averitt Circle honors visionary indi- Catherine M. Johnson Geri Rotella Rotter Eva Amsler Leone Buyse and the Rice viduals who help Yeva Johnson Jill M Rubio Rebecca Tryon Andres University Flute Studio to ensure the future excellence Peggy F. Baird Andrew Callimahos in Adah Toland Jones Marcia Rudin of the NFA through planned Ruth Kasckow Sonia Ruiz Laurie Benson Memory of gifts. It is with deep apprecia- Jennifer S. Keeney Debra C. Schild Mary Berk Lambros Demetrios tion that we recognize our Crys Keiser Paul Schliffer Joanne Ennis Bourquin Callimahos & Helen members of this prestigious Amalie C. Kempton Lisa Schroeder Mimi Carlson Callimahos Hurry Janice S. King Virginia Schulze-Johnson Susan J. Clark Chesapeake Flute Consort group: Eden Klepper April Showers Carol Christofferson Cathy Clare Denise R. Koncelik Merrie R. Siegel Charlotte Ellis CYSO Jr. & Sr. Flute Katherine Borst Jones Mary Kopsieker Christen Sparago Greer Ellison Ensemble Eric Hoover Karl F. (Fritz) Kraber Mark Spuria Colin Garnett Lynne L. (Hadley) Fowlkes and Deborah Gaynor Laura Sanborn Kuhlman Rosalind Stack Leonard L. Garrison Ai Goldsmith Carol Kniebusch Noe Beth Kupsco Lew Tabackin Jacqueline Goudey Susan S. Goodfellow Gwen and Richard Powell WHEREARETHEYNOW ? Beverly Pugh 1981 Young Artist Competition, second place “Winning my competition at the NFA convention led to my being sponsored the following year in my New York solo debut in Avery Fisher Hall, Lincoln Center,” says Beverly Pugh. “That same sponsorship also lead to my German Debut at the Kleinen Goldenen Saal in Augsburg, Germany, in 1984.” Beverly Pugh, who studied with Marcel Moyse, at the Paris Conservatory of Music, and at Indiana University, has taught at Rutgers University and Perkins Center for the Arts in New Jersey. Her students have gone on to such music schools as the Juilliard School and Oberlin Conservatory. She was cofounder and bard member of the Flute Society of Greater Philadelphia and is president of Beverly’s Pan Flutes. Her solo performances using various flutes have taken her to Avery Fisher Hall, Klienen-Goldenen Saal in Augsburg, Germany, and many other locations. Pugh is a member and clinician for the Bay-Atlantic Symphony in New Jersey.

nfaonline.org Spring 2012 The Flutist Quarterly 79 NEW PRODUCTS Recordings, music, and other products by and for NFA members

A new edition of Joachim Claviatures is the latest Navona Records compilation of works Andersen’s TwentyFour for chamber ensemble by Asherov-Kalus, Scully, Tribble, Etudes, Op. 15 features a Fletcher, Nagorcka, and Stölzel. The recording contains eight second flute part created by original pieces performed by musicians from around the world: flutist, teacher, and NFA joining flutist Lisa Hennessey are pianists Karolina Rojahn, Lifetime Achievement Lukáš Klánský, and Robert Pherigo; violinists Ondej Lébr and Award recipient Carol Ann Marie-Brown; violist Neil Casey; clarinetist Doug Graham; Wincenc. Wincenc’s inspi- and cellist Lawrence Figg. Visit navonarecords.com/claviatures. ration for the edition of these classic components of the flute repertoire was Looking Back is the third based on the teachings of recording on Albany Records one of her pivotal mentors, by Leonard Garrison. French flutist Marcel Repertoire includes the title Moyse, who as a young boy work and Black Anemones by played for Andersen himself. In lessons, Moyse accompanied Joseph Schwantner; Elliott students in these etudes by creating a counterpoint to the Carter’s Scrivo in vento; Donald original study and often vocally improvised melodies and/or Martino’s Quodlibets; Vincent lyrics. In adding his second line, Moyse underscored the har- Persichetti’s Parable; Robert monic, melodic, rhythmic structure and shape of the lines in Dick’s Fish Are Jumping; a way that went beyond verbal explanation. Through this Samuel Barber’s Canzone; and Robert Beaser’s The Old Men method, the student learned about rhythmic stability, phras- Admiring Themselves in the Water. Jay Mauchley joins ing, intonation, and quality of sound by playing with the mas- Garrison on piano. The CD’s diverse program of music by ter. Wincenc’s goal with this new edition of Andersen’s etudes American composers for solo flute, flute and piano, and solo alto is not only to take Moyse’s improvisations further but to flute represents some of the best repertoire written for this fam- immortalize her sessions with him by creating a second flute ily of instruments. Featured composers include Pulitzer Prize part playable by both the teacher and by the students them- winners Schwantner and Carter and such mainstays of the selves. The project also offers a glimpse into Anderson the American concert scene as Persichetti and Barber. Among NFA- man, as Wincenc and her associate editor Bryan Wagorn had commissioned composers included are Dick and Beaser. access to Andersen’s own copy of Op. 15, with his penciled-in Garrison is associate professor of flute and aural skills at the markings, and to a manuscript fragment of the work housed University of Idaho; flutist in the Northwest Wind Quintet, at the Pierpont Morgan Library. The edition was released by the Scott/Garrison Duo, and the IWO Flute Quartet; and Keiser Classical; visit laurenkeisermusic.com. principal flute of the Walla Walla Symphony. He is the artistic director of the Red Lodge Music Festival and teaches and performs at the Blue Lake Fine Arts Camp. He has held positions This Invisible World is the new double CD featuring Wissam in the Chicago Symphony and the Tulsa Philharmonic and Boustany from Nimbus Alliance. Pianist Aleksander Szram joins served as chair of the National Flute Association. He was also Boustany on works for flute and piano by Mel Bonis, Paul a featured soloist on National Public Radio’s Performance Hindemith, Joseph Jongen, Carl Witt (title track), Yevhen Today program. Garrison can also be heard on American Stankovych, Boustany, Houtaf Khoury, and Sibelius. The first Reflections and Barn Dances. Visit albanyrecords.com. CD features romantic and impressionistic music; the second CD consists largely of works that were written for Boustany. Four additional CDs featuring Boustany are slated for re-release in The new website for Burkart Flutes and Piccolos features an 2012 by Nimbus Alliance. Visit wissamboustany.com. interactive design and images and descriptions for flutists and piccolo players. A visitor can study the G-sharp facilitator of a A new, international website for Miyazawa Flutes offers multi- piccolo, view flute options in detail, and get a close-up view of ple languages and updated features, including an expanded key engravings. Piccolo fingering tips, C-sharp trill applica- video library and media player with free, full-length MP3s. tions, and other resources are available. A section on artists Among other features are a section of articles on various top- contains brief biographies of flutists and links to players ics, including technology, flutemaking, and maintenance and throughout the world. The site also features articles by Jim care; individual artist pages with bios, sound clips, and inter- Phelan and Lillian Burkart on flutemaking, wood for instru- views; and an events calendar. Visit miyazawa.com. ments, new developments, and more. Visit burkart.com.

80 The Flutist Quarterly Spring 2012 nfaonline.org People and positions Industry Update in the flute industry

The Art of Playing the Flute, the three-volume set of workbooks by flute scholar Roger Mather, is now also available as a single electronic book in PDF. The 250-page e-book is reset in an updated font internally hyperlinked to allow easy movement between chapters and references. It is emailed directly to readers to use on their computer or to print and bind. It sells online for Canadian $22. This is one of the first books on flute techniques Former and current owners Amy Rice-Young Blumenthal and Matt Johnston. to be available in both formats. Visit jennifercluff.com. ALRY Publications has been purchased by Matt Johnston and The three volumes cover topics such as breath control, Bill Van Steenburg and is now based Seattle, Washington. Amy embouchure development, posture, fingers, resonances, Rice-Young Blumenthal, of Charlotte, North Carolina, found- tonguing, vibrato, and stage presence. Its clear, concise exper- ed ALRY and announced the company’s closing in late 2011. iments and exercises allow each flutist to make improvements “We are pleased to have the honor of carrying on a 32-year in all aspects of playing. tradition of providing high-quality music to the industry,” First published by Mather’s own Romney Press (1980, 1981, says Johnston. “Amy Rice-Young Blumenthal has some real 1987), hard copies of the original printing in separate volumes history with ALRY,” Johnston says, “and we are looking for- are distributed by Eble Music in Iowa City for about $19 each. ward to carrying on the great work she has done and further- Visit eble.com/store/. ing it with some new and fresh ideas as we move forward.” The new owners have launched an online store allowing Thirty-two Rose Etudes for customers to browse the catalog and place orders directly Flute, a reworking by Amy online. They have added a Facebook page to serve as the com- Porter of the etudes for pany’s main communications portal. Also planned are clarinet by Cyrille Rose, changes with inventory and format and design of the scores. has been released by Carl “We will be expanding some sections and adding new music,” Fischer Music. says Johnston. “We are actively soliciting new music.” The edition includes a The owners are increasing page dimensions to 9 by 12 inch- CD containing piano es, adding new cover art, and adjusting placement of printed accompaniments that are material to enhance readability. “This is an exciting change, written and performed by and we are confident it will have a major impact on the qual- John Walker in both MP3 ity of the published pieces,” says Johnston. and PDF formats. Visit “I just want to thank Amy for the many years of hard work carlfischer.com. she has put into the business,” Johnston notes, “and I am confident that as we move forward under new ownership, we will continue to offer great music for our customers for many more years.” Visit facebook.com/alrypublications. Sherry Finzer has released Sanctuary II: Earth, her second album in the Michael Good, the founder of Recordare and inventor of “Sanctuary” series with MusicXML, has joined MakeMusic, Inc., as director of digital Heart Dance Records. sheet music as part of the recent acquisition by MakeMusic of Finzer has recorded five Recardare LLC, the Internet music publishing and software solo CDs and two addition- company. Under the terms of the agreement, MakeMusic is al CDs with her group dulce purchasing the MusicXML open format and Dolet software VAS. She also has recorded technology, including copyrights, source code, and trademarks. with other musicians in her Good notes that “MakeMusic has been MusicXML’s earliest home state of Arizona and most significant supporter. In considering [this sale], I including Drew Diego Bennett, Nobody Et Al, Darin was looking for a company committed to creating new Mahoney, and Alex Porter. advances in the world of interactive digital music notation. Finzer is founder and president of the Arizona World MakeMusic was clearly the best fit.” Music Initiative (azwmi.org). Visit sherryfinzer.com. Visit makemusic.com.

