VOLUME XXXIV , NO . 3 S PRING 2009

THE LUTI ST QUARTERLY

SIR JAMES GALWAY : LIVING LEGEND

Rediscovering Edwin York Bowen

Performance Anxiety: A Resource Guide

Bright Flutes, Big City: The 37th NFA Convention in New York City

THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC

Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIV, N O. 3 S PRING 2009 DEPARTMENTS 5 From the Chair 59 New York, New York 7 From the Editor 63 Notes from Around the World 11 Letters to the Editor 60 Contributions to the NFA 13 High Notes 61 NFA News 16 Flute Shots 66 New Products 47 Across the Miles 70 Reviews 53 From the 2009 Convention 78 NFA Office, Coordinators, Program Chair Committee Chairs 58 From Your Convention Director 85 Index of Advertisers 18 FEATURES 18 Sir James Galway: Living Legend by Patti Adams As he enters his 70th year, the sole recipient of the NFA’s 2009 Lifetime Achievement Award continues to perform for, teach, and play with all kinds of people in all forms of mediums throughout the world.

24 The English Rachmaninoff: Edwin York Bowen by Glen Ballard Attention is only now beginning to be paid to long neglected composer York Bowen (1884–1961).

28 York Bowen’s Sonata for Two Flutes, op.103: The Discovery of the Original “Rough and Sketchy Score” by Andrew Robson A box from eBay reveals romance, mystery, and an original score.

24 32 Performance Anxiety: A Resource Guide compiled by Amy Likar, with introduction by Susan Raeburn Read on for an introduction to everything you ever wanted to know (but were afraid to ask) about performance anxiety and related issues.

40 2009 Masterclasses compiled by Lee Chivers

THE NATIONAL FLUTE ASSOCIATION 26951 R UETHER AVENUE , S UITE H SANTA CLARITA , CA 91351

FOUNDED NOVEMBER 18, 1972 IN ELKHART , I NDIANA

This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the National Flute Association, Inc., which reserves the right to refuse to print any advertisement.

40 ISSN 8756-8667 2009 National Flute Association, Inc. 13

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

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

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

Secretary Shelley Collins Delta State University Dept. of Music, P.O. Box 3256 Cleveland, MS 38733 662-843-6341 [email protected]

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

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

BOARD OF DIRECTORS Bickford Brannen (2007–2009) 1 Lauren Ln. Southwick, MA 01077 –9385 781-910-3978 [email protected]

Robert Dick (2007–2009) 129 Waverly Ave., Apt. 1 Brooklyn, NY 11205 347-244-9373 [email protected], robertdick.net

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

Christopher Krueger (2007–2009) 38 W. Pomeroy Ln. Amherst, MA 01002 413-256-4552 [email protected]

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

Clifford Tretick (2008–2011) PO Box 1066 Mechanicsburg, PA 17055 828-242-4489 [email protected] From the CHAIR ll of us have a vested interest in convention registrations and dues the National Flute Association, renewals picks up in the spring, we will Aand now is the time for the repay the endowment. membership to come together to ensure The board and staff have set strategic its future. We have the leadership to goals to cut costs while preserving safeguard resources despite worldwide membership benefits. Total expenses economic challenges. CEO Phyllis came in under budget in 2008. We have Pemberton continues to provide the instituted cost savings in the NFA board with thorough, insightful, and library, the annual membership direc - frequent financial reports. The board tory, and the midwinter meeting— and staff are committed to running when the executive committee con - a sustainable business for the benefit of ducts necessary business. We delayed our members and in fulfillment of hiring a development coordinator and the NFA’s mission. I served a success - in the meantime will use a develop - ful term as NFA treasurer, and finances ment consultant at lower cost to advise are first and foremost in the board’s our volunteer development committee monthly conference call meetings. and its dynamic chair, Katherine Borst Every day brings more economic bad Jones. We can no longer sustain an news to our nation and the world, and ambitious program of expensive major the National Flute Association is not commissions supported by operating Leonard Garrison immune. This past October 31, we fin - funds. The NFA will continue to fund ished the fiscal year with a deficit of the young artist , high school soloist, and $58,274, due to light attendance in piccolo artist commissions, and as the • Book your room at the Marriott Kansas City, an unprecedented attrition endowment grows, there will be addi - Marquis—we have a fantastic room rate penalty due to rooms overbooked by tional opportunities to seek larger com - for a major hotel in New York—and members, a decrease in mailing-label missions. keep your reservation. The NFA must sales, and significantly increased credit How can you help? meet its room block and incurs tens of card transaction fees due to increased • Get listed to break the record as the thousands of dollars in penalties if credit card use by members . The com - world’s largest gathering of flutists per - reservations are cancelled. Starting in fortable operating cushion that we forming together (current number is 2011, we will charge members who can - enjoyed several years ago eroded as 1,701) and make plans to join Sir James cel their reservations past a cutoff date. income from the last three conventions Galway in attending the convention in • Encourage friends and students to fell short of budgeted targets. In New York City. The continued success join the NFA to enjoy its full array of December the board was forced to bor - of the NFA depends on a large atten - benefits. row $50,000 from our endowment to dance from both regular members and • Consider paying your membership maintain our operating balance for the exhibitors, and this promises to be the dues and convention fees with a check, next several months. As income from most exciting convention ever. not a credit card, thus saving transac - tion fees. • Follow me in contributing to the endowment. Our development com - mittee, in honor of our 37th conven - tion, has kicked off a “37” campaign and encourages donations in any denomi - nation of 37, from $3.70 to $37,000. Our investments have been largely out of the stock market since mid-2008, thus reducing losses, but when we get back in, stocks will be cheap and over time will provide income that will take the pressure off our operating account. I am confident that, with your help, the NFA will flourish. See you in New

The midwinter meeting attendees. From left: Shelley Collins, Leonard Garrison, Sandra Saathoff, Jonathan York City, and Happy Fluting! Keeble, Debbie Hyde-Duby, and Phyllis Pemberton —Leonard Garrison

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

he year 2009 is replete with sonatas and orchestral and chamber anniversaries for flute musicians , works featuring the flute, was born Tdead and alive . Perhaps most 100 years ago this year, and in 1939, notable is the 250th anniversary of the American composer, flutist, and con - birth of Françoise Devienne (January ductor Harvey Sollberger took his first 31, 1759–September 5, 1803), who com - breath in Cedar Rapids, Iowa. posed some 300 instrumental works, Other major classical music anniver - Anne Welsbacher most of them for winds, including a saries to be observed this year include prodigious output of flute (and bas - the 250th anniversary of the death of soon) music. Georg Frederic Handel, whose volumi - introduced the first digital recorder— Despite increased visibility (at least nous repertoire, in addition to his and a scant 55 years ago this year, Al among other flutists) after Jean-Pierre Messiah , includes flute sonatas and mas - Dvorin uttered those immortal words Rampal recorded works by him in the sive amounts of operas, concerti, can - to a restless Minneapolis audience des - 1960s, Devienne remains less well tatas, arias, wind ensemble pieces, and perate for a final glimpse of their known than he ought to be given both other works involving the flute. This is a departing idol: “Ladies and gentlemen, the quality and the quantity of his significant year as well for composers Elvis has left the building. Thank you, work. We will do our part to rectify Felix Mendelssohn, who was born 200 and good night.” this state of affairs in the summer issue years ago, and Joseph Haydn, who died You’ll read more in this issue about of this magazine, with a feature article 200 years ago, and although they are two additional anniversaries of note, on the composer penned by noted probably best known for their piano each featuring the same fellow. In 1939, pedagogue, flutist, and Devienne scholar works and string quartets, respectively, James and Ethel Galway welcomed son William Montgomery. both also contributed concertos to the James into the family on Carnalea Street American composer George Crumb, flute repertoire. in Belfast, Northern Ireland; not coinci - known for his works’ frequent inclu - Other flute-specific “9” years of note sions of unusual timbres and extended include 1829, the year Theobald Böhm dentally, in 2009 , Sir James Galway cele - technique, turns 80 this October, and began experimenting with a new way of brates his 70th birthday. He also picks we look forward to celebrating his connecting keys using rod-axles; a decade up the lone Lifetime Achievement birthday with an interview article pro - later, when Auguste Buffet, in Paris, took Award this August in New York, New filing him in our fall issue. out a patent on his flute design; and the York, at the National Flute Association’s Francis Poulenc, who as a member of World’s Fair of 1889, when Claude Annual Convention—which itself cele - France’s Les Six composers in the Debussy heard gamelan music for the brates a 2009 milestone : the 37th gather - Dadaist days of the mid-1930s gave the first time—sounds that would influence ing of flute lovers from around the world. world sonatas for flute (and other his writing for many years . For flute players, composers, teachers, woodwinds), piano works, and orches - Straying further afield but still mar - and listeners everywhere: in this year of tral and stage works, was born 110 ginally within a category that could 2009, happy anniversary, and enjoy years ago, in 1899 . German composer generously be defined as “music,” I note many happy returns in the years ahead. Harold Genzmer, who wrote flute also (and briefly) that 40 years ago, Sony —Anne Welsbacher

nfaonline.org Spring 2009 The Flutist Quarterly 7

Letter to the EDITOR Boismortier Concertos Precedents

t is good to learn that Stephen Schultz has recorded the Boismortier Concertos Ifor Five Flutes ( The Flutist Quarterly , fall 2008, “New Products,” p. 64); Boismortier’s music for various combinations is always attractive, and recordings are always welcome. Schultz’s achievement in recording all five parts is, however, not unprecedented: Jean-Pierre Rampal did the same many years ago (although in an interview he expressed himself less than totally satisfied with the result). —Christopher Steward

Canadian Ensemble Music for Flute

enjoyed the article by Amy Hamilton about Canadian Ensemble Music (winter I2009, “Canadian Ensemble Music for Flute,” p. 62). However, in the section about Canadian Trios and Quartets, she reviews Flute Quartet No. 1 by Carl Derfler, then later says that it is unpublished. That is incorrect. It is published by us, ALRY Publications. I hope this correction can be made, as it is really a great piece, and is readily available from ALRY. —Amy Rice Blumenthal, President, ALRY Publications

Music Outreach in Ethiopia e wish to publicize an effort being made by a local flute instructor who has embarked on an African outreach program to Woffer flutes for children displaced by HIV/AIDS in Ethiopia. Celine Ferland, former president of the Seattle Flute Society and freelance musician of North Bend, Washington, will travel to a remote region of Ethiopia in 2009 . Ferland has asked the Seattle Flute Society to help in her outreach by encouraging members to donate used student flutes and piccolos and/or financial assistance to this cause for the children of the village of Adigrat, Ethiopia. These children are orphans of war as well as the continuing AIDS crisis in Eastern Africa. In addition to your generous donations of instruments, Ferland also encourages an ongoing program of music sponsorship with these children and other children of similar circumstances across the world. Individual members , as well as studios and ensembles , are encouraged to initiate sponsorships of individual musicians by offering anything from simple support through correspondence to financial support through fundraising. Please join Celine Ferland to help extend the gift of music to these very deserving children in the poorest corners of the Earth. All donations are tax deductible; check with your tax advisor on applicable deductions. Please forward queries and donations to Celine Ferland, 44309 S.E. 146th St. , North Bend, Washington 98045. —Celine Ferland

Save the Date: Upcoming NFA Conventions

August 13–16, 2009, August 12–15, 2010, August 8–11, 2011, New York City, New York Anaheim, California Charlotte, North Carolina

nfaonline.org Spring 2009 The Flutist Quarterly 11

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

FA member Andy Findon Nhas released The Music of Gary Findon , a new CD featuring the music of his brother, who was a promis - ing musician and composer before taking his own life at age 15 in 1969. The music fea - tured on the CD was believed to have been destroyed by the family at the time of death. Andy Findon produced this CD by his late brother. Proceeds of sales will go to Papyrus, an organization devoted to the prevention of young suicide. At the time of his death, Gary Findon had already written three piano concertos and music for school concerts. His friend Michael Portillo later made the film Death of a School Friend , recently broadcast on BBC2, and it was during the filming process that Andy Adam Abeshouse and Paula Robison Findon found his brother’s music, much of which was written for Andy to perform on the flute. The CD features Gary’s father FA member Paula Robison has won a Classical Ronnie (clarinet), his younger brother Andy (flute) , and Gary’s NRecording Foundation Samuel Sanders Collaborative music professor Anthony Saunders (piano). Gary’s nephew , Artist award. The award was presented November 25 , 2008, Marc Findon , completed three of the incomplete tracks and , at Carnegie Hall. The ceremony featured performances by together with Andy, prepared the music from the original man - the award winners. Robison (collaborating with violinist uscripts. Visit papyrus-uk.org or andyfindon.com . Adam Abeshouse, pianist Steve Beck, and guitarist Fred Hand) performed music from her CD, Places of the Spirit: The Holy Land , including the New York premiere of “Blue ,” by Bruce Stark. Robison received this award in support of the Places of the Spirit project, which included a trip to Jerusalem with painter Jim Schantz, a book of images , and a CD of music inspired by the spring 2005 journey. The work was released by Boston’s Pucker Gallery in April 2008. The Classical Recording Foundation applies the universal model of philanthropically supported live concerts to the recording of new classical performances. Since 2002, when it was founded by Grammy-Award-winning producer Adam Abeshouse, it has supported more than 20 new Paul Taub and Jennifer Rhyne recordings. Each award is tied to a fund administered by the foundation and the participating record company, to FA members Jennifer Rhyne and Paul Taub performed a accomplish the tasks of recording and promoting the Y E program of contemporary works using amplified flutes, awardee’s recording project. The award selection process S

L N E Y alto and bass flutes, piccolos, distortion and delay pedals, pre - begins with nominations by internationally renowned L I E N

: recorded sound, and spatial movement in late September artists and scholars. Nominees are considered by an anony - N O S I 2008 . Performances were in Ellensburg, Seattle, Tacoma , and mous grant award committee, which annually decides on B O R Bellingham, Washington. Composers on the program includ - the recipients and award amounts. Criteria for Classical D N A

E ed Jennifer Higdon, Isang Yun, Ingalf Dahl, Philip Glass, Toru Recording Foundation awards include artistic merit of the S U

O Takemitsu, Robert Kyr, a premier by Tacoma composer James

H project, historic significance, strategic value to the artist’s S E

B L. Brown, and more.Visit seattleflutesociety.org . A career, and breadth of interest.

nfaonline.org Spring 2009 The Flutist Quarterly 13 HIGH NOTES FA member Suzanne Ernst will serve as flute teacher and onaré Winds has reorganized its sales force and will now Nperformer for the 27th annual Lutheran Summer Music Soperate with dedicated sales specialists who work exclu - Academy & Festival, which will take place June 21–July 19 at sively for Sonaré and its partner brands Keilwerth, York, Luther College in Decorah, Iowa. The residential music train - and Schreiber. Christina Cobas, covering the West Coast, ing academy serves more than 150 high-school-age musicians has been in both sales and marketing for Verne Q. Powell from across the United States and features band and orchestra Flutes for more than six years. Cobas (formerly Christina ensembles, among other offerings. Guiliano) graduated from California State University, Fullerton with a BM in flute performance and is a private n November 2008, NFA Imember Carol Wincenc flute teacher . Stephanie Stathos , responsible for sales in the performed the Mozart Midwest and Southeast, is principal flute with the Cape Concerto in D Major with Ann Symphony, second flute/piccolo with the National the Pro Musica Chamber Lyric Opera of New York (touring orchestra) , and an active Orchestra of Columbus, freelance player and teacher throughout New England. She Ohio. Wincenc gave a master - received her BM in flute performance from Boston class at Ohio State University University School of Fine Arts , where she was a student of while in Columbus. Doriot Anthony Dwyer. Susan Kenny has been with Sonaré for seven years. In addition to continuing to handle inter - FA members Katherine national sales, she will be responsible for a portion of the DeJongh and Katherine N Midwest. She has a bachelor’s degree from Berklee College Borst Jones performed Carol Wincenc of Music and is a former music educator. Jan Carey-Wilson Michael Daugherty’s com - plete Tell My Fortune , which features them in the movement was an educator specializing in enrichment programs “Crystals,” February 8 at the Southern Theater in Columbus, focused on the visual and performing arts. She will be Ohio. Tell My Fortune was commissioned and recorded by the responsible for East Coast sales . Juliane Santos is the new Pro Musica Chamber Orchestra of Columbus, in which sales and marketing administrator for Sonaré Winds. Visit DeJongh and Katherine Jones are the co-principal flutists. sonarewinds.com.

14 The Flutist Quarterly Spring 2009 nfaonline.org Nina Perlove Daniel Stein Nicholas Fitton

FA members Nina Perlove, Daniel Stein, and Nicholas all the contestants will be compiled into a mashup video that will NFitton are winners in the online competition to join the premiere at the Carnegie Hall concert and then be available on world’s first collaborative online orchestra, the YouTube YouTube. Symphony Orchestra. Online auditions were held in early The goal of the YouTube project, which was created in col - 2009, with viewers able to vote for candidates. Among the laboration with the London Symphony Orchestra, is to raise audition pieces was a new piece written by Chinese composer classical music’s profile on a global scale. Its creators hope the Tan Dun. The approximately 80-piece orchestra, for which project will bring people together from around the world and Perlove and Stein perform as flutists and Fitton as piccoloist, will provide a venue for both established and emerging artists to play in concert at Carnegie Hall April 15 under the direction of “collaborate joyfully and creatively in a new way.” Visit Michael Tilson Thomas. The Tan Dan video submissions from youtube.com/symphony.

nfaonline.org Spring 2009 The Flutist Quarterly 15 Flute SHOTS by Yvonne Kendall

he xun (also hsun or hsün, pronounced embouchure like the Western orchestral flute. “shoon”) is a type of Chinese ocarina One of the oldest known Chinese instruments, Twhose name translates as “mild wind.” the xun was traditionally used as part of religious Unlike Western instruments that are catego - observances. According to composer Chen Yi, rized by how their sound is created, who wrote The Golden Flute for James Galway, her Chinese instruments are grouped by the concerto uses the Western flute to “speak in the M O C main material from which they are made. language” of Chinese flutes. . H T R

This is why the dizi (a bamboo flute fea - A E T N tured in the winter 2008 issue of The You can see or hear more about the xun through R U B , L

Flutist Quarterly ) and the xun are both these online resources: L A H

flutes but in different families. Part of the Y R R A

clay family, the xun generally has 10 • melodyofchina.com/06instruments/xun.html B Y B

holes —three or four for each hand, one for • youtube.com/watch?v=en_xlxq5FP4 T N E M

each thumb , and one tone hole. Although the • xunflute.com/ U R T S N

xun is held vertically, the player blows across the • frommudtomusic.com I

37TH ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION Bright Flutes, Big City August 13–16, 2009 Marriott Marquis Hotel in Midtown Manhattan, New York, New York

With Lifetime Achievement Award Recipient Sir James Galway A Spectacular Event, A Spectacular Location! RRR Masterclasses by Sir James and Lady Jeanne Galway, RRR Be a part ofhistory - join Sir James Galway in breaking with a special class for flutists ages 8–17. the record for the "World's Largest Flute Ensemble." RRR Competitions in 13 categories, including Young RRR Workshops on auditions, teaching, breathing strategies, Artist, Baroque Artist, Orchestral Excerpts. New: Jazz Big Band and Collegiate Flute Choir. tone and technique, jazz, and Wii practicing. RRR Browse, play, and compare hundreds of flutes crafted RRR Register now to attend the most exciting flute by the world’s finest flute makers plus accessories, event of the year.Professionals,teachers,students, music, recordings, and more. amateurs, flute enthusiasts and their families are RRR Performances by the flute world’s top and rising stars. welcome. See nfaonline.org/convention.

nfaonline.org . [email protected] . 661-299-6680

16 The Flutist Quarterly Spring 2009 nfaonline.org

18 I L S The F lut is t IR Q uar y tl er Spr GN I V i ng 2 0 9 n J fa on lin ge.or AMES E G E L G ALW AY DN :

PAUL COX As he enters his 70th year, the sole recipient of the NFA’s 2009 Lifetime Achievement Award continues to perform for, teach, and play with all kinds of people in all forms of mediums throughout the world. by Patti Adams

ir James Galway, whose appeal and artistry cross all the Hungarian Fantasy. “I had never heard anybody play the Smusical boundaries, has inspired generations of flute like that before!” he says. “Then I heard Rampal’s first flutists and revolutionized the concept of the flute and recording of the Damase with a French woodwind quintet, its music. As he enters his 70th year, he is one of the most which really blew me away. This became the target I had in recorded classical artists performing , and continues to mind and what I was striving for every day.” delight in the flute and its legions of devotees worldwide with When Galway was 19 , he studied with Gilbert at the new recordings, compositions , and technology to educate Guildhall School. “For my first lesson ,” says Galway, “I pre - and inspire. He has made over 50 recordings , with more than pared the Prokofiev Sonata, the Bach G Minor , and the 30 million albums sold , and has endeared himself to millions Hindemith Sonata. Geoffrey accompanied me on the piano worldwide with his international television appearances. I on all three pieces. He said, ‘Galway’—he always called me was privileged to speak with Sir James recently about his life Galway—‘do you always play so loud?’ ‘No, only when the as a flute player. piano plays that loud.’ I mean , I had no idea how to talk to Born in Belfast, Northern Ireland, James Galway started people at all, coming from the back streets of Belfast. We did - playing the flute when he was 9. He actually began playing n’t have any respect for anybody! Geoffrey assigned me a the violin , but when his instrument was consumed by sever - DeLorenzo study and scales. I nearly broke my jaw learning it al thousand hardworking Irish woodworms and fell to pieces, all. At the next lesson he said, ‘Galway, let me hear your he took up the flute. Everybody in his neighborhood played scales!’ I asked, ‘Which one?’ He said, ‘Which one?! All of the flute , and it runs in the family—his granddad (a semi - them!’ professional), father , and uncle all played the instrument . “Well, I had to tear through all the major and minor scales that he’d written out in groups of five and seven,” Galway School Days: Learning continues . “ It was a departure from the Moyse scales , but His first teacher was his Uncle Joe. “I’ll never forget trying to they were very well organized. Then he asked me to play the play the scale of A Major,” says Galway. “I could never DeLorenzo study. I was struggling away with it and after remember the fingering. I thought, I’m never ever going to about five bars , Geoffrey got his flute out of the box, dead get this!” cold, put out his cigarette, and he played the whole thing and At 11, he met William Dunwoody. “He was the first one to at a really good speed! This was the first flute player to rede - talk to me about the embouchure . Whenever the flute was fine the art of flute playing for me.” out of tune and I would complain to my Uncle Joe about it, Next came a scholarship to study with Gaston Crunelle at he’d say, ‘just humor it!’ This is the Irish way of saying fix it! the Paris Conservatory for a year. “The Paris Conservatory We couldn’t relate it to anything else except singing. Our really put me in gear for the rest of my life,” Galway says. “The school was so dirt poor we didn’t have a piano, so our teacher standard was so high. I just practiced all day. We had two les - used a tuning fork to give us the pitch. After years of that, I sons a week; we practiced scales and studies in one lesson and developed a pretty good ear for intonation and played the pieces in the other. We learned a new piece every week.” flute based on that.” Galway acknowledges that he’s been very lucky in his life to Billy Dunwoody talked to young Galway about the have such wonderful flute teachers. “They could all play bet - embouchure, explaining how it worked. Dunwoody had ter than me , and were all very accomplished flute players. learned it from Muriel Dawn, Galway’s next teacher. (She Geoffrey Gilbert could really play well , and Crunelle, at 62, learned it from Geoffrey Gilbert, who had studied with René made one of the greatest recordings of all time —French Le Roy, who had studied with Gaubert.) “Muriel started me music for flute harp and string quartet. Crunelle was a big on scales and etudes, which was not my cup of tea, but I did smoker and was always reading the paper. If you played a them anyway, ” Galway says. wrong note, he’d just yell from behind the paper. ‘G#!’ He At 16, Galway received a scholarship to attend the Royal knew all these things from memory —it was like a business. College of Music in London and study with John Francis. When he taught you to play music, he taught you with such Francis introduced him to Marcel Moyse with a recording of French charm.”

