Claire Chase: the Pulse of the Possible

VOLUMEXXXVIII , NO . 3 S PRING 2 0 1 3

THE lut i st QUARTERLY

Claire Chase: The Pulse of the Possible

Curiosity and Encouragement: Alexander Murray The Charles F. Kurth Manuscript Collection Convention 2013: On to New Orleans

THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC It is only a tool. A tool forged from the metals of the earth, from silver, from gold. Fashioned by history. Crafted by the masters. It is a tool that shapes mood and culture. It enraptures, sometimes distracts, exhilarates and soothes, sings and weeps. Now take up the tool and sculpt music from the air.

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CONTENTSTHE FLUTIST QUARTERLY VOLUME XXXVIII, NO. 3 SPRING 2013 DEPARTMENTS 11 From the President 49 From the Local Arrangements Chair 13 From the Editor 55 Notes from Around the World 14 High Notes 58 New Products 32 Masterclass Listings 59 Passing Tones 60 Reviews 39 Across the Miles 74 Honor Roll of Donors 43 NFA News to the NFA 45 Confluence of Cultures & 77 NFA Office, Coordinators, Perseverence of Spirit Committee Chairs 18 48 From Your Convention Director 80 Index of Advertisers FEATURES 18 Claire Chase: The Pulse of the Possible by Paul Taub Whether brokering the creative energy of 33 musicians into the mold-breaking ICE Ensemble or (with an appreciative nod to Varèse) plotting her own history-making place in the future, emerging flutist Claire Chase herself is Exhibit A in the lineup of evidence for why she was recently awarded a MacArthur Fellowship “genius” grant. 24 Alexander Murray: Curiosity and Encouragement by Robert Bigio Despite his early pedagogical misfortunes, the expat Englishman Alexander Murray, a long-term resident of Urbana, Illinois, has thrived as a renowned flutist, teacher, flute designer, and practitioner- trainer of the Alexander Technique. 28 Discovered in North Carolina: The Charles F. Kurth Manuscript Collection by Amanda Barrett The veiled history of American symphonic flutists in the final decades of the 19th century comes 24 to light, thanks to a valuable collection bequeathed to a foundation in North Carolina. In Charlotte, at the NFA’s 2011 convention, the author presented an overview of the collection, and offers more details about it here. 52 Labors of Love: Angeleita Floyd by Beth Chandler The building blocks to virtually every significant layer in the NFA’s growth—from creating its competitions to chairing and conducting for its conventions—have been in the capable hands of Angeleita Floyd, the National Flute Association’s 2013 Distinguished Service Award recipient, almost since the organization’s beginnings.

Cover: Photo of Claire Chase and ICE by Armen Elliott

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Play it. Hear it. Feel it. Lillian Burkart The Sound and Feel of Great Design

Burkart Flutes & Piccolos 2 Shaker Road #D107 Shirley, MA 01464 USA Phone: 1-978-425-4500 E-mail: [email protected] OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] markthomasflutist.com

President Beth Chandler (2012) James Madison University School of Music, MSC-7301 880 S. Main St. Harrisonburg, VA 22807 540-568-6836 (w); 540-574-3772 (h) Fax: 540-568-7819 [email protected]

Vice President Zart Dombourian-Eby (2012) 2515 10th Ave. West Seattle, WA 98119 206-285-0206 [email protected]

Secretary Lisa Garner Santa (2012) 3211 22nd St. Lubbock, TX 79410 806-780-3649 [email protected]

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BOARD OF DIRECTORS Aaron Goldman (2012–2015) 2817 Spencer Road Chevy Chase, MD 20815 202-298-8586 [email protected]

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THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Dolores August, Christine Beard, Lee Chivers, Amy Hamilton, Contributing Editors Victoria Stehl, Art Director Steve Wafalosky, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln, Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University, Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah, Salt Lake City, Utah Ellen Huntington Flutist, Lyrebird Ensemble Flute Instructor, Loyola University, Chicago Mount Prospect, Illinois Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa, Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa, Iowa City, Iowa Nina Perlove Executive Director, American Classical Music Hall of Fame “Internet Flutist,” realfluteproject.com Adjunct Instructor of Flute, Northern Kentucky University Cincinnati, Ohio Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino, California Rebecca Quigley Flutist and Studio Teacher, Westchester, New York Eldred Spell Professor of Flute Western Carolina University, Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies, School of Music Texas Tech University, Lubbock, Texas Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon and Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Ruth Ann McClain Flutist and Studio Teacher, Memphis, Tennessee John Wion Professor of Flute, The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff Katha Kissman, Interim Executive Director Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, IT Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications.

From the PRESIDENT

More to Enjoy from the NFA

or many members, the annual NFA gram books since 2006 and the annual convention is one of the highlights membership directory. Fof the year. It is an opportunity to Also on the website you can purchase renew our flute interests, hear enticing special publications produced exclu- new music, reacquaint ourselves with sively by the NFA, including books, Beth Chandler beloved standard works, and purchase guides, and historical CDs, and investi- new instruments, materials, accessories, gate discounted musical instrument recordings, and gadgets. We learn about insurance, a members-only benefit. Enjoy and reward the hard work of young styles of playing different from our access to the NFA Library (including bor- competition winners. own areas of expertise, gain insightful rowing privileges) housed at the Both the Pedagogy and Special teaching perspectives, listen to world University of Arizona, the searchable Publications committees continue to premieres, are impressed with up-and- membership directory, user guides and pursue new projects, including future comers, and are inspired by many repertoire lists (check out the “Stage and print and online publications. Endeavors established performers and the leg- Studio” tab), and numerous resources to to strengthen current international ends of our time. find a job, a teacher, a masterclass, or a relations while seeking new opportu- And perhaps best of all, the convention local flute club, choir, or event. nities continue through the efforts of provides the venue to reconnect with Behind the scenes, our committees our International and Myrna Brown longtime friends and to make new ones. and coordinators are hard at work on Scholarship Liaisons. And the Nominat- For some, the convention tends to be the many special projects beyond the con- ing Committee actively continues to primary purpose of their NFA member- vention. There are more worthy endeav- position eager and experienced mem- ship, and with good reason! But there is ors to feature than space here allows, but bers in roles to provide vital perspective even more to enjoy about the NFA. In the I’m pleased to share a few highlights. and leadership for the future of the months between post-convention “recov- The commissioning of new works organization. ery” and the preparation and travel plan- remains an active priority for the New In the midst of all of this activity, is ning for the next one, consider the Music Advisory Committee and many of tremendous resources that the NFA our other committee chairs and competi- there a project or focus that you’d like offers. Our website, nfaonline.org, is the tion coordinators. Our Development and the NFA to consider pursuing? What are best destination for all things NFA. Endowment committees continue to seek your interests? I welcome your ideas If you haven’t visited the NFA web- new ways to work on behalf of the organ- and suggestions—please write to me at site lately, spend a few minutes perus- ization to benefit members. And the NFA [email protected]. I look forward to ing. Check out the beautiful artwork happily receives in order to be able to give hearing from you! of some of the latest Flutist Quarterly back through our philanthropic activi- Of course, our 2013 program chair, covers, memorable convention photos ties. The Cultural Outreach Committee Tadeu Coelho, and his assistant, and chronicles, and the online-only administers youth scholarships for Krisztina Dér, are diligently working to feature, FQ Plus. Download electronic community music schools in conven- plan an exciting convention in New versions of current and past issues of tion cities, while other convention- Orleans! I hope you’re already making our member magazine (40 issues and related scholarships provide opportu- your summer plans!

KATE L PHOTOGRAPHY counting), as well as convention pro- nities for rising international artists —Beth Chandler

nfaonline.org Spring 2013 The Flutist Quarterly 11

From the EDITOR

Anne Welsbacher

Perpetual People

eople populate this issue of The to a stalwart member of our global flute a brief note in this issue’s High Notes Flutist Quarterly through and community with his article about nona- department about Austrian flutist and Pthrough. Every one of the feature genarian Alexander Murray, whose work NFA member Karin Bonelli, who in articles here explores an individual’s with Albert Cooper helped lead us to the May 2012 won a position in the contributions to our flute communi- groundbreaking Cooper Scale. Murray’s Vienna Staatsoper, which feeds into ty—past, present, and future. design work represents only a sliver of his the Vienna Philharmonic. We will fol- Our cover story profiles Claire Chase, skills, which were gained, apparently, not low her career eagerly through the a flutist whose talents in creating a dif- because of but in spite of teachers from coming months, because if Bonelli ferent model for the performance and his early days. successfully finishes her one-year trial commissioning of new works recently Amanda Barrett’s narrative of the man period, she will become the first helped earn her a “genius” MacArthur behind the Charles Kurth Collection in tenured woman wind player in the award. This accomplishment is particu- North Carolina began with a presenta- orchestra’s history. larly meaningful because Chase also is tion in Charlotte at the NFA 2011 con- Of course, thousands of people— the first flutist to take this award— vention. Here she expands on her including, we hope, you—are featured although the article’s author, Paul Taub, research, which has brought to light in our spring issue’s sneak peek at the is quick to note that her talents are myr- information and insight about the annual convention, this year in New iad and remarkable, extending beyond United States’ flute orchestral communi- Orleans and this year especially focused her skills with the instrument. We’re ty in the late 19th and early 20th century. on a constituency as diverse and broad grateful to Taub for snagging an inter- Moving firmly into our own era, Beth as the city itself. Also in this issue you’ll view with Chase only a few weeks after Chandler paints a portrait of Angeleita find lots more information about the the announcement of her award, and we Floyd, the NFA’s 2013 Distinguished convention, our listing of masterclasses hope you enjoy meeting this remarkable Service Award recipient, whose lifelong (find plenty more, in more detail, at young emerging artist. devotion to the organization has been as nfaonline.org), news of flute clubs and Reaching back into the past a good cheerful as it has been varied. of events worldwide, and more. way—while celebrating a still-vibrant The reach of the people highlighted Happy spring! present—Robert Bigio re-introduces us here even extends into the future, with —Anne Welsbacher

nfaonline.org Spring 2013 The Flutist Quarterly 13 High Notes News and activities about the accomplishments of National Flute Association members and the flute world

tion of instruments. Completed in September 2012, its title is taken from a Portuguese word meaning a person of mixed indigenous Brazilian and European ancestry. Caboclo, who rep- resent the “melting pot” character of Brazil, comprise a large per- centage of the Brazilian Amazonian population and hold many cultural aspects in common with the rest of the country, including dances, songs, traditions, religious beliefs, heroic characters, foods, and mythologies. The latter are the subject of this suite’s five connected movements. The Concertino was commissioned in 2011 for Coelho by a consortium of university bands and Guggenheim Museum Zara Lawler individual donors. Following the November presentation of the n November 20, 2012, the United States premiere of Concertino, Coelho performed Paganini’s Caprice #24 for the OSalvatore Sciarrino’s Il Cerchio Tagliato Dei Suoni (1997) audience of 1,500. for four flute soloists and 100 migrating flutists took place in the Rotunda of the Solomon R. Guggenheim Museum in New hristine Potter, chair of York City. Translated in English as “Cutting the Circle of Cthe NFA Low Flutes Sounds,” the musical and theatrical performance was con- Committee, has been named ceived and staged by NFA member and multidisciplinary the artistic director of the new artist Zara Lawler. Read about this event in a new article by International Low Flutes Elizabeth Buck in the NFA’s online publication, FQ-Plus. Visit Festival to be held March 7–9, nfaonline.org and open the Publications tab. 2014, at the University of Central Florida in Orlando. n 2012, Austrian flutist and NFA member Karin Bonelli Potter will perform and con- Ibecame one of the few women ever to win an audition with duct works for low flutes at the the Vienna Philharmonic, and in September she began a one- Christine Potter festival, which also will feature year trial period with the orchestra’s “farm team,” the Vienna performances and workshops by low flutes players, including Staatsoper. If she passes her trial period, she will become the first Robert Dick. Assisting Potter will be Carla Rees, Nora Lee Garcia, tenured woman player in the Vienna Philharmonic’s wind, brass, Laurel Ann Maurer, Peter Sheridan, Paige Long, Marion Garver or percussion section. (The Vienna Symphony, which has Fredrickson, Karen Demsey, Wendy Stern, and Sandra Howard, accepted more women musicians in recent years, recently many of whom perform at the festival as well. Potter also plans appointed Jasmine Choi as its principal flute.) Bonelli is 25. to include reading sessions and a performance for all interested players on the closing concert. The inaugural festival will program solos with and without piano, chamber music that includes low flutes, and workshop topics specific to low flutes, and Potter hopes to feature premiers of works for low flutes ensemble. More information can be found at lowflutesfestival.com.

n summer 2012, Mimi IStillman joined the Curtis Institute of Music’s new Summer Programs faculty. Stillman performed with her Tadeu Coelho and the Bob Jones University Symphonic Wind Band Dolce Suono Ensemble in res- adeu Coelho and the Bob Jones University Symphonic idence at the Kingston TWind Band presented the world premiere of Jess Turner’s Chamber Music Festival, was Concertino Caboclo November 30, 2012, on the BJU campus featured artist at Yamaha’s in Greenville, South Carolina. The new work for flute/piccolo Young Performing Artists and wind ensemble is one of relatively few for this combina- Mimi Stillman Celebration, and did a live