nfaonline.org Spring 2012 The Flutist Quarterly 81 NEW PRODUCTS The Chamber Works features nine Out of the Loop, a 20-minute composition for solo alto new works written by Kevin Kaska flute by U.K. composer Michael Summers, has been pub- and Jack Jarrett for a variety of lished by MidsummersdayMusic. Out of the Loop is in five instruments. Works on the CD are movements: Ibis, Hawk, Rain Farm Dance, Perhaps if, and performed by seven musicians who Ibis Returning. The composer recorded the work with comprise the Los Angeles Chamber Harry Winstanley, principal flutist of the Hong Kong Artists. Flutist Paul Fried is fea- Sinfonietta, in October 2011 on a visit to Hong Kong; a tured in Kaska’s The Capriccio for 2012 release of the recording is planned. Visit midsum- string quintet, horn, harp, and solo mersdaymusic.co.uk. flute. The CD is available from Flute World.

National Flute Association Celebrating 40 Years Rubies! of Artistry and Vision August 9-12, 2012 Las Vegas, Nevada Caesars Palace

Commemorate the NFA’s 40th birthday with Participate in masterclasses, workshops, flute choirs flute friends from across the globe ∫ ∫ Enjoy the luxury of sumptuous Caesars Palace Honor LAA and NSA recipients Bonita Boyd, ∫ Betty Bang Mather, and Nancy Toff There’s something for everyone! ∫ Attend concerts, lectures,∫ exhibits, competitions Visit nfaonline.org/convention nfaonline.org

WHEREARETHEYNOW ? Ji Weon Ryu 2010 High School Soloist Competition, first place “I have an unforgettable memory: meeting Jane Rigler, the composer of the newly commissioned piece,,” says Ji Weon Ryu of her competition experience. “She not only listened to every participant’s playing, but also stayed after the competition was over. I had an opportunity to meet her and hear her comments on my performance of her piece—and I was thrilled that she liked the way I played. I was happy that I understood the composer’s music clearly and also could share my inspiration of the music with audiences.” Ryu graduated from Walnut Hill School for the Arts and studied with Judy Grant. She was principal flutist in the New England Conservatory Youth Philharmonic Orchestra. In addition to her 2010 first-place prize, she also won Best Performance of a Newly Commissioned Piece in the NFA competition and second prize in the New England Conservatory Prep School Concerto Competition. A native Korean, Ryu attended Seoul Arts High school and studied with Rock Sun Moon and Young Ji Song at Yewon School. She won first prizes in several competitions in Korea, has performed as a soloist with Seoul Philharmonic Orchestra and Seoul Symphony Orchestra, and presented a recital at Kumho Art Hall for the Kumho Prodigy Concert. Ryu is a freshman at the Juilliard School and studies with Carol Wincenc. “Preparing for the competition was a continuous challenge for me,” says Ryu. “I pushed myself to learn a new modern piece that was unfamiliar to me and two other pieces at the same time. I worked to make each piece sound different, as music in its own period’s time. Ryu says she now has, in addition to a broadened repertoire range that includes a modern work, new performance opportunities that have gone well because of the “confidence I got from winning the NFA competition.”

82 The Flutist Quarterly Spring 2012 nfaonline.org “Simply the Very Best Flutes.” - Jim Walker

Play it. Hear it. Feel it. Lillian Burkart The Sound and Feel of Great Design

Burkart Flutes & Piccolos 2 Shaker Road #D107 Shirley, MA 01464 USA Phone: 1-978-425-4500 E-mail: [email protected] Reviews of flute-related recordings, REVIEWSREVIEWS books, and other items of interest Book The Flute Scale Book: In addition to the creatively considered sample practice A Path to Artistry plans are common patterns flutists have played for years. For Patricia George and example, many of the exercises from Taffanel and Gaubert’s Seventeen Daily Exercises have been included, effectively laid Phyllis Avidan Louke out for page turns. The combination of these exercises with © 2011 Theodore Presser the rest of the materials makes The Flute Scale Book an effective Company all-inclusive scale resource. Phrasing, often not included in scale books, is the subject of atricia George and Phyllis the entire second chapter of The Flute Scale Book, and items from PAvidan Louke have released a that discussion are continually referenced in subsequent chap- new edition of their publication ters. Materials that attempt to systematically teach a student how The Flute Scale Book: A Path to to phrase are not common in the method book repertoire. Artistry. Fourteen pages of Though some young musicians seem to phrase naturally, most exercises have been added to need to be taught to think about musical gestures and how to their original 2009 edition, which remains otherwise unchanged. The Flute Scale Book can be used for a lifetime of practice. produce them, and this book provides an effective guide. Young students can be guided toward practice plans arranged Throughout, Patricia George and Phyllis Avidan Louke have by level, each plan helping the student cover basic technical written excellent teaching materials, helping the student or needs each day without feeling overly repetitive. Suggested teacher understand how sound is produced and by what practice routines for beginners cover skills including air use, means the flute can be played beautifully and efficiently. articulation, vibrato, rhythm, trills, and balance of the instru- Materials contained within the book can be used very early in ment. As students progress, the sample practice plans add a flutist’s study, and professional flutists looking for a new rou- embouchure exercises that make excellent use of harmonics tine will have their needs satisfied by the exercises included. This and begin to extend the student’s range. Advanced student and is one of the most carefully thought-out and comprehensive professional practice plans cover almost every type of scale or methods for flute study available, and a valuable resource for arpeggio a flutist could require, including octatonic, pentatonic, students and teachers of all levels. and blues scales. —Rebecca Johnson CDs Dharma On this recording, Chadwick is heard at a live performance at Bob Chadwick the Dharma Cafe in Houston working with mallet percussionist © 2011 Chadsongs Harry Sheppard in a duo setting, a format that recently has been thrust on many jazz artists for economic rather than purely FA members who artistic reasons. Unlike Chadwick’s earlier recording, which fea- Nattended the Jazz tured primarily jazz standards, the pieces here are original Flute Big Band concert at works, of the kind that emerge from improvising around loose the 2009 New York con- harmonic and rhythmic frameworks. In contrast to Teng’s vention will have seen Mystic Journey, Chadwick and Sheppard hew to more jazz- and and heard Bob Chadwick rock-oriented grooves, with a dash of New Age coming largely in the bass flute section. from the Asian and South American overtones of Chadwick’s Chadwick, who is from Houston, favors the more exotic mem- instruments. But given Chadwick’s jazz roots, there is a lot more bers of the flute family, and in this, his second recording, he muscle here than in the average New Age session (referred to by serves up a flute smorgasbord drawing on Indian, Japanese, jazz pianist Keith Jarrett as “lobotomy” music) and a good deal Andean, and other traditions, with bansuri, shakuhachi, quena, more free-flowing improvisation than you find in contempo- and pan flutes among the instruments on offer. Chadwick rary composition. belongs to that school of world flute players whose members Chadwick claims the spotlight much of the way, with (such as Suzanne Teng) make use of the timbres of these instru- Sheppard providing sensitive backgrounds on his electroni- ments in the creation of their own music, as opposed to those cally enhanced vibraharp and marimba and stepping up to (such as Steve Gorn) who attempt to master the instruments solo from time to time. Overall, there is enough here to war- and the genres they represent—or rare performers such as Pedro rant going along for the ride. See bobchadwickflutes.com. Eustache who become fluent in several world genres. —Peter Westbrook

