The New York Flute Club N E W S L E T T E R March 2001 Remembering Rampal Recollections from Julius Baker, Linda Chesis, , Pryor Dodge, Robert Stallman, and Nancy Toff

JEAN-PIERRE RAMPAL (1922–2000) JEAN-PIERRE RAMPAL was born in PRYOR DODGE on January 7, 1922, where his father, Joseph Rampal, was a ean-Pierre was a very good friend. I right around and he took me back to his professor of flute at the Marseille met him in around 1946 or ’47, mother’s. After dinner, we played flute Conservatory. Jean-Pierre Jwhen he was a flutist with the [Paris trios with his father. Jean-Pierre’s father started lessons with his Opera] . I helped get him his was his first flute teacher. It was some- father at age 12, but was not man- thing we had in common—my father encouraged to become a ager [at was my first flute teacher, too. A Remembrance professional musician, be- Colbert He made the flute very popular. by Julius Baker Artists]. He would come to New York and he’d cause his mother, Andrée, Once give concerts and use my students in wanted him to become a doctor.

[in the ’50s] he invited me to give a the Boismortier pieces. We played a lot DODGEPRYOR masterclass in Marseille. That’s where he together. I have a recording of duets Rampal vividly remem- grew up, and the family still lived there. we played [Eighteenth Century Flute bers finally being allowed to join After the class he offered to drive me Duets, Vols. 1 and 2, Washington 9419/ his father’s master classes at the back to Paris. Halfway there, he asked if 9442], and am thinking of re-releasing Marseille Conservatory, where two ❑ I liked bouillabaisse. I said yes, and he it as a CD. years later he obtained a first prize said, “In that case, let’s go back to in flute. “I worshipped my father and Marseille. My mother makes the best Julius Baker was principal flutist of the New wanted to be like him. In his wisdom, bouillabaisse in .” So we turned York Philharmonic from 1965–1983. (more on page 4) he permitted me to develop my own style…My father taught me how to nurture my musical talent and also In Concert how to lead my life. He said to walk RAMPAL TRIBUTE out on the stage knowing that you March 11, 2001 are the best, and when you are fin- Sunday 5:45 pm ished and walk off the stage, always James Chapel, Union Theological Seminary know there is someone better. My 100 Claremont Ave. (between 120th and 122nd Sts.) (cont’d on page 7)

