...... President: James Galway COMMENT 3 HOOTS,HERTZ Vice-pfwident:Albert Cooper Chairman: Kenneth Bell AND HARMONICS 20 ...... Part 2 FLUTE NEWS 4
The Journal of the British Flute Society
Volume 15 No. 2 June 1997
Editorial Committee Hannah Lang Editor Kenneth Bell BY Ann Cherry Robin Christine Ring Jakmays Julie Wright
Contacting the BFS THE FLUTE MUSIC INTERVIEW WITH OF JAMEs HOOK 26 General enquiries IAN ANDERSON OF 8 Ann Cherry Secretary JETHRO TULL 61 Queen's Drive London N4 2BG Telephone 0181 802 5984 Fax 0181 809 7436
Membership enquiries Nick Wallbridge Membership Secrefar)? 12 Uplands Croxley Green Herts WD3 4RD BY David J. Rhodes Telephone enquiries regarding membership should be directed to the Secretary, REVIEWS Ann Cherry, on 0181 802 5984 By Mark AIilLs MIk. Mow..'.
Editorial Hannah Lang Editor THE WOODEN for flute 3 Alexandra Road FLUTE Kings Langley Herts WD4 8DU RENAISSANCE Telephone & Fax 01923 269037 Email: [email protected]
Advertising Maple Media Ltd. 411 Wokingham Road Earley, Reading, Berkshire RG6 7EL Telephone 0118 9261669 Fax 0118 9665611
Cover Ian Anderson ...... Photo: Tobi Corney Chrysalis Records ORCHESTRA Design, production and printing Saffron Communications Group SPECIAL OFFERS 45 Telephone 0171 251 8338 Particular thanks to Michael Nicolaides
Pan welcomes contributions. Please see Notes for Contributors on Page 48. B.? Kenneth Be// Views expressed by contributors are their own and do not necessarily reflect the official view of the British Flute Society. All copyrights reserved. The aims of the British Flute Society: ...to advance/heedricntiotr of the public it^ the Art at& Science of Music arid in parficular the Art and Science of F/titeplayitr,g it/ ON its aspects ... Registered charity No. 326473 ISSN 1360-1563 TOP WIND
2 Lower Marsh London SE1 7RJ TelO171 401 8787 Fax 0171 401 8788 Telephone or fax for our or contact us on Email: [email protected] Welcome to the June issue of Pan with its wide diversity of articles ranging from an interview with Ian Anderson of JetAro TUN to the flute music of James Hook - little Life Members of the BFS known today he was one of the most Danielle Baron-Janke successful composers and performers of Michie Bennett the eighteenth century in England. Robin William Bennett Jakeways once again has us IVissam Boustany experimenting in order to understand Brian Burgess Lamond Clelland how our flutes make sounds and our new Patricia Clelland chairman, Kenneth Bell, writes on the Albert Cooper 4 renaissance of interest in wooden flutes. Philomena Cooper W Elena Durhn P Andrew Edwards The British Flute Society is now settling Michael Emmerson II~~~~~~~~I~I.:II~C into its next era: the new members of the Paul Ferguson council have definitely arrived and the new treasurer and membership Caroline M. Franklyn secretary are doing splendid work on all our behalfs - and at no cost to James Galway Jeanne Cinnante Galway the society as they are accepting expenses only. Anyone whose Brian Hamilton membership has come up for renewal will have heard from Nick Christopher Hammond Wallbridge with the utmost efficiency. Our sincere thanks to him and Patricia L. Harper to Jeremy Deeks for their efforts and enthusiasm. Lucy Hudson Pauline Jacltson Anne Jalteman The new council, led by Kenneth Bell, would like to announce that a Trevor James convention is being planned to take place in 1999 or the year 2000. Nils-Thilo Icramer Ian McLauchlan This promises to be an exciting event and is not to be missed! It will Susan Milan be structured to meet the needs and interests of all sections of the Christopher Paul Money membership from amateurs to students to professionals. Watch this Alexander Murray space for details! Barbara Noble Carla Rees Stephen Robinson Please continue to send me listings of forthcomeing concerts and David St.John-Weyers events - this is your magazine. ideas for articles are also welcome, Sheila Searchfield and do read the letters (on page 46) and let me know your views. Kirsten Spratt Andy Thomson Please note that the copy date of 15 July for the September issue must Jennifer Welsh be strictly observed - even editors deserve some holiday time! Lars-Arne LVennquist Trevor Wye I wish you all a good summer of flute playing, and to those attending Membership information any of the many flute courses, a rewarding musical and sociable experience! Annual subscriptions 1997 UK: ", Individual 520.00 Two members at the same address (one journal) 525.00 Student (under 25) 513.00 Pensioners 513.00 Schools and flute clubs 520.00 Europe: Individual 525.00 Student (under 25) 218.00 Worldwide: In future issues of Pan: Education issue featuring: Individual (air mail) 230.00 Student (under 25) 518.00 Who's Who at the Music Colleges Pensioner 218.00 A Tutor Book Comparison Schools and flute clubs 525.00 W Ruth Undenvood writes about and with Life membership: adult learners W Barbara Gaskill on the Suzuki Method Individual 2300.00 Joint $350.00 and much more... .. Nick Wallbridge, Membenhip Sen~ry 12 Uplands, Croxley Green Herts WD3 4RD Octave - Launch of ' 1 HERTFORD FLUTE DAY 1 new specialist medical service for 1 SUNDAY 20th APRIL 1997 I performing arts n Sunday 20 April a and organisers - and there gathering of more was then an opportunity for ctave is a new venture than forty flautists of all except the youngest to provide a network of 0widely varying ages group to hear her 0specialist medical and standards assembled at conducting a masterclass services for performing artists. kIaileybury College, with students ranging from It has been established by a I-Iertford. Leading the day's Grade VIII to Grade I group of doctors concerned to activities Kirsten Spratt soon standard. Then came the ensure that musicians, actors had everyone working hard concert which ended with a and dancers have access to on diaphragm control (the short but stunning the best possible treatment as grunting noises which exhibition soon as they need it, with greeted some latecomers of IGrsten's artistry and minimum interruption to their must have been quite technical expertise in worlts careers. daunting!), correct posture as different as Poulenc and The concept grew from and may of the other basics Milre Mower's Fingerbt~sters. the recognition that, while of correct flute playing. The Most of those on the athletes had specialist Sports rest of the morning was course had never attended Clinics, there was nothing devoted to flute choir and anything similar before and comparable for arts all were grateful to have performers, even though their smaller ensemble sessions to careers can be as severly prepare for the 'concert' to been given the opportunity affected by injury or ill-health. be given to friends and of learning so much in such Facilities will initially be relations later. a short time from one of our limited by available funds. After lunch Kirsten leading contemporary However, charity registration supervised a vigorous flautists. LIkrtdy IVa/s/rr is being sought and, once rhythm session involving approved, serious fundraising everyone - including tutors can take place. Octave then ulans to ex~andthe service across the country and extend the range of ailments it can treat. ilnyone interested in supporting this new venture should contact Dr Leslie Morrish, Octave, Bishops Lodge. Oaldev Green. widsbr, ~erksSL4 SUL. Tel: 01753 850501
New from Powell: Handmade Wooden Flutes
owell have issued a press release to inform 0us about their new wooden flute: Built to a modern scale and with sterling silver mechanism Powell promise us this will be an excellent instrument. They say: 'Powell has crafted separate tone holes of grenadilla wood which are then attached the wooden thin-wall body. Key design and angles have been carefully designed so as to produce an instrument which is comfortable in the hand and aesthetically attractive. Wooden headjoints will have silver tenons so that they can be used in metal flutes and vice versa. In addition to making its own headjoints Powell will offer those made by I-Iowel Roberts.' For further information contact: Verne Q. Powell Flutes, Inc. 257 Crescent Street, IValtham, MA 02154 USA. Tel: 001 617 647 4111 Fax: 001 617 647 4125 FLUTE NEWS
.lapan Flutists Association FLUTE DAY THAT FLOURISHED Eighth Flute Convention Fridav 29 - S~rndav31 IN ABERDEENSHIRE August 1998' Sunday 22 March Kanagawa Kenmin Hall, Yolrohama city, On arrival in away inspired and ready to such musical playing and Kanagawa prefecture, Monymuslt (20 miles practise our scales \vhilst WOW, what a sountl. Japan 0west of Aberdeen) in not forgetting the Gillian Leonard (BFS Area Concerts: Aurhle time for the afternoon importance of breathing, Rep) organised a wonderful Nicolet: Concerti for flute session of the day, I \\,as Approximately 20 people day and we both agreed and harp by Denisov and struclt by the beauty of the were at the session which afterwards that when you Mozart venue. It was a delightful made the place loolc quite hear playing of that Jean-Claude Gerard, little chapel, complete with full! After tea in the local standard it maltes the whole Felix Rengli: Recitals cracltling wood hurning pub we were inspired again thing worthwhile. Surely as with piano stove, candle type at the evening recital. \Ve teachers we are always Masterclasses, lecture chandeliers and now home couldn't fail to be moved by trying to inspire our concerts, flute choir to the local Arts Centre. the quality of the playing. students - David's wonderful concert, by David Nicholson was at the Davicl was joined hy pianist playing certainly did that. flute makers and helm and had spent the Bob I-Iowie and they gave us Ireire Bnrnes Area Rep, Central competition. morning inspiring and a well balanced programme Scotlund For details please encouraging the younger including Bach, Benda, players with great success, Debussy, Reineclte Richard If you would like to hear contact: J~~~~~l~~~~~~ The afternoon brought the Rodney Bennett and the more of David Nicholson he 2-13-32-604 more advanced players and sonata by Taktaltschwili (a has a residential course in I(amiosalri, Shinagawa, learned about (or good alternative to the Edinburgh in the first weelc 141 Japan. brushed up on) all the Poulenc); then Massenet for in August. Further details Tel: 03 3442 7420 important aspects of an encore. The concert, from The Aclministrator, 14 Pax: 03 3444 6219 playing. Most things were attentled also by locals, was Nile Grove, Edinburgh. Day covered ancl we all canie a superb end to the day - passes also available.
>__ . _C - ---.- .- . ~~ ~ -. . - Professor Giorgio Samar, a BFS member in Italy, writes to us of his successf~~lthirteenth annual It~contro Sunday 16 November 1997 con i/f/nuto - 'meeting the flute'. Particular emphasis was given to those composers celebrating BFS Flute Dav anniversaries, and works by Schubert, Quantz and Classes with Gijran arcu us son Casella were featured. Pictured below Prof. Samar and the participants on the course. and Kenneth Bell. Queen's College, Harley Street, London \V1. Please put this date in your diary now! Watch this space for details.
The Editor would Congratulations to I like to hear from anyone I I I Martin Hoffman on the willing to read all 'or birth of a daughter, part of Pan onto tape Rachel, on 13 May. for the benefit of visually impaired readers. The I - :'1 MIA Show 1 18 - 22 June 1997 STOP PRESS ... The London Arena, London Debut by American Jill Felber Docltlands 10.00 - 6.00 daily Jill Felber will present her London debut at the Come Feel The Noise! A new trade show, there will be Wigmore Hall on Friday 25 July at 7.30 p.m. She will seminars, clinics and be joined by Claudia AndersonJute and Betty masterclasses and will Obercracker piano. The concert of contemporary highlight all ltinds of music music will include works by Martin Amlin, Car1 Vine, froni rock to classical, folk to Reza Vali, Ross Edwards, Mark Phillips and Jeremy dance. The first three days I-Ialadyna. Ticlrets are available from the Wigmore are for trade only and the I-Iall box office on 0171 935 2141. Mad About Music days on Saturday ancl Sunday are Jill Felber is director of the Wind Program at the open to the public. Ticltets are E6.00 on the day, or University of Santa Barbara, California. She has 94.00 in advance from the performed on four continents and is a tireless London Arena Box office, promotor of new music. Tel: 0171 538 1212 1 FLUTE NEWS
Piccolo concertos are the geomorphology of Hoy, the comets in the twentieth-century Orkney island that has been his musical firmament: they appear home and inspiration since the Concert Reviews unexpectedly out of nowhere to early 1970's. By 'pacing the sparkle briefly but brilliantly in harmonic progressions' in a walk 10 March 1997 finally reappeared in small but the upper regions before through the landscape, he would hopeful turning points and Wigmore Hall disappearing again into the void judge if certain harmonies make questions, delicately from whence they came. They accompanied by the piano until a fit with his chosen path. If Susan Glaser flute Robert are once-in-a life-time events to this was not the case then the the piccolo's final rising ninth be savoured in the memory for walk could be re-routed to a Marliham piano Robert Smission interval left the piece hanging viola years to come and the stuff of different landmark - or perhaps on a question mark. fond reminiscence eliciting both the starting point and Durufle's beautiful trio for - envy and wonder in those who destination would be varied flute, viola and piano was played have not witnessed the until a satisfactory marriage vividly, the piano sometimes phenomenon for themselves. between music and landscape producing harp-like textures When planning an extended has been negotiated. This is not reminiscent of the more familiar work for this often most strident simply a metaphorical journey combination of these of instruments, several obvious but a practical and inspirational instruments. Robert Smisson problems of orchestration and modus operandi, in which both the played with freedom and registration present themselves. sights and sounds of I-Ioy play warmth, and fragments of music The reedy rustic complaint of their part. evoking village band music the piccolo's lower register has Crafted in three close-fitting appeared. intermingling with been explored many times in movements, the concerto opens passionate, dramatic sections the past: Holst's The Pegect Fool, with a statement of the slow leading to a rousing climax. Prokofiev's Cindemlla and Sir melody (which had been nagging Robert Beaver's Variations for Malcolm Arnold's Folk Song Suites Maxwell Davies), starting on the flute and piano began with contain good examples. piccolo's lowest D and ranging imitative exclamations between I-Iowever, by a natural yearningly over increasing the instruments, followed by association with the outdoor intervals. The soloist then contrasting movements ranging world and matters mysterious, elaborates this idea against a The young American t1:lutist between thoughtful meditative Susan Glaser opened her recital the perceived effect is shimmering accompaniment sections and scampering parts. inescapably faerie and from the percussion, the high- with CPE Bach's Hambu/ger The third movement, with Sonata. The first movement, so sometimes comical. With these pitched partials of the crotales flavours of Prokofiev, ended the and other considerations in and glocltenspiel mingling and appealing with its generous recital effectively with a melodic line, was played with a mind, Sir Peter Maxwell Davies jingling with the piccolo's higher whimsical tone of surprise. described his particular silvery tones. A return to the rather gentle, lilting character, Susan returned with the in this case making it a little compositional'approach to this opening melody leads into a charming solo piccolo encores work in a pre-concert talk. lively development section - understated. The Rondo was from Laos and China, rounding playful but again could have had Largely to solve problems of Allegro modemto molto - in which off an enjoyable evening. balance, the orchestral string the piccolo cascades glisteningly greater presence and spirit. Evetyn Frank Amanda Harberg's A Poem section is reduced in strength over spiky figures from the brass anda Story followed, beginning 10 March 1997 and lower strings before with soft lyrical tones and performing a sequence of Purcell Room upward runs, like firework developing into bird-like A Feast of Fluting passages before returning to the rockets viewed in slow-mo, opening character. The second Atarah Ben-Tovim, Julie Wright, propelling the music to the section was more robust, with The Flute Orchestra of London precipice of an Adagio. Halting oriental tones heightened by the To launch her Flure Book pizzicato strings introduce a piano's chord sequences. Here Atarah hosted and performed in suave and serpentine bass more birdsong appeared evoking this delightful concert packed clarinet with a melody which images of Japanese paintings. full of flutes and facts. The gradually seduces the piccolo The flute soliloquies were played concert opened with some into a dialogue of opposites: a sensitively and had an appealing haunting solo melodies from the Doppelganger waltz expressive of bamboo flute quality. beginnings of civilisation, and many myths in its enchantment. The Schubert Variations Atarah was gradually joined on This brief magic is dispelled by were the third work in the stage by more flutes and players unaccompanied timpani programme. Susan imparted an as she moved onwards in time pastorally portending a coming expressive stillness in the telling stories, and getting the storm... A trumpet and drum introduction which was followed entire audience participating impart a war-like impetus ... The by the silvery and plaintive with their flutes. It must have music smoulders and soon theme, with refined playing by been a marvellous sight from the ignites into the Allegro finale in Robert Markham, His playing stage, all those flutes glinting in which the piccolo sweeps and was impressive throughout this the dark! The age range of the swoops over the frantic demanding work: constantly audience was from single figures and the brass parts limited to orchestra like an Arctic Skua alert, playful or dramatic as the to pretty high in the doubles and two each of horns and trumpets; over an angry sea. Divided solo mood demanded. Susan played the highlights for those of my oboes and bassoons are cellos restore a measure of calm the virtuoso fifth variation with students who attended were banished from the woodwind on and the soloist poignantly recalls charm and abandon, but the hearing Papageno's Sot~g,a telling tonal grounds and the the opening melody, fading away lengthy seventh March would of the Pied Piper story with percussion section consists of on a sustained and lonely note have benefited from greater participation, and Julie Wright's timpani, side-drum, of solitude and farewell. showmanship. performance of DamarC's The glockenspiel, marimba and Maxwell Davies' piccolo The second half of the IVm on the piccolo. My high crotales (tiny cymbals). concerto is a miniature recital began with the London spot was the quiet stillness of Drawing on this delicate palette masterpiece: a sparkling jewel premier of George Tsontaltis' the opening of Scarborough Fair he is able to 'throw the piccolo which reveals its many finely- Fernore for piccolo and piano. played on the alto and bass into relief and luxuriate in the cut facets with each twist of the This work opened with a clever flutes. Hannah Latlg 'velvety sound' of its lower light. Stewart McIlwham's intermingling of piccolo and tones. In answer to a question as effortless technique and superb high register piano bursts, 25 April 1997 to his motivation in writing this control of tonal contrasts followed by the piccolo's concerto Maxwell Davies persuade one to hear an glissandi 'moans' and soft Barbican Centre explained, with a directness instrument of varying registers plaintive wide-intervalled leaps, Royal Philharmonic Orchestra worthy of Vaughan Williams, and eloquent voice. By the which effectively reflected the Sir Peter Maxwell Davies that he had a tune 'which was happy coincidence of these two anti-war sentiment this piece conductor nagging me'. On the matter of artists in the RPO, a new star is was composed to express. The Stewart MCIlwham piccolo structure he was more born. Long may it twinkle. instruments produced cries of Maxwell Davies Piccolo Concerto enlightening. His approach Latrrence Joyce anguish and protest and these (1996) London Premier owes much to the 1 FLUTE NEWS I