nfaonline.org Spring 2009 The Flutist Quarterly 19 SIR JAMES GALWAY : L IVING LEGEND “I never do the same thing Practice: Galway’s Garden twice. I always try to “Playing the flute is like being a gardener. You go out there and look at the garden and see what needs doing. And you do it. Some people have a concept improve it or get it better.” that they’ll get up and do this or that, a Taffanel or Julius Baker scale. I don’t do that. I look to see what He finally agreed to play with the orchestra for a trial peri - needs doing and then take care of it. I don’t have a od of a month and, he says, it was a fantastic experience. regular schedule unless I’m doing a recital. Then I’m “They played better than everybody else. It was amazing! It going to practice the pieces for the recital every day.” didn’t matter which hall we played in. We brought the Students are “little gardeners” for their tone and acoustic with us. ” technique practice. “They’re planting their first seeds The first concert he played with the Philharmonic and and seeing how it all works. My advice to all garden - Karajan was Brahms’ Second Symphony at the Lucerne ers is to learn all your scales—for an octave and then Festival. Among many highlights during his six years in the add a bit and then apply it to your piece.” Philharmonic, one was meeting Luciano Pavarotti at a On the road, “As soon as I get to the hotel I prac - recording session. “When he walked into the studio, nobody tice. I always practice while I’m waiting in concert had ever heard of him. Karajan introduced him as the welt - halls. I just practice all the time. Usually on a travel meister, the world champion. When he opened his mouth, day you can fit in a couple of hours.” we couldn’t believe it!” For technique study, Sir James recommends his In addition to Karajan, Galway was inspired throughout edition of the Boehm 12 Grand Studies and several his career by many great conductors , including Lorin Maazel, Moyse books, including De La Sonorite and the 24 James Levine, Leonard Slatkin, Zubin Mehta , and Bernard Melodious Studies , the Daily Exercises , Grand Haitink, as well as cellist Mstislav Rostropovich. On one of Liaisons, Technical Studies & Exercises , and Galway’s first Berlin concerts, Rostropovich played the Mechanism, Chromaticism . In fact, he came home Dvorak Cello Concerto. “After we finished, Slava came walk - from a tour of the United States last June and prac - ing through the orchestra. I thought, this guy’s a scream, he ticed the entire Moyse Daily Exercises . “After 26 days , can’t even find his way out. He came walking over to me, got I’d done the whole thing. I couldn’t believe my tech - me up and gave me a big kiss right on the lips! And then, he nique afterward! It was amazing!” did it again! I got to know him really well. He used to call me —PA Jimuska! Jimmy in Russian I guess. He was a great inspiration to me and I loved him throughout my life.”

Working and Playing Winds Beneath His Wings After his year at the Paris Conservatory, Sir James embarked Sir James was principal flute of the Berlin Philharmonic on his orchestral career, playing in such prestigious orches - from 1969 to 1975 , but to Karajan’s surprise and dismay, tras as the Sadler ’s Wells Opera and Royal Opera House Galway decided that he would leave to pursue a solo career. Covent Garden, the BBC Symphony , the Royal Philharmonic , In England, he made his now iconic first solo recordings: and the London Symphony Orchestra . The Man With the Golden Flute and the Prokofiev and He then won the coveted position of solo flute with the Franck Sonatas with pianist Martha Argerich. Berlin Philharmonic under Herbert Von Karajan. When he “When RCA wanted to make that first record (The Man With went to Munich for his audition for this position, “I was told the Golden Flute ), I suggested all these little pieces with orches - not only that I was too late but that I didn’t really need to play tral accompaniment, which everyone thought too expensive to because the standard is so high. I said, ‘I’ve come all this way, produce—and it ended up getting a gold disc,” says Galway. For I think you should at least have the good manners to hear me his first flute and piano recording, he and Argerich clicked play!’ So, I played the Mozart D Major. I managed to get all musically and talked a lot about phrasing and what they want - the way through the cadenza and I thought I must be doing ed from their musical partnership. “Philip [his longtime OK.” Besides playing the work well, Galway then played all pianist, Philip Moll] and I talk about these things all the time, the requested orchestral excerpts from memory; the orches - even now. When we played in Paris recently, I asked him to do tra and Karajan chose him unanimously. a couple of things differently on this Taffanel piece that we had - But Galway initially turned them down. “They said to me, n’t thought of doing before. I think this is a good thing that I ‘Congratulations, you’re now the new solo flute of the Berlin have built in somewhere—that I never do the same thing twice. Philharmonic , and when can you start?’ I said, ‘I don’t want I always try to improve it or get it better , and that applies to to start because since I got here nobody has said please, thank scales, long tone studies , or anything.” you, or you ’re welcome.’ I told them I wasn’t taking the job In his evolving career, Galway intentionally sought out dif - and I went home. ” ferent projects. For example, he played with the Chieftains.

20 The Flutist Quarterly Spring 2009 nfaonline.org Gaston Crunelle instructed Sir James at the Paris Conservatory. “He taught with Sir James with his wife, Lady Galway, who will be a presenter at the 2009 con - such French charm.” vention in New York.

“That was a different sound,” he says. “Then we did Wind Requiem. By the time Luciano had finished with this tenor, Beneath My Wings , which has synthesizers in it. In the mean - he was singing like a champion. The one thing I noticed in time, I was doing the bulk of the classical repertory , which this lesson was that the demonstration given by the teacher required anything from a chamber orchestra to a big sym - was of such a high standard, you had to sing better.” phony orchestra. For example, Rodrigo’s Pastoral. Now there Last year at his masterclass, he decided to do something was a difficult concerto!” Flute commissions by and for him about the singing business. “A vocalist came in each morning include works by David Amram, Lorin Maazel, Malcolm to teach us all how to sing , and by the end of the week, when Arnold, Joaquin Rodrigo, William Bolcom, John Corigliano, the whole flute section played the Swan in unison, it sound - Dave Heath, and Lowell Liebermann. ed so much more musical. So, next year, we’ll have a singing lesson for an hour, every day.” School Days: Teaching His Web site, thegalwaynetwork.com , is devoted to stu - dents, professionals, educators , and flute lovers. He has cre - James Galway shares his knowledge and experience with stu - atively adapted to today’s technology, using the Internet to dents through masterclasses worldwide and his annual mas - share his music and his Web site as a teaching tool and terclass at home in Switzerland. The confidence and abilities resource for flutists. He has more than 60 videos posted on he brings to his students is an important part of his teaching. YouTube demonstrating topics such as embouchure, tech - “I’m a better teacher than I was 20 years ago because I have nique , and vibrato. He plans on having a shop on his Web more experience,” he says. “When I’m teaching the Ibert site, where students can play along with him, learning from a Concerto, I’ve already played it seven times in the last two variety of instructional videos. months, the Nielsen Concerto five times. So, I can tell you what’s really going to happen in those concertos. Last January Honored by Queen Elizabeth II in 2001 with a knighthood and February, I played the Mozart D Major Concerto 27 for services to music, Sir James Galway will be honored by his times. When I walk onto the platform to play a concerto, I’m American flute family—the National Flute Association—on not going to walk on there like someone’s going to shoot me August 15 in New York at the 37th annual convention as the or something. I’m walking on there knowing this thing for 2009 Lifetime Achievement Award recipient. It will be a dis - memory and what’s happening in every bar of it.” tinct honor for the NFA to have Sir James and Lady Galway His masterclass in Switzerland is attended by an average participating at the convention and fundraising dinner . I hope of 80 flutists from all over the world. This year it begins NFA members will be there to honor the man with the golden July 19— “I put it a week earlier because I’m doing the NFA flute, Sir James Galway, living legend and flutist extraordinaire, convention in August, ” Galway notes. There will be 15 per - who has so enriched and inspired all of our lives. > forming for Sir James, playing for an hour, twice during the Y A

W week -long class.

L Patti Adams was the NFA’s chair of the 2007–08 board of A G

S “I’ve really been thinking a lot about the flute and the directors and program chair for the 25th anniversary conven - E M A

J voice. I’ve been to quite a few vocal masterclasses,” Galway tion in Chicago. She performs with the Louisiana Y S E

T says. “I’ll never forget going to visit Luciano one afternoon. Philharmonic Orchestra as assistant principal flute/solo pic - R U

O We had lunch , and in the afternoon he was teaching the Verdi colo and teaches at Loyola University in New Orleans. C

nfaonline.org Spring 2009 The Flutist Quarterly 21 Andersen Etudes Edited by Donald Peck At the early stages of study, these etudes can feel overwhelming and perhaps beyond the grasp of a young flutist. Part of the obstacle with these etudes is that the student often fails to understand the musical, or expressive, value of these works. While the young student will approach these etudes as technical studies, a more mature flutist will return to these studies with a deeper appreciation of them as masterpieces of musical expression, and will occasionally even program Andersen Etudes as recital pieces.

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

222 Main St. #504 Evanston, IL 60202 847-869-2998

The English Rachmaninoff: Edwin York Bowen

by Glen Ballard

Attention is only now beginning to be paid to long-neglected composer York Bowen (1884–1961).

efore World War I, York Bowen was a household name. Known as the “English Rachmaninoff,” his early reputation as a composer and pianist was such that Bhis appearances ignited feverish reviews in the press, concert halls sold out , and notable musicians of the day performed his works , including Fritz Kreisler, Lionel Tertis, Aubrey and Dennis Brain, Leon Goossens, Pauline Juler, Beatrice Harrison, Hans Richter, Sir Henry Wood , and flute players Albert Fransella and Gareth Morris. His collaboration with these legendary artists, together with his extraordinary insight into the instruments for which he wrote, has resulted in a legacy of important works N O S T A and valuable additions to repertoire. Yet his sudden death in 1961, at age 77 , only raised W A C I N O M Y

a few, and in places inaccurate, lines in the obituary columns. Today there is increasing S E T R U O interest in this scandalously neglected composer , and a revival is underway. C

24 The Flutist Quarterly Spring 2009 nfaonline.org Bowen’s Life Edwin York Bowen was born in Crouch Hill, London, on February 22 , 1884, the youngest son of the co-owner of the whisky merchants Bowen and McKechnie. After early piano and harmony lessons with his mother , his parents, recogniz - ing his remarkable talent, enrolled him at the North Metropolitan College of Music. The young Bowen made rapid progress and at the age of 8 was soloist in a perform - ance of Dussek’s piano concerto. After a period of study with Alfred Izard at the Blackheath Conservatoire, Bowen at the age of 14 won the Erard scholarship to the Royal Academy of Music, where he studied piano, composition , and horn with Tobias Matthay, Frederick Corder, and Adolph Borsdorf. While at the Academy he won many prizes, including the Charles Lucas prize for his tone poem “The Lament of Tasso ,” which was performed in September 1903 at a Queens’s Hall Promenade Concert, with Henry Wood conducting. Bowen was only 19 . He graduated from the Academy in 1905, having been awarded the Worshipful Company of Musicians Medal , and was appointed professor of piano there in 1909 , a post he held for 50 years. By the time he was 26, Bowen had written more than 40 works, including three piano concertos, in which he appeared as soloist under the batons of Henry Wood and Hans Richter: a suite for violin and piano dedicated to and performed with Fritz Kreisler; a viola concerto, produced by Glen Ballard Lionel Tertis at a Philharmonic Society concert conducted by Sir Landon Ronald at Queen’s Hall in 1908; a wealth of piano other wind instrument. Two of his flute works were dedicat - compositions ; and the Miniature Suite for flute and piano ed to and performed with the most famous flute players of dedicated to and performed with Albert Fransella. His the day, Albert Fransella and Gareth Morris. orchestral works were also popular; his Symphonic Fantasia The Miniature Suite for Flute and Piano was dedicated to was performed by the London Symphony Orchestra at the Fransella , who was the popular first flute in Henry Wood’s Queen’s Hall in 1906, conducted by the great Hans Richter to orchestra and the most famous flute player of his day. enthusiastic applause, not just by the audience but by Richter Fransella gave the first performance of the suite with Bowen as well. His career looked set to flourish. at the Broadwood Rooms during the Fransella Quartet’s first However, World War I was a great divide. He enlisted in the appearance there on June 29, 1906. The work was played Scots Guards, playing in the band, but contracted pneumo - again four months later at one of the Queen’s Hall nia in France and was brought back to England by his wife, a Promenade Concerts. war-time ambulance driver. Sadly, his career never recovered. The first performance of the Sonata for Two Flutes, op. It is said his romantic style did not meet with the mood of 103, was given by two students at the Royal Academy of the times, and his fame declined, although he continued to Music, Gareth Morris and Walter Scott, at a Royal Academy compose, perform, teach, examine , and adjudicate. By the time of his death , he had written more than 300 works , many Bibliography of them extremely demanding, including fine chamber music, four piano concertos, four symphonies, orchestral works, songs, concertos for violin, viola , and horn , and many York Bowen: A Centenary Tribute . Monica piano compositions. Watson, Thames Publishing (1984).

Works for Flute My Life of Music . Henry J. Wood, Victor The discovery last year of an early York Bowen work for two Gollancz Ltd (1938), p. 224. trumpets and piano caused some excitement. There is very little romantic music in the trumpet repertoire , and this Musical Opinion . Vol. 72 (June 1949), work has filled a much-needed niche. It could be argued that p. 467. the flute faces a similar situation. What is of interest is that Bowen composed four works for the flute, more than for any

nfaonline.org Spring 2009 The Flutist Quarterly 25 THE ENGLISH RACHMANINOFF : E DWIN YORK BOWEN

The Sonata for Flute and Piano, op. 120 , is the last and Discography most substantial work of the four. It was completed in 1946 and dedicated to Gareth Morris, principal flute of the newly founded Philharmonia Orchestra. Bowen composed Flight—British Flute Music includes the the Sonata in the same period as his highly acclaimed mas - Sonata for Flute and Piano , op. 120, and the terpiece, the Twenty Four Preludes in all Major and Minor Miniature Suite, Ingrid Culliford (flute), Keys, op. 102, for Piano, and the lovely Clarinet Sonata, op. Dominic Saunders (piano). 109 (dedicated to and performed with Pauline Juler) , which Jack Brymer believed to be the best work composed Reed of Pan —British Works for Flute includes for the clarinet since Brahms. Morris premièred the Flute the Flute Sonata , op . 120, Ken Smith (flute) Sonata with Bowen at the Wigmore Hall in May 1949. There is some evidence of the existence of a Flute Paul Rhodes (piano) . Concerto. However, the publishers who hold the rights to the work believe it was lost during a flood in one of their Sonatas for flute, oboe, clarinet , and horn — warehouses between the 1960s and 1980s. the Endymion Ensemble includes the Flute Sonata , op . 120. Conclusion There is a special place in the flute repertoire for York British Flute Music includes the Flute Sonata , Bowen’s romantic style works. His individuality and gen - op . 120, Jeffrey Khaner (flute), Charles uine understanding of the flute and what it can do, togeth - Abromovic (piano) . er with the vital role of the piano, which could only have come from a pianist of his caliber, make a compelling argu - The English Flute includes the Flute Sonata , ment for inclusion. Bowen’s contribution to British music op . 120, Celia Redgate (flute) , Michael is significant , and it remains a mystery why he has been Dussek (piano) . neglected for so long. His works won many prizes over the years; his playing was legendary (he made the first com - mercial recording of Beethoven’s fourth piano concerto in of Music Student’s Concert on June 27, 1940. (See accom - 1925 , using his own cadenzas) ; and he was the only British panying article in this issue for more about this piece.) composer and virtuoso pianist of the time to have been the Bowen was very keen to have the work broadcast , and in soloist at the first performance of all four of his piano con - February 1958 , the BBC agreed to go ahead. Due to the certos, a feat only equaled by Rachmaninoff. original score being a “rough and sketchy affair ,” he under - There are encouraging signs of a revival with recent took to copy the parts out again himself, taking “the great - recordings and performances of his works, but there is still est care as to clarity and accuracy ,” so that the flutists would a long way to go. Perhaps the last word should go to Sir find them “very readable .” The sonata was broadcast a Henry Wood who, in his book My Life of Music , said Bowen month later by Wilfred Smith and Lionel Solomon on was: “A British composer who had never taken the position March 9, 1958, and the manuscript then disappeared. he deserves… ” It was through Pan magazine, years later, that the work was eventually traced to the British Library. The manu - Hopefully, this is about to change. > script, it seemed, had been in the possession of Gerald Jackson, a pupil of Albert Fransella and Beecham’s first flute in the Royal Philharmonic Orchestra. When Jackson Glen Ballard is a research associate at the Royal Academy of died , the manuscript was discovered in his loft and was Music and is researching and writing a book on York Bowen. given to the British Library by Clifford Seville. The work With thanks to the York Bowen Estate for permission to was subsequently performed at a British Flute Society include an extract from the Manuscript of Soliloquy and quo - event at Dulwich College in 1996 by Douglas Townshend, tations from letters. the BFS chairman at the time, and Catherine Handley. It I would like to express my gratitude to Andrew Robson, St. has since been published by June Emerson . Louis, Missouri, for consulting with me over the manuscript Soliloquy and Frolic for Solo Flute has no dedication, of the Sonata for Two Flutes. op 103. (See accompanying arti - but Gareth Morris told me that the work was written for cle in this issue.) him. He broadcast it in October 1950 for BBC Radio’s With thanks also to Robert Bigio for his endless patience. Third Programme, along with the Flute Sonata, op. 120, Extracted from forthcoming book © 200 9 Glen Ballard with York Bowen as pianist. The composition does not seem to have been performed again until Caroline Editor’s Note: This article, edited for The Flutist Quarterly , is Franklyn played it at a recital in 1984 to celebrate the cen - reprinted with permission from Pan, the Journal of the tenary of the birth of the composer. British Flute Society , volume 27, number 2 .

26 The Flutist Quarterly Spring 2009 nfaonline.org Walfrid Kujala’s new book: The “sequel” to the Vade Mecum

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222 Main St. #504 Evanston, IL 60202 847-869-2998 York Bowen’s Sonata for Two Flutes, op.103: The Discovery of the Original “Rough and Sketchy Score”

by Andrew Robson

A box from eBay reveals romance, mystery, and an original score.

ave you ever seen a segment on PBS’s Antiques Roadshow where some - one bought an object for a few dollars and it turned out to be a real treasure? Have you ever dreamed that it could happen to you? Well, it Hhas happened to me. I am a flutist and a high school student in St. Louis, Missouri. This is the story of the discovery of the original rough and sketchy score of York Bowen’s Sonata for Two Flutes, op. 103, dated March 13, 1939, London, and how it came into my possession.

28 The Flutist Quarterly Spring 2009 nfaonline.org Remarkable Composer Edwin York Bowen (1884–1961) was a British composer and is also considered one of the country’s finest pianists. (Editor’s note : Much of the author’s information can be found at the York Bowen Society’s Web site, york - bowen.co.uk.) A student at the Royal Academy of Music at age 14, he eventually become one of the academy’s distin - guished professors. He was a prolific composer with over 300 works created during a musical career that spanned more than 50 years. His style is widely considered to be romantic, and he enjoyed considerable success in his lifetime even though many of his works remained unpublished. To learn more about him, a good biography to read is Monica Watson’s York Bowen: A Centenary Tribute (London: Thames & Hudson, 1984). His centenary celebration in 1984 and the efforts of the York Bowen Society have generated a renewed interest in both the man and his work. Recent publications, new recordings, and live performances of his works are finally giving both him and his music the recognition they deserve. During Bowen’s life, Saint-Saëns described him as “one of the most remarkable of the young British composers.” Now it seems that the current musical world is finally agreeing with him. A recent article by Glen Ballard on Bowen’s flute music was published in the British Flute Society’s quarterly publication Pan in June 2008. (Editor’s note : The article is reprinted in this issue.) Andrew Robson Bowen’s instrumental pieces were often written for and dedicated to renowned musicians who then had the honor of and I frequently joke with my father that in addition to being premiering the work. One such example is his Sonata for Flute my dad, he is also my manager, banker, and chauffeur. I and Piano, op.120, composed in 1946. It was written for and greatly appreciate the sacrifices that my parents make in first performed by British flutist Gareth Morris (1920–2007), terms of their time and resources that allow me to develop and it is considered to be a good example of Bowen’s warm, my talent and pursue my dream. romantic style. It has been recorded by several prominent Dad is always looking for ways to reward my accomplish - flutists, including Jeffrey Khaner, Celia Redgate, Ingrid ments and motivate me to strive to be the best I can be. The Culliford, Helen Keen , and Amanda Hollins. The Miniature Lot was a gift when I began to perform in district and state Suite for Flute and Piano was dedicated to British flutist Albert competitions; when I performed Honegger’s Danse de la Fransella. Bowen composed four known works for the flute, Chevre at a recital, he surprised me with an autographed more than he wrote for any other wind instrument. copy of Honegger’s book Je suis Compositeur . Morris was 12 years old when he began to play the flute. At More recently, he seems to be devoting his energies to 18, he won a scholarship to study at the Royal Academy of expanding my music library. While searching for things on Music. He was principal flute in the Royal Air Force Band. eBay, he noticed three lots of flute music that looked promis - Later, he became the principal flute of the Philharmonia ing. They were described as coming from a teacher who was Orchestra, a position he held for 24 years. Like Bowen, disposing of a collection of antique flute music. The seller’s Morris became a professor at the Royal Academy of Music, location was listed in Kentucky. It was a sizable collection, retiring after 40 years. He played at the coronation of Queen slightly over 100 items divided among three lots. He placed Elizabeth in 1953 in an orchestra assembled by the Duke of sealed bids on all three and in the end had won them all. After Norfolk. Morris and another flutist, Walter Scott, first per - he finalized payment, he had the material shipped to our formed Bowen’s Sonata for Two Flutes at a student recital at home in St. Louis. The box arrived on a Monday while I was the Royal Academy of Music on June 27, 1940. in Chicago performing in a competition with my high school symphonic band. Enter Another Young Flutist Dad had the “pleasant” task of picking me up when the I am 17 years old. I perform on a silver Louis Lot made in buses arrived back at the high school. We were due in Paris the year before Bowen was born. Like Morris, I also Tuesday—at 4:00 a.m. So to pass the time while waiting for began to play the flute at an early age, and I aspire to a career my return, Dad began to unpack the box and catalog the in music similar to his. My parents are my biggest supporters, items. As it turned out, many are first editions of famous