14 The Flutist Quarterly Spring 2013 nfaonline.org radio broadcast for Kol HaMusica, Israel. Her 2012–2013 sea- musicians grades 8–12 from across the United States and fea- son includes recitals and solo performances at Symphony tures both band and orchestra ensembles, among other disci- Space (New York), the University of Delaware, Cornell plines. Visit lutheransummermusic.org. University, Swarthmore College, Bedford Chamber Concerts (NY), Cabrini College, and the Chamber Orchestra of the heryl Lynne Skinner performed in a benefit for those Triangle. Dolce Suono Ensemble, of which Stillman is founder Caffected by storm Sandy, the “2Sandy Benefit” in and artistic director, continues its home series in Philadelphia Peekskill, New York, on February 17. Skinner performed with the season “Debussy in Our Midst: A Celebration of the with Brenda Vincent (violin), Sanjra Livingston (percus- 150th Anniversary of Claude Debussy (1862–1918)”. Its con- sion), Mark Tonelli (guitar), and Andy Polay (drums). Polay certs on the road include the Smithsonian American Art organized the event. Museum in Washington, DC, in collaboration with the Washington National Opera Domingo-Cafritz Young Artists n November 2012, Viviana Program at the invitation of Plácido Domingo. Stillman IGuzman took her Grand returns as flute clinician to the Music for All Festival, present- Asia Tour 2012 of eight coun- ed by Yamaha, in Indianapolis. Her project Syrinx Journey is a tries with fellow Chilean personal tribute to Debussy in which she performs Syrinx for pianist Mahani Teave. The tour solo flute every day throughout the composer’s anniversary featured works of South year and posts videos of the performances on her blog. American composers Piazzolla, Stillman started Syrinx Journey on Debussy’s birthday August Paredes, Ginastera, Lenge, 22, 2012, and has traveled to three continents as part of the Corniglio, and Guzman. Per- journey. Stillman’s flute and guitar CD Notes with guitarist formances included concerts Allen Krantz was released in September 2012. She premieres Viviana Guzman at the National Performing her solo flute work Huldah and Fang Man: A Folk Tale of the Arts Center in Beijing and the Sogetsu Hall in Tokyo and Four Dragons at the Music of Now Marathon at Symphony recitals and masterclasses in Bangkok, Singapore, Jakarta, Space in New York. This summer, she will direct the Adult Kuala Lumpur, Seoul, and Hanoi. In December, Guzman Chamber Music Program at Curtis Summer Fest and teach at performed and presented a masterclass in the Teatro Colon the Jeffrey Khaner Flute Class and the High School Music Salon Dorado in Buenos Aires, Argentina. Program. Visit mimistillman.org.

lutist Peter H. Bloom and Fpianist Mary Jane Rupert, who tour the globe as the duo “2,” are featured on a new CD, Kleemation and Other Works, by Elizabeth Vercoe. The title work, a 2003 composition, is a suite of five contrasting movements for flute and piano based on drawings by Paul Peter H. Bloom Klee. Bloom and Rupert have performed Kleemation in Thailand, Australia, and New Zealand and across the United States. Vercoe has been a Fellow at the Civitella Ranieri Center in Italy, the St. Petersburg Spring Music Festival in Russia, the Cité International des Arts in Paris, the Charles Ives Center for American Music, and the MacDowell Colony. Visit americasmusicworks.com.

FA member Suzanne NErnst, performer and educator in Decorah, Iowa, returns to teach and perform at the 32nd Annual Lutheran Summer Music Academy & Festival to be held June 23–July 21 at Luther College in Decorah, Iowa. The residen- tial music training academy Suzanne Ernst serves more than 150 student

nfaonline.org Spring 2013 The Flutist Quarterly 15 Jeanne Baxtresser ESSENTIAL GUIDES for SCHOOL and ORCHESTRAL AUDITIONS

PUBLICATIONS RECORDINGS (partial list) Orchestral Excerpts for Flute Orchestral Excerpts for ﬂute (with spoken commentary) Great Flute Duos Jeanne Baxtresser—A Collection of My Favorites from the Orchestral Repertoire Chamber Music for Flute Flower Duet from Lakmé Jeanne Baxtresser Debut Solo Recording, Montreal 1977 CDs available via iTunes, CD Baby and Flute World via: www.jeannebaxtresser.com/recordings-publications

NEW! Spring 2013 Masterclasses just announced. Please visit my website or follow me on Facebook for details. I look forward to seeing you! www.jeannebaxtresser.com

The Galway Flute Festival 2013

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Masterclasses, Workshops, Guest Artists, Concerts, Flute Choir, Flute Exhibitors, and more. ZZZ©MDPHVJDOZD\¾XWHIHVWLYDOFRP

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Claire Chase: The Pulse of the Possible by Paul Taub

18 The Flutist Quarterly Spring 2013 nfaonline.org Whether brokering the creative energy of 33 musicians into the mold- breaking ICE Ensemble or (with an appreciative nod to Varese)` plotting her own history-making place in the future, emerging flutist Claire Chase herself is Exhibit A in the lineup of evidence for why she was recently awarded a MacArthur Fellowship “Genius” grant.

hirty-four-year-old flutist Claire Chase’s trajectory in the music world was rising at a meteoric pace when she Treceived a phone call during a sound check. Through her solo work and outstanding leadership of the 10-year-old International Contemporary Ensemble (ICE), Chase was already in the vanguard of the American—and international—field of contemporary music. A graduate of Oberlin Conservatory and winner of the 2008 Concert Artists Guild Competition, she is ICE’s Artistic Director, a group many consider to be the most innovative and far-reaching ensemble for new music in the United States. “I got these seven missed calls from a mysterious Chicago number,” she related to me during a conversation in Seattle in October during an ICE residency with the Seattle Symphony, “and then an urgent email that said, ‘Call immediately; don’t speak to anybody about this.’ It was from the director of the MacArthur Fellows Program. So of course my heart leapt, and then I grabbed my heart and put it back in its socket and said, ‘Calm down. It’s probably about a recommendation for some- anything like this. It looks like a drawing, there’s all kinds of body else. But stay focused, Chase. You’ve got a sound check to swells,” she said. “This doesn’t look very hard, there’s no licks. get through.’ It was the longest 20 minutes of my life.” There’s only one trill. Where’s my chance to show off? I just The call was finally made, and Chase was informed that she wanted to play fast music at that age. had received a MacArthur Fellowship, known as a “Genius “John said, ‘Well, let me play it for you.’ And the next four Award.” “Such a marvelously generous thing that they do. You and a half minutes were life-changing for me,” she continued. have no idea before it happens,” she said. “They make absolutely “It changed my way of thinking about the instrument. It sure that their process is enshrined in secrecy of the most serious changed my way of thinking about what I could do as a flutist, kind. And they have no expectations of you once you receive the the idea that there was something more than just playing award,” a no-strings-attached sum of $500,000 over five years. beautifully. That playing powerfully was possible.” The 23 individuals in the MacArthur “genius” Class of 2012 For his part, speaking of his precocious student, Fonville include a pediatric neurosurgeon, a marine ecologist, a journal- says now, “It comes as no surprise to those who knew her as a ist, a photographer, an optical physicist and astronomer, a youngster that she would become the force of nature that she stringed-instrument bow maker, a geochemist, and a fiction is. We all should be very grateful that she has chosen to focus writer, all of whom were selected “for their creativity, originality, her considerable abilities on the music of our time.” and potential to make important contributions in the future.” Chase’s pre-college teacher, Damien Bercil-Hall, also had a pro- How does a young, brilliant, and still-emerging flutist wind up found influence on her. “Damien, more than anything, taught me among them? The foundation lauded Chase not only as a flutist, to take responsibility for every musical decision with a level of but as someone “who is forging a new model for the commis- seriousness and research—and severity—I would say, that has sioning, recording, and live performance of contemporary clas- informed pretty much everything that I’ve done since then, inside sical music.” and outside of the flute. His devotion to that level of responsibility in musical decision-making is very unusual in the flute world, Flute Fascination and he sets a standard that is almost impossible to beat.” Perhaps it was Claire Chase’s fascination with the flute starting She then attended the Oberlin College Conservatory as a stu- at age 3 that was an indicator of things to come. Perhaps it was dent of Michel Debost.“He’s absolutely brilliant in every way; as her “obsession” with the great work of Edgar Varèse, Density a human being, as a thinker—and as a flutist, obviously,” Chase 21.5, that began at the age of 12 or 13 under the tutelage of says. Already totally committed to contemporary music, Debost John Fonville in her home town of San Diego, following a few “was always supportive of that, but he also very much wanted years of study with her first teacher, Nancy Turetzky. me to stay on track. And I was resistant to the one-size-fits-all “John came into my lesson one week and put down these mode of teaching, but there’s so much to be learned from that. two pages of music on the music stand, and I remember look- That great, conservative, conservatory French tradition—I ing at them and thinking, this is really strange, I’ve never seen wouldn’t trade that for anything.”

nfaonline.org Spring 2013 The Flutist Quarterly 19 ARMEN ELLIOTT

Chase (upside-down, middle) modeled the ICE Ensemble on Chicago’s huge consortium of independent theatres. Today, ICE has more than 30 members, each a leading musician. Of his former student, Debost says, “Claire is a one-in-a- of the touchstone for the creation of the group. There was an thousand flutist, person, leader, character, animator, mover, incredible energy among that group of players who then yet she is also a perpetual doubter of the status quo, of the became the founding members of the ensemble when I start- establishment, and of her own achievements.” ed it post-Greyhound-ride a few months later.” Seeds had been planted, passion was exploding, doors were What began with a single grant, now, 12 years later, is an opening, opportunities sought out and created. Chase was ensemble with a core of more than 30 players, a budget above influenced and inspired not only by her flute teachers but by $1 million, and a CEO/Artistic Director whose vision and fol- other mentors at Oberlin including conductors, instrumental- low-through made Chase a recipient of one of the most ists, and composers such as Pauline Oliveros, who was “a huge admired fellowships in the world. The combination of her source of support and inspiration” and the first of the nearly artistic persona, her entrepreneurship, and her vision (not to 100 Chase has commissioned to date. mention her flute playing) makes her stand out in the world of contemporary music. The MacArthur Foundation recognized Pulse of Possibilities her as a visionary for “engaging audiences in the appreciation During a “dark time” and a break from college after her of contemporary classical music and opening new avenues of sophomore year, Chase formed the first incarnation of the artistic expression for the twenty-first-century musician.” ICE Ensemble while living in Chicago. Beginning with a supportive community and a love for the city, Chase used the Standout Structure model of Chicago’s 250 independent theater companies “that are Certainly many other flutists and contemporary music ensem- operating out of storefronts and garages” to form her group. bles are creating valuable, provocative, and interesting work. “I felt like I had my finger on the pulse of that possibility, and But the combination of Claire Chase’s perspective and energy when I was there that semester off, a lot of things started to come plus the way that ICE “works” makes for a distinct music-mak- into shape for me.” She went back to school to finish her last year, ing operation. The structure of the ensemble—33 composers and on a bus ride to Chicago from Oberlin she decided to take and chamber musicians playing string, woodwind, piano, per- the plunge: to make a go of her “new organizational idea and to cussion, and voice instruments—enables great flexibility of take the ensemble and turn it into something and give myself a programming and touring. year to see if I could get it to walk on its own.” “You think about it as 33 soloists in this group,” Chase told Chase used a grant she had received from the Presser me, “and they each have their own identities and their own Foundation to produce a project she called The Year 2000— projects. They have other bands that they’re playing with. commissioning five new pieces in celebration of the new cen- They come from a really rich diversity of musical back- tury and putting together an ensemble to play the new works. grounds. We have people who come from improvisation as The project filled the 750-seat Warner Concert Hall that, “for their main language and point of departure for looking at contemporary music concerts, usually had someone’s mom music; we have people who come from jazz; people who are and five other people.” contemporary music specialists, and those who are absolutely She said, “The concert was a huge success; we had a stand- not, whose specialization is Schubert.” ing-room-only audience with a line out the door. It was kind The ensemble has been able to “cross over” to the main-

