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Paula Robison Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014 e n i D

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: o t to Pan o F Interview with at the age of sixteen ̈ PAULA ROBISON

for FLÖTE AKTUELL (Claudia Wälder-Jene)

1. FA (Floete Aktuell): Dear Ms. Robison, evolved human being emerges with the abili- Foto: Boswil the flute and you - a love at first sight?? ty to pass on the deepest meaning and the ̆ Moyse,- Debost,-Strum,- deepest beauty of music to others. When Paula PR (Paula Robison): Indeed it was love at Marcel Moyse called me his “best student” he As a young flutist first sight, and first sound. It was almost did not mean that I was the best flutist who playing Mozart ̈ magical. I had studied the piano, but its had studied with him but rather that I sheer size and mass intimidated me a bit, amidst all of them had truly heard and „The Complete especially since my formidable grandmother under stood him. I heard the beauty, yes, but Sequenzas“ at was my teacher. I just couldn’t sit still to was also acutely aware of his struggles as an ’s 70th practice. I would feel as though my nose artist, of his desire to bring to life the Birthday Celebration ̄ itched, and then my knee, then my ear, I enormous expressive power of the flute. He would fidget; my grandmother finally was so was not a “cool and collected” artist as was exasperated with me that she ripped up all fashionable at the time. He was on fire, and my music. It was clear that the piano was not he set me on fire, too. He knew that I would n a m r

my instrument! I couldn’t make it sing, and carry on the flame long after he was gone. e h S

I wanted to sing. Then one day a friend gave But I have not answered your question! Here . J

me a flute, I tried it, and that was it! Voilà! I is my answer: applause is delicious. It feeds e v e t had found my voice. us! It is right to give thanks and to enjoy it. S

: o But I believe that it’s a command too: a t o 2. FA: „Perhaps the greatest flute soloist of command to keep working, keep growing, F her generation“ (J.Baker), the New York and to remain worthy of the gifts we have Times calls you an „Absolute wonder!“, been given. We must keep fire in the heart, With Marcel Moyse said, you were his „best stu- eyes and mind open and active, and humor Luciano dent“ – no doubt that you have earned limit- shining bright. Berio ̈ less recognition and internationally renow- ned esteem from all sides. How do you deal 3. FA: You deliberately made a decision in with such enormous success without having favour of a solo-career, which – in retro- it develop into a huge pressure at any stage spect – probably was the right decision. of a career? Many of your colleagues and fellow students preferred a secure place in an orchestra. Foto: Steve J. Sherman PR: Thanks for this! I am terribly grateful for Have you ever doubted your decision, or the kind things people have said about me would you do everything the same way and about my music-making through the again? years. The support of my teachers, the encouragement of the public, and the good PR: I really miss the great repertoire of the reviews: all inspired me to leap ahead into orchestra. I trained to be an orchestral musi- sometimes uncharted territory. I am grateful cian. That was my dream. But somewhere also, I must say, for the unkind things said along the way I took a curve, a turn onto a and written! They forced me to look and “road less travelled”. It was not a conscious listen carefully, to learn, to find the kind of decision; I was sure I’d play “Daphnis et strength and conviction and just sheer stub- Chloe” many times in my life (so sorry now bornness I needed to follow my path and that I only had a few chances at it…maybe stay the course. I believe that a musical gift it’s not too late!). But... I was just... interested comes straight from God, and that “success” in another way. There were voices in side me. is the development of this gift to its greatest They said “try this” and so I did. I had no San Francisco Conservatory of Music, possible extension. If this happens, a fully role models: the custom of principal players DMA Honoris Causa and Commencement Address