30 April 1997 Trinity College Chapel, Cambridge Anne Allen ////tr Patricli Lee pint10 My thanks to those readers who supplied details of forthcoming concerts. Ple;~schring to my attention Anne Allen's recital began any concerts you feel worthy of mention in Pan, especially those taking place outside London. with a transcription for ilute and PLEASE TRY TO DO THIS BEFORE TIlE COPY DATE IS REACIIED!! Ediror piano of Mozart's Flute Quartet In D. Despite some intonation Thursday 5 June 1997 Barber, Zyman, Liebermann, Tuesday 29 July 1997 problems in the first movement St Matthew's Church. Redhill. Garv Schocker and Gershwin. Jonathan Rimmer fli/tc Surrey 1.00 p.m. Jozef Olechowslii pinno the playing had great delicacy Saturday 5 July 1997 and poise. The second ancl third Kate Walsh flute Programme includes worlts by Alicia Chislett piano St Peter's Church, Black Lion Berlieley and Griffes movements were beautifully Lane, I-Iammersmith executed, ably assisted hy Works by Bach, Gaubert, Damase 7.30 p.m. Wednesday 30 July 1997 Patricli Lee. I-Iammersmith Symphony Samuel Coles//~~/e The Prokofiev Sonata, which Details teVfax: 0171 588 0195 or e mail: [email protected] Orchestra Phillip Moll piorro followed, had many excellent Kate LValsh fllrtte Celebrity Recital. Worlis by moments in both instruments, Sunday 15 June 1997 Debussy Prklude 2 l'npr2s-midi d'trtn Reineclie, Martinu, Boulez, but this work is notorious for its St Barnabas Church, Calton fnilne Ileath difficulties with balance and Avenue, Dulwich SE21 Chaminade Cottrehno Anne lacked the projection 7.30 p.m. I-lonegger Postorale d'kti Friday 1 August 1997 needed in the low register. The Rosebery Orchestra Bizet Sj~ntphor~j~in C Janet McKay flute There was also some untidiness Gala Concert in memory of Tickets 95.00, $3.50 (concs.) Judith Keaney piano in the second and fourth David Machin, in aid of the from 0171 277 7068 1996 Albert Cooper Prize movements. Elimination of Leukaemia Fund Winner's Concert After the interval there was a Christopher Iierricli condt~cror Monday 7 July 1997 Worlis by Widor, Debussy, Ibert, pleasant but unexceptional Clarissa hlelville flt~te St Olave's Church, Crumb performance of the Poulenc Programme to include Mozart Hart Street EC1 Sonata, and it was the two pieces City Of London Festival Fringe Saturday 2 August 1997 Concerto in G and wvorlts by United Airlines Gala Concert by Caplet that allowed i\nne to Elgar and Saint-Saens 1.10 p.m. better show her considerable The Rosebery Orchestra Hannah Langfite There are also public recitals range of tone colours. The celebrates its silver jubilee this Peter Ilewitt pintto recital ended with Mike Mower's given by students on the year and is giving this concert in Bartok St/i/e Poysnnne Hongmise Flute Course dailv in the Guild Doodle and Flight, which was the memory of Clarissa Melville's Schubert Sonata in A Arpenione highlight of the evening. The Chapel. husband, David, who died of Admission Free, Retiring Further details from: The advanced techniques required in non-Hodgkins lymphoma in May Collection the flute part were managed Administrator, P.O. Box 7 1995. The Elimination of S tratford-upon-Avon Stratford-upon-Avon, CV37 9GB. successful and both players Leukaemia FUII~ conveyed the spirit of the piece International Flute Festival Tel: 01789 269 247. is directly linked with the Professional Concert Fax: 01789 269 843 and their own enjoyment of it. Ilaematology Department of Brendn Dykes Programme Kmgs College Ilospital where Colin Fleming Surnrner Flute --- -- n// rottcerts begin at 7.31) p.m School . David was treated. The Civic Iiall, Stratford-upon-Avon orchestra are donating their fees Professional Concert Sunday 20 July 1997 Programme Third International for the concert to the fund. Elena DurAn f/ttfe Tickets 917.50, to include nl/ corrcerfs start nt 7.30p.m. Flute Competition Jozef Olechowslii pinno Knowsley Room, Derby & champagne and refreshments, Janusz Olechowski cello SYRINX organised by from: ELF, 17 Venetian Road, Rathbone Hall \Vorlis by Weber, Dvorak, Greenbank Road, Liverpool the Accademia London SE5 9BR. Damase Italiana del Flauto will Tel: 0171 737 7009. Also, six tickets for the price of five. Sunday 20 July 1997 be held in Rome, from Town Hall, Stratford-upon-Avon James Galway fhte Monday 21 .Iulp 1997 29 October 199'7 to 2 Saturday 28 June 1997 John Lenehan piano Angela Koregelos//rtte \Vorlts by Gaubert, Poulenc and November 1997. St Peter's Church, \Vallingford, Zoe Smith pinno Oxon Chaminade see page 19 for details Red, White and Blue Tickets 98.00, 97.00 (concs.) 8.00 pm. A programme of British and Esprit: Francesca IIanley f/11fe American Music including works Tuesday 22 .Iuly 1997 Catherine Rimmer cello by Finzi, Rutter, Schocker, Kent Ilugh Webb hnrp Colin Flemingfh~fe Works by Damase, Ilaydn, John Lenehan pinno Tuesday 22 July 1997 06.00, 95.00 (concs.) Handel, Mendelssohn, Debussy Jaime Martin//nrc and David Snell. Jozef Olechowslii pintto Tl~ursday24 July 1997 Tickets: f5.00 in advance, $6.00 Celebrity Recital George Galway & Friends on the door; students f 1.00 Jazz Cabaret Evening available from Glynne Wednesday 23 July 1997 96.00, 05.00 (concs.) Stackhouse, 55 The Street, Marisa Canalesjlttc Crowmarsh Gifford, \Vallingford, Ana Maria Tradatti pintto Saturday 26 July 1997 Oxon OX10 SEA. Tel: 01491 Mexican Fiesta! \\'arks by Summer School Flute Orchestra 825421 Zyman, Lavista, Toussaint, $6.00, 95.00 (concs.) Salinas Sunday 29 June 1997 There are also free lunchtime Queen's Theatre, Ilornchurch Friday 25 July 1997 recitals on Monday 21, 8.00p.m. Konrad Hiinteler fhte Wednesday 23 and Friday 25 Havering Concert Orchestra Phillip Moll pintro July at 1.15 p.m. Brenda Dylies f/t/fe The Classical Flute. Works For more details contact Tessa Procramme includes Mozart by JS Bach, Mozart, CPE Bach, Ralphson on 01386 251127 0vel.ture to ilfnrringe o/ Fkaro Schubert and Flute Concerto in D and Tl~ursdav7 August 1997 Saturday 26 July 1997 St Lawrence Jewry, Guildhall works by Gounod and Johann ~il~~M~~~~ in concert Strauss Performed by students and Yard, City of London The BFS wishes to 1.00 p.m. extend warmest thanks Fridav 4 Julv 1997 directed by the colnposer Kate LValsh fltttelnicco/o to Tessa Ralphson for all Mall& Festival, Isle of Man blonday 28 July 1997 Alicia ~hisiett$atto her hard work and 7.30 p.m. Kirsten Spratt f/tttr \Vorlis by Damark, Milhaud, enthusiasm whilst area Elena DurAn f//tte Zoe Smith pinno Iloover, Bach rep for Southport/ Jozef Olechowski piatto Tango Fantasy! Works by Details tevfax: 0171 588 0195 or An American programme Carmichel, I-leath, Masseus, e mail: [email protected] Lancashire. including worlts by Copland, Mower, Nultina, Waltschanov Interview with
ow did you come to first playing until I was 20 years old, and BY pick up a flute and blow a literally at that time, Jethro Tu// Mark Mills note out of it? began. I IA Well the two MM How did you develop were separated by about three your skill? months! I was a not very good IA Well the flute is a very guitarist in what was effectively the carefully ergonomically designed development of a school band, and set of mechanics. It is the when we finally made the 'make or instrumental equivalent of a Swiss break' effort in the South of watch. It has been refined in terms England, we had a guitar player join of intonation and manufacturing by who was much, much better than a lot of contemporary me. So I thought I'd try to find manufacturers who have worked something that was a little different very, very hard on that mechanism in the attempt to justify my to improve it. So it would seem to position. stand to some sort of reason than I traded in my - probably even for a novice without unbelievably valuable in today's instructions or a music teacher in terms - 1960's Fender Stratocaster sight, it is possible to pick the thing for whatever took my fancy in a up, put his hands on it, and sort of music shop. Looking around I was figure out what it's supposed to do. talien by a cello and a flute. But I I had my hands in pretty much the thought a cello was not that easy to right place, and I managed to figure carry around on the London out what finger was supposed to do Underground, and probably a pig to what. \%at I didn't have however, play, whereas the flute at least was any reference to the nuances looked as if it was a nice compact and subtleties of that design that instrument and it had some linobs made it necessary to use the D and buttons you could probably get sharp key for example, and the l the hang of, so I took that, but it was correct fingering in all the very much a spur of the moment complexities of the upper register. thing! So the way I tried to produce notes I remember travelling back in was by overblowing harmonics the van from the music shop and I rather than using the correct cross- couldn't get a noise out of the thing fingering. For really all of my life up to save my life, but everyone else in until four or five years ago I played the van managed to make it do completely in a self-taught and something. So that was pretty quite incorrect way, and the embarrassing, and I think I put it problems I encountered with flute away for a while after that. It was playing, the problems I encountered some months later that I managed as a musician, were as a result of Marb Mills has been p/aying the flule for to produce a sort of a noise, and that. eehf years atid is an e?ztht,sinfic very soon after that it became the metnber of AFCA. MM Did you think of taliing He also likes to witmsufland featured instrument that made lessons? lisfet~sto rock tY jam as well as classical Jethro Tu// different from the other IA A couple of lessons would rntcsic. blues bands that were playing have been a terribly good idea at the around at the time. I didn't start time, but I couldn't afford them, and lan Anderson also I just wasn't of that inclination. something more modern, is a matter you don't,' she said, 'that's not right I thought, 'I can learn to do this by of choice. But make it a matter of Daddy, you don't have your fingers myself.' And I suppose there is an choice, don't make it a matter of there'. I said, 'that's ridiculous, of advantage to having done that, in necessity. course it can't be right, you do it that as a self-taught musician and as In my case, it was necessity like this', and she said, 'no, it says a music writer you tend to make that drove me down my particular in the book like this'. your quirky and idiosyncratic path. It might have made me a lot of I ignored it at the time but I habits work for you rather than money, but I got lucky. The was a bit kind of worried by this, against you. And I guess it would be approach has got to be a balance of niggled by the fact that it seemed true to say that I probably wouldn't the two things - one is the naivet6, that I was doing something wrong. I have developed some of my musical the fun, the love of the exploration, had flown off to India in 1991 to do ideas and techniques if I had been of finding your way around an a promo trip and I was in Bombay, formally trained. At this instrument, finding out about and I got a copy of a flute fingering point in my life, it's pretty chart so while I was sitting useful to have both around between approaches available to interviews and stuff, I was me. I spent three or four looking at this thing and I months of very hard work had a flute with me, and I back in around 1992 to found myself thinking, really try to relearn the 'holy shit, this is instrument with a view to completely different to playing in a more what I've been doing'. controlled way. What that m means is that I can now Suddenly I found out why play the things that I have my E sounded flat, E in always played and that are the top register. I had to associated with my style of overblow hard and loud to playing in a more make it come up to pitch. repeatable way. There's 4. And so I started fiddling less chance attached to around with this, and over getting it right and I, by three months it helped me and large, play my sort of to play in a more stuff better than I used to controlled way. So high play it. That I absolutely notes I can play quietly, know. and low notes I can play a MM So what do you lot more loudly, so it think of that as a method balances the other of learning? Inn and cl sot^. O Tohi Comq Ch:/r,:v.iuli.il(rrord< instruments with me on IA Some people reading this music. The other is the more formal stage. Immediately it comes from might be intrigued by my approach. that, that I can write music which experience and think hey, there's an I think that to a degree, joy is employs three octaves of flute approach to playing the instrument maybe taken away if all you ever do music as opposed to only one and a that sounds incredibly fun, is to apply the formal approach of half, so I can use the instrument a abandoned, and crazy. But it's sight reading and playing passages lot more fully. really a combination - get a couple of music written by people who MM Is there anything you of lessons, if you think you might have been dead for a long time. The regret about your style of musical want to play the flute. alternative is to balance it with career? Don't buy a flute, borrow one, something of the more naive and IA Well I suppose my regrets that's the first thing. Number two is fun approach, to play the music are that I'm rather a shy and sort of at least have a couple of lessons so perhaps of people like me who've insecure person, like a lot of that you put your fingers in the only been dead for a few months! musicians are. You know we drive right places, and have a basic idea of (According to the papers, anyway.) ourselves to do the performance bit how to produce a noise that sounds MM How did you come to in public almost in defiance of our nice as opposed to a noise that relearn the flute as you did? natural personalities But at the sounds nasty. Beyond that, whether IA My daughter decided to core of it all, I'm not a very you want to go down the formal take up flute at school a few years gregarious or sociable kind of a route of learning to read music, ago. I heard her practising in her person. sight read and play the classical bedroom one night, and went in to So I quite often regret the repertoire or the student repertoire, help with what seemed to be a little inability I seem to have had to have or whether you want to use the difficulty she was encountering, and the musicianly camaraderie that I instrument in the context of I said, 'you play it like this'. 'No think is an important part of the Probably the largest number of Flutes, Piccolos, Headjoints, Altos, Basses in the U.K. PAS Assisted Purchase Scheme, Rentals, Accessories, on site Repairs and Servicing & Very FRTT Mail Order all with friendly and expert service.
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10 P
P .- -. -- p P P lan P P Anderson P -. . . - - elite society to which we moment a one off. I'm doing a musicians belong. I have no second album as part of a two friends who are musicians. album deal with EM1 as a solo The only people I know are the album but that's more acoustic, guys in the band. I've played vocal pieces with acoustic on a couple of people's records guitar, mandolin, bouzouki, as from time to time, but I'm too well as the flute family of embarrassed to go into the instruments. studio with them. I always get The flute is a very important them to send me the tape, and instrument to me, and not one I do it in my own studio when that I would ever put to one there's no-one listening. I just side. But I feel that in addition sometimes wish I was one of to the very monophonic flute those people who found it family of instruments, its the easier to be more at ease in my idea of being able to stroke the professional peer group. delicate but harmonically rich So if I have a regret, it's six strings of a guitar or eight that I don't have the kind of strings of a bouzouki or a personality and confidence to mandolin that gives me a more be able to get up and play with complete sense of being a all the people that I admire and musician. I guess if I had to that from time to time might again offer a bit of advice to a want me to play with them. I young flute player it would be seem to have spent a lot of my 'you've got ten fingers, you can life pretending to be 'washing at least put them on a piano, or my hair that night' when asked you linow, a guitar or something to do something. That's a kind else as well, to give yourself of a regret, but at this point in another point of reference in my life it's probably too late to broad musical terms', which I change, so I'll continue being a think is terribly important. You loner until the whisky runs out! don't have to be particularly MM Moving to your more good at it, but it just gives you recent recordings, why did you something that is another vital record the Divinities album? key to that bigger picture to L4 I was asked to do a what music is about. flute instrumental album by the French horn players Managing Director of EMI's should only ever be allowed to classical music division. He play French Horns, and approached me a number of preferably, you know, behind times with a view to doing an It was something that I had to locked doors where no-one else album of music that was more be coerced into doing, because I can hear them, but sensitive orchestral rather than rock band was very resistant to it at the creatures who probably have all the oriented. I politely kept putting off beginning, but once I started to do it attributes of proper musicians his calls, then eventually decided he and felt a bit of confidence about should be encouraged to thumb or seemed such a nice chap that I doing it, then I really enjoyed it. pluck or otherwise caress really ought to have a meeting with And it was just about at that time, something else other than just a him, to explain why I didn't want to you see, I was relearning to play the piece of cold Swiss watch making. do such a thing. But we had a flute. I recorded half of that album MM Roots to Branches features meeting and he managed to with a closed hole flute, and a lot of bamboo flutes and seems to persuade me that at least I should switched to playing an open hole have a very fresh approach - how do a couple of demos, so I did some. flute which I had never been able to did that happen? They quite liked them, so I did a few do before, and went back and re- L4 Well it was made pretty more, and eventually we went off to recorded a lot of it in order to take much the same time as the Divinities make an album which was not advantage of some of the more album was being completed and classical music, but instrumental quarter tone kind of playing that released, so there is an element music for the flute and other otherwise I couldn't have done. amongst the flute passages that orchestral instruments (I'm trying MM So is it a one-off rather would have some comparison with to choose my words carefully to than part of a continuing activity to that. avoid classical music terminology to explore outwards from rock? I think things like the bamboo make it sound symphonic and L4 Well in terms of it being an flutes are interesting. I picked grandiose and orchestral). instrumental flute album, it is at the some up when I was doing some -- I -. -. ------.- - lan Anderson - - -. -. - -- .- L .- .- - - -. shows in India in 1992. I came back like things to diverge a little bit. mistakes, because I can turn with these rather grotty bamboo Jethro Tu// is a sort of an institution mistakes (at least some of the time) flutes - you know, not the liind of amongst a finite number of people, into something positive. tourist shop 'wall hangers' but in a lot of countries of the world. I find it is really quite semi-serious flutes. But they were We have this obligation to the attractive, that through this ability very haphazard in terms of audience to play a bunch of stuff to write my own music and intonation and the way they played. that is very much historical in improvise on those themes, I have a Then, I was at a festival in perspective, and which is part of lot of scope to develop my strengths, 1994 in Budapest and I heard Brian their growing up, part of their those idiosyncratic points that are Finnegan, an Irish flute player history. In the case of the younger really what give my music the sense playing what sounded like some sort folks who are there, part of the of its own identity. And I thinli this of wooden flute and it turned out to thing that they've come to see is is applicable to all musicians be a bamboo flute that was actually the authentic music of the 60s or everywhere - you've got to try to made in the USA using bamboo 70s. I'm very happy to do that two develop your own little niche, your from Florida cane. It was or three times a year but I don't own little world, something about beautifully made and intonation- want to do it six nights a week, 52 you that makes you stand out from wise really as good as you can get, weeks of the year. So I suppose I everybody else. given there are compromises see my musical activities diverging involved. I then purchased a Jethro Tull Discography number of these instruments which are the ones I use now. They're 61 said, 'you play it This Was 1968 kind of expensive for a bamboo Stand Up 1969 1970 flute, around W50 -860 a time plus like this'. 'No you Benefit Aqualung 1971 postage and packing. They're a don't,' she said, 'that's Thick As A Brick 1972 whole lot better than most of the not right Daddy, Living In The Past 1972 stuff that's played by, or available to, A Passion Play 1973 Indian artists. you don't have your Warchild 1974 I got a fax the other day to ask Minstrel In The Gallery 1975 me if I would be able to do a concert fingers there'. 7 'M.U.' - The Best of Jethro Tull 1976 with one of India's most famous Too Old To Rock 'n' Roll: Too Young Indian classical music flute players, a little bit, in the sense that there To Die! 1976 Ijariprasad Chaurasia. He's one of will be more time that I will spend Songs From The Wood 1977 the two or three most famous flute doing solo projects or music outside Repeat: The Best Of Jethro TL~I- \Tel. 1977 players and he plays a bamboo flute. of the Jerhro Er// context. I feel it is I1 Heavy Horses 1978 Well, judging by the keys he plays safe to say that it is music that is Live Bursting Out 1978 in, probably a number of bamboo less, (even less) commercial than Stormwatch 1979 flutes. They are really well made, Jethro TUN 'S music, and music that 'A' 1980 but I imagine they're made by a has to do with being a little bit more The Broadsword and The Beast 1982 master craftsman to cater for the exploratory, and a little bit more IValli Into Light 1983 (Ian solo elite among Indian musicians. If I adventurous, in the sense of album) do end up doing a show with him, I working with other musicians and Under Wraps 1984 will show him my American made working with other musical Original Masters 1985 ones because it might just be that ensembles that are perhaps less to Classic Case 1985 they have the edge in terms of the do with rock music. Crest Of A Knave 1987 science of flute making even, for One thing I won't be doing is 20 Years Of Jethro Tull 1988 Rock Island 1989 ethnic instruments of that sort. attempting any recognised classical Live at Hammersmith '84 1990 The name of the maker of the works, which I wouldn't do justice Catfish Rising 1991 US bamboo flutes is Patrick Olwell. to at all. But conversely, what I will A Little Light Music 1992 There is nobody else you are going be doing is developing my own flute 25th Anniversary Boxed Set 1993 to find making, that calibre of playing to build upon my strengths The Best Of Jethro Tull: The instrument. And they also looli and to play down my weaknesses ... Anniversary Collection 1993 really nice as well, with a beautiful I want to sound good! Nightcap - The Unreleased Masters satin finish of Florida bamboo. (I There are some things that I 1993 don't have a penny of royalties for do, that I know most folks can't do, In Concert 1995 any of this!) If anyone's gonna buy and it's not to do with technique so Divinities 1995 (Ian solo album) a bamboo flute, get one of Patricli much as the emotion and Roots To Branches 1995 Alwell's. experience - interpretation. And Our thanks to Ian Anderson and to MM Reviewing your musical that's what I have going for me. I Chrysalis Records for their direction, looking forward, how do can do stuff that might scare off permission to reproduce the covers you see changing and developing? other people, because I can afford to of Divinities and Roots to Branches IA Well in some ways I would take chances, I can afford to make