20 The Flutist Quarterly Spring 2013 nfaonline.org CLAIRE CHASE: THE PULSE OF THE POSSIBLE stream classical music world in a way that is rare for a new Chase is also “working on a bunch of films, presenting music group. Being resident artists for the Mostly Mozart pieces that I’ve commissioned in interesting contexts in col- Festival in New York, for example, gives the group the oppor- laboration with filmmakers, new ways to embody this music.” tunity to “present the classics in new ways alongside present- She elaborated: “I’m fascinated by the idea of the solo flutist ing new music in new ways,” Chase told me. What the ensem- as a solo performance artist, and capable of the dramatic arc ble did in Seattle perhaps also reflected the success of this and impact of an opera. So I’m working with this wonderful approach, with performances of the Mozart Sinfonia Brazilian composer, Marcos Balter, on an evening-length piece Concertante for winds (in the Robert Levin version with flute that will be both a solo for flute and a solo for percussion, and instead of clarinet), the premiere of a new concerto by Dai a duo for flute and percussion. We’re creating it such that it Fujikura for six of ICE’s core players, plus a program of music can be any combination of these three. The piece is very much written in 1962 that was presented in the beautiful lobby of about being alone. We elect to be alone, even when we are with Benaroya Hall that started at 10 p.m. in the Seattle Symphony’s new unmixed series. another. We are very much still making choices that are self- The newly formed ICELab supports another endeavor of directed. This is why the piece can be done as a solo in either Chase’s, the development of evening-length pieces for both configuration or as a duo, and can live and breath and change herself as a solo performer and for the ensemble. “The flute’s in multiple configurations.” production sounds so close to the human voice, right? And the Other projects include an evening-length work by Du Yun, membrane between story-telling and playing the flute is eerily a Bach album—not of the Sonatas, but of transcriptions, start- thin,” she said. “That stretches our language as a space to nav- ing with the Salvatore Sciarrino arrangement of the Toccata igate with techniques and ways of playing the instrument, and Fugue that is an amazing showcase for solo flute. (Take a [plus exploring] performance environments and creating new look at Chase’s performance of this work on YouTube.) contexts, that really, really interests me. I’m less interested in commissioning incidental pieces, concertos, chamber pieces, History in the Making pieces that are 15 to 20 minutes long. I’m interested in long- I asked Chase if she had a “nomination” of a 20th-century piece form contributions.” that would complete a list of the “greatest” solo repertoire of the I asked Chase to describe one of the new works she is century, starting with the Debussy Syrinx, followed by Varèse’s involved with. Working with five composers from five countries (Dai Fujikura, Japan; Du Yun, China; Marcello Toledo, Density 21.5, the Boulez Sonatine, and Berio’s Sequenza. Argentina; Marcos Balter, Brazil; and Schiarino, Italy), she is “Well, it’s a very interesting question because I have a strong creating a work called Gasp. place in my heart for the Syrinx, Density, Sonatine, Sequenza It “obviously deals with our ‘bow arm’!—the thing that we trajectory,” she said. “And that really does only get us to the can’t live without: our breath,” she said. “It incorporates five half-way mark through the 20th century. As much as I love a pieces that I’ve worked in very close collaboration with com- ton of music that’s been written in the latter half of the centu- posers on, explored extended breath techniques, and such. But ry, I don’t think that anything has surpassed those four land- that really is incidental. The idea of the piece is to take the flutist marks. And this is not a pessimistic statement; I say this with breath and find a way for it to live in the context of the theater total idealism and optimism for the future. But, you know, that invites everyone into that space. So we’re creating a bunch Varèse set the bar extremely high in 1936. What he did was to of films—we’re also using live projection and a bunch of live change, single-handedly, with four minutes of music, the pos- video techniques—and creating a sort of womb, a chamber sibility of the identity of the instrument. space.” “My hope is that by 2036, when I’m an old woman, that I will have experienced, or at least supported in some way, the Personal Projects piece that’s going to be the next such pivotal point and going In addition to her enormous commitment to ICE, Claire also to completely change the nature of the instrument. Varèse finds time for personal projects. Two solo CDs have been changed the way that we think about linear music, the way released on New Focus: Aliento and Terrestre. Both feature new that we think about the power of this register, and of the flute’s works by international composers ranging from Boulez and possibilities. It needs to hold up to its history as the oldest Carter to Saariho and Jason Eckert. musical instrument on record, you know?” > Her third CD will be called Density. It will feature works for multiple flutes by Steve Reich, John Zorn, Sofia Gubaidulina, Paul Taub is professor of music at Cornish College of the Arts, and Philip Glass, a new piece for three flutes, and, at the end, Density. Chase will overdub all the parts. Seattle, and a flutist with and executive director of the Seattle I brought up the bleak subject of the future of recording Chamber Players. He has toured extensively in Eastern Europe CDs, and Chase’s response was to mention yet another of her with SCP and has recorded on Periplum, New Albion, New innovative ideas: Digitice, a digital library on the ICE website World, Mode, and CRI, having most recently released Edge: that is “in its infancy right now. The idea is that it’s all about Flute Music from the Periphery of Europe on Present Sounds. live performance, all the warts, all of the mistakes. Taub has served with distinction on the boards of Chamber Everything—with the artist’s approval, obviously—will live in Music America and the NFA and has also served as chair of the this space and will be a virtual opportunity for people.” NFA’s New Music Advisory Committee.

nfaonline.org Spring 2013 The Flutist Quarterly 21 Leone Buyse was principal flute of Bos- ton Symphony, now on faculty of Rice University. She has six CDs on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid playing and a glis- tening recording” Fanfare. CD319: Rivier Revisited. Chamber Mu- CD314: Love Letters. David Shostac, flute. Borne, Carmen Fantaisie; Kosins, Love sic for Flute by Jean Rivier. “loaded with charm” Fanfare. Letters & Winter Moods; plus Boehm, Dinicu, & Debussy. Shostac is principal Los CD356: Tour de France. Music by Fauré, Saint-Saëns, Bizet, & Angeles Chamber Orch. “outstanding fluent technique” BBC Music Mag. Debussy, “A charming entertainment.” Fanfare. CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- CD357: World Wide Webster. Dvorak, Debussy, Brahms, & cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle Gottschalk. W/Michael Webster, clarinet; & Robert Moeling, piano. Symphony. “nothing short of amazing.” American Rcd. Guide. CD715: Dedicated to Barrère. Music composed for celebrat- CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas ed flutist Georges Barrère, by Caplet, Woollett, Gaubert, Seitz, by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- Lacroix, Lefort, and Damaré. “marvelous recording” Flute Talk. formed with rare sympathy and expertise.” Fanfare. CD716: Dedicated to Barrère, Vol. 2. Leone Buyse w/Martin CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Taffa- Amlin, piano; & Paula Page, harp. Griffes, Poem; Varèse, Density nel, Fantaisie; Griffes, Poem; plus Dzubay, Van Brink, & Zupko. Robertello: faculty of 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, Indiana University; previously: Pittsburgh & National Sym., Cleveland Orchestra. Sonatine and Invocation. Also De Lorenzo, Kriens, Jacquet. CD714: Flute Agréable. April Clayton, flute. Sonatines by Dutilleux, Francaix, CD710: Wind Effusions. Danilo Lozano, Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ ” Musicweb. Flute; David Muller, Bassoon. Duos by CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, Villa-Lobos, Schröder, Gabaye, Jan Bach, & High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- Bozza; solos by Piazzolla & Osborne. Lozano: ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. founding member of Hollywood Bowl Orch. CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. Muller is former princ. Mexico City Phil. Music by Sawai, Yamamoto, Hirai, Miyagi. “quite beautiful” Amer. Record Guide. CD354: Weiss Family Woodwinds. CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Wood- Dawn Weiss, flute; David, oboe; Abraham, wind Quintet. Ten Waltzes; From the Animal Kingdom; From the Plant World (all for bassoon. Trios by Svoboda, Worthey, and flute and piano); Serenade and Th. & Variations (for woodwind quintet). “Blumer’s lush style reminds me of Vivaldi, plus Messiaen, Le Merle Noir (flute Richard Strauss. Fine flute playing; [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. & pa.), Hindemith, & Bourdeau. Dawn was CDs $16.95 each. U.S. Shipping: $2./order; foreign: $10/order. solo flute Oregon Symphony for 25 years. ® Visit www.crystalrecords.com to see all CRYSTAL RECORDS [email protected] listings, hear sound samples, & order. 28818 NE Hancock Road, Camas, WA 98607 USA • phone 360-834-7022

Alexander Murray: Curiosity and Encouragement by Robert Bigio

Despite his early pedagogical misfortunes, the expat Englishman Alexander Murray, a long-term resident of Urbana, Illinois, has thrived as a renowned flutist, teacher, flute designer, and practitioner-trainer of the Alexander Technique.

nglish flutist, teacher, and flute designer Alexander family members to buy himself a wooden fife, which he taught Murray is as spry an 84-year-old as you might imagine, himself to play on the journey. Ebursting with the energy of a man a third his age, and In Cape Town he heard the local orchestra play and pre- bursting, too, with curiosity about his flute playing and his sented himself to the youngest of the orchestra’s flute players, teaching. The example of his own flute teachers, almost all of saying, “I play the flute, too.” That player, a 21-year-old them bad and at least one actually harmful, led him to careful Englishman named David Sandeman, offered him lessons and study of the mechanics of playing, and his dissatisfaction with lent him a “proper” flute. (Sandeman returned to Britain after the standard keywork of the flute led him to design his own. the war and eventually became first flute in the London Murray was born in 1929 in South Shields, England. His Philharmonic Orchestra. Alexander Murray had been his first father introduced him to the penny whistle as soon as he was student. He later recounted that he thought there was nothing big enough to hold one, and he learned to play tunes by ear. At to teaching the flute until he had his second student.) the outbreak of World War II, faced with a possible invasion of Murray remembers, “David Sandeman’s approach to play- Britain, the government began a scheme to evacuate large ing the flute was perfectly suited to me. He encouraged me to numbers of children to the safety of the former colonies, and teach myself—to learn how to learn—and he observed in 1940 the young Alex was booked on a ship to South Africa. William James’s cardinal rule: Never discourage; discourage-

Before leaving he used the pocket money he had been given by ment is of the devil.” The very fruitful lessons with Sandeman PHOTO COURTESY ALEXANDER MURRAY

24 The Flutist Quarterly Spring 2013 nfaonline.org ended after a year when Murray had to move to Johannesburg, been prepared by his father, Gordon, to take over from him as but he was introduced to the professor of music at first flute in the LSO, which he did for a time. Walker seemed Witwatersrand University, Percival Kirby, himself a former not to enjoy the job and moved to Philharmonia as second flute player, who invited him to play in the university orches- flute (to Gareth Morris) and also played in a very busy film tra. At the age of 13, Murray was first flute. (The second flute, music orchestra. Murray took over as first flute in the LSO and a young linguist who played an old eight-keyed flute, met him held the position for 12 years before moving to a university years later in London and reminded Murray that he used to teaching job in the United States. His successors in the LSO kick him whenever the fellow played wrong notes!) were William Bennett and James Galway.

A Train of Teachers The Cooper Connection The war over, Murray returned to Britain and enrolled at the Murray’s work on flute design began early. During his time in Royal College of Music in London, where his teacher was the Royal Air Force band in the 1940s, after reading Dayton C. Robert Murchie, then nearing the end of his career. Murchie Miller’s translation of Böhm’s The Flute and Flute Playing, he had been first flute in the Queen’s Hall Orchestra and then the had his Haynes flute converted from closed to open G sharp. The newly formed BBC Symphony Orchestra, and he had taught open G sharp seemed more logical, and during his time in the some of the leading players in Britain, including Gareth LSO he began to wonder if the flute should have an open D sharp Morris and Richard Adeney. Murchie was over-fond of drink, as well. Murray’s usual flute technician was notoriously difficult unfortunately, and took leave of absence after breaking a limb to pin down, but a friend introduced him to a young man who in a drunken fall in an orchestra pit. “He was a nice old man, had just left Rudall Carte to set up on his own, Albert Cooper. but he wasn’t teaching me anything,” says Murray. A fruitful relationship developed. Murray first had Cooper Lessons with another player were unsatisfactory as Murray adapt a Hammig flute to have an open D sharp, and had a split thought he was only interested in female players. Lessons with F sharp mechanism added, too. Other keywork adaptations a third were a disaster: the teacher tried to force him to play were made, producing the first Murray System flute. Cooper’s with a tight embouchure and to raise his chest when he next instrument was a Murray flute made from scratch, with a breathed. Murray does not mince words about this teacher: “He scale devised by Elmer Cole, then first flute in the Sadler’s screwed me up,” he says. Raising the chest when breathing, as he Wells Opera Orchestra. This scale had very large holes as used later discovered when studying the Alexander Technique, was in the 19th century on Rockstro Model flutes made by Rudall particularly bad. Fortunately, lessons with this man were cut Carte. Sadly, it was not a success. short a month later when Murray began military service in a The next flute had smaller, normal-sized holes and was built Royal Air Force band and was sent to the Far East. to Böhm’s Schema, but it was also hard to play in tune. Finally, Murray returned to the Royal College of Music in 1949 and a new scale was devised, which did work. This, in fact, was the was given lessons by another unsatisfactory teacher, a fellow beginning of Albert Cooper’s work with scales. who only seemed interested in getting to the pub as soon as he could. By then Murray had had four teachers: one who had never taught before but who had encouraged his student and Cooper’s work with scales three experienced ones who at best had not helped him at all was born of his design and at worst had hindered him. He maintains that he was efforts with Murray. largely self-taught. In 1951 Murray was accepted as a student at the Paris Conservatoire where he studied with Gaston Crunelle, whose other students included Jean-Pierre Rampal, James Galway, Michel Debost, Maxence Larrieu, and countless others. . Crunelle famously sat smoking his cigarette and reading his newspaper while members of his class played for him. “There was very little teaching,” remembers Murray, “because by the time they got there, most people could already play.” Murray also studied with Nadia Boulanger because his friends John

COURTESY OF ROBIN CHAPMAN Lambert and Thea Musgrave were also Boulanger’s students, , and his solfège teacher was Annette Dieudonné, Nadia Boulanger’s assistant. Murray won his Premier Prix at the Paris Conservatoire in 1952. Returning to London, Murray got a job in the orchestra of the Royal Opera House, Covent Garden, soon becoming principal flute. “It was terribly hard work,” he remembers. “We performed all week, and then on Sundays we went to play in an orchestra in Brighton.”