2 Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014

taking time off for solo and of classical musicians, their chances and playing, for instance, did not exist in the US possibilities. then as it does now, so I couldn’t ask any of them for advice. The great principal players PR: I agree with you that times have stayed in the orchestra. And no one would changed. I would almost say that time itself hear of the idea of a flute recital, of a flutist has changed. The speed at which we do and keyboardist being responsible for an things in ordinary life has increased so much evening’s worth of music. Presenters would that it bears little resemblance to the eras in ̆ With members of the Budapest Strings at Franz Lizst House smile indulgently at me when I described the which much of our music was written. JS Bach sonatas! Oh, it was frustrating! And It is almost as though we are re-living the ex- also there were no big competitions open to plosion of the Industrial Revolution of 1848. flutists in the US. Even my own school, Much was gained by all the advances of that Juilliard, did not allow flutists to compete for era, of course, but much was lost, too. Hand- a chance to play a concerto with the orchestra. work was replaced by machine-made pro- Around that time Jean-Pierre Rampal had ducts, all resembling each other. Travel was started to change the landscape with his faster. Cities became filled with noise. We incomparable playing, and he was a great started losing the sense of quiet which is inspiration, but he had all the independence essential to the preparation of works of art. and power which men alone commanded in And now, we are living in the Technological those days, and I was a young American Age. The speed of living has increased many woman. Luckily a visionary named Susan times more, and the quality of life has ̆ With husband and Co-Director Scott Nickrenz Wadsworth was starting the organization changed, too. I have a name for this: Paula’s at the Tric Trac, Spoleto Festival called Young Concert Artists, and she took Clock Theory. Do you remember when clok- me on. And the Chamber Music Society of ks and metronomes used to say “tick-tock”? With Eugenio Lincoln Center was founded. And I went to There was a movement forward and then a Monti Colla Geneva and won the First Prize. But still release as the pendulum went back each and a ballerina, there were so many hurdles. I wanted to take time. Now clocks say only “tick, tick, tick”; Spoleto Festival leaps that would clear all the hurdles! I they move only forward. There is no release! ̇ remember saying in an article early on that I I find this to be a metaphor for our life as hu- longed for the day when knowledgeable mans on this planet in this age. Everything is listeners would be able to admire many solo moving forward. There is little time to be flutists, just as they did singers or violinists: still and listen and learn. People go to “see” a not just one, but many, all different from concert, not to “hear” one. And young artists Paula and Scott at the Teatro Caio Melisso ̄ each other. I fought for that, in my perfor- in the US are faced with this as they prepare

s ming and in my teaching. And look! Now it their lives as instrumentalists. No longer can o r

b has happened! So many marvelous flutists! I they expect a large concert hall full of rapt m a

L hope I played a part in this transformation. listeners who know their music, since the

a i r So: “Non, je ne regrette rien”. study of music is gradually being taken out a M

of the curriculum in US schools. They must : o t

o 4. FA: Times in the music world have compete with the electronic devices every - F changed, certainly not only in Germany but one brings with them. They are forced often probably also in the US. A change always to become “entertainers” to keep the audien- brings positive and negative aspects with it. ces’ attention. But all is not lost. It is a new How would you outline the current situation world now, and the most interesting young artists are making their own civilizations A fragment of with in it: playing in unusual spaces, smaller 's spaces, going into communities and igniting Music for Flute the love of music for all kinds of people, ap- and Orchestra preciating the “” of the many ̇ cultures amongst us and combining styles of playing to make a new music. For me, that is Hommage a the future. But I do believe that this future Colette~photo must include the release, the “tock”, the Matt Dine quiet. My daughter is a singer-songwriter ̈ and one of her early lyrics contains this request: “Just close your eyes and listen”.