nfaonline.org Spring 2009 The Flutist Quarterly 29 YORK BOWEN ’S SONATA FOR TWO FLUTES , OP .103: T HE DISCOVERY OF THE ORIGINAL “R OUGH AND SKETCHY SCORE ”

pieces in the flute repertoire. As he went through the materi - cleaned up for a performance broadcast on the BBC on al, he noticed that much of the printed material contained March 9, 1958, by Wilfred Smith and Lionel Solomon. the signatures of Morris, Joy Hazelrigg (1927–2008), and I scanned and sent the requested sections. After reviewing S.N.L. Potts (1934–2004). He did not recognize any of the them, Ballard confirmed that we indeed had Bowen’s original names, so he went to the computer and began to Google, score! Timing was fortuitous, and she was able to modify her starting with Gareth Morris. article for Pan to include an announcement of the score’s dis - Imagine his surprise to find that the score for Gabriel covery days before the magazine went to print. I was thrilled. Fauré’s Fantaisie op. 79 that he was holding in his hands had The only question remaining was how did the score cross once belonged to a famous flutist. By coincidence, it was the the Atlantic and wind up in Kentucky? piece I was performing in the high school district and state solo competitions. In reading Morris’s online obituary, Dad The Story’s Conclusion discovered the connection with Hazelrigg; she was Morris’s The next series of calls were to the seller who had put up the first wife. As the bus cruised through a darkened Illinois, I collection for auction. Having now completed my research, received a call on my cell from Dad, telling me what he was here is what I believe happened. finding. He spent the next hour researching information on Bowen probably gave the original music score and its parts Morris on the Internet, but facts on Hazelrigg and Potts to Morris when they both were at the Royal Academy of remained elusive. Music as Morris prepared for the student recital of 1940, and it must have remained in Morris’s possession. In 1954, The Plot Thickens Morris married Joy Hazelrigg, who was born in Owensboro, As he continued to go through the box of material, near the Kentucky. She was a graduate of the Julliard School of Music bottom he found a handwritten score for the Sonata for Two in New York City and went to England to continue her musi - Flutes, op. 103, by York Bowen, along with the individual cal studies. She and Morris divorced in the early 1970s, and I handwritten parts for flutes 1 and 2. He did not recognize the believe at that time she wound up with some of Morris’s name on the score and had no reason to believe it was any - music, which must have included this manuscript. thing special, so he cataloged it with the rest of the items. As S.N.L. Potts turns out to be Stuart Nicholas Laurence Potts. I neared St. Louis, I called to tell him that he should pick me He was born in Windsor, England, in 1934. He played first flute up at 4:20 a.m., and that is when I learned of the manuscripts in the Birmingham Youth Orchestra. He also attended the that he had found. I told him to leave them out and we would Royal Academy of Music. Morris was his teacher. Potts was a look at them together when I got home before I went to bed member of the Royal Air Force Band (as was Morris) and and he went off to work. played in the coronation procession of Queen Elizabeth in 1953 Tired, we met in the school parking lot in the cool dark (as did Morris). While at the Royal Academy of Music, Potts morning hours and drove home. Bowen’s Sonata for Two met Joy Hazelrigg. She would eventually become his wife. They Flutes, op. 103 was sitting on the kitchen table. But who was married after her divorce from Morris around 1974. York Bowen? I am ashamed to say it was not a name that I Potts and Hazelrigg left England and settled in Owensboro, was familiar with. We Googled Bowen and immediately Kentucky, where she taught piano and he opened a wood - jumped to the home page listed for him. That is when things really began to get interesting. Looking at the Web site, I working business. They were married for 30 years. Potts died noticed that the “York Bowen” on the score was not someone May 31, 2004, and Hazelrigg employed a neighbor to take writing his name but appeared to be York Bowen’s actual sig - care of her property. I am told she gave him her entire music nature—and the score itself had alterations and was dated. collection shortly before her death on February 9, 2008. Dad had not bothered to look at it all that closely. The neighbor, in turn, gave the music to a relative who is a Before I went to bed, we sent an e-mail to Glen Ballard at the pianist; the relative, having no need for flute music, put it up York Bowen Society telling her that we thought we had what for sale on eBay. It is from her that my dad acquired as a gift might be Bowen’s original score of the Sonata for Two Flutes, for me the flute music that was once owned by Morris, op. 103, and asking how its authenticity could be confirmed. Hazelrigg, and Potts. Her initial reply was not promising. She informed us that she Now the only question still to be answered is, when will the thought the original score was at the British Library in London Antiques Roadshow be coming to St. Louis? Do we have a and she would check the photographed copy the society had on story to tell! > file. At best she thought we might have a handwritten copy autographed by Bowen himself, if his signature could be Andrew Robson is a junior at Oakville Senior High School in authenticated. She requested we scan it and e-mail it to her. St. Louis, Missouri. He is a member of the St. Louis Symphony Before we did that, we had more exchanges with Ballard Youth Orchestra and he is studying with Mark Sparks, princi - that covered the date and the alterations noted in the score. ple flute of the St. Louis Symphony Orchestra and holder of Ballard immediately requested specific scanned parts of the the Herbert C. and Estelle Claus Chair. Robson also has stud - score. In the meantime, she had confirmed that the copy in ied with Michel Debost and Kathleen Chastain at Oberlin’s the British Library could not be his original manuscript Summer Flute Institute and Aurelia Hartenberger at the and might be the copy of a “rough and sketchy score” University of Missouri, St. Louis.

30 The Flutist Quarterly Spring 2009 nfaonline.org Christine Po*er’s Workshops for Flutists Tone Development • Air Management • Performing with Con(dence • Vibrato • Intonation Contact Chrisat cpo*er@alto)ute.net to book her for your next Flute Festival Performance AAnnxxiieettyy:: A Resource Guide compiled by Amy Likar, with introduction by Susan Raeburn

Read on for an introduction to everything you ever wanted to know (but were afraid to ask) about performance anxiety and related issues.

linicians and music teachers The resources presented here will pro - a product of multiple past and present have long observed that while a vide a potential antidote to each of dynamic transactions between personal Cmusician’s career offers much these barriers to care. characteristics and social, cultural, and satisfaction, it also has predictable and In 2004, the Music and Medicine environmental forces; often preventable pitfalls. While there Program at the University of North • emotional intelligence and associated are few well-controlled studies assess - Texas collaborated with the Performing competencies must be valued in equal ing musicians’ health risks, those Arts Medicine Association to develop a partnership with IQ. involved in the field can attest to the far-reaching health promotion project prevalence of one mental health prob - for college music students. Known as The work of the mental health group lem: performance anxiety. the Health Promotion in Schools of emphasized a continuum of mental The gold standard of musician health Music Project, its mission encompassed health issues, from the promotion of surveys was conducted for the a wide range of health areas and con - optimal self-care, resilience, and well - International Conference of Symphony cerns. Work groups were established for ness in the generally well-functioning and Orchestra Musicians (Martin neuro-musculoskeletal health, hearing young adult ; to the management of Fishbein, Susan E. Middlestadt, Victor and vocal health, mental health, case transient and commonly experienced Ottati, Susan Straus, Alan Ellis, from: law review, standards of care, college distress ; to the formal treatment of Medical Problems of Performing Artists 3 campus resources, and music educa - acute or chronically diagnosable psy - No. 1 (1988): 1). This survey of self- tion. Recommendations by task forces chological disorders. The areas identi - reported health problems of profession - were disseminated in the hope of influ - fied as centrally important to musician al musicians had a large sample size (N encing future policy development at the mental health were self-care/self-man - = 2, 112) and a 55 percent response National Association of Schools of agement, interpersonal relationships, rate. The survey found that 13 percent Music as well as the culture of college career development, and mental of the musicians reported a problem music schools. health issues such as stress, anxiety with anxiety, eight percent severe; 25 Assumptions made by the HPSM (including performance anxiety), percent reported a specific problem mental health work group, for which I depression, and substance abuse. with stage fright, 16 percent severe. served as chairperson, included that : Preliminary recommendations were Performance anxiety is often debilitat - • the mind and body operate as a com - made in each of the core areas with the ing, personally and professionally, and plex, transactional whole, although we expectation that they would be further many musicians do not realize help is may distinguish between “physical” and expanded and refined. available, do not know how to get help, “mental” health for the sake of analysis Four general recommendations to or avoid getting help because they see and intervention; college music students were suggested the experience as a personal failing. • an individual’s mental health status is in the area of performance anxiety.

32 The Flutist Quarterly Spring 2009 nfaonline.org • Be aware that rejection, loss, and com - petition are inherent in life, and especial - ly so in music careers. Try not to get caught up with comparisons or “perfect” performances. You do not have to“prove” anything. You are sharing, not comparing. • Focus on the pleasure you derive from music -making. Remind yourself why you chose a music career. • Don’t equate your self-esteem and other’s opinions of you with how you perform. • If you are experiencing ongoing per - formance anxiety, especially if it is beginning to interfere with your per - formance or desire to perform, seek help. Learn about anxiety management strategies through reading , and talk to your teacher or a counselor experienced in working with musicians. Amy Likar Susan Raeburn Whether you are a student or a profes - sional musician, the resource guide Nagel, Julie Jaffee. “Performance George Mason University’s Center for compiled here by Amy Likar promises Anxiety and the Performing Musician: Art and Wellness ; gmu.edu/departments/ to help you become better informed A Fear of Failure or a Fear of Success?” artswellness/articles.html about the nature of performance anxiety MPPA 5, No. 1 (1990) : 37. David Sternbach is the research and the resources available to help you director of the Art and Wellness pro - master it. It is our hope that you will Salmon, Paul G. “A Psychological gram at GMU, and the school’s Web then invest the time and energy in taking Perspective on Musical Performance site includes a resource page for articles better care of yourself. Anxiety: A Review of the Literature,” on performance anxiety published in —Susan Raeburn MPPA 5, No. 1 (1990) : 2. the past 30 years in many different publications. Resource Guide (The entire Volume 5, No. 1 (1990) is Self-help books and articles on the devoted to performance anxiety. ) Sports Psychology-Based Books topic of performance anxiety have Greene, Don. Audition Success . New been around for years. This list is by no All abstracts and articles from the journal York: Routledge, 2001; Fight Your Fear means exhaustive, but my hope is that are available for purchase on the MPPA and Win . New York: Broadway Books, by pulling a variety of resources Web site. See sciandmed.com/mppa. 2001; Performance Success New York: together in one place, it will serve as a Routledge, 2002. dongreene.com helpful source of information . Useful Internet Resources Don Greene (PhD , Sports Psychology) Conable, Barbara. “What to do is a former Green Beret and West Point Selected articles on performance about performance anxiety,” Andover graduate who now presents master - anxiety from the journal Medical Educators (2004) ; bodymap.org/articles/ classes and workshops for musicians Problems of Performing Artists artperformanceanxiety.html and theater students on improving Kirchner, Joann Marie et al. “The I must state my bias : Conable has their audition and performance Relationship Between Performance been my mentor and teacher for the process. His research led him to devel - Anxiety and Flow,” MPPA 23, No. 2 past 16 years. This article presents a op the “Performance Skills Inventory” (2008) : 59. clear, easy -to -understand examination test, which helps artists transform their of performance anxiety and how to anxiety. The crux of his theory is laid Nagel, Julie Jaffee. “In Pursuit of deal with it. out in his book, Fight Your Fear and Perfection: Career Choice and Win . Audition Success chronicles the Performance Anxiety in Musicians,” Spielman, Helen ; performconfidently.com experiences of two artists in their MPPA 3, No. 4 (1998) : 140. Helen Spielman is well known on process to achieve audition success. global flute lists and for her popular Performance Success applies the con - Plaut, Eric A. “Psychotherapy of performance anxiety workshops. Her cepts from Fight Your Fear and Win Performance Anxiety,” MPPA 3, No. 3 site includes several articles and a directly to musicians. Greene’s Web site (1988) : 113. resource listing. includes a sample Performance Skills

nfaonline.org Spring 2009 The Flutist Quarterly 33 PERFORMANCE ANXIETY : A R ESOURCE GUIDE Inventory that measures skills in seven areas that are critical Madeline Bruser has developed a “Ten-Step Approach” to to performance. warm up the body and the mind in order to turn practice into a rewarding experience. She talks about how the physi - Loehr, James. Mental Toughness Training for Sports . New cal tension and strain most of us carry in our bodies effect York: Penguin Books, 1982. our mental state, and she offers practical advice on how to James Loehr is chairman, CEO, and co-founder of LGE alleviate these conditions. She describes three psychological Performance Systems, a training company that specializes in styles of practice—overstated passion, avoidance, and aggres - helping business executives, elite law enforcement teams, sion—and how some degree of panic underlies these styles of medical professionals, and professional athletes achieve full practice. Since what we do in the practice room determines engagement in high -stress environments. He was a successful what we do in a performance situation, her advice for devel - tennis coach and has published several “mental toughness oping practice routines that nurture the mind and body are training” resources. Mental Toughness Training for Sports can very practical. be applied to a music performance-related situation easily and quickly . Caldwell, Robert. The Performer Prepares . Dallas: Pst…Inc., 1990 . General Psychology Books This book is one of the best I’ve read on dealing with Csikszentmihalyi, Mihaly. Flow: The Psychology of Optimal anxiety in several different types of performing situations Experience . New York: Harper and Row, 1990. and how to develop an action plan to consistently improve Mihaly Csikszentmihalyi has written several books on flow one’s process. The book discusses the work of neuro-lin - states—those states when one feels strong, alert, in effortless guistic programming founders Grinder and Bandler and control, unselfconscious, and functioning at the peak of one’s what they call “tuning questions. ” Caldwell believes that abilities. He also asserts that it is possible to control a state of getting to the bottom of tuning questions is the key to clar - flow so that it is not left to chance. Obviously, being able to ifying one’s thinking, particularly when one is stuck. He access these peak flow states would be optimal for perform - also discusses developing an action/outcome grid for an ing artists. upcoming performance to address all concerns in a reasonable and workable way. Maisel, Eric. Affirmations for Artists , New York: Putnam, 1996; Coaching the Artist Within , Novato: New World Green, Barry and W. Timothy Galway. The Inner Game of Library, 2005; Performance Anxiety: A Workbook for Actors, Music . New York: Doubleday, 1986; Green, Barry, The Singers, Dancers and Anyone Who Performs in Public . New Mastery of Music: Ten Pathway to True Artistry . New York: York: Back Stage Books, 2005; Ten Zen Seconds . Naperville: Broadway Books, 2003. innergameofmusic.com Sourcebooks, 2007. ericmaisel.com The Inner Game of Music is the musical application of W. Eric Maisel is a prolific writer, psychologist, creativity Timothy Galway’s The Inner Game of Tennis (…Skiing, coach, and well-known speaker on creativity, writing, and Golf ). The Inner Game books focus on developing a men - performance anxiety. Listed are my favorites of his many tal framework for successful practice and performance to books. Affirmations for Artists is a fun book to pick up from avoid those voices of doubt and judgment that impair per - time to time to read just a page or even just one affirmation. formance. Green and Galway outline their equation of Coaching the Artist Within is a wonderful resource to teach “performance = potential – interference” to help musicians you how to coach yourself to achieve your artistic goals. build a healthy structure for their artistry and minimize Performance Anxiety is in a workbook form, so you can spend mental interference. The book offers practical advice and time with it as you work to improve your performance clear-cut exercises for balancing the two halves of our process. Ten Zen Seconds is a quick guide to practicing the brains, which often can contradict one another in high- centering principles Maisel discusses in several of his books. stress situations. In The Mastery of Music , Green chronicles the artistic path Practicing and Preparation Books of successful musicians and their stories. Green highlights Boyk, James. To Hear Ourselves As Others Hear Us . Saint how musical mastery requires 10 qualities that correspond to Louis: MMB Music, 1996. the chapter titles: communication, courage,discipline, fun, This interesting book coaches musicians on guiding their passion, tolerance, concentration, confidence, ego and thoughts while practicing and suggests using a recording humility, and creativity. This inspiring book describes the device to enhance performance and musicianship. Boyk rec - challenges and perseverance of artists we all admire . ommends recording and listening to yourself on a regular basis as a means to reducing performance anxiety. You know Hooper, Kay S. Sensory Tune-ups . Selinsgrove, PA: All Sense what to expect out of yourself because you’ve been listening Press, 2005. allsensepress.com to it throughout the process. Kay S. Hooper is a pianist, teacher, and trains in the Alexander Technique and Body Mapping. Her workbook is Bruser, Madeline. The Art of Practicing: A Guide to Making Music good for all ages and levels of musicians and is a fun way to from the Heart . New York: Bell Tower, 1997. artofpracticing.com introduce sensory awareness into lessons and practice.

34 The Flutist Quarterly Spring 2009 nfaonline.org Kaplan, Burton. Practicing for Artistic Success: The Fehmi, Les and Jim Robbins. The Open-Focus Brain: Musician’s Guide . New York: Perception Development Harnessing the Power of Attention to Heal Mind and Body . Techniques, 2004. magicmountainmusic.org Boston: Trumpeter Books, 2007. openfocus.com Known in the string playing world after teaching at the Les Fehmi, PhD, BCIA-EEG, is the director of the Manhattan School of Music and New York University, Kaplan Princeton Biofeedback Center and a private -practice psy - offers excellent advice for working during practice to increase chologist for 40 years. Jim Robbins is an award-winning jour - comfort levels, which can lead to increased performance levels. nalist and science writer. The Open-Focus Brain book and accompanying CD offers techniques to develop a more inclu - Ristad, Eloise. A Soprano on her Head . Moab: Real People sive attention rather than “narrow-focus attention.” The goal Press, 1982. is to create more freedom and ease and alleviate chronic This book is a must read for anyone who has ever suffered stress and muscle tension. The program is backed up by from performance anxiety. With her humor and practical, Fehmi’s years of work as a psychotherapist and director of loving approach to life and music, Eloise Ristad wrote a the Biofeedback Center at Princeton. humorous, conversational book on her years of conducting workshops for musicians. My favorite chapter is , “So you Kabat-Zinn, Jon. Full Catastrophe Living: Using the Wisdom were a flop.” We all know when we flop, but actually acknowl - of Your Body and Mind to Face Stress, Pain and Illness . New edging it becomes very therapeutic. Ristad helps us under - York: Random House, 1990. mindfulnesstapes.com stand that when we permit ourselves to flop, we are usually in Jon Kabat-Zinn is professor emeritus of medicine and the moment enough to actually not do it. founding director of the Stress Reduction Clinic and the Center for Mindfulness in Medicine, Health Care, and Schneiderman, Barbara. Confident Music Performance: The Society at the University of Massachusetts Medical School. Art of Preparing . St. Louis: MMB Music, 1991. He teaches mindfulness meditation as a technique to help An excellent book on how to truly prepare for perform - people cope with stress, anxiety, pain, and illness. He has ance. Barbara Schneiderman was well known as a Suzuki numerous books, tapes, DVDs, and other resources to help piano teacher and coach. She discusses cognitive preparation people begin or continue a mindfulness practice. Full versus psychological preparation as one approaches perform - Catastrophe Living offers practical advice on how to alleviate ance. I particularly like how she approaches dealing with the physical symptoms of stress in a natural, mindful way. errors and describes how to build safety nets into the prepa - The book is divided into five sections covering such topics as ration process. “Let us reemphasize the fact that errors are a “The Power of Breathing,” “Cultivating Strength, Balance, part of life … It is entirely human and to be expected … If, and Flexibility,” “Mind and Body: Evidence That Beliefs, on the other hand, we are thoroughly prepared to handle Attitudes, Thoughts, and Emotions Can Harm or Heal,” lapses deftly, rather than dreading them and hoping for per - “Working with Fear, Panic, and Anxiety,” and an entire sec - fection, we will be realistic, more comfortable anticipating tion devoted to building a meditative practice. performance and most important, free to express the music.” Langer, Ellen. Mindfulness . Cambridge: Perseus Books, Westney, William. The Perfect Wrong Note: Learning to Trust 1990; On Becoming an Artist: Reinventing Yourself Through Your Musical Self , Cambridge: Amadeus Press, 2003 Mindful Creativity . New York: Ballantine Books, 2006; The williamwestney.com Power of Mindful Learning . Cambridge: Perseus Books, William Westney teaches at Texas Tech University and 1997. Langer, Ellen, Timothy Russell and Noah Eisenkraft. presents performance workshops called the “Un-Master “Orchestral performance and the footprint of mindfulness,” Class.” His outstanding book integrates mindfulness, the Psychology of Music , October 2008. mind-body connection, and how to practice so that we meet Harvard psychology professor Ellen Langer offers straight- daily success and thus pleasurable performance. The book is forward advice on how simple mindfulness can help reduce well -presented and easy to understand. Westney was influ - stress in many situations . Mindfulness presents her research, enced by his work with Eloise Ristad and dedicates the book conducted mostly with the elderly, on mindful versus mind - to her spirit—and continues her legacy of integrating pur - less behaviors . She found that being more mindful led to poseful fun into the music-making process. increased focus on the process rather than on the outcome, thus leading to more creativity. Langer makes the case that Mindfulness Books what we do by rote memory or purely by habit is less efficient Al Huang, Chungliang and Jerry Lynch. Thinking and satisfying than what we do with mindfulness. My Body, Dancing Mind: Taosports for Extraordinary favorite of the three books is The Power of Mindful Learning , Performance in Athletics, Business and Life . New York: in which she applies the research in her first book directly to Bantam Books, 1992. learning situations, thus with immediate implications for This cross-disciplinary book takes from sports psychology how we learn and practice music. On Becoming an Artist is and Taoism and can be applied very practically to music her personal account of using mindfulness to stimulate her making. It offers exercises on centering, visualization, and own artistic ability as a painter. Most recently she has collab - creating positive affirmations for oneself. orated with Timothy Russell, orchestral conductor at Arizona

nfaonline.org Spring 2009 The Flutist Quarterly 35 PERFORMANCE ANXIETY : A R ESOURCE GUIDE State University , and Noah Eisenkraft to conduct a mindfulness Music for People study with Russell’s orchestra. The data from this study suggest musicforpeople.org that both orchestral musicians and audience members show a The Music for People workshops introduce improvisation to preference for performances created in a mindful state. This the fearful, which in turn leads to more spontaneous, satisfy - article is available for a fee at http://pom.sagepub.com/cgi/content/ ing musical performance experiences. These workshops abstract/0305735607086053v1 introduced me to improvisation in a safe, structured envi - ronment . As stated on the Web site: “Founded by cellist Werner, Kenny. Effortless Mastery . New Albany, IN: Jamey David Darling and flutist Bonnie Insull in 1986, Music for Aebersold Jazz, Inc. 1996. kennywernerlive.com People is a not-for-profit organization that seeks to promote Kenny Werner’s book traces his own development as a musi - a humanistic approach to the way music is taught, per - cian from fear to mastery after learning how to be in the formed, and appreciated. Its philosophy is embodied in a Bill of Musical Rights that profoundly respects the creative moment. His book includes references to other books on mind - impulse in everyone. Music for People also strives to act as a fulness as well as a CD with four meditations of positive affir - catalyst in gathering people together to play and sing by cre - mations, stable relaxation, and calmness to achieve more con - ating safe environments in which they can explore music sistent flow moments in performance. The books also reaffirms improvisation.” > the practical advice offered many of the resources included in this guide: that one achieves a flow state —the ability to stay in Susan Raeburn, PhD , is a licensed clinical psychologist in the moment —when one is truly prepared. It’s nice hearing the Berkeley, California, with a special interest in working with advice from an actively performing and recording musician. creative people. She has been in clinical practice doing psy - chotherapy and consultation with writers, artists, and musi - Workshop Resources cians for over 20 years, and writes about musicians’ mental Dalcroze health. Her recently released book, with Eric Maisel, is dalcrozeusa.org/about.html Creative Recovery: A Complete Addiction Treatment To quote the Dalcroze USA Web site: “A Dalcroze class Program That Uses Your Natural Creativity. As chair for the divides into three components: Eurhythmics, for which Mental Health Committee for the Performing Arts Medicine Dalcroze is best known, which teaches concepts of rhythm, Association, she collaborated with John Hipple, Eric Maisel, structure, and musical expression using movement; Solfege, a Louise Montello, Julie Nagel, Ken White, Lisa Willis, Kyle reinvention of traditional ear training and sight singing which Pruett, and Keri Barnett. develops an integrated and expressive understanding of pitch, Amy Likar is a freelance musician in the Bay Area of scale, and tonality through activities emphasizing immediate California and a member of the Oakland East Bay Symphony aural comprehension and vocal improvisation; and and Trio Concertino. She is an AmSAT Certified Alexander Improvisation, expressing an understanding of musical con - Technique teacher and teaches and trains people to teach cepts, form, and meaning through spontaneous musical cre - Body Mapping. Her flute teachers include Martha Aarons and ation using movement, voice, and instrument.” Understanding Katherine Borst Jones. She credits Kathy Jones, Sports rhythm and harmony is a key to unlocking musical spontane - Psychologist Neal Newman, and the numerous classes in per - ity, which increases the flow of the moment, which in turn formance enhancement she took from them at The Ohio State helps to alleviate performance anxiety. Dalcroze’s method of University as the foundation for this resource guide. music education builds such learning from a very early age and can also be useful for adult musicians.