After three years of this, the first flute job in the London The Murray System flute by Albert Cooper: the body, left,

MURRAY SYSTEM FLUTE PHOTOS BY ROBERT BIGIO Symphony Orchestra became vacant. Edward Walker had right-hand mechanism, center, and thumbkeys, right.

nfaonline.org Spring 2013 The Flutist Quarterly 25 A recent photo of Alexander Murray. Murray served as first flute in the London Symphony Orchestra, pictured here in 1964, for 12 years.

During an LSO tour of the U.S. in 1966, Murray was with an afternoon performance on Saturday. During the offered a teaching job at Michigan State University. “I was rehearsals in the orchestra pit, there was frequently a cold certainly attracted by the idea of long holidays and a pen- breeze blowing through the theatre while the scenery was being sion!” he said. Visa problems prevented him from taking the transported from the street to the stage. I had a tendency to position immediately, and in the year it took for them to be bronchitis which was aggravated by such working conditions.” resolved, he was offered the first flute job in the BBC A friend recommended a teacher who taught an adapted Symphony Orchestra back in London. The university version of the Alexander Technique, and he later transferred authorities then pressed the State Department to hurry; a to a man who taught the real thing. The Alexander visa was issued and Murray turned down the BBC and Technique, he says, dramatically altered his flute playing began teaching in Michigan in 1967. He stayed until 1974, and, of course, his teaching. He became an Alexander when he took a sabbatical in Holland, studying the Baroque teacher himself, and has used the technique to the great flute with Frans Vester. When Vester retired, Murray was benefit of his students, none of whom, we can be certain, offered and accepted his teaching job. Later, when Charles will have suffered the way he did when he was a young man. Delaney left his teaching job at the University of Illinois, Murray claims still to be recovering from that early teacher’s Murray applied for and was offered that job. He retired influence. “The loss of a natural skill led, in my case, to a ten- some years ago but still lives in Urbana. dency unduly to analyze and criticize myself and others,” he says. “Trying to be right when you have lost belief in your own To Armstrong and Beyond rightness (an important ingredient in the make-up of a per- The Murray System flute was taken up by the Armstrong forming artist) is a double bind. In contrast to the way this company following the publication of an admiring article teacher taught, a very good friend told me his teaching was by flutist and pedagogue Walfrid Kujala. Armstrong made based on the question: “What is preventing this person from 30 Murray flutes, intending to give six to each of five teach- playing well?”’ ers for their students as a trial. Unfortunately, the 1970s Alexander Murray’s article Grabbing the Bird by the Tale: A brought an oil crisis that wreaked economic havoc, and Flutist’s History of Learning to Play is available at alexander- Armstrong cut down its workforce. Jack Moore, the center.com/pa/flutei.html. > Armstrong employee who had done most of the work on the Murray flute, left the firm to set up on his own, and he made Robert Bigio studied at the University of British Columbia in most of the Murray System flutes after that. Albert Cooper Vancouver, Canada, before moving to England where he received made one more for Murray during the year he was working his PhD at the University of London. He has been a professional RIGHT PHOTO COURTESY THE LONDON SYMPHONY ORCHESTRA

in Holland; that flute is now in the Bate Collection at the flute player but now divides his time between making flutes and ; University of Oxford. writing. He has two books on the flute to his credit: Readings in Murray became interested in the Alexander Technique the History of the Flute and Rudall, Rose and Carte: The Art of (which shares his name only by coincidence) early in his the Flute in Britain, and for five years was the editor of the jour- professional career. “When I began lessons,” he wrote, “I was nal of the British Flute Society. Bigio’s website contains inter- principal flute of the Royal Opera, a strenuous occupation views with flute players, articles on the flute, and recordings of entailing long rehearsals. Performances were every evening early flute players; visit robertbigio.com. PHOTO AT LEFT BY ROBERT BIGIO

26 The Flutist Quarterly Spring 2013 nfaonline.org New Sights and Sounds at the NFA Store

A new historic recordings CD and pedagogy anthology.

Frances Blaisdell, the fifth in the historic recordings series of CDs.

The Flutist’s Handbook: A Pedagogy Anthology, Volume 2, with works by 40 pedagogues and flutists.

Pick up more publications, plus CDs, T-shirts, caps, pens, mugs, and more at the NFA Store at nfaonline.org—or call 661-713-2072. Discovered in North Carolina: The Charles F. Kurth Manuscript Collection The veiled history of American symphonic flutists in the final decades of the 19th century comes to light, thanks to a valuable collection bequeathed to a foundation in North Carolina. In Charlotte, at the NFA’s 2011 convention, the author presented an overview of the collection, and offers more details about it here. by Amanda Barrett The years 1881 and 1905 Winston-Salem, North Carolina. It included a violin, a viola, were milestones in the his- and a sizeable manuscript collection. The instruments belonged tory of the flute in America. to Kurth’s father, Richard W. Kurth, who played in the Boston Poet and flutist Sidney Symphony from 1883 to 1926. The manuscript collection was Lanier died September 7, the property of his uncle, Charles Frederick Kurth, Jr. 1881, and the French flutist (1860–1935), a professional flutist active as a symphony player Georges Barrère arrived in and freelance musician in New York City from approximately New York City in May 1905. 1880 to 1924. Although the quarter cen- Fifty years after Charles Kurth’s death, in 1985, Timothy D. tury between Lanier’s death Pyatt completed a basic inventory of the collection’s contents, and Barrère’s arrival has but no one thoroughly examined it until 2006.1 Though Kurth’s been well researched name is virtually unknown to flutists today, this collection is a regarding its classical music valuable asset to those who wish to learn more of the history of and American concert life, the flute in America, and it is especially important because little is known about the many of its documents date from the years preceding Barrère’s flutists who played in American orchestras during this time. arrival in New York. Most of these players were of German origin, either immi- grants or Americans of German descent. Beyond the dates of their orchestral tenures, obtained from symphony archives, The Man Behind the Collection few resources have been available for researching these Charles Frederick Kurth, Jr., was born on January 14, 1860, in German flutists. Bremen, Germany. His father, Charles, Sr., was a professional However, in 1972, Richard A. Kurth, a horn player from New musician who played trombone, tuba, bass, and bassoon and England, presented a gift to the Moravian Music Foundation in served as a copyist for Richard Wagner. Kurth, Sr. was invited 28 The Flutist Quarterly Spring 2013 nfaonline.org to America by the conductor Theodore Thomas to play in Compositions and Arrangements Thomas’ orchestra, and the family immigrated in 1868. In Kurth was perhaps one of New York City’s most active freelance 1870 they resided in Chicago, but by 1873 they had relocated flutists, but he was also busy as a composer and arranger, as evi- to New York City. denced by the number of compositions in the collection. The col- Kurth, Jr. became a naturalized United States citizen in lection consists of four boxes containing 64 folders. Of those, only 1881. He was active in all of the major New York orchestras, four folders contain non-music documents; the other 60 contain playing in the New York Symphony (as principal flute or pic- music, predominately manuscripts. (Although there are many colo) from 1888 to 1903, the Philharmonic (in the same posi- pieces in the collection by other composers, the majority are tions) from 1893 to 1908, and, in its second orchestra and as Kurth’s original compositions or pieces arranged by him.)8 2 an extra, the Metropolitan Orchestra from 1909 to 1919. Some of these are of special interest to flutists because, in Kurth was on the roster for the New York Philharmonic at them, either the flute is featured as a solo instrument or the flute the time of the première of Dvořák’s New World Symphony, serves as a vital member of the ensemble. Berceuse, Solo Stücke, but there is no way to ascertain whether or not he played in and Romanze (1880), works for solo flute and piano, are salon 3 that concert. pieces similar in style to Joachim Andersen’s flute and piano works. The Solo Stücke, though simple in its construction, has a Busy Musician haunting melody, and the Berceuse contains technically demand- In addition to his career as a symphony flutist, Kurth was quite ing passages. The manuscript paper on which Berceuse is written active as a freelance performer. Newspaper archives of the time comes from two different sources: The earlier pages are stamped record performances that include Doppler’s Air Velesques “Carl Fischer New York,” while a later page’s stamp is “A. E. (1880), Kurth’s own composition The Bobolink (a polka for pic- Fischer Bremen.” The manuscript is not dated; therefore, we can- colo and band, 1880), and Suite in B Minor (presumably not be certain of the time of its composition. Perhaps Kurth Bach’s, though no composer is listed in the newspaper review, completed it while on one of his many trips to Europe.9 1904).4 His chamber collaborations include the Hummel Septet, Op. 74 (1899), the Onslow Quintet (performed with the Seidl Woodwind Quintet in 1900), the flute solo from Gluck’s ballet music from Orpheus (1901), and the Popp Trio for flute, horn, and harp (1901). He performed Bach’s Brandenburg Concerto No. 5 for harpsichord, flute, and violin with the early music specialists Arnold and Elodie Dolmetsch in 1903, and in 1905 Kurth and flutist William Schade played Bach’s Brandenburg Concerto No. 4 with violinist Eugene Ysaye. Perhaps the most interesting review is that of a 1901 concert the New York Tribune calls “Mr. Biegel’s Song Recital,” for which Kurth played the flute obbligatos. The last sentence of the review reads, “Mr. Biegel played the accompaniments with much taste and discretion, and Mr. Kurth’s flute obbligatos were performed as flute obbligatos should be, if they must be.”5 Although Kurth performed the pieces mentioned above, the collection housed at the Moravian Music Foundation does not contain copies of those pieces. There are, however, either printed or handwritten copies of several other flute pieces, including Joachim Andersen’s Morceaux de Salon, Op. 6, and Impromptu, Op. 7.6 Other pieces in the collection are Böhm’s Variationen brilliant, Op. 22 (dated April 1875); Doppler’s Fantasie uber das Lied Mutterseelenallein von Alb. Braun, Op. 41, Chanson d’amour, and Fantasie pastorale Hungarise, Op. 26 (incomplete); Kuhlau’s Grande Sonate Concertante, Op. 85; Duo Concertante pour Flute et Violin by Molique; and the charming but unknown Suite in 5 Sätzen, Op. 160, by Gustav Lazarus.7 The five movements of the suite—Gondoliera, Intermezzo, Adagietto, à la Gavotte, and Valse brillante—are delightful, and the waltz movement is comparable in difficulty to the well- known waltz by Benjamin Godard. There are also two handwritten versions of the Cadenza from the opera Lucia di Lammermoor by Gaetano Donizetti with a title page that states “composed for Mlle. Di Murska by Proch.” The collection also includes two volumes of study materials: 12 Etudes, Op. 25 by Jensen and 24 Caprices by Schade. Kurth is among “leading artists” quoted in a Carl Fischer promotional brochure. nfaonline.org Spring 2013 The Flutist Quarterly 29 In addition to these flute and piano pieces, Kurth wrote several polkas for piccolo and band, piccolo and orchestra, and Now Playing: piccolo with other instrumental combinations. These are simi- Music from the Charles F. Kurth lar in style and length to those written by Eugene Demaré Manuscript Collection (1840–1919). Also notable are the works written and arranged for the New More than 100 years after their appearance, works York Philharmonic Club, a chamber group active in New York related to Kurth enjoy public performances— City in the last decades of the 19th century. The group consist- ed of two violins, viola, cello, bass, and flute (the flutist for the some for the first time, in many cases debuted by group was Eugene Weiner). Kurth wrote seven original pieces National Flute Association members. for the club and produced 14 arrangements of other pieces for it, including the Minuet from L’ Arlesienne Suite by Bizet, Cuban First Modern Performances Dance by Hoffman, Caprice Espagnol by Moszkowski, Romance by Rubenstein, and arrangements of pieces by Wagner, October 2006: Tadeu Coelho performed Solo Stücke, Beethoven, Brahms, and Doppler. Romanze, and Berceuse by Charles Kurth and Suite in 5 Perhaps the most interesting review of Kurth’s original sextet Sätzen by Gustave Lazarus in recital for the board of pieces is one that appeared in the New York Sun: the Moravian Music Foundation in Winston-Salem, The program included a quintet for two violins, North Carolina. viola, violoncello, and contrabass, by Dvořák, which was played for the first time. It is not as November 2006: Coelho performed The Bobolink Polka interesting as most of the Slavonic composer’s for piccolo and band with the Bob Jones University works, being less rich in tone and color and ingen- Symphonic Wind Band in Greenville, South Carolina. ious rhythms. The most pleasing of the selections was a suite of Charles Kurth, for two violins, viola, November 2011: Amanda Barrett and members of Bob violoncello, contrabass, and flute, played from Jones University string faculty performed two move- manuscript. The divisions a vorspiel, intermezzo, ments of Suite for flute and five strings in Greenville. barcarola, and tarantella, are treated in an original manner, and are rich in suggestive themes and November 2011: Christine Lee and Christa Habegger per- beautiful harmonies. The small band played with formed Valse Caprice for cello and piano in Greenville. artistic feeling, good intonation, and skill.10 Other Performances Other compositions by Kurth in the collection include a symphonic poem and other pieces for orchestra, a march for mili- May 2010: Barrett performed The Bobolink Polka with the tary band, seven fanfares for brass choir, two “gallops” (one for Greenville Heritage Textile Band in Greenville. military band and one for piano), a piece for low voice and piano, and a septet arrangement of “All Through the Night” for June 2011: Coelho performed Lazarus’ Suite in 5 Sätzen at flute, oboe, clarinet, violin, viola, cello, and bass.11 Valse Caprice the Inspiration and Praise Flute Masterclass in Greenville. for cello and piano, which Kurth dedicated to the famous cel- list, conductor, and musical theater composer Victor Herbert August 2011: Coelho performed Kurth’s Bobolink Polka (1859–1924), is also part of the collection. Other pieces includ- (with piano reduction) and Berceuse and Lazarus’ Suite ing flute are Capriccioso for flute and clarinet solo and cadenzas at the National Flute Association’s Annual Flute for a vocal piece titled The Nightingale.12 Convention in Charlotte.