The Wooden Flute Renaissance
he March 1996 edition of trying instruments either not in the BY Pan featured an article I best of condition, or not good wrote on playing style examples of their type. There is also Kenneth Bell entitled Traditions and a surprising number of younger Fashions which made reference to flautists who assume that any the growth of interest in wooden wooden flute is a completely flutes over the last two or three different instrument to the metal years. In that article my flute in the way that Baroque and proposition was that wooden flutes Classical flutes are. Although you had all but disappeared not because will come across wooden flutes with they were intrinsically inferior to non-standard fingering systems, metal flutes but for two separate such as Radcliff and 1867 model reasons: firstly that they had flutes, and very rarely conical bore become associated with an Boehm system flutes, the unfashionable style of playing and instruments I am referring to are secondly, that as demand for standard cylindrical Boehm flutes wooden flutes decreased the great with wooden body tubes and technical advances in flute design headjoints. Many old wooden flutes and manufacture of the last twenty are superb, especially the best of five years was applied exclusively to the Rudall Carte instruments, but metal instruments. Happily, this there were a lot of cheap, inferior situation has now changed. Wooden flutes around in the early part of the flutes, in comparison to older century. To a player who has only instruments, are now being made to played modern metal flutes an old modern tuning scales and with wooden instrument will almost much improved embouchure and certainly appear unresponsive on tone hole cutting. As a result more first playing. This is because of players are seriously regarding several factors: wood as a viable alternative to metal The embouchure hole is and high quality wooden smaller, rounder and usually instruments are in demand for the less deep than on a silver first time in many years. headjoint. A 'thick' wood I have always thought it ! headjoint with no raised lip curious that the vast majority of plate can be difficult to play at professional players regard wooden first as the physical feel is piccolos as superior to metal ones completely different to a metal (although this may have more to do Kenneth Bell is currently Chairman of head. the British Flute Society. Ha is bandmaster with the cylindrical bore of such and Principal Flautist with the Central Bard instruments than with the material) The tuning scale will vary from of the Royal Air Force and also acfive as a soloist, orchestral and studio player but few in recent years have pretty good (e.g. Rudall Cartes and teachef: explored the possibilities of wooden which are a true A440 pitch, as flutes. I suspect that many players many are slightly under) to have been put off wooden flutes by diabolical (in particular The Wooden Flute 1
imported European M Pads are thinner and firmer I had a new grenadilla wood body instruments). Many pre 1920s than in the past, giving a more and head joint made to a modern flutes are high pitch (A452) vositive feel and resvonse. A442 scale bv Robert BiQio and and therefore unusable. silver keywork from a high pitch M Keywork often has options 1917 Rudall Carte converted to M Pads are often in poor such as open holes, split E open hole and rebuilt onto this condition and so the mechanism, low B foot joints body by Ewen McDougall. For the instrument leaks. Older etc. which are rarely found on first time I now have a wooden wooden flutes have very thick, older wooden flutes. instrument which I feel that I could soft pads compared with Thus professional quality use with confidence for any playing modern metal flutes. wooden flutes have been brought requirement. closer to silver and gold flutes in M There may be leaks from Rather than just write of my many technical aspects but they hairline cracks, loose tenon personal opinion of what wood can still retain the unique joints and shrunken headjoint offer, I talked with Richard Stag characteristics that wood gives to an corks, all of which greatly (BBC Symphony Orchestra) and instrument. affect response. Sebastian Bell (Royal Academy of I have been interested in the Music, London Sinfonietta and New M Even a superior quality flute in tonal qualities of wood flutes since I Queens Hall Orchestra) who both good condition will be 'stiff was a student and have owned now play wood flutes to compare and unresponsive if it has not various old Rudall Cartes. Last year been played regularly for a long notes on the subject. Both players time. studied at some time with Gareth Naturally, the above Morris - probably the player most characteristics often give a negative people identify with the wooden first impression of wooden flutes. flute - and played wooden To discover the many positive instruments as students. Sebastian things they can offer you must changed to silver flutes after his either try a new instrument made to Rudall Carte cracked but is now present day standards or find and playing a thinned Grenadilla flute patiently experiment with good by Harry Seeley (Flutemakers quality restored older flutes. The Guild) and uses a traditional Rudall important differences between a Carte for the New Queen's Hall traditional wooden flute such as a Orchestra, which is dedicated to Rudall Carte and a modern wooden recreating early twentieth century flute are: playing styles. Richard played a Rudall Carte for a while as a student M Headjoints and embouchures but changed back to metal after designed and cut to the getting the impression that he was standard of the best metal out of step with other players at instruments. Headjoints are that time. He now plays cocus wood usually thinned (i.e. with a flutes by Rudall Carte and Robert raised lip plate) and not lined Bigio that he has thinned and tuned with silver. Headjoints himself. normally now have 'Piddock' fittings, in other words they Playing Characteristics enter the body tube in the All three of us were in same way as on a metal flute agreement that what we liked most rather than having the about playing on wood was the traditional double socket extra degree of resistance which is which is more prone to leaks. not present on metal flutes and M Body tubes are usually in one gives a greater feeling of control, piece and thinner than older especially in terms of dynamic flutes. Tone holes are more range. Many aspects of comparing sculpted and undercut and wood to metal flutes are very modern tuning scales are used. subjective and impossible to define Grenadilla (African precisely but once you start playing Blackwood) is now the usual a wooden instrument on a regular material as the traditional basis you become very aware of its Cuban cocus wood is assumed Lefi: Rndall Cartejhfe, 1936, made for Aleronder Korda. distinct 'personality'. We all said Right: Body andbea&oint made Ly Robert Bigio and silver that our instruments had changed to be extinct. keyworfifrom a high pitch I91 7 R11da11Carte ronwerced to open hole ar~dnbr~iltonto nmbody by Ewen McDor~gatl with use to a degree not wholly l The Wooden Flute explained by pads settling in and a neutral, ideal flute sound and that concluded that this must be to do the characteristics of wood help with the structural resonance of him in this. I think that a wooden wood compared to silver or gold. I flute may sound different to am much more aware of the listeners under certain acoustical properties of concert and circumstances but what is more recording venues when I play my important is the responsiveness and wooden flute - the best halls, such satisfaction the player experiences. as Birmingham Symphony Hall, feel In orchestral and ensemble playing even better but the less good venues I think there is no doubt that a .'' :-+ I are harder worlr than usual. We all - . :, :S wooden flute blends more easily . . thought that you do have to work . . %2 --;-\+? Q ..,-F ,-C.: : -C with the other woodwind . ..*..' -: $;p ., harder on wood but that the ?;., * 2 instruments, in particular with the ,..- :v .: >,, benefits make this worthwhile. One '..t .d. r -. h clarinet, and in my experience reed , ..- . ,.., .. l aspect of wooden flute playing we .*.L S~~W~II:.///l+i,/i,/ilh bhapede~~~kr~chu~rhrii.\&l, /~~,//um players enjoy playing with wood Lh 8 Wooden flutes and piccolos ,.;;;;;'p, Headjoints in wood, silver and gold Robert Bigio Flute maker - -1 F .i=j -- ,.< - - c ; [P--,- -I---.- 717' - -- ..U---. ,-- - *,'p--k-=z,:.d3?.u.-:- &,JL~<~~C~S~F%F=! &-F*F- -,; .=,-)t,; 'FI'. - - - - -.-- - --v L -4 1 Doveridge Gardens, 1,ondon N1 3 5~r- [email protected] Te/@honc 01 81 882 2627 Fax 0181 882 2728 http://\nnv,blg~o.demon.co.uk --a-- -3 .TA m W- m W-- W-- z F- g==--*---- - 4. .I ,F,,' <. " '"C '\ ,p ---. :u1-:y59:;6 0 :E{\ @\;' 4, .:l -\ 1 ' '9 e3 'L- Cb J ,, i* *, q" ZTALZA~/ FZUTE FE~T~AL M&terc/a~se~, con~ert~,/e~t~~es ROMEOCTOBER 31 @ NOVEMBER 2 1997 0 AaO Q MA 0 Pc @ ;rOd€LLZ @ &YE 0 ZOOd @ 4'ccade~;aZ!a/;ma dc/ Ride)fia 5-m X) 43 - 00~2 Z'e/ 4-4-39 0 S81 02 2S - /"a4-4-39 6 388 01) 29 e-ma'/: [email protected] ACCADEMIA 3" bnternational -i PROGRAM ITALIANA i FIRST ROUND [solo flute) DEL FLAUTO f!ute competition i Slgfrid Karg-Elert: Capriuio n. 23 or Capriccio n. 24 forflulealone i Paul Hindemith:Acht Sturkeforflutealone(four pieces at participant's choice) i SECONDa) Raymond ROUND Cuiot: Fantaisieforfluteandpiano (RIVERBERI) i b) one of the following pieces: i - Alfredo Casella: Si~ilienneetburlesque forfluteand piano (LEDUC) ,l - syrinx i - Mario Pilati. Sonata far fluteand piano (AIF) i C) one of the following pieces: : - Bruno Maderna: Cadenza (da Dimensioni Ill) 29 2 1997 rome october - november for~utea,one(SUVINIZERBONI) l V i - Luis De Pablo: Melisma furioso for flute alone (SWINIZERBONI) 1 i FINAL i a) one of the following pieces: C i - lohann Sebastian Bach: ------. . . i E minor Sonata for fluteand basso antlnuo ( 1" and 2- mov.] hJ~ i - lohann Sebastian Bach: i E major Sonata forfluteandbasso continuo (I and 2d mov) Cambursano i b) one of the following pieces: i - Ceorge Enesco: Cantabile et Presb for fluteand piano De Reede i - Cabriel Faur6: Fantaisieforfluteandpiano i C) Theobald Boehrn: Crande Polonaise forfluteandpiano Guiot : First prize Hiinteler i ITL 5,000,000offered by SYRINXmagazine i FAULISIsilver head joint offered by LA FL~ITETRAVERSI~RE Paris Persichilli i Second prize : ITL 3,000,000offered by WM. S. HAYNESCO. Renggli i ~hirdprize ITL 2,000,000offered by TOPWIND and JUST FLUTES WY~ : Special prize SUVINIZERBONI for the best performance of the ' piece by Maderna or De Pablo: ITL 1,500.000. ALL INFORMATION ONLY AT: Special prize Anna Maria Pilati, in ricordo della sorella scomparsa, Accademia ltaliana del Flauto via lnnocenzo X, 43 -1-00 152 Rome. offered by the composer's doughters, Laura and Giovanna. ITL Tel ++ 39 6 581 62 25 - Fax ++ 396 588 04 29 1,500,000 for the best performance of Mario Pilati's Sonata for e-mail: [email protected] flute and piano. . ._ . .- . - - . -- ,- --p -- -- The Wooden ~7K.._ ..-p . - -. - -. - - - my silver flutes they do improve flutes, the revival of interest would Jacques Zoon entitled La A4erle iVoir overall response on my wooden appear to be a long-term prospect (Vanguard Classics 99078) and a flutes. Putting a silver or gold and if we do not see a lot of players collection of operatic fantasies for headjoint on a wooden flute body changing exclusively to wood I flute and orchestra palyed by will produce a response very lilre a think we shall see many having a Patrick Gallois (Deutsche metal flute, but with the wooden instrument to complement Grammophon 445 822-2). characteristic wood legato. A their silver or gold one for specific Flute Makers: Malres of older wooden head on a metal body, on repertoire. Hopefully supplies of wooden flutes worth considering in the other hand, will produce all the quality wood will not be a problem good condition are Rudall Carte, tonal characteristics of a wooden in the foreseeable future, but it may I-Iawkes & Son, Schreiber, ,Hammig flute (possibly to a slightly lesser be necessary at some stage to give (various family members), Monnig, degree than an all-wood serious consideration to man-made Marigaux and I-Iaynes. There are, of instrument) but the Legato will be materials which emulate the course, many other makes but the lacliing. characteristics of wood. A new ones I have named are pretty wooden flute is quite a big financial consistent in the quality of their The Future investment and it is a pity that it instruments. The most significant would not appear to be possible to The most notable present day international players to use wooden manufacture reasonably priced makers of wooden flutes and flutes recently have been the student quality instruments to headjoints are Chris Abell, Robert French soloist Patriclr Gallois, modern specifications, as this Bigio, Harry Seeley (Flutemakers Jacques Zoon (Chamber Orchestra would probably do more than Guild), Anton Braun, Howel Roberts of Europe and Boston Symphony) anything else to further the cause of (headjoints) and Jack Frazer and Emanuel Pahud (Berlin wooden instruments. (headjoints). I believe that Powell Philharmonic). Players and To conclude, here is some and Haynes are to start production teachers of this calibre are certain information that may be of interest of wooden flutes, and this fact more to have a strong influence over to any readers who may wish to than anything says a lot about the other professionals and students. pursue the subject further. level of interest now being Judging by the number of players Recordings: llvo recent CDs worth expressed. who have ordered new wooden hearing are a French recital by Stratford-upon-Avon International Flute Festival Director: Elena Durhn 19 July - 2 August 1997 The most exciting flute festival in Europe! Come and join us for two ~veeltsof flute playing, flute classes ant1 thirty flute concerts in the 11 WOLDINGHAM 11 most historic school in Britain. O****5**0**0**** Resident tutors: Elena DurAn, Konratl I-Iiinteler, Jonathan Rimmer, IZirsten Spratt, Angela Kregelos plus Marisa Canales, Ann Cherry, Samuel Coles, Albert Cooper, Milre Mower, The Olechowslti Trio, Andy Thornson. Pianists include: Phillip Moll, Jozef Olechowski, Zoe Smith. ~~OOUOOOOO~~OOO* Albert Cooper Competition n*****530*0***0* Chamber music for flute in the Town Hall Student July 27th - August 2nd 1997 lunchtime recitals in the Guild Chapel and playing opportunities for all! ! ! Presents... ***********n**** Clare Southwor th Kid's Corner for younger flute players - don't miss it! Goran Marcusson **anzs*o*onn***a* Further details from & Helen Brew The Administrator, PO Box 7 For an application form & further information: Just Flutes Stratford-upon-Avon, CV37 9GB 36 Chipstead Valley Road, Coulsdon, Surrey, CR5 2RA Tel: 01789 - 269247 Pax: 01789 - 269843 Tel: 0181 668 4444 Fax: 01 81 668 7262 d 18 NEWFLUTE MUSIC FROM SCHOTT €D 8477 Prelude - Cadence - Capriccio 233 Solo Pieces and Exercises in a11 Keys (18fh/19thCentury) (N. Delius) £24.00 FTR 167 Boismortier: 6 Sonatas fir 2 Flrrtes (Oboes, Violins) Op.25 E13.00 FTR 166 Hook: 12 Duettinos fbr 2 Flutes fir 2 Violins Op.42 £9.75 FTR 168 Leclair: Sonata in E minor for Fl~rte(Violin) ntld Basso continlro £9.75 Available from all good Send for a copy of the Schott music shops Wind Music Catalogue sc t io'IVl~ 48 Great Marlborough Street. London W l V 2BN. Tel: 0 17 1-437 1246 Fax: 0 17 1-437 0263 James Gregory 4 Baroque & Chsical Flutes Copies of: HOTTETERRE: DENNER: BIZEY ROTTENBURGH: GRENSER: KIRST Foscot Cottage, Foscot, Chipping Norton, Michael White Oxon OX7 6RH Tel: 01608 659034 Mobile: 0973 364458 Musical Instruments Flute Specialists All leading makes at discount prices Repairs Credit terms 11 Queen's Parade, Queen's Drive, Ealing, London W5 3HU Telephone 0181 997 4088 Opp. North Ealing (Picc.) Station Hoots, Hertz and Harmonics: Fundamental Physical Phenomena for Flautists. HOW TO FIND OUT WHAT NOTE A FLUTE WILL PRODUCE n this part we are going to look say, Leeds to London and straight BY at some more aspects of the back again. If we know the journey Robin Jakeways science of the flute using some time we know how many return I of the ideas which I journeys there are every second introduced in part one. We'll start and this is just what we want - the with a small experiment. frequency. A bit more maths then One thing that is true of most tells us that we don't have to instruments is that the shorter calculate the time but can find the Part 2 something is - a violin string, the frequency straight away by dividing tube of a wind instrument etc. - the the speed by twice the length of the higher the pitch is. So we ought to tube. be able to do a simple calculation to Let's try it and see how it find out what frequency or pitch is worlis out. Measure the distance going to be produced with a tube from the embouchure hole of your whose length we know. Now I flute to the end of the foot joint. It explained in part one how a brief will be close to 60 cm or 0.6 metres pulse of sound in the embouchure (unless you have a B foot). The hole of a flute travels down the tube speed of sound is 330 metres per at the speed of sound (330 metres second so we can say per second or 760 mph in more homely units!). It then 'bounces frequency of sound = 330 t (2 x off the far end and travels back up 0.6) = 275 I-Iz again where it does another bounce , - ' U : and so on. If we hold, say, a Now the frequency of low C is .' t. , -> microphone near the bottom end it 262 Hz so we are pretty close. The 1, - will detect a little 'blip' of sound reason why it has not come out every time the pulse arrives there exactly right is because, as always, and if we want to know the the situation is actually a bit more frequency or the pitch of the sound complicated and, as far as the sound wave all we have to do is worli out wave is concerned, the effective D/:Rol/irl JaAmqys how many blips per second it length of the tube is always longer is n senior /rctur.er in physics detects. Now the time for a return than the measured length. In other at the Un~rnityof Leeds. Hr Ans been p/aying the f/ute since trip is equal to twice the length of words the sound pulse I was tallring he alus at schoo/. the tube divided by the speed of the about earlier is not reflected until it pulse just like a car journey from, has emerged a short distance from Hoots, Hertz and Harmonics Fig~~re5 'S~~apshots'of a violin string showing it atfiee d#erent positions during its vihtion. The nodes and antinodes are easi[y ident;fied in a pict//re like this. l NODE ANTINODE NODE l the end of the tube. travels up and down the flute tube. What about other notes? NODES AND ANTINODES The wave pattern is always the When we open keys starting from AND THINGS same and it is obvious when you the lower end all we are doing is look at it that the string at each end changing the effective length of the I have talked about a sound does not move and the middle tube. The sound pulse is reflected pulse travelling up and down the moves the most. The ends are from wherever it meets an opening flute tube. This is OK but we called nodes and the middle, which to the outside world. So all we have usually like to thinlr in terms of is moving the most, is called an to do is measure from the waves. Now the bouncing sound antinode. The same lrind of pattern embouchure to the first open hole pulse rapidly turns into a bouncing exists inside a flute tube although, and do the same calculation as sound wave. Unfortunately of course we