5. FA: Your parents were both professional- ly rooted in the theater world, which has influenced you from early childhood until today and has also inspired your own projects. Please, tell us about this, about the motivation to also present oneself on this stage, and the parallels and/or the differences to your musical experiences. ̆ Kirchner at the Ojai Festival with

3 Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014

Working with musicians of the New World Symphony. Foto Ed Freedman PR: My father and uncle were both play- wrights, my mother an actor. My sister, brother and I did our own “productions” at home all the time, and because of the vibrant theater life of my family and their friends, I have always felt at home on the stage. I have always “spoken” through the flute so at a cer- tain point those inner voices started to whisper “why don’t you try a speaking part?” ̆ With Master Headjoint One day I was joking with a group of young maker Zu Feng Le players about how I longed to do the Sprech- stimme in Schoenberg’s “Pierrot Lunaire”, Pierrot Lunaire of Schoenberg and suddenly they all said “Let’s do it!” I said with the New World Symphony “WHAT??” And they said “Yes, yes let’s do it!” They were with me! And when I sometimes faltered during the preparation, because it is an enormous masterpiece, they would not let me go. I had to do it! What a journey that was! And what fun it was to finally be able to growl: “Finstre, Schwarze Riesenfalter” in- stead of sitting and listening enviously! And “Heilge Kreuze”... and “Gebet an Pierrot”, my favorite, along with “Heimweh”... oh! So much that speaks from the heart and mind of all artists! Many performances followed, along with other speaking parts. I am back full time to the flute now, but shall always be grateful for those years of speaking “for real”. It has carried over into my playing in a big way. Similarly, the years of playing Brazilian Choro and Samba with guitarist Romero Lubambo and percussionist freed me from the tyranny of the bar line, taught me what true “rubato” is, and gave me a different sense of communication with our audiences because of the music’s informal, joyous, improvisatory nature. It was another way of speaking, communicating, which has enriched my classical flute playing. I think often of Mozart and how the Turkish Janissa- ry music he heard at the outskirts of Vienna inspired him to write some of his most vivid music. If we are open, we learn. Sometimes Bach with the Orchestra we receive enlightenment from the most un- of St Lukes. Foto Matt Dine expected places!

6. FA: Generally speaking, you feel at home with all forms of the arts like your project Masterclass "With Art". An affair of the heart for you? at Juilliard Foto: Sue-Anne PR: “With Art” remains one of my favorite Everheart projects. We Americans are not surrounded ̇ by great historic art and architecture as you Jolivet Chant de Linos are in Europe. Many Americans appreciate Foto Matt Dine the natural beauty of a landscape but cannot concentrate on a work of art interpreting the A Masterclass Foto Stefan Cohen same landscape. So it is great fun to say “– Listen! Look! Wake up! Here is beauty!” Or: “Hey! Wake up! Here is something deeply disturbing!” Music and art combined can often accomplish that, and I love the pro- cess. My special favorite was an installation done at the Isabella Stewart Gardner Museum by the great conceptual artist Sol LeWitt. He filled a small room with one of

At a Farmers Market with daughter Elizabeth 4 Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014

Diseuse. Foto Matt Dine

his amazing wall drawings and in the room an immense, bellowing, bulbous, blaring set we played Mozart at random times over of intestinal-looking forms filling a huge several months. The bright colors in the room at MASS MoCA. Such fun! Varese was drawing became Mozart’s voice just as the my sword and Bach was my shield! I tried music did. Then the drawing was removed. George Gershwin’s “Embraceable You”, too. That was sad. But it was part of the project. The Überorgan liked that. Another beautiful installation was in Spole- to: a room just for me, by Neapolitan artist 7. FA: You pass on your experience, your Anna Sargenti, to play Debussy’s “Syrinx”. mastery and your love of the flute to young Both of these projects were curated by people . What are the three most important Pieranna Cavalchini. And then there was my thoughts that you convey to your students? challenge to Tim Hawkinson’s “Überorgan”, PR: 1. Play with your heart: the more you give of your heart, the more heart you will have to give. Challenging Tim Hawkinson's Überorgan at MASS MoCA 2. Play with your mind: do not be stupid; use your intelligence, be aware.

3. Play with your spirit: bring into the place where you are gathered with your listeners the things which are beyond us all and can only be described in music.

8. FA: What does your daily musical work - out look like... in comparison to other people’s daily routines like studying the news paper or jogging in the park?