Program I N T H I S I S S U E Quartet in D minor (Tafelmusik) Georg Philipp Telemann Linda Chesis, Karl Kraber, and , flutes; Dongsok Shin, harpsichord Remembering Rampal Recollections from six flutists .. 1 Sonata for Flute and Francis Poulenc Biography ...... 1 Linda Chesis, flute; Colette Valentine, piano From the President ...... 2 Sonatine for Flute and Piano Jindrich Feld Rampal’s Legacy Marya Martin, flute; Colette Valentine, piano Member Profile ...... 3 Sonata in A Major Cesar Franck Ann Cecil Sterman Robert Stallman, flute; Colette Valentine, piano Announcements Concerto Joseph B. de Boismortier Flute Fair Announcements ...... 2 Linda Chesis, Karl Kraber, Marya Martin, Robert Stallman, and Eugenia Flute Happenings...... 3 Zukerman, flutes, with flutists who attended Rampal’s master class 20/20 Vision? ...... 4 Program subject to change 2 — NYFC Newsletter From the President: Rampal’s Legacy by Patricia Spencer THE NEW YORK FLUTE CLUB INC. rganizing a fitting, celebratory tribute in memory 2000–2001 of Jean-Pierre Rampal, indisputably a giant in Board of Directors O our field, has been exciting, enlightening, and at Patricia Spencer, President times overwhelming. Rampal’s impact has been enormous. Rie Schmidt, First Vice President In the ’50s and ’60s he charted a course (following the .. Barli Nugent, Second Vice President direction of Georges Barrère) building a new public image Jan Vinci, Recording Secretary of the flute as an instrument that could be taken seriously Michele Smith, Membership Secretary in solo artistry. He helped mightily to bring a then relatively Ardith Bondi, Treasurer unknown Baroque repertoire to delight a wider audience. He brought a contagious Darla Dixon joie de vivre to all his music-making, and set a tremendous example of generosity— Katherine Fink contributing performances for the very first Flute Fair of the New York Flute Club Susan Friedlander in 1994 and many more for National Flute Association conventions over the years. Rochelle Itzen With hindsight we can now look back at these accomplishments and see how Svjetlana Kabalin Sue Ann Kahn they contributed to later developments. As the flute gradually becomes more and Gerardo Levy more accepted as a serious artistic voice on the recital and concerto soloist stage, Nancy Toff the repertoire for the instrument is blossoming—composers of today are inspired to Patricia Zuber write some of their best music for the flute. Rampal’s early championing of Baroque Advisory Board works certainly contributed to the subsequent “Baroque revival” and the accompa- Julius Baker nying scholarship which now enriches our experience of that repertoire. Rampal’s generosity and joie de vivre have contributed to the growth and success Harold Jones of flute societies worldwide. His contagious spirit is palpable in our own plans for Laurence Libin the March 11 Flute Fair: every colleague or friend or student we have approached Past Presidents has been excited about helping with this event, whose organization would not Georges Barrère ...... 1920–1944 have been possible without the exemplary and much-appreciated efforts of both John Wummer ...... 1944–1947 Svjetlana Kabalin (who has been truly indefatigable) and Marya Martin. Spoken Milton Wittgenstein ...... 1947–1952 remembrances will be offered by, among others, Michel Debost, Rampal’s colleague Mildred Hunt Wummer ...... 1952–1955 at the Paris Conservatoire. Denis Verroust, Rampal’s biographer, is coming from Frederick Wilkins ...... 1955–1957 Paris to share some memorable stories. The renowned composer Jindrich Feld, who Harry H. Moskovitz ...... 1957–1960 Paige Brook ...... 1960–1963 composed his sonata for Rampal, will come from Prague. And Pryor Dodge is Mildred Hunt Wummer ...... 1963–1964 lending some of his extraordinary photographs of Rampal for display. Performers Maurice S. Rosen ...... 1964–1967 for the late afternoon concert will include three artists who studied with Rampal at Harry H. Moskovitz ...... 1967–1970 the Conservatoire: Linda Chesis, Marya Martin, and Robert Stallman, playing Paige Brook ...... 1970–1973 Poulenc, Jindrich Feld, and Franck. Other flutists close to Rampal, including Karl Eleanor Lawrence ...... 1973–1976 Kraber and Eugenia Zukerman, will also be performing. Someone once said of Harold Jones ...... 1976–1979 Rampal that if you loved the flute, then he loved you. We can all follow his example, Eleanor Lawrence ...... 1979–1982 ❑ Paige Brook ...... 1982–1983 extending this warmth and excitement to each other during this celebration. John Solum ...... 1983–1986 Eleanor Lawrence ...... 1986–1989 Sue Ann Kahn ...... 1989–1992 New York Flute Fair 2001 Nancy Toff ...... 1992–1995 Rie Schmidt ...... 1995–1998 Sunday March 11, 2001 8:30 am–7:45 pm Newsletter Katherine Saenger, Editor Union Theological Seminary 115 Underhill Road 100 Claremont Avenue (between 120th & 122nd/Broadway & Riverside Drive) Ossining, NY 10562 (914) 762-8582 More [email protected] We need to hear from volunteers Members who wish to Alice Barmore, Layout/Production NYC area flutists who attended needed!!! have their CDs or publications 125 Christopher St., #4H Rampal’s master classes or for the Flute Fair. available for sale at the New York, NY 10014 performed in his “marathon” Contact: NYFC table at the Flute Fair (212) 675-9706 flute concerts at Carnegie Hall. Renate Jaerschky should contact [email protected] Contact: Svjetlana Kabalin at 845-368-1749. Sandy Church at 212-662-0433. at 212-799-7541. Copyright © 2001 by The New York Flute Club Inc. (See page 8 for more information.) All rights reserved. Svjetlana Kabalin, Fair Coordinator; Marya Martin, Pryor Dodge, and Patricia Spencer, Program Committee. March 2001 — 3