can't actually see the before. Again the answer is not physicists are strange people and nodes and antinodes. We can draw quite right because the effective describe this wave as a stationaw pictures of them however and they length depends how big the hole is. wave! This does not mean that the are quite useful in helping us The smaller the hole the longer the wave is not moving but that its wave understand how our instrument effective length and the lower the pattern doesn't move. What does works. pitch which is why you can do this mean ? Thinlr of a violin string. We can find out where the glissandos on an old flute without When it is plucked in the centre it nodes and antinodes are by keys, or a clarinet by making the simply vibrates from side to side as thinking what is happening at each whole steadily smaller. You can do shown in figure 5 yet there is end of the flute when it is sounding, it on an open hole flute as well but actually a wave travelling up and say, low C. Each end is open to the it is a bit trickier to bring off. down the string just lilre the wave air so the air is free to vibrate as Figrire 6 The arrows in the top diagram shows how much the air in a flute tr/he is vibrating when it is sounding low C. The tlrhe is shown as a plain one to avoid complirations and the arrows are huge[,l exaggerated. In the lower diagram the same information is shown but in a diffent way. The vertirnl arrows show, again, how mmllch the air is vibrating b14t in the wrong direction! In a physics hook on!)l the cr/rves drawn thror/gh the end of the arrows are shown and the arrows themselves are zcsrrally left out. The important thing uhollt these curves 11s that thq,give a veql clearpirtt/re of where the nodes and anti~rodesare. Ftr, Hertz and ~arrnonicq much as it likes and these point (a) a ruler We need a little more arithmetic for must be antinodes (like the middle (b) a piece of chalk. this. If the player fingers at the half of the the violin string). In the (c) a friendly violinist (a violist or way point the wavelength is halved middle of the tube there is a node cellist or even a double bass player which means that the frequency (like the ends of the violin string, will do - the longer the instrument doubles. This gives a note an which are fixed) and the air is not the longer the ruler you will octave higher as you heard if you vibrating at all. This is not very require). did the experiment. At the one obvious so we'll have a look at how Measure the length of an open third point the frequency is three the air in the tube is vibrating. string and make a light mark on the times that of the open string. This The top picture in figure 6 finger board with the piece of challr is one and a half times the shows how the air is vibrating when exactly half way along (ask frequency of the octave note and, as the flute is sounding low C. The permission first!!). Now ask the you might recall from part one, that arrows indicate (with a huge player to hold a finger very lightlv means a note a perfect fifth above exaggeration) how much the air is on a string exactly over the mark the octave or a twelfth above the vibrating at a particular point. The and bow the string. You will hear a open string note. After that we get a air at each end is pumping in and note an octave higher than the open double octave, a double octave and out in opposite directions so the air string. Now make a mark exactly a major third and so on so it all in the centre can't be moving at all one third of the way from the peg works out nicely so far. and there is a node there. It is box end (violinists call it the nut) 'You've stopped talking about helpful to draw the pattern of nodes and ask the player to hold a finger flutes' I hear you say. 'I-Iave I and antinodes in another way, lightly at that point. This time the picked up the Strad by mistake?' rather as they look on a vibrating twelfth is produced. The next one No, you haven't because we're string, and the lower picture in to try is one quarter of the way up returning to flutes now. figure 6 shows this. Now it is the the string, this will give a double We can produce exactly the vertical arrows that show how much octave. Composers often ask string same effect with a flute except that vibration there is at a particular players to produce such notes, we cannot 'hold a finger on lightly' point in the tube. which are called harmonics, and to produce a node somewhere in The useful thing about these players are sometimes very puzzled the tube. We have to do something pictures is that we can find the as to know what exactly what to do different. One way is simply to wavelength of the sound from them to produce a given note. All they blow harder and generate a higher and this gives us the frequency and have to do is read PAN and all will frequency edge tone. The other pitch. How is this? In part one I be revealed! ! Why PAN ? Because way is to produce an antinode at an explained that the wavelength of a flute players also play harmonics appropriate point along the tube. sound wave is equal to the speed of without realising it! In practice we normally use a the wave divided by its frequency. Lets see how it all works. Now combination of these two ways. If you look back at the calculation when the player holds a finger Before we look at this let's we did earlier you will see that this lightly on the string it stops the summarize what we know about means that the wavelength of the string vibrating at that point. The harmonics in a table. We have just sound produced by a flute playing point must therefore be a node. done some simple calculations so in low C is close to twice the length of The next node down is at the nut so the table I have done some more the tube which is also twice the the wavelength of the wave on the and have labelled the open string distance from one antinode to the string is equal to twice the distance note with the number 'l', the next. All we have to do therefore is from the finger to the nut. We must harmonic produced half way along measure the distance between though put the finger in a place with the number '2', one third of nodes, or antinodes, double it and, which divides the length of the the way along with '3' and so on. hey presto, that is the wavelength. string by a whole number, The frequencies are all multiples of 1,2,3,4..... Why should this be? some starting frequency which I PLAYING HARMONICS Because the other end of the string have called 'f. It would be 262 Hz AND THE is also a node and all the nodes for middle C or 440 Hz for A and so HARMONIC SERIES must be equally spaced. Draw a on. The musical pitches start quite picture and think about it if that arbitrarily, with a C but if, for Let's try an experiment to doesn't seem very obvious. example, your violinist friend was investigate nodes and antinodes. The really interesting thing is playing on the E string then the For this you will require: what frequencies are produced lowest note would be an E. All we when these harmonics are played. need to know really is the interval FLUTES BUFFET CRAMPON Manufactured in England, there are now over 30 models of Buffet flutes available, ranging from student models, including a curved head flute, to the Symphony and custom gold plate models. All Buffet flutes feature overcut/undercut embouchure holes, ensuring a quick and even response. They produce a clear tone and have a broad dynamic range which is easy to control. The smooth, light mechanism and keywork allows fingers to move freely - and they look good too! BOOSEY&H Hoots, Hertz and Harmonics Diagram (a) Every frequency in the table is U whole number times the startingfreguency. Harmonic 1 2 3 4 5 6 7 8 Frequency f 2f 3f 4f 5f 6f 7f 8f Pitch cl C2 G2 C3 E3 G3 Bflat3* C4 between the different notes as frequency). In each picture after shown in diagram (a) above. this I have drawn in another node Ifl Part 3 Every frequency in the table is and you can see that the wavelength a whole number times the starting gets shorter each time in the order Next time (it's hard work this flute frequency. The intervals are all 112 113 114 and so on. This means business!) we'll have a look at vent exact except for number 7 which is that frequencies get larger in the holesandcrossfingeringandwe'll a pretty horrible B flat. This series order 2 3 4 and so you can see see that the fingering system on the is called the harmonic series and is straight away without doing any flute is, mostly, quite logical if You a remarkable linlr between tiresome arithmetic why you got a know about the harmonic series. mathematics and music and you harmonic series when you blew can use it, for example to your bugle calls. M understand scales, harmony and, of course, how instruments work. Figure 7 You can now try another These diagrams show the positions of the nodes and antinodes in the fhte tube when the first four harmonics, C;;, CL,CL and C?,are beingplayed In the top diagram the experiment (Which you might have wavelength is twice the /ength of t/le tube. In the next it is eqtcnl to the length. /n the done already): third it is two thirds of the length and in the last it is half the lennqth. First finger low C and blow a normal note. Then blow a bit harder, the note will jump up an octave. It will not be a very good octave but never mind. Then blow even harder and you will get a G, then a C then an E and so on. The top two - Bflat (or thereabouts) and C - take a bit of puff but have a go. It is quite fun, and very good practice, to play bugle tunes (see, for example, Trevor Wye's practise book on Tone Production) using harmonics. It makes you appreciate what a difficult job horn players have, especially those intrepid characters who play older music on valveless horns. Finally, lets draw some pictures of nodes and antinodes to see what is happening inside the flute. The rules are that there must be an antinode at each end and equally spaced nodes somewhere inside. Figure 7 shows a few possibilities. The nodes and antinodes are labelled N and A and the top picture shows the starting point (ie the pattern for the lowest The Flute Music of hesHook o most people the name performance (at glee clubs and in BY James Hook (1746-1827) the home) but also of serious works is synonymous with just for professional use. In 1768-9 he David J. Rhodes T one piece of music, the took up the post of organist and evergreen song The Lass of Richmond composer at Marylebone Gardens, Hill, b~~the was in fact a composer one of several pleasure gardens The two hundred prolific in a number of genres, not dotted around London that operated and fiftieth anniversary least that of flute music. Born in throughout the summer months of the birth of one Norwich around 3 June 1746, I-Iook when the theatres were closed. of England's leading rose to become one of the most Here upper- and middle-class ladies composers of popular and successful English and gentlemen met and socialised, the Classical era musicians of his time. Something of and entertainment was provided by was celebrated in 1996 a child prodigy, he first appeared in a resident orchestra and guest public as a harpsichord concerto soloists, both vocal and soloist at the tender age of six, and instrumental, drawing on the talents he composed his first ballad opera of the London theatres. Hoolt's at the age of eight! I-Iook's father, a career now began to take off in cutler by profession, died when earnest, and the first of his James was only eleven, and to help numerous annual collections of support his family, he turned pleasure-garden songs was professional, performing at concerts published in 1768: between then in Norwich, where there were two and around 1807 over 2,000 such music clubs, and teaching both at a songs of his appeared in print! In local boarding school and privately. 1774, he took over a similar position The only evidence that he ever at the more prestigious Vauxhall played the flute comes from the fact Gardens, where he remained for that he now 'advertised that he was almost fifty years. That year also prepared to teach the guitar, marked the publication in London harpsichord, spinet, violin and of his Six Solos for flute with cello or German flute, to copy or transpose harpsichord. Further publications of music, to compose for any flute music followed at more-or-less instrument and even to tune regular intervals over the years that keyboard instruments.'l With followed through to around 1811, whom and to what level he studied mirroring in their content Hoolt's the flute is not known, but it was an own gradual maturing as a extremely popular instrument at composer of a vast quantity of the time. There is no evidence that theatrical, vocal, orchestral, he ever played it in public, however, keyboard and other instrumental but it does at least explain why he chamber music. was later able to write such In addition to his work at idiomatic music for it. Vauxhall Gardens, Hook was also Hook moved to London one of London's most fashionable DC David R/lodes is Lecturer around 1763-4, having undoubtedly and therefore successful piano in Musicology nf outgrown provincial Norwich, and teachers, earning a reputed 9600 IYat..ford Imtitttte of Tahnologp, Ireland. he initially became organist at a tea- per annum from this source alone He is the ehrof the Piper Pttblications enjtiotr of the Complete Flrrte /lit~sic house there. Ile soon began to (especially during the winter when nnd SelecrPd Songs acquire a reputation as a composer the pleasure gardens were closed). and Cantatas of James Hook. chiefly of light music for amateur There was obviously no need for Flute Music of James Hook him to continue to teach the flute sound knowledge of current final two volumes of flute music. and other non-lreyboard musical forms, and the result is at Before discussing I-Ioolr's flute instruments and, apart from his least worlrmanlilre, at best inspired music in more detail, a list of the compositions for it, there is no and certainly worthy of a modern various works that he composed for further mention of the flute in revival. the instrument would be useful:' connection with his career. Hook's I-Ioolr essentially modelled his 1. Six Solos for flute with cello or later life was one of prestige as one style on that of the early-Classical harpsichord: C. & S. Thompson, of England's leading London [1774]. composers at a time 2. Six Sonatas for two when the greatest names flutes with cello or in London musical harpsichord: C. et S. circles were generally Thompson, London those of foreigners, [1776]. notably Naydn during the 3. Twelve Duettinos for 1790s. In 1820 I-Ioolr two flutes: S., A. & P. suddenly retired from Thompson, London Vauxhall Gardens, much [c.1785]. to everyone's apparent 4. Twelve Duettinos for surprise (his post was two flutes, Op.42: E. Lee, actually kept open for Dublin [c.1785]. him for an entire season 5. New Rondo for flute just in case he changed [unaccompanied]: Walker's his mind, despite the fact I-Iibernian Magazine, that he was now 74 years Dublin [ 17901. old), and he eventually 6. Six Trios for three died at Boulogne in 1827. flutes, Op.83: A. Bland Pr Mleller, London [c.1797]. As a composer 7. Six Trios for two flutes Hook was prolific: and patent voice [alto] constant demands must flute, Op.133: C. IVigley have been made on him London [c.1811]. by publishers and the Of the above, all except the general musical public two sets of Six Trios specify alike for the production a 'German flute' to of new music to delight distinguish this from the the ear and charm the recorder. English music for soul, if not the intellect, the latter was still often otherwise why would he J"""' """"' rather confusingly marked have composed so much of it within ga/nnt composers, of whom the 'flute', although it had presumably each genre? The financial gain leading light in London more-or- ceased by the 1790s, by which time could hardly have been worth all less from the time of Hoolr's arrival the recorder had become virtually that effort. As a result of this, he there was JC Bach (1735-1782). obsolete. Of some interest also frequently composed to tried-and- This easy-going, lyrical music with must be the alternative choice of tested formulas, which can be seen an Italianate warmth and elegance solo instruments given in all except % as much in his flute music as in his but without any great intellectual the music for single flute and the songs and other works. That should depth became very popular in post- Op.133 Trios, namely flutes or not detract from their intrinsic I-Iandelian England. It is violins, with a third choice in the value as musical compositions since structurally simple, with formally case of the Op.83 Trios, that of I-Ioolr's speedy composing certainly symmetrical outlines and a flute, violin and viola. The reason brought about artistic results of far fondness for tune-and- for this is obvious: with such a greater merit than what must have accompaniment rather than constant demand from potential been the often painstakingly slowly- contrapuntal textures and for four- purchasers for new music, composed music of many of his less bar phrases and feminine cadences. publishers then (as now) used every able contemporaries. Hook, like This was a style that appealed to possible ploy to widen sales to take Mozart, also possessed a natural gift both professional and amateur in other feasible combinations of for writing memorable, even catchy, musicians alike. One later domestically available instruments, melodies. Combine that with a influence on Hook (from the1790s) despite the fact that Hoolr's music general compositional style which is was that of Haydn - following the was clearly conceived for flute, not attractive yet undemanding (to latter's two visits to England - and violin. This would also explain the either performers or listeners) and a this is partially reflected in Hoolr's designation of cello or harpsichord - - -- .. -- Flute Music of ~am- -8--Pp. for the first two Rondo Gardens- do survive, publications, when ideally however,' and from these it both should be utilised in is clear that the musical normal basso continuo fashion, fare there normally as Ex.1 shows." Not every consisted of symphonies domestic household would and overtures, concertos have possessed both a cello (Hook invariably performed and a harpsichord (and very one of his own organ few would have had a concertos), songs and vocal fortepiano by this time), so ensemble pieces with the publishers presumably orchestral accompaniment. specified this unlikely There is no mention option simply so as not to whatsoever of any chamber dissuade any potential music being performed, the purchaser. venue really being It must be apparent unsuitable: although the from the above that Hook's orchestra played inside an flute music was primarily open-air rotunda it was intended not for nevertheless primarily professional but for amateur outdoors music-making. domestic usage, which The orchestra of about 24 explains the lack of any players was constituted concertos for the primarily of musicians from instrument. Only two of the the various London publications include theatres and was widely dedications, possibly a acclaimed as one of the result of direct commissions finest ensembles in England d - from the individuals Ex./ Solo no I in Dforfltttr roxri~~ao:Rondo AIIQI'o nssai. at the time." It naturally concerned: the Six Solos included two flutes, and the [l7741 were dedicated to surviving orchestrations of 'the Honourable William various songs and cantatas Tollimache', who was by Hoolr make good use of presumably a 'gentleman' these, often in a solo amateur flautist, and the Six context. The introduction Trios, Op.83, to 'The Right to The Lass of Richmond Hill is Hon. The Earl of Abingdon'. given over to them, for The latter was Willoughby VIOI* instance (Ex.2), but more noteworthy is The Nighfingnle Bertie (1740-1799), fourth .U0 Earl, an amateur flautist and 'C.. Cb.. Hp-nrl cantata. As with so many a minor composer in his other such vocal pieces over own right. Best known for the ages, the flute his patronage and friendship personifies the bird itself. of I-Iaydn during the 1790s, Er.2 The Lnss of Richrnord HiN (soII,~):irttrohcfion. In another such work (to a he was the dedicatee of flute different text) Hook utilises music by CF Abel, JC Bach two flutes in a and Haydn. His own comparatively conventional compositions include a set manner, but in his setting of of 'Twelve Country a text by a Mr. Rannie a Dances ...' for two flutes and single piccolo ('flauto bass (1787) and numerous piccoli obligato' [sic]) is songs, wherein may well lie given a highly soloistic role, the connection with Hook frequently interacting with (perhaps through Vauxhall the voice S EX.^).' Gardens) .4 It is of course There is no record probable that I-Iook's flute of any contemporary music would have been performances of Hook's flute performed at public concert music, professional or venues, notably the works otherwise. Several lists of Ex.3 The Ari&ingnle Irantml: Recifntiwe. with continuo music performed at Vauxhall accompaniment, but the The UKYsPremier Wind Instrument Specialist Free 40 page catalogue, secondhand and special offer lists (also available on our web site) + Specialist Advice - Competitive Prices - Finance - Rentals + Speedy deliveries (reeds sent 1st class post free!!) + Professional instrument set-up - Workshop and repair service 57 NIGHTINGALE ROAD, HITCHIN, HERTS. SG5 l RQ INTERNET: http://www.myatt.co.uk EMAIL: [email protected] TEL:01462 420057 FAX:01462 435464 THE SYMBOL OF QUALITY BRANNEN BROTHERS-Flutemakers, Inc. 58 Dragon Court, Woburn, Mass. 01801 617-935-9522 29 .