84 The Flutist Quarterly Spring 2012 nfaonline.org Con Brio! gather a set of original compositions with a view to making Ali Ryerson the CD an integrated piece of music rather than a random col- © 2011 ACR Music lection of standard jazz tunes. “I love my previous recordings,” Ryerson told the Jazz li Ryerson will be Chill website, “but I thought I had to do something differ- Awell known to many ent now by making an album with a concept, as opposed to NFA members through another compilation of jazz tunes and bossa novas, or an her recently completed album of all standards.” stint as chair of the Jazz The resulting recording, with Ryerson playing the prototype Committee and her instrument of the new Brio! line, finds her at the height of her ongoing stewardship of powers, inspired by the playing of her companions and the Jazz Flute Big Band. Indeed, it is hard to imagine how exhibiting all the qualities of lyricism, intelligence, and grace many flutists have enjoyed their first exposure to jazz through that have endeared her music to her NFA friends and col- convention appearances by her and her immediate colleagues, leagues over the years. where they have been drawn to the genre through her playing’s And she has chosen her compadres well: vibraphonist Mike warmth and lucidity and her demonstration of the expressive Mainieri is a top-flight soloist and a past master of the accom- capabilities of the flute within the jazz setting. panist’s art, surrounding as much as supporting the flute with It may come as a surprise, therefore, to learn that, after lovely chord voicings. Guitarist Mike DeMicco provides a fresh decades of toil in the jazz vineyards—as traveling soloist, cli- alternative to Mainieri on three tracks. Pianist Pete Levin is nician, and recording artist—and in spite of unstinting praise equally skilled both as soloist and accompanist and also con- for her musicianship from her professional peers, she is still tributed the group’s arrangements, which move effortlessly not a household name in the jazz world. This is an indictment between sprightly and lush. (Listen to his gorgeous treatment of of the rather dismal state of jazz criticism, which too fre- Where Flamingos Fly and his subtle transformation of Satie into quently responds more to flash and fad than to substance, a lovely, and unexpected, jazz waltz.) Providing the foundation especially to pure musicianship. Being a flutist is still a handi- for the ensemble is the rhythm section of Egan and Gottlieb, cap in the jazz world, and being a woman is another strike already an established team, having played this role for guitarist against her. Seventy years ago, legendary pianist Mary Lou Pat Metheny in the late ’70s and as co-founders of the jazz fusion Williams railed against the power of “paid-for publicity,” com- band Elements. Their presence, particularly Egan’s electric bass, plaining that “most anybody can become a great name if he does, in fact, give the recording a sheen of jazz fusion that moves can afford enough of it. In the end, the public believes what it it away from Ryerson’s more usual acoustic sound, an approach reads. So it is difficult for the real talent to break through.” that Levin’s arrangements play into. In Ryerson’s case, however, a door recently opened to pres- “I wanted to introduce the electric side of jazz to my music,” ent her with new career possibilities. In recognition of her Ryerson reports, “with electric piano, electric bass, and some years of work as a clinician for Gemeinhardt, the company synthesizer, which led me to a collaboration with my old offered to design a signature flute for her under its Brio! line. friend Pete Levin, who co-produced the CD with me.” As part of the package, it also provided the finances to produce Above all, however, Con Brio! captures the sound of Ali this recording. Ryerson is no stranger to the recording stu- Ryerson at the top of her form. Perhaps now, after a lifetime of dio—this is her 20th album as either leader or sideman—but intensive work and dedicated study, Ali Ryerson may be poised it has been some time since she has had the opportunity to to become an overnight success. Watch this space! hire a “dream team” of accompanying players, and the time to —Peter Westbrook

Concerto pour especially nuanced and sensitively performed. Three of the six Piccolo concerti on the CD were written for recorders or flute but Antonio Vivaldi work particularly well for the piccolo as well. I especially liked the C Major Concerto, RV 533, adapted for © 2011 Saphir Productions two piccolos. The bright key of C major and the range and tone of the piccolos give a happy ambience to this well-known oncerti pour Piccolo, work originally scored for two flutes. The famous Concerto in Cby Antonio Vivaldi, C Major, RV 444, is especially beautifully played. The slow features the excellent movement in A minor has a haunting and particularly lyrical playing of the Orchestra quality. The repeats use some ornamentation, as was the cus- National de France tom of the day. This figuration has a fresh, improvised style under the direction of Jean Pierre Rampal with piccolos that is particularly fitting. The orchestra’s light, animated Phillipe Pierlot and Jean-Louis Beaumadier. Previously quality suits the piccolo soloists extremely well. released by Arpege in 1987, this is a re-release by Saphir. The I highly recommend this CD. instrumental sound is excellent and the basso continuo is —Andrea Loewy

nfaonline.org Spring 2012 The Flutist Quarterly 85 CDs Dedicatoria: before the rhythms become regular and the mood more excit- Music for Flute in ed. “Song of Fire” was inspired by Catalan popular song. The 20th-Century Spain piano ostinato creates a feeling of suspension while the flute transforms the tone color through singing and playing, flutter Claudia Giottoli tonguing, pitch bends, and timbral trills. If you have ever © 2010 Stradivarius watched young children play, you will appreciate the vivid aural representation in the last movement, “In the n interesting blend Playground.” Happy, spirited sounds abound. Aof romanticism and Joaquín Rodrigo’s Aria Antigua clearly emulates a baroque folk elements dominates style. The overall affect of this piece is sincerely and heavily this CD, which features dramatic. While there are moments when it sounds as though pianist Raffaele D’Aniello the flute will break free from the wonderful gravity, alas, performing with Giottoli, Giottoli continually returns to the initial feeling. Xavier and although each piece conforms to this overall theme, there is Montsalvatge’s Serenata a Lydia de Cadequés was commis- variety in the colors, textures, and styles. sioned by Jean Pièrre Rampal. The flute begins by playing with Salvador Brotons’ Sonata Op. 21 opens with a dramatically rhythm, dynamics, and timbre on only the C above the staff. slow first movement. A flute cadenza, complete with eerie har- This minimalist improvisation evolves into the initial theme, monics, leads directly into the second. An anxious chromati- which is atonal in nature. The character transforms into a cism and constant barrage of sonic activity in the second meandering dance of sorts that eventually disappears. movement beautifully contrasts the sullen drama of the first. Chants D’antan (Songs of Yesteryear) by Óscar Esplá uses a Especially enjoyable is the kaleidoscopic transformation of the moods and colors in this piece. Dedicatoria by F. Moreno simple folk melody in the opening that is varied throughout the Torroba emulates the sounds and styles of folk dance music work. The whispering color used by the flute evokes memories you might expect to hear on a guitar. The seductive ebb and of times past. I enjoyed the variety and aural candy in Sonatina flow provides richness, and the simple melodies that are play- Jovenivola by Amando Blanquer. The first of this three-move- fully embellished make for a truly lovely piece. Dedicated to ment work is an homage to Olivier Messiaen and specifically to Rafael López del Cid (flutist of National Orchestra of Spain), Le Merle Noir that captures the essence of birdsong. Jazz-like Nocturno by Julián Menéndez opens softly and soothingly like harmonies and a seductively soaring melody make up the sec- a lullaby. A darker color emerges as this romantic piece ond movement, while the third, in rondo form, is reminiscent of evolves, and the flute noodles around the initial themes, before a playful nursery rhyme. The final work, Dolçainers by Manuel returning, toward the end, to a more melancholic lullaby. Palau, was composed for orchestra but later adapted for flute Tirana has definite folk elements, not a surprise as composer and piano. The title refers to the ancient Valencian instrument Jesús Guiridi is also a musicologist. Beats per measure alter- that was often accompanied by drums. While there are no drums nate between two and three as the flute flawlessly performs in this version, the playful rhythms certainly suggest their pres- flourishes that embellish a folk melody. ence. An intense, somber mood in the middle gives way to the Chanson gitane by Manuel Infante is a rhapsodic showpiece celebratory spirit that makes for an energetic ending. in three sections, complete with flute cadenza. Dazzlingly Although there is one glitch with the liner notes (a couple beautiful lyricism alternates with fabulous virtuosity. The tim- pieces are listed out of order), this is a well-crafted CD. The bral affects created by Giotolli in Three Movements for Sarah musicianship of Claudia Giottoli and Raffaele D’Aniello is beau- by Montserrat Torras are breathtaking. The first movement, tifully intuitive and polished. And it is especially refreshing to be “Streams,” is based on Persian music and requires microtones exposed to this fusion of Spanish Romantic and folk styles. on the flute while piano strings are plucked ala George Crumb —Tess A. Miller

Density 21.5 Findon performs expertly on flute, alto flute, piccolo, and bari- Andy Findon tone sax. An extremely versatile performer, Findon was trained © 2011 Wyastone as an orchestral flutist at the Royal College of Music and then Estate Limited branched out to perform in dance bands, ballet orchestras, national theatre, film work, chamber work including the Myhre ensity 21.5, released Saxophone Quartet, doubling work, and orchestral work includ- Dby renowned Bri- ing holding the principal flute position of the National tish flutist Andy Findon Symphony. He also has worked extensively with the Michael through the Nimbus Nyman Band. Findon beautifully performs the title work using a Alliance Label, is packed platinum flute by Charles Morley with Louis Lot key work made with a wealth of styles, for Geoffrey Gilbert in 1950. The tone is dark, rich, and full of instruments, and genres. wonderfully communicative changes of timbre.