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Member Profile High School: Essendon High School in HAPPENINGS Ann Cecil Sterman Melbourne, Australia. M A R C H NYFC Member Degrees: B.M. and M.M. in music [1986 since 1998 and 1998, University of Melbourne]. March 13, 2001 Tuesday 7:00 pm Employment: Freelance flutist and Personally satisfying accomplishments: A concert of music by Schickele, Haydn, Bach, and Wechsler performed by David Wechsler, private teacher since Her use of nontraditional healing techniques to help people with chronic health prob- flute/midi wind controller, Sara Wollan, cello, coming to the states in 1998; teaching and Michael Rose, piano/synthesizer. lems that Western medicine can’t help. flute to graduate and undergraduate Elebash Recital Hall, CUNY Graduate Center, students at New Jersey City University. And her flute teaching, about which she 365 Fifth Ave., NY, NY • 7 pm • Free admission. This June she’ll be teaching meditation says “With just the right words to heighten and healing in Ravello, Italy (in Italian!), physical awareness and mindfulness, you March 14, 2001 Wednesday 7:00 pm working with Keith Underwood. can prevent problems that could lead to years of incorrect practice and thinking. Chrissy L. Fong, flute, will present a recital Most interesting recent engagement: I find that tremendously satisfying.” with James Greening-Valenzuela, piano, featuring sonatas by Hindemith, Martinu, Last year, playing with the Philip Glass Muczynski, and Prokofiev. Ensemble in Glass’s film score Powaqqatsi, Typical practice routine: One hour of Qi Gong [Chinese exercises for cultivat- Gershwin Theater at the Conservatory of Music at with the composer at the keyboard. Brooklyn College, 2900 Bedford Ave., Brooklyn, ing one’s Qi or “vital energy”] to center NY • Free admission • Info: 718-951-4500 Career highlights: During a 10-year period and energize the body and mind. Then in Melbourne, Australia, playing (1) full- a long self-designed warm-up, some March 18, 2001 time on every Broadway show that came Taffanel and Gaubert Daily Exercises, an Sunday 4:00 pm to town having a flute book, and (2) prin- Andersen etude or two, and repertoire. Margaret Swinchoski, flute, with Scott cipal flute with the Malvern Symphony Brubaker, French horn, and Ron Levy, piano. Orchestra (where she got to play Shosta- Interests: For fun, listening to Hank Works of Poulenc and (Ballade, Mobley very late at night, and (for more Pastorale & Dance, from her CD From the kovich’s 5th under Robert Rosen, a friend Hudson Valley). ) going to the Vanguard with her of the composer). In 1984, winning nine Bronxville Women’s Club, 135 Midland solo competitions in one year. Numerous husband. She’s a serious student of Avenue, Bronxville, NY • Admission: $20, $18/ solo appearances on Australian national Chinese medicine, and a practitioner $10 for seniors/students • Info and directions, call 914-738-2445. television; touring all over Japan in 1992. of Qi Gong and Tai Ji [another Chinese exercise form]. A book on perception is Four solo CDs in Australia, including March 23, 2001 in the works, and she’s writing the music one nominated for an ARIA (Australian Friday 6:30 pm Grammy), and one that was the most for her 5th CD. She’s an avid environ- mentalist, and loves doing interviews for Svjetlana Kabalin, flute, with the Sylvan successful independent recording in Wind Quintet in Northern Lights, a program Australian history. Playing on dozens of the NYFC Newsletter (between her twice of works by Sibelius, Larsson, Grieg, other CDs (she says the recording studio yearly trips to Australia). Hallgrimsson, and Nielsen. is her favorite place to be, and she’s Victor Borge Hall at Scandinavia House, Advice for NYFC members: Ann has a 58 Park Avenue (at 38th), NYC • Admission: happy to find herself in demand in NY). lot of advice. (1) Listen to Baker’s 1962 $25 / $12.50 for students and seniors • Info, call 212-904-1422, ext. 13. Current flute: An 1887 Rive headjoint on recording of the Telemann Suite (Van- a handmade Sankyo. (Rive was a friend guard Classics SVC-42), and duplicate March 27, 2001 of Louis Lot in Paris.) The headjoint was that ecstatic joy in your own playing. Tuesday 8:00 pm (2) Deepen your relationship with both previously owned by Harry Moskovitz, a A memorial concert for Eleanor Lawrence former NYFC president. Moskovitz’s yourself (through introspection or medita- with Linda Chesis and Harold Jones in works daughter, who lives in the Village, found tion) and the rest of the world (by being by Mozart, Dohnanyi, and others. Former students and colleagues from the New York the head in a drawer with the carving knives. interested, appreciative and open). This will enhance your musical understanding Flute Club are invited to participate in the It’s a gem, and a gift from her husband, finale “How Lovely is Thy Andrew, who also has a whole collection and capacity for interpretation, and Dwelling Place” from the Brahms Requiem. of French flutes that she enjoys playing. prevent dreary, myopic performances. Weill Recital Hall, 154 W. 57th St., NYC • (3) Do something for the environment— Complimentary tickets are available from Influential flute teachers: Mardi McSullea, stop the waste! Cut down on packaging, Monomoy Music, 100 Riverside Drive, NY, NY 10024 (send SASE and # of tickets required) or Vernon Hill, Jean-Pierre Rampal, Julius junk mail, beef, and turn off those light call 212-799-3245 • For more information, Baker, and Keith Underwood. switches! ❑ contact Linda Schepps at 973-472-0743 or [email protected].