German Associations November 2011: Students of Barrett performed Kurth’s Several documents in the collection pertain to German social Berceuse and Solo Stücke and Lazarus’ Suite in Greenville. organizations. Kurth held numerous offices (including president) in the Dorscht Lodge. This probably was a yacht club, but it also had a musical division. Programs from the club concerts as the gold standard controversy and Tammany Hall and politi- list Kurth as both composer and performer. Honorary lodge cians such as Grover Cleveland.13 members included the conductors Theodore Thomas, Walter Also included is a 13-page document of minutes from the Damrosch, Anton Seidl, and Victor Herbert. 1893 Carnival celebration.14 Written in German rhyme, it Other documents are from the Aschenbroedel Verein, a club recounts the revelries of the party, including an unexpected for German musicians that boasted a very large membership visit from the Salvation Army. Kurth wrote, “The doors flew roster. (Kurth served as First Vice President for this group). One open, and, don’t harm me, in marched the Salvation Army! of the documents is a copy of Puck Magazine, a satirical publica- With drums and horns, all sleek and slink, to save our souls tion of the period, which Kurth interleaved with humorous from too much drink. ‘Oh let us save—save—save your soul entries in which he referenced not only members of the club and from alcohol, from alcohol!’ They sang til they were hoarse and musical concerts but also current events and establishments such dumb whilst Dr. Parkhurst beat the drum.”15

30 The Flutist Quarterly Spring 2013 nfaonline.org Valuable Collection 1890-02-19/ed-1/seq3/;words=suite+Charles+Kurth?date1=1880&rows= 20&searchType=basic&state=New+York&date2=1922&proxtext=%22charles+kurth% Charles Kurth applied for a passport in March 1924 to “to take 22+suite&y=10&x=8&dateFilterType=yearRange&index=1. the baths at Bad Manheim [sic] for his heart disease and nerv- 11. The symphonic poem Almansor—Symphonische Dictung, dated 1893, was per- 16 formed May 5, 1895, by the Cincinnati Symphony Orchestra. ous prostration.” He died in Dresden, Germany, on May 17, 12. Though The Nightingale cadenza is a handwritten manuscript, it is not auto- 1935, from complications from pneumonia.17 graphed, so it cannot be attributed with certainty to Kurth. Though we cannot assume that the collection contains 13. For a concise explanation of these political events, see Mark Wahlgren Summers, The Gilded Age or the Hazard of New Functions (Upper Saddle River, NJ: Kurth’s whole library, we do learn some of what he was playing Prentice Hall, 1997) or Vincent P. De Santis, The Shaping of Modern America and also what he was writing for his peers to perform. Perhaps 1877–1920, 3rd ed. (Wheeling, IL: Harland Davidson, Inc., 2000). 14. Both Aschenbroedel Verien documents were translated in 2009 at my request by more importantly, a study of his life and music gives us a bet- Ruth Bennett of Dallas, TX. ter understanding of the lives of professional flutists and other 15. Charles Henry Parkhurst (1842–1933), minister of Madison Square Presbyterian German musicians in New York City in the late 19th and early Church, New York City, was known for opposing political corruption and moral vice. 16. From a doctor’s note on his passport application dated March 24, 1924. 20th centuries. Ancestry.com. But there is much yet to be learned from this collection. Many 17. From “Reports of Deaths of American Citizens Abroad, 1835–1974.” Ancestry.com. unsorted manuscripts need to be analyzed and organized. Most 18. Of all the pieces for this instrumental combination, only one has had a modern of the pieces involving flute and none of the other pieces (other reading, and only two of its four movements have been performed. than the Valse Caprice for cello and piano) have had a modern reading. The music Kurth wrote for the New York Philharmonic Club remains a vital source for researchers and performers seeking to know more about chamber music of the period.18 Though he and the other German-American flutists of his generation did not leave the mark on American flute-playing that Georges Barrère did, Kurth and his contemporaries were active during the years that saw growth of the American symphony orchestras, and they sat under the batons of many famous conductors and participated in numerous premieres and other historic events. These musicians are an important part of our flute history, and the Charles F. Kurth Manuscript Collection is proving to be a great source of illumination for this obscure period. >

The author thanks Philip Dunigan for introducing her to the collection and Nola Knouse (director of the Moravian Music Foundation) for her research assistance.

Amanda Barrett has been a member of the woodwind faculty at Bob Jones University since 1982. She was a cofounder of the South Carolina Flute Society and currently serves as president of that organization.

End Notes 1. Pyatt now serves as Dorothy Foehr Huck Chair and head of the Eberly Family Special Collections Library at Pennsylvania State University. 2. Information taken from John Wion’s website, http://www.johnwion.com/orchestra.html. The New York Symphony and the Philharmonic did not merge until 1928, so many musicians played in both orchestras. 3. From correspondence with Richard Wandel, Associate Archivist, New York Philharmonic Orchestra. 4. Announcements and reviews of performances are found in the archives of the New York Times, New York Tribune, New York Sun, Toronto World, and the Brooklyn Daily Eagle. 5. The complete review may be found at http://chroniclingamerica.loc.gov/lccn/ sn83030214/1901-04-12/ed-1/seq-6/;words=Charles+Kurth?date1=1836&rows= 20&searchType=basic&state=New+York&date2=1922&proxtext=%22charles+kurth% 22+&y=13&x=9&dateFilterType=yearRange&index=9. 6. This copy was autographed by Andersen; the inscription reads, “To Mr. Kurth with happy remembrance, Berlin, Feb. 5, 1884.” 7. Published by A. E. Fischer in 1912, this piece is currently out of print. 8. Other composers represented are Schubert, Frank van der Stucken, Tschaikovsky, Grieg, and Victor Herbert. 9. There are seven passport applications dating from 1881 to 1924 archived at Ancestry.com. 10. New York Sun, Feb. 19, 1890. http://chroniclingamerica.loc.gov/lccn/sn83030272/

nfaonline.org Spring 2013 The Flutist Quarterly 31 MasterclassesThe following abridged masterclass listing was compiled by Lee Chivers for the National Flute Association, Inc., and its The Flutist Quarterly magazine, and is used by permission. For full and year-round information about these and many other masterclasses, consult nfaonline.org. 2013 12TH ANNUAL NEW ENGLAND 2013 IMANI WINDS CHAMBER 37TH ANNUAL WILLIAM ARIZONA FLUTE SOCIETY’S CONSERVATORY SUMMER MUSIC FESTIVAL MONTGOMERY FLUTE SUMMER FLUTE CAMP METROPOLITAN FLUTE New York, NY MASTERCLASS Scottsdale, AZ FESTIVAL ORCHESTRA July 28–August 8, 2013 College Park, MD June 12–15, 2013 Boston, MA imaniwindsfestival.com July 6–14, 2013 arizonaflutesociety.org July 18–21, 2013 [email protected] [email protected] [email protected] necmusic.edu/ce/ Valerie Coleman, Paula Robison, Aaron Goldman, Brian Gordon, Keh O’Daniel, metropolitan-flute-festival-orchestra Carol Wincenc William Montgomery, Christina Steffen [email protected] Kathleen Trahan ARMS AND HAND MASTERCLASS Paige Dashner Long 2013 JAMES GALWAY FLUTE RETREAT–SOLVE HAND FESTIVAL 3RD INTERNATIONAL 15TH ANNUAL SUMMER FLUTE PROBLEMS AND REDUCE PAIN & Weggis, Switzerland PICCOLO SYMPOSIUM DISCOMFORT RETREAT July 26–August 4, 2013 Omaha, NE Newburyport, MA Peru, IL jamesgalway.com July 11–14, 2013 June 14–16, 2013 June 23–29, 2013 [email protected] piccolosymposium.com flutibia.com musicsuite408.com James Galway, Jeanne Galway [email protected] [email protected] [email protected] Christine Erlander Beard, Lea Pearson Anne Badger, Rachel Bailey, 2013 UTSA FLUTE CAMP Cynthia Ellis, Jan Gippo, Gerald Carey, Sue Gillio, San Antonio, TX Peter Verhoyen ART OF BEATBOXING: Ellen Huntington June 17–21, 2013 SESSION I music.utsa.edu/flutecamp ALI RYERSON JAZZ FLUTE Ann Arbor, MI 1ST INTERNATIONAL FLUTE [email protected] MASTERCLASS June 24–26, 2013 SEMINAR BRUGES Mariselda Cyr, Jeanne Gnecco, Carmel Valley, CA brandyhudelson.com/ Bruges, Belgium Kristin Hayes, Rita Linard, June 23–28, 2013 workshops.html July 22–27, 2013 Megan Martin hiddenvalleymusic.org [email protected] robertpot.com/Int_Flute_Seminar_ [email protected] Brandy Hudelson Bruges.html 19TH ANNUAL SUMMER COURSE Ali Ryerson [email protected] Boulder, CO ASHEVILLE FLUTE Aldo Baerten, Robert Pot, VACATION July 8–12, 2013 ALTO AND BASS FLUTE RETREAT: Peter Verhoyen Asheville, NC music.colorado.edu/summerat CHAMBER MUSIC May 27–June 2, 2013 [email protected] Boulder, CO 2013 ARIA INTERNATIONAL ashevilleflute.com Ed Bilanchone, Jim Brody, Amy Likar June 13–17, 2013 SUMMER ACADEMY: [email protected] altoflute.net SESSIONS 1–4 Deborah Heller, Lea Kibler 22ND INTERNATIONAL FLUTE [email protected] South Hadley, MA SUMMER COURSE WITH WIL Christine Potter ariaacademy.com BAYLOR FLUTE SEMINAR [email protected] OFFERMANS Waco, TX Session 1: June 20–July 1, 2013 Malaga, Spain AMY PORTER’S ANATOMY OF June 9–15, 2013 Christina Jennings, Renee Krimsier, July 24–31, 2013 SOUND FLUTE WORKSHOP francescaarnone.com/baylor-flute- Marya Martin, Alexa Still flutesummercourse.com Ann Arbor, MI seminar.html Session 2: July 3–7, 2013 [email protected] June 1–4, 2013 [email protected] Bonita Boyd, Judith Mendenhall, Wil Offermans music.umich.edu/adultprograms Francesca Arnone, Jeanne Baxtresser, Keith Underwood Alexa Still [email protected] Session 3: July 9–20, 2013 25TH FORUM FLUTE PIANO Laura Dwyer, Amy Porter, BERNARD GOLDBERG FLUTE Bonita Boyd, Damian Bursill-Hall, Diekirch, Luxembourg Jerald Schwiebert, Carol Wincenc SEMINAR IN VIRTUOSITY AND Linda Toote July 19–28, 2013 AUDITION PREPARATION Session 4: July 30–August 10, 2013 forumflutepiano.com AREON SUMMER FLUTE [email protected] INSTITUTE Bethany, WV Jonathan Keeble, Judith Mendenhall, July 21–28, 2013 Robert Aitken, Carlos Bruneel, Los Altos, CA John Thorne, Linda Toote bernardzgoldberg.com Carlo Jans, Gaby Pas-Van Riet July 22–26, 2013 [email protected] areonflutes.com 2013 DOMAINE FORGET ACADE- Huascar Barradas, Wendell Dobbs, MY FLUTE WORKSHOP 28TH WILLIAM BENNETT [email protected] Laurie Glencross, Bernard Saint-Irénée, Quebec, Canada INTERNATIONAL FLUTE Jill Heinke, Kassey Plaha, Z. Goldberg June 16–29, 2013 SUMMER SCHOOL Amelia Vitarelli domaineforget.com Sale Marasino, Italy BEYOND THE MASTERCLASS VI [email protected] July 22–August 5, 2013 ARIA INTERNATIONAL Los Angeles, CA Jeanne Baxtresser, Marie- williambennettflute.com South Hadley, MA July 28–August 3, 2013 Andrée Benny, Philippe Bernold, [email protected] July 30–August 10, 2013 beyondthemasterclass.com Denis Bluteau, Camille Churchfield, William Bennett, Denis Bouriakov, ariaacademy.com [email protected] Jacinthe Forand, Susan Hoeppner Lorna McGhee Jonathan Keeble Jim Walker