PR: My husband and I do read the news - paper together! I have always danced, so I bring to my warm up the disciplines of the barre. I have written a warmups book which I use, and I do my Taffanel and Gaubert and Moyse studies every day. I have returned to etudes in recent years. I always have a lot of reper- toire to learn, so that takes a good part of my practice time. Right now I’m preparing for the premiere of the restored “Music for Flute and Orchestra” by Leon Kirchner, written for me in 1978. I believe in prayer. The practice room is a place of prayer for me. And when the work is done, I put it all in God’s hands. I’ll certainly be praying before the Kirchner ̆ With Cyro Baptista and Romero Lubambo, ̆ Vaughan Williams, Lark Ascending with the premiere! Plaza San Pedro,Cartagena Festival New England Conservatory Wind Ensemble, Foto Marilynne Herbert Charles Peltz, conductor. Foto Andrew Hurlbut

̇ A message from Aaron Copland

Ode to Napoleon Buonaparte

5 Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014

9. FA: Nature plays an important role in founder and director of Flutistry Boston, and has great power because it shakes us and your life, which you also carry over into your he said “Paula, you need someone to sit with sprinkles stardust on us and lets us see how music. A relationship, which is found in you, ask you questions; your thoughts ridiculous we can be, we humans! many works of music history and which you should be on film.” He paused a moment, greatly revive in your teaching and your and suddenly exclaimed “I’ll do it!”. So we 12. FA: Your new CD "Playing New York" playing. How do these two aspects comple- got together in my garden and the surroun- with American pianist Steven Beck has just ment each other and form a symbiosis? ding fields and made some films together. appeared. A love letter to New York – from Adam did the graphics, put them up on You- you with your personal message to the city PR: Humans are wonderful, but some of my Tube, and there they are! “Flutings with and the listeners? most important teachers have been birds. Paula”! We flutists are lucky to play so much bird- I’m so glad you like them. I hope they will be song! I am a mad gardener. When life presses of use, and that we’ll be able to make more in on me, I go to the garden and work and of them. listen to the birds. And when I’m practicing, they fly to a tree near my room and sing. 11. FA: How would you describe the bond Being a child in Southern California awake- and the connection between a teacher and a ned my love of nature. In those days people student – which is in my view the funda- had fruit trees in their yards; we had a plum mental part of the education? tree, neighbors had orange trees, and I pas- sed them as I walked to school. The glowing PR: The studio is a sacred space. Every fruit and the sweet blossoms and leaves be- lesson is a blessed moment in time. The out- came part of me. We ran around without side world disappears. The teacher and the shoes and the grass was delicious under our student have the opportunity for true feet. The birds sang. I was aware of a great communion. Teacher can become student. divine sweetness of which I was somehow a Student can become teacher. If both have part. And when storms came, they called to prepared for the moment, both can grow. me. I guess that’s why, later, I was inspired to Messages of wisdom, history, finely-wrought PR: I loved the “Playing New York” project! express all of that with the sound of my flute skills, artistry are given to the student by the Steve Beck is such a great pianist, and we and to pass it on in my teaching. teacher. If the student is open and ready to had a lot of fun making the album. I am accept, trust, and try, the messages are affir- happy to still have my “chops”, as we say, to 10. FA: The sound of the flute player is like med. The student, leaving the sacred space, still be able to play this challenging reper - the voice of the singer, playing „between" the is free to go his own way and choose not to toire. New York is like no other place in the notes and dancing with the sounds give rise accept the knowledge given by the teacher. world, I spent many exciting years there, so to a sound which brings the heart to sing. That is his or her choice. But, in the space, I was thrilled to “play” a love letter to that Your series on Youtube „Flutings with Paula" during the lesson, he must be open. He or great city. I was also glad to celebrate Ameri- takes us by the hand and leads us on a walk she must try everything given, freely and can music. I hope to do a lot more of that in through the garden of the art of the flute. with an honest heart. the coming years. The next release will be of What inspired you to create this very special I do not believe that fear has a place in the French music however: an album with the teaching method? studio. Discipline yes, but not abuse and amazing Finnish pianist Paavali Jumppanen. fear. I know that some teachers like to instill It will be the music of Boulez (yes, the PR: For a while now people have been telling fear in their students. I’m sure that this Sonatine!), Messaien, Debussy, and Thierry me to write my memoirs, because I was a enables them to release their store of know- Lancino (a first recording). And after that, young musician in mid-twentieth century ledge because they enjoy their display of who knows? America and there are a lot of stories to tell. power. This is not my way. I believe that But I still have a rich performing and teacher and student are both seekers. Both Thank You for asking me for this interview, teaching life and cannot sit down and write can be enlightened by that precious stopping and for all the generous and thoughtful a book! I was speaking of this dilemma one of time which is the lesson. And above all, questions. It has been a great pleasure. day with my colleague Adam Workman, the laughter is honored in my studio! Laughter