(cont’d on next page) 4 — NYFC Newsletter

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HAPPENINGS Jean-Pierre Rampal was (cont’d from previous page) a surprise guest at Frances Blaisdell’s Flute A P R I L Club program in February April 1, 2001 1992; they are accom- Sunday 3:00 pm panied here by NYFC N. TOFF IRA College Woodwind Quintet, with president Nancy Toff. Patricia Harper, flute, in a debut concert featuring works by Reicha, Crawford-Seeger, and Ligeti. ew York was the scene of so been delayed, and he had come straight Evans Hall, Connecticut College, New London, many of Jean-Pierre Rampal’s from the airport. I’m not sure who was CT • Admission: $10, $5 for students and landmark concerts—each of us the most relieved. seniors • Info, call 860-739-2720. N has memories of our favorites—that it After the program, in his typically April 8, 2001 seemed generous style, he took Frances and long all the performers for a Japanese dinner Sunday 4:00 pm Rampal at the NYFC Recital by Geoffrey Friedley, tenor; David by Nancy Toff overdue at a favorite spot on Columbus Avenue. Iskowitz, piano, Virginia Schulze-Johnson, when he He asked how many pieces were in a flute, and Brian McLaughlin, French horn. Works finally particular sushi roll, and the answer of Eric Ewazen, Rossini, Ravel and Quilter. appeared on the stage of the New York was six. He must have said something Brothers College Chapel, Drew University, Flute Club, the country’s oldest and like, “OK, we’ll have six,” but the Madison, NJ • Donation at the door. most prestigious flute club. We had that response got lost in translation and Flute Happenings Deadlines honor twice. The first occasion was in we ended up with six full rolls, not Issue Deadline Mail Date February 1992, at the 80th birthday six pieces. However, there were no April 2001 03/22/01 04/09/01 celebration for Frances Blaisdell. We had leftovers. May 2001 04/19/01 05/07/01 invited M. Rampal and Julius Baker, both M. Rampal’s second appearance at of whom had been friends of Frances’s the club occurred two seasons later, for many years, to introduce her. CAMI when he agreed to be the guest artist for 20/20 Vision? Hall was packed; it was 5:30 pm, and the First New York Flute Fair, held at the there was no Rampal in sight. I made Society for Ethical Culture in March 1994. IN DECEMBER 2000, the NYFC the reluctant decision to start without With Linda Chesis and Marya Martin, he concert showcased seven compo- him. As president of the club, I went on appeared in the final recital in a program sitions for flute deemed by the stage to introduce the program, denying of Telemann, Quantz, Kuhlau, and program committee to be among myself the pleasure of announcing Doppler. It was a marvelous way to the works created in the last Rampal’s appearance (which had not inaugurate this very popular annual twenty years most likely to been previously announced); I men- event—and again, the celebration become mainstays of the flute tioned only Julius Baker. But as I concluded with a Japanese dinner. ❑ repertoire. These pieces were: walked off the stage, who was in the Nancy Toff was president of the New York Flute Emily’s Images by Vivian Fine, green room, with a big smile on his Club from 1992 to 1995 and currently serves as None but the Lonely Flute by face, but M. Rampal! His plane had archivist. Milton Babbitt, Aurelian Echoes by Harvey Sollberger, Afterlight by Robert Dick, Play by Thea Musgrave, East Wind by Shulamit Ran, and Introduction and the Ground by Stephen Jaffe. Only time will tell if the program committee was correct. So, we will put this program into a virtual time capsule (in reality, our archives are conserved at the Jean-Pierre Rampal New York Public Library for the and his former student Alexandra Performing Arts) and check back Hawley, daughter of in the club’s 100th season, which, Frances Blaisdell, at fittingly, will fall in the year 2020. the Club’s reception Watch this space. ❑ honoring Miss —Nancy Toff, Archivist Blaisdell on her 80th birthday in 1992.