TaKeTiNa taketina.com Concert pianist and master percussionist Reinhard Flatischler and his wife Cornelia developed this method of learning rhythm based on archetypal rhythms in world music (Brazilian, Korean, African traditions). The TaKeTiNa method is a way of learning rhythm using the whole body and mindfulness in the moment. As stated on the Web site: “TaKeTiNa is a group process that allows access to the body’s innate rhythmic knowledge, conveying rhythm in a natural and organic manner. Instead of being taught random rhythm patterns, participants are guided into the experience of rhythm archetypes—a matrix which constitutes the underly - ing structure of all forms of music.” These workshops have helped me develop a much better sense of internal rhythm, which in turn lessens my own experience of anxiety in any musical situation—be it classical or improvisatory.

36 The Flutist Quarterly Spring 2009 nfaonline.org Nederlands Fluit Genootschap Dutch Flute Society

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The complete index of articles in The Flutist Quarterly, volumes 16 through 33, is now online!

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

(A printed index to issues prior to volume 16 is available from the NFA office on request.) he  ABELL FLUTE 8 D B E 6 C N Y Specializing in oehm system wooden )utes, headjoints and whi les, handmad in grenadill% and erling silve . % $ Y  Grovewood Road Asheville, C8  J H 6    KD>8: ;6M www.abellflute.com

MASTERCLASSES The following 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, consult the NFA Web site: nfaonline.org. 2009

11TH ANNUAL SUMMER FLUTE 2009 SARASOTA 26TH EAST TENNESSEE SUZUKI RETREAT MUSIC FESTIVAL FLUTE INSTITUTE INTERNATIONAL Oglesby, Illinois Sarasota, Florida Johnson City, Tennessee June 21–27, 2009 June 22–27, 2009 May 31–June 21, 2009 opus111musicstudio.com http://einstein.etsu.edu/~csci/suzuki/ [email protected] sarasotaorchestra.org [email protected] Gerald Carey; Susan Gillio; Kim Sopata; [email protected] Rebecca Paluzzi; Kenichi Ueda; Wendy Ellen Huntington; Anne Badger Leone Buyse; Thomas Robertello; Stern; David Gerry; Joyce Bennett Carol Wincenc 17TH SUMMER FLUTE CLASS A 2ND BI-ANNUAL INTERNATIONAL Arosa, Switzerland PICCOLO SYMPOSIUM 2009 SKIDMORE August 2–8, 2009 Omaha, Nebraska kulturkreisarosa.ch FLUTE INSTITUTE June 11–14, 2009 [email protected] Saratoga Springs, New York piccolosymposium.com Elisabeth Weinzierl; Edmund Wächter August 2–8, 2009 [email protected] 17TH SUMMER FLUTE CLASS B skidmore.edu/summer Jean Louis Beaumadier; Lois Herbine; Blonay, Switzerland [email protected] Christine Beard; Nan Raphael August 8–15, 2009 Jeffrey Khaner; Jan Vinci; Mark Vinci weinzierl-waechter.de 5TH COSTA RICA INTERNATIONAL [email protected] FLUTE FESTIVAL 2009 TREVOR WYE SEMINAR Elisabeth Weinzierl; Edmund Wächter; San Jose, Costa Rica Eva Schieferstein (pianist) AT WVU February 9–16, 2009 Morgantown, West Virginia acofla.org 18TH FLUTE SUMMER COURSE June 20–29, 2009 [email protected] “FOR THE CONTEMPORARY http://music.wvu.edu/special_summer_ Robert Langevin; Susan Milan; Michel Bellavance; Serge Saitta; Rogerio Wolf; FLUTIST” BY WIL OFFERMANS programs Malaga, Spain Angeleita Floyd; Gabriel Goni; Sharon August 22–29, 2009 [email protected] Levin; Nicole Esposito; Jean Louis flutesummercourse.com Trevor Wye; Francesca Arnone; Laura Beaumadier; Juliano D’Arruda; Jim Wil Offermans Dwyer (Yoga); Dianne Frazer (pianist) Lyman; Jean Michel Tanguy

40 The Flutist Quarterly Spring 2009 nfaonline.org 8TH ANNUAL ADELPHI AREON SUMMER FLUTE INSTITUTE- BRADLEY GARNER INTERNATIONAL CONTEMPORARY MUSIC SOUTHERN CALIFORNIA CAMPUS MASTERCLASS AT MALIBU MASTERCLASS Greater Los Angeles Area, California Malibu, California Garden City, New York August 17–21, 2009 June 28–July 5, 2009 July 20–24, 2009 areonflutes.com cincyflute.com LindaWetherill.com [email protected] [email protected] [email protected] Amelia Vitarelli; Jill Heinke; Tamara Bradley Garner; Jill Felber; Heather Linda Wetherill; Dan Barret; Maddaford; Kassey LeBow Verbeck; Timothy Carey; John Steele Steve Salerno Ritter ARIA INTERNATIONAL SUMMER ACADEMY–WILLIAMS COLLEGE ALEXA STILL DOWNUNDER BUILD YOUR OWN HEADJOINT SESSION Sydney, Australia Williamstown, Massachusetts Richmond, Vermont July 15–18, 2009 June 30–July 14, 2009 July 27–31, 2009 alexastill.com ariaacademy.com landellflutes.com [email protected] [email protected] [email protected] Alexa Still Bonita Boyd; Bradley Garner; Linda Toote Jonathon A. Landell

ALEXA STILL NEW ZEALAND ASHEVILLE FLUTE VACATION CLASSICS IN TUSCANY MASTERCLASS Asheville, North Carolina Tuscany, Italy Auckland City, New Zealand May 11–17, 2009 June 29–July 2, 2009 June 20–21, 2009 ashevilleflute.com LindaWetherill.com See above. [email protected] [email protected] Lea Kibler; Debby Heller Linda Wetherill; Christopher Lyndon-Gee ALEXA STILL SUMMER MASTERCLASS (NEW YORK) AZ FLUTE SOCIETY–2009 SUMMER COLLEGE AUDITION PREPARATION New York, New York FLUTE CAMP Bloomington, Indiana Tempe, Arizona August 8–9, 2009 July 22–28, 2009 May 27–30, 2009 See above. music.indiana.edu/special_programs/cap/ azflutes.org [email protected] [email protected] ALTO AND BASS FLUTE RETREAT Jim Walker; Emily McKay Kate Lukas Monterey Peninsula, California June 7–11, 2009 BARTHOLD KUIJKEN MASTERCLASS EXTREME MAKEOVER: altoflute.net Indianapolis, Indiana FLUTE EDITION [email protected] February 24 –25, 2009 Santa Barbara, California Christine Potter [email protected] June 15–July 13, 2009 Barthold Kuijken [email protected] AMY PORTER’S ANATOMY OF Jill Felber SOUND: A WORKSHOP FOR BERNARD Z. GOLDBERG SUMMER FLUTISTS MASTERCLASS FAIRBANKS SUMMER ARTS FESTIVAL Ann Arbor, Michigan Piedmont, Ohio Fairbanks, Alaska June 6 -9, 2009 June 21–28, 2009 July 19–August 2, 2009 music.umich.edu/special_programs/adult bernardzgoldberg.com fsaf.org /AnatomyofSound [email protected] [email protected] [email protected] Bernard Z. Goldberg; Laurie Glencross; John Barcellona; Dorli McWayne Rhian Kenny (piccolo); Nip Mattern Amy Porter; Marianne Gedigian; Laura (Tai Chi) Dwyer (Yoga); Jerald Schwiebert FLOOT FIRE WORKSHOPS AND (Movement) FLOOT FIRE COMPETITION BODY MAPPING AT THE GUILDHALL SCHOOL Dallas and Houston, Texas AREON SUMMER FLUTE INSTITUTE- London, England June 28– July 3, 2009 NORTHERN CALIFORNIA CAMPUS July 28–31, 2009 flootfire.com Los Altos, California gsmd.ac.uk/music/introduction/continuin [email protected] July 12–17, 2009 g_professional_development/body_mappi Claire Johnson; Jenifer McKenzie; Lance areonflutes.com ng_summer_course.html Sanford; Dr. Kim Walter-Clark; Patti [email protected] [email protected] Grubbs-Mecklin; Helen Blackburn; Terri Amelia Vitarelli; Jill Heinke; Tamara Liisa Ruoho; Amy Likar; Lea Pearson; Sundberg; Christine Cleary; Jocelyn Maddaford; Kassey LeBow Patricia Morris; Joseph Sanders Goranson; Dr. Ellen Kaner

nfaonline.org Spring 2009 The Flutist Quarterly 41 MASTERCLASSES

FLUTE AUDITION SUCCESS FLUTE WORKSHOP AT THE HONG KONG FLUTE CENTRE Brisbane, Australia OHIO STATE UNIVERSITY SUMMER INSTITUTE January 10–18, 2009 Columbus, Ohio Hong Kong, Hong Kong fluteaustralia.com June 21–25, 2009 August 23–30, 2009 music.osu Lisa-Marie Amos hongflutecentre.hk [email protected] Katherine Borst Jones [email protected] FLUTE BOOT CAMP SESSION A Mary Karen Clardy South Hadley, Massachusetts FLUTE! FUNDAMENTALS WITH June 16–27, 2009 MARY KAREN CLARDY ILLINOIS SUMMER YOUTH ariaacademy.com Denton, Texas MUSIC CAMP [email protected] mkclardy.com Urbana, Illinois Judith Mendenhall; Amy Porter; [email protected] June 14–20, 2009 Keith Underwood Mary Karen Clardy music.uiuc.edu/isym/index.html Jonathan Keeble FLUTE BOOT CAMP SESSION B FLUTE! IN CRESTED BUTTE WITH South Hadley, Massachusetts MARY KAREN CLARDY ILLINOIS SUMMER YOUTH MUSIC July 31–August 11, 2009 Crested Butte, Colorado See above. July 9–13, 2009 PRE-COLLEGE FLUTE SEMINAR Amy Porter; Linda Toote See above. Urbana, Illinois June 21–27, 2009 FLUTE! MASTERCLASS IN FLUTE FOCUS WITH JILL FELBER See above. REPERTOIRE AND PERFORMANCE AND MARINA PICCININI WITH MARY KAREN CLARDY INSPIRATION AND PRAISE FLUTE Santa Barbara, California Denton, Texas MASTERCLASS July 8–10, 2009 June 26–28, 2009 [email protected] See above. Greenville, South Carolina Jill Felber; Marina Piccinini June 15–19, 2009 GARY SCHOCKER MASTER CLASS tempoprimoenterprises.com FLUTE MASTER CLASSES AT THE C.W. West Park, Ulster County, New York [email protected] POST CHAMBER MUSIC FESTIVAL June 23–28, 2009 Tadeu Coelho; Kathy Blocki; Brookville, New York garyschocker.com Amanda Barrett July 14–23, 2009 [email protected] Gary Schocker; Bill Connington liu.edu/svpa/music/festival JILL FELBER AT MARROWSTONE [email protected] (Alexander Technique); Brenda Hicks (Kripalu Yoga) MUSIC FESTIVAL Susan Deaver Bellingham, Washington GARY SCHOCKER MASTER CLASS July 26–August 9, 2009 FLUTE PADDING TECHNIQUES West Park, Ulster County, New York marrowstone.org Richmond, Vermont July 14–19, 2009 Jill Felber April 6–10, 2009 garyschocker.com landellflutes.com [email protected] JIM WALKER’S BEYOND THE [email protected] Gary Schocker; Bill Connington MASTERCLASS 2009 Jonathon A. Landell (Alexander Technique); Brenda Hicks Los Angeles, California (Kripalu Yoga) June 21–27, 2009 FLUTE REPAIR 101 WITH jimwalkerflute.com/beyond ALEXA STILL GARY SCHOCKER WINTER Chicago, Illinois FLUTE RETREAT [email protected] April 25–26, 2009 West Park, Ulster County, New York Jim Walker; Elizabeth Rowe; alexastill.com February 13–15, 2009 Sarah Jackson See above. [email protected] Alexa Still LAS VEGAS FLUTE FAIR HIGH SCHOOL FLUTE! MASTER - MASTERCLASS CLASS WITH MARY KAREN CLARDY Las Vegas, Nevada FLUTE SPA Denton, Texas Richardson/Dallas, Texas June 17–21, 2009 March 29, 2009 July 30–August 1, 2009 mkclardy.com lasvegasfluteclub.org [email protected] [email protected] [email protected] Patricia George Mary Karen Clardy Jennifer Grim

42 The Flutist Quarterly Spring 2009 nfaonline.org MADELINE ISLAND MUSIC CAMP OVERHAUL & MECHANICAL PERFORMANCE ANXIETY FROM La Pointe, Wisconsin TECHNIQUES INSIDE OUT WITH HELEN SPIELMAN July 6–13, 2009 Richmond, Vermont New York, New York music-camp.org April 12–16, 2009 performconfidently.com [email protected] landellflutes.com [email protected] Jonathan Keeble [email protected] Helen Spielman Jonathon A. Landell MARINA PICCININI INTERNATIONAL PETER LLOYD MASTER CLASS MASTER CLASSES OVERHAUL & MECHANICAL Toronto, Canada Baltimore, Maryland TECHNIQUES November 7, 2009 June 5–9, 2009 Richmond, Vermont [email protected] peabody.jhu.edu/piccininimc June 15–19, 2009 Peter Lloyd [email protected] See above. RARESCALE ON RAASAY Marina Piccinini; Kristin Bacchiocchi Scotland, United Kingdom Stewart (Assistant teacher) OVERHAUL & MECHANICAL March 30–April 4, 2009 TECHNIQUES rarescale.org.uk NEW ENGLAND CONSERVATORY Richmond, Vermont [email protected] METROPOLITAN FLUTE FESTIVAL July 20–24, 2009 Carla Rees ORCHESTRA See above. Boston, Massachusetts RED CEDAR CHAMBER MUSIC July 23–26, 2009 OVERHAUL & MECHANICAL SUMMER FESTIVAL FOR FLUTE / newenglandconservatory.edu/summer/ TECHNIQUES GUITAR DUOS institutes Richmond, Vermont Mount Vernon, Iowa [email protected] OR October 12–16, 2009 July 5–12, 2009 [email protected] See above. redcedar.org/summerfestival.html Paige Dashner Long [email protected] PADDING TECHNIQUES Jan Boland; John Dowdall (guitar); NORTHERN CALIFORNIA Richmond, Vermont FLUTE CAMP June 8–12, 2009 ROBERT STALLMAN IS COMING Carmel Valley, California See above. TO SAN LUIS OBISPO July 25–August 2, 2009 San Luis Obispo/Arroyo Grande, [email protected] PADDING TECHNIQUES California Gary Woodward; Karen Van Dyke; Richmond, Vermont April 3–5, 2009 Michelle Caimotto; Jeffery Zook; July 13–17, 2009 flutefun.org Karen Johnson See above. [email protected] Robert Stallman NOW AND PRESENT FLUTE SEMINAR PADDING TECHNIQUES Annandale on Hudson, New York Richmond, Vermont SEWANEE SUMMER MUSIC FESTIVAL June 12–17, 2009 October 5–9, 2009 Sewanee, Tennessee [email protected] See above. June 20–July 26, 2009 Patricia Spencer sewanee.edu/ssmf PASSION FLUTE II: FOUNDATIONS [email protected] Patricia George ORCHESTRAL AUDITION–WITH FOR CREATIVE PERFORMING SHARON SPARROW AND JEFF ZOOK Cedar Falls, Iowa SHARON SPARROW AND JEFFERY Detroit, Michigan July 15–19, 2009 ZOOK–FRENCH MUSIC FOR FLUTE May 2, 2009 uni.edu/continuinged/passionflute Detroit, Michigan sharonwoodsparrow.com [email protected]; March 7, 2009 [email protected] [email protected] sharonwoodsparrow.com Sharon Sparrow; Jeffery Zook Angeleita Floyd; Jill Felber; [email protected] Claudia Anderson Sharon Sparrow; Jeffery Zook OREGON COAST BREAKAWAY FLUTE VACATION PERFORMANCE ANXIETY FROM SNOW COLLEGE FLUTE FESTIVAL Gearhart, Oregon INSIDE OUT AT WILDACRES Ephraim, Utah June 14–19, 2009 Little Switzerland, North Carolina June 4–6, 2009 windnoteensembles.com June 20–27, 2009 snow.edu/music/ [email protected] wildacresflute.com [email protected] Dawn Weiss; Denise Westby; Carla [email protected] Linda Chesis; April Clayton; Elaine Wilson; Vance Pennington Helen Spielman Jorgenson; Kristine Parker

nfaonline.org Spring 2009 The Flutist Quarterly 43 MASTERCLASSES

SUMMER FLUTE COURSE UNIVERSITY OF WISCONSIN- WHITE MOUNTAIN FLUTE Brownsville, Vermont WHITEWATER HIGH SCHOOL CONSERVATORY White Mountains, New Hampshire June 21–27, 2009 FLUTE CAMP patriciaharper.com July 24–26, 2009 Whitewater, Wisconsin wmfc.net [email protected] July 12–17, 2009 [email protected] Patricia Harper uww.edu/conteduc/camps/flute.php Judith Sherry Braude; Beverly Pugh; [email protected] Nicholas Mastripolito (pianist) SUMMER FLUTE COURSE Robin Fellows Monterey, California WILLIAM BENNETT INTERNATIONAL July 6–10, 2009 FLUTE SUMMER SCHOOL VIANDEN INTERNATIONAL MUSIC London, United Kingdom See above. August 1–11, 2009 FESTIVAL williambennettflute.com SUMMER FLUTE EXPERIENCE Vianden, Luxembourg [email protected] WITH GEORGE POPE August 16–28, 2009 William Bennett Akron, Ohio viandenfestival.eu July 27–August 1, 2009 WILLIAM MONTGOMERY 33RD [email protected] ANNUAL FLUTE MASTER CLASS neofa.org Thomas Robertello; Richard Graef College Park, Maryland [email protected] July 11–19, 2009 George Pope; Jane Berkner WHITE MOUNTAIN FLUTE CONSER - [email protected] William Montgomery VATORY SUMMERFLUTE MUSIC-MOVE - Bethlehem, New Hampshire MENT-MIND LITE. PRE-NFA. WVU HIGH SCHOOL FLUTE CAMP New York, New York July 27–August 1, 2009 Morgantown, West Virginia wmfc.net June 17–20, 2009 August 11–12, 2009 http://music.wvu.edu/special_summer_ [email protected] summerflute.org programs [email protected] Judith Sherry Braude; Beverly Pugh; [email protected] Liisa Ruoho; Amy Likar; Lea Pearson Nicholas Mastripolito (pianist) Francesca Arnone

Best of the Best! The Pedagogy committee unveils its new publication at the 37th annual NFA convention this August in New York City. Selected Flute Repertoire and Studies: A Graded Guide combines the best of the previous popular booklets into a new publication you will love and use, over and over again.

44 The Flutist Quarterly Spring 2009 nfaonline.org

New from the NFA Store! Just in time for the sunny season— the new NFA logo cap. A cheerful blue with embroidered NFA logo, the cap is adjustable and made of washable material, so you can wear it for years. $8.00.

Visit nfaonline.org and look in the store, under “resources.” Across by Christine Cleary the Miles

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

The Arizona Flute Society winner will be awarded $1,500; the second-place winner will hosted Tadeu Coelho in a be awarded $750; and the third-place winner will be awarded recital and masterclass $500. The competition is open to flutists 18 years of age and October 25, 2008. High- older who are not currently studying with one of the final lights of the well-attended round judges and who are out of high school. The prelimi - event were Casella’s “Sici- nary round repertoire consists of Three Sketches for piccolo lienne et Burlesque” for and piano by Katherine Hoover and two contrasting pieces flute and piano and Varèse’s of the contestant’s choice. The final round is open to the “Density 21.5” performed Tadeu Coelho and student in his masterclass public and promises to be a prestigious event, drawing new on a platinum flute. Master- talent to Chicago and honoring the namesake of one of the class participants received creative suggestions and ideas to city’s most revered teachers and performers. For more infor - improve their performances, including a “pinky splint” Tadeu mation and to download an application , call Jennifer Reiff, crafted out of paper for one flutist. The AFS also held a yard Chicago Flute Club Competition Chair, 630-670-3375, or sale in October, earning money to fund various member visit chicagofluteclub.org . events in 2009. The Annual Competition and Festival November 22 had close to 100 entrants. The list of winners for Flute Fun announces that Robert Stallman is coming to San the competition and raffle can be viewed at the society’s Web Luis Obispo, California, April 3–5. Stallman will give a site. The Alla Breve Flute Choir, a group under the auspices of recital, coach the flute choir, and give a masterclass themed the Arizona Flute Society conducted by Elizabeth Buck, began “The Urge to Sing.” Stallman will also be available for pri - rehearsing on January 31 and performed in concert February 15. The Flute Choir masterclass and recital with guest artist vate lessons and for coaching selected chamber groups. Erv Monroe were held March 28 at Scottsdale Bible Church. Interested participants may request further information and The Arizona Flute Society Flute Camp for all ages will be held applications by contacting Polly Monson at 805-773-3764 or May 27–30. All flutists grades K–12, college, and adult are wel - [email protected]. come. Featured guest artists are Jim Walker and Emily McKay. Topics presented will be flute maintenance and repair, breathing, Flutissimo! Flute Choir dedicated its October 17, 2008, extended techniques, intonation, jazz improvisation, Native concert to Breast Cancer Awareness Month. As one of its American flute, performance anxiety, and more. Single-day fees own members underwent chemotherapy in her battle are also available. For more information, send an e-mail to Karen against breast cancer, the concert, “Legends and Myths,” Kontos at [email protected] or visit azflutes.org . conducted by guest conductor Joe Gunn, honored not only Julie Bayless, but all friends and relatives of Flutissimo! The Chicago Flute Club members who are either survivors or victims of breast can - will host the first ever 2009 cer. The list was long. As member Kaylan Eastepp read the Walfrid Kujala Piccolo Artist names aloud, white roses for victims were placed in a vase Competition on June 6. The on one side of the stage, and pink roses for survivors were final round will include four either placed in another vase on the other side of the stage finalists and will take place or presented to those survivors who were in attendance. at Roosevelt University’s Artistic director Janice Spooner made a plea for donations Ganz Hall, 430 South and told the capacity audience that all donations would be Michigan Avenue, Chicago, presented to the Susan G. Komen Breast Cancer Foundation; Walfrid Kujala Illinois 60605. The first-place $605 was collected.