- Flute Music of Jarnes HOO~ . .-..p -- l p- -. .- very nature of the writing for were invariably published the instrument in all of these in score form, which made sets of pieces does mark it them also amenable to out as music primarily performance on the intended for amateur use, keyboard (although both in the home and at the surprisingly not advertised many music clubs and as being suitable as such), societies that existed which is indeed the case throughout the land by this with Hook's Solos and time. The flute was in fact Duettinos. The 'classic' the most popular domestic Baroque trio sonata instrument in England apart combination of instruments from the harpsichord from was of course two violins, the middle of the eighteenth cello and harpsichord century onwards. The continuo, and Hook's majority of performers, both Sonatas for two flutes can professiona? and amateur, be viewed as a simple were men and included variant of this, with a such prominent figures in figured bass line that is society as the renowned absent from the Solos author and friend of Dr. (Ex.5). Altering musical Johnson, James Boswell tastes in England were (1740-1795). Music for two undoubtedly responsible for flutes had existed in various the changes in direction of forms in England from as Hook's output of flute early as the late-seventeenth music, as he bowed to century, and by the middle market trends. 'By the of the eighteenth century 1770s the flute solo was the duet sonata for two outdated'," which unaccompanied instruments undoubtedly explains why (with violins as an he only composed a single alternative) had become set of these (ignoring the extremely popular: 'up to brief New Rondo for about 1760 virtually all the unaccompanied flute, published duets are for which was originally flutes,"' although the genre published as a musical has been denigrated: 'with supplement in a magazine), its unvarying texture and following this with three confined pitch range, the sets of music for two flutes, unaccompanied duet sonata one with and two without is a medium of no great b continuo. Finally, possibly artistic potential. under the new influence of Nevertheless, occasional I-Iaydn, Hook turned his worthwhile things were hand to two sets of genuine achieved..."" This very point trios in an updating of the may also have occurred to old trio-sonata texture. Hook, since his two sets are ex.nrr;o ;I, cyor IIIT~P,/IIIIPS.0p.83 110.4: Ad@ ~~~~~p~~p;~~~~These particular works in a shorter two-movement require some further Duettino format (rather than the From around the middle of the discussion. Little, if normal three preferred by his eighteenth century, the solo sonata anything, has been written as to the contemporaries): interestingly, and trio sonata became increasingly popularity or otherwise of the trio of each of these publications consists popular in England for a time, in instruments without bass in of twelve works rather than the contrast to the situation in England around the turn of the usual six, as if Hook was determined continental Europe, where both nineteenth century, although they to give value for money! Although were in rapid decline. The former, are occasionally encountered on the first flute naturally tends to as in Hook's volume, generally the continent, from where Hook dominate the texture, the second appeared in print under the heading may partly have taken his model. flute i S never simply of 'Solos'." Whereas trio sonatas His direct inspiration was more accompanimental, as can be seen were normally printed in parts, solo likely to have been that of I-Iaydn, from Ex.4. sonatas and unaccompanied duets who composed four Trios (Hob. Flute Music of Jclmes Hook -E IV11-4) for two flutes and cello for Tenor Flute in C(F/n//to07 Ibce) C;b~/rtqv, instruments over the years, I-Ioolt his second visit to London in 1794.l.' iM/~sle/~mof Fine Arts, Boston did at the time compose his final set These worlts may well have revived of Six Trios, Op.133, to utilise it. a general interest in England at the The music must have been time in the trio now minus commissioned directly by the keyboard continuo and written in a instrument makers themselves to newer style with all three lines of encourage flautists to purchase at music being of relatively equal least one of the new instruments interest, rather than the lowest (the sixth Trio is craftily scored for instrument primarily supplying a one flute and two patent voice simple accompanying bass as it flutes), since it was published by does in the trio-sonata texture of Charles Wigley ('at his Musical Hoolt's Sonatas of 1776. Although Instrument Warehouse, 151 Haydn's worlts still include a bass Strand'). The title-page also bears instrument, these and other the inscription Three Trios [the six possible models may well have worlts were published in two inspired Hook to turn his hand volumes]for Two Concert FIzrtes andthe afresh to the trio combination Patent Voice Flute as an arcompanin~ent which 'is particularly well suited for Coniposed Expressly to Il~trodt/rethe Nm the co-operation of the flute, since Patent Flute James Hook. There is a its tone enhances the pastel surviving six-keyed flntrto di wore character of the medium.'" The dated 1811 at the Museum of Fine alternative scoring of flute, violin Arts in Boston, U.S.A.'", as and viola for the Op.83 Trios is not illustrated here. Hook's music all that far removed from Haydn's, fortunately suits the modern alto with the lowest instrument, be it flute perfectly, although his writing flute, violin or viola (although the for it is less melodic and more of a music never falls below d') quasi-bass than is the case with the providing a close-harmony line of third flute in his Op.83 Trios, as considerable melodic interest, Ex.7 shows. This is probably as although it naturally also acts as a much due to the different timbre of quasi-bass (Ex.6). Hoolt's second the instrument as to its novelty set of Trios, Op.133, did have an (Hook would have been unsure of extra-musical stimulus, however. the potential of the new instrument, In 1810 Malcolm MacGregor, a not to mention the abilities of musical instrument maker of Carey flautists adapting their technique to Street, London, obtained a patent it). for a new bass flute with a doubled- The standard domestic back head-joint that facilitated the transverse flute of I-Iook's day in fingers to reach the lower holes England remained the simple one- (earlier such instruments lacked keyed 'Classical' one whose lowest this, and consequently were note was d'. Instruments with more unwieldy due to their sheer keys were also available, with length)." Between 1811 and 1825 English models generally leading MacGregor worked in partnership the way over continental ones. The with Charles Wigley in the Strand most advanced of these was and later in Regent Street, and probably the six-lteyed flute by between them they produced a Gedney of London (1769)'" which number of alto and bass flutes based extended the compass down to on the principles outlined in this middle c' (with c#'), but Hook's flute patent. Of relevance here is that in music caters for the majority of 1811 they produced their so-called amateur players at the time, never 'patent voice flute' or flatrto di voce, descending lower than d'. Even in an alto flute pitched in A. This low-lying musical sequences, I-Ioolt incorporated a large hole in the side always adjusts the pitch to avoid near the c#" hole that was covered I middle c' or c#' in favour of e' or with a thin tissue-lilte membrane in was played, giving it a reedy timbre. some other suitable note. The the same manner as the Chinese l;- Although the f/a~rtodi oore ultimately favourite tonalities utilised by tztd flute: this vibrated failed to catch on, as have Classical composers to best suit independently when the instrument many other such experimental out-of-tune cross-fingered notes on Flute Music of James Hook the instrument were G and form (except for the D major (as in the two Gavotte, which is a rondo). Mozart concertos). Hook Rub l The performance similarly adopts these keys Flu- 2 practice of I-Iook's flute above all others, although C music requires a few and F major are also used, ,,,wo,e,,h comments. Typical of its as are D and E minor, and a time is the fact that more of handful of works are in A the actual interpretation of major (internal movements the music was left to the range from B flat major or G musicians performing it minor to E major). than we are generally used It is naturally to today. Dynamic markings impossible in an article of v are generally few and far this length to do full justice between (some movements formal "x.7 T"" in D/or mn flltfes and a1/0 lpafmf woirt)~/II~F, Op.13.1 ro.1: to I-Iook's All~grntn, odcrnlo lack them altogether) and procedures, but the often consist of a mere following should at least give a where shorter movements are handful of forte and piano flavour of these to the reader. That preferred by Hook, or else there is a indications, the former typically he was fully aware of mature full reprise of exposition material intended for a repeat of a rondo Classical-era structures is fully (with the usual adjustments of key refrain or a forceful unison passage evident from Hook's flute music, where requisite). Hook can (quite a feature of Hook's flute although he frequently harks back therefore be seen as composing music) and the latter for a gentle to the model of JC Bach for his these movements to an adaptable second subject or codetta melody. source of formal inspiration. The sonata-form 'formula'. Dynamic hairpins and other first movement is always in sonata The slow movements are nuances of shading are left entirely form with two repeated sections of generally either in sonata form up to the performers, and modern music (not just an exposition (with, once again, two repeated musicians should obviously repeat), although JC Bach often has sections of music, but more concise immerse themselves in the no repeats whatsoever. There is a overall) or else a rondo with two theoretical writings (such as that of distinct second subject melody that episodes (ABACA), the second of Quantz) of this period if they are to is well-contrasted with the opening these in a minor key, that has been perform this music with any degree first subject thematic material of referred to as the 'Vauxhall rondo."\f stylistic authenticity. The same the exposition, and the There are also three 'Siciliano' is true for articulation and development section typically movements (Solo no.3 and Trios ornamentation markings, which are opens with an exact restatement in Op.83 nos.2 and 3) with rhythms in on occasion extremely detailed but the dominant key of the first 6/8 time in a lyrical style somewhat elsewhere totally lacking. Once subject. New material follows this reminiscent of Mozart, whilst the again, this did not mean that Hook rather than a discussion of Trio Op.83 No.6 is unique in being a intended certain passages of music previously-heard themes as is canon. Rondo structures dominate to be performed exactly as printed, normal in late-eighteenth century the finales, sometimes with a full Da but that he simply left such matters music: the latter procedure was Capo of the opening ABA sections of up to the discretion of the considered too intellectual for the music following the substantial performers. These aspects should gnlnnt style, and so Hook can hardly second (usually minor-key) together result in a far greater be blamed for this, with sequences episode. The second, third and spontaneity and individuality of and circle-of-fifths progressions fourth Solos have minuets in rondo performance today than could ever typical of the era tending to form, a finale type much loved by be the case were Hook's music to be dominate the remainder of this JC Bach, whilst other finales are minutely detailed with regard to section of music. Only in the Trios frequently in 6/8 time with jig such interpretative markings. Op.133 may this section commence rhythms, so very typical of the day In conclusion, it should be with new thematic material rather (those of the Duettinos Op.42 No.5 obvious by now that the flute music than a restatement of the first and No.6 of the other set are of James Hook is far from cerebral subject, perhaps as a result of the actually labelled 'Jig'). Only in the stuff: it is uncomplicated, aimed intluence of Haydn, but even these two-movement Duettinos is there primarily at enjoyment, not avoid the motivic discussion found any greater variety in the finales: intellectual stimulation. As such, it in I-Iaydn's 'London' symphonies, that of Op.42 No.10 is a 'March', remains what it was originally for example. The recapitulation whilst No.4 of the other set has a intended to be, perfect material for either commences with the second 'Gavotte', and there are several amateur domestic music-making, subject (a favoured procedure with minuets (without trio), all of these both at home and in a teaching J.C. Bach), especially in the case of consisting of two repeated sections environment. It is ideal the Duettinos and other works of music invariably in simple binary performance and sight-reading - I Flute Music of James Hook 1 music, and alternative instruments can easily be substituted should the requisite number of flutes be unavailable. There will be little to frustrate the flautist here: some of the slow movements are extremely simple technically if perhaps requiring a little more in the way of musicianship, whilst the fast movements do demand greater ability. As for public performances, the Solos (single flute) and Sonatas (two flutes) make ideal concert material, preferably with full continuo (cello and harpsichord), although a piano accompaniment is naturally valid when using modern flutes. As a counterbalance to the tantalisingly brief musical examples given during the course of this article, here to conclude is the complete 'New Rondo' for unaccompanied flute that Hooli wrote for inclusion in 'Walker's Hibernian Magazine' in 1790 (Ex.S)."' Hopefully it will whet the Fiae reader's appetite for more! W References and footnotes 1976), page 405 of which discusses The F/~te.(London, 1890, revised 1928), Haydn's second flute trio and its pages 275-277; and W. Waterhouse, The 1. Ed. S. Sadie, The Ntw Grove Dictionat-g of dedication to Lord Abingdon. Ntw Loripi/lIndex (London, 1993), pages Mt~sic arid Mirsiciatrs (London, 1980): 5. Charles Cudworth, The Ihuxhall 'Lisfs': 248 Pc 429. The complete patent article on I-look by Charles Cudworth. The Galpin Society Journal (1967), (no.3349 of 1810) may be examined at 2. The suggested dates of publication are pages 24- 42. the Patent Office, Science Reference and given in The Ntw Grove article on Hook, 6. Ibid., page 27. The orchestra performed Information Service, 25 Southampton except for that of the Six Trios, Op.133: with little change (if any) of personnel Buildings, London, WC2. Tht Arm Grove suggests c.1810 for these, during each four-month summer season, 16. Instrument no.1857. This once formed but Wigley's busiliess, as given on their resulting in a highly disciplined part of the Canon Francis W. Galpin title-page, was not established until performing unit. collection as described in N. Bessaraboff, 1811. None of Hook's original 7. Both settings of The Ni~htingale are Anriertt European ilftrsical lnstrurnents manuscripts is known to be extant: they included in Volume 3 and the orchestral (Boston, 1941), page 59. The instrument were presumably disposed of following version of The Lms of Richmond Hi# in is complete except for the membrane, each publication. He also composed a Volume 4 of a series of Nook songs and which has obviously disintegrated over large quantity of accompanied keyboard cantatas published by Piper Publications. the course of time. It is actually pitched sonatas, generally with a flute or violin 8. Rather surprisingly perhaps, the in A flat (as described by various boolts more-or-less doubling the right hand of harpsichord was considered a more listed above), but that is because the harpsichord or fortepiano, but these suitable instrument for females! eighteenth-century pitch levels were have been disregarded for the purposes 9. The Blackwell History of Music in generally a semitone lower than those of both of the Piper edition and this article, Britain, Vo1.4: Ed. 11. D. Johnstone & R. today: Hook specifies an instrument in since the flute is certainly not treated as Fiske, The Eighteenth Centtryy (Oxford, A, although the music is actually notated a solo instrument in its own right here, 1990), page 331. in G (which suits the modern alto flute), nor is the writing for it idiomatic (it is 10. Ibid., page 175. in accordance with old practice. Thanlts keyboard music modified for the flute or 11. Ibid., page 173. are due to The Museum of Fine Arts, violin). 12. Ibid., page 326. Boston, U.S.A., for permission to 3. IIook may have conceived the Six Solos 13. Of more tantalising interest is the reproduce the flnt~to di voce photograph without having specific supporting Divertimento (Trio) in F, Hob. IV:Fl, for here. harmonies in mind, since the individual three flutes of unknown date attributed 17. Illustrated in Plate XXVI in Anthony part movement of the flute and cello to Haydn but probably not by him (listed Baines, Woodwind Iristruments and their sometimes makes his intention unclear in The Ntw Grow worklist of Haydn's History (London, 1957; 3rd edition, 1967; (and there is no figured base, unlike in music). Unfortunately this music is not Corrected Reprint, 1977) and also as the Six Sonatas for two flutes). It is even available for study. Fig.29 in John Solum, The Early Flute possible that he actually composed them 14. The New Oxford History of Music, (Oxford, 1992): Solum's discussion of simply for flute and cello and that the Vol.VII: Ed. E. Wellesz & F. Sternfeld, The English 'Classical' flute makers is harpsichord option was added later by Age of Enlightenment 1745-1790, (London, particularly fine (pages 54-62). his publisher. 1973), page 549. 18. The Blacltwell History of Music in 4. The Ntw Grove, ibid.: article on Abingdon 15. This instrument is described in various Britain, Vol. 4: ibid., page 343. by Simon Towneley. Also 1I.C. Robbins books, including I-I. Macaulay Fitzgibbon, 19. Thanks are due to Mrs Pat Spence of Landon, Haydn - Chronicleand IVorks: lio1.3 - The SLOV of the fit^ (London, 1914), Piper Publications for permission to Haydn in Endand, 1791-1795 (London, pages 87-90; R.S. Rockstro, A Treatise on... reproduce the musical examples. verv quicldy. Already some Barenreiter Editio of the addresses have Supraphon Praha 1 Book changed. Email addresses of This work is quite an flute-related businesses have exciting addition to the flute Nancy Toff: The FL1dtp Book: A been left out, which I think repertoire. After a fast, Coin /ere Gt~id~for Stt~d~ntsnttd is unfortunate. Non- rhythmic orchestral ~erA-men.Second edition. American manufacturers are introduction, the flute enters Oxford University Press listed by the address of their with a cadenza, which $19.95 American distributors, which begins slowly and quietly, is not much use for those of gradually becoming faster us outside the USA. The list and more impassioned. The of flute clubs and societies is main body of the movement nothing if not alternates between passages comprehensive, but again, it of great rhythmic energy and is already out of date. These long legato sweeps, loosely trivial complaints aside, the based around a D minor list of names and addresses is tonality. invaluable. The second movement The bibliographv is begins and ends very slowly excellent and the chapter in the key of A minor, with notes are most useful. The the first 60 bars and the last repertoire list, while not as 20 bars moving over a tonic con~prehensiveas Frans pedal. The orchestral Vester's Repertoire opening is marked fortissimo Catnfog~~e(which fills a and then there is a sudden volume not much smaller drop to innissitno at the flute than this book), is entry. 