86 The Flutist Quarterly Spring 2012 nfaonline.org The other diverse works include KBM by Andy Scott (flute, exceptionally valuable CD. I especially enjoyed Coltrane, writ- world premiere), Song for Tony by Michael Nyman (performed ten in 1981 by David Heath as a musical tribute to John on both flute and baritone sax, world premiere), The 11th Coltrane. The alto flute playing is superb, energetic, focused, Commandment by Geoff Eales (flute, world premiere), Partita in and sensitively phrased. The work incorporates two distinct A Minor for solo flute by J. S. Bach, Eighteen by Andy Scott (bari- sections; the first half is blues while the second is rhythmic tone sax, world premiere), Canzona by Michael Nyman (flute, and quite fast. In the program note, the composer describes world premiere), Coltrane by David Heath (alto flute, world pre- the second half as “influenced by North Indian music.” Heath miere), Sonata for solo flute by David Cullen (flute, world premiere), Yamamoto Perpetuo #5 by Michael Nyman (baritone sax, also states that he “imagined the piece as a meditation being world premiere), and Yamamoto Perpetuo #9 by Michael Nyman played on the top of a Tibetan mountain shrouded in mist.” (piccolo, world premiere). Findon’s performance is very virtuosic and moving. I give this The wondrously expressive performances of the 10 world newly released CD a very high recommendation. premieres by contemporary British composers make this an —Andrea Loewy

PicCollage and Hinze’s sound. Daniel Dorff’s pieces for piccolo have Gudrun Hinze become standards in the repertoire and are effectively presented © 2011 Talanton in the two included here. Hinze’s recording of Vivaldi’s Concerto in A Minor, RV 445, is also expertly played, and would provide a udrun Hinze, prin- good model for musicians preparing for auditions or perform- Gcipal piccolo with ances. The weakest portion of the recording is the Noble the Leipzig Gewandhaus Tafelmusik for Flute/Piccolo, Oboe, and Piano. Hinze’s flute play- Orchestra and the Bay- ing is generally nice but not as strong as her piccolo playing, and reuth Festival Orchestra, the low register sound and articulation in the movements using has released her second flute are not consistent. The piece is engaging and perhaps should solo CD, PicCollage. It is have more presence in the flute, oboe, and piano trio repertoire. filled with charming works for piccolo expertly performed Hinze plays with a sweet, even sound throughout the registers by Hinze and musicians from the Gewandhausorchester with excellent intonation. Her playing records well, and can pro- and MDR-Sinfonieorchester Leipzig. vide a good model for those wishing to learn more about the Australian composer Barry McKimm’s Concerto for Piccolo instrument. Many piccolo players choose a darker sound con- and Orchestra provides attractive melodies and athletic passages cept than Hinze uses, but her playing reflects the standard in the for the soloist. Though the work sometimes seems like a carica- piccolo world and is well executed. ture of Irish music, the listener is quickly drawn into the piece —Rebecca Johnson

Uneasy Dreams smile with its ruminations on the standard excerpt from Christian Artmann Brahms’ Symphony No. 1. If Uneasy Dreams ruminates, its date and publisher not titular companion Easy Dreams is a light-hearted improvi- listed sation that celebrates the joyful side of jazz. On every track, members of the ensemble respond to each other intuitively, ew York composer and although Artmann is the bandleader, all members have Nand flutist Christian the opportunity for creative input without being overly def- Artmann released his erential to him. second CD, Uneasy Though I am not a jazz or jazz flute specialist, I find the Dreams, in 2011. It con- flute playing on Uneasy Dreams laudable for its quality. The tains 12 tracks, five of variety of colors and styles offered from one piece to the next which are free improvi- kept me engaged throughout. Many of the tracks are obviously sations. The remaining based on something that came before, be it a jazz standard, an seven selections are composed by members of the group, pri- important orchestral excerpt, or classical flute piece. As marily by Artmann. Artmann pays homage to musicians and composers of the The sound world created by Artmann and ensemble past, he weaves a new web in which his tributes seem neither varies greatly from one track to the next, creating a sense of trite nor cheeky but simply a part of the fabric of music in his anticipation as one waits to hear what will occur next. own mind based on his own experiences and training. Uneasy Dreams, the title track, will make the classical flutist —Rebecca Johnson

nfaonline.org Spring 2012 The Flutist Quarterly 87 CDs Marya Martin attuned to Ewazen’s technical and musical requests. Plays Eric Ewazen Mosaics for Flute, Bassoon and Marimba is a truly enjoy- Marya Martin able piece, expertly played by Martin, Peter Kolkay, and Ayano Kotaoka. Ewazen creatively exploits the variety of ©2011 Albany Records color inherent in the unusual instrument combination. In arya Martin is not the Bridgehampton Suite for Flute, Violin, Viola and Cello, Monly a celebrated the composer uses the instrumentation of Mozart’s flute flutist but also the quartets and draws inspiration for some of the melodic founder of the Bridge- material from Mozart’s work. A lush harmonic structure hampton Chamber Music compliments virtuosic playing that highlights the ensem- Festival, through which ble’s excellent sense of blend and texture. Charming she has championed new melodies spin throughout the voices, and the resulting work music, especially that of American composers. Juilliard faculty is captivating. member Eric Ewazen has written several pieces for Martin Each of the works on Marya Martin Plays Eric Ewazen is and colleagues, the most recent of which is the Sonata No. 1 well written and well played. Recordings based on the work of for flute and piano that opens this recording, which was pre- one composer can feel pedantic, but this CD contains so sented as a gift from the composer in 2010. Martin, a colorful much variety that it is enjoyable throughout. and fluid musician who plays energetically, is clearly well —Rebecca Johnson

Tropical Flute Punch in Beach Major, a happy dance with sand between the toes. Jonathan Cohen Then the sun sets with Eventide Rhythms, expressing the over- © 2011 Falls House Press lapping sounds of water, insects, birds, and man as they rein- force and counterpoint each other. Syncopated revelry returns ropical Flute Punch by to the party with Flutes for Sail.” The composer is also a flutist T Jonathan Cohen (published in the Montgomery Village (Maryland) Community Band and by Falls House Press) is scored plays bass flute in Flutes on the Brink flute choir. As a per- for piccolo, four C flutes, a Lot former, he well understands the idiosyncrasies of the flute flute, bass flute, and optional family and has written a work that should be a joy to hear. This contrabass; a subcontrabass part three-movement piece is lighthearted and would make a won- is also available by request from the publisher. Cohen commis- derful closing work for a flute choir or mixed ensemble pro- sioned this seven-minute work gram. High school students would be able to play this piece for the 2008 Gaithersburg Flute Camp. In the liner notes, he with plenty of aplomb and humor. I highly recommend this aptly states, “Transport your audience to a tropical beach with witty and playful addition to the flute choir repertory. a penchant for party. Tropical Flute Punch opens with Calpyso —Andrea Loewy

Beyond Late (flute and piano); Andreae’s Divertimento, Op. 43 (flute, vio- Romanticism lin, viola, and cello), and Martin’s Deuxième Ballade. Thies Roorda Thies Roorda, a member of the Dutch Radio Philharmonic, plays each work with great sensitivity, flexibility, and a deep ©2008 Dutch Record understanding of the musical line. His tone is varied yet Company vibrant throughout all registers despite fully mastering the his CD presents a collection’s technical demands, and there is a special agility Tvery well-designed and sparkle in the Dohnányi in particular. It is a pleasure to presentation of under- hear such expression, sensitive pacing, and richness of tone in performed late-Roman- the Karg-Elert, a masterful work rarely heard in the United tic flute works, all whose States. Sinfonische Kanzone is presented as a “bookend” to the composers shared a CD’s program with the Martin piece, written in 1938 for alto desire to achieve new ways and perhaps even new levels of saxophone but recently discovered in 2008 by Maria Martin as expression. The collection includes a great variety of pieces the composer’s adaptation of this work for flute. This compo- and instrumentation: Karg-Elert’s Sinfonische Kanzone, Op. sition’s style and overall form are somewhat reminiscent of 114 (flute and piano); Dohnányi’s Passacaglia, Op. 48, No. 2 Martin’s other “ballades” for solo instrument and orchestra or (solo); Max Reger’s Burleske, Menuett und Gigue, Op. 103a piano, but its opening statement is strikingly familiar to

88 The Flutist Quarterly Spring 2012 nfaonline.org flutists. Roorda’s recording marks the CD premiere of the flute pianist, Nata Tsvereli. Roorda is clearly a seasoned and dedicated adaptation, offering us an excellent collection of pieces around chamber musician, so it is understandable why such composers which to digest this established yet “new” work. as Yun and Francaix have dedicated works to him. Another work adapted for the flute by its composer is the This is an exciting presentation of works featuring the flute, Reger, an interesting and worthy group of three movements orig- intelligently presented and musically performed. In addition to inally composed for violin. A true gem is Andreae’s Divertimento the very fine performances, one if its most outstanding qualities for flute and string trio, which showcases Roorda’s supple vibra- is the collection’s successful delivery of a cohesive theme, encour- to and tone as he blends seamlessly with the strings. His playing aging the audience to develop a more sensitive understanding of is starkly different from the soloistic and robust approach he very the era’s neglected yet very valuable compositions. aptly uses in the thick, “orchestral” selections with the talented —Francesca Arnone, Baylor University Music Quintet No. 1 sonatas. Quintet No. 1 is a substantial, demanding two- Hrachia Melikyan movement wind quintet that explores great control of © 2005 Editions Bim dynamic and range of all instruments. Complex and multi- layered, this work is rich with aural and technical challenges graduate of Yerevan State peppered with surprising ensemble “unisons,” in terms not AConservatory in his native only of pitch but also of rhythms and dynamics. The second town of Yerevan, Armenia, com- movement, Allegro, offers great variety: imitative gestures, poser Hrachia Melikyan (1947– spiky rhythms, frequent meter and dynamic changes, melis- 2006) was a highly regarded mem- matic material, and a distinctive ending. ber of the country’s contemporary His Quintet No. 1 was written in 1990 but not published until classical school of writing. Noted 2005 by Editions Bim in Switzerland. Unsurprisingly, the work for his skillful melding of interna- was premiered the following year, and by France’s Quintette à tional influences with traditional, Vent de Bretagne. Bim notes with gratitude the assistance of the distinctly Armenian elements, Melikyan arrived at a highly per- quintet’s flutist, Alain Ehkirch, for carefully reviewing the work sonal and recognizable compositional technique. The winner of prior to its publication. Ehkirch describes the quintet as “…an several significant competitions, he served as Armenia’s General expressive work deploying a strong dramatic character leading Secretary of the Union of Composers and Musicologists for 15 into serenity.” Sadly, Melikyan passed away shortly before the years until his death in 2006. premiere of his Quintet No. 1. Lasting approximately 14 min- Noted largely for his instrumental compositions, utes, this piece will provide a broader palette to a dedicated Melikyan’s writing includes not only several chamber ensemble’s program of repertoire staples. ensemble works with flute but also two flute and piano —Francesca Arnone, Baylor University