Temple of Dendur, Metropolitan Museum of Art~photo Stefan Cohen With good friends and fellow flutists Sheryl Henze, Wendy Stern, and Rie Schmidt after „Dancing with Bach“ concert at the Metropolitan Museum, NY

6 Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014

Discography Vanguard Classics Musical Heritage Society ATM CD 1271 Mozart Flute Quartets: Complete CASS: 6299 Chamber Music Society of Lincoln Pergola Recordings (Paula Robison, flute; Tokyo String Quartet) Center Presents Schubert and Schumann: PR1032 One Hundred Roses: Seven Italian ATM CD 1615 Carmen Fantasy: Bizet-Borne, Schubert Variations for Flute and Piano Serenades and Dances, with music by Godard, Faur, Delibes, Massenet, Taffanel, Dutilleux, (Paula Robison, flute; Richard Goode, piano) Chaminade, Griffes and Massenet. (Paula Gaubert (Paula Robison, flute; Samuel Sanders, and other live performances Robison, flute; Charleston Symphony Orchestra; piano) 5169151 Canciones Latinas David Stahl, conductor) ATM CD 1616 Paula Robison, The Romantic (Paula Robison, flute; Eliot Fisk, guitar) PR1033 Mozart in Love: Music by Wolfgang Flute (Paula Robison, flute; Samuel Sanders, 5169160 French Masterpieces for Flute and Amadeus Mozart (Paula Robison, flute; piano) Piano: Works by Faur, Boulanger, Ravel, and Charleston Symphony Orchestra; Bundit ATM CD 1493 Bach Flute Sonatas, Flute Partita Poulenc (Paula Robison, flute; Ungrangsee, conductor) (Paula Robison, flute; Kenneth , piano) PR1034 By The Old Pine Tree: Music by Stephen Cooper, harpsichord; Timothy Eddy, cello) 5184518 Paula Robison Plays American Master- Foster and Sidney Lanier (Paula Robison, flute; ATM CD 1494 Handel Flute Sonatas: Complete works: Works by Copland, Barber, Roy Harris, Krista Bennion Feeney and Calvin Wiersma, (Paula Robison, flute; Kenneth Cooper, and (Paula Robison, flute; violins; John Feeney, bass; Samuel Sanders, harpsichord; Timothy Eddy, cello) Timothy Hester, piano) piano) ATM CD 1837 Brasileirinho: Choros, Chorinhos, CD: 7038 Mountain Songs: Works by Beaser, PR1035 Paula Robison: Edvard Grieg, Joachim Bossas and Bach (Paula Robison, flute; Romero MacDowell, Richards, Foster, Corea, Schuman, Andersen: Music for Flute and Piano (Paula Lubambo, guitar; Tiberio Nascimento, guitar; and Ives (Paula Robison, flute; Eliot Fisk, Robison, flute; Samuel Sanders, piano) Sergio Brandao, Cavaquinho; Stanley guitar) PR1036 Paula Robison, John Gibbons: Silverman, guitar and mandolin; Cyro Baptista, MMD0152Y/53W Spoleto Festival USA: Chamber J.S. Bach Sonatas BWV 525-530 (Paula percussion) Music at the Dock Street Theatre Robison, flute; John Gibbons, harpsichord) ATM CD 1860 Ravel Faur Debussy: MMD0040/41 Poulenc: Complete Music for PR1037 Rio Days, Rio Nights (Paula Robison, Works for Flute Viola and Harp Wind Instruments and Piano The Chamber flute; Romero Lubambo, guitar; Sergio Brandao, (Paula Robison, flute; Scott Nickrenz, viola; Music Society of Lincoln Center bass and cavaquinho; Cyro Baptista, , harp) MMD0093Z J.S. Bach, A Musical