4'hese huge dynamic nevertheless as complete as changes characterise the most of us will ever need. movement. The middle The re ertoire is sensibly faster section has a dividefinto four sections: sustained flute melody (an Baro ue, Classic (which I excellent example of the use woulx much prefer to call of a tone-row) accompanied I\':uncy Toffs I;/~tfrfjoo.4 is Classical), Romantic and by harp runs. an excellent work of Modern. When I say that The last movement, reference that should be on this list is as complete as while being written in every flute laver's shelf. most of us will ever need, I compound duple time, has This secon8edition, eleven mean just that: every piece many bars rouped as simple years after the first, is as of flute music I have ever triple and tE ese syncopated complete a k~ideto the flute played or heard is listed, patterns give the music as one couli wish for. There along with many that I have tremendous rhythmic is an excellent history of the not even heard of. Everv bounce and show Bartok's flute (a subject on which available edition is listed, infl~~enceon the composer. Nancv Toff is especially including the name of the The main theme of this qualified to write) as well as editor. This list is very rondo nods towards D major sections on every aspect of impressive indeed, and alone and it ends, as the work the instrument. Choosing is worth the price of the started, in D minor, but and caring for a flute is dealt book. much of the movement with sensibly and succinctly. This is without doubt the moves in and out of various Performance is covered, most valuable work on the tonalities and there are including breathing, posture, flute presently available. I several dodecaphonic tone, technique and the craft cannot recommend it too episodes. The last of playing in public. The strongly. Robert Bigio movement is the most flute repertoire from the difficult of the three, but baroque to the modern era is overall this concerto is described in some detail, technically on a par with the with short notices of many Nielsen concerto and is composers. There is a certainly less problen~atic repertoire catalogue of Solo flute than the Ibert. It is worth impressive size and an adding that the piano JS Bach Concerto iii A minor reduction of the orchestral excellent bibliography. ($th piano reduction) There are a pendices part, while still being quite i tltord 1010 $14.90 tlifficult, is more manageable with names anf addresses of This Bach violinlpiano flute makers and repairers, than many other orchestral concerto works well on the reductions. Brenda Dykes sources for flute music ancl flute, especially were it books, periodicals and flute performed as chamber music Gary Schoclier So/os~~ite clubs and societies. Nancy with sin le strings. The solo Toff is famously meticulous. Theodore Presser part incF udes the tutti 114-40845 $6.65 What errors there are in this passages and is clearly boolc are trivial and few in This work (five printed on good quality movements, approx. eight number, and the author has paper. It is also a triple fold been careful not to devalue min) hangs together well as so that the last movement a piece. The opening her work with prejudices and can be played without a page strong opinions. This hook movement sounds like a turn, a thou htful note on welcomin gesture with long is so carefully researched as the part of t ~e publishers. to be very difficult to fault, f: phrases a 8uding to a There is a sensitive Baroque style. In contrast which makes it the ideal ornamentation of the Adn,oio starting point for students the second suddenly pelts middle movement, and my the listener with staccato in looking into any area of the only reservation is that the flute. Virtually every fact in 3/8 time. With quick unornamented original is not modulation sequences in the the book is backed up by also printed. Hantmnh Lnng references. third movement attempts at Of course, some of the cheekiness are fairly Jindrich Feld Coircerto,for lute successf~~land should information in a book like niid stririg orchestra, piono, 1arp this will become out of date / charm. A brooding yet nt~dpercr/ssioii.(1954) reflective fourth movement Flutemakers Guild Ltd Makers of the FOR PROFESSIONAL MUSICIANS THERE IS finest handmade ALWAYS HELP AT HAND FROM THE ~~USICIANS 1 flutes BENEVOLENTFUND. 3. Modern scale wood 3 flutes a speciality HELPAND ADVICE ON FINANCIAL PROBLEMS. HELPTHAT'S GIVEN IN ABSOLUTE CONFIDENCE. IF YOU HAVE A PROBLEM, OR KNOW OF ANY =b 9 PROFESSIONAL MUSICIANS WHO HAVE, CALL US + ON h. ljtt 0171-636 4481. 10, Shacklewell Road London NI6 7TA Tel: 0171-254 7175 0171-254 6362 HELP! Write or phone for details (DO YOU NEED SOMEBODY?) The Flute Player: The Flute Course: THE JONATHAN SNOWDEN FLUTE SCHOOL ATWORTH WILTSHIRE AUGUST 2nd - 8th 1997 CANYOU AFFORD TO MISS IT? For information please contact: Jonathan Snowden Flute School MUSICIANSBENEVCII.ENT FUND 23 Egerton Gardens ROOM PI LondonWI3 8HG TelJFax: 01 81-998 7788 16 OGLESTREET, LONDON WIP 8JB REGISTEREDCHARII'Y No. 228089 En Ensy IIilnes arr. Colin Faur6 Pibces Cbltbres Vols. I & makes its entrance Cowles. Fentone $5.95 11. Leduc $13.30 & E10.70 unaccompanied at the end of A welcome addition to the second movement where the editions of Faur6 already it startles by its incongruity. Patsy McNally Play Opera, available, these two volumes The style in general is Act I. Perfect Notes, contain much of the well rhythmically and Northampton $5.50 known solo repertoire harmonically adventurous, If the introduction hadn't (Fantaisie, Sicilier~ne,Bercerise while making no quoted from Boehm's book Op.16 and also one less unreasonable demands on The F111teand Flute Playin (all publis I ed work: Perrelope - Les either player. By the use, in flute players should reai it) I Jor~e14s~sde Fllite All are the outer movements, of should have done so. photographs of original constantly shiftin tonal Boehm writes at some length editions so have that centres and lneloc4 ic false on the use of vocal material authentic French look with relations a sense of key is in learnin to play the flute the added bonus of thicker avoided. I sometimes wish whereby ta e natural covers and, more that the severity of this propensity of the voice to importantly, cheaper prices. could be relieved by settling, provide a sense of phrasing A little research revealed however briefly, on a tonal and legato line is adopted that they were cheaper than centre, to add a little almost unconsciously. buying each of the ieces emotional warmth. The Teachers have always separately from L~C~LIC- are writinq, however, is well encouraged learners to do they trying to scupper craftec and consistently this and opera arias have a themselves or have they shows harmonic awareness wider range of emotions Another nice selection realised how dear their and invention. Richad Stag than folk tunes and songs from Fentone offering editions are in comparison to from shows. arrangements of mainly others? - but dearer than the I(amill6 Lendvay Act 1', the first in a classical tunes, some of Trevor Wve Alhm. The Thirdplcying. iUdiord 11-1022 proposed series, takes eight which are more familiar than Bercer~sesOp. 16 and Op.56 $8.00 tenor arias from operas by others. 'Easy' approximates No.1 (Dol(y) are in different As an introduction to Donizetti, Verdi, Bizet and to Grade 111 standard, with and, I suspect, original keys contemporary music this Puccini. Mostly in the easy iano accompaniments. to the \!rye book, and the three minute iece is user- original keys these could be A weR presented edition inclusion of the relatively friendly. ~rafeVI+ students played along with a re resenting reasonable more substantial works could hegin to learn about recording of the opera or vayue for money (most tunes (Fnntais,, Stcilie~~ne)- though changing rhythmic patterns, with a piano accom animent are a full pa e) but which of course each is in a pulse and rubato. The piece from your own, or tRe struggles to fl eat its separate volume! - is good to is not melodic, but not library's, scores. (The two competitors. Jont~naTodd see. A nicelv presented over1 atonal; the phrases which have been transposed edition which is just a touch are p~aintivewith the rubato have moved from A flat and iU~medEssyad Les ear~x on the expensive side of sections depicting a kind of l? minor to A and F sharp meurent en dormant for being very good value. lament and there is ample minor, so an easy piano amplified alto flute and Haa~tahLavg variety in dynamics. In a transposition). Each aria is piano. Durand E10.60 short time the tempo printed with its original Conceived in a single, IValter Gieselung Sonattne chan es four times (slow fast words and a translation so lengthy movement, this work (1935). Schott $8.00 slow Past). The ideas are that one knows what is being uses no bar-lines and makes \Valter Gieselring very good with simple ex~ressed.Com~lete with severe technical demands on 1895-1956) was one of my counterpoint between the g~dss:ir~of musida1 terms, executants and listeners favourite pianists. llis flute and piano in the fast ;ittractivelv ixesentcd and (why amplify an alto flute?). recordings of Debussy and sections and the overall ring bound this could be a Instructions are supplied, but Ravel have, for me and many structure works. However, very enjo able addition to unfortunately there are no others, never been equalled, the composer gives optional your teacKingAearning instructions for the and his recordin of the notes, slurs ancl rests in material. Dennis Clnrke instructions. Symbols are Mozart and Beet k oven places that aren't necessary supplied for 'un quart de ton quintets with four wind and without musical reason. lus haut' and 'un peu lus players from the Perhaps he couldn't decide Kaut~. Given that the fPute is Pl~ilharmoniawas such a what worked better and it's and intrinsically out of tune favourite of mine when I was sometimes good to have instrument this makes about a teenager that I wore out options, but is confusing 1 Flute and as much sense as serving raw the disc. (That recording, when the ossias and onion at a wine tasting. If a incidentally, has just been bracketed notes are written quarter tone above A440 is re-issued.) I knew nothing of so close to the originals. In 1 piano fi452, how manv cvcles is Gieseking's compositions the piano part the flute line The Essential F111te Vol~~mel. sli htly sharp'?'442? 445? before this worlr was sent to is omitted in bars 35-40 and Fentone 86.95 445' 1 think we should be me, but then not even 58-60, a sort of DIY flute If you know any Grade told. A svmbol is given to Grove's Dictionarv mentions part. Presumably a printing IV flautists whose get u indicate 'Lvec le souffle' and them. This ~o~matheis a error, but a shame as the and go7has 'got up and Eft' is used hundreds of times. delight, and it shows just piece is quite convincing and then send them awa for a Unfortunately we are not told what a wonderful musician not overly difficult. Lisn helping of ~ssenfialdnte if this refers to the attack or Gieselting was. Gieselting Nelsen Vol. l. Six popular the tone colour, whether the clearly understood the flute arrangements guaranteed to tongue should be used, as well as he did the piano. Thierry Masson Mes Pt-emien revive flagging fingers and to whether staccato or not, nor This worlr is not difficult (it Pas. Henry Lemoine 26 inject some fun into the at what s eed such notes should be manageable by 404HL E9.80 flute. From Mozart (Rondo should foEow each other. someone of Grade VIII Intended as a beginner's alla Turca) to Joplin Multiphonics are introduced, standard), and it is such a introduction to ensemble (Enterminer) these are not but sup lied with fin erings pleasure to play and to listen playing this booli is very new arrangements, but they which &n't work an8 to that it should become a simple in both flute anci do make up an attractive containing the most unlikely standard part of the piano parts. The range is package of good quality. clusters. Even the fingerings repertoire. Robert Bigio quite small starting with 'ust Kids will love it, especially wen for them are unclear. four notes from low G and those not wanting to take gomehody out there must Kjell Morli Karlsen Sonatina extending only up to C exams, and those lookin for have the patience to tackle on a folk-tunefrom Et~re,Op.7 above the stave. It would be the ideal concert piece, koolt this sort of thing, but mine No.4. Norsli Musiliverlag useful for beginners or for no further. Faint-hearted died in its sleep. Richard $12.95 those who need to pianists be warned! Jonrr~ra Sfag The Etne of the title is a concentrate on tone Todd fishing port in southern production and works well Norway. The tune itself alongside one of the tutor boolrs. The flute part is also tender age. The piano part is beautiful melod is Mary Stolper, who is the marlred for piccolo as an easy to pla and contains introduced by tge flute editor of this edition. alternative, although those chord sym~ols,making this which later oscillates Written in the who progress on to the collection suitable for between flute and piano (or Israelihlediterranean style iccolo will probably already ensemble playing at morning harp). Althou h technically employed by many Israeli Plave boolts of a similar assembly or school concerts. straightforwarcf (Grade 111), composers at the time of its standard. An En lish Rather old-fashioned. young players would need a composition' (composer's translation woul dfi I,e good for Lnl~renceJoyce clear sense of phrasing and own description), it displays the UK marlret and it is a good breath control to do a gift for rambling melody little pricey for 11 short Mozart Sonata in Bb KIT454 the piece 'ustice. American- and a rudimentary grasp of pieces, despite the excellent Barenreiter BA 5368 88.95 born ~enfileldcould be counterpoint on a par with presentation. Jackie Cox The preface to this edition accused of being somewhat many of the compositions tells us that even though repetitive and ot reinventing submitted by GCSE Jurgen Moser Lnndscn e several of Mozart's sonatas for the wheel, but he has shown candidates up ancl down this Dreiltt~s,Easy Pop anbFollc piano and violin were here that simple can be country. It contains no hint Pieces. Volume I Scl~ottED transcribed for flute in his beautiful and that new can of future greatness such as 8492 812.00 lifetime, this one was not, and come from old moulds. It that exhibited quite literally it is a welcome addition to would be nice to see this on by the ten-vear old l#,rk:~,> >"l,,,,.r the repertoire. There is the some exam lists in the ~omanian-bornpainter LANDSCAPE DREAMS usual quality of paper and future, although not at that Alexanclra Nechita, who is print which malres using price! Joanna rodd currently taking Los Angeles Flute & Piano Barenreiter parts such a and the American art world pleasure, and the piano score Quante Three Somfm. by storm. Sonafit~ais very contains the violin line, Breitlionf 8605 much an immature worlr: which is verv good for Of these sonatas in E,G too dull to be of any reference. On comparing the and A minors the latter two inspiration to young flute and violin lines I found have never been ublished students and too that the tlute line had been and the first has Eeen insubstantial for put up the octave in the bare published in 1934 (but accomplished players. minimum of places, almost contained textual errors). Lnlrrence Joyce exclusively at times when the Each sonata is in three music went out of range. 1 movements and are all good Gary Schocler In the Air and would suggest that this has to play. The editing has Sicilienne. Theodore Presser been done intentionally to been carried out respectfully 114-40827, 114-40846 stay as close to the Urtext as and carefully with bar $16.15, 85.70 possible. However, the stave numbering and good turns. In the purely general is an area where the violin is The editor says of the sense these pieces could strong, and the flute relatively realisation that '(it) is not Fome under the heading The word 'Pop' in the wealr. It seems to me that binding; we wish to Easy listening American'. I sub-title is inaccurate: not when playing violin music on express1 state that it is don't mean this in a one of these nineteen pieces the flute it is no good trying intendecfto stimulate the derogatory way. Listeners of could so be described, It to bp a violin, the flute simply erformer's own solutions' Classic FM would probably talres more than a few is not. Better to use the i'..7ut ~tw~ll do as it stands. enjoy adding any of them to inappropriate syncopations strengths of one's instrument Attractively presented the Top 40 charts. or chords of the seventh, to brin out to best advantage edition. Dennis Clarke Siciliet~ne(approx. two even in the world of MozartS, 5 melodies. I a plaud min.) is melodic and Eurovision. Landsrope Drenms Biirenreiterb move to grinc Sl~ulamitRan Sonatina. reflective with a dolefully are mostly all of an olde this sonata to the attention of Theodore Presser Co. sombre atmosphere. worlcle follrsy nature with flute world, but would 114-40806 98.55 Although it is similar in kindergarten titles such as perhaps suggest certain Shulamit Ran, winner of style to FaurC's work of the Bvet~it~gby the Firesid? and passa es are plaved higher, or the 1991 Pulitzer Prize in same name syncopated Over Hill.nnd Dale. One that tf ose who feel capable composition, was born in rhvthnls suggest subtle jazz sus ects that Herr Moser purchase the violin edition Israel and went to the influences. hatfa happy childhood: if and make their own United States to study at the In the Air (approx. 12 not, he's inventing one now. decisions. Hantrah Law age of fourteen. This duo min.) is successfully These are all easy pieces sonata in three movements constructed with the of around Grade I11 standard Craig A. Pen field ibfilodie sans was written in Tel Aviv in movements also varying in and would be suitable for ~arozs.Alplionse Leduc 1961 when the composer mood and pulse. A ain Mr learners under the age of 88.10 was aged twelve. She was at Schoclrer seems to f avour ten, but some brl hter In true French Romantic first hesitant to include this reflective moments with children may fin 2 their tradition, this new piece is early effort in her catalogue, Incense floating away into sentimental soppyness a lyrical and tender and is put was influenced by a nothing. Ur-rcertain is just little cloying even at that impressionistic in idiom. A persuasive performance' by that: we're not sure. Into The computer package for printing music: New titles in the free Chamber Music Catalogue Five Porlrails for flute & piano by Jill Segger (1950) Noteworthy 2 Overlure 10 Figaro - Mozart arranged for 3 flulcs for IBM compatibles - DOS and Windows by Henry Lea (19th Cent) and dedicated to Georgc Rudall QhyUoscopus publication^ "Working with Noteworthy is a calm, user-friendly experience." [Classics l Guitar] Rachel Malloch Braeburn Software or ring for free 92, Aldcliffc Road, Hawthorn Bank information pack Scott's Place E45 Lancaster, LA 1 5BE M Tel: (01524) 67498 + answerphon SELKIRK TD7 4DP - Tcf: 01 750-121854 m Jn~~unryeffectively carries the the simpler Hummel Sonatas to be playing against a listener away. There are in that the piano introduces similarlv pitched thick piano some lovely moments in this many of the melodies. This part. he first two Stiich get movement. The most sonata would be good for a awav with this but the third challenging is Blizznrd! which student who was keen to really does not; the dramatic may be more successful if play a whole piece, rather ascending opening solo line - the flutist can circular than simply a single beginning on middle C! - breathe whilst playing movement, and the relative would soon be drowned by running scales. When I simplicitv of the piano part the piano in a performance playecl this throu h with a may enable it to I>e of any energy. A pianist we found %lizznr! performed by two students. performance of this worli in poorly organised with regard Hnrtnuh Lartg which the pianist had to to repeats, da capos and dal constantly play down would segnos. Rather than turning Schubert Sonata in i\ minor not worli n~usically.With so many pages back and 'Arpegioae' D821 BIrenreiter some judicious shifting of forth the copyist could just BA 5681 octaves I feel this could be write out an extra page and This new Arpegione convincing with flute, and it save s some aggro! As it edition is a great leasure in is in the spirit of the stands pages need to be what it does not So. It is an publishing practices of photocopied or memorised Urtext arrangement in that it Schumann's day that works because of page turns. does not interfere with are performed with different How thoughtful of Milre Musically strai ht forward, anything except malring the solo instruments. to send us these glossy snap- players of Gracef V11 and up notes playable on the flute. Hannuh Long shots of exotic climes - even could handle the challenges. It therefore leaves, for if he did get Boosey & h4r Schocker seems to be example, all the articulation A Gilbert &? SSrIivnn Albr/m Hawkes to post them for him looliing for a happy medium intact, which in turn leaves arr. Trevor \+'ye. Emerson when he'd already got home. between soft classical ancl decision malring to the $9.95 In fact he wrote them at his light jazz, perhaps player. This is a worlr in Fourteen songs which, hacienda in sun-drenched reminiscent of Claude Bolling which the end of many given the composer, can't fail Clapham, drawing on his but not as adventurous. I phrases glides on the same to please. About Grade I11 happy holiday memories. could imagine any of these note but with a change of or IV standard and the flute Me even invited some of his pieces being presented at tea resonance or tone quality to part lies largely in the distinguished musical friends concerts, or as a gentler the next, and it is agonizing second octave and lower top around to re-create the interlude between Maxwell clecicling where to breathe! octave which would atmosphere and to join in Davies and Messiaen in a A pleasurable effort, encourage a fluent sound the fun. We can all join in contemporary recital. however. \\'hat is very and a sense of phrasing from the arty we are all invited The copies are clear and interesting in this edition is the emerging flute player to pray along in the lraraolie easy to read. The covers that the solo line in the and would be enjoyed. karnival. Come as you are display a photo of the piano score is the Arp~gione Pieces 12 and 13 are for two and Please Bring A Flute. composer which, as a first part, which in places is flutes and piano (one being \Ve can Mariachi in impression, made me wonder different to the cello the Cnc/ruchn from The Mexico, Bossa in Brazil, and whether the music was arrangement one is most Gormdoliers) and the last is for Cha Cha in Cuba. (Who is published because Mr familiar with. Combined three flutes and piano. that dusliy senorita with the Schoclrer may appeal to flute with Barenreiter's customary Der1tlni.s Clnrke cute eml>ouchure?) We can groupies. Happily the music quality of presentation this enjov the bracing charms of warranted some edition receives a high the Scottish ji or reel in consideration. Lisn Ne1se11 recommendation. the Guinness henhaze of Hnti~ahLnnc an Irish pub. i\ll in the Johann Samuel Schroeter comfort of our own front Sonntn Op.415 it1 G. Doblinger Schun~annfi~itasiestiicke room. So listen to the DM953 $11.00 013.73 Ndrord A1020 Flute & genuine ethnic bands 1 This short two movement 216.00 erform and then take the sonata by the German Nice clear rint on good CDIcasse tte poor yourself. Let your hair Anglophile Schroeter is a paper makes teis down. What does it matter simple vet charming worlr. arrangement of the cello if you play a few wrong Schroeier (1752 - 88) fitrtnsiestiicke appealing ancl Mike Mower Mike Mou~erS notes. It never bothers Sean emigrated to London in 1772 on the whole I tee1 they iM1~sictr.1Postcards. 