Ancient Airs and Dances these reasons, this arrangement seems best suited to college- Suite No. 1 age players and above; to really accomplish all that the score Ottorino Respighi (arr. requires, it should be played by a large ensemble of regular members who rehearse together regularly. Paige Dashner Long) I was not familiar with any of Respighi’s works beyond his © 2011 Falls House Press tone poems (Pines of Rome, Fountains of Rome), and I think that this piece is a special find. Written in a quasi-Renaissance his stunning arrangement style, the harmonies sound appropriate for holiday or cere- is aptly dedicated to the T monial programming (though there is no reference to any 2010 New England Conservatory Summer Metropolitan Flute Fes- specific celebration or purpose). With such a large ensemble, tival Orchestra; it requires a large the arranger has created a pleasing palette of rich harmonies and technically capable ensem- that are very satisfying to play and to hear; the flute choir often ble to perform. The piece is sounds like a vast pipe organ performing ceremonial music. scored for five C flute parts, alto, bass, and contrabass (though This powerful piece brings out the “big horses” sure to impress the bass and contrabass parts could work on C flute if bal- an audience, making it well worth the investment of time anced correctly). Frequent tempo changes present a challenge and energy to put together. Ancient Airs and Dance Suite No. to the conductor and require precision in following from the 1 is a true delight and a welcome addition to the large flute ensemble. And every single part has moments in which the ensemble repertoire. musician must be ready to play very fast, clean 16th notes. For —Nicole Riner

nfaonline.org Spring 2012 The Flutist Quarterly 89 Music Overtones: Despite the refreshing variety of selections, the beginning A Comprehensive levels do not include enough material to adequately drill and Flute Series solidify the concepts of initial fingerings, difficult finger changes, rhythmic patterns, key signatures, and meters, so The Royal Conservatory teachers may want to seriously consider supplementing with a ©2010 The Frederick Harris good method book. For example, the earliest studies and Music Co., Limited pieces include difficult finger changes (i.e., D-C, E-D, F-D) and introduce rhythmic patterns that should be prepped with vertones is a monumental methodical, progressive instruction and reinforcement. Ocollection of 12 volumes of Overtones is not a series of method books but a compilation of selected repertoire, studies, and selected works and progressive technical studies. technique ranging in levels of An attractive feature is each volume’s inclusion of a CD con- difficulty from “preparatory” taining two recordings of each piece by professional flutists through “level 8” (professional/ and accompanists—first as samples with flute and piano and conservatory level). The amount of work reflected in the final second as play-along versions with piano accompaniment product is staggering and quite impressive in its magnitude. only. The play-along version provides a preparatory click Two volumes are dedicated to studies; one is focused on flute count-off. Unfortunately, the recordings do not include technique (specifically scale and arpeggio exercises); one con- repeats printed in the music or count-offs for the studies. tains orchestral excerpts; and the remaining eight books are One of the most valuable features of the collection is the pro- devoted to repertoire (one for each level). Also available is the gressive study of orchestral repertoire provided in the orchestral Royal Conservatory Flute Syllabus, 2010 Edition, which con- excerpts volume. The level of difficulty extends past Level 8 (the tains the guidelines and requirements for the RCM highest level for the studies and repertoire) through Levels 9 and Examinations and the National Music Certificate Program. 10 and culminating with the ARCT level, “the highest level of Throughout the series, great care has been taken to expose achievement in the RCM Examinations curriculum.” Excerpt students to a wide range of styles and historical periods from study begins at Level 2 with excerpts such as “Aquarium” from Le the Renaissance through the 21st century, including folk tunes, jazz, and pieces that incorporate contemporary techniques. carnaval des animaux by Saint-Saëns and the theme from the Contemporary techniques are introduced from the very Overture to La forza del destino by Verdi. As students progress, beginning, with studies and pieces even at the preparatory level the excerpts appropriately match the level of development. By that use just the headjoint, simple key clicks, or nontraditional the time they reach Level 7 or 8, students encounter many of the notation for free-form and/or improvisatory performance. major, most-requested excerpts found on audition lists. The Many traditional favorites are included, but I was delighted to ARCT level also includes several piccolo excerpts. discover repertoire, collections of etudes/studies, and composers Prior to reviewing the Overtones series, I did not fully grasp previously unknown to me and that I know my students would the scope and breadth of the RCM examinations: I am really enjoy. I am eager to investigate more fully many of the impressed by the balanced approach and rigorous preparation sources from which these have been extracted. required to pass them. I can see that this course of study The studies and solo repertoire are classified into groups requires self-motivated and disciplined students who are ded- that adhere to the requirements for the RCM Examination as icated to the study of music and have supportive parents. outlined in the syllabus. Studies are classified as either “tradi- Much is also left to the teacher in the way of instruction of tional style” (group 1) or “modern style” (group 2). Repertoire new concepts and skills that may leave an inexperienced is categorized slightly differently (List A, List B, etc.), and the teacher floundering a bit. One possible drawback for teachers nature and number of these categories changes as students and students is the fact that multiple volumes would need to progress to more advanced levels. At the preparatory and first be purchased to have all the necessary material for each level levels, two categories are in List A (“Rhythmic Repertoire”) of study; students potentially could need to purchase three and List B (“Lyrical Repertoire”); from Level 2 onward, lists different books at once—initially a volume of studies, a vol- are based on historical or stylistic periods. For instance, at ume of repertoire, and the technique book—quite an invest- Level 2, List A is “Traditional, Baroque, and Classical ment for any family, and perhaps prohibitive for some. Repertoire,” and List B is “Romantic, 20th-, and 21st-Century In any case, Overtones is an impressive, important contribu- Repertoire.” At Level 5 are List A (“Baroque and Classical”), tion to the flute community. At the very least, it can serve as an List B (“Romantic, 20th-, and 21st-Century”); and List C invaluable resource for new repertoire/studies, systematic (“Unaccompanied”). I find this grouping of the studies and technical study, and incorporating orchestral excerpts into the pieces to be an excellent resource for selecting a balanced and study plan for younger students. I intend to rejuvenate my progressive array of literature for students, especially for a teaching and students with many of the pieces and studies I less-experienced teacher, as well as for experienced teachers have discovered and to incorporate orchestral excerpts into looking to get out of the “repertoire rut” from years of using the course of study of even my youngest students. the same pieces over and over. —Rebecca Hovan

90 The Flutist Quarterly Spring 2012 nfaonline.org It Takes Four to Tango be a great way to challenge different players differently, or high- Daniel Dorff light particular strengths of individual players. The top line is a © 2011/1997 Theodore Presser great study in long, sustained lines and ease in the high register; Company the other three parts are a great test of internal pulse and rhythmic accuracy. Since my college students sight-read this piece eas- t Takes Four To Tango is a short, ily, I think It Takes Four To Tango would be most pedagogically Isweet exploration of Latin beneficial to high school students. For college-age or adult play- rhythms and jazz harmonies for ers, this piece could easily be added to a program as a little treat classical players. The top part for the audience with minimal rehearsal time required. The parts plays the melody, largely above and score are nicely printed and easy to read. the staff, in a “sultry, slinky” Written for Flûtes de Salon, the piece itself is quite charming, (author’s directions) style. There with a toe-tapping bass line and a pleasant melody. It is a bit of a are no directions to swing the eighth note, but it works quite well shame that the piece is so short—just over two minutes—but to do so; in fact, it sounds rather stodgy if played straight. The then again, it certainly adheres to the adage, “always leave them lower three parts function as the rhythm section, with the tango wanting more.” I can imagine using this in an otherwise serious rhythm in the bass flute part and reinforcement in the middle program to lighten the mood and as rewarding motivation for parts. There are also occasional parenthetical elements in these younger students to practice. Listening to the piece certainly put parts when the first flute is holding out a note. As a result, the a smile on my face, and my students enjoyed reading it. parts are rather uneven in terms of skills exercised, but it could —Nicole Riner

