VOLUME XXXII, NO.S3 PRING 2007
THE LUTIST QUARTERLY
THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION, INC
Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXII, NO. 3 SPRING 2007 DEPARTMENTS 5 From the President/Chair of the 76 From Your Convention Board of Directors Manager 9 From the Editor 77 ¡Viva La Flauta! Planning Your Trip 13 Letters to the Editor to Albuquerque 15 High Notes 78 From the Development Director 19 Across the Miles 79 From the Treasurer 23 NFA News 81 Passing Tones 26 Student Spotlight 84 New Products 29 Notes from Around the World 32 Canadian News 86 Reviews 40 35 The Inner Flute 94 NFA Office, Coordinators, Committee Chairs 71 From the 2007 Convention Program Chair 97 Index of Advertisers FEATURES 40 Felix Skowronek: On Stage with the Soni Ventorum Wind Quintet by Megan Lyden One year after the death of Felix Skowronek, his wide-ranging legacy is recalled— as a flutist and teacher, valued NFA leader, advocate of the wooden flute, and founding member of one of the world’s longest-lived wind ensembles. 48 Commissioned Works from the High School Soloist Competition: A Brief History of the NFA Event by Ronda Benson Ford As the NFA, now in its fourth decade, sits poised on the threshold of the future, this article reflects back, documenting the creation of one of the organization’s many valuable assets: the annual high school soloist competition. 52 Samuel Baron: Artist, Teacher, Mensch 52 by Katherine Fink In this year noting the 10th anniversary of his death, a former student and colleague recalls the talents and temperament of flutist Samuel Baron, whose pedagogy was so legendary that his words of advice have come to be known as “Baronisms.” 58 Summer 2007 Masterclasses compiled by Tony Watson
Cover Photo: Courtesy the collection of Felix Skowronek
THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE,SUITE H SANTA CLARITA, CA 91351
FOUNDED NOVEMBER 18, 1972 IN ELKHART,INDIANA
This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the National Flute Association, Inc., which reserves the right to refuse to print any advertisement.
ISSN 8756-8667 2007 National Flute Association, Inc. 48 26
nfaonline.org Spring 2007 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] President Alexa Still Sydney Conservatorium of Music Macquarie St. Sydney, NSW 2000 Australia 011 61 2 93511266 fax: 011 61 293511287 (attn: Alexa) [email protected] [email protected] Vice President Patti Adams 2840 Coliseum St. New Orleans, LA 70115 504-895-5908 [email protected] Immediate Past President Katherine Borst Jones 4635 Rutherford Rd. Powell, OH 43065 740-881-5008/614-292-4618 fax: 740-881-5252 [email protected] Secretary Carol Dale Department of Music University of Mississippi Scruggs Hall 131 Oxford, MS 38677 662-801-2978 [email protected] Treasurer Teresa Beaman Department of Music CSU, Fresno 2380 E. Keats Ave. Fresno, CA 93740-8024 559-278-3975 [email protected] Assistant Secretary Lori Akins 5113 Glenaire Dr. Dublin, OH 43017-9479 614-766-1838 [email protected] BOARD OF DIRECTORS Robert Aitken (2006–2008) 14 Maxwell Ave. Toronto, ON M5P 2B5 Canada 416-481-4967 fax: 416-481-0040 Zart Dombourian-Eby (2006–2008) 2515 10th Ave. W. Seattle, WA 98119 206-285-0206 [email protected] Amy Porter (2006–2008) 1647 Broadway Ann Arbor, MI 48105 734-623-4853 [email protected] Joanna Bassett (2007–2009) 85 Maywood Ave. Rochester, NY 14618 585-383-0650 [email protected] Beth Chandler (2007–2009) 626 Sunrise Ave. Harrisonburg, VA 22801 540-574-3772 fax: 540-568-7819 [email protected] Hal Ott (2007–2009) Department of Music Central Washington University Ellensburg, WA 98926 509-963-1103 fax: 509-963-1239 [email protected] From the PRESIDENT Transforming the NFA he NFA has achieved remarkable The most visible decision of our recent success in fostering a myriad of work was the creation of a formal market- Tflute-related activities and provid- ing strategy. Assuming all goes according ing a way for us to share our passion with to plan, we will introduce a new, profes- each other. In fact, the NFA has grown so sional development/marketing director at successfully, it has taken on a life of its the 2007 convention and launch our own. During my NFA service as a board fundraising and membership drive when member, program chair, and now presi- everything is in place. dent, I (and others) have come to realize We also have devised guidelines for that the NFA is impressively busy doing an seeking corporate sponsorship of NFA incredible amount, but without the sense convention events. Hand-in-hand with of direction that could most effectively this is our new policy regarding promo- utilize our collective efforts. tion at NFA events, which will be detailed Decisions—and changes—are initiated in your convention program. This policy through a systematic, twice-a-year will help enhance our convention while process. The full board of directors, con- retaining affordable registration fees. sisting of the executive committee (presi- Other results of our recent reorganiza- dent, immediate past-president, vice pres- tion work will be seen gradually. We are ident, secretary, and treasurer) plus six busy trying to put in place structural Alexa Still board members, takes care of business changes that will require full board during the annual convention, being approval and a revision of the bylaws. sequestered away for meetings early each These include renaming positions to align and a direction for fundraising efforts and morning, plus a day or two beforehand. the organization with terms that for-prof- marketing. This is especially vital when the This is the only time we can gather all of it businesses understand (see my byline full board meets only once a year. these volunteers together in one place. For for an example); slight changes to our Further into the future, more of our many years, the five members of the EC terms of office in the interest of continuity plans from this winter will come to have also held supplementary midwinter (taking effect with new elections); the fruition. Please check the NFA Web site meetings in January to work on interim board’ inner workings; and the nomina- often. I will post updates on our progress business and special issues. tion/election process. there—and, beyond these nuts-and-bolts At the conclusion of the 2006 summer Subject to the full board’s approval, we organizational details, you also will find board meetings, the EC was charged with are making significant changes to the “cul- many other important updates about creating a vision for the NFA’s develop- ture” of how the NFA has been operating. NFA and convention happenings. ment program. In the winter 2007 issue of We needed to recognize that the structure Most immediate among these are the The Flutist Quarterly, I discussed the need was working most unusually, with the biographies and statements of our nomi- for our endowment to grow to make our board managing many aspects of operat- nees for the 2007 elections. This year we dreams possible. We were at that stage ing NFA’s business. This organization also debut our on-line voting process! where it seemed logical to seek out a con- began as a handful of volunteers, and has While we are busy with this work, we sultant but weren’t sure where to begin. In grown through the labor of many more want you to be planning your trip to a remarkable answer to our prayers, we volunteers. Because we have so many Albuquerque, bringing your students, were generously provided with profes- wonderful people contributing so much sional guidance from the Duquesne for this big organization, it is extremely your friends, your fans! This issue contains University Institute for Non Profit important to have lines of communica- enticing information, but you will want to Leadership—for expenses-only cost. At tion and responsibility very clear. On a be in New Mexico this August to fully our midwinter meeting, we held a retreat pragmatic, day-to-day level, the increasing understand how good a convention can with an advisor from this organization. difficulty of achieving that clarity under be. Nancy Andrew has been plotting this This retreat work was inspirational and our current system has resulted in intense with a rare intensity. Her love of the productive. It became apparent that, to micromanagement of the staff, hamper- Southwest will make this convention a dis- develop efficiently and achieve our wish ing their ability to do their jobs. On a more tinctly special one, and her ambition to list, we needed to make the organization big-picture scale, freedom from managing program the best of the best is unstop- much more cohesive and streamlined. We many of the organization’s routine tasks pable. Join me in August, when we can live finished our midwinter meeting full of would allow our board and committees to out the words of our new mission state- hope, energy, and confidence that the NFA work independently toward artistically ment: Enriching the musical lives of flutists. can be a profoundly important institution driven goals within the NFA’s vision. The for even more flutists, and we have a great association needs the board of directors to —Alexa Still plan for heading in the right direction. focus more on the vision, the future plan, President/Chair of the Board of Directors nfaonline.org Spring 2007 The Flutist Quarterly 5 2NC[ YKVJ EQPHKFGPEG
SHUIHFWLRQ (YHU\ QXDQFH HYHU\ QRWH 7KH FRPSHWLWLRQ LV VWURQJ EXW \RX NQRZ \RX·YH JRW ZKDW LW WDNHV WR SHUIRUP VR \RX FDQ SOD\ ZLWK FRQILGHQFH³HYHQ XQGHU SUHVVXUH 0L\D]DZD ZZZPL\D]DZDFRP LQIR#PL\D]DZDFRP Burkart instruments are at once beautifully hand-crafted works of art and ultimate performance tools for the flutist. Now the classic elegance of the professional flute and piccolo is enhanced by precision in parts and innovation in materials. In the hands of the player, Burkart instruments deliver the full promise of any piece of music, in any style. · Crafted in silver, gold and platinum · Integrated key system · Super silent key action · Expert hand assembly · Meticulous tonal voicing · Precision that plays 2 Shaker Road #D107 Shirley, MA 01464 USA 978-425-4500 · www.burkart.com THE FLUTIST QUARTERLY Anne Welsbacher, Editor John Bailey, Christine Cleary, Tadeau Coelho, Chelsea Czuchra, Kiku Day, Mia Dreese, Amy Hamilton, Sandra Howard, Lyndie Mostart, Mary Procopio, Contributing Editors Tony Watson, 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 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, M.D. Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board Robert Dick Adjunct Associate Professor of Flute New York University Composer/Performer New York, New York Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Patricia George Professor, Performer, Masterclass Teacher, Author 5BJ )FJ 4IBLVIBDIJ Pocatello, Idaho Ruth Ann McClain Flutist and Studio Teacher * - "" 1/ - Memphis, Tennessee >iÀÊvÊÌ i Gwen Powell Professor of Music Emerita University of Arizona - 1 1/ Tucson, Arizona Brooks de Wetter-Smith - >Õ >V Êi>`ÌÊvÀÊÌ iÊ-ÛiÀÊÕÌi James Gordon Hanes Distinguished Professor of Flute ÊÛiÀÌV>Þ i`Ê ÞLÀ`ÊÃÌÀÕiÌ University of North Carolina–Chapel Hill VL}ÊLÜ}ÊÃÌÞiÃÊEÊÌiV µÕiÃÊ`ÃÌVÌÛiÊÌÊÌ iÊÌÀ>`Ì>Ê Chapel Hill, North Carolina >«>iÃiÊà >Õ >V ÊÜÌ ÊÌ iÊV>ÃÃV>Ê7iÃÌiÀÊ i ÊyÕÌi° John Wion ÌÃÊ-Ì>`>À`Ê ÊÀÊ ÊÌ]ÊÌÊEÊ7`ÊÕÌià Professor of Flute The Hartt School West Hartford, Connecticut ÜÜÜ°Ã >Õ >V °V National Flute Association, Inc, Staff " /9 ° 6 -" ] *°"° "8 Ó{] 7 /-] x{ä Phyllis T. Pemberton, Executive Director / \ ÇäÇ® {xÎ{äÓ U 8\ ÇäÇ®{xÎ{Î{ U ÌÞJà >Õ >V °V Anne Welsbacher, Publications Director Madeline Neumann, Convention Manager Maria Stibelman, Membership Manager Brian Covington, Web Design Consultant From the EDITOR The Living Böhm Legacy y family traces back to southern Ludwig organizes or is involved with Germany; beyond that fact, I conventions, festivals, and other events, Mknow little about it. Ludwig many around significant dates, such as Böhm and I share southern German the First International Theobald Böhm roots, but very little else—and particu- Competition for Flute and Alto Flute, larly notable among our differences is held in Germany last November, on the the degree to which Böhm knows his 125th anniversary of Böhm’s death. own family tree. He has written and But Ludwig’s penchant for bringing compiled hundreds and hundreds of people together around a common pages, traveled thousands of miles, held denominator began long before the and researched countless numbers of Böhm conventions. In 1970, Ludwig’s flutes, and spoken with people virtually father organized a family reunion, and everywhere on the planet in his quest— Ludwig decided to update his family most likely successful—to know more tree, which he found sadly lacking than anybody alive about his great-great because it dated only up to 1936. (The Anne Welsbacher grandfather, the man who revolutionized front end goes back to 1498.) “My the flute in the early 19th century: father invited 120 descendants to the Theobald Böhm. reunion,” Ludwig notes. “Afterwards, Today, Ludwig continues to research Theobald Böhm is best known for his others called and asked, why didn’t you and write about his great-great grand- development, in 1831, of a mechanical invite us? We told them because we didn’t father, and is midway through the flute system that better accommodates know you existed.”The tree grew to 250 writing of a 10-book documentation. the fingers, no matter their size or people, and then to 350. “From The teaching career for which he had shape, of a flutist’s hand. But beyond Theobald Böhm came one daughter studied in college never materialized. this crowning achievement, Theobald and seven sons and 54 grandchildren,” “This is now my career,” he says. also taught, performed, and composed Ludwig notes, “living in South Africa, There is one other thing that I share for the flute—in each case and by all Australia, Chili, the U.S., Portugal, Spain, with Ludwig Böhm: neither of us plays accounts exceedingly well. Great Britain, and France.” the flute. In 1981, some reporters asked His great-great grandson knew little His discovery of the family chronicles Ludwig to hold a flute while posing for of any of this until 1979, after he stum- was followed by the 1981 events, and a photo.“I didn’t know how to hold it— bled on a thick, 550-page chronicle of then more research through the decade left hand? right hand?” He decided his family—50 pages of which were for programs, existing Böhm flutes, that, given his convention and other devoted to Theobald—and became reviews, letters, articles, and more, tak- appearances, it was a disadvantage not curious to know more about his roots. ing him around the globe and through knowing how to play, so he took up In 1981, the centenary of Theobald’s forests’ worth of pages. Whenever he the instrument—using a silver Böhm death, Ludwig spoke at the NFA conven- traveled for research, he included and Mendler flute with an open G- tion and at an exhibition event in tourist side trips, visiting Bora Bora on sharp key, similar to the one his great- Munich. In 1983, after finally graduating the side of a swing through Australia, great grandfather had favored. (with credentials to teach English, for example, and stopping at reserva- “But I had no musical talent, and French, and Spanish), he put his shoulder tions in the American Southwest and after four years, I decided, there are so to the wheel and got serious about a task Upper Midwest to learn more about many talented flutists in the world, and that would consume him for the next 25 what Ludwig says is a common passion, anyway Theobald would turn over in years—and continues today. early on, for many German boys: Native his grave if he heard me,” says Ludwig. “In 1981, when an exhibition organizer American history and culture. By the “I am a specialist on his life; nobody asked me about him, I knew he did early 1990s, he determined that his col- knows as much about him as I do. That something about the flute,” Ludwig lection of materials was more or less would have to do.” Böhm said in a recent phone conversa- complete, and it was time to turn to tion. “Today, I have a room completely completing manuscripts documenting —Anne Welsbacher filled [with materials by and about his ancestor’s career in time for the 1994 Böhm]; I don’t know where to put it all.” celebration of his 200th birthday. nfaonline.org Spring 2007 The Flutist Quarterly 9 Keefe Piccolos Introducing The C# Trill Patent pending At the NFA Convention in Pittsburgh, we unveiled our new C# trill mechanism for the conical piccolo. 54 Church Street Winchester, MA Over the years, many players have asked about the possibility of having 01890-2501 the C# trill key on the conical piccolo. After all, the C# trill is one of the most 781.369.1626 tel useful and popular additional mechanisms on the flute. After years of working on this problem, we are very pleased to be able to offer a C# trill mechanism that produces all of the standard trills found on flutes with the C# trill key, including the high G to A trill. www.keefepiccolo.com Please see our website for further information. ,W·VDQ\WKLQJEXWRUGLQDU\ $UDUHEOHQGRITXDOLW\DQGEHDXW\FXOWLYDWHGLQWKHULFKWUDGLWLRQRI -DSDQHVHIOXWHPDNLQJ/\ULFLVDK\EULGRIWHFKQRORJ\IURPDURXQG WKHZRUOGFUDIWHGWREULQJRXW\RXUYHU\EHVW³DZRUOGO\IOXWHGHVLJQHG IRUWKHLQGLYLGXDO'LVFRYHU\RXUSRWHQWLDOZLWK/\ULF ZZZO\ULFIOXWHVFRP Letters to the For Love or Money EDITOR egarding the Student Spotlight baroque music), in a local klezmer band, and with a consortium Rarticle by Susie Woo (“Music— of amateur and professional string players. Profession or Hobby?” The Flutist Thus my activities in music have been a terrific avocation, Quarterly, fall 2006): I am a cardi- which I hope to continue into retirement. I have had the privilege ologist at the opposite place in life of attending three National Flute Association conventions and vis à vis “profession or hobby”; I have met many wonderful professional and amateur flutists who started a practice 33 years ago and have influenced me strongly to persist in my musical activities. I relearned the flute 10 years ago. As I wish you well in your fellowship and hope we can meet in the decided how I was going to spend future and play some duets. my later years, having watched many patients willingly or unwillingly —Alan Bartel, MD retire from their occupations for Virginia Beach, Virginia health reasons, and also many colleagues retire gracefully or ungracefully from medical practices, I decided to try to resume my I have been extremely negligent in practice and was greatly musical interests, which had been squelched by demanding encouraged with the article. The ideas are practical and can eas- premed, medical, and family commitments. When I voluntarily ily fit within my crazy lifestyle. Although my playing is primarily stopped taking night and weekend calls in our busy group, I decid- for my own enjoyment, it is always better to sound good and ed to see if I could remember how to play the flute, which I aban- experience a performance that is worthy of a good musical ear. doned in junior high school. I rented a flute and connected with a Susie Woo is blessed and extremely fortunate to have advanced teacher, who was kind enough to take me on as a student and still to the level of music and medicine to be of significant contri- regularly allows me to improve. Despite having to start from bution to each. Thank you for the article. ground zero, I was encouraged and challenged by my teacher, —John Jaklich friends, and family to continue, and have had a wonderful experi- ence with flute playing. Coeur d’Alene, Idaho After a lot of practice and persistence, I have had the privilege Editor’s note: We also received correspondence expressing a different of forming new and rewarding friendships in the flute and reaction to this article, but unfortunately, the writer did not include music community—quite a contrast to the medical community. contact information, and we were unable to include her letter here. We I have played in weddings, a local flute choir, with two piano look forward to hearing from you, but please include your full address accompanists (one of whom is a pathologist specializing in and an e-mail address or phone number for identity verification. Correction Breaking and Entering An incorrect advertisement for Patricia Harper’s residential summer flute classes appeared in the winter 2007 issue of especially enjoyed the Student The Flutist Quarterly. The correct ad appears in this issue, ISpotlight article “Breaking and containing accurate dates of Harper’s 2007 summer classes Entering the Recording Business” in in June and those of a new July class being offered in the winter 2007 The Flutist Monterey, California. We apologize for the error. Quarterly. I was disappointed to get to the end of the article, though, and not find the name of the recording that the author, Amy Puderbaugh, made. It was a CD based on an ele- mentary level book, and as a flute teacher, I would be interested in getting it! Thanks for any information you can give me about the CD. —Elizabeth Pickens Scottsdale, Arizona Editor’s note: NFA policy discourages specific reference to products by authors in editorial content, but since you asked, we are delighted to share this information. Amy Puderbaugh’s CD is titled Fun with the Flute, and is published by Mel Bay. nfaonline.org Spring 2007 The Flutist Quarterly 13 High Notes News and activities about the accomplishments of National Flute Association members and the flute world Conor Nelson, right, and Minnesota Orchestra conductor Osmo Vanska. Prema Kesselman, winner at the Sir Malcolm Arnold Festival. lutist Conor Nelson won the grand prize in the 51st lutist Prema Kesselman won the concerto competition at Fannual young artist competition January 7, sponsored by Fthe Sir Malcolm Arnold Festival, held in Northampton’s the Minnesota Orchestra’s Volunteer Association WAMSO. Royal & Derngate Theatre in England, October 21, 2006. The grand prize, a subscription concert performance with The festival, held to celebrate the life of composer Malcolm the orchestra, has been awarded only six times in competition Arnold, took place on the weekend of what would have been history. No flutist has ever received the grand prize. his 85th birthday; Arnold died September 23, 2006. Nelson was among six finalists competing on stage for Kesselman performed the Malcolm Arnold Concerto for performance opportunities, cash prizes, and scholarships. In Flute, No. 2, Op. 111 (1972) with the Arnold Ensemble, con- addition to the subscription concert performance, Nelson ducted by Matthew Taylor. A representative of Trinity received a $1,000 award from the Minnesota Orchestral College of Music, Kesselman competed with five other wind Association; the $5,000 WAMSO Young Artist Award; the soloists who were nominated by the five other major conser- $2,500 WAMSO Achievement Award; a taped performance vatoires in Britain and who each performed an Arnold con- on McGraw Hill’s Young Artist Showcase, WQXR, New York; certo. Kesselman will perform as a soloist with the Royal and the Erma Strachauer First Place Medal. Philharmonic Orchestra at the Royal and Derngate Theatre A 24-year old from Toronto, Ontario, Nelson is a doctoral in Northampton on June 3. candidate at SUNY–Stony Brook where he studies with NFA Kesselman is an active solo, chamber, and orchestral musi- member Carol Wincenc. cian, performing throughout the U.S. and Europe. She was The young artist competition is open to musicians who born in New York and began her serious musical training in have not passed their 26th birthday by the date of the com- Los Angeles, where she attended the Colburn School of petition and who play instruments that have permanent Performing Arts. In 1999, Kesselman won third place in the chairs in the orchestra. This year’s competition attracted 68 NFA high school soloist competition. She graduated with applicants who submitted CDs heard by three-judge panels highest honors from Temple University–Boyer College of in instrument categories. From this group, 17 were invited to Music in Philadelphia, where she studied with David Minneapolis-St.Paul to compete in the live semifinal round Cramer, associate principal flute of the Philadelphia before a panel of seven judges. Six finalists were chosen to Orchestra. In 2005, Kesselman presented a New York solo perform the next afternoon at Orchestra Hall for a live recital debut at Carnegie Hall, which included two world audience and three judges: Osmo Vanska, the music director premiere compositions. She moved to London in September of the Minnesota Orchestra; pianist Noriko Ogawa, who 2006 to study flute with Wissam Boustany on the MMus soloed with the orchestra the week of the competition; and course at Trinity College of Music, sponsored by a Jack Kent Peter Lloyd, the Orchestra’s long-time principal bass. Cooke Foundation Graduate Scholarship, which is one of GREG HELGESON : “This is really big, really big,”said Wincenc when told of her the largest, most competitive scholarships available in the LEFT student’s award. “Flutists never win competitions like this.” performing arts in the United States. nfaonline.org Spring 2007 The Flutist Quarterly 15 HIGH NOTES percussion, and piano. The Da Capo ensemble includes Patricia Spencer, flute; Meighan Stoops, clarinet; David Bowlin, violin; André Emelianoff, cello; and Blair McMillen, piano he Musician Enrichment Foundation, a newly formed T501(c)3 nonprofit arts organization, held its first fund-raiser dinner October 12, 2006, in Phoenix, Arizona. Jim Walker, flutist, was the guest performer and speaker. The Musician Enrichment Foundation Flute Ensemble also performed flute choir works arranged and conducted by Walker. Carol Mellis, Rachel Mellis, and Jeanie Pierce joined Walker in a quartet of Bach’s Badinerie, arranged by Walker. The PLACe Music Academy String Ensemble provided The Da Capo ensemble, clockwise from lower left: André Emelianoff, David prelude music, and Danny Doyle called the gathered Bowlin, Meighan Stoops, Patricia Spencer, and Blair McMillen. guests to dinner with a trumpet fanfare. Walker performed flute, piccolo, and pennywhistle to an audience of 60 he Da Capo ensemble premiered a piece written by Eric guests with classical, jazz, and movie selections. TChasalow specifically for the group November 21, 2006, The mission of the Musician Enrichment Foundation is at Merkin Concert Hall in New York City. Flute Concerto to support chamber music and other music enrichment (Three Love Poems) was written with a commission from the opportunities for musicians of all ages and abilities. For Koussevitzky Foundation. The composer described the piece more information on the Musician Enrichment as a flute “chamber concerto”—a practical arrangement for the Foundation, contact Carol Mellis at 602-301-3641, or by classic new music ensemble of flute, clarinet, violin, cello, mail at P.O. Box 38118, Phoenix, AZ 85069. learn. play. create. Largofor Alto Flute* and Piano by Ludwig van Beethoven Transcribed by Theobald Boehm Edited by Dr. Andrea Redcay Graves Flutists universally recognize Theobald Boehm (1784-1881) as the creator of the modern concert ÁXWHLQ&EXWKLVIDYRULWHÁXWHZDVDFWXDOO\WKHPRGHUQDOWRÁXWHLQ*ZKLFKKHFUHDWHGLQ 3URJUHVV3UHVVLVSURXGWRLQWURGXFHWKLVORYHO\DUUDQJHPHQWLQWZRIRUPDWVRQHIRUWKHDOWRÀXWHDV%RHKP LQWHQGHGDQGWKHRWKHUIRUWKH&)OXWHUHFRJQL]LQJWKDWPDQ\ÀXWVLWVZKRZRXOGOLNHWRH[SORUHWKHEHDXW\RI WKLV%HHWKRYHQWUDQVFULSWLRQPD\QRWKDYHDFFHVVWRDQDOWRÀXWH progress pp press For more information and for ordering instructions check our website: www.progress-press.com DiMedici Artist Series flutes provide features that allow accomplished and developing flutists to produce a rich, personalized sound. Each flute combines an improved standard embouchure cut on a Sterling Silver headjoint and options such as 14K gold risers, gold-plated lip plates, Sterling Silver tubes and elegant engraving to create a customized touch. he only choice—Yamaha. TWhy? We have world class designers, state-of-the-art manufacturing techniques and are committed to producing the industry’s most consistent, superior-sounding instruments available. Just three of the many reasons Yamaha is un- paralleled in providing artists with the world’s premier line of musical instruments. ©2007 Yamaha Corporation of America Yamaha is a registered trademark of Yamaha Corporation of America. All Rights Reserved. www.yamaha.com Across by Christine Cleary the Miles News about flute club and flute choir activities throughout the United States A new piece has been composed following a Scotland On January 28, the CFC hosted the First Annual Member trip and performance in May 2006 by the Chattanooga Showcase Concert. Ten Chicagoland CFC professional Flute Choir. (See Across the Miles, fall 2006.) The choir’s flutists gathered to perform an assortment of works from the conductor, Nora Kile, said that after the CFC’s perform- popular Schirmer publication, Flute Music, edited by L. ance with the Carluke Primrose Orchestral Flutes flute band, Moyse and featuring French composers. Featured CFC Scottish composer Alexander Abbott was so impressed with member artists were Hideko Amano, Jennie Brown, Gerald CFC member Ginny Winston’s performance on piccolo and Carey, Sue Gillio, Cate Hummel, Ellen Huntington, Linda first flute that he wrote a piece for her, “Ginny’s Moods.” Marianiello, Lisa Goethe-McGinn, Kim Sopata, and Jennifer Winston is a flute major at the University of Tennessee at Swanson. On February 24, CFC members attended the Chattanooga. She programmed the work for her junior Patricia George Flute Spa. George is flute professor at recital in February 2007 and invited Abbott to come from Brigham Young University, Idaho, and at the Sewanee Northern Ireland to hear her perform the premiere. Abbott Summer Music Festival. She is also principal flute of the attended the performance and wrote 14 flute choir works Idaho State Civic Symphony and the Sewanee Festival for the CFC. “Hard to Handel” was inspired by the CFC’s Orchestra. The Flute Spa was a six-hour participatory master- performance of Handel’s Overture to the Royal Fireworks class and clinic. The 2007 Chicago Flute Fair was held at Suite, an arrangement by Kile, and performed by the combined Northeastern University in Chicago on March 