IRA N. TOFF March 2001 — 5

first heard Rampal in 1966 when I was 16, at one of the Frick Collection’s I free Sunday concerts in a program Rampal teaching Leone of baroque sonatas with Veyron-Lacroix Buyse during an out- on door class at the Cimiez harpsi- Monastery in Nice A Remembrance chord. during the summer by Pryor Dodge of 1970. At the

PRYOR DODGEPRYOR time, Rampal’s baroque interpretations were y very first experience attending His response was, “I just finished playing considered so refreshing and engaging a flute recital was also the first ten thousand right notes—I should worry that within the year, Lincoln Center Mtime I heard Jean-Pierre Rampal about three wrong ones?” What he was presented the duo at Avery Fisher Hall perform live. I remember it as if it were looking for in his own work—and his twice, once playing all seven Bach yester- students’—was a joie de vivre, a love of sonatas and again, at a late (11 pm) day. It life…the excitement and vitality that concert, where they played all ten A Remembrance Handel sonatas! by Linda Chesis was the made the music truly come alive. winter After years of teaching, I realized that Inspired by his playing, I attended of 1969 Rampal’s approach was firmly grounded his summer classes in Nice in 1967. at what was then called Philharmonic Hall in the principles of behavior modification. The class was still mostly European, in Lincoln Center. I can still sense the air We always played for him in a class setting; and with a daily attendance of about 25, of anticipation as the packed-to-capacity there were never private lessons or even the atmosphere very intimate. Rampal’s hall waited for Rampal to appear. And I a fixed amount of time allotted per student. assistant, Alain Marion, could be found remember my astonishment at the beauty, It would be up to the student to take the outdoors, working with two or three ease and fluidity of his sound, his facile initiative to play for the class. If your play- students in the shade of a tree or of the technique, his blazingly fast articulation and ing captured his interest, you’d get the most Villa’s side porch. his elegant musicality. But most of all, it amazing lesson imaginable. If you were Nice was a vacation period for was the encore that made me an immedi- somewhat lackluster, sloppy, or insecure, Rampal; his relaxed state during the ate devotee. He played the Gluck Dance he would barely pay any attention at all, three week course offered a unique of the Blessed Spirits with such a completely preferring, instead, to chat with the other opportunity to hear his expressiveness natural expression of emotion. It was as students. It was neither malicious nor at its best. Just to hear him breath life if the music came directly from his heart humiliating, but deeply disappointing. into a single phrase was revelatory. through his lips to touch each of the hearts So we would all strive to earn and maintain Perhaps equally instructive was to of the thousands of people witnessing the his attention. And it worked! The level of witness his sympathetic responses to event. It was the first time that music brought playing in that class was consistently quite the music being played; his expressions me to tears, and it was unforgettable. extraordinary. Jean-Pierre’s methods were reflected both his profound feeling for After college, I went to Paris to study far from cerebral and often quite funny. To the music as well as what he hoped with him at the Conservatoire. People demonstrate an open throat, he would would materialize in the student’s always ask me, What was Rampal like as pour a bottle of water down his gullet playing. To be in the presence of his a teacher? First of all, he taught by example. without swallowing. As a former art natural flow, both while he played And the playing he did for each student— history major, it took me several months and listened, was an incredibly directly in your face—was some of the to realize that his repeatedly calling out inspiring experience that I attempted most remarkable I have ever heard. Jean- “non dada” had absolutely nothing to do to capture on film. These countless Pierre was truly larger than life with an with Marcel Duchamp, André Breton or magical moments led me to return insatiable appetite for music, food, drink, any French art movement at all. My several times. people, and adventure. He would return tonguing was just too heavy! (“Tu tu, Although I had decided not to major from a tour to Israel, Japan, the States, often non dah-dah”) And when asked about in music in college, Rampal’s influence coming to class directly from the airport. improving breathing technique, he would kept me fluting and prompted my move He’d then proceed to teach for eight or simply state, “Open your mouth.” to Paris after graduation in order to nine hours with seemingly limitless energy. Rampal’s death truly marks the end study the Marseille school of playing He abhorred anything too careful, controlled of an era of flute playing. I feel privi- with Alain Marion. ❑ or overly-rehearsed. Expressive, commu- leged to have known and worked with nicative playing was what excited him. him for so many years, and am deeply Pryor Dodge moved to Paris in 1971 to Playing perfectly was never one of his goals, grateful for all the wonderful memories continue flute studies with Alain Marion and and it didn’t seem to hold much interest I can share with my own students. ❑ Maxence Larrieu, and gave chamber music for him. I sat in on one of his recording concerts for several years. He is a collector of Linda Chesis, woodwind department chair at the antique bicycles, the author of a classic text on sessions, where, at one point, the producer Manhattan School of Music, received a Premier bicycle history, and a serious student of the asked him if he would like to redo a phrase. Prix from the Paris Conservatory in 1979. Argentine tango. 6 — NYFC Newsletter