Etudes for flute esting,” she wrote, and “I got to like them the more I played Katherine Hoover them. Some of them took a little work to get playable, but being © 2011 Papagena Press able to play them was worth it! The etudes are good for advanced high school-aged flutists.” Her two favorites were 8 and 9. These, hat I enjoy most about she said, were “fun.” Number 8, nearly all mixed-compound WKatherine Hoover’s com- meter with only one measure of simple time, asks the flutist to positions is that somehow I can move at 140 to the dotted quarter note, an Allegro Molto with nearly always find a piece to match driving eighth notes, eighth rests, and a few hemiolas for good my mood. Here are nine new measure. Number 9, also an Allegro molto but in simple time, etudes for flute, all of which span similarly features driving eights and 16ths in interesting rhyth- many moods and wanderings. mic and articulation patterns. V gave her a bit of trouble at first Characteristically, they feature because of the unusual rhythms, but she caught on well enough free-flowing line, interesting with minor instruction. She commented that VI (Espressivo rhythmic combinations (much mixed-meter, non-measured with quarter note at 86) reminded her of the third movement of material), and challenging dynamic contrasts. When these the Sonata by Robert Muczynski. And yes, some of the etudes arrived on my desk, I decided to enlist one of my most sport Arabic numerals and some Roman. advanced high school students, Aidah Kaetterhenry (17), as a “tester.” Over a two-week lesson hiatus, I asked her to read These are also appropriate for college students, many through all the etudes carefully enough to note what kinds of approximating in difficulty the Karg-Elert 36 Caprices or challenges each asked of her, which she most enjoyed, and Douze Etudes by Jacques Casterede, others less challenging but which she found more frustrating. always interesting. Thank you, Ms. Hoover, for providing us She came back with two pages of detailed notes on all nine with this sophisticated study material to explore and to enjoy. etudes, as well as her assessments. “These etudes were very inter- —Cynthia Stevens Ariso from Cantata articulation, breath, dynamics, ornamentation, and phrasing No. 156 that work to create a particularly apt cantabile style for the instrument. The guitar score was edited by the eminent gui- J.S. Bach, arr. Schocker tarist, Jason Vieaux and is extremely idiomatic and suited for ©2010 Theodore Presser the fretted instrument. Indeed, Vieaux has even carefully notated suggested fingerings and dynamics for the guitar. The ary Shocker’s new edition two instruments seem to complement each other in terms of Gfor flute and guitar of the style and melodic or harmonic interest. The guitar part is famous Arioso from Cantata No. mainly chordal with the inherent bass melodic line brought 156 (BWV 156) and Harpsichord out, whereas the flute part is singing, has a large tessitura, and Concerto in F Minor (BWV is very rhapsodic in style. I highly recommend this work for 1056) is beautifully arranged. inclusion on a flute/guitar recital. The flute part has suggestions for —Andrea Loewy

nfaonline.org Spring 2012 The Flutist Quarterly 91 Music Flute Debut: 12 Easy color. And in the process, of course, they will be learning basic Pieces for Beginners simple time rhythms, musical notations and dynamic instruc- (with CD featuring tions, tempo and style indicators (Mysteriously, Gentle ticking, Ian Clarke) Menacing, with attitude), articulation variations, accidentals, James Rae and instructions for repeat signs, DS, and Coda. All of the pieces are in CM, GM, or FM. Several, including The Station © 2011 Universal Edition Clock and Texas Boogie, have two parts, both playable by the child. Ian Clarke’s recordings all have appropriate accompani- nce upon a time, many Oyears ago, I undertook to ments (synthesizer, drum, block, etc). teach two eager and active 5- Anyone using SmartMusic ™ can load the CD into the year-olds how to play the flute. program and use it in the lesson to vary tempos according We began with the fife using the to the abilities of the pupil. Additionally, one can download Yamaha plastic version and Liz (at no charge) selected piano accompaniments via the Web, Goodwin’s The Fife Book as our first foray into printed music. or—if preferred—they are available in volume: Flute Had this new delightful little collection by James Rae been Debut—Piano Accompaniments. The last four pieces in Flute available at that time, the three of us together would happily Debut also appear in other instrumental Debut series books have gobbled it up! published by Universal. With 12 very easy yet surprisingly musical pieces, all titled to capture the imagination (Funky Street, Big Chief Sitting Having used several other James Rae books with students, Bull, Marvo the Wondrous Magician, The Ogre from the Big I’ve always found them thoughtfully conceived as well as beau- Black Rock) and illustrated with cartoons in black and white, tifully produced by Universal. Here we have yet another con- these miniatures will make any child want to play them. The tribution, this time to delight our very youngest pupils. cartoons can be downloaded at no cost for young children to —Cynthia Stevens

Study with Style: Reitz. The works of all of the former composers, with the excep- 30 Selected Studies tion of Heiner Reitz, will most likely be familiar to most sea- Peter-Lukas Graf soned flute pedagogues. Reitz, who is still alive, appears to have been captured by the Germanic influences of Paul Hindemith © 2011 Schott and Harald Genzmer. His etudes therein are challenging, interesting, and reflective of the intervallic obsession of Hindemith lthough I hardly consider with a scosh of Leonardo DiLorenzo applied for spice. In this myself “iconic” like some of A edition, Graf’s annotations and suggestions for practice are very my namesakes—flute stars Peter- Lukas Graf and Richard Graef, helpful and his metronome markings well conceived, and in the along with tennis legend Steffi reprint of the originals, he has deferred to the composers’ own Graf—I am indeed fortunate to diacritical markings regarding dynamics, etc. have been tasked with reviewing Additionally, I appreciate the size of the musical print in this Peter-Lukas Graf’s latest flute pub- rendition, which is enlarged from some of the originals I own. lication, Study with Style. This is the latest product from Schott’s This eliminates the necessity for the squints of yesteryear that library of basic literature for study entitled Essential Exercises. used to constitute fine excuses for mistakes in performance. I have always been an admirer of Peter Lukas Graf as both per- This select publication has caused me to practice (with former and scholar. In his latest offering, he has elegantly anno- metronome) many of the etudes from my distant past—with tated selected etudes from the annals of Theobald Böhm, renewed vigor. Joachim Andersen, Paul Jeanjean, Sigfrid Karg-Elert, and Heiner —Erich Graf SAVE THE DATE Las Vegas, Nevada Chicago, Illinois August 9–12, 2012 August 7–10, 2014 (Caesars Palace) (Hilton) New Orleans, Louisiana Washington, D.C. August 8–11, 2013 August 13–16, 2015 (Marriott Hotel at French Quarter) (Marriott Wardman Park)

92 The Flutist Quarterly Spring 2012 nfaonline.org recital and orchestral settings. Both her classical training and Jewish heritage have influenced her contributions to the flute world. The instrumentation for these two flute choir arrangements of Klezmer tunes is piccolo, three C flutes, alto, and bass, with a C part included as a substitute for the alto. Zayt Lustik, a charming, upbeat, short tune, should be repeated at least twice. Printing issues have superimposed articulation marks on the “brackets” above endings. Di Rayze Nokh Amerike also has confusing typesetting issues causing various markings to overlap. That being said, it is a fun piece with a great piccolo part. The writing moves throughout the voices in a logical fashion, and all players have interesting material to play. The result is a work that has an excellent ensemble sound. Di Rayze Nokh Amerike Zayt Lustik (Happy Time) Both pieces are arranged tastefully and would be a great (The Trip to America) Adrianne Greenbaum, arr. addition to a flute choir program for almost any level of Adrianne Greenbaum, arr. © 2011 Falls House Press group. Requirements are ranges from low D to high A and a © 2011 Falls House Press certain amount of agility, especially in the first and second parts. These enjoyable pieces offer a great introduction to lutist Adrianne Greenbaum is an active performer and pro- Klezmer music for the uninitiated. Fmoter of Klezmer music and also performs extensively in —Rebecca Johnson

Danza de la Mariposa America, inspired by the various species of butterflies that inhab- Valerie Coleman it the continent.” To this end, the work is a collage of sorts that © 2011 Theodore Presser intertwines rhythmic dance sections inspired by the music of Company Latin America. A thoughtful, free song opens and closes the piece. Frequent recitalists are always looking for good quality omposer and flutist Valerie unaccompanied repertoire. Even when a pianist is available, CColeman began writing music it’s easier to reserve rehearsal time for only one or two pieces. as a teenager and has continued Coleman’s Danza de la Mariposa would be an excellent addi- composition while building a suc- tion to one’s traveling repertoire. The piece is not easy, but it is cessful playing career as a member a reasonable task for the advanced flutist. Its extended tech- of the Imani Winds. Over the past niques are not particularly difficult but are presented in close 10 years, she has focused on large succession, requiring a certain level of familiarity with the piece and chamber ensemble reper- before the time of performance. The piece requires both a low toire,but has recently published Danza de la Mariposa, which B and high C-sharp. Though an excellent high school flutist appears to be her first piece for a solo instrument. might be able to pull it off, a more likely performer of Danza de In the attached notes, Coleman writes that the piece “is a rhyth- la Mariposa will be a college student or professional player. mic and melodic tone poem giving the listener a tour of South —Rebecca Johnson

remiered by Cindy Anne Broz at the 2011 NFA con- Pvention in Charlotte, this short mood-setting piece (3’30”) would work well for intermediate student-level sight-reading, for students learning to discover their HarborWOODWIND Winds REPAIR own internal pacing for expressive playing (perhaps as Huntington, Long Island NY a precursor to more sophisticated material like Syrinx), 631-258-8658 or simply for any flutist searching for contemplative By appointment only expressions of natural landscapes. www.harborwinds.net —Cynthia Stevens STRAUBINGER CERTIFIED FLUTE TECHNICIAN