11. The Fair choirs of CFC and CPOF. Two days after Winston’s recital, all included workshops, exhibits, and competitions. The Flute of the flute choirs in the Chattanooga area came together to Fair was highlighted with a recital and masterclass featur- perform all 14 of Abbott’s new compositions. ing Rhonda Larson. Next season’s CFC Flute Fair will be held in November and will feature artist Emmanuel The Chicago Flute Club has completed another season of Pahud. Visit chicagofluteclub.org for more information on events. The first gala event, held October 16, 2006, featured all CFC events and artists. the flute and harp duo Capriccio with flutist Donna Milanovich and harpist Stephen Hartman performing in The Flute Association at Florida State University, a member recital and teaching a masterclass. Highlights included of the FSU Student Government Association, brings Capriccio’s arrangements of George Gershwin’s Three world-renowned flutists to its campus and education to Preludes for Piano and the Sonata for flute and harp by Nina FSU students and the Tallahassee community. The association Rota. November 12, 2006, the Chicago Flute Club held its cosponsored a concert by the Chris Norman Ensemble with annual student competition. The event drew 72 young flutist J.L. Smith and Co. on September 15, 2006, featuring folk participants. The competition included three divisions: ele- music from Europe and Canada. The association also mentary, for students up to grade 6; junior, for students in cosponsored the Flute Summit Health and Healing grades 7–9; and senior, for students in grades 10–12. Traditions from the Americas, October 13–15. Alberto Winners of the elementary division are Tess Thompson, Almarza, James Pellerite, and Kevin Locke were guest artists first place; Sunhyeok Kim, second place; and Lauren at the summit, performing on the classical flute as well as McAndrews, honorable mention. Winners of the junior the baroque flute and native flutes of the Americas. The division are Evan Fojtik, first place; Kristina Murray, sec- summit included a memorial concert in honor of the late ond place; Samuel Lai, third place; and Tess Bottorff, hon- Charles DeLaney, featuring performances from Michel orable mention. Winners of the senior division are Matthew Debost, former students and colleagues, and the FSU Flute Wright, first place; David Pierringer, second place; Christine Choir. Also featured were seminars on the history and tradi- Murphy, third place; and Ryan Zerna, honorable mention. tions of native flutes in North and South America, the influ- nfaonline.org Spring 2007 The Flutist Quarterly 19 ACROSS THE MILES ence of these traditions on classical flute compositions, and Highlights of the Greater Portland (Oregon) Flute Society’s Native American storytelling and dance. The Flute fall season were performances by flutist Steve Kujala with Association at FSU gives special thanks to flute professor Eva guitarist Peter Sprague at All Saints Episcopal Church in Amsler and ethnomusicology professor Benjamin Koen for Portland on November 4, 2006. The society performed an directing this event. The Flute Association at FSU is led by eclectic program of mostly jazz standards and original com- students and has more than 50 members. Elected officers for positions by Kujala and Sprague. Marilyn Shotola conducted 2006–07 are Ellen Johnson, president; Sarah Jane Young, vice the annual flute choir reading session, “Cocoa, Cookies, and president; Angela Combs, secretary; Jessica Gist, secretary; Choir,” at Portland State University on October 28, 2006. and Natalia Fuentes, treasurer. To bring guest artists to cam- The spring season included the annual members’ recital pus, the group organizes receptions and fund-raisers; the February 4; a recital of the Oregon Symphony’s new principal current project is a cookbook that contains more than 70 flutist, David Buck, March 16; and guest artist Michel family recipes submitted by members, as well as pictures of Debost appearing in recital April 13 and teaching workshops the FSU flute studio. The association also distributes a free and a masterclass at the annual GPFS Flute Fair on April 14. biannual newsletter, highlighting the musical events and More information on all events can be found at gpfs.org. accomplishments of members. To be added to the mailing list or for more information about the cookbook or the associa- The Houston Flute Club presented its Flute Fest at the tion, send an e-mail to [email protected]. University of Houston, Moores School of Music, on March 10. The guest artist this year was Mary Stolper from DePaul Flutissimo! Flute Choir performed the national anthem in University in Chicago. The event featured an advanced level May 2006 for a Texas Rangers baseball game. The per- masterclass and a recital by Stolper, who also was a judge for formance capped a spring concert series based on the theme the seventh annual Byron Hester Competition. Five finalists Send in the Clowns. In June, Flutissimo! made its first CD, were chosen from tapes received from across the country to T’was the Night Before Christmas, which includes Sonny come and perform in the live final round. The winner Burnett’s arrangement by the same name. The fall concert received $1,000 and a chance to play a recital at the 2008 series, Fantasy Land, drew 25 players. For its Christmas Flute Fest. Other activities included the Denise Jennings series, the choir performed at a local church, a mall, two Flute Competition for all age levels, masterclasses for middle retirement communities, and a Toys for Tots event held by school and high school students, a performance by the 2006 the Texas Rangers at the stadium. On February 24, the group Byron Hester Winner, and a performance by the Webster performed “The Secret Language of Snow for Flute Choir Trio, made up of Leone Buyse, flute; Michael Webster, clarinet; and Orchestra” with the Northeast Orchestra at Texas and Robert Moeling, piano. The festival also featured an Wesleyan University in Fort Worth, and on February 25, exhibit hall and performances by the Houston Flute Club Flutissimo! performed at the Meyerson in Dallas for a lobby Flute Choir. concert prior to a performance by the Dallas Symphony Orchestra and James Galway. In May, the group will per- form a Child’s Play series, featuring the world premiere of The International Flute Choir Festival at Fresno Pacific “Serenata,”by David Uber. A recording was made and sent to University held its 10th annual festival February 16–17. the composer, who has agreed to dedicate the piece to The guest artist was Mimi Stillman. The evening of Flutissimo! Flute Choir when it is published. Flutissimo! February 16 included a recital by Stillman, a performance Flute Choir encourages flutists in the Dallas–Ft.Worth area by Janette Erickson and Pamela Ellzey, and performances who wish to perform with the group to contact Janice by Les Flutes Enchantees and Flautas Pacifica. On Spooner at 817-283-1213. Members of the choir come in a February 17, the festival continued with classes, perform- variety of sizes, ages, and abilities; anyone who loves the flute ances, exhibits, and free flute repairs. For more informa- is welcome. tion, visit flutechoirfestival.com or contact Janette Erickson, director, at [email protected]. The Greater Cleveland Flute Society hosted a flute festival geared for flutists in grades 8–12 on March 3. The festival The International Flute Orchestra will be traveling to was held at the West Shore Unitarian Universalist Church Greece in May, performing in Athens, Trikala, and in Rocky River, Ohio. The day-long festival featured guest Patras. After the tour, many of the members will take a artist and clinician George Pope. There was a fundamentals cruise to the Greek Isles of Myconos, Rhodes, Patmos, and workshop, a select flute choir, flute choir reading session, Kusadasi. John Bailey will conduct the 38-member orches- instrument care workshop, raffle, and finale concert. For tra. For information about the IFO, contact director Nancy more information, visit gcfs.org. C. Clew at [email protected]. 20 The Flutist Quarterly Spring 2007 nfaonline.org The Kansas City Flute Choir and the University of Kansas The Rochester (New York) Flute Association held its annual Flute Choir presented two joint concerts March 30, in Flute Fair October 27–28, 2006, with guest artist Gary Lawrence, Kansas, and April 1, in Kansas City, Kansas. Schocker. Events included a recital and masterclass with David Fedele, professor of flute at the University of Schocker, a concert showcasing local flute choirs, flute Kansas–Lawrence, was the featured soloist on an arrange- choir reading sessions, exhibits, workshops, and the annual ment of Vivaldi’s Goldfinch Concerto for flute solo and flute competition and winners’ recital. Congratulations to the choir. Fedele is also the director of the KU Flute Choir. The winners: Lisa Frauens (adult category), Rebecca Copek Kansas City Flute Choir is codirected by Townes Osborn (high school category), and Michael Hsin-en Liu (college Miller and Emily Smith. The concerts were part of a collab- category). Honorable mention was awarded to Bryan oration between the flute choirs, which included a day-long Guarnuccio (adult category), Miriam Nussbaum (high workshop in February. school category), and Stephanie Trop (college category). Photographs can be found in the November/December The 2007 Madison Area Flute Festival will be held at the newsletter on the RFA Web site at rfaonline.org. University of Wisconsin’s Pyle Conference Center on April 14. The festival includes masterclasses, a young artist competi- Rose City Flute Choir’s fall season included a joint concert tion, guest artists, vendor exhibits, and a gala concert. The fes- with the Metropolitan Youth Symphony Flute Choir, tival hosts pedagogical presentations and solo and ensem- directed by Marcy Lohman, on November 11, 2006; and ble performance opportunities. Additional information is holiday performances at the Grotto’s Festival of Lights, on available by contacting Bridget Morrey Seals at 608-434-2286 December 2, at Mary’s Woods Retirement Center, on or at [email protected]. Applications are available from December 5, and at Westside Methodist Church in [email protected] or at madisonfluteclub.org. Beaverton on December 7. The spring season featured per- formances at the Greater Portland Flute Society’s Members Magic Flutes Flute Choir will perform its annual spring Recital on February 4 and two weekends of performances of concert at St. Matthew’s Catholic Church in May. Featured Peter and the Wolf at the HART Theatre in Hillsboro, works are the “Flower Duet,” “Spring” from Vivaldi’s Oregon, March 2–11. Upcoming spring events include a Seasons, “Simple Gifts,” and “Amazing Grace.” Magic performance at the Flute Fair April 14, and the spring Flutes is based in San Mateo, California, and is directed by concert May 5. For more information on performances, Pamela Ravenelle. visit phyllislouke.com The Raleigh Area Flute Association flute choirs performed The Texas Flute Society cosponsored a masterclass led by holiday music in December 2006 in a shopping center, James Galway, in Dallas for a pops concert with the Dallas historic home, and two churches. The third annual Solo Symphony Orchestra, in February. Performers were selected Fest, a graded repertoire examination based on scales, by a recorded audition process: one senior/junior high etudes, and solos, was held March 17. Patricia George school student, one undergraduate student, and one will present a concert, adult amateur masterclass, and adult/professional flutist. Several TFS members and teachers “flute spa” on April 15. The Members Recital on May 20 also were selected for the Texas All-State bands and orchestras. will feature RAFA members performing solos and in Members in these groups were chosen through a three- small ensembles and flute choirs. For more information round audition process and were placed in orchestras and visit raleighflutes.org. bands during the Texas Music Educators Association annual convention in San Antonio, in February to rehearse for their The Raleigh Flute Choir celebrated its 20th anniversary concerts. Five all-region flute clinics were held throughout of providing the North Carolina Museum of Art’s the Dallas–Ft.Worth area by TFS members to provide Christmas Concert. The choir also was featured, for the instruction for the auditions. More than 200 young flutists 11th year in a row, at Duke Chapel’s first worship service participated. The 30th annual Texas Flute Festival will be of the new year. The new season brought new repertoire May 17–19 at the University of North Texas in Denton. and new venues. A new work from resident More than 1,500 flutists are expected to play solos and in composer/arranger Ann Cameron Pearce, an arrangement ensembles before recognized clinicians. Guest artists for the of several movements from Robert Schumann’s “Forest event are Leone Buyse, Fenwick Smith, Mimi Stillman, Elena Scenes” for a double quartet of flutes and strings, is featured Yarritu, Lisa Garner Santa, and the 2006 Myrna Brown this season. The main concert of the spring season will be Competition winner. The 22nd Myrna W. Brown Artist held May 1 and is part of the Saint Mary’s School Smedes Competition will occur May 17 and 18. Visit texasflutesoci- Parlor Concert Series. ety.com for entry details. nfaonline.org Spring 2007 The Flutist Quarterly 21 NFA News Updates on committee activities and other news of interest from the national office The special publications committee (Susan Waller, chair) is en la Piedra for flute and percussion. The commissioned pleased to announce the approval of the fourth volume of work is a mixed trio for flute, cello, and percussion. It will the NFA Historic Recording Series. This CD will showcase be performed by Luis Julio Toro, a major flutist of Latin the artistry of Maurice Sharp, who was principal flutist of the America and close friend of the composer. Toro also premiered Cleveland Orchestra from 1931 to 1982, an unprecedented Piedra en la Piedra at the 1991 Santa Fe Chamber Music tenure. The CD will include the rerelease of the LP, Music for Festival, 70 miles from Albuquerque. a Golden Flute, recorded in 1960 by the Cleveland Sinfonietta About his writing, Lorenz says, “I engage in music of all with Louis Lane conducting. The LP features works for solo types because I am driven by the desire to incorporate the flute and orchestra (“Poem,” by Griffes, “A Night Piece,” by wide emotional range they offer to my compositions. This is Foote, Concerto da Camera (with English Horn) by why I have maintained an active relationship with popular Honegger, and Serenade, by Hanson). The CD also will music and performance practices that are not necessarily include unusual archival material from the Cleveland notated while at the same time pursuing an extensive Institute of Music, including Sonata for flute and piano by training as a composer of notated music. What has made Beryl Rubinstein; Caprice on Danish and Russian Airs, Op. composing meaningful to me is precisely the challenge of 79, for flute, oboe, clarinet, and piano by Saint-Saëns; and achieving personalized, coherent, and fresh discourses out Sonatina for flute and accordion by Waldemar Bloch. of blending Western compositional techniques and ver- Perhaps the most distinctive aspect of this historic CD, nacular performance practices, particularly those from however, will be the inclusion of eight orchestral excerpts, Latin America.” representing some of the most famous flute solos in the Venezuelan-born Lorenz grew up in Caracas and later repertoire: Beethoven’s Lenore No. 3 and Symphony No. 3; had an 11-year residency in Chicago. The juxtaposition of Rossin’s Il viaggio a Reims, Mendelssohn’s A Midsummer these environments, he notes, had a major impact on his Night’s Dream, Scherzo; Brahms’ Symphony No. 4; artistic goals. Hindemith’s Symphonic Metamorphosis; Dvorak’s Symphony “I had the opportunity to fully immerse myself in, and No. 8, and Ravel’s Daphnis and Chloe. The CD will be produced become part of, rich urban communities fed by constant by SonyBMG and is slated to be ready for release at the 2007 influxes of diverse musical influences and practices,” says NFA convention in Albuquerque. Lorenz. “These extremely divergent experiences have strengthened my capacity to negotiate between personal Through the auspices of the new music advisory committee aesthetic concerns and the reality of reaching out to per- (Paul Taub, chair), the NFA has commissioned a work for formers and listeners of different cultural backgrounds. As flute by Ricardo Lorenz to be premiered at the 2007 con- a result, my awareness of how human nature manifests vention in Albuquerque. Lorenz was recommended as a can- itself through music has increased.” didate for the commission by flutist and NFA member Lorenz is associate professor of music composition at Stephanie Jutt, who had previously performed his 1991 Piedra Michigan State University. He was composer-in-residence of the Chicago Symphony Orchestra’s Armonia Musicians Residency Program (1999–2003) and visiting director of the Indiana University Latin American Popular Music Ensemble (2003–2005). He has collaborated with Latin American musicians Tito Puente, David Sánchez, Farred Haque, and Folkloristas de México. Premier orchestras in the U.S., Venezuela, Germany, Spain, Mexico, Sweden, and the Czech Republic have performed his works. He has received awards and commissions from Civitella Ranieri Foundation, Meet-the-Composer Midwest, Barlow Endowment, Concert Artists Guild, Ravinia Festival, and others, and served as composer-in-residence with Chicago’s “Music in the Loft” chamber music series and with the Ricardo Lorenz Billings Symphony Orchestra in Montana. nfaonline.org Spring 2007 The Flutist Quarterly 23 NFA NEWS The NFA Web site offers a wide variety of in-depth, flute- NFA elections are coming. The following are candidates for related resources. Here is a two-bit tour of just a few “rooms” next year’s officers and members of the board of directors for in the site. The tour continues in future issues. the National Flute Association. The resources section of the site includes subsections on Vice Chair/Chair Elect various topics of interest to researchers and flutists. Peruse (one is elected) the NFA library, whose collection now holds about 15,000 Leonard Garrison items, including special collections of music donated by Wendy Kumer flutists, rare editions, and out-of-print scores. Check out the listing of intermediate solo repertoire compiled by the Assistant Secretary pedagogy committee. Search for winning entries in the (one is elected) NFA’s biennial newly published music competition, selected Shelley Collins and compiled by the newly published music committee Emily McKay and specialists from the music community. Board of Directors Under flute related links, find listings and links of com- (three are elected, with one alternate) mercial members. Also here are links to the NFA archives Bickford W. Brannen housed with the Library of Congress and to the Dayton C. Daniel Dorff Miller Flute Collection. Christopher Krueger Information about instrument insurance purchasing Robert Dick opportunities for NFA members and about mailing labels is Three write-in candidates from the membership also available in the resources section. The cybermuseum features a minitour through the his- This year we launch our new online voting procedure. To tory of the flute, with information about significant play- learn more about these candidates, visit the NFA Web site, ers and teachers. We are always seeking to add to this sec- nfaonline.org, where biographies, photographs, and other tion. If you would like to contribute information from a past information can be found beginning in May. Online voting research paper or other ideas—or if you have suggestions will be available in early July. (Ballot postcards are avail- regarding other areas of the NFA Web site—please contact able upon request from the NFA office at 661-250-8920 or us at [email protected]. [email protected].) 24 The Flutist Quarterly Spring 2007 nfaonline.org Eurhythmionics for Piccolo and Piano by Steve Kujala What began as a modest piece entitled TAKE YOUR PICC (straight out of the famous Kujala family pun center) was premiered at the 1979 NFA Convention in Dallas, TX. Now its outgrowth, EURHYTHMIONICS, has ended XSDVDEHWWHUFUDIWHGDQGPRUHPDWXUHSLHFHRIPXVLFWKDW,IHHOLVÀQDOO\ZRUWK\RI WDNLQJLWVSODFHDORQJVLGH the growing concert repertoire for the piccolo. -Steve Kujala EURHYTHMIONICS is a hybrid of eurhythmy*, Europe ZKHUHPDQ\RI P\PRVWLQÁXHQWLDO composers/heroes came from), rhythm, and phonics. *Eurhythmy: rhythmical movement; a system of harmonious body movement to the rhythm of spoken words progress pp press For more information and for ordering instructions check our website: www.progress-press.com STUDENT SPOTLIGHT Piccolo Passion by Pethrus Gardborn The winner of the 2006 NFA piccolo artist competition describes how he came to the piccolo, and how he prepared for the national event. hen I was 4 years old, I began to play the violin grandmother. After I figured out how to make a sound, I because my parents wanted me to. I never really learned the instrument quickly. Wliked it, but I kept playing until I was 9, and then I At age 11, I had the opportunity to play the Concerto in C decided to quit. My intention to quit became very clear to my Major by Vivaldi with a chamber orchestra in the Royal mother when, one spring day just before a lesson, I climbed Chapel. Even though the piccolo, and later on the flute, turned high up in a tree in our yard and refused to come down unless out to be the right instrument for me, it was not easy to learn she promised me that I would not have to play the violin again. this concerto, and I had to work really hard to learn it. I woke My mother was quite concerned and thought that this was up extra early to practice the difficult spots—maybe ten the end of my musical career. But my violin teacher said measures at a time, three times flawlessly in a row—from the “let’s wait until after the summer to see what to do next.” By slowest notch on the metronome up to 120. that August, she had found a flute teacher for me, Jan However, after this occasion, the flute became more and Bengtson, the assistant principal flute of the Royal more prominent in my life. My teacher intended to help me Stockholm Philharmonic—who brought a piccolo to our first become more successful as a musician. There is not a large meeting. Bengtson had started out on the piccolo when he repertoire written for the piccolo—although it is growing— was only 4 years old, and therefore, I guess he thought it and I therefore spent many years practicing almost exclusively would be appropriate for me to do likewise. the flute and its repertoire. But I never totally forgot the piccolo. They asked me if I wanted to play the piccolo. Even though In Sweden, where I come from, wind bands are not as I do not recall this myself, I’ve been told that I answered, “I’ve popular as in America. I had the opportunity to play the flute always wanted to play the piccolo. It’s just my mother who with my school’s chamber orchestra, but it rarely had any forced me to play the violin”—whereupon they all laughed. piccolo parts. Therefore, the piccolo remained silent for a couple With this event, the violin era of my life ended. of years of my life. But it was revived again when, in fall 2005, I came to the New Sounds University of Cincinnati College–Conservatory of Music. Now My first assignment was to try to get a sound out of the I was playing the piccolo on a more regular basis again, in Jack instrument, and this I did during a four-hour drive to visit my Wellbaum’s weekly piccolo class. 26 The Flutist Quarterly Spring 2007 nfaonline.org Even though I do not recall this myself, I’ve been told that I answered, “I’ve always wanted to play the piccolo. It’s just my mother who forced me to play the violin” —whereupon they all laughed. In anticipation of the upcoming NFA piccolo artist com- petition, Wellbaum split the class in two sections. One section focused on the competition repertoire and the other on orchestral excerpts. Déjà Vu I saw my chance to focus once again on the piccolo, as I had done years earlier, and I chose to be in the competition sec- tion of the class. And once again I was working on the Vivaldi C Major Concerto, which felt like a déjà vu experience— a very positive one! I was rediscovering the piccolo again after years of almost complete silence. I felt very motivated to enter into the com- petition, and although my freshman year was very busy, I set aside time every day for preparing for the competition. Once again, I practiced with the metronome, slowly building up the Pethrus Gardborn, winner of the 2006 NFA piccolo competition. difficult passages, notch by notch. I sent in my recording in March and waited until the end of I believe that for someone to really succeed in playing the April before I received the wonderful message that I was one of piccolo, it is important to see the instrument for what it is by six semifinalists. After this, the piccolo became my main itself—not in comparison with the flute—and to try to find its instrument until the competition was held in August. own voice. In spite of all the loud and powerful excerpts that For preparation, I did all my flute exercises on the piccolo, have been written for the piccolo, there are also very delicate to really get to know the instrument. I also tried to learn all of and incredibly beautiful passages and pieces written for the the pieces for the semifinal and final as soon as possible. instrument, e.g. the Vivaldi Concertos. Before I went to Pittsburgh, I gave four recitals in different I believe that the piccolo can express something that the churches in Sweden accompanied on the piano by my uncle flute cannot; it has a certain quality of innocence to it that the Urban Gardborn. flute does not possess. Maybe this is because of its high pitch, It all paid off when I was announced the winner of the NFA which in a way makes it sound more childish than the flute. competition. And in fact, many of the characteristics of a child may apply to the piccolo. Although seemingly innocent at times, through Primo Piccolo its really loud, penetrating quality, it can also be very domi- I immediately liked the piccolo and the sound it produced. I nating, much more so than the flute. bought my piccolo at the 2003 NFA Convention in Las Vegas, However, even though demanding at some times—both for and I loved it from the beginning. the player/parent and the audience/surroundings—I still love Probably the most common way for someone to get started the puckish, but charming, flute child: the piccolo. on the piccolo is to first play the flute and then move on to the piccolo to increase job opportunities. But for me, it was Pethrus Gardborn, 20, born in Stockholm, Sweden, is a sophomore the other way around. My choice of playing the piccolo was at the University of Cincinnati College–Conservatory of Music never simply practical, or a choice made out of necessity. where he studies with Bradley Garner. Gardborn looks forward Rather, I was attracted by the instrument because of its to playing in an orchestra and performing as a soloist after own qualities. he graduates. nfaonline.org Spring 2007 The Flutist Quarterly 27 Flute Stories 101 Inspirational Stories from the World’s Best Flute Players In the pages of this book, you’ll read how the world’s top flute players solved their problems and went on to successful careers. “A book that belongs on every flute teacher’s coffee table.”—Kathy Saenger, NY Flute Club “These stories make riveting reading from cover to cover.”—Larry Krantz, FLUTE pages “We flute players will enjoy this book for many years to come.”