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

Greg Pattillo and Project The Long Island Flute Club Holiday Flute Choir The Long Island Flute Club opened its 2008–2009 season with a recital featuring the LIFC Professional Flute Choir, directed by Debra Schild, and the Honors Student Flute Choir, under the direction of Lauren Osnato. On November 8, 2008, LIFC hosted the 20th annual LIFC Flute Fest at Oyster Bay High School, organized by chairperson and LIFC president Amalie Kempton and featuring masterclasses, ensemble classes, performances, and exhibits. The featured artist, Patricia Spencer, accompanied by Nurit Tilles on piano, performed a recital highlighted by a choreographed performance of Thea Musgrave’s “Orfeo.” In December, the LIFC Holiday Flute Choir performed “Sounds of the Season,” a concert of holiday Patricia George with Cary Lewis, left, and Thom Ritter George favorites, to packed houses in Lake Ronkonkoma and at Old Westbury Gardens. January’s recital at Half Hollow Hill The Greater Portland Flute Society presented flutist Patricia Library featured flutist Bradley Garner. The LIFC High School George in recital with pianist Cary Lewis on November 14, and College competition, held in February, attracted the best 2008, in Portland, Oregon. The program included music by talent on Long Island; the winners performed in recital on J.S. Bach, César Franck, and Thom Ritter George, including March 9 in Centerport. The LIFC will close out its 25th season the West Coast Premiere of the showpiece, “Legend,” written with two special events: a performance on May 3 by the LIFC in 2006. On November 15, George taught a workshop and Professional Flute Choir at Old Westbury Gardens, and the masterclass. On April 3–4, the Greater Portland Flute Third Annual Flute Social in June. The Flute Social provides all Society Flute Fair guest artists will be beatbox flutist Greg LIFC members with the opportunity to enjoy dinner, socialize, Pattillo and the trio Project. Greg Pattillo and Project will and play through new additions to the flute choir library. Visit present a concert at The Old Church in Portland on April 3, longislandfluteclub.org . and Pattillo will present two workshops and a masterclass at the Flute Fair at Aloha High School in Aloha, Oregon, on The Magic Flutes Flute Choir will present its annual spring April 4. Visit gpfs.org . concert at St. Matthew’s Catholic Church in San Mateo, California, in May. Selections included works of Mouret, The Hot Springs (Arkansas) Flute Ensemble held a re-entry Dukas, Tchaikovsky, and others. Magic Flutes is directed by workshop for “Rusty Flutists,” offering coaching lessons to get flutist Pamela Ravenelle. E K U

flutists re-involved in the flute world. Of the four responding O L M

flutists, all remembered how to blow the instrument but were The 2009 Middle Tennessee State A S :

rusty on fingerings and reading music. Loaner flutes were University Flute Festival took place M O T T O

available, but none were needed, as all participants had an January 31 on the campus of Middle B N M

instrument in playable condition. The ensemble is covering Tennessee State University in Murfrees- U L O

the expenses of coaching lessons. Two flutists were able to join boro, Tennessee . Katherine Kemler was C T F E the ensemble within two months. The others will take approx - the featured guest artist at the festival, L , E K

imately nine months to get in shape. All are extremely moti - which included competitions at the jun - U O L S I

vated to “do something for themselves” and “get out of the ior high and high school levels as well as L L Y H

house.” Their ages range from 30 to 40. Contact Jackie Flowers an open age orchestral excerpt mock P : P O

at [email protected] . audition. There was also a workshop T N

Katherine Kemler M

with the guest artist, a flute chat session U L O The Louisiana Flute Society hosts its annual festival on March hosted by area artists, exhibits, and a flute choir reading session. C T F E 28 with guest artist Jill Felber. Visit http://frank.mtsu.edu/~drhahn/flutefest09.html . L

48 The Flutist Quarterly Spring 2009 nfaonline.org Flute Festival Mid-South to presenting an evening of music at the opening concert, took place March 6–7 on the Fink taught a masterclass with soloists Christina Dinella, campus of Austin Peay State Jennifer Trimble, and Cassandra Dries. Fink also joined the University in Clarksville, panel of judges for the Frank and Mary Louise George Tennessee. Lorna McGhee was Memorial Piccolo Competition, won by Jilene VanOpdorp. the featured guest artist at the The annual RFA Flute Fair Performance competition win - festival, which included mas - ners were Norman Gonzales (college); Nicole McPherson terclasses and competitions at (adult); and Victor Wang (high school). On January 10, the the junior high, high school, RFA held its annual New York State School Music and collegiate levels and Association Pre-Solo Festival Performance Clinic to assist beyond. There also were young flutists in preparing for their adjudicated solos. On Lorna McGhee many presentations by a January 22 and 24, RFA member and Rochester wide-ranging and eclectic Philharmonic Orchestra principal flutist Rebecca Gilbert group of artists, flute choirs, and additional performers, as well as performed Carl Nielsen’s Flute Concerto with the RPO. The exhibits. Visit midsouthflute.org . RFA Flute Choir, along with the general membership of the RFA, performed the national anthem at a Rochester Amerks The Nashville Flute Choir played a Christmas program on hockey game February 8. The Flute Choir welcomes new December 4, 2008, for the Philanthropic Education music director Mercy Dawson and new business manager Organization. The choir also played Christmas music for the Marla Snyder. Advent service at Second Presbyterian Church–Nashville on January 4 . On April 18 and 19, the Flute Choir will present a Rose City Flute Choir’s fall special production for children of Peter and the Wolf , which season included December will include guest artists on clarinet, oboe, string bass, and 2008 performances at the percussion, as well as a narrator. These shows are part of First Grotto Festival of Lights in Presbyterian Church–Nashville’s music series for 2008 –2009. Portland, Oregon ; Westside The Nashville Flute Choir is accepting new members through United Methodist Church audition. Visit nashvilleflutechoir .com. in Beaverton, Oregon; and retirement communities in The Northeastern Ohio Flute Hillsboro and Newburg. Rep- Association at the University er toire included “Christmas of Akron hosted its Fall Flute Exultations,” by Catherine Festival with guest artist Phyllis Avidan Louke McMichael, French Nativity Mary Kay Fink of the Suite by Kelly Via, and “There Cleveland Orchestra on Is No Rose” by Z. Randall Stroope, arr. Phyllis Avidan November 16, 2008. The Louke. Rose City Flute Choir’s spring season will include day’s activities included a performances at the Greater Portland Flute Society Flute high school masterclass with Fair on Saturday, April 4, and a spring concert in May. George Pope, a recital pre - Repertoire will include “Flourishes,” by Kathy Farmer, “La sented by Mary Kay Fink and Boutique Fantasque,” by Rossini, arr. Ben Meir, Mary Kay Fink pianist Nicholas Underhill, “Imaginings,” by Mel Lauf, Jr., and a selection of Irish the annual Young Artist music. Visit phyllislouke.com . Competition, and a college masterclass with Mary Kay Fink. The winners of this year’s high school competition were first The South Carolina Flute place Robin Meiksins, second place Hannah Saloiye, and third Society held its Spring Flute place Kaitlyn Kaiser. NEOFA extends its congratulations to all Festival in Charleston March of the winners. Other guest artists this year include Kyra 20–21. The two-day event Kester, Alison Brown Sincoff, Jan Vinci, and Therese Wacker. took place at the College of Visit http://neofa.org . Charleston with two featured guest artists. Flutist Jeanne The Raleigh Flute Choir celebrated its 22nd year of provid - Baxtresser and piccoloist Carl ing a seasonal concert at the North Carolina Museum of Art Hall presented masterclasses with a program entitled “Silver and Gold for the Holidays.” on flute solo literature, tone In addition to many standard flute choir pieces, the program and technique, piccolo reper - featured four numbers in concert with five octaves of hand - Jeanne Baxtresser toire, and orchestral reper - bells and choir chimes, each with the word “bell” in their toire. The fes tival also titles: “Jingle Bells ,” “ Carol of the Bells ,” “ Silver Bells,” and included a piccolo recital by Hall, warm-up class with “Jingle Bell Rock .” Cynthia Hopkins, an exhibit hall, a South Carolina Flutist Recital, and live competitions. The five categories of compe - The Rochester Flute Association presented its annual Flute titions were open to all U.S. flutists and included three pre- Fair October 24–25, 2008, featuring guest artist Mary Kay college divisions, young artist, and piccolo artist. Visit Fink, principal piccolo of the Cleveland Orchestra. In addition scflute.org .

nfaonline.org Spring 2009 The Flutist Quarterly 49 ACROSS THE MILES

The South East Michigan Flute Association held an open flute choir reading session led by Jacqueline Wright, director, in September 2008. In October the choir hosted “Duets & Doughnuts,” a sight-reading soiree held at Madonna University. The choir’s biggest event of the year was the Erv Monroe gala tribute held in Birmingham, Michigan, featuring Monroe, Alexander Zonjic, and five flute choirs, including SEMFA’s own Honors Youth Flute Choir and the SEMFA Flute Choir. The packed house viewed an audiovisual montage of Monroe’s career, and SEMFA’s newest competition, the Erv Monroe Young Artist Competition, was announced. Events for 2009 include regional member recitals and the Seventh Annual SEMFA Flute Festival to be held April 4 in Plymouth, Michigan, with Susan Hoeppner as guest artist. Competition winners will participate in the event. For information or to contribute to EMYAC, visit semfa.org . Robert Dick On November 8, 2008, the Texas Flute Society hosted a UpTown Flutes, a professional flute ensemble at Drew masterclass with Trevor Wye University in Madison, New Jersey, continues its 2008–2009 at Texas Christian University. season of performances. On March 30, UTF celebrated the The following participants 15th annual New Jersey Flute Choir Day at Drew University. were selected performers in The program was directed by Virginia Schulze-Johnson the class: Kristin Carr, Martin ([email protected]) with Patricia (Davila) Lazzara as pro - Godoy, Jose Gonzalez, Hannah gram assistant. Groups were coached by members of UTF. Harvey, Lauryn Miller, Teresa The guest artist was Robert Dick , and the program was enti - Sanchez, Sara Sclamberg, tled “The Other Flute.” The program last year brought in Amulet Strange, and Melaney 150 participants plus a capacity audience. Visit uptown - Marianne Gedigian Trimble. The 32nd annual flutes.com . Texas Flute Festival and 24th annual Myrna W. Brown Artist Competition will be held on The Willow Flute Ensemble is recording a new CD. A central the campus of the University of North Texas May 21–23, theme of this Boston-based ensemble’s CD is folk tunes. 2009. Guest artists include Marianne Gedigian, associate Music director Orlando Cela arranged sets of folk songs professor of flute at the University of Texas at Austin; Nan from Venezuela and Romania, allowing Willow to feature Raphael, former solo piccoloist with the U.S. Army Field sonorities, rhythms, and styles rarely heard in flute choir lit - Band in Washington D.C.; Horace Alexander Young, faculty erature. From Romania, Cela moved eastward with the member of jazz studies at Texas Southern University and Rachmaninov All-Night Vigil, op.37 . Cela re-arranged the recording artist for Pacific Coast Jazz; and Pethrus work, originally for a homophonic ensemble of voices, for a Gardborn, grand prize winner of the 2008 Myrna W. Brown homophonic ensemble of flutes. The CD also features Artist Competition. Additional information on masterclass “Through the Intrinsic Forest,” the winner of Willow’s 2006 opportunities and competition application forms can be composition competition. Composer Darius Mackie was an found at texasflutesociety.org or by contacting Tara Richter, undergraduate at the University of Houston at the time of [email protected], or 618-334-3960. the award. Willow is excited to bring this CD to the NFA The Tucson Flute Club’s winter season included a large number Convention in August. On March 15, at the Newton Cultural of holiday performances by volunteer quartets and small Center in Newton, Massachusetts, Willow presented a chil - ensembles at retirement centers and nursing homes. TFC dren’s concert featuring “Rumpelstiltskin” for flute choir, member Imogene Helm was instrumental in setting up most percussion, and narrator. WFE commissioned Vartan of these appearances. The club also played for travelers passing Aghababian to create this setting of the popular fairy tale, through the Tucson International Airport as well as for holiday and has performed it for audiences throughout Greater festivities including the annual tree lighting ceremony for the Boston. Visit willowfluteensemble.com. City of Tucson, the luminaria nights at the Tucson Botanical Gardens, and the annual “Greening of the Church” event at St. Please send information about flute club activities, and high- Philip’s in the Hills Episcopal Church, where the ensemble resolution images if available, to Christine Cleary, Flute Clubs practices. TFC also presented a joint concert with the Phoenix- Coordinator, 2022 Wedgewood Dr., Grapevine, TX 76051; based Arizona Flute Society in February. [email protected].

50 The Flutist Quarterly Spring 2009 nfaonline.org

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

)/87( 62/26 Gps Uif ZLWK Qjddpmp Tqfdjbmjtu 25&+(675$/ $&&203$1,0(17 boe gps Uiptf Xip Offe FKDQJH WKH WHPSR UHFRUG \RXUVHOI ZLWK WKH DFFRPSDQLPHQW DQG PRUH up Tpvoe Mjlf Pof

%DFK 'DQ]L 'HYLHQQH LFFGF 'RQL]HWWL )DXUp *OXFN 0DVVHQHW 65 Divsdi Tusffu 0R]DUW 7HOHPDQQ 9LYDOGL QJDDPMPT Xjodiftufs- Nbttbdivtfuut 129:1 VTB CPTUPO Qipof; 892.47:.2737 IRU PRUH LQIRUPDWLRQ F.nbjm; kjnAlffgfqjddpmp/dpn SOHDVH YLVLW RXU ZHE VLWH xxx/lffgfqjddpmp/dpn &ODVVLFDO&ROOHFWLRQ,QF&RP Orchestral Techniques for Flute and Piccolo: An Audition Guide by Walfrid Kujala

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

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

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222 Main St. #504 Evanston, IL 60202 PH: 847-869-2998 Bright Flutes , Big City

You’ll want to be a part of it: the 37th annual NFA convention in old New York, New York.

by Linda Toote, Program Chair

all us crazy, call us groundbreaking, call us cutting edge, call us extremely tired … just don’t call us. Although if you do, you’re likely to find us Chere, knee deep in index cards, listening to mountains of CDs. Such has been the norm over the past several months at my house, where my fearless assistant Meghan Miller now keeps a spare toothbrush and nightie.

Planning for this convention must be like all the others, but at lection for a guided tour? Have you ever wanted to try your the same time not at all like the others, because this is New York. hand at the baroque or shakuhachi flute? Now’s your chance. Of course, there will be offerings of interest for everyone—pro - Instruments will be provided if you attend the workshops. fessional, amateur and student alike—but when was the last In a new format, come and hear well-known composers of time you heard of a Telemann-a-thon? Almost six consecu - music for the flute coach their own works with the winners tive hours of every duet Telemann ever wrote for the flute. of the Masterclass Competition. Witness the resurrection of We’d love to program this for the wee hours of the night in composers long forgotten when the New Mendelssohn the city that never sleeps, but that hardly seems civilized. Quintet Club dusts off hidden gems. However, for you night-owls, do come back after the Start spreadin’ the news: jazz great Lew Tabackin and rising evening Gala concerts to witness or partake in an Irish Jam star Anne Drummond will knock your socks off. And this Session or a reading of a Tallis Motet for 40 flutes. How year’s Lifetime Achievement Award winner, James Galway, will many times have you heard a spectacular flutist fulfill the not find himself idle at this convention. After giving a master - roles of both musician and modern dancer—simultane - class, an evening recital, and a workshop geared to ages 8–17 ously? How about an (extracurricular) field trip to the and adult amateurs, even he will want to pull out his yoga mat Metropolitan Museum of Art’s historical instrument col - and join in on the daily morning sessions.

nfaonline.org Spring 2009 The Flutist Quarterly 53 BRIGHT FLUTES, BIG CITY

Known as a player of excep - Soon to be a New Yorker, tional elegance and grace, Denis Bouriakov has recent - recently appointed princi - ly been appointed principal pal flutist of the Boston flute of the Metropolitan Symphony Elizabeth Rowe Opera Orchestra. He will be will make an appearance featured in the convention’s Saturday evening with the Thursday night Gala Recital. NFA premiere of the An active recording artist, Concerto for Flute and he plays on a forthcoming Orchestra by Julliard com - CD of his solo works fea - poser Eric Ewazen. Although turing his own transcrip - written for Julius Baker in tion of the Sibelius Violin 1988, this work has not yet Concerto. Prize winner at been brought to light at a multiple international com - convention. Now, NFA audiences will be treated to both petitions, this musician, still in his 20s, astounds us with sparkling composition and player in a single moment. a breathtakingly beautiful tone and musical maturity beyond his years.

The world’s foremost pro - With the release of three ponent and expert in the broad-ranging CDs, area of “low flutes” and Flute Force, the quartet extended technique tech - of New York flutists, nology, Matthias Ziegler has made an impressive will be able to demonstrate name for itself . Described some of this expertise in the alliteratively as a “fearless concerto “NOLA,” by Tajik foursome of female composer Yusupov at the flutists ,” Flute Force Saturday evening Gala. This includes Sheryl Henze, work will transport you Gretchen Pusch, Rie across international borders Schmidt , and Wendy and lift you to your feet. Stern, each with impressive resumes of their own. The Ziegler has said, “There is a group has demonstrated time and again that “an evening of whole orchestra inside the flute ,” and you will hear it at the flute music need not be a recipe for aural monotony.” Its convention, without a doubt. appearance on the Thursday evening recital will surely leave us with something to chew on.

Long-time favorite British Having spent 20 years as flutist William Bennett will principal flute with the London offer a new work of CPE Symphony, Paul Edmund Bach. Originally catalogued Davies has turned his attention as a keyboard work, the to touring the globe, giving Concerto in D Major was classes and recitals , and record - conceived as a work for flute ing. He is on the faculties of the but was adapted by Bach for Guildhall School of Music and keyboard, so he could play it the Royal College in London. himself. Bennett, perhaps Davies has uncovered and best known for his achieve - edited the 24 Studies and 12 ments as a superlative per - Sonatas of Guiseppe Rabboni former playing with most (19th-century Principal Flute major British orchestras, has improved our instrument by of La Scala) and has published “The 28 day Warm up Book for exploring the boundaries of the flute scale and acoustics in his all flautists.....eventually”. In addition to his Thursday night work with Albert Cooper, and even in flute making, with the appearance, we hope to have him lead an entertaining warm creation of the flauto di bassetto. He has an impressive host of up session and to introduce us to some lesser-known recordings, with upward of 60 CDs in his discography. works of British composers in recital.

54 The Flutist Quarterly Spring 2009 nfaonline.org A well-respected musician Known widely for her work and award-winning flutist with the Naumberg Award- in her own right, Zara winning DaCapo chamber Lawler has been doing players, Patricia Spencer is a groundbreaking work in the flutist daunted by little that area of interdisciplinary comes her way. Tackling the arts, and at the convention most demanding music, she will showcase some of the is, according to the New York work of C. Neil Parsons, Times, an “expert musician .” choreographer, in a solo The list of works written for work for flute by David her or commissioned by her Loeb. She moves the flute of today’s most notable com - and flutist to a new realm, posers is astounding. We will incorporating dance, story - hear her perform the neglect - telling , and theatrical elements into her performance , ed Boulez Sonatine and, for the Thursday night evening recital, which has been described as “an enthralling visual and a premiere by Shirish Korde for flute and tabla. Spencer says , acoustic joy.” What you witness on Thursday night will alter “No longer is ... (the flute) just a bird or a butterfly ... once again your perception of the flute for a long time to come. composers are invoking its vital, expressive voice.”

A musician with 21st-century Members of the skills and 18th-century atti - Leipzig-based quintet tudes, Robert Dick will Quintessenz, formed appear on multiple events in 1996, have made it throughout the convention, their task to present most notably premiering the whole range of Martin Bresnick’s Concerto, sound and charm of Pan Penseroso, an NFA com - mission. Dick is all things: all members of the performer, composer and flute family, taking up improvisor , and pedagogue. old and new forms in All will be in evidence this concert with a broad summer as he coaches his repertory ranging from Renaissance to modern, classical to own works and appears as jazz, commisioned works and their own ingenious arrange - soloist with flute ensembles. He was and continues to be a pio - ments of symphonic compositions. All members are either neer in introducing extended techniques to flutists world-wide. well established orchestral musicians or soloists. The group As a composer, he has been honored with multiple grants and has been winning hearts and minds around the globe. Look fellowships from the N.E.A. and Guggenheim, Fromm , and for them on the Sunday closing concert and elsewhere. Jerome Foundations among many others. He has been described as truly revolutionary, the “Hendrix of the Flute.”