nfaonline.org Spring 2012 The Flutist Quarterly 93 Music Thirty-two Rose Etudes rendition, I believe that she has produced an entirely viable for Flute product that will enable all of us who are students of the flute to (based on the etudes of improve our skills. Additionally, she has enhanced some of Rose’s diacritical markings. It is important to read Porter’s provided Franz Wilhelm Ferling) comments on each etude—not only because of their relevancy, Cyrille Rose, ed. but because she clarifies measure count in instances in which the Amy Porter piano accompaniment begins before the printed flute part. © 2011 Carl Fischer A CD of piano accompaniments to the etudes by John Walker (also printable in PDF format) is provided with this he musical route that pro- edition. Walker is a fine pianist, and the accompaniments are Tduced this interesting edi- metronomically viable and relatively easy to coordinate with tion is a circuitous one. These the etudes. From Walker’s musical realizations, it is clear that etudes, composed for oboe by he felt that Ferling/Rose communed with the music of 19th-century composer Wilhelm Ferling, inspired clarinetist Schumann and Mendelssohn. One caveat regarding perform- Cyrille Rose to arrange them for his instrument with only mini- ance with CD accompaniment: I sincerely believe that record- mal alterations. Pre-eminent flutist Amy Porter hybridized this ed accompaniments should be metronomic and unforgiving, product one step further by arranging these etudes for flute. As like those on this CD. Any alternative is chaos. This “strict con- Porter mentions in the preface to the edition, Cyrille Rose and struction” does, however, complicate accommodation for flutist Henri Altes were faculty colleagues at the Paris breathing, especially in the fast etudes. This problem is easily Conservatoire in the mid-1800s, and both wrote seminal studies alleviated in the give-and-take of live rehearsal and perform- for their instruments to explore the capabilities of the then-new ance. It is important that students be aware of the difference Böhm system. Clearly, whereas flutists have their Altes and between coordinating with a recorded medium and a live col- Taffanel-Gaubert studies, clarinetists have their Rose. The tradition of exercises and etudes composed for one laboration. This is especially relevant when they opt for this instrument and arranged for another is by no means a novel “music minus one” style of practicing. concept. In the late 19th century, Jules Herman arranged the One suggestion: Perhaps in a future product, Porter would 24 Paganini solo violin caprices for flute, and in the mid-20th consider recording several model examples on the CD by col- century, Marcel Moyse arranged violin etudes (Kreutzer) and laborating with the keyboard player on several selections. piano etudes (Chopin) for flute, among others. If judiciously I have noted in my research that these etudes have been selected, exercises written to address certain difficulties on the arranged for other instruments under the Carl Fischer Classic “home” instrument generally have different but suitable appli- Studies umbrella, and that these Walker flute accompaniments cations on the “host” instrument. Having spoken with clar- have been transposed for other diverse instruments thusly. inetists and compared versions of the Rose urtext with Porter’s —Erich Graf

Items Received March 1, 2010, to March 1, 2011 CDs Concerti pour Piccolo: Duo Rubicund: Imaginary Marya Martin Plays Eric Ewazen Bazaar Antonio Vivaldo Landscapes Marya Martin Arcadie Quartett Jean-Louis Beaumadier Erica Coutsouridis ©2011 Albany Records ©2011 Label des Verlages ©2011 Saphir Productions ©2010 Duo Rubicund Klaus-Jürgen Kamprad McDuo Concerto for Violin and Jazz Band; Edge: Flute Music from the Kim McCormick Concerto for Flute, String Quartet Periphery of Europe Bell’ Alma Duo ©2011 Ravello Records LLC and Jazz Band Paul Taub Bella Danza James Pellerite ©2011 Present Sounds Rcordings ©2011 Bell’ Alma Duo Moonspinner for flute and guitar ©2010 Laurel Records Emanuel Ensemble John Hackett Chamber Works Danzi & Taffanel Anna Stokes ©2011 John Hackett Los Angeles chamber artists Soni Ventorum Wind Quintet ©2011 Champs Hill Records ©2011 Denoument Records ©2011 Crystal Records Music from the Americas French Flute Music Lieurance Woodwind Quintet density 21.5 Charangoa Mindy Kaufman ©2011 Summit Records Andy Findon Fay Roberts ©2011 Mindy Kaufman ©2011 Theodore Presser ©2011 Wyastone Estate Limited Nine Decades, Vol 2: Reminiscence Dharma Gaspard Kummer: Chamber Music of North Vista Claviatures: Modern Robert Chadwick for Flute, Guitar, and Strings Ravi Shankar Chamber Works ©2011 Chadsongs Red Cedar Chamber Music ©2011 East Meets West Music Navona Records, no date given ©2010 Fleur de Son Classics Duo Resonance from the New Nine Decades, Vol 3: Orchestral Con Brio! Village Looking Back Experimentations Ali Ryerson Sibylle Marquardt Leonard Garrison Ravi Shankar ©2011 ACR No Date given; Woodlark Discs ©2012 Albany Records ©2011 East Meets West Music

94 The Flutist Quarterly Spring 2012 nfaonline.org Odyssey: American Premieres Di Rayze Nokh Amerike Latino Carmen for flute and piano Sonata No. 1 for flute and piano for Flute and Piano Adrianne Greenbaum, arr. Roland Szentpali Eric Ewazen Mimi Stillman ©2011 Falls House Press ©2010 Editions Bim ©2011 Theodore Presser Company ©2011 Dolce Suono Etudes for Flute Malagueña St. Louis Rag Pastoral: Jean-Louis Beaumadier Katherine Hoover Ernesto Lecuona, arr. Ann Tom Turpin/Ann Cameron & Friends ©2011 Papagena Press Cameron Pearce Pearce, arr. ©2010 Studio Alys/ ©2011 Skarbo ©2011 Falls House Press ©2011 Falls House Press Euterpe’s Caprice for solo flute The Russian Romantic Flute August Read Thomas Mastering the Flute, One Exercise Still Airheads for flute and Inna Gilmore ©2009 G. Schirmer, Inc. at a Time B-flat clarinet ©2011 Inna Gilmore Susanna Loewy Gary Schocker Eventide Soliloquy ©2011 Dr. Susanna Loewy ©2011 Theodore Presser Company Sculpting the Air: Modern Works Paige Dashner Long ©2011 Falls House Press Mayflower Suite for flute sextet Study with Style: 30 Selected Studies for Wind Instruments Catherine McMichael Peter-Lukas Graf George Pope, Douglas Worthen, Flame for flute and piano ©2011 ALRY Publications, Etc., Inc. ©2011 Schott Linda True, others Gary Schocker ©2011 Navona Records LLC ©2010 Theodore Presser Co. Meyer’s Point Suite for Flute and Piano Gregory W. Yasinitsky Marie Félicie Clémence de Sometimes the City is Silent Flute Debut: 12 Easy Pieces for ©2011 Falls House Press Grandval Meerenai Shim Beginners (with CD) ©2010 Schott Music ©2011 Meerenai Shim James Rae Mood Swingin’ ©2011 Universal Edition Liesa Norman Syllogisms for two flutes Tango and Snow ©2011 Falls House Press Gary Schocker Folias Flute and Guitar Duo Flute Music by French Composers ©2011 Theodore Presser Company ©2011 Blue Griffin Recording, Inc. for flute and piano Nocturnal Reflection Ed. Louis Moyse Man-Ching Yu Syrinx This Invisible World ©2011 G. Schirmer, Inc. ©2010 Wehr’s Music House Debussy (urtext) Wissam Boustany (2 CDs) ©2011 Bärenreiter ©2011 Wyastone Estate Limited Flute Scale Book: A Path to Artistry Oops! (Out of Practice Studies) Patricia George Amy Rice-Young Thirty-two Rose Etudes for Flute Uncommon Time and Phyllis Avidan Louke ©2011 ALRY Publications, Etc., Inc. (based on etudes of Franz Janice Misurell-Mitchell ©2011 Theodore Press Company Wilhelm Ferlint) ©2010 Southport Pan Penseroso Cyrille Rose, ed. Amy Porter Four Spirituals for Flute Choir Martin Bresnick ©2011 Carl Fischer Uneasy Dreams Phyllis Avidan Louke, arr. ©2011 Carl Fischer Christian Artmann ©2010 ALRY Publications Three Rondos with Riffs no copyright date or publisher Petite Suite for flute and piano and Refrains Grand Polonaise in D Major, Op. 16 Caroline Charrière Norman G. Nelson Music Theobald Böhm, arr. Lisa R. ©2008-09 Editions Bim ©2011 Falls House Press Alto and Bass Flute Solos, Book 1 McArthur Christine Potter ©2011 Falls House Press Play a Song of Christmas Tropical Flute Punch ©2011 Falls House Press Ruth L. Zimmerman Jonathan Cohen Introduction et Ronda Capriccioso ©2011 Theodore Presser Company ©2011 Falls House Press Ancient Airs and Dances Suite No. 1 Saint-Saëns (arr. Denis Bouriakov) Ottorino Respighi ©2011 Theodore Presser Company Progressive Duets, Vol. 2 Tweet (arr. Paige Dashner Long) Larry Clark Daniel Dorff It Takes Four to Tango ©2011 Carl Fischer ©2011 Theodore Presser Co. ©2011 Falls House Press Daniel Dorff ©2011/1997 Theodore Presser Purple Phobia for two flutes Two Sonatas for flute and Classic Etudes for Flute Company and piano basso continuo Mary Karen Clardy Liesa Norman Telemann ©2011 Universal Edition Joachim Andersen, 24 Etudes for ©2011 Falls House Press ©2011 Bärenreiter Flute Op. 15 Concerto for Flute and Chamber Urtext Ed., ed. Carol Wincenc Romantic Play-Along: 12 Favourite Variations on “Time and Orchestra ©2011 Lauren Kaiser Music works from the Romantic Era Time Again” Flute and Piano reduction Publishing (with CD) Sebastian Currier Vartan Adjemian ©2010 Schott Music ©2011/2000 Carl Fischer ©2007/1998 Editions Bim Jocaan Trio for flute, trumpet Chamber Music Edition and organ Schubert “Arpeggione” Sonata, Cosmic Horizons for Flute Choir Anthony Plog Movement 1 Woodland Reverie Ann Cameron Pearce ©2010 Editions Bim Shaul Ben-Meir, arr. Daniel Dorff ©2011, Falls House Press ©2011 Theodore Presser ©2011 Theodore Presser Just Below the Rainbow: Danza de la Mariposa Low Flute Duets Sky for two flutes Zayt Lustik Valerie Coleman Jonathan Cohen Gary Schocker Adrianne Greenbaum, arr. ©2011 Theodore Presser ©2011 Falls House Press ©2010 Theodore Presser Co. ©2011 Falls House Press

nfaonline.org Spring 2012 The Flutist Quarterly 95 NFA Office, Coordinators, Committee Chairs Please check the NFA website for any changes and updates to addresses, phone numbers, and e-mail addresses: nfaonline.org