—Jeanne Baxtresser 264 pages, softcover. $19.95 + $6 s/h (U.S.) Money back guarantee. Read reviews, information & order at windplayer.com -or- call (800) 946-3305 ! Invites you to the 35th Annual Convention VIVA LA FLAUTA! August 9-12, 2007, in Albuquerque, New Mexico Celebrating the cultural contexts of the flute, investigating traditions, and exploring new horizons. • Flutists from around the world • Workshops and flute choirs • Concerts by renowned artists • Historical presentations • Masterclasses, competitions, exhibits • New music and fresh perspectives Visit nfaonline.org or call 661-299-6680 HAROLD VAN WINKLE Notes from Around Conventions, festivals, competitions, and other global flute activities theWorld The First International Theobald Böhm Competition for Flute and Alto Flute, organized by the Theobald Böhm Society, was held November 20–23, 2006, in the Carl-Orff-Auditorium of the Hochschule für Musik und Theater in Munich. Ninety-two flutists from 23 countries applied to participate. Countries represented in the competition included Austria, Belarus, China, Croatia, Czech Republic, Denmark, France, Germany, Hungary, Italy, Japan, Kazakhstan, Poland, Portugal, Russia, Romania, Switzerland, Slovakia, Slovenia, South Korea, Taiwan, Turkey, and Ukraine. Jury members were András Adorján (Theobald Böhm Society president), Benoît Fromanger, Konrad Hünteler, Hermann Klemeyer, Andrea Lieberknecht, Tatjana Ruhland, and Henrik Wiese. Piano accompanists were Lukas Kuen, Ludwig Böhm with participants at the festival’s concert November 26. Michaela Pühn, and Yumiko Yamamoto. The 60 participants who attended played for 10 minutes each in the first round. Böhm was a member from 1818 to 1848. The conductor was Fifteen played for 20 minutes each in the second round, Peter-Lukas Graf. and seven played Böhm’s Grande Polonaise for about 15 After the festival concert, about 120 descendants and minutes each in the third round. A joint first prize was spouses and about 30 guests met for dinner in the awarded with 4,000 EUR each to Lukas Dlugosz from Hofbräukeller. Böhm had one daughter, seven sons, and 54 Poland and Jozef Hamernik from Slovakia; the third prize grandchildren. Today, more than 350 descendants and and 1,500 EUR went to Manfred Ludwig from Germany. spouses are scattered all over the world, in Germany, The special prize for alto flute, a headjoint with a value of Austria, Switzerland, Belgium, France, Great Britain, Spain, Portugal, Namibia, South Africa, the United States, 1,800 EUR, was given to Pavel Tseliapniou from Belarus. The winner performed a concert in the Großer Saal of the Chile, and Australia. Hochschule für Musik und Theater. At the closing ceremony, a wreath was placed on Böhm’s The Sunday following the competition, November 26, grave in the Old Southern Cemetery, and Gian-Luca the jurors and Michael Martin Kofler played works by Petrucci from Rome played the Andante Pastorale, Op. 31, Theobald Böhm in the Munich Prinzregententheater. by Theobald Böhm. More than 800 people attended. The flutists were accompa- nied by the Bavarian State Orchestra, of which Theobald —Ludwig Böhm Competitions juror is yet to be named. Competition candidates must be The first Crusell International Flute Competition will be born in 1977 or later. The competition is open for all citi- held in Uusikaupunki, Finland, July 21–26, 2007. The com- zens of all countries; application deadline is April 13. The petition is scheduled during the Crusell week woodwind competition rules, program, application form, and detailed music festival, an annual event dedicated to woodwind information are available at crusellweek.com. For more music and held in the western coastal town of information, send an e-mail to [email protected]. Uusikaupunki. The jury for the competition will include Aulis Sallinen, chair; Petri Alanko; Paul Edmund-Davies; The Sixth International Flute Competition “Leonardo De Michael Martin Kofler; and Paul Meisen. One additional Lorenzo” will be held August 26–29 in Viggiano, Italy. The nfaonline.org Spring 2007 The Flutist Quarterly 29 NOTES FROM AROUND THE WORLD biennial competition is dedicated to the flute. Jean-Michel The Sydney Flute Festival in Australia will be September Damase, Pascal Gresset, Andrea Griminelli, Marianne Henkel, 29–October 1 at the Sydney Conservatorium of Music. Guest and Gian-Luca Petrucci will adjudicate. The competition is artists, including Marianne Gedigian, Michael Cox, Alexa Still, open to all flutists under the age of 35 on August 26, 2007. The Virginia Taylor, and many more, will present masterclasses judges’ decisions on winners are final. Awards will be present- and recitals. The festival also will feature solo flute, orchestral, ed at the winners’ concert, to be held August 29 in Viggiano. piccolo, and ensemble competitions. For more information, The deadline for applications is August 18, 2007. E-mail or fax contact coordinator Lyndie Mostert at [email protected] or an application to the contact information below. On your visit sydneyflutefestival.com.au. application, specify first name, last name, place and date of birth, nationality, address, telephone number, and e-mail At the invitation of the Hong Kong Flute Centre, address. Contestants pay an enrollment fee of 75 EUR when Emmanuel Pahud spent October 28–November 1 in Hong they arrive at the contest venue. Prizes are 5,000 EUR (first Kong as part of his Asian Tour 2006. Pahud, together with place), 2,500 EUR (second), and 1,500 EUR (third). For more accompanist Eric Le Sage, performed music by Bolling, information, call 0039 0744 420299 or send a fax to 0039 0744 Schubert, Poluenc, and Bach. Pahud also performed the 400515 or e-mail to [email protected]. Mozart D Major Flute Concerto and Godard’s Allegretto with the Hong Kong Flute Center Flute Orchestra and the Possibly the first international flute competition in a Chinese Hong Kong Youth Flute Orchestra, conducted by Ringo community was held in Beijing in spring 2006. The Beijing Chan. A masterclass was also conducted with more than 100 Nicolet International Flute Competition, held in conjunc- flutists attending. For more information, visit th tion with Aurele Nicolet’s 80 birthday, was held April hongkongflutecentre.com. 24–May 6, 2006. As chairman of the jury and a general organ- izer, Nicolet was present throughout the event and judged, Taiwan’s 2006 International Flute Festival was held April commented on, and presented prizes to contestants. A total of 15–25, 2006. The festival was hosted by Madam Man-Nong 68 contestants were selected to enter the preliminary round of Fan, regarded as the godmother of flute in Taiwan, of New the contest. After three stages of competition, Schneider LOIC Aspect International Cultural and Educational Foundation. from France was awarded first place and Denis Bouriakov sec- Featured were flutists Andras Adorjan, Robert Aitken, Peter- ond. Honorable mentions went to several young Chinese Lukas Graf, and Shigenori Kudo. In addition, Jin Ta, principal flutists, the youngest, Wuhao Yu, 15 years old. The final event flutist of the Singapore Symphony Orchestra, and He Shengqi, featured a concert by the Jury in a variety of performances. professor of flute at the Shanghai Conservatory of Music, Judges were Aurele Nicolet, Christiane Nicolet, Petri Alanko, China, together with young Taiwanese flutists, chamber groups, Philippe Bernold, Sanqing Chen from Beijing, Mannong Fan and orchestras from Taipei and Kaohsiung, were invited to take from Taiwan, Raymond Guiot, Shengqi He from Shanghai, part in the event. The festival featured 13 concerts, seven sem- Chang-kook Kim from Japan, Paul Meisen from Germany, inars, and 15 workshops and masterclasses, which were held Felix Renggli from Switzerland, Alexandra Vavilina from in Taipei, Taichung, and Kaohsiung respectively. Russia, Tongde Zhu from China, and Ji Zhu from China. A new piece was composed by Chinese composer Ye Xiaogang Classes and Workshops entitled “October Flower” as the required piece for all con- The fifth annual masterclass with Ransom Wilson will be held testants. The second Nicolet competition is scheduled to be held in Monterchi, Italy, July 8–19. The event is located in the heart in the year 2009. of the Tuscan hills, within easy access to Tuscan dining and hiking. For information and to apply, visit ransomwilson.com. Festivals and Events Italy’s Falaut Festival will take place May 12–13 in Cernusco The 16th international flute summer course by Dutch flutist- sul Naviglio, Milan. Among guest artists are Glauco composer Wil Offermans will be held July 21–28 in Cambursano, Roberto Fabbriciani, Michel Debost, Maxence Sayalonga (Malaga), Spain. The course focuses on a contem- Larrieu, Emmanuel Pahud, Antonio Amenduni, Stefano porary approach to flute playing. For more information, visit Benini, Mario Caroli, Sandro Cerino, Kathleen Chastain, wiloffermans.com. Tadeu Coelho, Davide Formisano, Pierre Dumail, Michele Marasco, Nicola Mazzanti, Massimo Mercelli, Gian Luca A summer flute class will be held July 28–August 4 in the Petrucci, Raffaele Trevisani, Matthias Ziegler, and Matej Hindemith Music Center in Blonay, Switzerland (near Zupan. For more information, visit falaut.it. Montreux). The class will address interpretation, chamber music, flute technique, and methods. For more information th The Juneau Jazz and Classics festival enters its 20 year May and to register, send an e-mail to weinzierl-waechter@ 18–27, drawing more than 6,000 visitors worldwide. The t-online.de or visit weinzierl-waechter.de. annual festival features live classical, blues, and jazz concerts, education programs, and free events. The nine-day festival Two flute masterclasses were led in September 2006 by Pierre takes place throughout Alaska’s capital city of Juneau. Tadeu Yves Artaud (September 14) and Dieter Flury (September Coelho is the guest flutist this year. For more information, visit 15) at the Hong Kong Flute Centre. Artaud is professor of jazzandclassics.org. flute at the Conservatoire National Supérieur de Musique de 30 The Flutist Quarterly Spring 2007 nfaonline.org Paris. Flury is principal flute of the Vienna Philharmonic. More than 50 flutists participated in both events. Music by Bach, Honegger, Mozart, Poulenc, and Takamitsu per- formed by nine young flutists was played. For more infor- mation, visit hongkongflutecentre.com. The first flute repair workshop to be held in Hong Kong was led by Jim Phelan on October 16, 2006, at the Hong Kong Flute Centre. Fifteen participants brought their own flutes and had their first experience in “flute surgery.” For more information, visit hongkongflutecentre.com. Et Cetera The first summer flute camp likely to have been held in Hong Kong was hosted by the Hong Kong Flute Centre August 26–September 2, 2006. The camp was led by Ringo Chan, direc- tor of the Centre, and featured guest artist Mary Karen Clardy The Hong Kong Flute Centre Youth Flute Orchestra in rehearsal at the 2006 from the University of North Texas. The camp provided partici- summer flute camp. pants a week of professional flute training through technique classes, workshops, masterclasses, and a flute orchestra conduct- held three major events in 2004 and 2005, featuring flutists ed by Clardy and Chan. The camp concluded with a concert fea- Trevor Wye in February 2004, Robert Aitken in May 2005, and turing all the participants, with Clardy performing the Mozart William Bennett in September 2005. The second annual sum- G Major Concerto and Godard’s Allegretto with the Hong mer camp will be held August 25–September 1. For more Kong Youth Flute Orchestra. The Hong Kong Flute Centre also information, visit hongkongflutecentre.com. Please send information about flute-related events and activities in locations outside of the United States to one of our international news reporters: Tadeu Coelho, [email protected] (Brazil); Chelsea Czuchra, Dörrmattweg 1, 5070 Frick, Switzerland, 41 62 871 6944, [email protected] (Switzerland and Europe); Kiku Day, [email protected] (U.K./shakuhachi); Mia Dreese, [email protected] (The Netherlands); Sandra Howard, [email protected] (France and Europe); Lyndie Mostart, Australasia (Australia and New Zealand), [email protected]; and Mary Procopio, [email protected] (Caribbean). Please copy Anne Welsbacher, [email protected]. ORCHESTRAL TECHNIQUES FOR FLUTE AND PICCOLO: AN AUDITION GUIDE AN INSIDE LOOK AT SYMPHONIC TRADITIONS BY WALFRID KUJALA • Comprehensive instructional material on “In this book, Kujala demonstrates repeatedly that true artistry is excerpts from 28 orchestral masterworks born of strict self-discipline and the development of analytical skills” • 92 pages (9 x 12, softbound). Includes ´7KHZLVGRPKHUHLQZKLOHLQWHQGHGWREHQHÀWWKRVHZKRSOD\WKHÁXWH SKRWRVIURPVLJQLÀFDQWPLOHVWRQHVLQWKH and piccolo, provides countless principles and insights for any musi- orchestral career of Walfrid Kujala. cian who is in serious quest of a higher performance level.” Alan Heatherington, Music Director Ars Viva Symphony Orchestra Lake Forest Symphony Orchestra progress pp press For more information and for ordering instructions check our website: www.progress-press.com nfaonline.org Spring 2007 The Flutist Quarterly 31 CANADIAN NEWS NEWS ABOUT THE ACTIVITIES IN CANADA by Amy Hamilton Mathieu Dufour, principal flute of the Chicago Symphony, was Cinematique. Newman also released another CD this year, in Toronto in December 2006 for a day of masterclasses at the Opera Fantasie, which features 19th and early 20th century Royal Conservatory of Music. Glenn Gould Professional virtuoso pieces of this genre and includes two of her own School flute students performed solo and orchestral repertoire arrangements. for him, and he gave a surprise mini-recital at the end of the first class. Robert Langevin has been in Ontario twice this past Two important new publications have made their debut in year. In April 2006, he was featured in a masterclass and recital 2006. British Columbia flutist Kathryn Cernauskas has com- at the University of Toronto. In October he was guest artist piled an anthology of Canadian flute music titled The Magic with the Ottawa Flute Fair, where he performed and gave Flute. In three progressive volumes, this collection is masterclasses along with Ottawa flutists Camille Churchfield designed to introduce Canadian music of various styles to (former principal flute, Vancouver Symphony) and Joanna flutists from beginner to preuniversity level. In addition to G’froerer (principal flute, National Arts Centre Orchestra). including works for flute alone and flute and piano, it is The two-day festival featured a variety of events including augmented by study guides and etudes to help learn the presentations that focused on the flute music of Rodrigo skills and techniques required to successfully master these and Mozart, a fife and drum workshop, and a gala concert. works. Pieces are carefully selected to highlight the quality This event happens every two years; more information can be and diversity of Canada’s best composers. found at ottawaflute.com. The author of this article has completed an annotated Several new recordings featuring Canadian flutists performing bibliography of the complete Canadian Music Centre holdings Canadian music have been released this year. Nova Scotian of works for flute and keyboard. In Music for Flute and Keyboard flutist Chenoa Anderson’s new CD, Big Flutes, includes in the Canadian Music Centre Collections: An Annotated repertoire by J. Morlock, S. Chatman, I. Crutchey, B. Truax, Bibliography prepared by Amy Hamilton, short descriptions are and R. Pritchard for alto and bass flutes. Anderson has been given for each work, including level of difficulty, timing, style influential in the Canadian new music scene for quite some traits and CMC call number. time, and as a founding member of the Vancouver groups Helikon and New Music Collective she has been involved with Coming this summer: In Quebec, Domaine Forget and the commissioning and premiering numerous works. This CD Orford Arts Centre Academy are two festivals of international includes a wide variety of musical styles and introduces new stature. This summer Domaine Forget will offer flute study June music for these instruments. British Columbia flutist Lorna 17–July 1. Past faculty have included Emmanuel Pahud, Mathieu McGhee (former principal flute with the BBC Orchestra in Dufour, and other artists. Contact domaineforget.com for more London) and Heidi Krutzen have released a CD New Works for information. Orford will feature Robert Langevin July 2–14, Flute and Harp. Canadian composers J. Morlock, M. Barnes, R. Montreal Symphony flutist Carolyn Christie July12–28, and Murray Schafer, O. Underhill, and others have written new Carol Wincenc July 30–August 11. More information is at repertoire for this combination. [email protected]. In Lunenburg, Nova Scotia, the Boxwood Festival will take place July 21–27. This event Toronto flutist Leslie Newman premiered Jim McGrath’s always offers a combination of modern flute playing on historic Flute Concerto with the Montreal Chamber Orchestra this instruments and folk instrument exploration. For more past October. In this concerto, a variety of musical styles information, visit boxwood.org. including Gershwin-like sections and Spanish flavours are explored. Newman has recorded this piece, which can be Amy Hamilton is a professor of music (flute) at Wilfrid Laurier found along with other concertos by McGrath on the CD University in Waterloo, Ontario. 32 The Flutist Quarterly Spring 2007 nfaonline.org THE INNER FLUTE FirstLoveby David Nabb A serious accident silenced young flutist Edit van der Burg-Mayer—but only temporarily. First, she re-learned to walk, talk, and eat. Next, with the help of a specially designed one-handed flute, she got back to her true love: the flute. The competition included able-bodied participants playing on conventional flutes. But Edit won this competition playing on a one-handed flute. Born in Hungary, Edit van der Burg-Mayer began her musical life at age 9, beginning on a recorder, then a piccolo, and then the flute. An outstanding admission exam gained her premature entry, at age 13, into the lower Conservatory of Music in Szeged, Hungary. A year later, she moved up to Szeged’s Conservatory of Music, where she became among the best, perhaps the best, of her class. On April 14,1989, a terrible blow on the head changed Edit’s life. Brain surgery preceded a two-week coma. Although she survived the blow, she was no longer able to walk, sit, eat, speak—or play the flute. She was paralyzed on one side. Gradually, van der Burg-Mayer learned to talk, walk, and Edit van der Burg-Mayer eat. On January 8, 1990, a second brain operation further aided her rehabilitation. n 2003, Edit van der Burg-Mayer (her first name is pro- Seventeen years after her injury, and three years after she won nounced like the verb “edit”) won first prize in the 20th first prize, I met with Edit, then 33, and her husband, Theo, in IDutch National Flute contest in the category for players Holland, where they live. We discussed her injury, the special ages 17–33 years. The competition is for nonprofessional flute designed for her by Maarten Visser of Amsterdam, and her PAUL WERNENINCK flutists from Belgium and the Netherlands. continued love affair, despite all setbacks, with the flute. Spring 2007 The Flutist Quarterly 35 FIRST LOVE Edit van der Burg-Mayer playing the one-handed flute designed for her. Above: close-up view of the flute’s left hand mechanism. Below: close-up view of the flute’s thumb area. DN: You played the piccolo before you played the flute? THEO: When they finally knew what was the matter, it was too late. She had surgery then, to open the head and relieve EDIT: Yes. the pressure from the bleeding, and the surgeon very quickly closed as many broken blood vessels as he could find. This had DN: Is that often done in Hungary? to go very quickly because the head cannot be open for too long. And then about a year later, she had another surgery, EDIT: Yes, because the piccolo is small and children have when the doctor could take his time and look very carefully. small hands. DN: What was your first musical experience, the first music DN: Can you tell me how your head injury happened? you remember from your life? THEO: When Edit was 16 years old, she was a very promising EDIT: Rachmaninoff’s “Vocalise,” and Enesco. flutist. She was the best of her class. I spoke with members of her class from that time, and they all said that Edit was an DN: Was your family musical? example to her peers. But shortly before she went to Belgium to play with her school orchestra and as a soloist, EDIT: Yes, my mother played violin, and my father played Edit was walking in the street in Szeged where she studied, trumpet. My sister also played violin and is a good singer. when two men attacked her, and one of them hit her hard on the head. DN: How did you pick the flute as your instrument? EDIT: For a week I had a headache. When I went home to EDIT: I don’t really know, I guess I just really love it. When I Cegléd, I could not speak. My father was at home, but I could was very young my parents got a letter from the music school not speak, and my right arm would not move. saying I could study music. My parents hid that letter from me, because they thought music school would be too expensive. THEO: Blood vessels in her brain were broken, there was But a year later, the music school sent a letter addressed to me, continued bleeding, and Edit was unable to tell anyone what and this time I saw the letter before my parents could hide it. had happened. If it had been a normal accident, she would That is when I knew I would study music. have been treated right away. But no one knew what had happened. So it took about a week before she went to the DN: Can you tell me about the musical activities you are hospital, and then things moved very quickly. involved in today? EDIT: At first, one doctor thought I might be on drugs or EDIT: I hope to play my flute as much as possible. Now, I play alcohol. in a 60-person concert band, and in a smaller flute choir. MAARTEN VISSER 36 The Flutist Quarterly Spring 2007 nfaonline.org “Normally, Edit is a little bit shy. But she is not at all shy when she is making music; she knows exactly what she wants and what she is doing.” DN: Whose idea was it to build a in “Flutes for One-handed Players,” by D.C. Miller, in the one-handed flute? August 1925 issue of The Flutist.) THEO: Someone told us about DN: How much were you personally involved with the design Maarten Visser in Amsterdam, of your one-handed flute? who had already built a number of adaptive musical instruments. EDIT: Maarten would ask us questions about what I wanted, I told Edit that she should have a and we would write him back and tell him. one-handed flute. Edit was at first reluctant, and Maarten ini- THEO: Edit wanted a flute that would play as well as possible, tially thought it was impossible. and was beautiful to look at. But I continued to want to try. I felt that even if Edit was only DN: Can you tell me what your future aspirations are with The flute was built for van der able to eventually play some the flute? Burg-Mayer by Maarten Visser. simple hymns in church, it would be a success and worth the trouble. But with this flute, it took EDIT: I hope to perform as much as possible. only one week for Edit to learn that much. DN: It must take extraordinary courage and dedication to DN: Did you have any models or other ideas to work from for continue playing the flute in spite of the challenges you face. the one-handed flute design? Where do you get your strength and determination? THEO: No, but Maarten Visser had already built a number EDIT: I only know that once I take the flute in my hands, of instruments for people with disabilities, and so he already everything is OK. knew a little bit about what to do. He had to put all of his ideas into this one flute, and it is his masterpiece. When he THEO: Edit gets her strength from the flute. Normally, Edit is has to show only one instrument, this is the one he shows, a little bit shy. But she is not at all shy when she is making and Edit has to come and demonstrate it. The new flute that music; for example, she is not afraid to say to the piano player, Maarten is building now for Edit will be even better. “Stop…you played that note wrong.” In music, she knows exactly what she wants and what she is doing. DN: Are you familiar with the one-handed recorders that are available? DN: It is so much trouble, playing the flute, given the chal- lenges you face. Why not just quit flute playing and give it up? THEO: Yes, Maarten makes them, too. THEO: For Edit, that’s like asking, “Why do you continue DN: Visser, and Dolmetsch and Mollenhauer too, I think. breathing?” A couple years ago I asked Edit, “If you had to make a choice between your flute; me, your husband; and Theodor, THEO: We are also familiar with a case in the 1830s or so: our son—what would you choose?” Edit was silent for a moment there was a very good one-handed flute player— and then she said only, “I’m sorry…” And so I had my answer. DN: Count Rebsomen? (Note: this instrument is described in David Nabb is associate professor of music at the University of Henry Macaulay Fitzgibbon’s The Story of the Flute.) Nebraska at Kearney. He has a PhD in music education from the University of North Texas and BA and MA degrees in multiple EDIT: Yes. woodwinds performance from Indiana University. He inter- viewed Edit van der Burg-Mayer and Theo van der Burg June 30, THEO: He was badly wounded, and they wanted to euthanize 2006, in the American Hotel in Amsterdam, the Netherlands. him on the battlefield. They told him, “You will die anyway.” Persons interested in learning more, or sharing information Count Rebsomen then said, “No. Take my arm off here, and about musical instruments adapted for people with disabilities, then I won’t bleed to death.”(Note: Other one-handed flutes by are encouraged to visit a new discussion board administrated by MAARTEN VISSER Kohlert were built after World War I; photos and descriptions are Nabb at http://onehandwinds.unk.edu/forum/index.php. nfaonline.org Spring 2007 The Flutist Quarterly 37 RESIDENTIAL SUMMER FLUTE CLASSES with PATRICIA HARPER Greenville, South Carolina – June 10 - June 15, 2007 Brownsville, Vermont – June 24 - June 30, 2007 NEW: Monterey, California - July 9 - 13, 2007 For information and repertory list: e-mail: [email protected] (SC class) [email protected] (VT and CA classes) telephone/fax (860) 767-0629 No Stretch Fit Others stretch fit headjoints by burnishing or ID expander. We don’t. Drelinger believes any kind of stretch fitting is a compromise by necessity. Often plumbers tape is used to avoid stretching, but it too is not desirable. Drawing shows result of stretch fit. Headjoint tenon bore and wall -A- stretched as compared to flute body bore and wall -B-. Drelinger solved the problem by making the headjoint tenon fit without stretching using an exclusive metal on metal sizing process. Drawing shows headjoint tenon bore and wall -A- are stretch free. Our process is also repeatable, should you decide to change flute bodies. And we don’t need to have your instrument to fit a Drelinger to your flute. To learn more www.drelinger.com The Headjoint Specialist © 2006 Drelinger. All rights reserved. oiVnou Wind Ventorum Soni On Stage Felix Skowronek: 40 oiVnou Wind Ventorum Soni On Stage Felix Skowronek: and founding memberofone oftheworld’s longest-lived windensembles. as aflutistandteacher, avalued NFA leader, an advocate ofthewooden flute, One year thedeath ofFelix after Skowronek, isrecalled— hiswide-ranginglegacy by Lyden Megan The Flutist Quarterly Quarterly The Flutist Spring 2007 Spring nfaonline.org with the with the Quintet Quintet COURTESY THE COLLECTION OF FELIX SKOWRONEK elix Skowronek’s life was dominated by his enduring enthusiasm for music and the flute. An innovator, teacher, and performer, Skowronek’s career was wide-ranging. He was an orchestral musician, serving as Fprincipal flutist with the Seattle Symphony, the Puerto Rico Symphony, the U.S. Seventh Army Symphony, and the St. Louis Symphony. He was a founding member of the Soni Ventorum Wind Quintet, one of the longest-lived ensembles of its kind. Skowronek also explored jazz, fronting his own combo, the FS Jazz Trio. He was a university professor, teaching flute for 38 years at the University of Washington School of Music. His musical career took him all over the globe: to Europe, Central and South America, and across the United States on tours, to give flute masterclasses, and as an adjudicator. A skilled maker of flute headjoints, Skowronek traveled After graduating from Curtis, Skowronek and Grossman extensively to collect woods for his “experimental headjoints” went their separate ways; Grossman was drafted and per- (as he called them); he became an expert on Australian hard- forming with a U.S. Army band, and Skowronek returned to woods, and pioneered their use for instrument making after Seattle as principal flutist with the Seattle Symphony. several collecting ventures to the Australian outback. His However, in 1957, Skowronek was drafted as well, and sent to headjoints have been played by flutists in Argentina, Stuttgart, Germany, to serve as principal flutist with the U.S. Australia, Canada, Cuba, Great Britain, Russia, and the Seventh Army Symphony. He was pleased to find that United States. Skowronek’s collaborations with his long-time Grossman had recently been transferred to the Seventh Army friend and colleague, Seattle flute maker Alexander Eppler; Symphony as principal bassoonist. It was here, in the Seventh flute maker Robert Bigio; piccolo maker Eldred Spell; and the Army Symphony, that Skowronek and Grossman first met Verne Q. Powell Company led directly to the commercial clarinetist William McColl. The three of them, together with reintroduction of wood flute manufacturing in the United the Symphony’s other principal wind players, formed the States. Seventh Army Symphony Wind Quintet. The quintet toured Skowronek held numerous posts with the National Flute Europe, playing in many of Europe’s major music halls and Association, including president (1985–86) and program garnering good reviews in the local newspapers. chairman for the 10th anniversary convention in Seattle. He While in Europe, Skowronek began a quest for unpublished also appeared numerous times as a lecturer, panelist, and per- literature for wind quintet. He discovered the archives of former at the NFA’s annual conventions, including a collabo- Schloss Harburg in Bavaria to be a rich source; he microfilmed rative effort with his daughter, dancer/choreographer Andrea Skowronek, in a rendition of Bach’s Partita in A Minor. Felix Skowronek: Skowronek was also the Founding President of the Seattle Flute Society. 