21 ieces in O'Doddery. (He's here too!) where he raduallv became could work well. My only s~ylesjro~nnroutid tk world. Soon you 11 be malring up recognisecf. as the leading reservation is the register Complete with little trills and twiddles of pianist and, on the death of the flute is playin in. Much accompa~irnentCD. Boosey your own. Mile (Yes, you JC Bach, was made music of the work is in t7 ~e bottom & I-lawltes $8.99 Keyboard can call him Milre now.) master to Queen Ch.dr 1otte. and middle of the flute, not accompanhnent available even encourages you. Me's Stylistically it is similar to the most penetrating register separately. f 6.99 that kind of guy. And when CHAMBER MUSIC WEEKEND for WOODWIND and HORNS 18 - 20 July Sarah Francis, oboe, professor at the Royal College of Music; Graham Mayger, flute, proiessor at the Royal College oi Music; Kenneth Mobbs, piano; special interests lie in keyboard performance and history; Roberta Amos, horn, tutor for the former County oiAvon; Robert Codd, principal bass man with the National Orchestra oi Wales. Grade V1 and above. f OR FLUTES GALORE ENCORE 24-26 October INSTANT COVER UP TO 15.000 - VINTAGE VALUE Christopher Hyde-Smith, lane Dodd, REPWCEMENT VALUE COVER AS STANDARD THE WEEKEND will consist oi flute choir, chamber ensemble, a masterclass and I PUBLICLIABfLITY COVER - FROM E 10FOR f: l MILLION I a tutors'concert. Standard Grade IV and above. Musical Director: maureen Lehane Wishart Jackdaws, Great Elm, Frome, Somerset BA1 l 3NY ~el:01 373 81 2 383 ~ax:01 373 81 2 083 the balalaikas are grandchildren. Laurence Joyce an ensemble, which is when about AB Grade 111 standard, in the corner, the the will be sight reading 'for and this ap lies to the piano are back in their Knraoke C1ussic.r Second rear. Students I have tried as well as t& flute parts the accordion has been Collection am. & ed. Sian & both volumes with definitely making these a very good squeezed dry, you will think Nicholas Vallis-Davies found them enjoyable and I introduction to ensernlde to yourself as you wipe the ICaraolie Classics $16.99 recommend them for playing for a rroup of perspiration from vour head- (CD) 613.99 (Cassette) motivating practise in the youngsters. he tunes are all joint, 'That was some party. holiday periods. Adult well-known - Peer Cgat \Ve must do this more often. learners will find this latest includes [Mornln In the Hall Let's do it again tomorrow. volume the more satisfactory ojthe iMotmtoin fig, Masta la vista!' Lntdre?~ceJoyce of the two. A suggestion to Homecoming and Solv~ig'.~Sotlg Mr h Mrs Vallis-Davies - and the Cnnlivnl selection Milre Mower Fittgerbz~sten! some duet books in this includes The Lion :r Roynl Five virtuoso concert series (possibly with an cVlnrch, Hejrs and Cockerels, ~niniaturesfor solo flute with alternative lower part in B 7brtoises, The Elephant and The accom anying CD featuring a flat) could be very popular. Swan. Very good school Jazz r(yth.1 section. Itchy I;bl?leth Bell concert material. I;e,lti~r/lBell Fingers Publications. $13.95 This is the second edition Flute Drlets Old nnd NPZJed. of these very difficult studies - Simon Hunt. Hunt Edition originally written as HE42 comuetition ~iecesfor the 199j ~uro~e'anFlute Festival ,\l:in!. readers \\.ill Ilc WOflutes in Frankfurt. On the CD Mike familiar with the original Mower demonstrates each Knrnok~Clnssics volume. The piece twice; first on solo flute most significant difference (with and and then with the addition of between the first and second an excellent jazz rhythm collections is that whereas without section consisting of John the former is a general Parricelli on guitar, Laurence assortment of tunes the Cottle on bass guitar, Milre latter is 'themed' in that all piano) Bradley on drums and Mike the music included is from Mower (again) on Iteyboards. the Baroque period. This Quite a band. There are also makes sense for a collection .IS Bach UTir Eilpll from fast and slow 'Playalong' with recorded Cantata No.78 (arr.Danie1 traclts for each piece, much accompaniments as music in Dorff) Theotlore Presser like the 'Music Minus One' this style does not require Con~pany$9.95 records. Not that we ever much rubato or tempo Lasting about six minutes, doubted for one moment that variation and Baroque this is a rather mundane Mr Mower could really instruments such as organ transcription for two flutes of perform these stinkers. It's and harpsichord lend a duet aria ori inallv for just nice to know that they themselves well to electronic soprano ancl ago. The klute are humanly possible. im ersonations. The parts are well within the This is a nicely presented In the flute part, the paper cofection has music by capabilities of players of AB and clearly written album of is whiter and the printing Handel (including three Grade V standard'and the approximately Grade 111 - V clearer: The spacing of the movements from the straightforward piano part is standard. Mostly they are notes has been evened out, Firezelorks ~Mlsic),Corelli, an unimaginative realisation old cluets of the eighteenth page-turns have been made Vivaldi, Purcell and JS Bach of the original continuo. This century and the only ossible, and some notes have (including the complete G could be usefill teaching modern one seems to jar a geen changecl enharmonically minor Sonata - very useful material if it was not so little as it seems too where this makes for easier for those working for AB expensive. Kellneth Bell contrasting to the selection. reading. Chord symbols have There are ten fairly short been addecl throughout Greig Four Pieces fro111 Peer pieces that are pleasant to should you wish to try them, Gynt (arr.Barbara play and were enjoyed by but be warned, they are Dobretsberger) Universal the students who triecl them. exotic and often complex. Edition B 5.05 Jackie Cox Two-Timer, as its title Saint-SaEns Five Pieces suggests, switches between and I found it generally a fro111 The Cnnrivnl Q/ 7Xe 38 Duet Stt~diesfor TZIOFlt~tes 212 and 414 time; triplets and more musically satisfying Ani~nnls(arr.Barbara chosen and ed. Simon Hunt. semiquavers. The underlying album. The sampled Dobretsberger) Uni~~ersal Pan Educational h4usic pulse remains the same, so accom animents are Ettition $6.95 This book will be unifying the whole. Bunch of stylishL done and include invaluable to all teachers. Fives, a fast country-style dynamic contrasts (lack of The duets have been mote perpetuo, conjures up which was one of my carefully chosen to give visions of an amorous Benny criticisms of the first practise in all aspects of Hill chasing a French maid collection). A tuning note technique and musicianship, around the garden. Stt~diosity starts the CD or tape and ancl they cover the whole is a cross between a slow preparatory beats are given amut of major and minor waltz and a Native American when necessarv. It is f.teys, starting with C major war-dance; /Mind Thp Gaps - definitely worth aying the and A minor and progressing, perhaps the most satisfyingly extra 83.00 for tKe CD for through the sharps and back integrated of these pieces - a ease of finding traclts and through the flats, ending speedy essay in increasing the absence of the possible with F major and D minor and decreasing interval leaps; pitch problems which (except for the mis lacing of and Smnps, as the title cassettes can bring. Printing G sharp minor). ~Reyare suggests, a frenetic collage of and presentation is good, all musically interesting and various modern flute FX except that the shiny paper ideal for players of Grades IV woven over a richl varied is very reflective in artificial - VII, althou h thev would rhythmical back-c%th. light, which can be a real also be excefient sight Mike Mower's playin on nuisance. From a teaching reading practice for the more the CD is marvellous. TE e viewpoint, this collection advanced students. There sheer speed and dexterity of provides very good sight are a few misprints - the B his tongue-finger co- reading material - the Both of these attractively minor duet is stated as being ordination is both breakneck recorded accompaniment presented collections are in B major and there are at and breathtaking: a recording creates for the student a designed for use by least two sus ect 1 with which to frighten one's situation similar to being in elementary level players of accidentals, put the printing I NEW FROM EUROPEAN AMERICAN THE FLUTE AUDITION BOOK With an introduction by Walfrid Kujala (Revised and Expanded Edition) Complete original orchestra flute parts for works by Hindemith, Janacek, ICodaly, Orff, Rodrigo and These parts contain the authentic notation, layout and page turns as they appear in the orchestral materials available only on hire as part of a complete orchestral set. is clear and the book is laid in 318 Quantz has written separate parts plus a good- out attractively. Brmldn Dykes bars of 3/4 for his hemiolas. sized score, and they come Dennis Clarkt in a sturdv folder. I laved Quantz Trio Sonntn ilr D mtnor p the worlt with two o?mi (OFB 173). Schott E12 Quantz Tr,o Son& in D major Three or students, ancl we found the I have enjoyed playing (QV.2:15). Musica Rara printing clear and the Quantz's music for many 59.75 more flutes performance markings years and as interest in him This sonata is in its excellent. Brer~doDykes grows it is good to see more ori inal key and for two flutes of his music emerging. IIis anc% continuo. One could J.S. Bach an: hnCherry Two A14strinn Dntices arr. for music may not have the repeat all the remarks above Sortatn in C minor, from the five flutes and bass by Bob subtlety and breadth of for this edition. Universally Sorlnm in G mirtor for fllrte rind Lowtlell. Lowdell $9.50 Bach's music but it is always the standard of editing of clavier; B1.W 1020. Paul These two fairly short well constructed and baroque music has improved Rodriguez Music Limited, pieces were written for the interestin to play. This enormouslv over the last London $11.95 BFS Easter Flute Festival for edition, (tie% original is in B couple of decades! As Ann Cherry states in an adult group to perform minor tor flute and violin or Dennrs C1arA.e her introduction to this and have proved very flute), is trans osed for treble arran ement, the worlt is popular with both audiences recorders (or htes or Jan Krtitel Vanhal Flitnovd alreaf y a trio in its original and players of all ages since violins). I think that it sounds d~~eta.Barenreiter Editio form, in that the keyboard then. Typically Austrian in very good played by a S~iprapllonPraha art is made up of two single style No.1 gets the toes recorder with a flute. In the Vanhal was an important ines. As a trio for three tapping and No.2 find you conventional four member of the Viennese flutes there is inevitably swaying tin time to the bar. movements, it has been school of the second half of some loss of colour and Grades III+ would enjoy carefully edited with an the eighteenth century. His texture, and it is difficult not playing these and the bass unfussy realisation of the music embodies the lightness to prefer the original as an art can be played on the C figured bass, printed clearly ancl rhythmic precision of the aesthetic entity, but from Eute, although some of the with bar numbers and no Classical style, but in addition the point of view of flautists depth of sound is obviously silly pa e turns. many of his worlts show looking for a trio which is lost. It also works very well In tk le last Ilivnce it is influences of folk music and satisfying to play this will if piccolo doubles the first interesting to see Quantz's Romantic inspiration. These interest them greatly. The flute part, making this a well notation of the hemiola This six cluets, which all consist of transposition into the key of arranged and versatile is usually described as two two movements, are quite C minor makes it possible aclclition to the flute choir bars of triple time becoming delightful, often reminding for the whole range of the repertoire. Jnckie Cox three bars of duple time but I one of Haydn, and, at about flute to be used, and the am with those who believe Grade V - V11 standard, they arrangement has been done Americnn Pntrol arr. that it is two bars of triple happily fill a gap for those with enormous care, Meacham. Power Music time becoming one bar of flute students who are not yet interweaving the lines so $7.50 tri le time with double note ready to taclde the difficulties that each part is of equal This is quite a difficult vahes thus apparentlv of Mozart and Kuhlau. The interest. arrangement of the well halving the speed of the pulse two parts are of equal It is worth adding that known tune that is tricky for which makes sense (to me) of difficulty and melodic the pacltagin is very the individual player and for the 'hemi-'. In this movement interest. Brenda Dykes attractive. TR ere are three the ensemble as a whole. Grade VI+ would benefit These two arrangements from time spent learning this from Barenreiter are nicely and audiences would enjoy Flute and presented and very clearly listening to an accomplished printed, making a good performance. Nicely other introduction to these two presented with parts and famous overtures to students score, although parts could whose school does not be more clearly printed. instruments perhaps have the resources Good value for money. to play the originals. The Jackie Cox Bach/Emerson Three parts mimic the orchestra in Sarabandes. Emerson score that the same instrument Raynlond Parfrey Cloud Ballet arid parts $8.50 that plays a solo line there Piccolo Press Limited In their Schools Wind also plays it in the Edition Series this is scored for two arrangement. The difficulty This is a pleasant liking flutes, oboe, three clarinets is Grade V1 to V11 (there is a waltz of approximately two and bassoon. Bein little double tonguing in the minutes in length that sarabandes there SE ould be flute part of the Rossini, but students of Grade IV - V no tlifficulty for fairly this could be omitted) and would find challenging. It elementary players who the brunt of the hard work, took the adult rou who could concentrate on playing especiallv again in the tried it a few pky tgroughs together and in tune; the Rossini, falls on the bassoon discovery... throu h Universal to become accustomed to the third clarinet part stays in who plays the unbroken cello Edition's com rea ensive harmonies but they soon the lower register. Not all line. These overtures would catalo ue of &te music', the began to enjo themselves. schools who could use this make a good start to a Flute f'uide certainly provides It worked welrwith 12 well will have a bassoon and recital, good background a fabulous whistle-stop tour players. Jackie Cox might need to adapt that part music, and certainly good of the history of music (not (perhaps a cello or a discreet encores. Unfortunately no only for the flute) and is an I compositions b money for the National expression of heartfelt 1,) 11 \\IIIII L\, I,I L 1 contemporary 8 anadian campaign for Homeless tragedy, unfortunately this composers writing in the People; Shelter. performance is a tragedy. French style. The most This disc contains an Synnx is convincing and exciting of these is a new excellent selection of music plaved with icleal work by Rachel Laurin, from CPE Bach to Bartok n~elancholy,emptiness, Sonate Op.29 (1995), which The Hambn er sonata is wonder, urgency and is full of luscious themes and played withTyricism, life and resignation. David Snell's delicate passa e work woven energy and the balance Eleal is a commission for this into a gradualP y evolving between the continuo parts disc and represents a whole that strives towards its and the solo line is just right. beautiful picture of quiet goal. Laurin's architecture of Accompanists face remembrance of feelings phrasing and melod is something of a dilemma when which exist no more. The illuminatecl by the Live and presenting an orchestral piece Doppler Mnzt~rkaL Solon is energy of the duo giving a for a recording. Should the given a lively ~erformance I have often thought - passionate and spine-chilling part be reduced to a pianistic and the haunting sound of mischievously - that it would performance which will and stylistic scale (as in the the alto flute in the Rimsliy- be a good wheeze, in a flute certain1 help to establish accompaniments for the violin Korsakov's Rose nndthe and piano recital, to perform this in tKe repertoire. sonatas etc.) or should one A1;Rhti~~gnleis most effective. Charles Ives' ConcordSonnm. Elsewhere Bellavance is at attempt to emulate the Now we come to a highlight The pianist does all the hard times touching, producing orchestral textures. Perhaps of the disc - the Damase work, and the flute merely truly magical moments in Leslie Howard's recent Sonatn en Concert. It is full of wafts in as the spirit of pianissinio sections of Syrinx recording the BerliozLiszt character, wit, quirliiness, Thoreau for just a few bars and Jouerm de Fllite, at times Symphonre Fantastic or the charm, pretend heartfelt at the very end. MS exquisite, showing the Glenn Gould recordin s of the feelin - and is splendidly Koregelos and Miss Smith ultimate control in Vivier's Beethovenbiszt sympP lonies 5 playecf . Bartok's l//~//eDnnses succumb to no such flippant P/t?ce, and at times Pc 6 can give clear ideas of are performed with clarity temptation. Instead thev surprisingly lacking in very different but very and gypsy character and plunip for a rather bland finesse. Momentary lapses in successful approaches. In this come across very well mishmash of light-romantic intonation and some performance of the Mozart despite rather obvious twentieth century flute obtrusive articulation cast a Andante 171 C there doesn't mistakes from both plavers. writing. shadow over an otherwise seem to be any specific policy All in all this disc is well The sleeve notes blithely delightful recording although everywhere the worth buying - when the inform us that 'This Jonnnn Todd playing is musical. performances are ood they recorcling was made in 'Faure's Morceau de Concotlrs are extremely goocf . natural acoustics without the Mt~stcforthe People Worlis by is simplicity itself - if one Joshrdn Dale use of mixing boards, reverh CPE Bach, Mozart, Faur6, could draw the listener into units or other processors. 11s -- - li - -~ F-- 7 SIGNET MUSIC standard and custom-made l New from Signet I alto- and bassflutes CONCERTOANDANTE open hole and quartertone models available by ERNST EICHNER European agent for Oston-Brannen/ arranged for Flute and Piano/Harp Kingma system flute Grade 5, Price £4.25 Eva Kingma Arrangements for Flute already published: Hoofdstvaat 10, 9444 PB Grolloo, The Netherlands,Tel/Fax (31) 592501659 Hora Staccato by Dinicu, Grade 8. £5.25 Rondo Pastorale in Eb by Mozart. Grade 6, £3.75 Twin Duets from Serenade No.10 in Bb, K361 woodwind & CO Adagio - f2.25 Allegro Rondo- f2.25 All prices include post and packing. Available from; Signet Music P.O. Box 54 Thornton Cleveleys Lancs. FYS 3TY Tel: 01253 864533 0161 - 775 1842 WATCH FOR FUTURE EDITIONS AT THE SIGN OF THE SIGNET 208 Liverpool Rd. Cadislzead " Martchester M44 5DB I at a live concert, Thanks to the huge Viktor Fortin und Frer~nde, 1986 for flute, c'ello and environmental noises may popularity of the Adagio for Extraplatte. Austro Mechana iano, another flute-playing occur.' Nothing wrong with Strin S, Samuel Barber is EX 283-2 Kiend is called uDon: I-Ieilre this as a statement of fact usuafly known b his I-Iossegg is 'oineh by beyond sounding like The surname alone. kot one to Friedrich deinhad and Eike BonIy Shop's estimable, albeit waste a ood tune, the Straub. ~a~inaliiis written dubious sales-pitch. But why Canzone f1959) can be heard in a modern free-tonal style - is it necessary in the first in four different guises, and mainstream mid-twentieth place? Is it a proud the theme is recycled in his century - and incorporates declaration of authenticity or piano concerto. This many now familiar technical an excuse for any arrangement for flute and devices. At the end of the shortcomings? The listener piano dates from 1961. first movement a very uiet must decide. The most substantial Geiger counter-like cli&in After the Prelude for Piano worli is left until almost the is heard while the flute ancf by the ubiquitous and end of this recording. John cello are playing. Since no currently over-played Rutter's Sr~iteAntique was percussionist is listed we Gershwin (Anyone for written for Duke Dobin and must assume that this effect Gottschallr? , the first the London Baroque So5 oists is being produced somehow offering for d ute and piano is in 1979. (Regular readers This collection of ieces by the pianist. This sad and a Serenade by A. Woodall. will be familiar with Mr by Vilitor Fortin are a5 serious worli was 'influenced Nothing is known of this Dobing's informed and erformed on this recording by the bad im ression of the composer exce t that he ?) enlightening contributions & himself and his friends. accident in ~cternobyl'. was British. ~il)rethe worr rs to these columns.) Heard Tie sleeve-notes read most (Trust the Russians to create of many minor British here in an excellent curiously. We learn that a bad impression.) The composers of the time, this arrangement for flute and Herr Fortin was born in almost surreal sleeve-notes is a sentimental passing- piano, the six brief Fohnsdorf in 1936 and again suyss my humble cloud designed to evoke movements are rich in warm worked 'in his parents owers o description. 