first met Jean-Pierre Rampal in 1958, Commission in support of my applica- summer master classes at the Académie when I was an eleven-year-old tion? “Bien sûr, Bob. It is no problem. I in Nice continued through 1971. Ifledgling flutist at a French boarding will write the recommendation and they Those of us who had the good for- school in Strasbourg, France. My parents will not be able to refuse you. You will tune to be at Rampal’s side in Nice and had come to Paris— but I will not be there.” learn from him six hours a day for bought “But, Jean-Pierre, if you are never there, weeks at a time can never forget that Rampal: En Souvenir tickets what’s the use? I want to study with you,” golden era—summers that would inspire by Robert Stallman for us I protested, somewhat confused. He us for years to come. Rampal was in top to hear looked at me as if I had entirely missed form and every time he picked up his Rampal and the Pasquier Trio play the the point. “I am sorree, but I am just gold Haynes to play for the class, we Mozart flute quartets, and for weeks I about always en tournée now and never were absolutely transported by the ease was beside myself with anticipation. When at home, but you will see me there three, and limpid beauty of his playing and, the great evening finally arrived, I slipped maybe four times à la maison. In between of course, his dazzling articulation and out of school without permission (risking you will study with Alain Marion and with technique. One of the vivid moments severe disciplinary consequences!). The Gaston Crunelle at the Conservatoire. that comes to mind was in July of 1968 concert was held in the private hall of a Anyway, Paris is a beautiful citee. You when Isaac Stern dropped in on our small château, and we had front row seats. will come, you will enjoy very much.” class for a few days. Rampal’s playing When Rampal bowed and sat down on A week later I received a note from with him of the Largo of the Bach stage, he was barely ten feet from me. Jean-Pierre, on Statler Hilton stationary, Double Violin Concerto left many of us Never had I been so excited. At the addressed from Washington, D.C. It read: in tears. You could feel everyone in the intermission I gathered up my courage “Dear Bob, My flue [sic] got worse and room breathing with the music, wishing and headed backstage to ask him for his worse but I never played so well as last it would never end. autograph. Before I could get a word night at the Library of Congress. On the On another July afternoon, many out, he peered down at this nervous backside is the rough draft of my recom- years later, Jean-Pierre and I climbed American boy with crewcut and glasses, mendation to the Fulbright Commission. into a cab in New York, heading for the and obligingly suggested in his charm- Je t’embrasse, Jean-Pierre.” Drake Hotel. The business at hand was ingly accented English, “You want my Everything then proceeded exactly as to plan quickly what we would play autograph?” “Please, sir,” I chirped. he had predicted. In the spring, I was together on one of his Carnegie Hall A year later, Rampal arrived with notified that I had received the Fulbright recitals in the upcoming season (1984). Robert Veyron-Lacroix to give a recital at grant. Between October of 1968 and June When he had invited me to play with my new school in Massachusetts. This of 1969, I visited Rampal for four extended him on previous occasions, it was time I got to turn pages for Veyron- and unforgettable sessions at his apart- always a question of one or two pieces, Lacroix and hang out backstage with ment on Avenue Mozart (almost next with perhaps an encore. “Alors,” he Rampal. By now the sound of his flute, door to “The Magic Flute” Pâtisserie), in opened, “what should we start with?” I the absolute magic of his playing and the the chic sixteenth arrondissement. These suggested the Bach G minor trio sonata. warmth of his personality had made a precious afternoons I carefully preserved “D’accord, and then?” “Well, Jean-Pierre,” deep impression on me. on tape with a new gadget called a I dared, “how about the Doppler In 1967 I spent my first summer with cassettophone. During the long stretches Hungarian Fantasy on the second Rampal at the Académie Internationale in between, I took weekly lessons with half…if that is not too much.” “Too much? d’Eté in Nice, and was hoping to continue Marion as well as classes and private Mais, non. This is a duo recital. Fifty- my work abroad after finishing up my lessons with Crunelle at the Conserva- fifty. You, half. Me, half.” I was totally studies at the New England Conservatory. toire. And my studies with Rampal in his caught by surprise, but he insisted, It had long been my dream “Fifty-fifty. Comme ça.” to go to Paris and take As on countless other lessons with Rampal. occasions with Jean-Pierre, When he performed in I was awed by his generous Boston the next winter, spirit. Once again I felt my- I found myself alone with self enveloped by the extra- him and Veyron-Lacroix ordinary love that radiated during the concert inter- from him. This will always mission. I popped the be with me, as will my question: could he do me gratitude for the privilege the big favor of writing a of having known him. ❑ letter to the Fulbright