1935-2006 Beginnings t was with great sadness that the music community Born in 1935, a native of Seattle, Skowronek received a BM Imarked the death of Felix Skowronek one year ago. from the Curtis Institute, where he studied flute with William During his last years, Skowronek received regular Kincaid and chamber music with Marcel Tabuteau. It was at kidney dialysis and weathered heart surgery, but met Curtis where Skowronek met bassoonist Arthur Grossman; these obstacles with his characteristic matter-of-fact together they played in a student wind quintet. The group attitude and humor. He continued teaching, per- called itself the Soni Ventorum, a name Skowronek thought forming, lecturing, adjudicating, and traveling. He up while daydreaming one afternoon in Latin class. died Monday, April 17, 2006, in Seattle, Washington, Skowronek said: of stomach cancer. At the time, quintets named their group Skowronek’s devotion to the wood flute culminated after the orchestra or town they were in, like in his planning of the Wood Flute Festival and the Philadelphia Wind Quintet, or the Conference 2006. The conference had long been a Chicago Wind Quintet. That always struck dream of his, and he worked tirelessly to make it happen. me as being a little unimaginative. Also, Unfortunately, he would not live to see its fruition. Latin names were starting to come into Skowronek asked flutist Jeffrey Cohan to continue the fashion; everything sounded slightly esoteric if project, to be assisted by Skowronek’s son, Neil it had a Latin name. Being in Latin class, I Skowronek; companion, flutist Pamela Ryker; student came up with Soni Ventorum,“the Sound of Hae Won Shin; the University of Washington School of the Winds.” Music; the Seattle Flute Society; and many others. The conference concluded with a memorial concert in The fledgling quintet rehearsed for at least a year and then Skowronek’s honor. played a concert in spring 1955, the first student group to play an official concert in Curtis Hall without benefit of any —ML faculty direction. nfaonline.org Spring 2007 The Flutist Quarterly 41 FELIX SKOWRONEK: ON STAGE WITH THE SONI VENTORUM WIND QUINTET Works composed for the Soni Ventorum Wind Quintet (also includes mixed ensembles, quartets, trios, and duets) Arrieu, Claude (1903–1990) Quartet for Winds (1976) for flute, oboe, clarinet, and Suite en Quatre (1980) for flute, oboe, clarinet and bassoon bassoon [unpublished manuscript] [published by Gérard Billaudot, Paris] Scherzo (1979) for wind quintet Beale, James (b. 1924) Four Songs on Poems of Juan Ramón Jiménez (1980) Sextet, op. 39, (1975–76) for piano and wind quintet for soprano and wind quintet [unpublished manuscript] [unpublished manuscript, available from the American Three Songs (1983) for soprano and bassoon [unpublished Composers Alliance] manuscript] Sextet (1995) for piano and wind quintet [unpublished Bergsma, William (1921–1994) manuscript] Changes (1971) for wind quintet, harp, percussion and strings Herbolsheimer, Bern (b.1942) Changes for Seven (1971) for wind quintet, piano, Variations Ventorum (1983) for wind quintet [unpublished and percussion manuscript] Symmetries (1982) for oboe, bassoon, and piano [published by Southern Music Company] Kechley, Gerald (b. 1919) Variants (1978) for woodwind quartet [flute+piccolo+ Masquerade (1986) for wind quintet [flute+piccolo, alto flute, oboe+English horn, clarinet+bass clarinet, oboe+English horn, clarinet+bass clarinet, horn, bassoon+ bassoon] [unpublished manuscript] contrabassoon] [unpublished manuscript] Peterson, Thomas (b.1931) Clarke, Henry Leland (1907–1987) Trio Sonata (1972) for flute, clarinet, and bassoon Concantenata (1972) for wind quintet [unpublished [unpublished manuscript] manuscript, available from the American Composers Alliance] Smith, William O. (b. 1926) Straws (1974) for flute and bassoon [unpublished Eppler, Alexander Illitch (b. 1955) manuscript] Composition on Thracian Themes (1978) [same as Eternal Truths (1979) for woodwind quartet [flute+piccolo+ Bulgarian Suite on Thracian Themes] for kaval, flute, alto flute, oboe+English horn, clarinet+bass English horn, clarinet, and bassoon [unpublished clarinet+E-flat clarinet, bassoon+antique cymbals] manuscript] [unpublished manuscript] Suite (1989) for balalaika and wind quintet [unpublished Diversion (1986) for wind quintet [unpublished manuscript] manuscript] Illuminated Manuscripts (1987) for wind quintet Françaix, Jean (1912–1997) [flute, oboe+English horn, clarinet+bass clarinet, horn, Sept impromptus pour flûte et basson [Seven impromptus bassoon] [unpublished manuscript] for flute and bassoon] (1977) [published by B. Schott’s Jazz Set (1991) for violin and wind quintet [unpublished Söhne, Mainz, Germany] manuscript] “Trias” (2001) for flute, clarinet, and bassoon [unpublished Gerster, Robert (b. 1945) manuscript] Cantata (1978) for flute, oboe, clarinet, and bassoon [unpublished manuscript] Tufts, Paul (b. 1924) Two Episodes and a Consequence (1970) for string Goodman, Joseph (b. 1918) quartet and wind quintet Concertante (1965) for wind quintet and orchestra Five Bagatelles (1966) for flute, clarinet, and bassoon Verrall, John (1908–2001) [published by General Music Publishing Company] Nonet (1969–70) for string quartet and wind quintet Jadis III (Hommage à “la sérénade interrompue”) Zaninelli, Luigi (b. 1932) (1972) for flute and bassoon [published by General Burla and Variations (1974) for flute, oboe, clarinet Music Publishing Company] and bassoon 42 The Flutist Quarterly Spring 2007 nfaonline.org While in Europe, Skowronek began a quest for unpublished literature for wind quintet. In archives in Bavaria he discovered all nine Danzi Quintets and Reicha’s Partita in F Major, works unheard for many years that later became standards of the repertoire. all nine Danzi Quintets and Reicha’s Partita in F Major. These know how to play bassoon, he was aided by correspondence works, unheard for many years, later became standards of the with Grossman: wind quintet repertoire. Arthur was going to be coming, but we had to After their discharge from the army, Skowronek returned to do something with the bassoonist in the mean- the Seattle Symphony, Grossman went on to serve as principal time…he already had an embouchure and bassoonist with the Indianapolis Symphony and then the Arthur would send me down fingerings and Cincinnati Symphony, and McColl joined the Philharmonia advice about bassoon technique. He even sent Hungarica Orchestra in Vienna before returning to New York reeds. I coached the student for a year. I must to freelance. say he made progress with Arthur’s “correspon- dence course” and later became quite successful. The Puerto Rico Renaissance In 1959, McColl heard through the musicians’ grapevine Soni Ventorum about a clarinet position in Puerto Rico. Against the advice Grossman arrived in Puerto Rico a year later. With the appoint- of his colleagues, who warned him that it was a fly-by- ment of oboist James Caldwell (another Curtis graduate), and night proposition, McColl accepted the position and flew Christopher Leuba, who left his position as principal French to Puerto Rico. horn with the Chicago Symphony, the wind faculty for the However, it was not a fly-by-night proposition. Puerto Conservatory of Music of Puerto Rico was complete, and the Rico was, at the time, undergoing a cultural and musical ren- Soni Ventorum Wind Quintet was officially formed. aissance. The legendary cellist, Pablo Casals, relocated from France to Puerto Rico. From that point on, the famed Casals The Soni Ventorum Festivals were held in Puerto Rico and, in 1960, Casals found- ed the Conservatory of Music of Puerto Rico. Wind Quintet Personnel McColl’s new position entailed teaching at the conservatory, playing in the Casals Festival Orchestra and performing in the newly founded Puerto Rico Symphony. The salary offered to Flute: McColl for this position was more than he could have made Felix Skowronek, 1962–1966; 1968–2001 playing in an American symphony orchestra at that time. Peter Kern, 1966–1968 When it became evident that the conservatory was ready to hire a full wind faculty, McColl thought it could be a great Oboe: opportunity to reform a quintet with his colleagues from the James Caldwell, 1962–1965 Seventh Army Symphony; he played some of their recordings Laila Storch, 1965–1991 for the conservatory’s director and said that the other musi- cians might be available. As there was an obvious demand for Alex Klein, 1991–1995 flute, the director hired Skowronek, who immediately packed Dan Williams, 1995–1996 up and moved. Rebecca Henderson, 1996–2001 Skowronek liked the island immediately: It’s a tropical island, very similar to Hawaii, I Clarinet: suppose…I was 25 at the time and ready for a William McColl, 1962–2001 change. I’d never been in a Spanish-speaking country before, but we were young and Bassoon: adventurous and it was an exotic place to go. Arthur Grossman, 1962–2001 Skowronek began learning Spanish right away, even though French Horn: many of his flute students spoke English. Many of his stu- Christopher Leuba, 1962–1963; 1968–1979 dents were already professional musicians, mostly clarinet Robert Bonnevie, 1963–1967 and saxophone players, who played in hotel bands and wanted to learn flute as well. As the conservatory had not David Sternbach, 1967–1968 yet hired a bassoon instructor, Skowronek had to teach the David Kappy, 1979–2001 conservatory’s lone bassoon student. As Skowronek did not nfaonline.org Spring 2007 The Flutist Quarterly 43 FELIX SKOWRONEK: ON STAGE WITH THE SONI VENTORUM WIND QUINTET Traveling by seaplane during the quintet’s tour of Alaska in 1982. Arrangements and Editions of Chamber Music by the Soni Ventorum Wind Quintet. Adam, Adolph (1803–1856) by members of the Soni Ventorum Wind Quintet “Entr’acte,” from The Postillion of Lonjumeau (1836) [unpublished manuscript] arranged for wind quintet by William McColl Mozart, Wolfgang Amadeus (1756–1791) [unpublished manuscript] Adagio and Allegro (Fantasie) in F Minor for Beethoven, Ludwig van (1770–1827) Mechanical Organ, K. 594 (1790) arranged for wind Five Pieces for Mechanical Organ, (1799), quintet by Wolfgang Sebastian Meyer and the Soni arrangement for wind quintet by Felix Skowronek Ventorum Wind Quintet [published by Oxford University Press; currently out- Fantasy in F Minor for Mechanical Organ, K. 608 of-print] (1790) arranged for wind quintet by Wolfgang Cambini, Giovanni Giuseppe (1746–1825) Sebastian Meyer and the Soni Ventorum Wind Quintet Quintetto Concertante No. 1 in B-flat Major (ca. 1802) Andante in F Major for Small Mechanical Organ, K. 616 edited by the Soni Ventorum Wind Quintet (unpublished (1790) arranged for wind quintet by Wolfgang manuscript) Sebastian Meyer and the Soni Ventorum Wind Quintet Quintetto Concertante No. 2 in D Minor (ca. 1802) Reicha, Anton (1770–1836) edited by the Soni Ventorum Wind Quintet (unpublished Quintet in D Minor, Op. 88, No. 4 (ca. 1814) edited by manuscript) the Soni Ventorum Wind Quintet (unpublished manuscript) Quintetto Concertante No. 3 in F Major (ca. 1802) edited Quintet in C Minor, Op. 91, No. 6 (1817–1819) edited by by the Soni Ventorum Wind Quintet (unpublished the Soni Ventorum Wind Quintet (unpublished manuscript) manuscript) Haydn, Franz Joseph (1732–1809) Rimsky-Korsakov, Nicolai (1844–1880) Eight Pieces for the Mechanical Clock-Organ of 1772, The Flight of the Bumblebee (1903) arranged for flute, 1792, arrangement for flute, oboe, clarinet, and bassoon oboe, clarinet, and bassoon with optional horn by by Felix Skowronek [unpublished manuscript] William McColl [unpublished manuscript] Haydn, Franz Joseph (1732–1809) Strauss, Richard (1864–1949) Fourteen Pieces for the Mechanical Clock-Organ of Minuet from Le Bourgeois gentilhomme Suite, Op. 60 1793, arrangement for wind quintet by Felix (1916) arranged for wind quintet by William McColl Skowronek [published by McGinnis & Marx, New York; [unpublished manuscript] currently out-of-print] Vranick, Antonín (1761–1820) Joplin, Scott (1869–1917) Six Hunters’ Marches arranged for wind quintet by Joplinrags arranged for flute, oboe, clarinet, and bassoon Felix Skowronek [unpublished manuscript] COURTESY THE COLLECTION OF ARTHUR GROSSMAN 44 The Flutist Quarterly Spring 2007 nfaonline.org The group in Tarragona, Spain, during its second tour of Europe in 1976. From From a flyer for the Summer Music Academy Festival of the Central Minnesota left: William McColl, Laila Storch, Arthur Grossman, and Felix Skowronek. Fine Arts Association in Sauk Center. The group served a residency there in 1969. The quintet immediately began rehearsing intensively— By the late ’60s, however, the quintet was ready to move on. three-hour sessions five days a week—and played four or There were problems in Puerto Rico. Oboist Laila Storch, who five concerts each year at the conservatory. Its earliest replaced Caldwell as the Soni Ventorum’s oboist in 1965, said: repertoire included Barber’s Summer Music, Fine’s Partita, There seemed to be a limit to our future Villa-Lobos’s Quintette en forme de Choros, Krenek’s Pentagram, there… Life was difficult there from many and three works by Mozart, originally for the mechanical clock, standpoints. The heat made it difficult to do which Skowronek arranged for wind quintet. much work. Felix thrived under the heat, but The Soni Ventorum worked very hard to develop a sound I had a little trouble after a couple of years. that emphasized a blend of instruments, rather than a col- lection of individual sounds. Skowronek said, “From the Home Again beginning this mass of sound was the goal of the quintet.” In 1968, Skowronek heard that the University of Washington, It was during this time that Skowronek changed from in his native Seattle, was looking for an established wind playing a silver flute to a wood flute. He acquired his first quintet to join the faculty of the School of Music. On one of wood flute, a Haynes flute built sometime before 1929, his visits to Seattle, Skowronek went to the university to meet from an artist, who had obtained the flute through a trade. with William Bergsma, the director of the School of Music. After deciding that he didn’t want the flute, the artist Bergsma was in the process of transforming the school from brought it to Skowronek. a little-known institution to one with national prominence. Skowronek was immediately taken with the wood flute’s In addition to building a new concert hall, Bergsma acquired depth of tone, its consistency between octaves, and its lack of a Rockefeller grant, which brought the School of Music shrillness in the high register. He felt that it responded well in many new faculty members to the school, including the the hot, humid climate of Puerto Rico, and blended well with Philadelphia String Quartet. the quintet. After approximately a half hour of playing the Not long after his meeting with Skowronek, Bergsma extend- COURTESY THE COLLECTION OF FELIX SKOWRONEK wood flute, he packed up his silver flute and literally never ed an invitation to the Soni Ventorum to become quintet-in-res- : played it again. idence. The Soni Ventorum’s duties included services as a wind RIGHT ; During its years in Puerto Rico, the Soni Ventorum went quintet, with the individual members giving private and ensem- on several concert tours to the mainland, and the reviews ble instruction as well as performances with the university’s from these concerts helped launch its recording career. Contemporary Group and the Sinfonietta. Skowronek noted: The Soni Ventorum’s appointment at the University of It was easier to get into the record business Washington was especially fortuitous from the standpoint of then than it is now. In those days there was new works for wind instruments. Their collaborations with still a market for chamber music of that kind. other faculty artists, such as the Philadelphia String Quartet, You could go to New York and there were and faculty composers, such as Bergsma and William O. Smith, three or four papers that would review con- led to the creation of many distinctive works for wind quintet, COURTESY THE COLLECTION OF ARTHUR GROSSMAN : certs... Those reviews were very helpful to us wind quintet and strings, wind instruments and singer, and LEFT in the early part of our career. various quartets, trios, and duos for winds. nfaonline.org Spring 2007 The Flutist Quarterly 45 FELIX SKOWRONEK: ON STAGE WITH THE SONI VENTORUM WIND QUINTET Above, from left, Arthur Grossman, Laila Storch, Felix Skowronek, David Kappy, and William McColl on the University of Washington Campus, around 1980. Opening image is from a flyer, circa 1968. The quintet had just become established in Seattle, and Skowronek and Leuba had rejoined the group. The Soni Ventorum members also had a long and productive could visit the famed Lake Titicaca, which relationship with composer Joseph Goodman, who wrote she had read about in National Geographic eight original ensemble works for them over the course of 30 as a young girl. We went clear across the years. Overall, more than 30 ensemble works have been writ- lake in a boat. ten for the members of the Soni Ventorum. The Soni Ventorum’s years at the university were busy On the local front, the Soni Ventorum undertook an and productive. The group’s recording career continued to immensely popular series of live radio broadcasts on Seattle’s flourish; it produced, in all, more than 25 commercial National Public Radio station, KUOW-FM, which ran from recordings. These, along with the Soni Ventorum’s nearly 1982 through 1989. 40 years of recorded concerts held in the university’s In 2001, with some of the members approaching retire- archives, constitute an unparalleled record of modern ment from the university, the Soni Ventorum performed its wood flute performance. final concert at the School of Music. Thirty-nine years after The Soni Ventorum continued to tour, both in the U.S. the Soni Ventorum’s first concert in 1962, three of the ensem- and abroad, generally under the auspices of the U.S. State ble’s founding members, Felix Skowronek, flute, Arthur Department. It performed in Canada, Costa Rica, Panama, Grossman, bassoon, and William McColl, clarinet, were Nicaragua, Brazil, Bolivia, Peru, Spain, Portugal, Italy, onstage together for the Soni Ventorum’s final bow. > France, Austria, Greece, Turkey, Hungary, Poland, and Iceland. In Brazil, the Soni Ventorum received the silver medal at the International Instrumental Ensembles Megan Lyden completed her doctorate in 2000 from the Competition during the Villa-Lobos Festival in 1972. In University of Washington, where she studied with Felix Hungary, its 1976 radio broadcast on Hungarian National Skowronek. She has performed in many ensembles in the Seattle Radio was the first by American musicians since 1940. On area. Currently, she focuses on teaching flute and bird-watching. tours, the Soni Ventorum members took every opportuni- ty to visit scenic and cultural attractions, sample the local Editor’s Note: This article was adapted from the author’s cuisine, and meet other musicians. Skowronek recalled: doctoral dissertation, “The Story of the Soni Ventorum The traveling to exotic places, we enjoyed Wind Quintet,” and from conversations with Skowronek. that. We always took side trips to scenic spots: The dissertation is available at bellhowell.infolearning.com/ Machu Picchu, the Amazon, Lake Titicaca. products_umi/dissertations/disexpress.shtml; select order Laila agreed to play in Bolivia only if we number 9983514. COURTESY THE COLLECTION OF FELIX SKOWRONEK 46 The Flutist Quarterly Spring 2007 nfaonline.org Musica Toscana INCORPORATED Monuments of Tuscan Music Series II: Chamber Music for Solo Instruments Volume I, Sonatas for Wind (Flute) Instruments with Keyboard Accompaniment General Editor Robert Lamar Weaver N.o 8. Sonate per cembalo, e flauto di N[iccolò] D[othel] Formatter Editor Jeffrey D. Jones Nicklaus Delius To order, contact Musica Toscana, Inc. at [email protected] Other Titles Available, Contact Us for a Free Catalog! he ABELL FLUTE company O Specializing in oehm system wooden flutes, headjoints and whiles, handmad in grenadill and erling silve. O 111 Grovewood Road Asheville, nc 28804 usa 828 254-1004 voice, fax www.abellflute.com Commissioned Works from the High School Soloist Competition: A Brief History of the NFA Event by Ronda Benson Ford As the NFA, now in its fourth decade, sits poised on the threshold of the future, this article reflects back, documenting the creation of one of the NFA’s many valuable assets: the annual high school soloist competition. Editor’s note: This is the first in a series about the National Flute Association’s high school soloist competition, which is presented annually at the NFA convention. Part I focuses on the history of the competition and is based on interviews with NFA cofounder and first president Mark Thomas, former NFA president, the late Charles DeLaney, and flutist Robert Dick, head of the NFA’s former contemporary music advising committee. brief review of the historical background of the Although the mission statement has changed slightly since National Flute Association reveals that the organiza- 1973 (see sidebar), and new ideas have been added, the basic tion was founded by flutist Mark Thomas in 1972, idea is the same. When Thomas founded the NFA, he envisioned A 3 fulfilling a lifelong dream of his. As a performer and teacher, an organization of thousands of members; currently the NFA Thomas believed that flute aficionados, whether profes- has more than 5,500 members from at least 50 countries.4 sional or amateur, would join with him in promoting the instrument through education, performances, and fun. He High School Soloist Competition hoped that, through this united organization, flutists would In 1986, the late Charles DeLaney, then professor of flute at have a place to renew personal experiences and to set higher Florida State University, originated the idea for the NFA goals and standards of excellence for performance, teaching, high school soloist competition. DeLaney wanted to give and flute making.1 high school students the opportunity to perform at a The first NFA convention was held in Anaheim, California, national level in a competitive way. At that time, competition at the Royal Inn August 10–11, 1973. Thomas was already opportunities for high school students were limited pri- scheduled to give a masterclass at the Royal Inn, so he booked marily to solo and ensemble competitions and regional the same hotel using his personal finances. Four hundred and and state band competitions. Before the first high school fifty people and 15 exhibitors attended the first convention. soloist competition in 1987, a select NFA committee Events for the first convention, much like today’s NFA decided that this would be an annual event at each national conventions, included recitals, discussions of various flute convention, using two works selected from the standard flute-related topics, ensemble playing, and exhibit visiting.2 flute repertoire.5 48 The Flutist Quarterly Spring 2007 nfaonline.org Amy Nelson, winner of the 1993 competition. Maria Harding in 1989, when she took first place Pethrus Gardborn won second place in the 2004 in the competition’s third year. competition. Last year, he won the piccolo event. By 1987 the NFA had already established a successful Because Dick is a flutist, he knew which extended techniques annual tradition of commissioning one new work for flute, were possible on the flute. All of the composers commissioned beginning with the 1985 young artist competition. In 1989 to write works for the high school soloist competition are the NFA’s contemporary music advising committee, led by also flutists. Other composers have followed Dick’s lead by flutist and composer Robert Dick, decided to initiate a second including instructional notes and recordings of the com- annual commission, this being for the NFA high school petition pieces with the score. soloist competition. From that point forward, each of the Because “Lookout”was the first commissioned piece for the eight finalists in the competition would also need to perform high school soloist competition and it effectively opened the a separate new piece commissioned specifically for the door for using extended techniques in a student competition competition in addition to the two standard pieces. The final- piece, it has become the de facto standard against which later ists would receive the new piece in June and would premiere it competition pieces have been measured. at the flute convention in August of the same year. Dick describes “Lookout” as a salsa and rock piece, and wrote The contemporary music advising committee and it so that the finalists could have something that connects with Angeleita Floyd, coordinator of the high school soloist their everyday world.15 On Dick’s instructional recording he competition, decided that the new piece could be for either refers listeners to the rock group Cream and Eric Clapton’s unaccompanied flute or flute and piano, and should be rock anthem “Tales of Brave Ulysses” (1967), one of the approximately eight minutes long.6 They also decided to very first songs to extensively use the “wah-wah” pedal embrace only the closed-hole7 flute with a C foot joint8 for effect with electric guitar.16 Dick includes singing and playing the high school soloist competition, but to allow composers simultaneously in “Lookout” to represent the sound of the to use either the B foot or the open hole flute for the young “wah-wah” pedal.17 artist competition. The NFA could not allocate any commission money at Repertoire of Commissioned Pieces the time for the first high school soloist competition, so The list of commissioned works for the high school soloist Dick volunteered to write the first piece gratis. Dick competition in every NFA convention program book is an attended the 1989 high school soloist competition to hear often-overlooked resource for expanding the repertoire of the eight finalists perform.9 high school students. After careful examination of the 17 pieces written for the competition between 1989 and 2005, The First Program I found that the body of works can be divided into two The program for the competition consisted of Sonatine (1943) broad categories: traditional compositions using no by Henri Dutilleux, Fantasy No. 2 in A Minor (1732) by Georg extended techniques, and nontraditional compositions Phillip Telemann, and “Lookout” (1989) by Dick.10 According using few to many extended techniques. to Dick, all of the performers played well, but he thought that Sources exist for “standard” flute works, but few sources Lookout was the best performance by each of the competitors.11 are available for works written in the past 20 years that are Dick provided an instructional recording along with a appropriate for high school students. Although the students copy of the score to “Lookout,”and titled the work “Lookout” chosen as finalists for the NFA high school soloist competition because he suspected this would be the first exposure to may not necessarily represent the playing abilities of the extended techniques for many of the students.12 On the majority of high school students, there are still several instructional recording, he explains and performs each of accessible pieces for a capable high school flutist. the extended techniques and then performs the entire Flute teachers should consider working with their students work13 as a way for all the finalists to have an equal oppor- on the commissioned pieces written for the NFA High School tunity to essentially learn the work directly from him.14 Soloist Competition as a way for their students to explore nfaonline.org Spring 2007 The Flutist Quarterly 49 Commissioned Works from the High School Soloist Competition: A Brief History of the NFA Event Abigail Coffer won the competition in 2006. Leah Arsenault took third place in 2002; last year, David Ross in 2002, the year he won the competition. she won the young artist competition. extended techniques. These pieces can be used to encourage 8. Widely acknowledged as the first phase of modern flute construction, Böhm’s flute and broaden high school students’ musical language beyond design of 1831 essentially replaced the primary D Major scale of the simple system flutes with the C Major scale of today’s flute, which is capable of being played down what they would normally encounter in local competitions. to middle C. Middle C is the lowest note possible on flutes equipped with a C foot Upcoming articles regarding the high school soloist competition joint, while flutes with a B foot joint can play B as the lowest possible note. The dif- will cover one traditional piece entitled “Song,” by Jennifer ferences in various types of flutes are discussed by Nancy Toff in The Flute Book, A Complete Guide for Students and Performers, 2d ed. (New York: Oxford University Higdon, and two nontraditional pieces: “Fantasia Appassionata,” Press, 1996), 22, 51. by John Heiss, and “Trillium,”by Elizabeth Brown. > 9. Composer and flutist Robert Dick, interview by author, May 4, 2005, personal e-mail. 10. Gerald Carey, ed., Seventeenth Annual Convention, 1987 NFA Convention in New Ronda Benson Ford taught music history at Truman State Orleans, Louisiana. (Santa Clarita, CA: The National Flute Association, Inc., 1989), 27. 11. Composer and flutist Robert Dick, interview by author, May 4, 2005, personal e-mail. University in spring 2007 on a sabbatical replacement position. 12. Ibid. She is second flutist with the Topeka Symphony and has played 13. Robert Dick. “Lookout.” Composition performed by composer. Multiple with orchestras in Missouri, Kansas, Illinois, Texas, and Breath Music Company, 1989. Cassette. Arkansas. She received her doctoral degree in flute performance 14. Composer and flutist Robert Dick, interview by author, May 4, 2005, per- sonal e-mail. and pedagogy from the University of Southern Mississippi, her 15. Ibid. master’s degree in flute performance from Illinois State 16. Robert Dick. “Lookout.” Composition performed by composer. Multiple University, and her bachelor’s degree in music education from Breath Music Company, 1989. Cassette. 17. Composer and flutist Robert Dick, interview by author, May 4, 2005, per- the University of Central Arkansas. Ford’s teachers have sonal e-mail. included John Bailey, Danilo Mezzadri, Kyril Magg, Alexander Murray, Max Schoenfeld, Bootsie Mayfield, and Carolyn Brown. Ford performed with the International Flute Orchestra By-Laws for a at the 2005 NFA convention and also toured with the IFO to New Organization: Eastern Europe in 2004. The National Flute Association Editor’s note: This series is adapted from the author’s doctoral dissertation, which covered five of the pieces written specifically The purposes of the corporation shall for the NFA’s high school soloist competition. Material for the include, but not be limited to: dissertation was obtained through personal interviews with Mark Thomas, Charles DeLaney, Robert Dick, Jennifer Higdon, (1) an increasingly higher standard of artistic excellence Gary Shocker, Elizabeth Brown, John Heiss, and Cynthia Folio. for the flute, its performers, and its literature; Endnotes 1. Founder and Honorary Life President of the NFA Mark Thomas, interview by (2) helpfulness and fellowship among members; author, May 10, 2005, personal e-mail. 2. Ibid. 3. Ibid. (3) a constantly greater contribution through the flute to 4. NFA Board of Directors. “Benefits of Membership.” http://nfaonline.org/ the musical life and culture of all peoples; memBenefits.asp. 2004; accessed September 19, 2005. 5. Charles DeLaney, professor emeritus from Florida State University, personal e- mail, May 13, 2005. (4) the creation and/or sponsorship of worthwhile projects 6. Composer and flutist Robert Dick, interview by author, May 4, 2005, personal e-mail. relative to the flute and flute playing; and 7. All of the keys on a closed-hole flute have solid, continuous surfaces. An open- hole flute has open centers or perforations in the five key covers directly under the fingers for the second and third fingers of the left hand and the first, second, and third (5) formulation of guidelines and establishment of criteria fingers of the right hand. Nancy Toff, The Flute Book, A Complete Guide for Students for the upgrading of flute teaching. and Performers, 2d ed. (New York: Oxford University Press, 1996), 21. 