In the words of Jean-Pierre Flutist and conductor from Rampal, “It is a joy to hear the Conservatory of Luxem- him dream and turn pirou - bourg, Carlo Jans makes ettes: he is the Paganini of his NFA debut in New the piccolo.” Jean-Louis York. In his impressive Beaumadier is perhaps one discography are the Sonatas of a select few to have stud - of Carl Gottlieb Reissiger, a ied with both Rampals, contemporary of Beethoven father and son. Having held and Mendelssohn. These a position as Solo Piccolo in largely unknown sonatas of the National Orchestra of the early Romantic period, E L L I both virtuoisic and har -

V France, he has championed U O

R the cause of the piccolo monically refined, warrant E D

E with his abundant discogra - rediscovery and will find L L E

B an enthusiastic audience at the convention. Jans, a “poetic A phy and the publication of much music for piccolo with S I

:

R Billaudot. He holds the position of professor at the virtuoso ,” is just the performer on whom to call. Highly E I D A National Regional Conservatory of Marseilles. sought after as a conductor, he will lead the Professional M U A

E Flute Choir at the convention. B

nfaonline.org Spring 2009 The Flutist Quarterly 55 BRIGHT FLUTES, BIG CITY

The Friday night jazz cabaret will Another jazz great appearing introduce the New York flutist, in recital on Saturday and pianist, composer, and once teaching the jazz flute master - trombonist Anne Drummond. class will be flutist and tenor Having begun the study of jazz saxophonist Lew Tabackin. piano with Kenny Barron at the Co-founder and principal Manhattan School of Music, her soloist of the Toshiko Akiyoshi flute-fluency was soon recog - Jazz Orchestra from 1973 to nized. There she soon found her - 2003, his big band credits self recording with a wonderful include work with the ensem - company of jazz musicians. bles of Cab Calloway, Thad Downbeat magazine named her Jones/Mel Lewis , and a Rising Star in their critics’ poll Maynard Ferguson. The list of of 2003. From her bio at the awards conferred upon him is Lionel Hampton Jazz Festival: “Whether performing Brazilian, unrivaled, including several from Downbeat magazine, classical or straight-ahead, as a composer, leader, or sideman, Grammy nominations, and Album of the Year from Stereo Anne Drummond is committed to disinguishing the sound of Review . His electrifying flute playing has been described as the flute and will undoubtedly leave a unique and beautiful virtuosic, primordial, cross-cultural, and passionate—and mark on the face of music .” will wow us all at the convention this August.

Closely connected with the Active as a composer, flutist, Liebermann Flute Sonata as its conductor, historian, theoreti - commissioner, Paula Robison cian , and teacher at the New brings us this work in a concert England Conservatory, John showcasing his compositions. Heiss moves easily among all The list of works she has com - disciplines. A retrospective of missioned and premiered is his works will highlight a beyond impressive, and contin - career that has spanned more ues to expand. In addition to her than 50 years. His works have solo work, Robison also per - been performed worldwide, formed for 20 years as a found - in premieres by Speculum ing member of the Chamber Musicae, Boston Musica Viva, Music Society of Lincoln Center the Da Capo Chamber Players, and served as co-director for Aeolian Chamber Players , and Chamber Music concerts at the Spoleto Festival. Robison has the Tanglewood Festival Orchestra, among countless others. launched a series of initiatives called “With Art” that pairs per - Awards and commissions from the National Institute of Arts formances with the visual arts in unusual and diverse spaces and Letters and the Fromm and Rockefeller Foundations con - such as the Isabella Stewart Gardener Museum in Boston and tribute to his weighty resume. Heiss has directed 12 of NEC’s the Noguchi Garden Museum and PS #1, both in New York. annual festivals and has recorded extensively.

Lifetime Achievement Awards Dinner Honors Sir James Galway

ir James Galway will be honored at the annual Lifetime Achievement Awards Gala Fundraising Dinner on SSaturday, August 15. Be part of this historic event in the greatest city in the world, as the NFA honors the most celebrated flutist of our time. Music, surprise guests, great food, and even better stories—this is sure to be a special evening you’ll always remember. Get your tickets now. Visit nfaonline.org and find “pre-registration” under the convention section. NFA members can conveniently add this event by filling out the “dinner” portion of the form. Members also may pur - chase the dinner at the convention registration desk before Friday, August 14. A portion of proceeds from the dinner provides income to the NFA Endowment. This tax-deductible amount is one of many ways in which members can contribute to the future stability of the NFA. For more information on charitable donations and gifts, please contact Gwen Powell, Development Chair, 520 –529 –3748 or [email protected] .

56 The Flutist Quarterly Spring 2009 nfaonline.org

From Your CONVENTION DIRECTOR The theme of this year’s convention is “Bright Flutes, Big City” And we have some exciting programs planned!

The site is the Marriott Marquis on Times Square Find information and make reservations online at nfaonline.org Our official airline for the convention is: American Airlines 800-433-1790 • aa.com • refer to code #A6989AE* * please identify yourself as an NFA member Marriott Marquis Hotel Parking Hotel parking is limited, but additional parking is available nearby. Valet parking per day : $55 car; $65 SUV/minivan; $80 oversize SUV ; $10 in/out. No full size vans/limos/motorcycles. Height 6ft. 2in. I suggest no cars brought into the city. It is cost prohibitive. Airport Transportation GO AIRLINK SHUTTLE For pricing, visit http://airlinknyc.hudsonltd.net/res Other transport There are cheap ways into the city, if you don’t have much luggage. Google “cheapest transportation into Manhattan” and you will get many ideas and accounts of other people’s experiences. I did it myself on a trip to the city from JFK airport , and it cost $7 total, but I had only a small carry-on , and went from train to subway. Area Airports New York/La Guardia — LGA Hotel direction: 9 miles E Driving directions : Follow the Grand Central Parkway toward Manhattan/Triborough Bridge. After paying the toll , stay on the left and follow signs to the F.D.R. Drive South. Exit onto 42nd St ./United Nations. Follow 42nd St. to 8th Ave. Turn right and go to 46th St. Turn right and the hotel will be on the right at the end of that block. This hotel does not provide shuttle service. Alternate Transportation : Super Shuttle 800-383-3840 Estimated taxi fare : $ 35.00 USD (one way) New York/JF Kennedy — JFK Hotel direction: 15 miles SE Driving directions: Take Van Wyck Expressway to Grand Central Pkwy. to L.I.E. (Midtown Tunnel) straight up 42nd St. to 8th Ave. Turn right on 46th St. This hotel does not provide shuttle service. Alternate Transportation: Super Shuttle 800-383-3840 Estimated taxi fare : $45.00 USD (one way) Newark — EWR Hotel direction: 15 miles W Driving directions : Take NJ Tnpk. (N) to Lincoln Tunnel. Follow signs to 42nd St. (N). Take a left onto 8th Ave. and a right on 46th St. Proceed straight to hotel. This hotel does not provide shuttle service. Alternate Transportation : Super Shuttle 800-383-3840 Estimated taxi fare : $ 60.00 USD (one way) Schedule for convention registration: Pre-registered attendees: Wednesday, August 12 , 3:00– 6:00 p.m. On-site registration for all attendees: 7:00–9:00 p.m. Instrument security room will be open from noon on Wednesday through Monday morning at 9:00 a.m. The exhibit hall is open Thursday–Saturday, 10:00 a.m. –5:30 p.m. and Sunday, 10:00 a.m. –4:00 p.m. I am looking forward to seeing all of you in August. —Madeline Neumann, Convention Director

58 The Flutist Quarterly Spring 2009 nfaonline.org From the LOCAL ARRANGEMENTS CHAIR

New York, New York Lucy Goeres

ast year, 47 million tourists visited explore, enjoy, and revel in its richness and some, including the Metropolitan New York City—a good indication and diversity. Museum and the Museum of Natural of its wide appeal. Within walking Getting around Manhattan can be L History, suggest a donation, so you can distance of the convention hotel, you’ll challenging depending on the day of pay what you want. There are many free find Rockefeller Center, Grand Central the week and the time of day. If you concerts and dance and theater per - Station, Carnegie Hall, the New York want to avoid paying for taxis, you’ll formances in the summer, in parks, Public Library, the Museum of Modern need street, subway , and bus maps, plus churches , and public spaces. The water Art, the American Folk Art Museum, a comfortable pair of walking shoes. is a great vantage point from which to the newly opened Museum of Arts & You can buy a MetroCard that works see the city. There’s the always-popular Design, St. Patrick’s Cathedral, Saks for buses and the subway. If you find Circle Line that circumnavigates Fifth Avenue, the AOL/Time Warner yourself lost or even just a bit confused, Manhattan Island, as well as ferries to Building, and the southern end of don’t hesitate to ask for help. New the baseball stadium, dinner cruises , Central Park. Take a subway or bus ride Yorkers love to give directions. and water taxis. My favorite, the Staten and you can explore Lower Manhattan, The Marriott Marquis, home to this Island Ferry, is free, and offers fantastic Chinatown, Little Italy, Soho, year’s convention, is in the heart of vistas of lower Manhattan, the harbor, Greenwich Village, or Harlem, not to neon-studded Times Square and the and the Statue of Liberty. The Hudson mention Brooklyn, Queens, Staten Broadway theater district. The TKTS River on the west side of Manhattan has Island , and the Bronx. The only prob - theater booth (Broadway and 47 th a wonderful bike path. You can rent a lem is narrowing down your options. Street) offers same-day half-price tick - bike and pedal past soccer games, sun There are countless publications to ets for many shows, both on and off bathers, dog runs, cruise ships, helicop - help you out, with information about Broadway, and several Web sites offer ters, kayak rentals, and not-yet-rebuilt the arts, tourist sites, restaurants , and discounted tickets that you can pur - Ground Zero. Don’t forget about the neighborhoods. Time Out New York chase in advance. Just west of Broadway, Empire State building. The view from provides weekly listings for the per - on and between 8 th and 9th Avenues, the top is spectacular . forming arts and is a reliable source for there are restaurants galore, many with There’s something for everyone in jazz, popular , and classical music con - modestly priced ethnic menus. The New York. With a little bit of homework certs throughout the city. The online Zagat guide can help you choose, or you and advance planning, you can have the site nycgo.com offers tourist informa - can just wander around to find one that time of your life. tion for just about anything you can catches your fancy. imagine. Whether you follow the well- While New York can be expensive, it Lucy Goeres is on the Local Arrangements worn tourist path or blaze a new one, doesn’t have to be. Many museums have Committee for the 2009 NFA Convention this city of cities is open for you to no-admission evenings (check listings) in New York.

nfaonline.org Spring 2009 The Flutist Quarterly 59 Contributions to the National Flute Association July 1, 2008 —December 31, 2008

(See the summer issue of The Flutist Quarterly for the complete listing of contributors to each year’s annual President’s Appeal.) LEGACY CIRCLE/PLANNED GIFTS Ervin Monroe Paul Taub Katherine Borst Jones William Montgomery Peggy Vagts Carol Kniebusch Noe Louise Dickey Pinkow Anne Welsbacher Gwen and Dick Powell George S. Pope Stephanie A. Wheeler Eric Hoover and Deborah Gaynor Amy Porter Robert Willoughby Christine E. Potter Windward Flutes FOUNDER ($5, 000 and above) Gwen C. Powell Bickford and Laura Brannen Ronald Prechel FRIEND ($1–$49) Deborah L. Ragsdale Carole E. Andersen PLATINUM ($2,500–$4,999) Peter Sheridan Kim T. Ashwell Angela G. Allen Sherzer Rick Bandy GOLD ($1,000–$2,499) Alice D. Slining Angeleita S. Floyd Fenwick Smith Bugs Beddow Ignace Vanmoerkerke Alexa Still Laurie Benson Jasper Welch Mary T. Stolper Karen Betz-Griewahn Mark and Judith Thomas Nancy Bibby SILVER ($500–$999) Nancy M. Vinson Linda Caillavet Eleanor Duncan Armstrong Susan Waller Cathy Clare Robert F. Cole John Wion Grady E. Coyle Katherine Borst Jones Linda Cykert DONOR ($50–$99) Carol Dale WOOD ($100–$499) Lori Akins Kathy Davis Patti Adams Eva Amsler Caroline Dawson Robert Aitken Karl Barton Melanie Delcid Francesca Arnone Beth Behning Claire Durand-Racamato Deborah Rebeck Ash Jane Elizabeth Bell Ann Fairbanks Joanna Bassett Mary Berk Cynthia J. Folio Teresa Beaman Joanne Ennis Bourquin Thomas R. Forsgren Francis Blaisdell Tod Brody Mara Gabriel Sue Blessing Jenna Charles Calixto Claudia Brill Sheryl Cannon Diane Gold-Toulson Roberta Brokaw Jeanine Cariri Michael Gordon Leone Buyse Shelly Collins Sharla Chappell Graham Andrew Callimahos Penelope Fischer Christine Gustafson Beth E. Chandler Tyra Gilb Wilda M. Heiss Carla Copeland-Burns Susan S. Goodfellow Julia Henke Zart Dombourian-Eby Richard R. Hahn Ina Mae Holt Darlene Dugan Susan Hayes Margaret Foote Jamner Leonard Garrison Don Hulbert Yeva Johnson Patricia George Jennifer R. Kacena Dawn L. Larson Jean M. Harling Ellen Kaner Harvey Leikind Patricia Harper Peter Katz Gerardo Levy Betty Austin Hensley Gay Landstrom Valerie Coleman Page Helen Callimahos Hurry Amy Likar Audrey McPherson John T. Howard Rebecca Malone Mary Minsk Jerry Jenkin Dennette Derby McDermott Clara B. Mortiboy Victoria Jicha Madeline Neumann Nancy Mulholland Sue Ann Kahn Ann C. Pearce Carol Naveira-Nicholson Katherine Kemler Phyllis T. Pemberton Marjorie Koharski Ardal Powell Joyce Oakes Walfrid and Sherry Kujala Irene Pruzan Hal Ott Joanne Lazzaro Lisa Garner Santa Linda Pereksta Little Piper Patricia Schmid Mary Peterson Roger B. Martin Nancy Schneeloch-Bingham Cynthia C. Stokes Katherine H. McClure John Solum Mary Suthers Martin Melicharek III Patricia Spencer Edward M. Young Linda Mintener Maria Stibelman Horace Alexander Young

60 The Flutist Quarterly Spring 2009 nfaonline.org NFA News Updates on committee activities and other news of interest from the national office

NFA elections are coming

embers will vote for candidates in the following positions Board of Directors (three are ratified) Mfor next year’s officers and members of the board of Two board members for three-year terms: directors for the National Flute Association. (Visit nfaonline.org Daniel Dorff for full names and information about these candidates.) Linda Toote

Assistant Secretary/Secretary-Elect (one is elected) Francesca Arnone One board member for a two-year term: Jennie Brown Kim Clark

Five Commissions to Premiere in New York Convention he 2009 NFA Convention is full of all sorts of exciting per - Composer and experimental flutist Tformances. As chair of the New Music Advisory John Savage , whose commission Committee, I am particularly eager to attend the many pre - will be premiered at the High mieres that our committee has chosen and facilitated. When School Soloist Competition, writes you arrive at the convention, immediately run to the registra - about his work: “As the title sug - tion booth, get a convention schedule book, and circle all of gests, Impromptu for Solo Flute these performances—you will not be sorry you chose to should give the effect of an improv - attend all of these wonderful premieres! isation. In fact, one of the main themes, a swirling ostinato pattern Lisa Bielawa is writing a work interspersed with solo flights, origi - to be premiered by the Young nated as an improvisation during Artist Competition soloists. She John Savage one damp evening in a cabin on the is in the midst of a three-year Oregon coast. Afterwards, I asked residency with the Boston myself the question: ‘What if an improvised tradition of solo Modern Orchestra Project, impromptus for flute became a contemporary performance serves on the board of the practice?’ I then set out to create a piece that reflected this idea— MATA Festival, which she where all manner of technique was not just mere ornamentation founded in 1997, is a vocalist but was essential to the sound of the piece.” with the Philip Glass Ensemble , and tours and records with A special NFA commissioning

W John Zorn. About her piece, project will come to fruition this

O Lisa Bielawa T S

O Bielawa writes: “This is the first August: Martin Bresnick has writ - C R

A time I have ever written a piece to be premiered by multiple ten a concerto for flutist Robert M K C

I artists. The idea of a competition piece as an opportunity Dick, to be conducted by Ransom N S E

R for performers to show not only their technical and inter - Wilson. Titled Pan Penseroso , the B ; Y

E pretive gifts, but also perhaps their individuality, has cap - work is in three movements: “The F R U

F tured my fascination. The new generation of performers has Noise of Folly,” “Prophetic Strain,” A R U

A come of age in a time of blurred genre boundaries, and and “More is Meant (than meets M

:

E many of them feel very natural with improvised as well as the ear).” Recognized as an influ - G A V

A notated music. Although my piece is precisely scored, it is ential teacher of composition, S

; R

E designed to leave room for the performer to make creative Bresnick has received many prizes D Martin Bresnick N E

L choices, to show us his or her unique affinities. Hearing sev - and commissions, including the Z I L

: eral different performers handle these creative decisions will Rome Prize, the Berlin Prize, a Guggenheim Fellowship, and a A W A

L be a wonderful experiment!” Koussevi tzky Commission. E I B

nfaonline.org Spring 2009 The Flutist Quarterly 61 NFA N EWS

Paul Schoenfield , on the faculty of the University of Michigan, has received commissions and grants from the NEA, the Ohio Arts Commission, Chamber Music America, the Rockefeller Fund, and the American Composers Forum. The Sonatina for piccolo and piano is a seven-minute work consisting of three linked move - ments (“ Nigun,” “ Doina, ” “ Psychobird ”) sharing modifications of the collective material. Carl Hall, piccolo player C U

extraordinaire of the Atlanta D E L E

Symphony will premier the piece, R D N which was commissioned by the NFA A Paul Schoenfield Piccolo Committee. Robert Aitken

In a lovely chat over the phone, renowned flutist/composer Robert Aitken (speak - RIVERBERI SONORI ing from 27 degree-below zero Calgary) spoke of his 24-member flute the flute music publishing company choir piece commissioned by the NFA Flute Choir Committee. The first FLUTE STUDIES Felix Mendelssohn-Bartholdy Raymond Guiot movement, titled “Tsunami ,” has “lots Songs without words Do it Duet per due flauti Giulio Briccialdi of notes!” It is followed by “Solemnes,” for flute and piano RS1060 30 Soli o Esercizi per flauto solo (arranged by Benoît Fromanger) Johann Joachim Quantz influenced by Aitken’s memories of a RS1021 RS1039 Sei sonate o duetti per flauti o visit to Solemnes; in the 19th century 24 Studi per flauto solo W. A. Mozart violini RS1046 (edited by Angelo Persichilli) 6 Sonatas for flute and piano the monks of the Benedictine abbey of Viotti Gianella Mercadante RS1051 (transcribed and edited by Tre duetti italiani per due flauti Solemnes collected and assembled Konrad Hünteler) Vincenzo De Michelis RS1060 Vol. I: KV 301-303 RS1034 definitive versions of many of the Preludio Monodico Vol. II: KV 304-306 RS1035 Onnitonico op. 91 RS1003 THREE/FOUR/FIVE FLUTES Gregorian chants. And I think the Mario Pilati Giuseppe Gariboldi Antonio De Angelis third movement will have to be a sur - Sonata per flauto e pianoforte 58 esercizi per flauto solo Running per 4 flauti RS1008. prise for us all… (edited by Angelo Persichilli) (score and parts) RS1042 RS1009 Francesco Santucci A Raymond 5 pezzi jazz Joseph Fahrbach Ernesto Köhler Please take time at the convention to per flauto e pianoforte RS1010 Prima Fantasia su motivi Op. 33 dell’Aida di G. Verdi help make history—come to all of (edited by Angelo Persichilli) Little Princess album facile op. 78 per 3 flauti vol. I 15 studi facili RS1027 per flauto e pianoforte RS1031 these exciting premieres! (edited by Maurizio Bignardelli) vol. II 12 studi Angel’s flute RS1062 di media difficoltà RS1028 per flauto e pianoforte RS1044 vol. III 8 studi difficili RS1029 Raymond Guiot —Molly Barth, Chair, New Music Serenata e tango Conversazione per 5 flauti Paolo Minetti Advisory Committee per flauto e pianoforte RS1047 (score and parts) 12 studi fantastici per flauto RS1043 RS1040 Giacomo Saponaro Scherzo per flauto e pianoforte W. A. Mozart FLUTE AND PIANO RS1007 Quartetto per 4 flauti KV 370 (arrangement Enrico Blatti) THE 37 th NFA Antonio De Angelis TWO FLUTES AND PIANO RS1049 Sky’s Flowers per flauto CONVENTION IS e pianoforte RS1041 Giulio Briccialdi ENSEMBLE Duettino per due flauti e Raymond Guiot JUST ONE OF 37 pianoforte Sur la Soirée Musicale Francesco Santucci Fantaisie per flauto e pianoforte di Rossini op. 49 Habanera e tango RS1001 REASONS TO GIVE (edited by Rien de Reede) per flauto e chitarra Quattro pezzi facili RS1025 RS1059 TO THE NFA! per flauto e pianoforte RS1005 TWO FLUTES Peter Van Munster Benedetto Marcello Repertoire catalogue. WHETHER GIVING Sonata a flauto solo RS1006 Giulio Briccialdi Piccolo, Alto flute, Bass Flute Duo concertant RS1052 $37, $370, OR 12 Sonate per flauto e b. c. per due flauti op. 100 n. 2 Vol. I: Sonate I-VI RS1036 (edited by Rien de Reede) $3,700, YOU’LL Vol. II: Sonate VII-XII RS1037 RS1056 HELP GROW YOUR NFA INTO www.riverberisonori.it [email protected] THE FUTURE!

62 The Flutist Quarterly Spring 2009 nfaonline.org Notes from Around Conventions, festivals, competitions, and other global flute activities the World News from Canada: International and Canadian Showcases,

and a New Alliance by Amy Hamilton

Paul Edmund-Davies Greg Pattillo Michelle Cheramy Robert Aitken

Greetings from Canada! We have enjoyed many guest events Festival of Remembrance this past November. Timothy this year featuring internationally acclaimed flutists. Paul Hutchins and Carolyn Christie, principal and second flutists Edmund-Davies taught masterclasses and lessons in of the Montreal Symphony Orchestra , were featured soloists Montreal, Ottawa , and Toronto this past October, and in G.P Telemann’s Concerto for Two Flutes in E Minor in included recitals in his Montreal and Toronto visits. Beat September, and during the same week , Toronto Symphony boxing flutist Greg Pattillo shared his secrets in a masterclass Orchestra principal flutist Nora Shulman performed the with enthusiastic Toronto flutists, and Sharon Sparrow, Pergolesi Concerto in G with the orchestra on its Northern principal flutist of the Detroit Symphony , worked with the Ontario tour. In October, Montreal Evolutions 2008 pre - Glenn Gould Professional School Orchestral Training sented a series of flute recitals titled “Autour de Flute” at Program flute students in Toronto this past fall as well. Sir Chateau Ramsey in Montreal’s historic old city. The new James Galway made his only Canadian recital appearance music concerts featured well-known artists as well as up- this year at the Perimeter Institute in Waterloo, Ontario, in and-coming local flutists. Robert Aitken opened the series March. Galway recorded his most recent CD , O’Reilly Street , with the music of Henry Brant, Takemitsu , and several of his in the Toronto Glenn Gould Studio , and he is a fan of own works. Cleo Palacio-Quintin gave a recital featuring the acoustics the venue has to offer . hyper flute—her own invention , which adds wires and sen - sors to the flute to amplify and enhance sonic possibilities Michelle Cheramy, flute professor at Memorial University while introducing a responsive electronic element to per - in Newfoundland, gave the first performance of Canadian formance. Montreal flutist and Stockhausen specialist Lise composer Heather Schmidt’s Concerto for Flute and Dauost was featured in Toronto’s New Music Concerts in Orchestra in January 2008. This Bartok-like work in three fall 2008 in a concert of works related to Stockhausen’s movements was premiered with the St. Petersburg opera cycle Licht . Daoust has worked extensively with the Chamber Orchestra in Russia. Vancouver Symphony composer including coachings for her interpretation of Orchestra principal flutist Christie Reside performed Kathinka’s Gesang for flute and electronics , which conclud - Leonard Bernstein’s Halil with the orchestra as part of the ed her Toronto program .

nfaonline.org Spring 2009 The Flutist Quarterly 63 NOTES FROM AROUND THE WORLD

Perhaps the most exciting news from Canada is the initi - Orford Centre for the Arts ([email protected]) ation of the Canadian Flute Association. Dedicated to features flutists Robert Langevin and Trevor Wye this sponsoring quality flute events, developing performance summer, and Carol Wincenc will join the Banff Centre opportunities for aspiring flutists of all ages , and sharing summer faculty (banffcentre.ca). The Boxwood Festival in knowledge pertaining to the flute and musicianship, Nova Scotia explores historic and celtic flute playing with information about this brand new organization can be Chris Norman (boxwood.org), and the Symphony found at canadaflute.com . Orchestra of the Pacific in British Columbia offers orches - Don’t forget our great summer programs, all of which tral training (soap-powellriver.ca). will be a real value for those paying fees in U .S. dollars. Domaine Forget , with its international teacher roster, Amy Hamilton teaches flute and chamber music at Wilfrid offers masterclasses and private lessons (domaineforget.com). Laurier University in Waterloo, Ontario.