Flutist Robert Stallman has an A moment of discovery: international career as a soloist, Robert Stallman and Jean-Pierre teacher, recording artist and Rampal in Nice, July 1967. arranger. March 2001 — 7

RAMPAL (cont’d from page 1)

et me join the chorus of those who “This will change the face of the flute,” father’s influence, encouragement, were influenced by Rampal. I wore and allowed me to use this quote in and example have stayed with me L out a number of his records as a seeking a publisher. And of course he all my life.” kid. While in high school, I went to played fantastically that evening. Rampal graduated from the Uni- every In 1977, we got stuck at LaGuardia versity of Marseille in 1941, Rampal airport during a snowstorm and talked A Remembrance receiving a diploma in the concert for hours. I was on my way from NYC by Robert Dick in New to Buffalo (where I lived then) and had sciences. However, World York planned to return to Buffalo in time to War II interrupted his plans and saved so as to sit up front. What hear Rampal’s recital. He was on his to become a doctor. In his amazing music lessons AND flute lessons way to give that recital with the pianist third year of medical school were there for the observant. I was lucky John Steele Ritter. A very gregarious and and about to be drafted by enough to meet him several times over a social fellow, he was really happy to see the Nazi occupation forces

PRYOR DODGEPRYOR period of many years, and would like to someone he had met and was delighted for compulsory labor, share some of these experiences. to pass the time chatting. I discovered Rampal went underground and The first time I heard Rampal was at that the man on stage and the man were headed for Paris. He enrolled at the a concert he gave with his then-partner one and the same. The same energy, the Paris Conservatory, and graduated Robert Veyron-Lacroix. This was in 1960; same bounce and joy. It was a vital lesson. I was ten. The duo played at the Grace And, in a moment of passing facial with a first prize five months later, in Rainey Rogers Auditorium at the Metro- expression, he made a gesture that May 1944. Soon after, he gave his first politan Museum of Art in New York and showed how he used the muscles under formal performance with an orches- it was an unforgettable recital. Baroque his lower lip while tonguing. Since one tra, playing the Ibert music in the first half, Hindemith and normally cannot see this since the flute with the Orchestre National de France. Prokofiev in the second, followed by at covers these muscles, it was a revelation. He joined the Paris Opera in 1945. least half a dozen encores. The ensemble I was only familiar with various American Rampal met his future wife in articulations at that time, and here was an between flutist and harpsichord/piano 1946, when he was rehearsing the was as one. At the end of the Sarabande express lesson in French detache. Those Mozart Flute and Harp Concerto with in the Bach E major sonata, they trilled who heard Rampal at his best will attest in perfect unison with a beautiful to his astonishing articulation. The gesture his future mother-in-law, the harp accelerando—it didn’t sound gimmicky was only a momentary thing, yet it soloist Odette Le Dentu. She intro- at all, but intimate and thrilling. After opened doors. I have taught that same duced him to her 17-year-old this concert, Mr. Rampal was very lesson innumerable times. daughter, Françoise Bacqueyrisse, gracious and signed my program, along At some point in the mid-1980s, Rampal who was also a harpist. Françoise with many others in the huge line that was soloist with the Brooklyn Philhar- and Jean-Pierre married in 1947, and gathered at his dressing room door. monic, of which I was principal flutist at had two children, Isabelle and My memories of the concert are both the time. After his concerto appearance Jean-Jacques. quite adult—really listening to the (I’m embarrassed to say I don’t remember Many honors were bestowed musical expression—and pure kid, a exactly which one; orchestra playing can upon Rampal over the course of his fascination with the motion of his belly do that to you), he made a point of as he breathed. In 1960, Mr. Rampal was coming over to me while leaving the stage career. He was made a Comman- quite slender. But even as he gained and put his arm around my shoulder as deur de la Légion d’Honneur, and weight over the years, his balletic grace we walked off. It was incredibly kind and received the Grand Prix du Disque on stage never waned. generous for him to send this message to for a number of his recordings. In 1970 in New Haven, I got soaked the Brooklyn Academy of Music audience, Among contemporary composers to the skin walking through an unex- that their flute player in the Brooklyn who have dedicated works to him pected rain shower to attend a rehearsal Philharmonic was OK by him. are Jean Françaix, André Jolivet, for a Rampal recital at Yale’s Sprague Rampal hated negativity and embraced Jean Martinon, Francis Poulenc and Hall. I had the manuscript of the first the positive—always. He didn’t want to . In 1989, Random House two chapters of my first book The Other hear bad things about other musicians and published his autobiography Music, Flute: A Performance Manual of Contem- made a point of permitting no jealous porary Techniques with me. Mr. Rampal interactions in his class at the Paris Conser- My Love. was kind enough to have a look through vatory. He was a man who loved life and Jean-Pierre Rampal died on May them. Although he was never attracted lived his love. ❑ 20, 2000 at his home in Paris. He was to the avant-garde, he took the time to From http://users.uniserve.com/~1wk/fluteweb/ 78 years old. ❑ examine the chapters closely, and he did rampal.htm, adapted with permission.  this for a dripping wet hippy who had Sources: Frank Simone (http://members.nbci. Flutist/composer Robert Dick is the author of com/fs3/rampal-03.htm), Sony biographies just showed up without an appointment! The Other Flute: A Performance Manual of (www.sonyclassical.com/artists/rampal), and He summed up the work by saying, Contemporary Techniques. the New York Times (Rampal obituary, 5/21/00). 8 — NYFC Newsletter