32 The Flutist Quarterly Spring 2013 nfaonline.org BODY MAPPING RETREAT—TAKE CAPE COD FLUTE INSTITUTE ELISABETH WEINZIERL AND FLUTE SUMMER ADVANCED A LONG WEEKEND TO IMPROVE Woods Hole, MA EDMUND WÄCHTER SUMMER COURSE YOUR BODY USE AND PERFORM- July 18–21, 2013 FLUTE CLASS Pucisca, Croatia ANCE SKILLS capecodfluteinstitute.jimdo.com Arosa, Switzerland July 14–21, 2013 Newburyport, MA [email protected] August 4–10, 2013 music-school-pucisca.com October 11–14, 2013 Marco Granados, Stephanie Jutt, arosakultur.ch [email protected] flutibia.com Conor Nelson, Michelle Stanley [email protected] Luisa Sello [email protected] Edmund Wächter, Elisabeth Weinzierl FLUTE SUMMER COURSE Lea Pearson CHAMBER MUSIC INTENSIVE Wien, Austria Seattle, WA FAIRBANKS SUMMER ARTS August 12–18, 2013 BOWDOIN INTERNATIONAL August 5–9, 2013 FESTIVAL meisterkurs-m.com MUSIC FESTIVAL, WOODWIND cornish.edu/summer/music Fairbanks, AK [email protected] FELLOWSHIP PROGRAM [email protected] July 14–28, 2013 Luisa Sello Brunswick, ME Heather Bentley, Peggy Dees fsaf.org June 22–August 3, 2013 [email protected] FLUTE! FUNDAMENTALS FOR Dorli McWayne TEACHERS 2013 bowdoinfestival.org COMPREHENSIVE SEMINAR FOR Denton, TX [email protected] FLUTISTS FLAUTI AL CASTELLO June 10–14, 2013 Linda Chesis, Kim Laskowski, Monterey Bay, CA Tuscany, Italy mkclardy.com Humbert Lucarelli, David Wakefield July 15–28, 2013 July 17–25, 2013 [email protected] csusummerarts.org sergiopallottelli.wordpress.com Mary Karen Clardy BOXWOOD CANADA [email protected] [email protected] Lunenburg, Nova Scotia, Canada John Barcellona, Rena Urso-Trapani, Leone Buyse, Sergio Pallottelli FLUTE! HIGH SCHOOL FLUTE! July 21–27, 2013 Carol Wincenc MASTERCLASS 2013 boxwood.org FLORIDA FLUTE WORKSHOP Denton, TX [email protected] CONFIDENT PERFORMER- DeLand, FL June 5–9, 2013 Rod Garnett, Adrianne Greenbaum, LECTURES/MASTERCLASSES June 25–29, 2013 mkclardy.com Hammy Hamilton, Vincent Lauzer, Englewood, NJ stetson.edu/music/events/ [email protected] Chris Norman April 12–14, 2013 musicworkshops/index.php?tag= Mary Karen Clardy [email protected] musicworkshop&type=brochure&date BREATHING MASTERCLASS Jeanne Baxtresser, Soo-Kyung Park =2013-01-09 FLUTE! IN CRESTED BUTTE RETREAT—SOLVE BREATHING [email protected] Crested Butte, CO PROBLEMS & LEARN ACCURATE CONTEMPORARY FLUTE Lindsay Hager, Deborah Heller, July 11–15, 2013 INFO ABOUT BREATHING Ann Arbor, MI Susan McQuinn, Jean West mkclardy.com Newburyport, MA June 7–9, 2013 [email protected] April 19–21, 2013 brandyhudelson.com/workshops.html FLUTE INTENSIVE Mary Karen Clardy flutibia.com [email protected] Ann Arbor, MI [email protected] Brandy Hudelson June 19–22, 2013 FLUTE! IN HAWAII Lea Pearson brandyhudelson.com/workshops.html Honolulu, HI COSTA RICA 8TH [email protected] June 27–July 1, 2013 BUILD YOUR OWN FLUTE! INTERNATIONAL FLUTE FESTIVAL Brandy Hudelson mkclardy.com Richmond, VT San Jose, Costa Rica [email protected] September 16–November 1, 2013 April 1–7, 2013 FLUTE MASTERCLASSES AT Mary Karen Clardy landellflutes.com/courses acofla.org FESTIVAL OF THE GULF, ITALY [email protected] [email protected] San Marco di Castellabate, Italy FLUTE! MASTERCLASS IN Jonathon A. Landell Jean Louis Beaumadier, August 17–26, 2013 REPERTOIRE & PERFORMANCE Michel Bellavance, Yvan Bertet, FestivaloftheGulf.com Denton, TX BUILD YOUR OWN HEAD! Elena Cecconi, Sheryl Cohen, [email protected] June 21–23, 2013 Richmond, VT Matjaz Debeljak, Christine Erlander, Diego Collino, Marlaena Kessick mkclardy.com June 24–28, 2013 Angeleita Floyd, Eduardo Gomez, [email protected] July 22–28, 2013 Gabriel Goni, Jim Lyman, FLUTE PADDING TECHNIQUES Mary Karen Clardy landellflutes.com/courses Horacio Massone, Susan Milan, Richmond, VT June 10–14, 2013 FREDONIA SUMMER MUSIC [email protected] Sergio Morais, Sergio Pallottelli, July 8–12, 2013 FESTIVAL Jonathon A. Landell Carla Rees, Eldred Spell, Jean landellflutes.com/courses Fredonia, NY Michel Tanguy, Michael Titt, [email protected] June 23–29, 2013 BV ARTISTS INTERNATIONAL Nestor Torres, Rogerio Wolf Jonathon A. Landell fredonia.edu/music/festival FLUTE MASTERCLASSES [email protected] San Marco di Castelabatte, Italy EARLY MUSIC DAYS, ESZTERHÁZA FLUTE SPA & FLUTE CHOIR Susan Royal August 17–26, 2013 Budapest, Hungary RETREAT IN PORTLAND, OREGON FestivaloftheGulf.com June 22–29, 2013 Lake Oswego, OR GARY SCHOCKER JUNE [email protected] filharmoniabp.hu July 26–28, 2013 MASTERCLASS Diego Collino, Marlaena Kessick [email protected] fabulousflute.com Hudson Valley, NY Barthold Kuijken [email protected] June 26–30, 2013 CANADA’S NATIONAL ARTS Patricia George, Phyllis Avidan Louke garyschocker.com CENTRE YOUNG ARTISTS ELISABETH WEINZIERL AND [email protected] PROGRAM EDMUND WÄCHTER SUMMER FLUTE STEPS SUMMER CAMP Bill Connington, Brenda Hicks, Ottawa, Ontario, Canada FLUTE CLASS Escondido, CA Gary Schocker June 6–27, 2013 Blonay, Switzerland July 7–13, 2013 nac-cna.ca/en/summermusicinstitute/ July 27–August 3, 2013 studio.lyricraft.com GARY SCHOCKER, FLUTE, youngartists weinzierl-waechter.de [email protected] AND EMILY MITCHELL, HARP, [email protected] [email protected] Gerald Carey, Susan Gillio, MASTERCLASS Joanna G’froerer Edmund Wächter, Elisabeth Weinzierl Sunah Jong, Renee Tresko Hudson Valley, NY

nfaonline.org Spring 2013 The Flutist Quarterly 33 2013 Masterclasses

July 10–14, 2013 JEFFREY KHANER FLUTE MARROWSTONE MUSIC OBERLIN FLUTE WORKSHOP garyschocker.com CLASS—CURTIS SUMMER FEST FESTIVAL Oberlin, OH [email protected] Philadelphia, PA Bellingham, WA May 31–June 2, 2013 Bill Connington, Brenda Hicks, June 25–29, 2013 July 21–August 4, 2013 new.oberlin.edu/office/ Gary Schocker curtis.edu marrowstone.syso.org summer-programs [email protected] [email protected] [email protected] HINDHEAD MUSIC CENTRE Jeffrey Khaner, Mimi Stillman Jill Felber, Jeffery Zook Alexa Still SUMMER FLUTE COURSE Surrey, United Kingdom JULIUS BAKER FLUTE MASTERCLASS FOR FLUTE OHIO STATE UNIVERSITY FLUTE July 22–26, 2013 MASTERCLASSES Salzburg, Austria WORKSHOP Danbury, CT August 12–24, 2013 hindheadmusiccentre.co.uk Columbus, OH July 28–August 2, 2013 moz.ac.at/german/soak [email protected] June 16–20, 2013 wcsu.edu/summermusic [email protected] Edward Beckett, Paul Edmund- music.osu.edu/flute-workshop [email protected] Peter-Lukas Graf Davies, Helen Grange, Susan Milan, [email protected] Sandra Church, Tadeu Coelho, Katherine Borst Jones Stephen O’Regan, Nina Robertson Bart Feller, Bradley Garner, MONTECITO INTERNATIONAL CHAMBER MUSIC FESTIVAL Sue Hoeppner, Trudy Kane, OKLAHOMA STATE UNIVERSITY INSPIRATION AND PRAISE Montecito, CA Jeffrey Khaner, Marina Piccinini SUMMER WOODWIND FLUTE MASTERCLASS July 15–August 3, 2013 INSTITUTE Greenville, SC KEITH UNDERWOOD FLUTE montecitomusicfestival.com Stillwater, OK June 10–14, 2013 MASTERCLASS [email protected] June 11–14, 2013 tempoprimoenterprises.com Carmel Valley, CA Nancy Stagnitta woodwindinstitute.okstate.edu [email protected] June 23–28, 2013 MPULSE FLUTE INSTITUTE FOR [email protected] Amanda Barrett, Tadeu Coelho hiddenvalleymusic.org [email protected] HIGH SCHOOL STUDENTS Virginia Broffitt Keith Underwood Ann Arbor, MI INTERLOCHEN ADULT FLUTE June 30–July 13, 2013 ORFEO INTERNATIONAL MUSIC CHOIR CAMP LIU POST FESTIVAL—FLUTE music.umich.edu/mpulse FESTIVAL Interlochen, MI MASTERCLASS [email protected] Vipiteno/Sterzing, Italy August 19–24, 2013 Brookville, NY Amy Porter July 12–28, 2013 college.interlochen.org July 9–25, 2013 orfeomusicfestival.com [email protected] liu.edu/post/chambermusic MUSIC ACADEMY OF THE WEST [email protected], Jane Berkner, Darlene Dugan [email protected] SUMMER SCHOOL AND FESTIVAL [email protected] Susan Deaver Santa Barbara, CA Elizabeth Goode INTERLOCHEN ARTS CAMP June 15–August 10, 2013 Interlochen, MI LONG BEACH FLUTE ADULT musicacademy.org/school OVERHAUL & MECHANICAL FLUTE DAY June 22–August 5, 2013 Jeanne Baxtresser, Timothy Day TECHNIQUES Long Beach, CA camp.interlochen.org/ Richmond, VT June 29, 2013 NETHERLANDS FLUTE ACADEMY music-summer-programs June 17–21, 2013 renaurso.wordpress.com/ Arnhem, Netherlands [email protected] July 15–19, 2013 summer-camps July 14–22, 2013 Christopher Chaffee, landellflutes.com/courses [email protected] neflac.nl [email protected] Virginia Crabtree, Philip Dikeman, John Barcellona, Kathleen Dyer, [email protected] Jonathon A. Landell Jill Heyboer, Tara Schwab, Alexa Still Rena Urso-Trapani Emily Beynon, Jeroen Bron, Wieke Karsten OXFORD FLUTE SUMMER INTERLOCHEN SUMMER HIGH LONG BEACH FLUTE INSTITUTE SCHOOL SCHOOL FLUTE INSTITUTE SUMMER DAY CAMP NORTHERN CALIFORNIA FLUTE Interlochen, MI Long Beach, CA CAMP Oxfordshire, United Kingdom June 15–21, 2013 June 25–29, 2013 Carmel Valley, CA August 18–23, 2013 camp.interlochen.org/program/ renaurso.wordpress.com/ July 20–28, 2013 oxford-flutes.co.uk music/hs/flute summer-camps flutecamp.com [email protected] [email protected] [email protected] [email protected] Kate Hill, Robert Manasse, Robert Judith Mendenhall, Paula Robison, John Barcellona, Janelle Barrera, Michelle Caimotto, Karen Johnson, Winn Nancy Stagnitta Darrin Thaves, Rena Urso-Trapani Catherine McMichael, Linda Toote, Tomiko Tsai, Karen Van Dyke, PANORAMIC FLUTIST Boulder, CO INTERNATIONAL SUMMER MADELINE ISLAND MUSIC Gary Woodward May 28–31, 2013 COURSE CAMP music.colorado.edu/flute/panoram- Tonbridge, United Kingdom Wisconsin, IL NOW AND PRESENT FLUTE ic-flutist August 12–20, 2013 July 8–15, 2013 SEMINAR WITH PATRICIA music-camp.org [email protected] flutesummercourse.co.uk SPENCER [email protected] Annandale-on-Hudson, NY Leone Buyse, Lisa Garner Santa, [email protected] Jonathan Keeble June 13–18, 2013 Christina Jennings Rachel Brown, Soonmi Jung, patriciaspencerflute.com Felix Niël, Julie Wright, Trevor Wye MARINA PICCININI [email protected] PASSION FLUTE V: INTERNATIONAL SUMMER Patricia Spencer FOUNDATIONS FOR CREATIVE IOWA PICCOLO INTENSIVE MASTERCLASSES PERFORMING Iowa City, IA Baltimore, MD OBERLIN FLUTE ACADEMY Cedar Falls, IA June 5–8, 2013 June 23–28, 2013 Oberlin, OH June 18–22, 2013 iowapiccolointensive.com/ peabody.jhu.edu/conservatory/ July 10–14, 2013 uni.edu/music/events/passion_flute. [email protected] woodwinds/flute/piccininimc new.oberlin.edu/office/ html Jean Louis Beaumadier, [email protected] summer-programs [email protected] Nicole Esposito, Zachariah Galatis, Kristin Bacchiocchi-Stewart, [email protected] Claudia Anderson, Jill Felber, Sarah Jackson Marina Piccinini Alexa Still Angeleita Floyd, Nicole Molumby