A comprehensive article by archivist Susan Nelson has Emily Beynon performed as flute been posted on the British Flute Society’s Web site. The soloist with Vladimir Ashkenazy article is from Nelson’s book The Flute on Record (2006). and the Philharmonia Orchestra The posting includes audio excerpts of early recordings. the world premiere of the North- Visit bfs.org.uk. Norwegian composer Fred Jonny Berg’s Flute Concerto no. 1, op. The new music ensemble rarescale has launched its own 70. Additionally, Heart op. 27, record label with three CDs containing the music of no. 5 and Flute Mystery op. 66b Michael Oliva, Daniel Kessner, Lorenz Dangel, Karen was performed for the first Gourlay, David Burnand, Vasco Hexel, and David Bennett time in the United Kingdom. Thomas. The ensemble performed its fifth anniversary con - This work was dedicated to— cert in Shoreditch, London, England, in September 2008, and first performed by—Sir and performed November and December concerts in Emily Beynon James Galway. Beynon plays London. Visit rarescale.org.uk. with the Royal Concertgebouw Orchestra, Amsterdam. The event, which was held at St. John’s Smith Square in London, was in connection with the release of Berg’s new album consisting of orchestral music. Visit symbiophonic.no/events/news/21.

International masterclasses for flute, oboe, and cello will be held in St. Gilgen Am Wolfgangsee, a village in the Salzburg region, July 31–August 10. Registration deadline is July 3. Wolfgang Schulz of the Wiener Philharmonic leads the flute class. Visit www.meisterkurse-stgilgen.org.

The Terem Crossover Competition RU will be held in March 2010 in St. Petersburg, Russia . Application deadline is September 5. The competition is founded by the Musical Society Friends of the Terem Quartet, with support from the Russian Ministry of Culture and the St. Petersburg Government ’s Culture Committee, under the patronage of the Governor of St. Petersburg. The competition is for pro - fessional instrumental ensembles comprising any acoustic The 13th International Friedrich Kuhlau Flute Competition musical instruments, from any country, with no age limits. takes place October 25–31 in Uelzen, Germany. June 1 is the Prizes awarded will include cash of more than 1 million application deadline. Competitions are for solo flute or flute rubles or 30,000 euros (approximately $28,000–$38,000, and piano; two flutes or two flutes and piano; and three flutes depending on currency exchange rates), a concert tour in Russia’s major venues , and additional prizes. The competi -

or four flutes. Prizes for each section total up to 10,000 euro. S E E The jury includs Cordula Hacke (chair), János Bálint, tion’s auditions will be held in the Glinka Academic Capella; R A L R

the Gala Concert will be held at the Grand Hall of the A

Toshinori Ishihara, Carlo Jans, Toke Lund Christiansen, Susan C

:

Shostakovich Philharmonic and will be broadcast on a N Milan, and Gunther Pohl. For information, call 49 581 800 O N Y

national TV channel . For more information, call 7 (812) E 6248, send an e-mail message to ute.lange-brach - B Y L I

400-22-59 , fax 7 (812) 400-22-58 , send an e-mail message to M

[email protected], or visit kulturkreis-uelzen.de or E uelzen.de. [email protected], or visit terem-competition.ru.

64 The Flutist Quarterly Spring 2009 nfaonline.org

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Albany Records is pleased to Forbidden Flutes, the duo of Laura announce the release of American Barron and Liesa Norman founded Reflections , with Leonard Garrison, in 1998, announces the release of flute and piccolo, and Jonathan Take the L Train , featuring “Purple Sokasits, piano. The disc features the Phobia,” a Prokofiev-inspired jazz première recording of “Souvenirs for original, the “Foxtrot Fantasy,” a Piccolo and Piano ,” by Robert Beaser, theme-and-variations on classic jazz Beaser’s monumental Variations for standards popularized by two flute Flute and Piano, “Three American Pieces ,” by Lukas Foss, and and piano ensembles of the 19th century, and “Las Flautas Variations on a Swedish Folktune for flute solo by Ingolf Dahl. Prohibitas,” which the duo commissioned from New York Visit albanyrecords.com or cdbaby.com. composer and session musician Nic Cowles. Forbidden Flutes features an eclectic repertoire of works and sounds ranging from 19th century classical works to jazz arrange - ments, film music, Radiohead tunes, Bach , and Mozart. Classic Solos for Flute, Vol. 2, selected Visit laurabarron.net/ff.htm . and introduced by Mary Karen Clardy, was recently released by Universal Edition, Vienna. Including The Mary Karen Clardy Flute Etudes works by Telemann, Quantz, Kuhlau, Book II: 48 Flute Etudes in All Keys , Donjon, Karg-Elert, Arvo Pärt, and selected and introduced by Mary Victoria Borisova-Ollas, this second Karen Clardy, was recently released by volume of classic solos includes a Schott Music Corporation. Including CD recording of the works, composer works from Andersen, Berbiguier, biographies, and performance Böhm, Fuerstenau, Karg-Elert, notes. The fourth volume in UE’s Koehler, Kuhlau, Paganini, Quantz, award-winning Classic series and Schade, this second volume con - from Clardy, distribution in the U.S. is by Theodore Presser. tinues in the tradition of the popular first volume. Composer biographies, introductions to the études, major- Encore Performance Recordings minor-chromatic scales, major-minor-diminished-augmented announces the release of The Solo arpeggios, and seventh chords are included, providing flutists Flute: Past to Present , Mary Karen the opportunity to supplement études with the appropriate Clardy’s new recording, including scales and arpeggios. Distribution in the U.S. is by the Hal J.S. Bach’s Partita in A Moll; C.P.E. Leonard Corporation. Bach’s Sonata in A Moll (Wq. 132); Debussy’s “Syrinx”; Ferroud’s Trois Pièces pour Flute; Hindemith’s Acht Bridge Records announces Morton Feldman: For Christian Stücke; and La Montaine’s Sonata for Flute Solo, op. 24. The Wolff , a three-disk set featuring the California E.A.R. Unit CD was recorded at Holy Nativity Episcopal Church in Plano, with Dorothy Stone, flute; and Vicki Ray, piano, celesta. “For Texas, and is available through Carolyn Nussbaum Music, Christian Wolff” is one of Feldman’s (1926–1987) final Flute World, Amazon, or mkclardy.com . compositions and stands alongside the four-hours-plus “For Philip Guston, ” the 70-minute “For John Cage, ” and the six-hour String Quartet II. Bridge also has released Music of Chinary Ung , featuring “Child Song,” with Clay The ensemble rarescale has launched its own record label , Ellerbroek, alto flute, plus works for viola, harp, and piano. with three CDs containing the music of Michael Oliva, Daniel The composer Chinary Ung, who lost family members in Kessner, Lorenz Dangel, Karen Gourlay, David Burnand , the Cambodian holocaust, also has worked as a researcher Vasco Hexel, and David Bennett Thomas. Rarescale performs and documentarian, preserving not only the Cambodian new works for low-voiced wind trio (alto flute, bass clarinet , musical heritage, but other cultures of Southeast Asia and and cor anglais) with electronics, including premieres of India. He won the Grawemeyer Award in 1989 for his works by Rob Ratcliffe, Rob Fokkens, Michael Csanyi-Wills , orchestral piece, “Inner Voices .” This recording is the first in and Ed Joliffe.Visit rarescale.org.uk . a series that will be devoted to Ung’s music.

66 The Flutist Quarterly Spring 2009 nfaonline.org On the recently released CD Robert Jazz flutist Mark Weinstein has Fruehwald: Music for Flutes and released Lua e Sol , his fifth CD on the Guitar , Leslie Marrs plays flute and Jazzheads label, with Romero piccolo on “Hymntunes VI, Noels: Lubambo on guitar, Cyro Baptista on Three Preludes for Christmas” and percussion , and Nilson Matta on duo on “Bulgarian Folk Songs ” with bass. Weinstein plays concert alto guitarist Robert Trent. Marrs solos and bass flute on the recording , on alto flute for “Hymntunes IV: which was voted Best Brazilian Jazz Imenetuki ” and bass flute for “Three Fantasies on Irish Folk Recording of 2008 by musicians and fans at the Latin Jazz Melodies. ” The duo performed three of these works at the Corner. Visit jazzfluteweinstein.com. 2008 NFA convention in Kansas City. Marrs is assistant pro - fessor of flute at Drake University; Robert Trent is professor of guitar at Radford University; and composer Fruehwald is pro - fessor of composition and flute at Southeast Missouri State Centaur Records has released The University. The music on this recording reflects Fruehwald’s New Lyric Flute , with Susan Royal, personal style as well as his incorporation of folk music from flute ; Natasha Farny, cello; Nathan Eastern Europe and Ireland, utilizing extended techniques for Hess, piano; James Piorkowski, gui - flute when appropriate. Visit digstation.com or musicfrom - tar; Danna Sundet, oboe; and Jody marrs.blogspot.com. Guinn, harp. Among works featured on the CD are Gary Schocker’s “Hannah’s Glade ” for flute and Conn-Selmer Institute, the educational division of Conn-Selmer, piano, Lowell Liebermann’s Trio No. 1, op. 83, for flute, cello, Inc., has created a music education resources Web site offering a and piano, and Glen B. Cortese’s “I Dream’d in a Dream” for clearinghouse of the most requested technical information, flute and piano, inspired by text of Walt Whitman. Visit cen - manuals, and student education aids available through Conn- taurrecords.com or [email protected] . Selmer. Resources are divided into five sections: educational resources; music educator tools; trial offers; links to other Conn-Selmer product information; and latest news from Conn-Selmer. Educational resources are provided by instru - Sonaré Winds has released its newest 700 series flutes, with ment and include fingering charts, teaching guides, student 14k rose gold and the Powell Sound that originates with practice records, links to articles in Keynotes Magazine , and Verne Q. Powell Flutes, the parent company of Sonaré general instrument instruction guides. Adobe Acrobat is Winds. Each Sonaré flute has a hand-cut Powell headjoint required to view the materials. The music educator tools and a body made with the Modern Powell Scale at the section provides a comprehensive library of useful information, Boston area workshop using Powell’s patented Zinki tech - tools, and links to assist educators. New items are added on a nology. The rose-gold-plated flutes come in three basic con - regular basis. Conn-Selmer, Inc., a manufacturer of band figurations: SF-707, the 705 model with a gold-plated lip and orchestral instruments and accessories, is a subsidiary plate and crown; SF-708, with gold plating on the entire of Steinway Musical Instruments, Inc. Visit conn- body and headjoint and silver-plated keys; and SF-709, with selmer.com. The music education resources Web site is at rose gold plating on the entire flute. The new gold flutes http://education.conn-selmer.com/. debuted at NAMM in January.

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RREEVVIIEEWWSS Reviews of flute-related recordings, books, and other items of interest Books The Right Place, lost gambling during an Australian tour in 1986. We find out the Right Time! how Peck came to commission the Morton Gould flute con - certo, and how he refused to perform John Corigliano’s Pied Donald Peck Piper Concerto because he would have to parade on stage in a © 2007 Indiana University lavender cape. Press One of the most interesting chapters is a diary, with a para - graph or two for each day, of a four-week European tour in t one point in discussing 1981. Not only does he recall what was played on every pro - Ahis 42-year orchestral gram but also how the individual rehearsals went, how the career with the Chicago acoustics of the hall affected each concert, who was at the Symphony, Donald Peck post-concert parties, and what was served to eat. He similarly notes that his first concert describes the season concerts as well as the CSO recording ses - on tour with the orchestra sions. Anyone with that wealth of detail either kept copious included Richard Strauss’s journals, has a superhuman memory, or is making it all up. Ein Heldenleben , as did his last concert on tour, making He tells a story of how Daniel Barenboim remembered what him feel as if he had come he had performed in 1956 (40-some years earlier) when Peck full circle and indeed lived “a hero’s life.” The chronicle of that remembered it incorrectly, but Peck need not apologize for his life is detailed, highly personal, and extremely entertaining. own memory. It all sounds as if it happened yesterday, and the Although Peck claims that the book is about “living, and reader is living the experience along with him. people, and the world, with a touch of music thrown in,” it is Peck talks candidly about what orchestral musicians like a grand feast of musical name-dropping of people and pieces. and dislike in conductors; what works and doesn’t work in Actually, there is a great deal of music thrown in, and any recording sessions (obsolete now, with the changing face of flutist will enjoy hearing about the vagaries of different con - the recording industry, but still interesting); and the rigors and ductors’ tempi in the great solos of the orchestral repertoire, as rewards of touring the world. well as about the personalities of conductors, singers, record - Appendices include lists of CSO recordings, with conductor ing engineers, and soloists. Neither foibles nor attributes (pos - and soloist, during Peck’s tenure; opera performances by the itive or negative) are overlooked; no one is spared, especially CSO from 1957 to 1999; Peck’s solo appearances with the CSO music directors and guest and staff conductors of the CSO. from 1960 on, with date, conductor and venue (55 of them); The book is rife with anecdotes. We learn how Jean-Pierre and Peck’s non-CSO concerto performances. Rampal loved Peck’s car (a blue Citroen), and how much Peck —Susan Goodfellow

CDs Piccolo et Flûte à that a gentleman, or, less commonly, two gentlemen would l’Opéra play the flute and a lady the piano. Such gentlemen would © 2008 Void Echo Records never have considered becoming professional musicians, but that does not suggest that they were in any way inferior in their he flute has always been instrumental skills. Ta popular instrument for The flutists who became professionals would be of a lower the amateur musician, and social class, and the finest of them were also skilled, if not in times before radio, TV, necessarily imaginative, composers. They existed in and the Internet took away England, France, Germany, and Italy, but when it came to social evenings for family opera it was Italian arias that were being sung on the streets, and friends, much music and the paraphrases of Italian operas that were in the greatest was written for just such evenings. In the 19th century, opera demand. So it was that Italian virtuosi such as Briccialdi, was a most popular form of entertainment, and there was Rabboni, Hughes, and Ciardi recycled the genius of Donizetti great demand for arrangements for home use. It was typical and Verdi in addition to composing their own works.

70 The Flutist Quarterly Spring 2009 nfaonline.org The most prolific of these was Briccialdi, yet, surprisingly, his Caprice de Concert, op. 104, on themes from Arrigo Boito’s he is not included in this CD, which features Jean-Louis Mephistopheles, and his Première Fantaisie, op. 70, on themes Beaumadier on piccolo, Shigenori Kudo on flute, and Anne from Verdi’s Aida. (The titles in French rather than the origi - Guidi on piano. Instead we have five duets from Rabboni, nal Italian are from the CD.) The Boito is the only solo, and is Hugues, and Ciardi. Of particular interest is the fact that one played by Beaumadier on piccolo. of the flute parts is played on piccolo, something that histori - Beaumadier spent 12 years as piccolist with the National an Gian-Luca Petrucci in his liner notes says is “fully respect - Orchestra of France, and has continued to make the piccolo his ful of practices current in the 19th century.” Without scores to specialty as a soloist and clinician. Kudo left his native Japan to reference, I assume the performers are playing as written, with study with Jean-Pierre Rampal in Paris. He performs interna - the first flute part sounding an octave higher on piccolo; it tionally as a soloist. Their performances are truly excellent, works well. with great virtuosity where called for as the melodies are Giuseppe Rabboni (1800–1856) is represented by his Pensieri embellished, and familiarity with the substance and style of del Rigoletto, his arrangement of themes from Verdi’s master - the originals clearly apparent. There are many delightful piece; Cesar Ciardi (1818–1877) by his Duetto concertante, op. moments such as the twittering of the winds accompanying 121, on themes from Donizetti’s Lucia di Lammermoor, and his the Grand March from Aida in the piano. Most of the Duetto on themes from the same composer’s rarely heard Maria melodies will be familiar to any opera buff, who is advised to Padilla ; Luigi Hugues (1836–1919) by his Grand Fantaisie de enjoy these arrangements for what they are—lots of fun. Concert, op. 5, on themes from Verdi’s Un Ballo in Maschera, —John Wion

O’Reilly Street also treated to the spirit of Tiempo Libre with four newly com - James Galway and posed works by pianist and band leader Jorge Gomez. Galway Tiempo Libre acquires a more popular and intense style of performance very © 2008 Sony BMG Music easily. His precise articulation matches the piano so well that Entertainment at times it sounds as though they merge into a single per - former. For the CD’s conclusion, Gomez arranged J.S. Bach’s ir James Galway collabo - Badinerie movement from the Orchestral Suite No. 2 in B Srates with the Cuban timba Minor. This is more of a metamorphosis than an arrangement , ensemble Tiempo Libre on as the ensemble takes themes from this classical treasure and this exciting new CD. Galway reinvents them in a classic Afro-Cuban style. wanted to work with this This CD comes highly recommended for those looking for ensemble after listening to its electrifying recordings on his fresh ideas. It is also a reminder that flutists are encouraged to iPod. The CD includes movements from the Claude Bolling Suite for Flute and Jazz Piano. Galway and Tiempo Libre be versatile in their performance styles more than ever before. If breathe fresh life into the well-known Bolling Suite, famous for the nearly 70-year-old Galway can keep pushing the boundaries, its jazz/classical cross-over, by adding a Cuban dimension with listeners and performers must be prepared! the inclusion of Afro-Cuban percussion and zest. Listeners are —Tess Miller

Carl Vine: son; Still evokes a mood of reflection and sorrow. The vir - Sonata for Flute tuosic performance of the exceedingly difficult work, Alexa Still Sonata for Flute by Carl Vine, wows the listener. Kudos to pianist Stephen Gosling for his outstanding interpretation © 2008 KOCH on this work as well. Entertainment Another outstanding track is “Black Anemones” by Joseph Schwantner, for flute and piano. The varieties of tone colors arl Vine’s Sonata for employed by the flute are amazing. Russian composer Sofia CFlute is a challenging gem of the flute repertoire. Gubaidulina provides two of the works masterfully played by Alexa Still’s CD includes this Still. “Allegro Rustic Ana” reminds the listener of other difficult work and many Russian works by Prokofiev and Taktakishvilli; the character of other pieces that have been written since the 1950s. This the flute playing is charismatic and delightful. Also by album contains 12 works by such diverse composers as Ian Gubaidulina is “Sounds of the Forest,” played effortlessly with Clarke, Sofia Gubaidulina, and Joseph Schwantner. Still great musicality. shows incredible versatility in this amazingly diverse Still is providing a great service to flutists by recording and album, and she offers the listener recordings of works that championing new works for the flute. Still is an artist of the may not be familiar to every flutist. Her expressive playing highest caliber, and this CD is of the utmost quality. in Paul Schoenfield’s “Achat Sha’alti” is beyond compari - —Kimberlee Goodman

nfaonline.org Spring 2009 The Flutist Quarterly 71 CDs Two Sextets for Piano gotten afterwards. Thuille’s Sextet in Bb Major, op 6, was writ - and Winds: Ludwig ten in the years following his graduation and published in 1889. The work, which demonstrates Thuille’s gift for melody, Thuille and Joseph was deservedly championed by his friend, Richard Strauss, and Rheinberger its youthful charm has kept it in the wind quintet repertory ever Baird Winds with since. Thuille’s four movements are traditionally constructed Chia-Ling Hsieh (with a delightful Gavotte instead of his teacher’s typical © 2008 Ballpark Records Minuet), yet their harmony often shows a Wagnerian influence. Rheinberger, though older, came to this combination of he Baird Winds, with instruments somewhat later, and less felicitously. His Sextet, Tflutist Jacob Roseman, is op. 191b, of 1899, was his reworking of his fourth Piano a wind quintet made up of faculty members at Morehead State Trio—one wonders if it was created on request. Residing more University in Kentucky. Apart from campus concerts in Baird in the world of Brahms, this mature work, also in four move - Hall (hence its name), the quintet plays concerts in surround - ments, does not offer the sheer delight of Rheinberger’s earli - ing areas and has done so for some 30 years. For this CD it has er None for strings and winds. Whereas the Thuille in a sense chosen one of the better-known works for this ensemble (the plays itself with its lovely melodies, the Rheinberger’s worth is other being by Poulenc) and a lesser-known one from the less obvious, and more conviction and direction are needed to same period. Ludwig Thuille (1861–1907), the first composer, make its point. I feel that here, particularly, a stronger presence was a student in Munich of Joseph Rheinberger (1839–1901), of the piano, which has a distant, subdued quality throughout the second composer. They are both examples of composers the CD, would reinforce the ensemble’s climactic moments. who were highly esteemed in their lifetimes but generally for - —John Wion

Johann Nepomuk Beethoven, or even late Mozart. These works have the charm - Hummel: Chamber ing, familiar structure of a Mozart Serenade, and several Music at Schönbrunn include direct quotes from the composer. The music includes vigorous technical lines and sweeping arpeggios accompanied Red Cedar Chamber by meaty melodic material. The musicians masterfully per - Music form numbers 1 and 2 of “Grande Sérénade en Potpourri, op. © 2007 Fleur de son 6,” featuring fortepiano, guitar, violin, flute, and cello. These quintets, performed on authentic period instruments, have an ne does not normally unusual texture not found in many recordings of music of this Oassociate Hummel with era, due to the use of the fortepiano. “Trio op. 78” for flute, flute repertoire; in fact, the cello, and fortepiano includes two movements. The composer wrote very few solo flute works. Flutists are lucky to Introduction or Cantabile opens with pianoforte alone and is have several chamber works to choose from, and five are pre - sented on this CD. Jan Boland, flutist, and John Dowdall, gui - joined by the cello, before the flute adds to this luscious com - tarist, have been creating chamber music together for more bination. The second movement, Theme and Variations, pres - than 10 years, and collectively founded Red Cedar Chamber ents seven variations on the Russian folk tune “Scone Minka.” Music, which also here includes Theresa Board, fortepiano; “Potpourri op. 53” for fortepiano and guitar rounds out this Timothy Shin, violin; and Loretta O’Sullivan, cello. outstanding presentation. Listeners may guess the creator of this music to be Shubert, —Kimberlee Goodman