2000–2001 Concert Season

October 22, 2000 • Sunday 5:30 pm PAIGE BROOK MEMORIAL TRIBUTE November 12, 2000 • Sunday 5:30 pm ROBERT LANGEVIN, flute December 10, 2000 • Sunday 5:30 pm INTO THE MILLENNIUM The “Best of the New”—Highlights from recent repertoire The New York Flute Club January 28, 2001 • Sunday 5:30 pm N E W S L E T T E R FLUTE FORCE: Sheryl Henze, Gretchen Pusch, P.O. Box 20613 • New York, NY 10025-1515 Rie Schmidt, and Wendy Stern, flutes February 25, 2001 • Sunday 5:30 pm , flute

March 11, 2001 • Sunday 9:00 am–8:00 pm Seventh Annual FLUTE FAIR Honoring JEAN-PIERRE RAMPAL Union Theological Seminary; 100 Claremont Ave. (between 120th/122nd)

April 22, 2001 • Sunday 5:30 pm 2001 NYFC COMPETITION WINNERS May 20, 2001 • Sunday 5:00 pm ENSEMBLE PROGRAM CONCERT Bloomingdale House of Music Concerts are at CAMI Hall, 165 West 57th Street, unless otherwise noted. All programs are subject to 323 West 108th Street change. Tickets $10, only at the door; free to members. For more information, call (212)799-0448.

March 2001 From the Editor: Greetings! March brings us New York Flute Fair 2001, a full day of concerts, lectures, workshops, exhibits, and competitions. The theme of the fair (and this newsletter) is “Remembering Rampal.” In this issue we have Rampal remembrances from Julius Baker, Linda Chesis, Robert Dick, Pryor Dodge, Robert Stallman, and Nancy Toff. I enjoyed reading them, and think you will too. A big thank you to the contributors, and perhaps an even bigger thank you (since a picture’s worth a thousand words!) to Pryor Dodge and the others who have let us reproduce their Rampal photographs here. March’s Member Profile subject is Ann Cecil Sterman, whose name should be well known to readers of this newsletter from the last year’s piccolo interviews (February 2000) and last month’s Ransom Wilson interview. But not until reading her profile did I know that she is a serious student of Qi Gong and Tai Ji and has integrated these techniques with her flute playing. I’m happy to report that she’s promised us more on this topic for an article in May. Attentive readers will notice the absence of a Member Perspectives column this month; it was a choice of the column or more Rampal photos, and I opted for the photos. The Flute Fair is on Sunday March 11, and I hope to see you there! For convenient reference, some information you should have already is listed below:

General and media queries, additional brochures: Darla Dixon (212-799-0448) Competition: Patricia Zuber (201-750-7989) Master Class: Bärli Nugent (212-749-0097) Exhibits: David Wechsler (718-859-8649) Volunteer coordinator: Renate Jaerschky (845-368-1749)

Best regards, Katherine Saenger [email protected]