50 The Flutist Quarterly Spring 2007 nfaonline.org Samuel Baron: 52 The Flutist Quarterly Quarterly The Flutist to introduce meto Baron. musicians andcomposers distinguished crowd of my flute teacher a pushed methrough the concert, After Aaron Copland’s Duofor Flute andPiano. to any situation. perverse to findapositiveand madeacleardeliberate effort side He never othermusicians, maligned ego. agenda orpersonal the music above political placingthevalueof for collegiality, hewasawonderful role model Additionally, become sohigh. playing had rent music businesssince standard thegeneral of succeeding inthecur- think thathewould standa chance of confiding thathedidn’t He wasconsummately humble, ships. and respectful attitudewere humanity, thatthiswarmth, Iobserved Baron, study with many butduring years of est inamereschool flutist, high I ttetm,Iwasastonished by hiskindandsincere inter- At thetime, Schaffer was giving theworld premiereSchaffer of wasgiving where Music School inPhiladelphia, Se met Samuel Baron in1971atthe Spring 2007 Spring nfaonline.org osseti l fhisrelation- consistent inallof ttlement Elaine “Baronisms.” his words ofadvice have cometobeknown as Baron, whose pedagogywas solegendarythat of the talentsandtemperament death, aformerstudentandcolleaguerecalls In thisyear notingthe10 along with hismethodsforself-improvement.along with and often andchallenges related struggles hisown work, He encouraged positive thinkingandhard may encounter. the otherdifficultiesyou could count onthatregardless of “your flute isyour stressed thatyou bestfriend”—and He said, music andflute playing. love atrue strated of Baron demon- In brilliance, addition to hispedagogical andpedagogy. soundproduction; thephysics of harmony; thebasicsof baroque ornamentation; techniques; modern andchamber music literature; orchestral, standard solo, He gave equalconsideration to basicpractice techniques; knowledge. hedispensedahuge volume of somewhat formal, forsuccess.skills necessary andhelpedto provide the voice career andindividual path, studentsto encouraging findtheirown Hemusical endeavors, respected all andprofessional options. flutistry, ment, aspectof who addressed every andthorough teacher patient, Sam Baron wasathoughtful, PedagogyThorough ihatahn tl htwssrcue,aayia,and analytical, With ateaching thatwasstructured, style Teacher, Mensch Artist, his student’s musical develop- th anniversary of his anniversary of by Katherine Fink flutist Samuel COURTESY CAROL BARON Baron was fond of demonstrating the paradox that structure gave freedom to expression. Weekly lessons with Baron followed a consistent pattern and were models of purposeful efficiency. A typical lesson would begin with a variation of Moyse’s first exercise from the Art of the Sonority. Baron would play the first bar, and then the student would repeat the same, matching pitch, tone, and dynamic. The idea was to open the student’s ears to correct intervallic pitch and promote the vastly important skill of matching color, pitch, and vibrato to another player. The next segment was a similarly cooperative exercise using a five-note scale pattern. The first five notes of a scale were executed swiftly, first slurred up and down from notes one to five, then repeated beginning on note five, slurring down to one and back up. The pattern was repeated twice more, using double-tonguing, beginning first with the front of the tongue and next with the back of the tongue. The exercise was repeated on each subsequent note of the scale with the goal of moving the air fully and swiftly all the way Samuel Baron and Francis Blaisdell at the 1994 Georges Barrère exhibition. through the passage, promoting fast finger action, and practicing clean tonguing, always with an emphasis on Baron then listed all the elements that constituted “input,” proper pitch and tone. which included “music that we hear, music that we feel, studying, These warm-ups were followed by the weekly étude, with practicing, reading, thinking, meditating and love of nature.” an exploration of issues pertinent to the student’s current The essence of the musician was a combination of tempera- development, such as phrasing, a specific problem-solving ment, personality, work ethic, skill and spirituality, and was the technique, stylistic information, or historical references. The lesson would end with the solo repertoire, always including a place where all the “input” elements were processed. discussion of musical context. The “output” side represented the music that was released into the world through one’s instrument. Baron observed “Baronisms” that each musician’s diagram had different proportions, and Baron asked students to bring a spiral notebook to the lessons that the three elements had to be equalized to produce the into which he drew diagrams, wrote out harmonic and optimal musical output. He noted that some people had a rhythmic analysis, made lists of repertoire with sample recital great deal of input, but not enough personal development programs, and explained the most important of his teaching with which to process the information, thereby yielding very philosophies. It was an effective way to keep track of each little output. Others had volumes of output with little input, student’s progress and to be sure that all the important topics thereby yielding meaningless music. Still others had tremendous had been addressed and recorded for future reference. personal reactions to music but neither adequate input nor Elements of music and style were analyzed and clearly significant output. This objective diagram gave students a defined. One classic illustration of Baron’s methodical thinking positive and proactive way to analyze their strengths and was his distinct definition of melody, line, and melodic line: weaknesses as performers without being critical. “Melody is an arrangement of notes played or sung one after the other in such a way that when we have heard it, we can Innovations: “Syrinx” and “Sequenza” remember it all and retrace the path to the end. Line is the Some of Sam’s teaching techniques were remarkably innovative. essence of melody and carries the thought. We play notes but Of particular interest were his lessons on Claude Debussy’s we hear in lines, just as we speak words but we hear thoughts, “Syrinx” and Luciano Berio’s “Sequenza” for solo flute. ideas, etc. Sound and line must not fight, but collaborate to According to Baron, “Syrinx” could be viewed in three make the most beautiful and moving performance.” ways. It was “about the story of Pan and Syrinx”; it was Another classic “Baronism” was the “Diagram of a “about the invention or discovery of music”; and it was Musician.” This was a peculiar drawing of a rectangle with a “about the invention or discovery of the flute.” COURTESY NEW YORK FLUTE CLUB ARCHIVES , funnel on either end. The left funnel was labeled “input”; the First he reviewed the mythological story of Pan the TOFF amorous god, and Syrinx the reticent nymph, relating the . rectangle in the middle represented the essence of the musician; IRA N and the right funnel was labeled “output.” themes and harmonic modulations of the work to the nfaonline.org Spring 2007 The Flutist Quarterly 53 SAMUEL BARON: ARTIST, TEACHER, MENSCH A postcard promoting a 1991 New York concert featuring Samuel Baron. Baron had a quirky and interesting sense of humor, which he often employed to impart the sense of a particular piece. characters and events of the story. He then described the note. Baron asked students to transcribe the “Sequenza” into piece as if it epitomized the creation of music, beginning with a 4/4 format and to practice with that precise rhythmic a feeling and a small melodic motive, then expanding guideline. In that way, the architecture of the piece became motives and harmonies and exploring the emotional clear, and a context was provided in which to formulate the response to those musical developments. He said that the musical interpretation. Baron was fond of demonstrating performance should have the feeling of an improvisation, as the paradox that structure gave freedom to expression. though the performer were reacting to the harmonic patterns and then improvising melodic variations. The third illustra- Chamber Music tion described the invention of the first flute as Pan discov- A dedicated chamber musician, Baron was a member of the ered that blowing air across river reeds produced sound. In New York Woodwind Quintet for nearly 20 years. Sometimes this explication, the music evolved from Pan’s experimenta- the quintet toured for up to 26 weeks a year, so he was keenly tion with the new instrument and its sonority. All three of aware of the challenges of performing chamber music under these illustrations provided a wealth of imagery to help shape stressful conditions caused by travel, bad acoustics, fatigue, the interpretation. and any number of unknown elements. Rhythmic accuracy was the stabilizing element in any Baron was also sensitive to the personal issues of working musical interpretation. Without a concrete rhythmic foun- with other musicians in such a highly sensitive and interde- dation, the performer could not cleanly execute technical pendent forum. His knowledgeable and practical suggestions passages, and the phrasing would lack forward momentum. provided the necessary tools to deliver successful performances The rhythm provided the horizontal impetus while the in adverse circumstances. emotional expression added vertical interest. Context was a key ingredient in Baron’s approach to Baron insisted on a complete understanding of complex chamber music, and he felt strongly that to understand the rhythms, and would painstakingly dissect difficult passages, score was vital to an effective performance. He encouraged using subdivisions and note groupings for clarification. student chamber groups to write very specific cues in the When possible, he would simplify mixed meter passages by music, indicating which instrument had the previous notes regrouping the beats into measures of equal length. He of the melody and which notes were unisons, rhythm cues, suggested using subdivisions as a springboard to move and cutoffs. Baron knew that the performance would be from one note to the next, thereby generating a rhythmic more secure and the performers more confident if everyone vitality in the phrase. By carefully analyzing the rhythms in had cues rather than relying on memory. This technique this way, students gained the confidence to learn complicated proved to be particularly invaluable when performing new repertoire. unfamiliar works, or when performing for the first time Rhythmic structure was also the key to Sam’s interpretation with colleagues whose performance nerves and quirks and translation of Luciano Berio’s “Sequenza” for solo flute. were unknown. This piece was written without bar lines or standard rhythmic A stickler for good intonation, Baron encouraged the tuning notation, and presented a daunting challenge for students of intervals rather than unisons. He recalled with amusement COURTESY LIBRARY OF CONGRESS inexperienced in contemporary music notation and style. that by the end of his affiliation with the New York , RIGHT Although the notation seemed amorphous, Baron observed Woodwind Quintet, everyone played a random note and ; that any note is only defined by what follows. He often then tuned the resulting tone cluster rather than tuning to referred to Kincaid’s Zen Riddle, which asked “How many the oboe’s “A.” The point demonstrated that sevenths and notes are in a triplet?” seconds were equal to unisons and fifths as indicators of The answer was not three, but four, since the three notes pitch. He scientifically explained resultant tones and how to COURTESY NANCY TOFF , only sound like a triplet when they are defined by the fourth use them to tune the thirds in a chord. He also spoke at LEFT 54 The Flutist Quarterly Spring 2007 nfaonline.org Baron described the first movement of the Ibert Concerto as a “Bach invention with wrong notes,” the second as a “lullaby, blues,” and the third as a “Tarantella-Charleston.” length about blend, stating that each player should imagine a sphere in the center of the group and project their sound into it. Along with this he analyzed the use of vibrato and noted passages where it should be employed or omitted depending on the musical context. Gift of Humor Baron had a quirky and interesting sense of humor, which he often employed to impart the sense of a particular piece. He described the first movement of the Ibert Concerto as a “Bach invention with wrong notes,” the second movement as a “lullaby, blues,” and the third as a “Tarantella-Charleston.” The last movement of Hindemith’s Sonata was portrayed as the “piccolo part in the band.” In a coaching of Samuel Barber’s woodwind quintet “Summer Music,” he likened the repeated horn entrances to an uninvited guest rudely interrupting the party. Baron also added words to some phrases to secure a rhythm or to enhance the feeling of the music. To solve a problem posed by the tricky opening rhythmic phrase of the Samuel Baron coaches a student ensemble in a seminar at Juilliard. last movement of Irving Fine’s Partita for Wind Quintet, Baron assigned the words “geophysical year” to the beats. a very rewarding emotional life, but you will never be a good This resulted in a uniform perception of the rhythmic pulse, flute player. You must play the correct notes and rhythms, putting an end to tiresome technical discussions. and play with a good tone and intonation.” Despite his own musical preferences, Baron was willing to Of course I clearly received the mortifying message, despite coach any repertoire that a student might bring to the lesson its polite delivery. In retrospect, I also see that he was validating without passing judgment on the merit of the piece. During the emotional gratification of my work method in spite of its my graduate studies, for instance, I found a new contemporary inefficiency. The ability to deliver a stern reprimand without piece and worked on it for several weeks before Baron damaging the student’s confidence or self-esteem was one of admitted reluctantly that it really wasn’t a very good piece (in Baron’s great humanitarian attributes. fact it was wretched!), and that it was probably not worth Sam Baron played the flute with incredible, expressive depth performing. He concluded with the positive assurance that and heartfelt musical integrity, and yet his teaching revealed the my efforts had not been wasted and would be beneficial to surprising intellectual infrastructure of that artistry. He was, other musical projects. indeed, a most extraordinary artist and teacher. > Humanitarian Critic Katherine Fink is a member of the Borealis Wind Quintet, I was not a particularly gratifying student in general, because Grammy-nominated for best chamber music performance in I would experiment with my own musical ideas rather than 2005. She is principal flute with the Brooklyn Philharmonic hone technical details and follow his practical and well-advised and the New York Pops, performs regularly with the musical directions. Once after a few unsuccessful lessons he Metropolitan Opera Orchestra, and teaches at New Jersey COURTESY JUILLIARD said “Katherine, if you continue to play this way you will have City University. nfaonline.org Spring 2007 The Flutist Quarterly 55 ROME, ITALY 2007 DECEMBER 7-9 ITALIANFLUTECONVENTION PAHUD BEYNON KUIJKEN CAREDDU RENGGLI GHIANI BERNOLD OLIVA FLAUTISSIMO2007 CAROLI DEBOST FROMANGER HUREL PERSICHILLI MARASCO AND MANYOTHERS 10th Italian Flute Convention December 7-9 Rome Italy [email protected] Visit the NFA Store right from the comfort of your desktop. Books The NFA 20th Anniverary Anthology of American Flute Music Selected Flute Repertoire: A Graded Guide for Teachers and Students Kincaidiana: A Flute Player’s Notebook The Flutist’s Handbook: A Pedagogy Anthology Compact Disks Historical Recordings Series Vol. II: Joseph Mariano Historical Recordings Series Vol. III: Robert Willoughby Much more! Visit nfaonline.org and select NFA Store from the bar on the left side of the screen. SUMMER 2007MASTERCLASSES The following abbreviated masterclass listing was compiled by Tony Watson for The National Flute Association, Inc., and its The Flutist Quarterly magazine, and is used by permission. Listed are course title, dates, contact information, and teachers. For full and updated information, consult the NFA Web site: nfaonline.org ALPHABETICAL DESCRIPTIONS ACCADEMIA DI CAGLIARI AMY PORTER’S by MASTERCLASS NAME Sardinia, Europe ANATOMY OF SOUND ALPHABETICAL INDEX September 1–10 University of Michigan School of Music, by TEACHER NAME accademiadicagliari.org/eng/indexeng.htm Theatre & Dance, Ann Arbor, Michigan Jean Ferrandis; Thomas Robertello CHRONOLOGICAL INDEX June 10–13 amyporter.com ADVANCED FLUTE! GEOGRAPHICAL INDEX [email protected] REPERTOIRE CLASS Laura Dwyer, Yoga; Bradley Garner; ALPHABETICAL DESCRIPTIONS by University of North Texas MASTERCLASS NAME Denton, Texas David Gilliland, piano; Christopher 16TH INTERNATIONAL June 28–July 1 Harding, piano; Amy Porter FLUTE SUMMER COURSE mkclardy.com ARIA INTERNATIONAL BY WIL OFFERMANS [email protected] Antiguo Molino Balcon del Rio Mary Karen Clardy SUMMER ACADEMY Sayalonga (Malaga), Spain Ball State University July 21–28 ALEXA STILL SUMMER Muncie, Indiana wiloffermans.com FLUTE SCHOOL June 18–July 14 [email protected] University of New Mexico bsu.edu/cfa/music/aria Wil Offermans Albuquerque, New Mexico [email protected] August 2–5 Bonita Boyd; Bradley Garner; 2007 SKIDMORE SUMMER FLUTE alexastill.com; [email protected] INSTITUTE @ SKIDMORE COLLEGE Walfrid Kujala; Amy Porter Alexa Still Skidmore College ASHEVILLE FLUTE VACATION Saratoga Springs, New York ALI RYERSON JAZZ FLUTE July 29–August 4 Blue Ridge Mountains MASTER CLASS [email protected] Asheville, North Carolina Hidden Valley Music Seminars skidmore.edu/summer May 7–13 Carmel Valley, California Susan Hoeppner; Mark Vinci; Jan Vinci ashevilleflute.com July 1–6 [email protected] 9TH ANNUAL SUMMER hiddenvalleymusic.org Lea Kibler; Kate Steinbeck FLUTE RETREAT [email protected] Ali Ryerson Illinois Valley Community College BLOCKI FLUTE METHOD INTENSIVE Oglesby, Illinois TEACHER’S TRAINING SEMINAR June 24–30 ALTO AND BASS FLUTE RETREAT Albuquerque, New Mexico [email protected] YMCA of the Rockies opus111musicstudio.com Estes Park, Colorado August 6–8 Anne Badger; Gerald Carey; Susan June 5–9 plazainnabq.com; blockiflute.com Gillio; Ellen Huntington; Cindi altoflute.net; [email protected] [email protected] Isenhower Christine Potter Kathy Blocki; Rebecca Hovan 58 The Flutist Quarterly Spring 2007 nfaonline.org BOWDOIN INTERNATIONAL FAIRBANKS SUMMER ARTS FESTIVAL FLUTE SOCIETY OF ST. LOUIS MUSIC FESTIVAL University of Alaska–Fairbanks FLUTE DAY Bowdoin College Fairbanks, Alaska Ethical Society of St. Louis Brunswick, Maine July 15–29 St. Louis, Missouri June 23–August 4 fsaf.org; [email protected] flutesocietyofsaintlouis.org bowdoinfestival.org John Barcellona; Dorli McWayne [email protected] [email protected] Rhonda Larson Christina Jennings; Joshua Smith FLORIDA FLUTE WORKSHOP Stetson University FLUTE SPA BOWDOIN INTERNATIONAL DeLand, Florida Marrieta High School MUSIC FESTIVAL June 12–16 Marrieta, California Bowdoin College stetson.edu; [email protected] June 6–7 Brunswick, Maine Nancy Clew; Lindsay Hager; [email protected] July 14–21 Debbie Heller; Jean West Patricia George bowdoinfestival.org [email protected] FLUTE AS INSPIRATION AND PRAISE GARY SCHOCKER SUMMER Christina Jennings; Joshua Smith Second Presbyterian Church MASTER CLASS Greenville, South Carolina Holy Cross Monastery & Retreat House BOXWOOD FESTIVAL & WORKSHOP June 11–15 West Park, New York Lunenburg Academy tempoprimoenterprises.com June 19–24 Lunenburg, Nova Scotia [email protected] garyschocker.com July 21–27 Kathy Blocki; Tadeu Coelho [email protected] boxwood.org; [email protected] Bill Connington, Alexander Technique; FLUTE! AT CRESTED BUTTE Mary Bergin; Edmund Brownless; Brenda Hicks, Kripalu yoga; Julie Martyn- Crested Butte Community School Hari Prasad Chaurasia; Francis Colpron; Baker, coordinator and flute ensemble; Crested Butte, Colorado David Greenberg; Betsy MacMillan; Gary Schocker; Katherine Vogele, orchestral July 12–16 June McCormack; David McGuinness; repertoire Chris Norman mkclardy.com [email protected] GARY SCHOCKER SUMMER BURGOS CHAMBER MUSIC FESTIVAL Mary Karen Clardy MASTER CLASS Antonio Cabezon Conservatory Holy Cross Monastery & Retreat House Burgos, Spain FLUTE BOOTCAMP West Park, New York July 16–30 Sydney Conservatorium of Music July 10–15 music.uiuc.edu; [email protected] Sydney, New South Wales See above. Jonathan Keeble July 11 music.usyd.edu.au/community/ HIGH SCHOOL FLUTE! CAMP CHARTERHOUSE INTERNATIONAL [email protected] University of North Texas, Denton, Texas MUSIC FESTIVAL James Kortum; Alexa Still Charterhouse School, Godalming June 6–10 Surrey, England FLUTE FOCUS WITH MARIANNE mkclardy.com August 1–9 GEDIGIAN AND JILL FELBER [email protected] cimf.org.uk; [email protected] University of California Mary Karen Clardy Susan Milan Santa Barbara, California June 28–July 1 ILLINOIS SUMMER YOUTH MUSIC C.W. POST CHAMBER MUSIC FESTIVAL [email protected] SENIOR ORCHESTRA C.W. Post Campus/Long Island Jill Felber; Marianne Gedigian University of Illinois University, Brookville, New York Urbana, Illinois July 10–19 FLUTE! IN HAWAII July 17–23 liu.edu/svpa/music/festival University of Hawaii and Punahou music.uiuc.edu/isym [email protected] School, Honolulu, Hawaii [email protected] Susan Deaver mkclardy.com Jonathan Keeble [email protected] EAST TENNESSEE SUZUKI FLUTE Mary Karen Clardy ILLINOIS SUMMER YOUTH MUSIC, INSTITUTE INTERNATIONAL SENIOR FLUTE CAMP East Tennessee State University FLUTE! PEDAGOGY WORKSHOP University of Illinois at Urbana- Johnson City, Tennessee University of North Texas Champaign June 24–29 Denton, Texas Urbana, Illinois etsu.edu/music/suzuki/institute.htm June 11–15 June 24–30 [email protected] mkclardy.com music.uiuc.edu/isym Joyce Bennett; David Gerry; Rebecca [email protected] [email protected] Paluzzi; Wendy Stern; Kenichi Ueda Mary Karen Clardy Jonathan Keeble nfaonline.org Spring 2007 The Flutist Quarterly 59 SUMMER 2007 MASTERCLASSES IN SEARCH OF INSPIRATION LOUIS MOYSE NORTHWEST MISSOURI Hamline University FLUTE MASTERCLASS STATE UNIVERSITY St. Paul, Minnesota Montpelier, Vermont Northwest Missouri State University June 24–July 1 July 12–21 Maryville, Missouri wissamboustany.com Janet W. Moyse July 15–20 [email protected] 9 Hillcrest Dr. nwmissouri.edu/dept/music/camps.htm Wissam Boustany Montpelier, Vermont 05602 [email protected] 802-229-5772 Rebecca Dunnell; Townes Osborn INTERNATIONAL PICCOLO Louis Moyse Miller; Eldred Spell SYMPOSIUM University of Nebraska at Omaha MADELINE ISLAND MUSIC CAMP, THE NOW AND PRESENT Omaha, Nebraska CHAMBER MUSIC FOR WINDS FLUTE SEMINAR August 2–4 Madeline Island, Wisconsin Bard College piccolosymposium.com July 15–22 Annandale-on-Hudson, New York [email protected] [email protected] June 12–16 Christine Beard; Lois Herbine; Jonathan Keeble [email protected] Nicola Mazzanti Patricia Spencer MONTANA CHAMBER MUSIC JILL FELBER AT MARROWSTONE WORKSHOP OBERLIN FLUTE INSTITUTE MUSIC FESTIVAL 2007 Montana State University Oberlin College Conservatory of Music Western Washington University Bozeman, Montana Oberlin, Ohio Bellingham, Washington June 16–23 June 24–July 1 July 22–August 5 montana.edu/music oberlin.edu/con/summer marrowstone.org [email protected] [email protected] [email protected] Gallatin Woodwind Quintet; Hyperion Kathleen Chastain; Michel Debost Jill Felber String Quartet; Karen Leech OHIO STATE UNIVERSITY JILL FELBER’S SUMMER SESSION MUSIC AT THE BEACH FLUTE WORKSHOP FOR AT UNIVERSITY OF CALIFORNIA, Stone Harbor, New Jersey HIGH SCHOOL STUDENTS SANTA BARBARA June 23–30 Ohio State University University of California, Santa Barbara flutestudiode.com Columbus, Ohio Santa Barbara, California [email protected] June 17–21 [email protected] Donna DeLaurentis, piano; Joan Sparks music.osu.edu/2_news_events/camps/flu Jill Felber te_workshop.php; [email protected] NORTHERN CALIFORNIA Katherine Borst Jones THE JULIUS BAKER FLUTE FLUTE CAMP MASTERCLASSES Hidden Valley Music Seminars ORCHESTRAL FLUTE INSTITUTE Western Connecticut State University Carmel Valley, California JULY 2007 Danbury, Connecticut July 27–August 4 Oakland University July 28–August 2 flutecamp.com Rochester, Michigan wcsu.edu/summermusic [email protected] little-piper.com [email protected] Michelle Caimotto; Karen Johnson; [email protected] Sandra Church; Tadeu Coelho; Bart Feller; Joshua Smith; Mimi Stillman; Maria Philip Dikeman; Ervin Monroe; Sharon Bradley Garner; Susan Hoeppner; Trudy Tamburrino; Karen Van Dyke; Sparrow; Jeffery Zook Kane; Jeffrey Khaner; Gary Schocker; Gary Woodward Nobutaka Shimizu OXFORD FLUTE SUMMER SCHOOL NORTHWEST FLUTE AND Worcester College KEITH UNDERWOOD FLUTE PICCOLO FORUM University of Oxford MASTERCLASS University of Washington Oxford, England Ghost Ranch, Abiquiu, New Mexico Seattle, Washington August 12–17 August 13–19 July 16–22 oxford-flutes.co.uk taoswebb.com/tcmg [email protected] [email protected] [email protected] Zart Dombourian-Eby; Jill Felber; Michael Cox; Kate Hill; Katherine Kemler; Keith Underwood Walfrid Kujala Peter Lloyd; Stephen Preston 60 The Flutist Quarterly Spring 2007 nfaonline.org PAULA ROBISON THE SCOTTISH INTERNATIONAL SUMMER FLUTE CLASS MASTER CLASS SERIES FLUTE SUMMER SCHOOL Asilomar Conference Grounds Diller-Quaile School of Music Strathallan School, Perth, Scotland in Pacific Grove New York, New York July 29–August 4 Monterey, California April 18 flutescotland.co.uk July 9–13 diller-quaile.org/robison.html [email protected] patriciaharper.com [email protected] [email protected] Wissam Boustany; Ian Buckle, piano; Ian Clarke; Scott Mitchell, piano; Patricia Harper Paula Robison Ruth Morley SUMMER FLUTE CLASS POCATELLO FLUTE SPA SEWANEE SUMMER MUSIC FESTIVAL Hindemith Music Center, Pocatello, Idaho The University of the South Blonay (near Montreux), Switzerland August 2–4 Sewanee, Tennessee July 28–August 4 [email protected] June 16–July 23 weinzierl-waechter.de Patricia George sewanee.edu; [email protected] [email protected] Patricia George Edmund Wächter; Elisabeth Weinzierl RALEIGH FLUTE SPA Meredith College, Wainwright Music SIR JAMES GALWAY INTERNATIONAL SUMMER FLUTE EXPERIENCE Building FLUTE MASTERCLASS 2007 WITH GEORGE POPE Raleigh, North Carolina Kursaal (Casino Hall) of Interlaken University of Akron April 15 Interlaken, Switzerland Akron, Ohio July 16–21 raleighflutes.org August 5–11 neofa.org; [email protected] [email protected] interlaken-classics.ch Jane Berkner; George Pope Patricia George [email protected] Sir James Galway; Lady Jeanne Galway SUMMERKEYS FLUTE SESSIONS RED CEDAR CHAMBER MUSIC Summerkeys FESTIVAL FOR FLUTE & SPARX SUMMER CHAMBER MUSIC FESTIVAL Lubec, Maine GUITAR DUOS July 9–13 The Tatnall School Cornell College summerkeys.com Wilmington, Delaware Mount Vernon, Iowa [email protected] June 16–20 Eve Friedman July 15–22 sparx-flutenharp.com redcedar.org; [email protected] [email protected] Jan Boland; John Dowdall, guitar SUMMERKEYS FLUTE SESSIONS Joan Sparks; Anne Sullivan, harp SummerKeys, Lubec, Maine July 16–20 RHONDA LARSON Italy SUMMERFLUTE: BODY MAPPING, summerkeys.com MASTERCLASS 2007 ALEXANDER TECHNIQUE AND See above Medieval village of Casperia, Italy, FELDENKRAIS Casperia, Italy Holy Names University SUMMERKEYS FLUTE SESSIONS July 25–31 Oakland, California Summerkeys rhondalarson.com/italymasterclass.htm July 9–13 Lubec, Maine [email protected] bodymap.org/summerflute.html July 30–August 3 Rhonda Larson [email protected] summerkeys.com; Amy Likar; Lea Pearson; Stacey Pelinka; [email protected] ROME FLUTE ACADEMY Liisa Ruoho; Sandra Seefeld Suzanne Gilchrest Marymount International School SUMMER FLUTE CLASS Rome, Italy SUMMERKEYS FLUTE SESSIONS North Greenville University June 24–30 Summerkeys Greenville, South Carolina Lubec, Maine [email protected] June 10–15 August 6–10 Laura Lentz; Nancy Stagnitta; Jim Walker [email protected] summerkeys.com Patricia Harper See above SARASOTA MUSIC FESTIVAL Florida West Coast Symphony Center SUMMER FLUTE CLASS SUMMER MUSIC ACADEMY Sarasota, Florida Brownsville, Vermont Halkidiki, Greece June 3–24 June 24–30 July 12–22 fwcs.org; [email protected] patriciaharper.com [email protected] Leone Buyse; Thomas Robertello; [email protected] Nevart Galileas; Kate Lukas; Carol Wincenc Patricia Harper Thomas Robertello nfaonline.org Spring 2007 The Flutist Quarterly 61 SUMMER 2007 MASTERCLASSES SYDNEY CONSERVATORIUM THE WHOLE MUSICIAN: Berkner, Jane See Summer Flute AND NEW SOUTH WALES FLUTE PERFORMANCE ANXIETY Experience with George Pope SOCIETY EISTEDDFOD FROM THE INSIDE OUT Sydney Conservatorium of Music Albuquerque, New Mexico Blocki, Kathy See Flute as Inspiration Sydney, New South Wales, August 8 and Praise July 14–15 unc.edu/~hbs; [email protected] See Blocki Flute Method Intensive Teacher’s music.usyd.edu.au/community Lea Pearson; Helen Spielman Training Seminar [email protected] WILDACRES FLUTE RETREAT Blumenthal, Amy See Wildacres Flute TREVOR WYE MASTERCLASS Wildacres Retreat Retreat University of New Mexico Little Switzerland, North Carolina Department of Music June 23–30 Boland, Jan See Red Cedar Chamber Music Albuquerque, New Mexico barefootboy.org/wildacres June 23–June 30 Festival for Flute & Guitar Duos abqflute.com [email protected] [email protected] Amy Blumenthal; Timothy Carey; Bouriakov, Denis See William Bennett Mary Jo Gothmann, piano; Yu Karata; Bradley Garner; Amara Guitry; Göran International Flute Summer School 2007 Trevor Wye Marcusson; Lea Pearson; Stephen Preston; Joy Sears; Helen Spielman Boustany, Wissam See In Search of UTAH FLUTE FEST Inspiration Snow College WILLIAM BENNETT INTERNATIONAL See The Scottish International Flute Ephraim, Utah FLUTE SUMMER SCHOOL 2007 Summer School June 7–June 9 Frensham Heights School [email protected] Frensham Heights, Farnham, England Boyd, Bonita See ARIA International Linda Chesis; April Clayton; Bradley July 29–August 8 Summer Academy Garner; Elaine Jorgensen; Kristine Parker williambennettflute.com [email protected] Brownless, Edmund See Boxwood UW-WHITEWATER HIGH SCHOOL Michie Bennett; William Bennett, OBE; Festival & Workshop FLUTE CAMP Denis Bouriakov; Unji Chung University of Wisconsin–Whitewater Buckle, Ian, piano See The Scottish Whitewater, Wisconsin International Flute Summer School July 8–13 ALPHABETICAL INDEX by uww.edu/conteduc/camps TEACHER NAME [email protected] Buyse, Leone See Sarasota Music Festival Robin Fellows Angus, Jan See The View from the Top: A Caimotto, Michelle See Northern Piccolo Workshop THE VIEW FROM THE TOP: California Flute Camp A PICCOLO WORKSHOP Badger, Anne See 9th Annual Summer Eastman School of Music Carey, Gerald See 9th Annual Summer Flute Retreat Rochester, New York Flute Retreat July 30–August 1 See Westminster Choir College High Barcellona, John See Fairbanks Summer esm.rochester.edu/summer School Flute Camp [email protected] Arts Festival Jan Angus Carey, Timothy See Wildacres Flute Beard, Christine See International Retreat WESTMINSTER CHOIR COLLEGE Piccolo Symposium HIGH SCHOOL FLUTE CAMP Chastain, Kathleen See Oberlin Flute Westminster Choir College Bennett, Joyce See East Tennessee Suzuki Institute Princeton, New Jersey Flute Institute International July 29–August 4 Chaurasia, Hari Prasad See Boxwood westminster.rider.edu Bennett, Michie See William Bennett Festival & Workshop [email protected] International Flute Summer School 2007 Gerald Carey; Susan Gillio; Sandra Olson Chesis, Linda See Utah Flute Fest THE WHOLE MUSICIAN: Bennett, OBE, William See William BODY MAPPING Bennett International Flute Summer Chung, Unji See William Bennett Albuquerque, New Mexico School 2007 International Flute Summer School 2007 August 8 web.mac.com/flutibia; [email protected] Bergin, Mary See Boxwood Festival & Church, Sandra See The Julius Baker Lea Pearson; Helen Spielman Workshop Flute Masterclasses 62 The Flutist Quarterly Spring 2007 nfaonline.org Clardy, Mary Karen See High School Feller, Bart See The Julius Baker Flute Greenberg, David See Boxwood Festival & Flute! Camp Masterclasses Workshop See Flute! Pedagogy Workshop See Advanced Flute! Repertoire Class Fellows, Robin See UW-Whitewater High Guitry, Amara See Wildacres Flute Retreat See Flute! at Crested Butte School Flute Camp See Flute! in Hawaii Hager, Lindsay See Florida Flute Workshop Ferrandis, Jean See Accademia di Cagliari Clarke, Ian See The Scottish International Flute Summer School Harding, Christopher, piano See Amy Friedman, Eve See SummerKeys Flute Porter’s Anatomy of Sound sessions Clayton, April See Utah Flute Fest See SummerKeys Flute Sessions Harper, Patricia See Summer Flute Class Clew, Nancy See Florida Flute Workshop Galileas, Nevart See Summer Music Heller, Debbie See Florida Flute Workshop Coelho, Tadeu See The Julius Baker Flute Academy Masterclasses Herbine, Lois See International Piccolo See Flute as Inspiration and Praise Gallatin Woodwind Quintet, See Symposium Montana Chamber Music Workshop Colpron, Francis See Boxwood Festival & Hicks, Brenda, Kripalu yoga See Gary Workshop Galway, Lady Jeanne See Sir James Galway Schocker Summer Master Class International Flute Masterclass 2007 Connington, Bill, Alexander Technique See Hill, Kate See Oxford Flute Summer School Gary Schocker Winter Flute Retreat Galway, Sir James See Sir James Galway Hoeppner, Susan See 2007 Skidmore See Gary Schocker Summer Master Class International Flute Masterclass 2007 Summer Flute Institute @ Skidmore College See The Julius Baker Flute Masterclasses Cox, Michael See Oxford Flute Summer Garner, Bradley See The Julius Baker Flute School Masterclasses Hovan, Rebecca See Blocki Flute Method See ARIA International Summer Academy Intensive Teacher’s Training Seminar Deaver , Susan See C.W. Post Chamber See Wildacres Flute Retreat Music Festival See Amy Porter’s Anatomy of Sound Huntington, Ellen See 9th Annual Summer Flute Retreat Debost, Michel See Oberlin Flute Institute See Utah Flute Fest Gedigian, Marianne See Flute Focus with Hyperion String Quartet, See Montana DeLaurentis, Donna, piano See Music at Chamber Music Workshop the Beach Marianne Gedigian and Jill Felber Isenhower, Cindi See 9th Annual Summer George, Patricia See Sewanee Summer Dikeman, Philip See Orchestral Flute Flute Retreat Institute July 2007 Music Festival See Pocatello Flute Spa Jennings, Christina See Bowdoin Dombourian-Eby, Zart See Northwest See Raleigh Flute Spa International Music Festival Flute and Piccolo Forum See Flute Spa Johnson, Karen See Northern California Dowdall, John, Guitar See Red Cedar Gerry, David See East Tennessee Suzuki Flute Camp Chamber Music Festival for Flute & Flute Institute International Guitar Duos Jones, Katherine Borst See Ohio State Gilchrest, Suzanne See Summerkeys Flute University Flute Workshop Dunnell, Rebecca See Northwest Missouri Sessions State University Jorgenson, Elaine See Utah Flute Fest Gilliland, David, piano See Amy Porter’s Dwyer, Laura, Yoga See Amy Porter’s Kane, Trudy See The Julius Baker Flute Anatomy of Sound Anatomy of Sound Masterclasses Felber, Jill See Flute Focus with Marianne Gillio, Susan See 9th Annual Summer Keeble, Jonathan See Madeline Island Gedigian and Jill Felber Flute Retreat Music Camp, Chamber Music for Winds See Jill Felber’s Summer Session at See Westminster Choir College High School See Burgos Chamber Music Festival University of California, Santa Barbara Flute Camp See Illinois Summer Youth Music Senior See Jill Felber at Marrowstone Music Orchestra Festival 2007 Gothmann, Mary Jo, piano See Trevor See Illinois Summer Youth Music, Senior See Northwest Flute and Piccolo Forum Wye Masterclass Flute Camp nfaonline.org Spring 2007 The Flutist Quarterly 63 SUMMER 2007 MASTERCLASSES Kemler, Katherine See Oxford Flute Mitchell, Scott, piano See The Scottish Robison, Paula See Paula Robison Master Summer School International Flute Summer School Class Series Khaner, Jeffrey See The Julius Baker Monroe, Ervin See Orchestral Flute Ruoho, Liisa See Summerflute: Body Flute Masterclasses Institute July 2007 Mapping, Alexander Technique and Feldenkrais Kibler, Lea See Asheville Flute Vacation Morley, Ruth See The Scottish International Flute Summer School Ryerson, Ali See Ali Ryerson Jazz Flute Kortum, James See Flute Bootcamp Master Class Moyse, Louis See Louis Moyse Flute Kujala, Walfrid See Northwest Flute and Masterclass Schocker, Gary See Gary Schocker Piccolo Forum Summer Master Class See ARIA International Summer Academy Norman, Chris See Boxwood Festival & See The Julius Baker Flute Masterclasses Workshop Kurata, Yu See Trevor Wye Masterclass Sears, Joy See Wildacres Flute Retreat Offermans, Wil See 16th International Larson, Rhonda See Rhonda Larson Italy Flute Summer Course by Wil Offermans Seefeld, Sandra See Summerflute: Body Masterclass 2007 Mapping, Alexander Technique and See Flute Society of St. Louis Flute Day Olson, Sandra See Westminster Choir Feldenkrais College High School Flute Camp Leech, Karen See Montana Chamber Shimizu, Nobutaka See The Julius Baker Music Workshop Osborn Miller, Townes See Northwest Flute Masterclasses Missouri State University Lentz, Laura See Rome Flute Academy Smith, Joshua See Bowdoin International Paluzzi, Rebecca See East Tennessee Music Festival Likar, Amy See Summerflute: Body Suzuki Flute Institute International See Northern California Flute Camp Mapping, Alexander Technique and Feldenkrais Parker, Kristine See Utah Flute Fest Sparks, Joan See Music at the Beach See SPARX Summer Chamber Music Pearson, Lea See Wildacres Flute Retreat Lloyd, Peter See Oxford Flute Summer Festival See The Whole Musician: Body Mapping School See The Whole Musician: Performance Sparrow, Sharon See Orchestral Flute Anxiety From Inside Out Institute July 2007 Lukas, Kate See Summer Music Academy See Summerflute: Body Mapping, Alexander Technique and Feldenkrais (tm) Spell, Eldred See Northwest Missouri MacMillan, Betsy See Boxwood Festival State University & Workshop Pelinka, Stacey See Summerflute: Body Mapping, Alexander Technique and Spencer, Patricia See The Now and Marcusson, Göran See Wildacres Flute Feldenkrais Present Flute Seminar Retreat Pope, George See Summer Flute Spielman, Helen See Wildacres Flute Martyn-Baker, Julie See Gary Schocker Experience with George Pope Retreat Summer Master Class See The Whole Musician: Performance Porter, Amy See ARIA International Anxiety From Inside Out Mazzanti, Nicola See International Summer Academy See The Whole Musician: Body Mapping Piccolo Symposium See Amy Porter’s Anatomy of Sound Stagnitta, Nancy See Rome Flute McCormack, June See Boxwood Festival Potter, Christine See Alto and Bass Flute Academy & Workshop Retreat Steinbeck, Kate See Asheville Flute McGuinness, David See Boxwood Preston, Stephen See Oxford Flute Vacation Festival & Workshop Summer School See Wildacres Flute Retreat Stern , Wendy See East Tennessee Suzuki McWayne, Dorli See Fairbanks Summer Flute Institute International Arts Festival Robertello, Thomas See Sarasota Music Festival Still, Alexa See Alexa Still Summer Flute Milan, Susan See Charterhouse See Summer Music Academy School International Music Festival See Accademia di Cagliari See Flute Bootcamp 64 The Flutist Quarterly Spring 2007 nfaonline.org Stillman, Mimi See Northern California William Bennett International Flute Santa Barbara, California Jill Felber’s Flute Camp Summer School 2007 July 29–August 8 Summer Session at University of California, Santa Barbara Sullivan, Anne, harp See SPARX Summer Godalming, Surrey, England Chamber Music Festival Charterhouse International Music Festival Crested Butte, Colorado Flute! at Crested August 1–9 Butte July 12–16 Tamburrino, Maria See Northern California Flute Camp Oxford, England Oxford Flute Summer Estes Park, Colorado Alto and Bass Flute School August 12–17 Retreat June 5–9 Ueda, Kenichi See East Tennessee Suzuki Flute Institute International Halkidiki, Greece Summer Music Danbury, Connecticut The Julius Baker Academy July 12–22 Flute Masterclasses July 28–August 2 Underwood, Keith See Keith Underwood Flute Masterclass Casperia, Italy Rhonda Larson Italy Wilmington, Delaware SPARX Summer Masterclass 2007 July 25–31 Chamber Music Festival June 16– 20 Van Dyke, Karen See Northern California Flute Camp Rome, Italy Rome Flute Academy June DeLand, Florida Florida Flute Workshop 24–30 June 12–16 Vinci, Jan See 2007 Skidmore Summer Flute Institute @ Skidmore College Perth, Scotland The Scottish International Sarasota, Florida Sarasota Music Festival Flute Summer School July 29–August 4 June 3–24 Vinci, Mark See 2007 Skidmore Summer Flute Institute @ Skidmore College Burgos, Spain Burgos Chamber Music Honolulu, Hawaii Flute! in Hawaii Festival July 16–30 Vogele, Katherine See Gary Schocker Pocatello, Idaho Pocatello Flute Spa Summer Master Class Sayalonga (Malaga), Spain 16th August 2–4 International Flute Summer Course by Wil Wächter, Edmund See Summer Flute Offermans July 21–28 Class Oglesby, Illinois 9th Annual Summer Flute Retreat June 24–30 Blonay (near Montreux) , Switzerland Walker, Jim See Rome Flute Academy Summer Flute Class July 28–August 4 Urbana, Illinois Illinois Summer Youth Music Senior Orchestra July 17–23 Weinzierl, Elisabeth See Summer Flute Interlaken, Switzerland Sir James Galway Class International Flute Masterclass 2007 August 5–11 Urbana, Illinois Illinois Summer Youth West, Jean See Florida Flute Workshop Music, Senior Flute Camp June 24–30 United States Wincenc, Carol See Sarasota Music Festival Fairbanks, Alaska Fairbanks Summer Arts Muncie, Indiana ARIA International Festival July 15–29 Summer Academy June 18–July 14 Woodward, Gary See Northern California Flute Camp Carmel Valley, California Northern Mount Vernon, Iowa Red Cedar Chamber California Flute Camp July 27–August 4 Music Festival for Flute & Guitar Duos Zook, Jeffery See Orchestral Flute Institute July 15–22 July 2007 Carmel Valley, California Ali Ryerson Jazz Flute Master Class July 1–6 Brunswick, Maine Bowdoin International GEOGRAPHICAL INDEX Music Festival June 23–August 4 Marrieta, California Flute Spa June 6–7 Australia Brunswick, Maine Bowdoin International Sydney, New South Wales, Flute Bootcamp Monterey, California Summer Flute Class Music Festival July 14–21 July 11 July 9–13 Lubec, Maine SummerKeys Flute sessions Canada Oakland, California Summerflute: Body July 9–13 Lunenburg, Nova Scotia, Boxwood Festival Mapping, Alexander Technique and & Workshop July 21–27 Feldenkrais (tm) July 9–3 Lubec, Maine SummerKeys Flute Sessions July 16–0 Europe Santa Barbara, California Flute Focus Accademia di Cagliari September 1–10 with Marianne Gedigian and Jill Felber Lubec, Maine Summerkeys Flute Sessions Frensham Heights, Farnham, England June 28–July 1 July 30–August 3 nfaonline.org Spring 2007 The Flutist Quarterly 65 SUMMER 2007 MASTERCLASSES Lubec, Maine Summerkeys Flute Sessions Brookville, New York C.W. Post Denton, Texas Advanced Flute! Repertoire August 6–10 Chamber Music Festival July 10–19 Class June 28–July 1 Ann Arbor, Michigan Amy Porter’s New York, New York Paula Robison Ephraim, Utah Utah Flute Fest June 7–9 Anatomy of Sound June 10–13 Master Class Series April 18 Brownsville, Vermont Summer Flute Rochester, Michigan Orchestral Flute Rochester, New York The View from the Class June 24–30 Institute July 2007 Top: A Piccolo Workshop July 30–August 1 Montpelier, Vermont Louis Moyse Flute St Paul, Minnesota In Search of Saratoga Springs, New York 2007 Masterclass July 12–21 Inspiration June 24–July 1 Skidmore Summer Flute Institute @ Skidmore College July 29–August 4 Bellingham, Washington Jill Felber at Maryville, Missouri Northwest Missouri Marrowstone Music Festival 2007 July State University July 15–20 West Park, New York Gary Schocker 22–August 5 Summer Master Class June 19–24 St. Louis, Missouri Flute Society of St. Seattle, Washington Northwest Flute and Louis Flute Day May 12 West Park, New York Gary Schocker Piccolo Forum July 16–22 Summer Master Class July 10–15 Bozeman, Montana Montana Chamber Madeline Island, Wisconsin Madeline Music Workshop June 16–23 Asheville, North Carolina Asheville Flute Island Music Camp, Chamber Music for Vacation May 7–13 Winds July 15–22 Omaha, Nebraska International Piccolo Little Switzerland, North Carolina Whitewater, Wisconsin UW-Whitewater Symposium August 2–4 Wildacres Flute Retreat June 23–30 High School Flute Camp July 8–13 Princeton, New Jersey Westminster Choir Raleigh, North Carolina Raleigh Flute CHRONOLOGICAL INDEX College High School Flute Camp July Spa April 15 29–August 4 To Be Announced Flute! in Hawaii Akron, Ohio Summer Flute Experience with Honolulu, Hawaii Stone Harbor, New Jersey Music at the George Pope July 16–21 Beach June 23–30 To Be Announced Jill Felber’s Summer Columbus, Ohio Ohio State University Session at University of California, Santa Abiquiu, New Mexico Keith Underwood Flute Workshop for high school students Barbara Santa Barbara, California Flute Masterclass August 13–19 June 17–21 April Albuquerque, New Mexico The Whole Oberlin, Ohio Oberlin Flute Institute Raleigh Flute Spa Raleigh, North Musician: Body Mapping August 8 June 24–July 1 Carolina April 15 Albuquerque, New Mexico Blocki Flute Greenville, South Carolina Summer Paula Robison Master Class Series New Method Intensive Teacher’s Training Flute Class June 10–15 York City, New York April 18 Seminar August 6– 8 Greenville, South Carolina Flute as May Albuquerque, New Mexico The Whole Inspiration and Praise June 11–15 Asheville Flute Vacation Asheville, North Musician: Performance Anxiety From Inside Carolina May 7–13 Out August 8 Johnson City, Tennessee East Tennessee Suzuki Flute Institute International June Flute Society of St. Louis Flute Day St. Albuquerque, New Mexico Trevor Wye 24–29 Louis, Missouri May 12 Masterclass June 23–30 Sewanee, Tennessee Sewanee Summer June University of New Mexico at Albuquerque, Music Festival June 16–July 23 Sarasota Music Festival Sarasota, Florida New Mexico Alexa Still Summer Flute June 3–24 School August 2–5 Denton, Texas High School Flute! Camp June 6–10 Alto and Bass Flute Retreat Estes Park, Annandale-on-Hudson, New York The Colorado June 5–9 Now and Present Flute Seminar June Denton, Texas Flute! Pedagogy Workshop 12–16 June 11–15 Flute Spa Marrieta, California June 6–7 66 The Flutist Quarterly Spring 2007 nfaonline.org High School Flute! Camp Denton, Texas East Tennessee Suzuki Flute Institute Louis Moyse Flute Masterclass Montpelier, June 6–10 International Johnson City, Tennessee Vermont July 12–21 June 24–29 Utah Flute Fest Ephraim, Utah June 7–9 Summer Music Academy Halkidiki, Illinois Summer Youth Music, Senior Flute Greece July 12–22 Amy Porter’s Anatomy of Sound Ann Camp Urbana, Illinois June 24–30 Arbor, Michigan June 10–13 Bowdoin International Music Festival In Search of Inspiration St Paul, Minnesota Brunswick, Maine July 14–21 Summer Flute Class Greenville, South June 24–July 1 Carolina June 10–15 Fairbanks Summer Arts Festival Fairbanks, Oberlin Flute Institute Oberlin, Ohio Alaska July 15–29 Flute as Inspiration and Praise Greenville, June 24–July 1 South Carolina June 11–15 Madeline Island Music Camp, Chamber Rome Flute Academy Rome, Italy June Music for Winds Madeline Island, Flute! Pedagogy Workshop Denton, Texas 24–30 Wisconsin July 15–22 June 11–15 Summer Flute Class Brownsville, Northwest Missouri State University Florida Flute Workshop DeLand, Florida Vermont June 24–30 Maryville, Missouri July 15–20 June 12–16 Advanced Flute! Repertoire Class Denton, Red Cedar Chamber Music Festival for The Now and Present Flute Seminar Texas June 28–July 1 Flute & Guitar Duos Mount Vernon, Iowa Annandale-on-Hudson, New York June July 15–22 12–16 Flute Focus with Marianne Gedigian and Jill Felber Santa Barbara, California June Burgos Chamber Music Festival Burgos, Montana Chamber Music Workshop 28–July 1 Spain July 16–30 Bozeman, Montana June 16–23 July Northwest Flute and Piccolo Forum Sewanee Summer Music Festival Sewanee, To Be Announced Orchestral Flute Institute Seattle, Washington July 16–22 Tennessee June 16–July 23 July 2007 Rochester, Michigan Summer Flute Experience with George Pope SPARX Summer Chamber Music Festival Ali Ryerson Jazz Flute Master Class Akron, Ohio July 16–21 Wilmington, Delaware June 16–20 Carmel Valley, California July 1–July 6 SummerKeys Flute Sessions Lubec, Maine Ohio State University Flute Workshop for UW-Whitewater High School Flute Camp July 16–20 high school students Columbus, Ohio Whitewater, Wisconsin July 8–13 June 17–21 Illinois Summer Youth Music Senior Summer Flute Class Monterey, Orchestra Urbana, Illinois July 17–23 ARIA International Summer Academy California July 9–13 Muncie, Indiana June 18–July 14 16th International Flute Summer Course Summerflute: Body Mapping, Alexander by Wil Offermans Sayalonga (Malaga), Gary Schocker Summer Master Class West Technique and Feldenkrais Oakland, Spain July 21–28 Park, New York June 19–24 California July 9–13 Boxwood Festival & Workshop Bowdoin International Music Festival SummerKeys Flute sessions Lubec, Maine Lunenburg, Nova Scotia, July 21–27 Brunswick, Maine June 23–August 4 July 9–13 Jill Felber at Marrowstone Music Festival Music at the Beach Stone Harbor, New C.W. Post Chamber Music Festival 2007 Bellingham, Washington July Jersey June 23–30 Brookville, New York July 10–19 22–August 5 Trevor Wye Masterclass Albuquerque, Gary Schocker Summer Master Class West Rhonda Larson Italy Masterclass 2007 New Mexico June 23–30 Park, New York July 10–15 Casperia, Italy July 25–31 Wildacres Flute Retreat Little Switzerland, Flute Bootcamp Sydney, New South Northern California Flute Camp Carmel North Carolina June 23–30 Wales, July 11 Valley, California July 27–August 4 9th Annual Summer Flute Retreat Flute! at Crested Butte Crested Butte, Summer Flute Class Blonay (near Oglesby, Illinois June 24–30 Colorado July 12–16 Montreux), Switzerland July 28–August 4 nfaonline.org Spring 2007 The Flutist Quarterly 67 SUMMER 2007 MASTERCLASSES The Julius Baker Flute Masterclasses August The Whole Musician: Body Mapping Danbury, Connecticut July 28–August 2 Charterhouse International Music Festival Albuquerque, New Mexico August 8 Godalming, Surrey, England August 1–9 2007 Skidmore Summer Flute Institute @ The Whole Musician: Performance Skidmore College Saratoga Springs, New Alexa Still Summer Flute School University Anxiety From Inside Out Albuquerque, York July 29–August 4 of New Mexico at Albuquerque, New New Mexico August 8 Mexico August 2–5 The Scottish International Flute Summer Oxford Flute Summer School Oxford, School Perth, Scotland July 29–August 4 International Piccolo Symposium Omaha, England August 12–17 Nebraska August 2–4 Westminster Choir College High School Flute Camp Princeton, New Jersey July Pocatello Flute Spa Pocatello, Idaho Keith Underwood Flute Masterclass 29–August 4 August 2–4 Abiquiu, New Mexico August 13–19 William Bennett International Flute Sir James Galway International Flute September Summer School 2007 Frensham Heights, Masterclass 2007 Interlaken, Switzerland Accademia di Cagliari, September 1–10 Farnham, England July 29–August 8 August 5–11 Summerkeys Flute Sessions Lubec, Blocki Flute Method Intensive Teacher’s Maine July 30–August 3 Training Seminar Albuquerque, New Mexico August 6–8 The View from the Top: A Piccolo Workshop Rochester, New York July Summerkeys Flute Sessions Lubec, Maine 30–August 1 August 6–10 68 The Flutist Quarterly Spring 2007 nfaonline.org A Headjoint for Life Once you play Drelinger’s UpRite®, you may never consider another headjoint. Because its likely to be the most satisfying playing experience you’ve ever had. The UpRite is actually two headjoints. As a transverse head it has all the wonderful sound of Drelinger’s time honored designs. As a Vertical headjoint you’ll get that same sound plus extraordinary physical comfort. But the UpRite is much more than two headjoints in one. It’s an amazing ergonomic invention that makes effortless flute playing a physical reality. We invite you to try it. The UpRite is priced at $4500 including all accessories. Phone 1-800-450-1151 for brochure and demo CDs. The Headjoint Specialist © 2006 Drelinger - All Rights Reserved From the PROGRAM CHAIR 35th Annual Convention: August 9–12, Albuquerque t is my great pleasure to invite you GALA EVENING CONCERTS to New Mexico for our 35th annual Thursday Iconvention, to be held at the Thursday night begins with Robert Albuquerque Convention Center Mirabal, in a program of music and August 9–12. Albuquerque is the gateway storytelling inspired by his Taos Pueblo to the “Land of Enchantment,” and we roots, and enhanced by video and slide encourage you to “come early, stay images of his land and people. He and late” and see the state. Santa Fe and flutist Patti Adams are working on a Taos beckon, and Albuquerque has its new piece for Native American flute own historical charms. and silver flute to be premiered in this Throughout the planning process, the concert. Native American dancers may program committee has remained be part of this segment of the program, inspired by the land and the cultures of to be followed by legendary Native New Mexico. We worked diligently in American flutist R. Carlos Nakai. The Santa Fe over the Christmas vacation second segment of the program will crafting a program that would reflect feature Hispanic music and dance, the atmosphere and essence of this including: a folklorico dance demon- special place. I heard Native American stration by members of the Stepsdance flutist Robert Mirabal perform in Santa Academy, accompanied by the Mariachi Fe, and had a powerful meeting with group Mariachi Tenampa from Phoenix Kitty Lopez him in Taos to confirm his involvement under the direction of flutist Kitty and Percussion with Bonita Boyd, in our opening concert Thursday night. Lopez; a demonstration of flamenco I saw the Albuquerque Folklorico dance followed by Viviana Guzman and Weber’s Siciliano Romano, featuring dance troupe’s annual Christmas pro- her Latin group; and, to close the John Wion, our beloved Poem by duction and am delighted that they are evening, a special Latin jazz teaser. Griffes with Paula Robison, and the available to perform for us. The Concerto for Piccolo by Bruce National Flamenco Institute, based in Friday Broughton, with Mary Kay Fink, piccolo Albuquerque, will also be featured. As Friday night’s recital will feature several of the Cleveland Orchestra. a New Mexico native with strong family flutists in a collage-type program. ties to the state, I have worked at the Possible artists include Denis Bouriakov, Sunday local level to ensure that our four days Gary Schocker, Philip Dikeman, Bart Sunday’s closing concert will be a fast- of events will offer a flavor unlike any Feller, Kathleen Nester, Tara Helen moving, collage-style program, with previous convention. As Robert O’Conner, Christina Jennings, Lorna short appearances by the convention’s Mirabal said to me, “New Mexico is McGhee, Gro Sandvik, and David top performers. really its own special country…not Shostac. like anywhere else.” CABARET AND JAZZ Our Albuquerque convention will Saturday And what about evening cabarets and feature new as well as traditional liter- Saturday’s Gala Concerto Concert with jazz? Thursday night’s cabaret will offer ature, known and soon-to-be-known the New Mexico Symphony Orchestra the young jazz artist Jose Valentino artists, and workshops and presentations and conductor Guillermo Figueroa will Ruiz, winner of the NFA jazz competi- for all interests. To give you a taste, include Devienne’s Concerto in E tion in 2005. On Friday, get ready to siz- here are some of the tantalizing events Minor with Gaspar Hoyos, Melinda zle Venezuelan-style with Huascar we have planned: Wagner’s Concerto for Flute, Strings Barradas and his band, all the way from ALL ARTISTS AND EVENTS ARE SUBJECT TO CHANGE; VISIT NFAONLINE.ORG. nfaonline.org Spring 2007 The Flutist Quarterly 71 From the PROGRAM CHAIR continued Christina Jennings R. Carlos Nakai Lorna McGhee Caracas! Saturday evening will feature triennial baroque artist competition. Professional Flute Choir will be con- the first-ever Jazz Big Band, led by Ali Winners of the convention performers ducted by the ever-engaging Angeleita Ryerson, with special guest artists (not competition will perform winning Floyd. Both the Fiesta and the telling!) sitting in. Be sure to catch Ali works from the newly published music Professional Choirs will premiere Ryerson in a daytime recital. Holly competition in the annual newly pub- works commissioned especially for Hoffman will offer tips as our jazz mas- lished music concert. this convention. The High School Flute terclass clinician. Choir’s conductor, British flutist Jenny TRIBUTES Brooks, is busy preparing an exciting ADDITIONAL CONCERTS Tributes this year will celebrate the lives program as well. To top it all off, the Other concerts scheduled throughout and legacies of some of our greatest room for the flute ensemble events is the day will include the Remembrance American flutists. Friday’s special pro- perfect—large, with great acoustics. and Healing program honoring the gram dedicated to Felix Skowronek will memories of those we have lost, the feature several distinguished wooden NEW MUSIC newly published music concert, and the flute artists as well as dancer Andrea New music will be an integral part of our Gen-X concert. Daily headliner concerts Skowronek’s moving collaboration with four-day program. NFA commissions will pull us together to celebrate artistry her father’s recording of “Syrinx.” include a new work for piccolo by of the highest level, with performers Angeleita Floyd will be the coordinator Robert Dick to be played by Mary Kay Rachel Brown, Linda Chatterton, and announcer for the Charles DeLaney Fink; a piece for flute, cello and percus- Viviana Cumplidos, Valerie Potter, tribute program. John Wion, Lifetime sion by Ricardo Lorenz to be premiered Louise Di Tullio, Linda Toote, Geneva Achievement Awardee, will be honored by his Venezuelan compatriot Luis Julio competition winner Sylvia Careddu, in a concert of his former students on Toro; and Robert Aitken’s new flute French new music specialist Mihi Kim, Saturday afternoon. Other tributes ensemble work to be performed by the Patti Adams, Pat Spencer, David include birthday programs honoring NFA Professional Flute Choir. Other flute Shostac, and Trevor Wye, with his Karl Kraber, Doriot Dwyer, Francis ensemble works by Katherine Hoover ever-evolving Carnival of Venice. Blaisdell, and Katherine Hoover. (honoring Frayda Oston) and Robert Kyr also will be premiered in Albuquerque. BAROQUE ARTISTS ENSEMBLES The previously noted newly published Baroque artists this year include Rachel Flute ensembles galore! More than 30 music concert is a great place to pick up Brown from England, author of The groups sent in high-quality proposals ideas for new repertoire. Early Flute, in a concert of the to perform this year, and we have Telemann Fantasies from her new selected the top ensembles for show- LECTURE-RECITALS recording. Belgian traverso player and case and lobby concerts. Three are fine Lecture-recital programs will cover a maker Jan de Winne, member of the regional flute orchestras of 40–70 myriad of topics, from favorite reper- esteemed group Il Gardellino, will join flutes—the Colorado Flute Orchestra, toire to wooden flutes and their cultur- us for the first time, and will also be a the Pikes Peak Flute Choir, and the al contexts. Look for presentations by featured solo artist. Texas Flute Choir. For those wishing to Ukrainian folk flutist Andrei Pidkivka, explore new flute choir repertoire and R. Carlos Nakai, Alberto Almarza, and COMPETITIONS participate as players/performers, we Viviana Guzman. David Shorey will host Competitions include the annual high offer the Fiesta Flute Orchestra, con- a panel of players who play the famous school and young artist categories— ducted by our own Gwen Powell, as Louis Lot flutes in celebration of the hear our youngest rising stars—and our well as reading sessions each day. The 200th anniversary of Lot’s birth. 