Celebration: percussion) MC 123 The Art of Paula Robison The Chamber Music Society of Lincoln Center PR1038 Paula Live! Music of Frazelle, A collection of all-time favorites from the MHS4523 G. Philipp Telemann: Liebermann, Kirchner, and Prokofiev Vanguard Archives (Paula Robison, flute and Six Konzerte for Flute and Concertante (Paula Robison, flute; Timothy Hester, piano; various artists) Harpsichord (Paula Robison, flute; Jean-Yves Thibaudet, piano; Ayano Kataoka, Anthony Newman, harpsichord) percussion; , piano) CBS Masterworks MHS3704/5 G. Philipp Telemann: Twelve Metho- PR1039 Playing New York (Paula Robison, flute; CD: MLS 45523 Flute, Greatest Hits: Greenslee- dical Sonatas for Flute and Continuo (Paula Ro- Steven Beck, piano) ves, Faur Sicilienne, Genin Carnival of Venice, bison, flute; Samuel Sanders, harpsichord; Lau- and other performances (Paula Robison, flute; rence Lesser, cello) Pucker Gallery, Boston Tokyo Akademiker Ensemble) ISBN:1-879985-11-X Places of the Spirit: Music Columbia Masterworks and Images Inspired by the Berk shires. CD and SONY Classical ML5768 Saint Sans: The Carnival of the Animals catalogue collaboration. Music by Takemitsu, CD: SMK 46250 Marlboro Festival, (Paula Robison, flute; ; Schickele, Kirchner, Vivaldi, Warshauer, Debus- 40th Anniversary: Nielsen Woodwind Quartet , conductor and narrator) sy and Traditional music. (Paula Robison, flute; (Paula Robison, flute; Joseph Turner, oboe; Cyro Baptista, percussion; paintings by Jim Larry Combs, clarinet; William Winstead, M39006 Paula Robison: Romantic Favorites Schantz) bassoon; Richard Solis, horn) ISBN:1-879985-19-5 Places of the Spirit: The Connoisseur Society Holy Land. A trip to Jerusalem with painter Jim Bridge Records CS362(5751) Flute Concertos of 18th Century Schantz, a book of images and a CD of music BRIDGE: 903 Duos from Malboro: A collection of Paris: Concertos for 5 flutes (Paula Robison, inspired by the journey. (Paula Robison, flute; performances from the Marlboro Music Festival Samuel Baron, Harold Bennett, Lois Schaefer, Frederic Hand, guitar; Steven Beck, piano; including the 1968 recording of Schuberts and Jean- Pierre Rampal, flutes) Nancy Allen, harp) Introduction and Variations with , piano CRI King Records CRI SD 439 William Schuman: In Sweet Music KICC67 Hungarian Pastoral Fantasy Marlboro Recording Society (Paula Robison, flute; (Paula Robison, flute; Tokyo Akademiker LP: MRS 3 Schubert: Introduction and Variations Scott Nickrenz, viola; Heidi Lehwalder, harp; Ensemble; Fumiki Asazuma, conductor) on Trockne Blumen (Paula Robison, flute; Rosalind Rees, soprano) Rudolf Serkin, piano) New World Records Mode 80403-2 Flutes: Beaser, Song of the Bells MODE210 Lei Liang Brush Stroke: World (Paula Robison, flute; Solisti New York Cham- Premiere recording of Lei Liangs In Praise of ber Orchestra; Alasdair Neale, conductor), The Shadows Old Men Admiring Themselves in the Water MODE161/3 Berio Sequenzas complete and solo (Robert Beaser, piano) and other performances works