34 The Flutist Quarterly Spring 2013 nfaonline.org

PENDER ISLAND FLUTE RETREAT ROCKY RIDGE MUSIC CENTER TREVOR WYE ALBUQUERQUE VICTORIA CONSERVATORY OF Pender Island, British Columbia, YOUNG ARTIST SEMINAR MASTERCLASS MUSIC SUMMER FLUTE ACADEMY Canada Estes Park, CO Albuquerque, NM Victoria, British Columbia, Canada June 15–22, 2013 June 25–July 28, 2013 June 11–14, 2013 July 13–21, 2013 fluteretreat.com rockyridge.org abqflute.com vcm.bc.ca/flute-academy [email protected] [email protected] [email protected] [email protected] William Bennett, Gwen Klassen, Claudia Anderson Trevor Wye Mary Byrne, Wendy Stofer, Lorna McGhee Richard Volet SANTA FE FLUTE IMMERSION TREVOR WYE MASTERCLASS: PERFORM CONFIDENTLY FROM PREPARING FOR EMPLOYMENT WHITE MOUNTAIN FLUTE INSIDE OUT Santa Fe, NM June 17–24, 2013 Boston, MA CONSERVATORY Wilmington, DE June 3–10, 2013 White Mountains, NH June 1, 2013 nmperformingarts.org [email protected] trevorwyebostoncourse.com July 26–August 3, 2013 fluteproshop.com [email protected] judybraude.com Adrianne Greenbaum, Susan Levitin, [email protected] Meghan Jacoby, Linda Toote, [email protected] Linda Marianiello Helen Spielman Trevor Wye Judy Braude, Beverly Corry PERFORM CONFIDENTLY FROM SARASOTA MUSIC FESTIVAL UNIVERSITY OF WISCONSIN- WILDACRES FLUTE RETREAT INSIDE OUT Sarasota, FL WHITEWATER HIGH SCHOOL Little Switzerland, NC Little Switzerland, NC June 3–20, 2013 FLUTE CAMP June 22–29, 2013 June 22–29, 2013 sarasotamusicfestival.org Whitewater, WI wildacresflute.com wildacresflute.com [email protected] July 7–12, 2013 [email protected] [email protected] Leone Buyse, Christina Jennings, camps.uww.edu Bradley Garner, Amara Guitry, Helen Spielman Carol Wincenc [email protected] Nora Kile, Göran Marcusson, PRE-COLLEGE FLUTE Eliza Bangert, Marie Bennett, Lea Pearson, Stephen Preston, Urbana, IL SOMMERACADEMY VIENNA Rosemary Bennett, Meret Bitticks, Joy Sears, Helen Spielman, June 23–29, 2013 Wien, Austria Morgann Davis, Robin Fellows, Norman Thibodeau isym.music.illinois.edu July 25–August 6, 2013 Shanna Gutierrez, Ellen Huntington, [email protected] academyorpheus.org Liz Marshall, Kim Sopata, WISCONSIN FLUTE FESTIVAL Jonathan Keeble [email protected] Joelle Willems, Yaocheng Yu Madison, WI Luisa Sello April 6, 2013 PROJECT TRIO—THE CAMP! UNIVERSITY OF WYOMING madisonfluteclub.org/ New York , NY SULZBACH-ROSENBERG SUMMER MUSIC CAMP FluteFestival.html Laramie, WY [email protected] July 8–13, 2013 INTERNATIONAL MUSIC June 9–15, 2013 John Thorne projecttrio.com FESTIVAL (SRIMF) uwyo.edu/faoutreach/ [email protected] Sulzbach-Rosenberg, Germany summer-music-camp Greg Pattillo July 30–August 11, 2013 [email protected] srimf.com/index.html Nicole Riner RARESCALE SUMMER SCHOOL [email protected] Lincolnshire, United Kingdom Nicole Riner, Steffan Weber, VIANDEN INTERNATIONAL July 29–August 2, 2013 Laurel Zucker rarescale.org.uk MUSIC FESTIVAL AND SCHOOL [email protected] Vianden, Luxembourg Anne Hodgson, Carla Rees SUMMER COMPOSITION/ August 11–25, 2013 PERFORMANCE COURSE viandenfestival.eu RED CEDAR CHAMBER MUSIC Milna, Brac, Croatia [email protected] MASTERCLASS FOR FLUTE AND July 15–27, 2013 Soo-Kyung Park, Nancy Stagnitta GUITAR DUOS upbeat.hr Mount Vernon, IA [email protected] July 7–14, 2013 Joel Hoffman redcedar.org/summerfestival.html Erich Graf [email protected] SUMMER FLUTE CLASS WITH A Flute Recital: Jan Boland PATRICIA HARPER Bach (c minor suite) Monterey, CA Roussel (Joueurs de Flute) ROCKY RIDGE MUSIC CENTER June 30–July 4, 2013 Berio (Sequenza) EARLY MUSIC FESTIVAL & patriciaharper.com Gaubert (Sonata #3) WORKSHOP [email protected] Estes Park, CO Patricia Harper Flute Masterworks: August 21–25, 2013 Poulenc (Sonata) rockyridge.org SUONARE IN ITALIA Debussy (Syrinx) [email protected] Umbria, Italy Varése (Density 21.5) Ana Marsh June 13–21, 2013 Bourne (Carmen Fantasie) playmusicinitaly.com Nobis (from western mountains) ROCKY RIDGE MUSIC CENTER [email protected] Prokofiev (Sonata) JUNIOR STUDENT SEMINARS 1 Jane Berkner, Salvatore Lombardi AND 2 Classical Musings: A VHS music video setting of Estes Park, CO excerpts from A Flute Recital to the beauty of Utah’s TEXAS MUSIC FESTIVAL Seminar 1: June 11–23, 2013 National Parks and their environs. Seminar 2: July 30–August 11, 2013 Houston, TX rockyridge.org June 1–29, 2013 Erich Graf . Aeolus Recordings uh.edu/class/music/tmf [email protected] www.erichgraf.com Cobus du Toit Leone Buyse, Aralee Dorough

nfaonline.org Spring 2013 The Flutist Quarterly 35 DO YOU ENJOY Music and CHILDREN? NEED FLEXIBLE WORKORK HOURS BASED ON YOUR SCHEDULE? DISCOVER AN EXCITING NEW CAREER OPPORTUNITY — TEACHING MUSIKGARTEN!

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Across by Dolores August the Miles News about flute club and flute choir activities throughout the United States

Superstorm Sandy forced cancellation of the 24th annual Long Island Flute Club Flute Festival, slated for November 17, 2012, and to feature Linda Toote. On December 1, the performance of the first of two annual holiday concerts by the Long Island Flute Club Holiday Flute Choir, under the direction of Lauren Osnato, raised more than $600 in donations for Sandy relief. The money was donated to LI Cares, an organization that feeds Long Islanders in need. The following day, the choir performed to a packed house at Old Westbury Gardens, helping to raise funds for the restoration Southeast Michigan Flute Association founders, from left: Amy Porter, Penelope Fischer, Emily Perryman, Lauren Erickson, Holly Clemans, and Deborah Rebeck Ash. of the grounds, which were severely damaged by the storm. On February 2–3, the club held its annual high school and Institute of Arts. At this celebration, a Founders and Board college flute competitions at Nassau Community College; Members Recital featured Deborah Rebeck Ash, Holly finalists and winners performed March 10 at the Half Clemans, Lauren Erickson, Penelope Fischer, Emily Hollow Hills Public Library. Perryman, Amy Porter, and Jeffery Zook. Denis Bouriakov was the guest artist for the solo recital. Cathy and Alex The South Carolina Flute Duncan presented a jazz workshop November 18 at Society’s fall seminar was held Concordia University. The Southeast Michigan Flute December 1 in Greenville, Association Flute Choir, led by Kelsi Gautz, has given sever- South Carolina, on the campus al performances throughout the community. On March 10, of Bob Jones University. A Detroit Symphony flutist Sharon Sparrow gave a workshop wake-up and warm-up session and recital geared to high school students. The association’s conducted by Wendy Cohen was 11th Annual Flute Festival will take place April 20 at Christ followed by a masterclass in Our Savior Lutheran Church in Livonia, Michigan; the guest which six competition winners artist will be Alberto Almarza, associate professor of flute at were instructed by guest clini- Carnegie-Mellon University. Tadeu Coelho cian Tadeu Coelho. Other events included an Alexander Techniques class with clinician Petrea Now celebrating its 10th season, the Heartland Community Warneck; all-state preparation workshops taught by Erin Flute Choir (Omaha, Nebraska) performed for the Sioux Moon-Kelly, John-Samuel Roper, and Martha Kitterman; a City Chamber Music Society in Sioux City, Iowa, on October “lightening round” masterclass with Caroline Ulrich; a 21, 2012, and at the Nebraska Music Educators Association Celtic flute workshop with Susan Conant; and a flute-choir Conference in Lincoln on November 16. Conducted by Sara reading session conducted by Joy Sears and Georgianna Schuhardt, the program depicted the history of America’s Oswald. The day concluded with the annual South Carolina expansion into the Great Plains and included music by Flutists Recital, which featured Erin Moon-Kelly, John- Catherine McMichael, Nancy Wood, Kelly Via, Ann Cameron Samuel Roper, Caroline Ulrich, and both the Southern Pearce, and James Barnes. The choir’s season also included hol- Harmony Flute Choir and the seminar flute choir. The iday concerts at Omaha’s Durham Heritage Museum and the Spring Festival will be held on the campus of the University Lauritzen Botanical Gardens and a February 10 joint perform- of South Carolina in Columbia April 12–13. The guest artist ance with the Nebraska Wind Symphony of Visions of Heaven, for this event will be Rhonda Larson, who will perform a a concerto for flute choir and wind ensemble by Nancy Telfer. recital and teach masterclasses. Visit heartlandflutes.org.

The Southeast Michigan Flute Association kicked off its Flutissimo! Flute Choir began its Christmas Series with an 2012–1013 season with a September 16 benefit chamber early performance at the Bedford Library and concluded music party for its Ervin Monroe Young Artist Competition. with an evening at Dallas Heritage Park. The Spring Series, On October 7, a Gala 10th Anniversary celebration organ- titled “Gimme Dat Old Time Religion,” will feature sacred and not-so-sacred music to finish out the season. TADEU COELHO COURTESY AMANDA BARRETT ized by president Shelly Rouse-Feitag was held at the Detroit