72 The Flutist Quarterly Spring 2007 nfaonline.org Robert Mirabal Ali Ryerson Huascar Barradas MASTERCLASSES = Patricia George’s “Flute Spa” = Marianne Stucki—“Qi-Gong for Flutists” Masterclasses held daily by artist- teachers include: = Carol Redman on “Baroque = Helen Spielman—“Performance Anxiety Performance Practices for the from Inside Out” = Peter Lloyd, orchestral excerpt master- Modern Flute” class = Performance Health Committee panel = Pedagogy Committee panels = Walfred Kujala, piccolo masterclass AMATEUR EVENTS PRESENTATIONS = Rachel Brown, baroque masterclass Amateur events will include the Flute = Morning warm-ups with Eva Amsler, Lover’s Lunch on Friday with Bonita = Paula Robison and Bonita Boyd, Immanuel Davis, and Christina Boyd, 30-plus masterclasses, and the masterclass competition Jennings will help jump-start your day. Myrna Brown Dinner. = Open masterclasses and classes for = Just4U is a special track of offerings EXHIBITS amateurs/30-plus with Tara Helen designed for students 18 and under Exhibits will be located on the ground O’Conner, Bart Feller, Linda Toote, and and their teachers. floor, just off the registration area in the Bradley Leighton (jazz/improvisation) main foyer—convenient and easy to BODY USE, PERFORMANCE PEDAGOGY pop in to look over the wide range of HEALTH WORKSHOPS instruments, music, and other flute = Karen Johnson’s “Performing with = Eva Amsler—“Body Awareness” items that grow more diverse and Heart—Freedom from Performance intriguing each year. Anxiety” = Jeremy Dittus—“Dalcroze Eurythmics” We are trying something new this = George Pope on Marcel Moyse’s 24 = Christina Jennings—“The Moveable year: between 8:00 a.m. and 3:00 p.m., Studies Flutist” all events will be 50 minutes, with 10- = Trevor Wye with “Get Good Quicker,” minute breaks to allow us to breathe an illustrated talk = Immanuel Davis—“Linking the and get to the next event, excepting = Keith Underwood’s latest flutistic Breathing Bag with Alexander competitions and some masterclasses. insights Technique” By the time you read this, the schedule will be set and posted at nfaonline.org = Angeleita Floyd with “Toys for Tooters” = Karen Dewig and James Brody— (under Annual Convention). Please note “Alexander Technique” that events and artists may change. = Elizabeth Goode’s “Good Vibration: Once more, come join us in the Ins and Outs of Intonation” = Amy Likar—“Body Mapping and the Albuquerque! I guarantee the 2007 Alexander Technique” convention will be exhilarating, enjoy- = Rebecca Paluzzi and Wendy Stern on able, enlightening, and, as always in Suzuki-related topics = Stacey Pelinka—“An Introduction to New Mexico, enchanting. the Feldenkrais Method” = John Barcellona, the famed “flute ¡VIVA LA FLAUTA! doctor,” making a house call = Sue Sexton—“Massage for Musicians” —Nancy Andrew nfaonline.org Spring 2007 The Flutist Quarterly 73 Save the Date: Upcoming NFA Conventions August 9–12, 2007, Albuquerque, New Mexico August 14–17, 2008, Kansas City, Missouri August 13–16, 2009, New York City, New York August 12–15, 2010, Anaheim, California August 8–11, 2011, Charlotte, North Carolina Your Ad Could Have Can’t Find it? Appeared Here! Gotta Have it? . . . and reached all (5,500-plus) members of the National Flute Association, The complete index the largest flute organization in the world! of articles in NFA members/The Flutist Quarterly The Flutist Quarterly, readers are looking for flute-related volumes 26 through 30, products and services. is now online! Will they see your message— Visit nfaonline.org or just those of your competitors? and look under the Contact Steve DiLauro Flutist Quarterly section at 440-238-5577 or [email protected] of the site to find the index. to discuss how you can (A printed index to issues prior to volume 26 is available from the NFA office on request.) Advertise in The Flutist Quarterly! &ROM YOUR #/.6%.4)/. -!.!'%2 4HE THEME OF THIS YEARS CONVENTION IS h 6IVA ,A &LAUTAv_ 4HE SITE IS AT THE !LBUQUERQUE #ONVENTION #ENTER /UR HOTELS FOR THIS YEAR ARE THE (YATT $OUBLETREE 0LAZA )NN AND (OTEL "LUE 6ISIT THE .&! 7EB SITE SELECT THE hCONVENTIONv TAB FOR INFORMATION ON MAKING RESERVATIONS ONLINE OR BY PHONE NFAONLINEORG /UR OFFICIAL AIRLINE FOR THE CONVENTION IS !MERICAN !IRLINES REFER TO #ODE !!& !VIS #AR 2ENTAL REFER TO #ODE $ PLEASE IDENTIFY YOURSELF AS AN .&! MEMBER 4HE (YATT AND $OUBLETREE HOTELS ARE LOCATED ACROSS THE STREET FROM THE #ONVENTION #ENTER IN DOWNTOWN !LBUQUERQUE 4HE 0LAZA )NN IS A MILE AWAY WITH COMPLIMENTARY SHUTTLE TO THE CENTER (OTEL "LUE IS A WALKABLE SIX BLOCKS TO THE CONVENTION CENTER AND IT ALSO OFFERS A VAN SERVICE !IRPORT TRANSPORTATION TO THE HOTELS IS BY 3UNPORT 3HUTTLE 2ATES ARE ONE WAY OR ROUNDTRIP 0LEASE MAKE YOUR RESERVATION BY CALLING OR GO ONLINE AND FILL OUT YOUR RESERVATION FORM AT SUNPORTSHUTTLECOM 4HE !LBUQUERQUE #ONVENTION #ENTER PARKING RATE IS PER HOUR &OLLOWING IS THE SCHEDULE FOR THIS YEARS REGISTRATION 0RE REGISTERED ATTENDEES 7EDNESDAY !UGUST n PM /N SITE REGISTRATION FOR ALL ATTENDEES n PM )NSTRUMENT SECURITY ROOM WILL BE OPEN FROM NOON ON 7EDNESDAY THROUGH -ONDAY MORNING AT AM 4HE EXHIBIT HALL IS OPEN 4HURSDAYn3ATURDAY AMnPM AND 3UNDAY AMn PM ) AM LOOKING FORWARD TO SEEING ALL OF YOU IN !UGUST -ADELINE .EUMANN #ONVENTION -ANAGER From the LOCAL ARRANGEMENTS CHAIR ¡Viva La Flauta! Planning your trip to Albuquerque lbuquerque combines a distinct degrees, the average low is 63 degrees. blend of multi-culturalism, nat- Low humidity and warm temperatures Aural beauty, profound historic combine to make this area comfortable attractions, spectacular climate, museums, in any season. galleries, and shopping to create an unforgettable trip for every kind of vis- Eating here: itor. I hope you’ll bring family mem- New Mexico cuisine blends three cultures: bers and schedule time to get to know Native American, Mexican, and European. this culturally rich place. Here are tips New Mexico can be gastronomically to help you plan your trip. glorious once you’ve got down the lingo and a general picture of the possibilities. Getting here: The first thing to notice is that we are Valerie Potter The Albuquerque International Sunport dealing with chile with an “e”—not chili. is served by eight major commercial car- Chile with an “e” means the fruit of the riers and offers nonstop service to 27 pepper plant. At its heart, traditional = cities. For airline ticket deals, put yourself New Mexican cuisine is the various EcoVersity = on the fare watcher list on an online trav- permutations and preparations of sim- The Santa Fe Opera (performances are el site such as Expedia or Travelocity. ple, delicious ingredients: first, the chiles, at 8:30 p.m.) then pinto beans, tortillas (both corn and = The Santa Fe Chamber Music Festival Staying here: flour), and cheese, beef, chicken, pork, = Canyon Road The Albuquerque International Sunport and often onions. As you embark on this is approximately four miles south of the culinary adventure, note that dairy prod- Day trips from Albuquerque: central business district, where the con- ucts will quench the peppery fires of chile Shidoni vention center and major convention dishes: sour cream, a glass of milk, and ice = Bosque del Apache National Wildlife hotels are located. A cab ride from the cream are your palate’s best coolants. Refuge Sunport is approximately $12. The inde- = Chaco Canyon National Historical Park pendently operated Sunport Shuttle Things to do in Albuquerque: = Jémez State Monument charges $9 one way to or from the air- Albuquerque Old Town = Bandelier National Monument port to the Hyatt Regency Albuquerque = The Albuquerque Museum = NRAO Very Large Array for the first person, $5 for the second. = Explora Science Center and Children’s = Acoma Pueblo Museum Getting around here: = New Mexico Natural History Museum Helpful Web sites: Many visitors will opt to rent a car to = Albuquerque Biological Park = newmexico.org take day trips from Albuquerque. Others (The attractions above can be reached = downtownabq.com might want to explore downtown by via the trolley.) = abqcvb.org riding the affordable trolley (75 cents = itsatrip.org per ride), which runs from 10:30 a.m. Sandia Peak Aerial Tramway = santafe.org until 6:00 p.m. Those driving to = Anderson-Abruzzo Albuquerque or renting cars will be = Albuquerque International Balloon New Mexico is a rich and fascinating heartened to hear that parking at the Museum place. The members of the Albuquerque convention center is a mere $6 per day = Petroglyph National Monument Flute Association look forward to host- (without in/out privileges). ing this exciting gathering. Please come Things to do in Santa Fe: by and visit our booth to get more The weather: Santa Fe is just 70 miles north on I-25. information, or just to say “¡hola!” We While it does get hot here in the summer, = Museum Hill look forward to serving you and making Albuquerque is in a “high desert” climate Four major museums (Museum of your visit to Albuquerque as rewarding zone, with somewhat stronger temper- Spanish Colonial Art, Museum of as possible! ature variations than those of the Indian Arts and Culture, Museum of coastal cities. While the average high International Folk Art, and Wheelwright Valerie Potter is the local arrangements temperature in August is close to 90 Museum of the American Indian) chair for the 2007 NFA Convention. nfaonline.org Spring 2007 The Flutist Quarterly 77 From the DEVELOPMENT DIRECTOR National Flute Association, Inc, Lifetime Achievement Awards Gala Fundraising Dinner This year’s awards recipients are Peter Lloyd and John Wion. Join your fellow members in honoring our award recipients at the 35th annual Convention for the National Flute Association, Inc., Lifetime Achievement Awards Gala Fundraising Dinner. Guests at the dinner will sit in a spe- cially reserved VIP section at the Peter Lloyd John Wion Gala Evening Concert. eter Lloyd is former principal flute with the London ohn Wion was principal flutist of the New York City Opera Symphony. He studied with Fernand Caratgé and Jean- from 1965 to 2002, and has drawn on this experience to PPierre Rampal in Paris and at the Royal College of Music in Jpublish a nine-volume series of opera excerpt books to London. He also has taken lessons and masterclasses with Marcel help flutists prepare for auditions and performances. He has Moyse and Geoffrey Gilbert. Before joining the London appeared as a soloist in New York’s major concert halls and at Symphony in 1967, Lloyd held principal flute positions in the prestigious summer festivals in the United States. He has made Scottish National, Halle, and BBC Philharmonic orchestras. He recital tours with pianist Gilbert Kalish and guitarist Lisa tours frequently with the Barry Tuckwell Wind Quintet, the Hurlong, and guest appearances with the Tokyo, Emerson, and London Virtuosi, and the English Taskin Players. He has recorded Manhattan string quartets. He has recorded a variety of solo albums of French music, wind quintets, and concertos, and has and chamber music repertoire for the Lyrichord, Turnabout, played with hundreds of orchestral recordings with the London Opus1, and Musical Heritage labels, and has released three Symphony and other groups. He has taught in Scotland, the CDs on the Hartt Music Productions label. Guildhall School in London, and the University of Wion is professor of flute at the Hartt School. In his many vis- Indiana–Bloomington, and currently teaches at the Royal its to Australia and New Zealand, he has appeared as soloist with Northern College of Music in Manchester. He also gives master- all the major orchestras in addition to performing recitals. He classes and recitals throughout Europe and the Far East. has also been an artist in residence, teaching and performing, in Lloyd notes, “I have always been a lucky person, as all my Australia, Italy, Mexico, England, Finland, Peru, and Canada. His life, work came along just when I needed it. Firstly, I was given editions and publications have been honored by the NFA’s Newly the second flute in the Scottish National Orchestra, and found Published Music Competition. He served as president of this myself sitting between two Paris-trained players who had been organization in 1985 and is on the editorial advisory board of with Fernand Caratgé. I was blown over by the technical perfec- The Flutist Quarterly. He has recently completed his memoirs. tion that they had.” Of his experience studying with Rampal, he says, “What a wonderful inspiration he was! A great player and FA members can easily add the Lifetime an equally great man. I began to understand much more about Achievement Awards Gala Fundraising Dinner the psychology of the arts than I ever imagined.” Nevent to their convention registration by filling out the When Lloyd left London in 1987 after 20 years to be professor “gala fundraising dinner” portion of the registration form. of flute at Indiana University–Bloomington, he shifted his training A portion of the proceeds from this event provides focus to teaching, spending “six years of wonderful friendship with income to the NFA Endowment. This tax-deductible talented students who I still meet from time to time.” amount ($40) is one of many ways in which members can In 1989, following the death of Gilbert, active NFA member contribute to the future stability of the NFA. For more Nancy Clew suggested that Lloyd take over Gilbert’s summer information on charitable donations and gifts, please contact classes. “That was an extraordinary honor for me,” says Lloyd, Gwen Powell at [email protected] or 520-621-6028. “and, of course, I accepted.” —Gwen Powell, Interim Director of Development 78 The Flutist Quarterly Spring 2007 nfaonline.org From theTREASURER Fiscal Year 2006 (November 1, 2005–October 31, 2006) any thanks to Phyllis Pemberton the most effective way of directing an for preparing the end-of-year NFA endowment and marketing cam- Mfinancial report and a detailed paign. Additionally, we will be seeking analysis in time for the board of direc- corporate sponsorship of convention tors’ executive committee’s mid-winter events that could offset the escalating meeting. For more information about costs of conventions. that meeting and the exciting changes For the period November 1, 2005– October 31, 2006, total income was ahead for the NFA, please read $858,643, and expenses were $861,528, President Alexa Still’s letter in this issue for a slight deficit of $2,885. The various of The Flutist Quarterly. Most notable investment accounts contributed $52,528 Teresa Beaman are proposed structural changes to the to the total income figure; thus, from an board and staff. We plan to hire a profes- operational standpoint, we essentially sional development/marketing director, ran a deficit of $55,413. Our largest and expect this person’s efforts will pay expenses are the convention and general off way in the short term, and will be operating expenses, including the cost of Continued on next page NFA CONTRIBUTORS General Endowment Fund (April 1–October 31, 2006) Give to Lydia Ayers Teresa Beaman Carol Brecker Claudia H. Brill Your NFA Carol Dale Jennifer A. Elliott The National Flute Association, Inc., Rev. William Morris Evans Patricia George invites you to join its growing list of Dennis Gudde Benefactors Edgar Iwamoto Sue Ann Kahn Laura Sanborn Kuhlman You can help build the Endowment by naming the Sherry Kujala NFA in your portfolio of charitable gifts through Larea Lewis any of the following types of contributions. Roger B. Martin Christine Michelle Smith Leslie Timmons Wills and Bequests Life Insurance Gifts Myrna Brown Memorial Fund (April 1–October 31, 2006) Gifts of Stock Lynne L. (Hadley) Fowlkes Charitible Gift Annuities Hollie Grosklos Trudy Kane For more information, Leslie Maaser contact Alexa Still, David Hart Memorial Fund [email protected] (April 1–October 31, 2006) Laurie Benson Grady E. Coyle nfaonline.org Spring 2007 The Flutist Quarterly 79 From the Treasurer continued running the office, staff salaries, and database and Web site management. The 2006 Pittsburgh convention income of $383,043 exceeded convention expenses of $348,608 by $34,435. The 2006 convention cost $88,300 more than the previous year’s convention. The expenses of the convention center rental, Heinz Hall rental, and convention center labor charges were $67,046. This was partially offset by the $20,000 grant from the City of Pittsburgh (thank you to the Pittsburgh Flute Club for having the foresight to apply for this grant two years in advance). The airline terror threat that coincided with the conven- tion week could be a cause of conven- tion income falling below expectations by affecting walk-up registrations. Attendance at the 2006 Pittsburgh convention was 2,592, which was slight- ly better than the 2005 San Diego con- vention, at 2,490 (this is a more accurate figure than one previously published as 2,983), and is comparable to Nashville in 2004 of 2,556. Membership dues of $256,458 came in very close to projected figures; approxi- mately 19 percent of the members are registering as e-members. Total number of members was 5,252 as of October 31, 2006. A revised membership dues structure will be implemented begin- ning with the August 1, 2007–July 31, 2008, year (as approved by the board in August 2006). At the close of the fiscal year on October 31, 2006, the endowment fund was $747,196, reflecting an investment gain of $52,484, or 7.5 percent, since the previous year. Under the guidance of our financial adviser, we continue to adjust to market conditions several times each month, and investments remain well diversified. The automatic of December 31, 2006, the endowment Both the Myrna Brown and David Hart contributions to the endowment from fund was worth $772,400 (as of February funds are in growth mode; thus, oper- membership dues were cancelled for fis- 17, 2007, it was worth $797,873). ating funds currently support the cal year 2005 in order to support the The Myrna Brown Fund, founded to guest’s stipend and baroque competition salary of the newly created position of support a guest from a developing prizes. Contributions from NFA members publications director, and thus, growth nation at the convention, stands at for the continuing development of our (or decline) in the endowment now $22,068, and the David Hart Fund, endowment, Myrna Brown, and David relies solely on market conditions and which supports prizes for the Baroque Hart funds are greatly appreciated. specific endowment contributions. As Flute Artist Competition, is at $15,306. —Teresa Beaman 80 The Flutist Quarterly Spring 2007 nfaonline.org PassingPassing Information about absent friends TonesTones oseph Mariano, one of the most influential American artist teachers of the mid-20th century, Jdied in Sudbury, Massachusetts, February 15, 2007, just four weeks before his 96th birthday. Born March 17, 1911, in Pittsburgh, Pennsylvania, Mariano was the oldest of four children in an Italian immigrant family that adored opera. He spoke only Italian before age 6, and was fascinated by the flute that his father, a railroad worker, had received as payment for a job. After beginning lessons at age 12 with Victor Saudek he made rapid progress, and at 16 was offered a scholarship by Georges Barrère for study in New York. At his mother’s insistence he declined, finished high school, and subsequently attended the Curtis Institute in Philadelphia, where he studied with both William Kincaid and Marcel Tabuteau. In 1933, Mariano was hired as principal flutist of the National Symphony for its 1934–35 season. The following year he was invited by Kincaid to fill the Philadelphia Orchestra’s second flute vacancy, and at the same time received an invitation Joseph Mariano from Howard Hanson to become professor of flute at the Eastman School of Music and principal flutist of the Rochester Philharmonic Orchestra. During his 39 years in Rochester he played under many of the great conductors of his time, including Sir Thomas Beecham, Eduard van Beinum, and Leonard Bernstein, and retired from orchestral playing in 1968. On his 90th birthday the National Flute Association honored him by issuing a CD of selected recorded performances as Volume Two of the NFA’s Historic Recording Series. Mariano is survived by daughter Kristine Vezza and her husband Albert of Weston and daughter Kelly Babcock and her husband James of Grantham, New Hampshire; grandchildren Michael Vezza of Weston, Amy Vezza of Framingham, Catherine Burt of Fairlee, Vermont, and Christina Soulia of Colorado; and great grandchildren Graziella and Bellina Vezza. Donations to the Joseph Mariano Flute Scholarship at the Eastman School may be sent to the Development Office, Eastman School of Music, 26 Gibbs Street, Rochester, NY14604. Checks should be made payable to the Eastman School of Music and “Mariano Flute Scholarship” indicated on the check’s memo line. oted flutist and teacher Harry F. Houdeshel, a member of the NFA and a former student Nof William Kincaid, died January 4, 2007. He was 89. At age 12, Houdeshel became the youngest musician at that time to gain union membership, in Bethlehem, Pennsylvania. During the Depression, he played flute in silent movie theaters and jazz saxophone in night- clubs—chaperoned by his father for the latter gigs. He received his B.A. from Dickinson College in Carlisle, Pennsylvania, where he met his future wife, Ruth Donahue. While in college, Houdeshel was principal flute for the Harrisburg Symphony and continued in this position after college while studying with Kincaid, noted flutist of the Philadelphia Orchestra. Houdeshel later received his M.A. from the Washington Musical Institute in Washington, D.C. During World War II, he performed as a soloist with the U.S. Navy Band/Symphony Orchestra in concerts, war bond drives, and Voice of America broadcasts. He performed with the band in more than 28 nationwide tours and in 1960 was a soloist with the band when it accompanied Harry F. Houdeshel President Eisenhower on a good will tour through South America. In August 1960, Houdeshel joined the faculty of the Indiana University School of Music, where he remained until 1985, to teach and perform with the American Woodwind Quintet. His former students teach in school systems throughout the U.S. and Canada, and perform in symphony orchestras in Chicago, Cincinnati, Dallas–Fort Worth, Tulsa, Edmonton, and Winnipeg. Houdeshel also performed in summer music schools for nearly 20 years, and established and headed the woodwind department at the Banff School of Fine Arts. Houdeshel is survived by his wife, Ruth; three children, Pete of Salt Lake City, Utah, nfaonline.org Spring 2007 The Flutist Quarterly 81 PASSING TONES Jo of Cincinnati, Ohio, and Marc of Maryville, Tennessee; three grandchildren; and three great-grandchildren. Contributions to the Harry F. Houdeshel Flute Scholarship at the Indiana University Jacobs School of Music can be sent to the I.U. Foundation, Box 500, Bloomington, Indiana 47402, with “The Harry Houdeshel Flute Scholarship” noted on the check’s memo line. ianist Melody Lord Lundberg, 57, of Palatine, Illinois, died of complications from breast Pcancer on January 18, 2007. Known professionally as Melody Lord, she was highly regarded in the Chicago area as an accompanist, particularly for flutists and vocalists. She was orchestral pianist for the Chicago Symphony Orchestra and served on the faculty of DePaul University for more than 25 years. She also was pianist for the Chicago Symphony Chorus, Metropolitan Opera’s Regional Auditions, Chicago Opera Theatre, and performances throughout the world. Lord worked with Donald Peck, longtime principal flutist with the Chicago Symphony Orchestra, pro- ducing five CDs and performing in hundreds of concerts with him. Lord accompanied Chicago flutist and NFA member Mary Stolper for more than 25 years in performances that included Stolper’s Carnegie Hall debut in the early 1980s. Lord also taught piano at her home, where she oversaw four recitals a year. Lord is survived by daughters Julia, Christina, and Laura; and friend Gary Karner. Memorials can be made to the Melody Lord Lundberg Memorial Fund, c/o 304 N. Melody Lord Lundberg Main St., Wheaton, Illinois 60187. lutist Kenneth Ray Cramer, 59, died November 20, 2006. Cramer was an internationally recognized flutist who performed Ffrequently in northern California venues, including in an annual Mozart festival, San Francisco- and Berkeley-area locales, and the musical theatre. Cramer was born in Los Angeles on May 17, 1947. As a boy, he was a member of the San Francisco Boys Chorus and performed in Mozart’s The Magic Flute at the San Francisco Opera House. He attended the Eastman School of Music in Rochester, New York, and earned an M.A. from the San Francisco Conservatory of Music. He was an active freelance player with many local orchestras and chamber music groups, and was instrumental in fostering musical performances in public settings, including organizing and conducting free concerts in Ghirardelli Square and else- where in San Francisco. He spent a year in Germany and two seasons in Mexico with the Culiacan State Symphony Orchestra. Beginning in 1973 with a San Francisco production of No, No, Nanette, he played frequently in musical theatre on numerous wind instruments, including clarinet, piccolo, tenor saxophone, and flute, performing in New York and in touring produc- tions of Les Miserables and Beauty and the Beast, among many others. Cramer was board president of the Twin Pines Woodwind Quintet for three years; he also served as vice president of the board of directors of the San Francisco Boys Chorus and as adviser to the board of directors of the Crowden School in Berkeley. He founded the Northern California Flute Seminar and the Keith Underwood Flute Masterclass at Hidden Valley Music Seminars, Carmel Valley, California. Contributions to the Crowden School, 1475 Rose St., Berkeley, California, 94702, will fund student scholarships in memory of Cramer. Cramer is survived by parents Robert and Jean, sisters Karen and Constance, and brother-in-law John Ebersole. RIVERBERI SONORI THE FLUTE MUSIC PUBLISHING COMPANY Altoflutes Bassflutes REPERTOIRE CATALOGUE Piccolo, Alto Flute, Bass Flute by Peter Van Munster Over 4000 works including Kingma-System Flutes Contrabasses Flute Choir or Flute Orchestra 320 pages - $ 50 order before May 31st and save $10 Hoofdstraat 10 ~ 9444 PB Grolloo ~ The Netherlands SEE OUR CATALOGUE OF PRINTED MUSIC ON Tel.& Fax: +31 592-501659 ~ [email protected]~ www.kingmaflutes.com www.riverberisonori.it 82 The Flutist Quarterly Spring 2007 nfaonline.org NEW PRODUCTS Recordings, music, and other products by and for NFA members Ellen Rakatansky is a featured soloist Chromos is the name of a new on the new CD, Night Wanderings, CD from Pro Musica featuring from Clear Note Productions. On this flutist Gro Sandvik and Einar disc of live orchestral performances, Røttingen on piano. The CD she plays the premier of flute and gui- showcases new repertoire for tar concerto Constitution Article 91 by flute and piano by Jostein Apostolos Paraskevas. Conductors Stalheim, Ivar Lunde Jr., Edvard include Lukas Foss and Theodore Hagerup Bull, Olav Berg, and Antoniou. Visit clearnote.net. Knut Vaage. Sandvik was solo flutist with the Bergen Philharmonic Orchestra from 1967 to 2005. She is a member of the Bergen Woodwind Quintet with Husband-wife team flutist Jacob numerous concerts and tours worldwide and with several CDs. Roseman and pianist Molly Roseman She is visiting professor of flute at the University of Iowa School released a debut collaborative CD of Music and professor of flute at the Grieg Academy in Bergen. entitled Something Old, Something Borrowed, Something New: Classics, Andy Findon is the featured Transcriptions, and Newer-Written flutist on When The Boat Comes Works for Flute and Piano. The In. The CD’s title track is a full- recording covers a variety of styles length version of the jingle ranging from J.S Bach to classical- “Young’s—Sea To Plate,” origi- Latin jazz. This year the duo celebrate nally recorded for television by their 18th anniversary performing Findon. Also featured are together, a history that began at Christopher Gunning’s new sax- the Eastman School of Music in 1988. The three larger works ophone quartet arrangement of on the CD include the Sonata by Otar Taktakishvili (1924–89); his Poirot TV theme and the Sonata in E Minor “Undine,” Op. 167, by Carl Reinecke music from We Were Soldiers by Nick Glennie Smith. Other (1847–1905); and the Sonata Latino by Michael Mower (b. tracks include works by Nyman, Debussy, Grainger, Bach, Tallis, 1958). Additional works include Aria, Op. 48, No. 1, by Ernst von Mahler, Khachaturian, Page and Plant. For more information, Dohnányi (1895–1952); Vocalise, Op. 34, No. 14, by Sergei visit andyfindon.com. Rachmaninoff (1873–1943); and the Adagio from Toccata and Fugue in C Major, BWV 564, by J.S. Bach (1685–1750). For more information, visit rosemanduo.com. The Vento Trio—Kevin Willois, flute; Janet Grice, bassoon; and Sarah Koval, clarinet—presents its new CD, Brazilian Dances and Albany records announces the Inventions. The recording includes works composed by Cesár release of The Mozart Flute Guerra Peixe, José Siqueira, Luiz Otávio Braga, Oscar Lorenzo Quartets, performed by flutist Fernândez, Pixinguinha, Jacó do Bandolim, Milton Nascimento, Sue Ann Kahn with Eriko Sato, Luiz Gonzaga, and Jovino Santos Neto. Vento Trio is dedicated to violin, Ronald Carbone, viola, preserving and perpetuating Brazilian chamber music, and pre- and Alexander Kouguell, cello. senting new works by composers of the Americas, including Kahn was honored with one of arrangements of popular songs and choros, and 20th century the first solo recitalist fellow- works in styles ranging from serial to folkloric. For more informa- ships from the National tion, visit http://cdbaby.com/cd/ventotrio. Endowment of the Arts in recognition of her work as a flutist, and received the Sonaré Winds debuted the SF-301 flute at this year’s NAMM American New Music Consortium Award for distinguished show in Anaheim, California. The SF-301 serves the student seg- performances of contemporary music. She is a member of ment of the flute market and is made with silver-plated nickel the Jubal Trio, the League ISCM Chamber Players, and other silver. The lip plate and wall of the headjoint are made of sterling ensembles. Formerly professor of music at Bennington College, Kahn teaches flute and chamber music at Mannes silver. Former Powell Flutes executive Di Zhao is the company’s College of Music, at New York University, and in the Music representative for this flute in China. (All Sonaré products sold Performance Program at Columbia University, and gives in the U.S. and Canada are received at Powell’s workshop in masterclasses and recitals nationwide. For more informa- Maynard, Massachusetts.) For more information, contact tion, visit albanyrecords.com. Charity Rouse at [email protected]. 