'It wistful nostalgia in the fading and beautiful melodies. After horticulture at the same time Regins springtimelike full of memories of seaside music- Prelude and Ostinato, Aria is a taking piano lessons.' The bad presentiments ending in club spinsters. The following fine essay in seventeenth first work, for bass recorder the catastrophe. The elegia iece, Re rets and Resolutions century style, complete with and guitar, Declarations of is not only lament but also gy Gary ichocker, though a interrupted cadence, but Love, is in three movements. accusation. The final more recent composition, jars somewhat with the ('Due to the studies of movement does not use all falls into much the same following jazzy LValh, (5/4 + bassoon, the bass recorder tones of the chromatic category. Commissioned 'by 114) in which Mr Rutter tries has always been m first scales. We have to learn to Mimi Levitt for the 80th valiantly, and with some love.' Well ves I tiink I cope with gaps in a world not birthday of her husband and success, to shake off his understand. j he first of intact.' Quite. arts patron Mortimer', (What reputation as a mere writer these is entitled Walkin the Five Lovesongs After Poerns did I tell gou?) this Janus- of Christmas carols. A Dog. 'TO 'walk man' is tie o Erich Fdis set for flute headed c imera 1s in the beautiful Chatlsoa, duty of everv dog owning a &ossegg), piano (Straub)and form AB/ab: Slow Quick; reminiscent of 'Scarlet man.' Herr portin shows us the tenor Johannes Chum slow quick. Excellent Ribbons', and a rousing straightaway that he is not a (another friend). This worli background music for Sesame Rondearr mostly in 518 time, man who is afraid to declare is composed in a modern Street and more schlocli than bring the work to its his philosophical and ost-Schubertian vein, the Schoclier. Kokopdi by satisfying conclusion. musical intentions. At two gute frantically word- Katherine Hoover is written Gershwin's Prelude, now with separate points in this quasi- ainting the text with much for solo flute. Koliopeli the added flute, draws this mediaeval fri pery, the Rey-slappin and flutter- flute player is a legendary music stops &r the ton uing. .19he playing, both hero of the 'tIopi tribe and Bassblockflote to perform in ta is work and in led them, pied piper-like, in some ugly multi-phonics. I Marginalia, is competent but, their migrations through the interpret this as some form given that the writing is more southwest of North America. of musical onomatopoeia technically demandin than This haunting soliloquy imitating the bark of a dog, in Appalachian Sonata, f ails to evokes his spirit singing in but perhaps it can also be seduce the listener. the canyons and creelis of interpreted as one of those Four Pieces for Witches for the vast and barren and the San Francisco other endearin functions piano ('prepared' in the third landscape. Thou h fairly Opera Orchestra. Her $ogs perform W% en they are movement by the use of 'two short at four anfa half performance in these works walkin man'. Movements rubber-gums of each lkg, a minutes, this is a charming seems to suffer a little from two anf three are entitled fine hair-brush, a telephone- iece which leaves its ghost the 'live' conditions of this Chanson da Mur (sic.) and book and two different sizes K.ang~ngin the air. Similar in recording - a brave Smen Up - 'because of the of giant combs'), H-A-F-E-R flavour to Debussy's Syrinx, it undertaking but perha s effervescent change between for saxophone quartet and would make a refreshin foolhardy. occasional&, a the different times'. Brass light, not eaq for brass substitute for that smalI: failure to sustain the tone (Geddit?) On to the quintet complete this masterpiece in a concert and vibrate at the very end Querflote. selection of Viktor Fortin's programme. (The publisher of a phrase leaves a dull and Appalachian Sonata for compositions. Laurence Joyce is Papagenu Press; ASCAP and drab im ression. Also, and flute and iano, played here I've already ordered my especia$ in Bennett's Siesta, by ~ils-~{iloKramer and Coacefl d'aujo14rd'hui Les COPY.) her pitch in the lower Manfred Tausch, is based on Rossi nols: Ian Judson flute Richard Rodney Bennett register, if not downright a folk song which Herr Fortin Josepd Asgar guitar informs us that his Summer flat, is sometimes lacking in says 'had a magic attraction If you lilre South Music 'was written to help brightness, with a similar to me. The third movement American music then this bridge the ap between outcome. (The self- consists of a number of CD is for you. All twentieth starting to fearn an pontradictory apothegm - variations about this song. century: Villa-Lobos, Pujol, instrument and playing 'real' Better sharp than out of Its melod turns from voice Machado, Ibert (Ibert? - that music.' He goes a little tune' - contains at least a to voice, gut remains well known South American further than this. The germ of truth.) MS unchanged.' (But, I always com oser? - well maybe not, second and third Koregelos is at her best in thou ht... Oh well, never but Kis Entr'acte does evoke movements, Siesta and Games, the unaccompanied Kokopeli min 'F .) This is witty music the flamenco music of are on the Associated Board which she plays with fine which makes for very Spain! have composed syllabus for Grades V and feeling and a sense of space enjoyable listening. Nils- beauti i?ul and lyrical melodies VII. Mr Bennett's modesty appropriate to the subject Thilo Kramer plays with a that encoura e you to bask notwithstanding, this is a matter. This music, lilre all delicious vibrato and tone, in the warmta of the fine three-piece suite written flute-players, needs to bringin much beaut to the sunshine. The only British with his customary breathe. Breath is Life. strangeP y familiar folE theme. com~ositionto be included is craftmanship. Laurence Joyce For ikrginalia about Springtlme on$ Whyton's Brown Study, written especially for the musicianship and style, the join them. Lucky Boston. duo, and it proves to be very playing at times being This disc demonstrates different in mood to the rest almost understated, and musicianship of such a high of the recordin . Very nicely none the worse for it, order and flute laying of packaged with Pots of compared to some recent such a calibre tgat I have information on the insert, recital discs. kly favourite run out of superlatives. I and very competently played tracks on this CD are the have heard some of the bv the two oun three Schumann Romances worlts on this disc so many piofessionaYs. Tie which are played with times that I have often said I misleading title is taken from beautiful expression and would not weep if I never the last track - the fourth control. My only criticism of heard them again, but movement of Piazolla's the programming is that the Jacques Zoon makes me Histoire dlr Tango. Jackie Cox Donizetti Sonata does not listen to them with fresh really fit into the stylistic ears. Even an old warhorse I(at1ierine Icemler flt~teJan framework of the disc as a lilte the Poulenc Sonata, Crimes, Kathleen Rowntree Cimarosa's overture to The whole and, \\.ell played which I have heard pinno. Virtuoso Ameriron Fl~te Secret Marriage, eight excerpts though it is, I do find it a massacred by so many Ilrorks. Centaur CRC 2146. from Mozart S Marriage of rather tedious piece. The students that I can scarcely Fipro, Kummer's 'Amr/setnettts' excellent accompanist, Jill bear the piece any longer, on themes by Auber and Richards, was also a flute becomes once again a Giuliani's transcription of the student at one time and delightful work. Messiaen's quintet from Rossini's obviously is completely at Le iblerle Noir is played with Semiramide. The remaining home in this repertoire. The terrific musicality ancl worlt is for solo guitar, Sor's recording is very faithful virtuosity. Roussel's Les Momrt Variations. The playing and well-balanced, although Jouet~nde Flite is given a really is faultless in every it does have a definite studio sparkling performance, as is respect - Puhaklta's flute rather than concert hall Dutilleux's So?mtitle. The havin a briglit, characterful sound. Kenneth Bell disc includes worlts bv soun8 which is erfectly Enescu, Baton and Jolivet (a complemented fy the light- Jacques Zoon flnte Bend splendid performance of toned guitar. The number of Braclcman piano. Le ~Merle Chmt~tde Linos). As I said, I recordings of Classical flutes Noir (20th Century French have run out of superlatives is comparatively low Flute Music). Vanguard and I can do nothing other 'I'his disc incluclcs compared to those of Classics 99078. than recornmencl stron 1y recorclings of sonatas for Baro ue flute players and Jacques Zoon, that you get this recorctng flute and piano by Rol~ert this &c would make an interviewed in Pat/ last year, ancl make all our students Muczynslti, Lowell ideal introduction for those said he had declined an listen to it. I'r+ ute playing Liebermann and Verne wishing to explore the early offer to become principal does not get better than this. Reynolds, as well as two nineteenth centur sound flute in the Boston Robert Rigto worlts by Paul Hayden: A Tre world. Kenneth Be17 Symphony Orchestra. I for solo flute and Grand now hear that the orchestra kfamou for flute and piano. F//~teSalad Leslie Sheillsfil~te has finally persuaded him to The Liebermann worlt has Jill Richards inno become popular both in Claremont G&E 1533 America and in Europe, but the other worlts are less ltnown than thev should be on this side of the Atlantic. The excellent Katherine Kemler gives committed and convincing performances of these important works. Robert Bigio -r-i AR AI! iSE CLASSICS is pleased to announce Ami~sements.lari S.Puliald 6- OFFERS ,a* Howard Harrison Loads of studies in loads of styles to stretch and improve your technique ilcndcti~yqf St ilhr~iniu the single concerts, ant1 up Ficlds to 40% for two or more 10%discount available at RFH or Fairfield Hall, by calling Croydon. Contact Alice Michele Burton on Walton at the LMP on 0171 702 1377, quoting 0181 686 1996 during your membership office hours. number. London S)~nlp/lonjlOrchestro 10%discount on all R BC Natiotml Orchestra of ticlrets for members of 1,1hl(.s15% discount on all the BFS. tickets. To book, Call the Barbican box contact local box office on 0171 638 offices. SS91 quoting BFS to receive this discount. Rorrr.netnor/th Orchestras 15%off all ticlrets for Royal Phi//lartnonia Orchestrn Bournemouth Tickets for concerts at Symphony and the Royal Albert Hall Sinfonietta concerts, are available for the subject to availability price of the next and status of concert. cheapest: 627 for Contact the BSO 521,621 for 516,516 Marketing Department for 510, 510 for 55. on 01202 670611. Orchestro of the Agof Ci/l' of Londotl Siqfonia EnliR/rte~rrnen/ Ticlrets for concerts at 92 off all individual the Barbican are ticliets through the available for the next South Bank Centre box price down: 625 for office. Quote your 76 studies ranging from dances and traditional 320, S20 for 615, membership number to Chinese music to baroque gigues and jazz solos 515 for Ell etc. obtain your discount. Members should phone Friendly presentation includes helpful hints and Jacq~~iBaines at the Philhrtnonia Orchestra CLS office on 0171 480 25 % discount on all tips to improve your performance 7743 to get a booking concerts subject to code, and can then availability. To book Each study is selected to tackle a specific aspect order the discounted call the Philharmonia ticltets from the sales office direct on of technique Barbican hox office. 0171 580 5756 during office hours.Call the There's even an index to help you find the right English Chamber Orchestra office for a free study for every technical problem 10%disco~int on all brochure. ticltets. Call Andrew Smith at the ECO on Royal Scottish Ndonnl Studies have never been so amazing! Orchestra 20% discount on all Available for solo clarinet, saxophone and flute 0:The Enfilish Concert ticltets in Edinburgh, To receive a 20% Glasgow and Aberdeen discount on all ticket Contact the relevant Price £8.99 each O prices, call the English box office: Concert office Edinbureh: on 0171 911 0905. Usher H~II 0131 228 1155; London Moznfl Plq~ers Glasgow:Royal Concert BFS members receive Hall 0141 227 5511; the same discount as Aberdeen: Music Hall LMP Friend's 01224 641122. Association: 25% for from Jean Mattoon \Ve take great care to place page turns in the most I'm Jean Mattoon, a flute practical places by there are repair person in the US and a some pieces where fold-out very happy subscriber to Pan. pages do not solve the I really enjoyed the article that difficulty. The facility to Martin Hoffman wrote for your photocopy a section legally for magazine last month and it this purpose is the best occurred to me while reading solution for most people and SCHOOL OF it that it would be a really for public erformances the great idea for Pan to run a services o? a competent page INSTRUMENT regular column concerning turner are usually available. flute repair, maintenance, and other technical issues. A 'Dear from Mary Edwards Flute Doctor' type of thing. Please would it be possible MUSICAL Martin is a wonderfully clear to list in the Education Issue INSTRUMENT writer in my opinion and I of Pan alternative editions for think he'd be the perfect the AB grade music, either REPAIR COURSES person for the job - a column then or as an ongoing update Easter and Summer 1997 such as this would not only as people find them? I was (Mid -Wales location) generate a lot of usef~ll alerted to the alternatives by a questions but also Martin has a previous copy of Pan and Train as a Woodwind knack for explaining things to noted those mentioned. By andlor Brass repairer. the non-repair person. chance, whilst talking to a No previous experience During my years as a flutist colleag~~erecently, I (before I got into making and discovered that I have not one, necessary. repairing them) I'm sure I but two alternatives for the would have benefited a lot Drouet study set for Grade VI. INTENSIVE from such a column. Another difficult area is Sometimes flutists are afraid CPE Bach. I have a G major COURSES FROM to ask what they believe are sonata which is not the one for TWO DAYS Grade V111 - but I had to take silly questions, but I try to TO ONEWEEK. encourage them to ask it up to Top Wind to find this anyway, so that they can out. As I only go there on For further information better understand their flutes. average once every two years, send an A5 SAE to: that is not an easy option. I Trevor Head. M.S.M.I.R. I think this so~lndslike an excellent have at least three sets of idea, and worlld k happy to start a Handel sonatas (none I I Church Place, Dear Flute Doctor col~mn. currently favoured by AB) plus Mitcham, Please write in with those qr~estions odd ones, by various Surrey CR4 3HY. you 've ttmer dared ask, or nmer got publishers and have managed aror~ndto asking and we'Nput to work out the H\W numbers them to Martin. Editor by comparing them with n~y ancient Julius Balter recordings which helpfully list I from Peter and Annemie them, whilst none of my BRlAN CLOVER Verhoyen, Belgium editions does. Surely the flautists who set FLUTEMAKER As the editor of the the syllabus must be aware of Est. 1959 Flemish Flue Journal I would the older, and alternative, ALTERATIONS - SERVICING - especially like to congratulate editions. I wonder why we OVERHAULS can't have all the possibilities. you on the excellent job you 54 Buckhurst Way, Buckhurst Hill, have done with Pan! There's a Since the AB us unable to offer lot more interesting us set pieces in the same way Essex IG9 6HP information in the magazine as pianists - in one book - they and the presentation is very might at least make it less of a TEL: clear and attractive. We wish treasure hunt/obstacle race. you a lot of success with it. Cl~h/mtdo yotr think? Have you 0181=505 0557 for~ndthe same pteces in dtfererlt from Pat Spence, Piper places? Ilb111d a fenture &out this P~~blications interest the readers of Part? Please write in to the Editor who values Thank you for the current j1o1lr views. copy of Pan magazine in which WOODWIND you printed a review of our complete flute music of James INSTRUMENT Hook. Your reviewer criticised us REPAIRER for not using fold-out pages to avoid inconvenient page turns Edward D. Icettlewell on the grounds that people M.I.M.I.T. would happily pay extra for 56 Leabrooks Road, this facility. Our experience Somercotes, does not bear this out. Derby. Tel: 01773 603276 (4 mins Junction 28 M1) FLUTES POWELL FLUTE Gemeinhardt New & Used Solid silver, open holes, Flute, good condition, in stock. arumite head, €200 o.n.o. NEWCASTLE MUSIC, gold lip-plate. Brilliant 7 I WESTGATE ROAD, sound, immaculate TEL: NEWCASTLE-UPON-TYNE condition. O 1273-4 16057 NE1 ISG f 3,750 after 6pm TEL: 0191-221 0595 Tel:0181 688 4815 Gold plated solid silver German flute. Josef Muller, l handmade in 1988, Rudell-Carte serial no.900, pristine Flute for sale ALTUS 807 E condition. Offset, closed hole, e mech. (Silver). Nr. 5 1023. f 950. €950. € 2,750. TEL: Contact Daniel Alexander TEL: O I 494 (Chesham) 49 Barons Keep, ++496 1 74 24 148 London W 14 9AN, (in Germany) 785098 Tel: 0 17 1 603 9097 I FLUTES FOR SALE ;Tc Membership Sankyo Artist Closed hole, offset G. :,SI I APPLICATION FORM f 1 900. Tel: 0 1 275 87 1 763 I I I Membership information ~nnualsabscriptions 1997 I I IIK: Mateki 003R. Silver tube, open hole, I Individual 220.00 Student (under 25) $13.00 I Two members at the same address (one journal) 825.00 [7 B foot, E mech. Recently serviced, I Pensioners 213.00 Schools and flute clubsE20.00 [7 excellent condition - one careful owner! I 1 k%%lal E25.00 Student (under 29 218.00 I f 2000 ono. Worldwide: Tel: 0956 43 1449 Individual (air mail) 230.00 [7 Schools and flute clubs225.00 Pensioner 818.00 Student (under 25) 218.00 Life membership: Gemeinhardt. Solid tube and head. In Individual $300.00 Joint 8350.00 combination case with plastic piccolo. Please tick box for relevunt subscription. I wish to become a member of the British Flute Society. Both in excellent condition £600. Name ...... Tel: 0 1 689 874974 Address ...... Pearl. Solid silver, newest model professional ...... instrument. Open hole in line, B foot, French 1 I Tel ...... Fax ...... I I arms. Hand made head joint. f 1500. ; I Email ...... I Tel: 0 18 1 440 6983 I enclose payment S ...... for one year's membership. Chcqaes or monq order rnadepaeyabIeto The British Filcfe Soci~~. Muramatsu flute. Closed hole, silver Sterlirtg on4 please OR: Please Debit my VisdAcces~lastercard throughout, including keywork. Very good Pleose indicate which m p]0 condition f 1900. Zentner piccolo. Hardly Cardnumberl I I I 111 11I I I I I I I I used, excellent condition. 1400 ono. f Expiry date ...... Tel: 0 1923 269037 Name on card ...... Signature...... Date ...... BFS members may advertise their instruments for sale free of charge. Please send to: Nick Wallbridge, Membedip Semetary 12 Uplands, Croxley Green, Herts WD3 4RD The British Flute I Officers 52 urns stone Close South East London Adrian Brett Society Upper Road Susan Mary Whittaker Representative to AFT Council Susan Bruce &a/ Plaistow, London, E13 52 Red Post Hill 65 High Street, President: James Galwav Rebresentative Tel: 0171 511 5552 Herne Hill Hanging Heaton, Batley 8,'Fordham Ave London SE24 9JQ West Yorkshire WF17 6DR Vice-presideut:Albert Cooper ~~~~~f~~~~~~~~~~~~~,East Central Scotland TeE 0171 733 1328 TeVfax: 01924 452702 Warwickshire Irene Barnes Broughton Soutll Hampshire email: [email protected] British Flute Society CV37 6XD. 28 Station Road, Kinross Karen Morrison AU Flutes Plus /l TeVfax: 01789 292708 Scotland KY13 7TG Roselands, Crawley Hill 5 Dorset Street Tel: 01577 862433 Hannah Lane Editor Romsey, Hants PO10 7JE London WH13FE Kenneth Bell Chairman 3 Alexandra Road, Kings Guildford Tel: 01276 600504 Tel: 01701 935 3339 Central Band HQ Music Langley, Herts WD4 8DU Clare Lund Surrey Fax: 0171 224 2053 Services TeVfax: 01923 269037 Down Amphrey Jacltie Cox Boosey & Hawkes Rowley Drive, Cranleigh RAF Uxbridge 3 West Street Deansbrook Road, Middlesex UBlO ORZ Niclt Wallbridge Membenhip Surrey GU6 8PN Carshalton, Surrey, Edgware, Middlesex Tel: 01895 237144 X 6341 Secretary Tel: 01483 273167 SM5 2PT HAS 9BB Ann Cheny Secretary 12 Uplands Hertfordshire Tel: 0181 773 0436 Tel: 0181 952 7711 61 Queenk Drive Croxley Green LVendy Walshe Fax: 0181 951 3556 Herts WD3 4RD Swansea London N4 2BG Kennel House Hugh Phillips John Myatt Woodwind Tel: 0181 802 5984 Jeremy Deeks Tmasurer Howe Green 116 Delffordd, Rhos, and Brass Fax: 0181 809 7436 16 Crockford Place Hertford SG13 SLH Pontardawe 57 Nightingale Road Tel: 01707 261573 Julie Wright Education Park Farm Swansea, West Glamorgan Hitchin, Herts Represe?~tative Binfield, Berlts RG42 4UT Leeds SA8 3EW SG5 IRQ 41 Devon Avenue Tel: 01344 487445 Pauline Jackson Tel: 01792 865825 Tel: 01462 420057 Twickenham, Middx. 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