7 Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014

Commissions Lukas Matousek, Ohlednuti Orfeovo William Schuman, In Sweet Music World Premiere: March 1978 in Chicago, IL World Premiere: October 29, 1978 at Lincoln Works for Flute and Orchestra Orpheus Trio (Paula Robison, flute; Scott Centers Alice Tully Hall, New York, NY Nickrenz, viola; Heidi Lehwalder, harp) *Commissioned by the Chamber Music Society , Blue Ridge Airs II of Lincoln Center World Premiere: October 19, 1991 Charleston Fred Lerdahl, Imitations; Etudes for flute, viola and Symphony Orchestra; David Stahl, conductor harp Betsy Jolas, O Wall *With support from The North Carolina Arts World Premiere: 1977 at Brooklyn Academy of World Premiere: November 5, 1976 at Lincoln Council, Anonymous and Private Donors, The Music, New York, NY Orpheus Trio Centers Alice Tully Hall, New York, NY Rosensteil Foundation, Lily Auchincloss, and (Paula Robison, flute; Scott Nickrenz, viola; *Commissioned by the Chamber Music Society Richard and Mary Gray Foundation Heidi Lehwalder, harp) of Lincoln Center

Robert Beaser, Song of the Bells John Austin, Orpheus and the Maenads , Concertos I and II World Premiere: May 1, 1987 St. Paul Chamber World Premiere: May 1976 in New York, NY World Premiere: June 5 & 6, 1976 at the Dock Orchestra; Enrique Arturo Diemecke, conductor Orpheus Trio (Paula Robison, flute; Scott Street Theatre, Charleston, SC *With support from The National Endowment Nickrenz, viola; Heidi Lehwalder, harp) for the Arts. Oliver Knussen, Ophelia Dances Jan Bach, Eisteddfod Variations on a Penillion World Premiere: May 9, 1975 at Lincoln Centers Toru Takemitsu, I Hear the Water Dreaming World Premiere: November 1972 in Chicago, Alice Tully Hall, New York, NY *Commissioned World Premiere: April 6, 1987 Indianapolis IL Orpheus Trio (Paula Robison, flute; Scott by the Chamber Music Society of Lincoln Center Symphony; , conductor *With Nickrenz, viola; Heidi Lehwalder, harp) support from Isamu Noguchi, Lisa de Kooning, Tiberiu Olah, In Time of Memory Lily Auchincloss, Jerome Lawrence, The Ralph E. Karel Reiner, Trio for Flute Viola and Harp World Premiere: December 6, 1974 at Lincoln Ogden Foundation at Storm King, L. William Orpheus Trio (Paula Robison, flute; Scott Centers Alice Tully Hall, New York, NY Seidman, The Danziger Foundation, Ciro Nickrenz, viola; Heidi Lehwalder, harp) *Commissioned by the Chamber Music Society Gamboni, Tsuneko Sadao, and Priscilla Morgan of Lincoln Center Leon Kirchner, Flutings for Paula (solo flute) Leon Kirchner, Music for Flute and Orchestra World Premiere: July 23, 1971 at Fogg Art Alberto Ginastera, Serenata World Premiere: October 30, 1978 Indianapolis Museum, Harvard University, Cambridge, MA World Premiere: January 18, 1974 at Lincoln Symphony; John Nelson, conductor *With sup- Centers Alice Tully Hall, New York, NY port from The National Endowment for the Arts, World Premieres *Commissioned by the Chamber Music Society The Rosensteil Foundation, and Mr. & Mrs. of Lincoln Center Michael Tilson Thomas, Notturno Adolf Robison World Premiere: April 10, 2005 at Carnegie Halls Pierre Boulez, explosante-fixe Zankel Hall, New York, NY Michael Tilson Oliver Knussen, Concerto World Premiere: January 5, 1973 at Lincoln Thomas, conductor Work in progress *With support from Centers Alice Tully Hall, New York, NY The Paul Fromm Foundation, Lily Auchincloss, *Commissioned by the Chamber Music Society Meira Warshauer, Bati L. Gani, for flute and and The Seidman Foundation of Lincoln Center percussion World Premiere: April 13, 2003 at Columbia Commissioned Chamber Works Barbara Kolb, Soundings (SC) Museum of Art World Premiere: October 27, 1972 at Lincoln Kenneth Frazelle, Blue Ridge Airs II Centers Alice Tully Hall, New York, NY (reworked for flute and piano) Arr. Paula Robison, Deep River *Commissioned by the Chamber Music Society World Premiere: April 2, 2001 at Jordan Hall in World Premiere: September 11, 2002 at Reading of Lincoln Center Boston, MA Paula Robison, flute; Timothy Hester, of the Names Ground Zero, World Trade Center piano *With support from Paul & Mela Haklisch in New York, NY Haruna Miyake-Shibata, Six Voices in June World Premiere: February 2, 1971 at Lincoln Alberto Ginastera, Puneña No. 1, for solo flute Arr. Daniel Paget, One Hundred Roses: Neapolitan Centers Alice Tully Hall, New York, NY Fragments of work performed July 10, 1995 at Love Songs and Dances *Commissioned by the Chamber Music Society Spoleto Festival, Charleston, SC *With support World Premiere: March 18, 2002 at The Metro- of Lincoln Center from The Chamber Music Society of Lincoln politan Museum of Arts Temple of Dendur Center John Corigliano, Poem in October George Perle, Sextet World Premiere: October, 5 1970 at Lincoln Toru Takemitsu, Itinerant, for solo flute World Premiere: March 19, 1989 at Lincoln Centers Alice Tully Hall, New York, NY (In memory of Isamu Noguchi) Centers Alice Tully Hall, New York, NY *Commissioned by the Chamber Music Society World Premiere: February 7, 1989 at Isamu *Commissioned by the Chamber Music Society of Lincoln Center Noguchi Garden Museum, Long Island City, NY of Lincoln Center Premieres Lowell Liebermann, Sonata for Flute and Piano Carla Bley, Coppertone World Premiere: June 1987 at Spoleto Festival World Premiere: April 24, 1987 at Lincoln Oliver Knussen, Masks, for flute and glass chimes USA, Charleston, SC Paula Robison, flute; Centers Alice Tully Hall, New York, NY US Premiere: November 1973 at Jordan Hall, Jean-Yves Thibaudet, piano *Commissioned by the Chamber Music Society Boston, MA *With support from The Spoleto Festival of Lincoln Center Toru Takemitsu, Voice, for solo flute Robert Beaser, Mountain Songs, for flute and guitar Keith Jarrett, Sacred Ground (For the American US Premiere: July 1970 at the Marlboro Music World Premiere: April 20, 1985 at The Indian) Festival, VT Metropolitan Museum of Art, New York, NY World Premiere: December 15, 1985 at Lincoln Paula Robison, flute; Eliot Fisk, guitar Centers Alice Tully Hall, New York, NY Toru Takemitsu, Air, for solo flute *Commissioned by the Chamber Music Society US Premiere: February 1996 at the Asia Society Lowell Liebermann, Sonata for Flute and Guitar of Lincoln Center Memorial Service for the composer, New York, World Premiere: 1983; Broadcast from live NY performance on WNCN FM, New York, NY { *With support from The Barlow Foundation

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