84 The Flutist Quarterly Spring 2007 nfaonline.org “Anne Pollack has raised the art of flute maintenance to a new level." 8)"5WORKS - Sir James Galway XPSMU8STDN JOGP!:PVS'MVUF8PSLTDPN XXX:PVS'MVUF8PSLTDPN "O"NB[JOH7JSUVPTJUZ WHERE presenting the Headjoints of: NDJG ;AJI: Nederlands Fluit Genootschap LDG@H /:$3FQSFTFOUBUJWF 'XWFKK)OXWHH6RFLHW\\ Anne H. Pollack /Master Flute Technician 48$57(5/<<ಪ)/8,7ಫಫ Discerning Flute Dealer . . . since 1976 :RUOGZLGHVKLSSLQJ 3FQBJST$POTJHONFOU4BMFT.BODLF)FBEKPJOUT March 3, 2007 Authorized to install Straubinger Pads. FedEx for Out-of State service. Netherlands Flute Festival 24/7 email: [email protected] www.nfg-fluit.nl REVIEWSREVIEWS Reviews of flute-related recordings, books, and other items of interest CDs Anton Reicha’s inaugurated in 1959 by oboist Peter Christ, clearly defines Woodwind Quintets, woodwind quintet ensemblism. Christ, who’s “other job” is Volume 7 serving as the chief of Crystal Records, has long had a reputation for bringing the music and performances of “unsung heroes”— Crystal Records both performers and composers—to the forefront. This latest Reicha release by the Westwood Quintet, containing nton Reicha (1770–1836) the Quintet in C Major, Op. 99 No. 1, and the Quintet in F was a true Renaissance A Minor, Op. 99 No. 2, demonstrates several important technical man who has been eclipsed and ensemble qualities. First, the ambience of sound reflects a in music history by his stellar list of friends (Ludwig van venue appropriate for chamber music performances—dynamics Beethoven, Joseph Haydn) and composition students (Franz and articulations are easily heard in a resonant but not overly live Liszt, Hector Berlioz, Charles Gounod, and César Franck). sonic environment. Secondly, the members of the Westwood Reicha’s name—while unrecognized by most—has a special Woodwind Quintet—all fine musicians in their own right— meaning to wind players, as the word “gizmo” has to flutists. have clearly suppressed their individual egos to create a single Reicha was one of the seminal composers of a musical form group entity to simply serve the music. This is the definition of relatively new to the 18th century—the woodwind quintet. He chamber music. The liner notes in the CD are replete with infor- wrote 24 compositions for this classical “wind band.” mation about Reicha and the recording. It is clear that much It is with both virtuosity and reverence that the Westwood scholarship in the area of the interpretation of Reicha’s music Woodwind Quintet (John Barcellona, flute; Peter Christ, oboe; was completed before the creation of this recording. Eugene Zoro, clarinet; Charles Kavalovski, horn; Patricia Nelson, My advice? Enjoy this album and enjoy playing Anton Reicha’s bassoon) has mounted the task of recording and releasing the music! Reicha was also a flutist and he wrote well for us! complete set of Reicha’s 24 woodwind quintets. The quintet, —Erich Graf Solo French and revelations on this recording, however, are two short works by American Flute Works her teacher, former NFA President Charles Delaney and performed by inspiring flutist and distinguished flute professor for many years at the University of Illinois and then Florida State Stephanie Rea University,who died last fall. Delaney was a man of many tal- Centaur Records ents and interests. His solo flute compositions reveal a true talent and an innate understanding of the expressive potential tephanie Rea is a name to of the flute. In Rea’s outstanding performance of Delaney’s Sbe remembered. This young “Hymn of Pan” as well as his “…and the strange unknown flutist, currently teaching at flowers,” she brings forth a vivid recall of Delaney’s distinctive Murray State University in personality. Finally, Rea presents one of her own composi- Kentucky, is a rising star and a tions, the plaintive Solace, with a nostalgic feeling similar to compelling performer with a beautiful tone and fluid technique. In addition to impressive performances of familiar solo flute Marin Marais’ Variations on Folies d’Espagne. works by Debussy, Honnegger, Muczynski, Ibert, and Nicholson, A recital made up entirely of unaccompanied flute works is a Rea brings to our attention several works that should enter the very difficult feat to pull off, but Rea has produced a recording standard repertoire, including three pieces by well-known that will hold the attention of even non-flutists. This CD has flutist/composer Katherine Hoover (Kokopelli; Winter Spirits, and variety, character, spot-on intonation, and fine musicianship Reflections) which are growing steadily in popularity; a little- throughout, and represents a very high level of professionalism. known solo work by Fauré (Un Joueur de flute berce les ruines); The recording is miked rather close, which gives Rea’s sound a and Arca Sacra, a work by another fine flutist/composer, Cynthia lot of presence, and yet her tone is crystal clear, lush, and Folio from Temple University, that was commissioned by the focused. Highly recommended. NFA for its 1997 High School Soloist Competition. The big —Jerry Pritchard 86 The Flutist Quarterly Spring 2007 nfaonline.org CDs The Jennings-Johnson overall impact of this performance. She is especially impressive Duo Concert Artists in the scherzo-like third movement, which unleashes a dazzling Guild display of brilliant technique and crisp articulation. The two contemporary works on the album are fresh and original while still fitting nicely in the company of these his CD, featuring flutist romantic works. McCaffrey’s Reflections was commissioned in TChristina Jennings and memory of neurosurgeon and amateur flutist Howard Blume; pianist Lura Johnson-Lee, and the Jennings-Johnson Duo performance convincingly presents a varied and inter- portrays the meditative and poignant mood established in this esting program of old favorites calm and lyrical work. Although he employs a wider vocabulary (Robert Schumann’s Three of modern harmonies and melodic devices, J. Mumford’s Romances, Op. 94, Charles T. “evolving romance” has a conversational interchange and flow Griffes’ Poem, and Gabriel Fauré’s Fantasie) balanced by fresh of ideas between the flute and piano that remains true to the and newly adapted works: A.J. McCaffrey’s Reflections on “Beati overall lyricism and expressive character of the other works on Quorum Via”; Jeffrey Mumford’s An Evolving Romance for flute this CD. Jennings is able to surmount the difficulties of sudden and piano; and a transcription of Fauré’s big, four-movement register shifts, incisive articulations, intense accents, and pungent Sonata in A Major for Violin and Piano, Op. 13. harmonies to bring out the overall musical line in a way that Throughout this recording it is evident that Jennings and makes this work sing with intensity. Johnson are truly a “duo,” a shared partnership of equal voices The Fauré Fantasie is likewise extremely well performed and that are matched in musical understanding and approach to reflects the later, somewhat more impressionistic, style of the interpretation. Even when the flute is more prominently featured in the melodic line, the sensitive underpinning and comment composer. Jennings tosses off her alternatively dreamy and by the piano accompaniment is sure and supportive. The spirited rendition of this standard conservatory solo as if the Schumann Romances, originally for oboe and frequently considerable difficulties were of no concern. played on violin or clarinet, have been wholeheartedly adopted The producer/distributor of this recording is a New York by flutists as a key portion of our sparse literature from major City organization dedicated to discovering, nurturing and 19th century composers—and well we should have: this is a promoting young musicians; this recording, like Jennings’ pre- lovely set of pieces that require the flutist to step up and play vious release, Winter Spirits, reveals an emerging artist who with expressiveness and control. Jennings has just the right has the technique, musical sensibility, and personality needed tone and passion needed to make these small gems shine. for a career as a soloist. The Griffes Poem likewise requires intensity and fervor to be —JP effective, and here again Jennings is up to the challenge with a lyrical style, agile technique, and ravishing tone as the work builds toward the bright and flashing cadenzas, sways with the rhythmic pulse of the dance section, goes headlong into the Time for mad rush of the final presto, and then settles down again with reprise of mournful and resigned opening theme. The inher- summer school! ent challenge of ensuring the listener does not miss the color of the original orchestral accompaniment is well met by Seasonal masterclasses are listed Johnson-Lee. Maybe the Pat Harper ad orrex? The Franck Sonata in A is the earliest of his two violin on the NFA Web site—year round, sonatas, dating from 1876. His elegant and individual and always updated! approach to Romanticism is so heartfelt in this splendid interpretation that one wonders how young Fauré could Select 2007 masterclasses in the CLUBS, have been rejected by the Parisian musical establishment for his modernism. This work, which has been very popular ACTIVITIES, AND EVENTS section with violinists, is definitely worth adapting for the flute (and of the NFA Web site. it has previously been “borrowed” by cellist Yo-Yo Ma.) Like other big works taken from the violin literature, such as the Search for classes by title, teacher, loca- Franck Sonata and the Schubert Arpeggione, this work calls tion, or date with one click of a key. for the flutist to have a full rich tone that projects while having complete control of the subtle and dynamic contrasts of shading and nuance so needed in this style. Jennings plays this work Get started now at nfaonline.org with masterful technique and musicality. Her ability to spin out a long-breathed musical line adds tremendously to the nfaonline.org Spring 2007 The Flutist Quarterly 87 CDs Leonard Garrison: Throughout the recording, Garrison demonstrates an Superflute impressive command of all three instruments, as well as of the Capstone Records chosen repertoire. With the execution immaculate, the quality of the recording rests upon the material. eonard Garrison has per- Garrison set out to achieve a balanced program, reflecting Lformed frequently at NFA the variety of this period while avoiding some of its excesses. conventions. Formerly instructor Overall, he has been successful. Superflute is for “live” flute of flute at the University of against prerecorded piccolo and alto flute, while Charanga Tulsa, Garrison has now taken incorporates extended techniques, not for their own sake but up a position as assistant pro- in the pursuit of a “Latin spirit of rhythmic vitality.” Howard fessor of flute and aural skills Sandroff’s Chant de femmes is for flutes plus electronic at the Lionel Hampton School of Music at the University of sounds. By contrast, Alec Wilder’s Sonata No. 1, for piccolo, Idaho. He is also principal flutist of the Walla Walla Symphony flute, alto flute, and piano, is more traditional in form, with a and well known for his work with the Northwest Wind jazzy, Copeland-esque feel, while Gordon Jacob’s The Pied Quintet and the Scott/Garrison Duo. He was also the winner Piper, and Klaus Wüsthoff’s Drei Mobiles are much more of the 2003 Byron Hester Competition. melodic and straightforward. Resisting avant-garde influences For his first solo CD, Garrison has chosen a program of in mid-century British composition, Jacob wrote “I personally 20th-century music, motivated initially by a desire to make a feel that the day that melody is discarded you may as well pack recording available of Meyer Kupferman’s Superflute; originally commissioned, premiered, and recorded by Samuel Baron in up music altogether.” Those who agree with this viewpoint 1971, the original version is now out print. Garrison also will find Garrison’s selection of material sympathetic. wished to record Michael Colquhoun’s Charanga, having The quality of these performances, the pedagogical value of worked on the piece with the composer for some time. With these rarely heard pieces, and the always-welcome additions to these pieces as a starting point, an exclusively contemporary the piccolo and alto flute repertoire will make this recording a program was logical. In choosing the other works, Garrison’s valuable addition to the repertoire, particularly for those desire to include alto flute and piccolo performance was a interested in contemporary music. significant factor. —Peter Westbrook (fluteinjazz.com) Robert Dick and Ursel whether they are successful I will leave to each listener to Schlicht: Photosphere decide. For Dick, ironically perhaps, while he has worked for years to advance flute music, he does not consider his music NEMU Records successful if it is purely about the flute. These pieces are not the result of composition in the tra- obert Dick will be well ditional sense, but a combination of composition and Rknown to NFA members from his workshop and per- improvisation. And in the spirit of free improvisation, the formance in Pittsburgh last performances are not for flute with piano accompaniment; these summer, or perhaps from his 20 or so recordings that run the are true collaborations between equal partners. The mixture of gamut from Telemann to Jimi Hendrix. His latest release finds genres is evident throughout, nowhere more dramatically than him in duet with pianist Ursel Schlicht in a program recorded in Piece in Gamelan Style, a piece heard in Dick’s Pittsburgh live in Germany that, typically, draws on “his deep roots in recital, in which the underlying bass line is derived from an classical music old and new and in free improvisation and new Indonesian Gamelan style but the superimposed scale patterns jazz,” plus a dash of world music. are entirely of Dick’s own invention. Lapis Blues has Asian Both Dick and Schlicht are known for their use of extended overtones, with Dick’s patented Glissando headjoint producing a techniques. Dick’s workshop in Pittsburgh (which was Shakuhachi-like sensibility, reinforced by Schlicht’s percussive packed) focused on circular breathing, and his best-known working of dampened piano strings, but with Mississippi blues publication, The Other Flute, expounds upon “multiphonics, man Robert Johnson hovering in the background. Faust and alternate fingerings, quarter tones, and smaller microtones, Fragments are by Schlicht, the former from the pianist’s score to natural harmonics, glissandi, whisper tones, percussive F.W. Murnau’s silent film of the same name, while Emergence is sonorites, jet whistle … a discussion of techniques for piccolo, completely improvised. Each of them explores the sound world alto and bass flutes.” Similarly, Schlicht is said to spend as much where free jazz and new music overlap. time inside the piano as at the keyboard. When it comes to their Robert Dick has been called “a musician with 21st-century performances, however, their intention is for the music to take skills and 18th-century attitudes, being totally at home as a center stage rather than the means to its creation. performer, composer, and improviser.” His collaboration with It was the eminent Zen teacher D.T. Suzuki who described Schlicht brings out all these roles, but places them at the service the goal of the creative process as to “transcend technique” to of music that matches imagination with technique to give a create “an artless art growing directly out of the unconscious.” brisk workout to the intellect along with the ears. Dick and Schlicht have a lot of technique to transcend; —PW 88 The Flutist Quarterly Spring 2007 nfaonline.org CDs The Cumberland here, the first of these is never in doubt; the ensemble executes Quintet: Into The Blue this program with a fine balance and an acute attention to detail. Albany Records On this basis, what catches the ear is the quality of the material. In a musical era dominated what Paul Henry Lang he woodwind quintet has described as the “varicose veins of chromaticism,” writing Texperienced many ups tonal music has been derided as “picking over the garbage.” and downs since Antoine By contrast, the Cumberland group has selected works by Reicha and Franz Danzi composers who still strike a blow for consonance. The result began writing for this slightly is totally refreshing. odd combination in the early Built mainly out of some shorter pieces the group members 19th century. Since then a strong core repertoire has developed have commissioned, or arranged from movie themes and for it, with contributions from major composers, but the vocal or piano music, the program ranges from Ravel and wind quintet has still kept a relatively low profile among Mahler to original compositions by Ewazen, Uhl, Berger, and chamber music ensembles. Recently, however, with two the group’s horn player Greg Danner, the latter—Into The groups—the Borealis Wind Quintet and Imani Winds— Blue—a delightful piece of Americana based on bluegrass receiving 2006 Grammy Nominations, the wind quintet is themes. A world music dimension is added by the Argentinean on the upsurge. A timely new release from the Cumberland Quintet (Roger Martin, flute; William Woodworth, oboe; Piazzolla and Cuban composer Ernesto Lecuona. As with the Anne Thurmond, clarinet; James Lotz, bassoon; Greg wind quintet itself, seemingly incongruous elements fit Danner, horn) adds fuel to the flames. together beautifully. The overall impression is that tonal music Established in 1972 as a resident faculty ensemble at can still sound fresh and engaging, that the woodwind quintet Tennessee Technological University, the ensemble has benefited is worth more exploration, and that the Cumberland Quintet from this secure position to pursue its twin goals of fine should be high up on that list. musicianship and unique programming. From the evidence —PW Books Orchestral Techniques Daphnis and Chloe). Many of the suggestions are innovative for Flute and Piccolo: (for example, the small square of paper inserted between two An Audition Guide piccolo keys to create just enough leakage to effect a certain An Inside Look at sound in harmonic fingerings in the third movement of Bartok’s Concerto for Orchestra), and most of these are not Symphonic Performance only applicable to the excerpt in question, but can be used in Traditions other situations as well. By Walfrid Kujala One of this book’s most valuable contributions to flute Progress Press, 2006 pedagogy is Kujala’s ability to try anything, to experiment, and to look at problems from different angles (the metric ew flutists in the modern rewriting of the polyrhythmic bars of Petrouchka, or playing Fera have been as respected, the highest flute passages of Prokofiev’s Classical Symphony admired, and loved as Walfrid on piccolo, or rewriting a passage from Shostakovich enhar- Kujala. His 47 years in the Chicago Symphony, preceded by six monically, to see the diatonic relationships). Another one is in the Rochester Philharmonic, have given him a rare awareness Kujala’s anticipation and warnings of problems before they of the orchestral literature, and he has extended that to include arise in practicing, with solutions that often include sensi- all aspects of advanced flute playing. Reading this book is like tive fingerings or dynamic and (very specific) tempo aware- being with him in his studio and hearing his wisdom, humor, ness. He also addresses some of the traditional interpreta- and unflagging musical integrity. It is a much-expanded version of the informal handout from his summer masterclasses in tions which are, as Toscanini is reputed to have said,“the last orchestral performance at Northwestern University, and incorrect performance.” includes 28 excerpts, for both flute and piccolo, chosen on the Interspersed throughout the book are pictures from Kujala’s basis of musical importance, frequency on audition lists, and career in the orchestra and as a soloist, programs in which he overlooked great works. Each excerpt is followed by several pages appeared, and Ogden Nash’s delightful stanza about birds, of ways to practice, given in vivid imagery that is memorable and appended to the Saint-Saëns Voliere. It makes for wonderful effective (my favorite is the “repeated bee’s wax” to pace the reading and great practicing. crescendo on the 15 Bs in one bar of the famous solo from —Susan Goodfellow nfaonline.org Spring 2007 The Flutist Quarterly 89 SUBSCRIPTIONS Editorial deadlines for The Flutist Quarterly apply primarily to departments Receipt of The Flutist Quarterly is a benefit of membership in the National Flute providing news of interest about flutist activities and products. Unsolicited feature Association, Inc. Subscriptions are available to libraries and institutions at a charge articles and news about member achievements may be sent at any time for con- of $35 per year. Personal subscriptions are not available. The Music Library Catalog sideration; submissions to Across the Miles, Canadian News, and Notes from (6th ed.) is also available to libraries and institutions at $15 per copy. 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Accepted manuscripts will, when appropriate, go through a review Strongsville, OH 44136-5036 process. Authors might be asked to revise manuscripts during this procedure. The 440-238-5577 editor reserves the right to edit all articles for style, content, or space requirements. fax: 440-572-2976 The Flutist Quarterly budget does not include honorariums for authors. [email protected] OE& K& @9QF=K2 L@= ?=F=KAK G> 9E=JA;9F >DML=E9CAF? HJE:G7HJE:G7 The Wm. S. Haynes Company announces the production of a limited edition ßute: The Rampal Edition Flute. Only 50 of these very special ßutes will be made over the next two years to celebrate the 50th anniversary of Jean-Pierre RampalÕs 1958 debut concert in oaddaYek&`Yqf]k[gehYfq$af[& the United States.With his debut tour began a life-long relationship )*ha]\egflklj]]l with the Wm. S. Haynes Company.The Rampal Edition Flute is a Zgklgf$eYkkY[`mk]llk(*)). .)/,0*%/,-. replica of Mr. RampalÕs ßute using the original molds to forge the ooo&oek`Yqf]k&[ge keys. For more details, please contact the Wm. S. Haynes Company. 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 Gala Fundraising Dinner Chair • COMPETITION COORDINATORS • ARCHIVES AND LIBRARIES Gwen Powell Executive Director 5101 E. Oakmont Dr. General Coordinator Archivist-Historian Phyllis T. Pemberton Tucson, AZ 85718 Lisa Garner Santa (2007) Natalie Syring (2002) The National Flute Association, Inc. 520-529-3748 School of Music 808 Augusta Ave. 26951 Ruether Ave., Ste. 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National High School Flute Choir 206-328-5010 Virginia Schulze-Johnson (2007) 612 Highland Ct. [email protected] Insurance Coordinator Mandeville, LA 70448 Department of Music Francesca Arnone (2002) Drew University West Virginia University 985-626-3046 Nominating fax: 985-727-3940 Madison, NJ 07940 Division of Music Patti Adams [email protected] 908-875-3211 PO Box 6111 2840 Coliseum St. [email protected] Morgantown, WV 26506-6111 Exhibits Assistant New Orleans, LA 70115 304-293-4841 x3191 Patti McCleney 504-895-5908 Newly Published Music [email protected] N’Awlins Trade Show and Convention [email protected] Andrea Loewy (2002) Services, Inc. 110 Live Oak Dr. International Liaison PO Box 8538 Oral History Lafayette, LA 70503 Matej Zupan (2004) Mandeville, LA 70470-8538 Nancy Toff (2004) 337-988-6323 C.9. Avgusta 72 phone/fax: 985-893-9521 425 E. 79th St., #6F [email protected] 1410 Zagorje ob Savi [email protected] New York, NY 10021 Slovenija, Europe 212-772-1343 Orchestral Audition and Masterclass 386 40 811 811 Showcase and Exhibitors’ Concert Coordinator [email protected] Joanna Bassett (2004) fax: 386 1 516 11 34 Nora Kile (2003) 85 Maywood Ave. [email protected] Rochester, NY 14618 1802 Glen Stone Ln. Pedagogy Legal Advisor Hixson, TN 37343-3106 Rebecca Hovan (2004) 585-383-0650 [email protected] Linda Mintener (2003) 423-842-4570 23685 Arlene Ave. 3976 Plymouth Cir. [email protected] Elkhart, IN 46517-3643 Piccolo Artist Madison, WI 53705 574-875-5447 phone/fax: 608-231-1680 Program Book Editor [email protected] Rebecca Arrensen (2004) 1429 Stoney Creek Cir. 608-266-3049 (office) Anne Welsbacher [email protected] 7213 E. Chelsea St. Performance Health Care Carmel, IN 46032 317-818-0004 Wichita, KS 67206 Lee Van Dusen (2002) Masterclass Reporter, The Flutist Quarterly [email protected] 316-440-2800 1947 Gravel Rd. Tony Watson (2003) 1722 Hummingbird Ln. NE fax: 316-440-2801 Seneca Falls, NY 13148-8720 [email protected] Professional Flute Choir Atlanta, GA 30307 315-568-1233 Diane Boyd Schultz (2007) 404-964-4142 [email protected] Program Book Advertising Sales Representative University of Alabama [email protected] Steve DiLauro School of Music, Box 870366 Piccolo Tuscaloosa, AL 35487 Myrna Brown International Liaison LaRich & Associates, Inc. Dennette Derby McDermott (2002) 15300 Pearl Rd., Ste. 112 Mary Kay Ferguson (2004) 205-348-7110 3420 E. Fairfax fax: 205-348-1473 315 S. Court Dr. Strongsville, OH 44136-5036 Nachitoches, LA 71457 440-238-5577 Cleveland Heights, OH 44118 [email protected] 216-321-2713 318-357-5761 fax: 440-572-2976 fax: 318-357-5906 [email protected] [email protected] Young Artist Karen Evans Moratz (2003) [email protected] Program Book Bios Editor Special Publications Jordan College of Fine Arts Myrna Brown Society Lisa Van Dusen (2007) Susan Waller (2003) Butler University Debbie Hyde-Duby (2002) 1947 Gravel Rd. 224 Kent Pl. 4600 Sunset Ave. 4554 Leathers St. Seneca Falls, NY 13148-8720 San Ramon, CA 94583-3748 Indianapolis, IN 46208 San Diego, CA 92117-3419 315-568-1233 925-829-4922 317-253-1891 858-270-4506 [email protected] [email protected] [email protected] [email protected] INDEX OF ADVERTISERS Abell Flute Co. 47 Altus Flutes America, Inc. 99 Azumi Flutes 8 Introducing Brannen Bros. Flutemakers, Inc. 90 British Flute Society 68 Burkart Flutes and Piccolos (2) 7, 98 Drelinger’s New Cantilena Records 2 Cardinal Classics 47 Carlini, Louis A. 70 ™ Clarion Insurance 33 Maetrix Headjoint Drelinger Headjoint Co. (3) 39, 70, 97 Emerson, division of Conn-Selmer 14 Fluit 85 Flute Bay Area; Festival del Sole 25 Flute Exchange, The 56 Until now there were only two basic Flute Network/Little Wizard Enterprises 97 blow hole shapes, the elliptical and the rectangular. Flute Specialists, Inc. 24 Maetrix. Flute World 69 Now there is a third. The ™ Global Choro Music Corporation 4 Erich Graf 74 Drelinger’s new Maetrix headjoint incorporates Green (Tom) Flutes, Inc. 74 an innovative blow hole that may prove to be the Hammig Piccolos (see also Miyazawa) 91 Harper, Patricia (Masterclass) 38 ultimate in the musically efficient use of air. Italian Flute Society (2) 57, 82 J.R. Lafin 28 To find the headjoint that’s ideally suited to you, Jupiter Band Instruments, Inc. 16–17 Maetrix ® Keefe Piccolos 10 try the and other Drelinger Optikut high efficiency Kemler, Katherine 70 models. For an individual tryout session, come to our Kingma, Eva 82 Landell Flutes 38 workshop near New York City or meet with us Bradley Leighton 57 when we visit your area of the country. Little Piper/Dean Yang Flutes 39 Lyric Flutes (see also Miyazawa) 10 Magnolia Music Press 13 Mancke-Flutes 39 Miyazawa Flutes, Ltd (3) 6, 10, 91 Muramatsu America 96 Music for Healing & Transition Program 51 Musica Toscana 47 National Flute Association (4) 28, 57, 75, 83 Optikut® high efficiency headjoints™ Northwind Cases 74 Ogura Flute Works 51 Website: www.drelinger.com Phone: 1-800-450-1151 © 2006 Drelinger. All rights reserved. Orpheus Music (formerly Pearl Flutes) 11 Paul Fried 12 Polak, Simon 70 Potter, Christine 47 Theodore Presser 92 Progress Press (3) 17, 25, 31 Randolph County Community Arts Center (Timber Flute Festival) 51 Sagerman Flutes 56 Sheridan Flute Co. 38 Sonaré Winds, a division of Powell Flutes 85 Southern Music Company 56 Syrinx Flute Repair 76 Tai Hei Shakuhachi Flutes 8 Tap Music Sales 56 Tutti Flutti Productions 95 William S. Haynes 93 Williams Flutes 100 Windplayer Publications 28 Winzer Press 22 Yamaha Corporation of America 18 Your Flute Works 85 “Now everyone can afford to play an excellent piccolo.” The new Global piccolo by Burkart & Phelan is the piccolo you have been waiting for, combining the reliability, reputation and quality of a Burkart instrument with a very competitive price. Find a Dealer www.globalpiccolo.com Jan Gippo 978-425-4500 Solo Piccolo, St. Louis Symphony Orchestra &LUTES OF ELEGANT QUALITY AND CRAFTSMANSHIP Unparalleled quality from the factory to the concert hall… Experience the Altus collection of C flutes and harmony flutes. Contact Altus Flutes a division of JBI, Inc. ALTUSFLUTESCOM Two 6-day sessions in 2007! Each session includes: • Performance by Mr. Schocker • Flute Master Classes • Yoga • Alexander Technique • Duets and other ensembles • Class performances Gary Schocker • and much more! Session I: June 19–24 Summer Master Classes Session II: July 10–15 Intensive flute study balanced with activities to rejuvenate For more information: your mind, body, and spirit. Set in peaceful, scenic Visit: www.garyschocker.com surroundings overlooking the Hudson River, at the Holy Call: 845-227-2706 Cross Monastery & Retreat Center in Ulster County, NY. Email: [email protected] Gary Schocker plays Williams flutes #97(solid 14k gold) and #99 (sterling silver) Williams Flutes, Boston, Massachusetts USA • 1-781-643-8839 or visit: williamsflutes.com THE NATIONAL FLUTE ASSOCIATION, INC. NON PROFIT ORG US POSTAGE PAID 26951 RUETHER AVE., SUITE H LOS ANGELES, CA SANTA CLARITA, CA 91351 90052 PERMIT #1831 ADDRESS SERVICE REQUESTED