NFA OFFICE Program Book Editor Historical Flutes Flute Choir Composition ARCHIVES AND LIBRARIES Anne Welsbacher Linda Pereksta (2007) Paige Dashner Long (2011) Chief Executive Officer 7213 E. Chelsea St. University of Wisconsin–Oshkosh PO Box 1436 NFA Librarian Phyllis T. Pemberton Wichita, KS 67206 Department of Music Flagler Beach, FL 32136-1436 Michelle Monroe-Menjugas 26951 Ruether Ave., Ste. H 316-440-2800 800 Algoma Blvd. 386-569-3010 NFA Music Library Santa Clarita, CA 91351 fax: 316-440-2801 Oshkosh, WI 54901 [email protected] c/o University of Arizona Libraries 661-713-6013 [email protected] 920-424-4226 1510 E. 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Renee Dr. General Coordinator Exhibits Management 1155 Union Circle #311367 813 Assembly St. Phoenix, AZ 85024 Diane Boyd Schultz (2010) Jim Magee Denton, TX 76203-5017 Columbia, SC 29208 623-580-5244 University of Alabama N’Awlins Trade Show and 940-565-3756 803-777-4853 [email protected] School of Music, Box 870366 Convention Services, Inc. [email protected] [email protected] 612 Highland Ct. Tuscaloosa, AL 35487-0366 Myrna Brown International 205–348–4532 Mandeville, LA 70448 Development Piccolo Artist Liaison and Scholarship [email protected] 985-626-3046 Katherine Borst Jones (2007) Hillary Feibel (2009) Coordinator fax: 985-727-3940 4635 Rutherford Rd. Baroque Flute Artist 6435 West Jefferson Blvd. #138 Angeleita Floyd (2007) [email protected] Powell, OH 43065 Nancy Schneeloch-Bingham (2007) Fort Wayne, IN 46804 3743 Beaver Ridge Cir. 740-881-5008 Hayes School of Music 260-450-6674 Cedar Falls, IA 50613 Exhibits Assistant fax: 740-881-5252 Appalachian State University [email protected] ph/fax: 319-268-1001 Patti McCleney [email protected] Boone, NC 28608 cell: 319-290-2852 N’Awlins Trade Show 828-262-6447 Professional Flute Choir [email protected] and Convention Services, Inc. Endowment [email protected] Pamela Youngblood (2009) P.O. Box 8538 Richard Wyton (2010) Texas Woman’s University Myrna Brown Society Mandeville, LA 70470-8538 PO Box 425768 P.O. Box 294 Collegiate Flute Choir Eva Amsler (2007) ph/fax: 985-893-9521 West Redding, CT 06896 Denton, TX 76204 Dorli McWayne (2008) 1650 Snowball Wy. [email protected] 203-938-0667 940-898-2495 780 Merlin Ln. Tallahassee, FL 32301 [email protected] Fairbanks, AK 99709 [email protected] 850-877-2096 Showcase and Exhibitors’ 907-479-6701 [email protected] Concert Coordinator (2008) Graduate Research [email protected] Young Artist Rebecca Johnson Michelle Cheramy (2007) Virginia Broffitt (2010) DFAC 2415 Dept. of Music School of Music Convention Performers Oklahoma State University NFA Library Liaison Eastern Illinois University Memorial University Sally Humphreys (2008) Department of Music Sandy Schwoebel (2008) 600 Lincoln Ave. of Newfoundland 380 E St. 132 Seretean Center 638 S. 6th Ave, Unit 1 Charleston, IL 61920 St. John’s, Newfoundland Salt Lake City, UT 84103 Stillwater, OK 74078-4077 Tucson, AZ 85701 520-490-1817 217-581-6627The Flutist Quarterly Winter 2012 nfaonline.orgCanada A1C 5S7 801-355-8859 405-744-3964 [email protected] [email protected] [email protected] virginia@virginiabroffittcom [email protected] The Flutist’s Vade Mecum New edition scheduled for release by of Scales, Arpeggios, Trills and Fingering Technique by March 15 Walfrid Kujala

The Flutist’s Vade Mecum is an all-encompassing approach to the study and perfection of scale, arpeggio, and trill technique. As the author explains in the introduction of this 140-page volume, "This book is intended not just for the initial learning of scales and arpeggios but for permanent and ongoing improvement of this material through diligent review. Each section is preceded by advice regarding the most appropriate practice methods. Think of this Vade Mecum ("Go with me" in latin) as a steady companion, always available for review and renewal."

The first edition appeared in 1995 in soft cover 9 x 12. The new edition will be expanded (50 pages longer!), hard cover, 10 x 13 smythe sewn pages so that it will rest on the stand in open position without stress on the spine of the book. This more durable format is truly designed for the concept of Vade Mecum (”Go with me”), intended to maintain structural integrity for the span of one’s flute playing career.

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DEAN YANG FLUTES WWWDEAN YANGCOMsmUTE DEAN YANGCOMs SUBSCRIPTIONS articles for style, content, or space requirements. The Flutist Quarterly budget does Receipt of The Flutist Quarterly is a benefit of membership in the National Flute not include honorariums for authors. Association, Inc. Subscriptions are available to libraries and institutions at a charge Editorial deadlines for The Flutist Quarterly apply to time-sensitive depart- of $35 per year. Personal subscriptions are not available. The Music Library Catalog ments providing news of interest about flutist activities and products. Unsolicited (6th ed.) is also available to libraries and institutions at $15 per copy. feature articles (see above), items for review, and news about member achievements may be sent at any time for consideration. Submissions to Across the Miles ADDRESS CORRECTIONS and Notes from Around the World should be sent to those departments’ editors at Bulk-rate mail is not forwarded. Send address corrections to: Maria Stibelman, least one week prior to deadline dates to be considered for inclusion. Send materi- Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351; als to time-sensitive departments for the fall issue by June 1; the winter issue by 661-713-2072; 661-299-6681 (fax); [email protected]. The September 1; the spring issue by December 1; and the summer issue by March 1. NFA will be responsible for one missed magazine in the event an address change crosses in the mail. Missed issues due to bad addresses are available at the rate of Please send all submissions except Across the Miles and Notes from Around the $10 per copy through the membership services director. World (see these departments for contact information) to: Anne Welsbacher BACK ISSUES 7213 E. Chelsea St. Members and nonmembers may purchase back issues of The Flutist Quarterly at Wichita, KS 67206 the rate of $10 each through the membership director at the address listed above. 661-313-8274 [email protected] EDITORIAL GUIDELINES Please submit manuscripts electronically as Word files attached to an e-mail message that clearly states what you are submitting. (Unidentified attachments No submissions will be returned. 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. Queries via e-mail or phone prior to Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, submission are encouraged, and welcome at any time. or contact Marsha Jacobson. The following dates are deadlines for The Flutist Submissions should also be accompanied by a cover letter stating that the mate- Quarterly: fall issue, August 1; winter issue, November 1; spring issue, February rial contained in your submission (1) is entirely original; (2) has not been previ- 1; summer issue, May 1. ously published; and (3) is not currently under consideration for publication elsewhere. The Flutist Quarterly retains all copyright on articles published in the mag- Please send advertising submissions and queries to: azine; however, upon request, authors may retain copyright and it will be so noted Marsha Jacobson on articles printed in The Flutist Quarterly. NFA Advertising Sales Director You will be notified that your manuscript has been received. Posted quarterly 26951 Ruether Ave., Suite H deadlines (see below) pertain only to time-sensitive department submissions, not Santa Clarita, CA 91351 feature articles, which are reviewed throughout the year. Accepted manuscripts 661-299-6680 will, when appropriate, go through a review process. Authors might be asked to 661-299-6681 fax revise manuscripts during this procedure. The editor reserves the right to edit all [email protected] Jeanne Baxtresser ESSENTIAL GUIDES for SCHOOL and ORCHESTRAL AUDITIONS

PUBLICATIONS RECORDINGS (partial list) Orchestral Excerpts for Flute Orchestral Excerpts for ﬂute (with spoken commentary) Great Flute Duos Jeanne Baxtresser A Collection of My Favorites from the Orchestral Repertoire Chamber Music for Flute Flower Duet from Lakmé Jeanne Baxtresser Debut Solo Recording, Montreal 1977

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