La Flûte Française capacity for chamber music artistry. Fried tackles several stan - Paul Fried dard show pieces including “Airs de Ballet d’Ascanio ,” by Saint- © 2005 Golden Tone Saëns, “Fantasie Brilliante sur Carmen ,” by Borne, and Records Concertino , by Chaminade. Interspersed are well-known pieces to round out the French musical experience, including Debussy’s f you are looking for a col - “Syrinx” and La fille aux cheveux de lin , Varèse’s “Density 21.5 ,” Ilection of show-stoppers and the mammoth Sonata in A Major by Franck. or crowd-pleasers on one Fried and Thies work hard for impeccable precision, but as CD, then look no further a result, some musical gestures lack excitement and intensity. than La Flûte Française . The dryness of the recording makes it easy to decipher tricky Paul Fried, who has enjoyed a varied career including orches - passages and transitions that require a great deal of nuance tral work, studio recordings, teaching, and touring, recorded and flexibility , making it a great CD for students or teachers this CD on his own label, Golden Tone Records. Fried works looking for clean performances of these standards. with pianist Robert Thies , who demonstrates his stunning —Tess Miller

72 The Flutist Quarterly Spring 2009 nfaonline.org CDs John Solum tions do not disappoint. From the delightful Hummel Sonata Live in Concert in D Major, op. 50, to the esoteric Rheinberger “Rhapsodie” John Solum and Wilson “Music for Solo Flute,” the performer’s adept his - toric consideration provides a diverse and rich palette from ©2007 MSR Classics which to perform with deftness and whimsy. Staples, like the Ensecu Cantabile et Presto, Caplet Reverie et Petite Valse, and ive recordings provide a Milhaud Sonatine, satisfy the flute audience’s expectations wonderfully illustrative L with performances of integrity. The recording concludes with insight to any performer’s musicianship, from raw what Solum describes as an encore, Köhler’s Schwalbenglug, technical ability to interpre - op. 72. This work with orchestra, the only studio recording on tive prowess. This remas - the disc, is wonderfully performed with a lightness and vigor tered recording from a live performance at Vassar College in that is sure to delight. Joined by pianist Irma Vallecillo, 1985 wonderfully replicates the artistry and ambience. In Solum’s playing is replicated with great fidelity. The natural addition, this is a fine example of programming divergent soundscape of the performing venue fully affords both musi - repertoire that satisfies an audience. The repertoire is chrono - cians freedom to experiment with dynamics and articulation logically presented on this album, but Solum identifies the without loss of balance and richness of the overall sound. original order, much to the benefit of performers. The selec - –Brian Luce

Anton Reicha number 2 in A Minor, are often performed absent the requisite Woodwind Quintets repeats: however, the Westwood Quintet makes excellent use of the full-scale structures to experiment with articulation, phrase Volume 4: op. 91, shape, and volume as only such a longstanding group can. No. 1 & 2 At first hearing, the painstaking attention to just intonation Westwood Wind might be interpreted speciously, especially contrasting the ver - Quintet tical sonorities with the horizontal melodies. However, the © 2005 Crystal Records care taken to execute this period-appropriate tonal shape pro - vides the listener with a different approach to the standard ontinuing the long - repertoire. The ensemble performs with exceptional ensemble Cstanding tradition of coordination and impeccable balance, especially during recording the masterworks of the wind quintet, the 49-year- repeats where liberty is taken in lyric playing. This accuracy in old ensemble’s Reicha project provides musicians with thor - coordination is especially evident in the soli passages of the oughly researched performances and general audiences second movement, Andante, of the A Minor Quintet. insight to the repertoire of the early Romantic period. Along A reference recording that will enhance any quintet with performing from the carefully researched scores of library, this is the first of many discs that will catalog Charles-David Lehrer and the benefit of scholarship by Reicha’s seminal works for the medium. Along with the Millard Laing, the ensemble performs with diligent attention Westwood Quintet’s many recordings of wind quintet reper - to the practice of just temperament, thereby complimenting toire, the album provides historical accuracy with a singu - the original melodic intent with robust sonorities. larly different sonic character. The two quintets, from opus 91, number 1 in C Major and –Brian Luce

Montage: Four and brief Neilsen opens the album, followed by charming, Centuries of Music straightforward performances of arrangements of the Sonata for Flute and Harp in C Major, op. 5, of Luigi Boccherini and Rossini’s Andante Sandra Lunte con variazioni. These two works best showcase the performers’ ©2007 Centaur Records languid and subtle lyricism. By contrast, Jongen’s “Danse lent,” International Ibert’s “Entr’acte,” and Miyagi’s “Haro No Umi” are played with great control and consistency of coloration with a bit of rom the opening cut on wry wit. The duo’s most powerful and determined perform - Fthis CD, Nielsen’s “The ances on the CD are Schocker’s premiere recording, Fog is Lifting,” to Faith “Chimera,” and Charles Rochester Young’s “Song of the Lark.” Carman’s arrangement of The warm and docile “En prière,” by Fauré, closes the CD with a Fauré’s “En prière,” this recording includes many of the staples gentle simplicity. The CD serves as an excellent reference of the of flute and harp repertoire, while containing a premiere included repertoire with performances of integrity and grace. recording by Gary Schocker. Recorded in Ball State The inclusion of Schocker’s new work will undoubtedly assist University’s wonderfully sonorous and transparent Sursa Hall, those in their own performances who haven’t heard the piece. the duo performs with great clarity and ensemble. The lovely –Brian Luce

nfaonline.org Spring 2009 The Flutist Quarterly 73 Music Médailles Antiques are the best known; they are available in several editions. Now for flute, violin, Smith has edited some lesser known works, based on the orig - and piano inal manuscripts. Gaubert’s style is not really new but follows the ideas of Phillippe Gaubert, ed. Fauré, Debussy , and Ravel. The instrumentations for trio Fenwick Smith ensemble are of course very much the Sonata for flute, viola , © 2006 Masters Music and harp by Debussy, and many elements from this piece, such Publications, Inc. as the unisono playing by flute and violin/cello and the con - tinuing of the melody on a unisono tone that changes color, are sometimes almost literally copied. Nevertheless , Gaubert’s music is nice because there is so much natural musicality in it. Gaubert, Complete A performer has to be familiar with the (super-French) style, Works for Flute 1, 2, because it is not an easy one to play. The tempo sometimes and 3 doesn’t remain the same from one measure to the next, as is Fenwick Smith also true for the dynamics, the sonorité , and the expression. © 2003 Naxos The music flows and sings and is written for flute very well. The “Pièce romantique ” is (following after “Madrigal ” for enwick Smith was flute and piano) in fact a most simple composition. The two Ffirst flute at the other pieces are sometimes rather complicated. As is the case Boston Symphony Orch- in the work by Debussy , musicians have to make decisions estra from 19 78 to 2006. with some passages about how to continue in tempo, He also joined for several years the Boston Pops Orchestra, dynamics, musical lines. But students who add these com - performed with a woodwind quintet, and has an ensemble. A positions into their repertoire can learn to give their palette well-rounded musician! In between , he has recorded on three much more possibilities. Listening to the CDs of Fenwick CDs the complete works for chamber music with flute by Smith can be of great help. Philippe Gaubert. Of this music , the works for flute and piano —Mia Dreese

Images from Mt. Justin Marschall, a senior at West High School in Waukesha, Tahoma, for Solo Wisconsin, rated the difficulty of the solo bassoon part for high school as a six (out of 10). He noted that, “depending on the skill Bassoon (or cello or Bb level of the bassoonist, some of the passages in the upper regis - clarinet), by Deborah J. ter could pose” some difficulties, though for “a good player, Anderson range shouldn’t be an issue.” He further noted that some high © 2008 Alry Publications, school bassoonists “don’t have much experience with tenor clef” Etc., Inc. and that “some of the 16th note and triplet runs would definite - ly require a bit of practice to perfect (especially those in upper or a college level flute choir register).” For a college-level bassoonist, Justin rated Images “a F(or advanced high school four to five.” The piece “has a great melody and a well-written group) looking to feature one bassoon part that showcases the instrument’s wide melodic of these instruments, this is a range.” Multiple key signatures also add to the overall interest of perfectly delightful piece. Its the piece. “Extended 16th note and triplet passages intrigue both programmatic nature makes it especially appropriate for per - the performer and audience,” says Justin. “It isn’t very often that formances in outdoor venues (I thought of Aspen, or, of course, a bassoonist has the opportunity to play such a melodic part Washington State). As Deborah Anderson writes in her notes, with an ensemble made up of woodwind instruments.” Tahoma is the Native American name for Mt. Rainer, and it In River , “tempo changes add to the … forward-moving means “roughly ‘the mountain that is god,’ or ‘near to heaven.’ ” melody and driving rhythms” that establish the rushing river’s Each movement begets visual and auditory images of its title: force. “Forest ,” writes Justin, “quietly invites the listener into a River (“the force and unpredictability of rivers formed by glacier musical walk with nature” with lovely moments of silence to aid run-off”); Forest (“the cool and dense areas still covered with one’s introspective mood. Finally, the “sudden changes in patient old trees”); Wind (“a more violent aspect of the moun - dynamics, tempo, meter, and mood in Wind musically illustrate tain…sudden shifts of mood and tempo”). The seven flute parts the unforgiving characteristics of this part of the mountain.” (including alto and bass), even with the 32nd note passages and One can only hope that this piece is snatched up by an ensem - some mixed meter passages, all lie easily under the fingers. ble eager to exploit its audience’s natural affinities with nature Having had no experience playing the bassoon, I asked a very and fortunate enough to have a soloist waiting in the wings for fine high school bassoonist to take a look at the solo part and such a unique opportunity for melodic soaring. provide me with insights. —Cynthia C. Stevens, with assistance from Justin Marschall

74 The Flutist Quarterly Spring 2009 nfaonline.org Music Benedetto Marcello: or forte and only a few ornaments and articulations indicated. 12 Sonatas for flute This should bring praise from the “authentic” performance and continuo, op. 2, crowd, but it could be a bit problematic for those with little baroque performance practice experience. The set comes with a Volume I separate continuo part as well as a realized keyboard part. The (sonatas 1–6) realization of the continuo is straightforward, which will help an Revised by Angelo inexperienced baroque player; an experienced player could Persichilli embellish further if desired. These sonatas would make wonder - © 2008 Riverberi Sonori ful teaching pieces for an instructor, with the understanding to make tasteful suggestions as to articulation and simple orna - his is a set of quite mentation. These sonatas actually are for recorder, not traversa. Tcharming sonatas, little Of course, this makes very little difference to the “chromatic” jewels of the Italian baroque, modern flute player. As is typical of music for the recorder, key by a contemporary of J.S. signatures of these sonatas all stay between two flats and one Bach. This edition is based sharp. The tessitura is fairly narrow. on the 1712 first printed edition of these sonatas. In this new The printing is clear, easy to read, and the layout of the page is edition, changes were to correct “obvious errors” in the original. good. There are no page turns to distract the flute player. The Any additions the editor made that were not to correct errors print itself seems a slight bit smaller than to which we are accus - are “clearly marked as such.” What we have is a very clean tomed, but it is still very readable. edi tion, with no expression marks beyond an occasional piano —Keith Pettway

s stated in “A note to teachers” at the beginning of this book - Alet, “the material corresponds to the Associated Board’s aural requirements for music examinations….” Each chapter clearly outlines what to expect during the examination, correct proce - dure and responses, and what the student needs to know to be successful. The step-by-step instructions include tips on how to listen, what to listen for, ways to practice, and several musical examples. Each section concludes with a brief page of “Survival Tips ,” which reinforce in a nutshell several of the concepts dis - cussed earlier in the chapter. The author has created several acronyms throughout that students may find helpful as memory aids. The booklet also includes a glossary of terms at the end. Grades 6, 7, and 8 are the most advanced booklets in the series to date. Topics covered in these three booklets include singing from memory and at sight; identifying cadences, chords, modu - Aural Test Survival Book, Grade 6 lations, keys, and meter; describing and discussing the music (in Aural Test Survival Book, Grade 7 terms of style/period, form, tempo, texture, tonality, rhythm, Aural Test Survival Book, Grade 8 articulation, dynamics); and clapping rhythm. The level of skill and expectations increases through the series but progresses at a Caroline Evans very manageable pace to insure confidence and success. © 2007 CF Peters Edition Limited —Rebecca Hovan

Solo Flute : with widespread use of harmonics and trills, all carefully Friedrich Leufgen— explained in the glossary that prefaces the work. The melancholy theme that follows is a beautifully rich funeral march, which Schattenland undergoes a gradual transformation, incorporating more and (Shade Country) more new sounds as it progresses. The style is reminiscent of an © CF Peters/Zimmermann extended cadenza, and allows for technical displays as well as emotional depth in the melody itself. This enjoyable and chal - lenging piece would make an excellent addition to a recital pro - his is an interesting, well- gram for an advanced student. It serves well as an introduction Tpresented work that makes to extended techniques without the addition of some of the use of an array of contemporary complex musical ideas one often encounters in contemporary techniques. The opening section music, and is rewarding to play. is atmospheric and expressive, —Carla Rees

nfaonline.org Spring 2009 The Flutist Quarterly 75 Music

Flute Quartet or including Ben Nevis and the castle itself, with a strong influ - Choir : Catherine ence of Scottish folk music. Composed with four C flutes in McMichael —Falconer mind, melodic interest is given to each of the four parts, mak - © 2008 Alry ing them equal in terms of difficulty and significance. For the most successful performances, this requires players of roughly equal standards, although the music is not particularly techni - his is an interesting Tpiece of moderate stan - cally demanding and would suit young performers well. The dard, comprising four movements are individually short and contrasting, with the movements. Depicting an faster movements taking the forms of energetic Scottish old Scottish castle, Castle dances. The programmatic concept of the work fuels the Stalker in Loch Liach, the imagination and, as one would expect from McMichael, the movements are descriptive flute parts are practical and convincing. Well worth exploring. of elements of the area, —Carla Rees

Three Miniatures for rhythms, including the wildly frenetic offbeat rhythms that Flute and Piano, chatter between piano and flute, make this no ordinary Lento! by Anthony Plog The second miniature begins with the flutist facing away from the audience and playing very slowly into the piano (lid up); © 2007 Editions Bim gradually, the player turns to face the audience with the flute moving out of the piano. This miniature in 12/8 (eighth note hese tightly constructed at 96–102) glides gracefully through a tantalizing chromati - Tminiatures challenge both pianist and flutist with cism that then crashes with no pause into the blindingly fast a rhythmic unconventional - Allegro vivace of the third miniature. Beginning with a stacca - ity reminiscent of Robert to 5/4 (quarter note at 160–180), this final miniature ram - Muczynski’s Sonata for pages through meters, shifting constantly between simple and Flute and Piano. Although compound, legato and staccato, duple and triple rhythms. the first miniature is This piece is exactly as composer Anthony Plog has described marked Lento with the it, the outer movements “quirky and angular” with the second eighth note at 120–132, the movement “more lyrical and calm.” Total performance time is sextuplet staccato section requires a facile triple-tonguing eight minutes. technique, and the abrupt shifts between duple and triple —Cynthia Stevens

Dialogue for Flute duction to hearing 20th-century tonalities. Within its two and Piano, pages, the melodies flip gracefully between piano and flute, by Richard Lane and the lushly fluent Andantino pauses only fleetingly for a quasi recitative in mixed meter before resuming its original © 2006 Editions Bim tempo. The range is between G1 and F#3, lying easily under the fingers and thus encouraging the smoothest of executions. his is an absolutely A lovely piece. Tdelightful three-minute —Cynthia Stevens piece “in which the elegant melodic and harmonic materials are well balanced between the two instru - A plethora of publications live on ments and highlighted by the NFA Web site— smart rhythmical move - find repertoire lists compiled by the ments.” Written for two pedagogy committee, research bibliographies, friends, both prominent Flutist Quarterly Archives, and more at psychiatrists with obviously sophisticated tastes and abilities, this recital piece would be for nfaonline.org. intermediate to advanced high school students a perfect intro -

76 The Flutist Quarterly Spring 2009 nfaonline.org

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

NFA OFFICE Local Arrangements Chair Program Book Bio Editor Endowment Michele Smith Lisa Van Dusen (2007) Zart Dombourian-Eby (2007) Chief Executive Officer 25 Plaza St. West , #1E 26629 N 45th Pl 2515 10th Ave. W. Phyllis T. Pemberton Brooklyn, NY 11217 Cave Creek, AZ 85331 Seattle, WA 98119 The National Flute Association, Inc. h: 718.399.1842 480-473-4877 206-285-0206 26951 Ruether Ave., Ste. H w: 212.817.1996 [email protected] [email protected] Santa Clarita, CA 91351 [email protected] 661-713-6013 Gala Fundraising Dinner Chair Forum/Web site fax: 661-299-6681 Convention Equipment Chair Angeleita Floyd (2008) Brian Luce (2008) [email protected] Kimberlee Goodman 3743 Beaver Ridge Cir. P.O. Box 210004 University of Arizona 3309 Old Providence Ln. Cedar Falls, IA 50613 Convention Director ph/fax: 319-268-1001 Tucson, AZ 85721 -0004 Madeline Neumann Westerville, OH 43081 520-621-7015 614-805-5261 cell: 319-290-2852 26951 Ruether Ave., Ste. 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Mitchell (2008) 26951 Ruether Ave., Suite H 15300 Pearl Road, Suite 112 4635 Rutherford Rd. 4820 Redcastle Ridge Santa Clarita, CA 91351 Strongsville, OH 44136 -5036 Powell, OH 43065 Nashville, TN 37211 661-299-6680 440-238-5577 740-881-5008 615-386-9089 fax: 661 -299-6681 fax: 440 -572-2976 fax: 740-881-5252 fax: 615 -832-7888 [email protected] [email protected] [email protected] [email protected] Piccolo High School Soloist Piccolo Artist Flute Research Committee Chair Mary Kay Ferguson (2004) Ruth Ann McClain (2007) Rebecca Arrensen (2004) Michelle Cheramy (2007) 3420 East Fairfax 5760 Barfield 1429 Stoney Creek Cir. School of Music Cleveland Heights, OH 44118 Memphis, TN Carmel, IN 46032 Memorial University of Newfoundland 38120-2054 317-818-0004 St. John’s, Newfoundland 216-321-2713 Canada A1C 5S7 [email protected] 901-683-4110 [email protected] fax: 815 -846-1556 709-737-7477 [email protected] Professional Flute Choir [email protected] Special Publications Diane Boyd Schultz (2006) Patricia Harper (2008) Grants Committee Jazz Flute Masterclass University of Alabama 38 Oak Dr. Danielle Hundley (2008) Holly Hofmann (2005) School of Music, Box 870366 Centerbrook, CT 06409 Tuscaloosa, AL 35487 1124 Collier Rd. 1125 Via Las Cumbres Moscow, OH 45153 860-767-0629 San Diego, CA 92111 205-348-7110 fax: 205 -348-1473 513-876-0885 [email protected] 858-292-1814 fax: 513 -362-6709 [email protected] [email protected] [email protected] COMPETITION COORDINATORS Young Artist Jazz Flute Big Band International Liaison General Coordinator Donna Shin (2008) Matej Zupan (2004) Ali Ryerson (2009) University of Washington School of Music Lisa Garner Santa (2007) 12 Longview Dr. C.9. Avgusta 72 Box 353450 1410 Zagorje ob Savi School of Music Brookfield, CT 06804 Seattle, WA 98195 -3450 203-740-2044 Slovenija, Europe Texas Tech University 206-543-9877 386 40 811 811 Box 42033 [email protected] [email protected] fax: 386 1 516 11 34 Lubbock, TX 79409 -2033 aliryerson.com [email protected] 806-742- 2270, ext. 2 59 ARCHIVES AND LIBRARIES [email protected] Masterclass Performers Legal Advisor to the Board Jill Heyboer (2007) NFA Librarian Linda Mintener Baroque Flute Artist Music Department Bob Diaz 3976 Plymouth Cir. Nancy Schneeloch-Bingham (2007) Missouri State University NFA Music Library Madison, WI 53705 901 S. National Ave. c/o University of Arizona Libraries 608 -231-1680 Hayes School of Music Springfield, MO 65897 1510 E. University fax: 608-266 -3049 Appalachian State University 417-836-4875 Tucson, AZ 85721 -0055 [email protected] Boone, NC 28608 [email protected] 520-621-7010 828-262-6447 [email protected] Masterclass Reporter, Flutist Quarterly [email protected] National High School Flute Choir Lee Chivers (2008) Virginia Schulze-Johnson (2007) OTHER APPOINTMENTS 1933 E. Renee Dr. Phoenix, AZ 85024 Collegiate Flute Choir Department of Music Director of Public Relations 623-580-5244 Dorli McWayne (2008) Drew University [email protected] 780 Merlin Ln. Madison, NJ 07940 Ann Rosenblum (2008) Genevieve Spielberg Inc. Fairbanks, AK 99709 484-663-3674 NFA Library Liaison 907-479-6701 [email protected] 12 Princeton St. Summit, NJ 07901 Sandy Schwoebel (2008) [email protected] 2102 E. Florence Dr . Newly Published Music 908-608-1325 Tucson, AZ 85719 fax: 908-608-1326 Convention Performers Jennifer Robin Lau (2007) 520-321-4821 [email protected] [email protected] Sally Humphreys (2008) Center of the Arts www.gsiartists.com 380 E St. MSC04 2570 1 University of New Mexico Myrna Brown International Liaison Salt Lake City, UT 84103 Flute Choirs Coordinator Angeleita Floyd (2007) 801-355-8859 Albuquerque, NM 87131 Kelly Via (2007) 505-401-2398 3743 Beaver Ridge Cir . [email protected] 965 Daisy Ct. [email protected] Cedar Falls, IA 50613 Lawrenceville, GA 30044 ph/fax: 319-268-1001 Ph/Fax DMA/PhD Dissertation 770-935-1379 319-290-2852 cell Orchestral Audition and Masterclass [email protected] [email protected] Michelle Cheramy (2007) Jennifer Parker-Harley (2008) School of Music University of South Carolina Flute Clubs Coordinator Myrna Brown Society Memorial University of Newfoundland School of Music Christine Cleary (2004) Eva Amsler (2007) St. John’s, Newfoundland 813 Assembly St. 2022 Wedgewood Dr. 1650 Snowball Wy . Canada Columbia, SC 29208 Grapevine, TX 76051 -7706 Tallahassee, FL 32301 A1C 5S7 803-777-4853 817-421-6663 850-877-2096 [email protected] [email protected] [email protected] [email protected] At the Wm. S. Haynes Company, a dedication to the highest level

of craftsmanship is at its core. Flutemakers use old world skills in combination with forward thinking ideals to produce the most revered ßutes in the world. Historically, Haynes has developed crafting techniques and methods that have been adopted as the paradigm in the

ßutemaking industry. When

you play a Wm. S. Haynes ßute, you know that you are playing

an instrument with a history of

more than 100 years of mastery

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

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