nfaonline.org Spring 2013 The Flutist Quarterly 39 SPOTLIGHT ACROSSTHE MILES The Long Island Flute Club The Kansas City Flute Choir’s eighth season opened in fall 2012 with a food-themed concert, “Just Desserts.” Following the concert, flute choir members served up a reception of hot Begun by a group of Long Island flutists and educators under the cider, “tropical flute punch,” and dessert. Santa was featured leadership of Theodore “Ted” Mordoff, the Long Island Flute in the choir’s annual holiday concert, “A Merry American Club was founded in 1984 to enrich the musical lives of flutists Christmas.” Mrs. Claus, aka choir treasurer Laura Young, read on Long Island, New York. We have approximately 125 student, the poem “The Night Before Christmas” accompanied by the adult, and corporate members and are governed by a board of flute choir. Members of the choir also performed at the 12–15 officers under the leadership of President Amy Kempton. Overland Park Arboretum’s Annual Luminary Walk, which Our five-concert series, which began in the fall of 1984, has drew record crowds. The Kansas City Flute Choir’s spring featured Samuel Baron, Sandra Church, Tadeu Coehlo, Robert concert will take the audience on a tour of the British Isles. Dick, Bradley Garner, Bart Feller, Mindy Kaufman, Alexa Still, Selections will include arrangements of “The Hebrides” and and John Wion, among others. In 1985 we initiated our annual “Enigma Variations” for flute choir, plus Celtic Suite and high school competition, which was expanded in 2008 to “Piccolos in the Pub.” The flute choir is performing the pro- include a college division, the finalists and winners of which are gram twice this spring, once in mid-February and again in presented in concert every March. In 1989, we held our first April. The flute choir is in the planning stages for an upcom- annual flute festival, a day-long event that features a renowned ing CD. View videos and other information on YouTube, solo artist, masterclasses, ensemble playing, classes, and Facebook, and at kcflutechoir.org. exhibits. Past performers have included Gary Schocker, Patricia Spencer, Carol Wincenc, Flute Force, Keith Underwood, Jan The Greater Cleveland Flute Vinci, Jamie Baum, Renee Siebert, and Tara Helen O’Connor. Society’s 2012–2013 season Over the past 10 years, our biggest expansion has been in included its first “Just Us” mem- our flute choir program. The Long Island Flute Club bers-only recital and flute choir, Professional Flute Choir is directed by Debra Schild; the Long held September 30, 2012, at the Island Flute Club Honors Student Flute Choir is directed by Ahuja Medical Center in Beach- Danielle Schulman; and the Long Island Flute Club Holiday wood, Ohio. In October, Jill Felber Flute Choir is directed by Lauren Osnato. and Dianne Frazer featured a Our Professional Flute Choir was selected in 2009 to per- recital, masterclass, and condensed form at the NFA convention in New York City; Schild and version of Felber’s “Extreme Jill Felber Makeover: Flute Edition” work- Osnato also conducted a flute choir reading session at the shop. In January, a “Just Us II” recital and flute choir event was same convention. Our Holiday Flute Choir combines held at the McGregor Home in East Cleveland. In February, the advanced students, adult amateurs, and professional flutists society held its Student Flute Festival, featuring guest artist and for two concerts that raise money for local charities and cul- clinician Kelly Mollnow Wilson. The society will wrap up its tural institutions. This year, funds raised will go to help those year with its annual Composer’s Concert on April 21. Other who were hard-hit by Hurricane Sandy. We are affiliated with notable events include performances by society board members Old Westbury Gardens, an historic landmark, where we per- for worship services at Lakewood Congregational Church and form an annual holiday concert and a flute recital each May. First Unitarian Church in Shaker Heights and a newly pur- We will host our third Flute Social in April, a relaxed, fun chased bass flute for use by its members and area teachers. event, for which we sight-read flute choir music, shop for flute and non-flute items, dine, exchange ideas, network, and The Greater Portland Flute just have an all-around good time. Society welcomes guest artist Looking forward, we hope to expand our ensemble pro- Jim Walker for Flute Fair 2013. gram to include small satellite groups around Long Island, to Walker will play a recital with give more students valuable ensemble experience. We also pianist Cary Lewis at the Old hope to reach more flute teachers and flute choir directors by Church in downtown Portland, sponsoring a flute choir event. Oregon, April 5. The Flute Fair, We are committed to expanding the flute choir repertoire also featuring Walker, will be by commissioning works from such respected composers as held April 6 at Aloha High Katherine Hoover, Elizabeth Brown, Catherine McMichael, School in Aloha, Oregon. and Howard Buss, and are in the process of commissioning a Jim Walker Walker will teach a masterclass new work in celebration of our 30th anniversary, which will and two workshops. Visit gpfs.org. take place in the 2014–15 season. Our newsletter, Flute Notes, informs our members of Rose City Flute Choir will perform its Spring Concert April upcoming concerts and events. We maintain a website at 27 at Cedar Hills United Church of Christ in Beaverton, longislandfluteclub.org and can be visited on Facebook. For Oregon. The program will include the Oregon premiere of more information, please contact us at [email protected]. Canyon Dreams by Phyllis Avidan Louke. Visit fabulous- —Lauren Osnato flute.com or phyllislouke.com.

40 The Flutist Quarterly Spring 2013 nfaonline.org Flute Festival Mid-South 2013 was held March 22–23 at the exhibitors. Other events this season have included concerts, University of Memphis, featuring guest artist Alexa Still. lectures, and classes given by guest artists Greg Pattillo, Pablo The festival featured presenters, competitions, and several Salcedo, and Nancy Toff and a benefit concert for India with performance opportunities for area flutists. Plans are now in guest artist Pandit Hariprasad Chaurasia, as well as a concert motion for Flute Festival Mid-South 2014, which will be held by the Ohio State University Flute Troupe. in the Nashville area. Visit midsouthflute.org

The Nashville Flute Choir, founded in 2001 by Karen Mitchell, is a group of professional and amateur musicians from Nashville and surrounding areas. In fall 2012, the choir performed as part of the Classical Concert Series at Forest Hills Methodist Church and as one of the 19 ensembles par- ticipating in the Nashville Symphony and Region Bank’s Free Day of Music at the Schermerhorn Symphony Center. During the Christmas season, the Nashville Flute Choir played at Cheekwood Botanical Gardens as part of its Holiday at Cheekwood Museum Concert Series and also per- The Washington State Capitol Rotunda was the stage for the fourth annual hol- formed for holiday shoppers at the Opry Mills Mall. Visit iday concert by the Olympia Youth Flute Choir. nashvilleflutechoir.com. In late 2012, the Olympia Youth Flute Choir finished its fourth annual Holiday for Flutes concert in the Washington State Capitol Rotunda. The choir also performed its biggest fundrasing event of the year at Providence St. Peter’s Foundation’s Christmas Forest. The Olympia Youth Flute Choir, directed by Ninee Petchprapa Wolff, consists of young flutists from middle school through high school from all around the South Puget Sound region.

The Quad City Flute Association hosted its First Annual Piccolo Christmas on December 1 at First Presbyterian Church in Davenport, Iowa. Piccolo Christmas Director and Hot Springs Flute Ensemble president Jackie Flowers, seated in the front row, Conductor Lynne Stukart organized the gathering, at which center, was honored at an event in this, the group’s 30th year. flutists grade 7 through adult performed Christmas flute The Hot Springs (Arkansas) Flute Ensemble with conductor choir music with piccolos, flutes, and alto, bass, and contra- Kristin Grant celebrates its 30th anniversary in the spring of bass flutes. Sixty-four flutists performed, and prizes were 2013 by premiering a commissioned work, “Eternal given away for Best Decorated Flutist, Best Decorated Flute, Springs,” by Lewis A. Kocher, in performances on March 16 Person who traveled the farthest (which was more than an and April 20. The group also honored its founder, Jackie hour and a half), and others. A Second Annual Piccolo Flowers, with a video biography of her musical life with the Christmas is being planned for December 2013. flute. Flowers is president and executive director of this nonprofit organization. A first-time fundraiser allowed the group This spring, the Texas Flute to produce a TV video to advertise the event and to make a Society will host a thank-you CD and video of the concert. Other funds collected went to concert for local flute teachers in the group’s Youth Scholarship Fund, its annual educational the Dallas/Ft. Worth area to seminars, and its music library. show its appreciation for the support of its local flute family. On April 13, the Central Ohio The concert will provide teachers Flute Association at Ohio State with performance opportunities. University will host its 30th flute Performers will be featured based HOT SPRINGS PHOTO COURTESY JACKIE FLOWERS

; festival. Over these years, the on nominations and requests of association has hosted artists Holly Hofmann students, parents, and teachers in from around the world and this the area. Planning for the 36th Annual Texas Flute Festival is year hosts guest artist Mark in full swing with a varied array of offerings from pedagogy Sparks, principal flutist of the St. to performance. Holly Hofmann, jazz performer and record- Louis Symphony, performing in ing artist, will conduct a jazz masterclass. Conor Nelson, recital and presenting a master- assistant professor of flute at Bowling Green State University, Mark Sparks class. Other events include a flute will lead the festival’s High School Masterclass. Thomas choir showcase, a body mapping class with Lea Pearson, four Robertello, associate professor of flute at Indiana University,

MARK SPARKS PHOTO COURTESY MARK SPARKS levels of competition finals, and an exhibit hall filled with will share his musicality and pedagogy in the Adult Solo

nfaonline.org Spring 2013 The Flutist Quarterly 41 ACROSSTHE MILES

Masterclass and as a performer. Valerie Estes, winner of the 2012 Myrna Brown Competition, will serve as this year’s piccolo expert. Visit texasflutesociety.org.

The Camellia City Flute Choir of Sacramento, California, under the direction of Marty Melicharek, mourned the loss of much-revered teacher Edna Comerchero in late October 2012. (Editor’s note: See her obituary in the winter 2013 issue.) Edna, a founding member of Camellia City Flute Choir, left a The University of Montana Flute Choir legacy of musical inspiration to all who knew and loved her, by Ann Cameron Pearce; “Canon” in D by Billings, arr. by John studied with her, or performed in ensembles with her. Her Schuberg; “Within” by Ian Clarke; and “Four Japanese Folk memorial service featured former students honoring her mem- Songs” arr. by Robert L. Cathey. The ensemble will perform at ory, including Carol Wincenc and Gary Woodward, a well- retirement homes, the University Student Center, and in a known southern California flutist. The Camellia City Flute Student Chamber recital. Its members will travel to Montana Choir presented three holiday concerts in December, including cities to play at high schools, inviting flutists from the schools its annual appearance at the California State Capitol Rotunda to join in on some of the works. Choir members enjoy reading and a concert at the Crocker Art Museum. Among pieces per- and following what other flute groups are doing in “Across the formed were An Afternoon With Kiddo by Greg Lutz and French Miles”! Nativity Suite, arranged by Kelly Via. Regional concerts are scheduled in 2013. The Seattle Flute Society culminates its 2012–13 season April 7 with its annual Flute Festival featuring guest artist The University of Montana Flute Choir, directed by Margaret Jim Walker. The festival includes a concert and workshop Lund Schuberg, has spent its season performing at the with Walker, the inaugural Seattle Flute Society Young Artist Northwest Music Educator’s Convention in Vienna, Austria, Competition, exhibits, a young member’s recital, and flute and in Montana. The group performed in a masterclass for choir performances. Visit seattleflutesociety.org. featured clinician James Walker in February 2013 at the University of Montant Concert Band Festival. This spring, the Send information about flute club activities, and high-resolu- University of Montana Flute Choir will perform, among other tion images if available, to Dolores August, Flute Clubs selections, “Lo, How A Rose E’er Blooming” by Praetorius, arr. Coordinator, [email protected].

42 The Flutist Quarterly Spring 2013 nfaonline.org NFA News Updates on committee activities and other news of interest from the national office

NFA Elections Leadership in Transition: Update

The annual NFA elections are approaching. The following The NFA board of directors has voted to extend its are candidates for next year’s officers and members of the search for a new executive director with the goal of bring- board of directors for the National Flute Association. (Visit ing final candidate(s) to the New Orleans convention to be nfaonine.org for more information about these candidates.) interviewed by the full board. The tentative hire date is fall 2013. The interim executive director, Katha Kissman, will extend her contract through the early fall. Assistant Secretary Additional plans for the NFA national offices are (serves one year and then one year as Secretary; one is elected) under way (see the March 2013 issue of NFA E-news), Jenny Cline and membership will be updated as developments occur. Penny Zent Please check the NFA website and watch for updates in future issues of NFA E-news. Board of Directors Any members with questions or comments about this (two board member for a three-year term; two are ratified) or any other organizational topic are encouraged to Wendy Mehne contact NFA President Beth Chandler at 540-568-6836 Jim Walker or [email protected].

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nfaonline.org Spring 2013 The Flutist Quarterly 43

4 0 THANNUALNATIONALFLUTEASSOCIATIONCONVENTION

Oh, Lord! You will want to be in that number when the flutes come marching into the Crescent City.

by Tadeu Coelho, Program Chair

The 2013 convention is our convention. This is my motto and vision and I am so excited! This is a dream-come-true convention for me, and I hope you begin to feel the same as I tell you about how Laissez les bons temps rouler! will play out in the city of the Saints.

hursday begins with the official opening ceremonies led by Don’t miss Special Fingerings for the Piccolo, Flute, Alto, and Bass our president, Beth Chandler. Embracing a confluence of Flutes, moderated by Chris Potter with Robert Dick and Jan Gippo T cultures from the very start, the Jambalaya Flute Orchestra, as collaborators. Friday also ushers in a series of world premiere conducted by Lifetime Service Award recipient Angeleita Floyd and concerts to include new music by composer Eric Ewazen. consisting of flutists from all over the world, will hit off the conven- Later on Friday, our celebration of new music continues with tion with a program both varied and uplifting in spirit. Convention Performers Competition winners performing win- But, wait! The excitement will already have begun on Wednesday ning pieces from the Newly Published Music Competition coupled with the Young Artist Competition quarterfinals and other activities, with performances by Leone Buyse and Gary Schocker. The spilling over into early Thursday with the High School Competition. Venezuelan National Flute Orchestra is featured in the Friday Pre- Thursday events include a Robert Dick masterclass on extended Gala concert. For the Friday night Gala, I am thrilled to report that techniques, a special event honoring Floyd in collaboration with Lifetime Achievement Award recipient Barthold Kuijken has her students and friends, and presentations and performances of agreed to treat us with his inspiring artistry in concert! choro music! Plan to attend the Pre-Gala concert, at which Greg Jim Walker is sure to be an engaging guest speaker at Saturday Pattillo and Robert Dick will improvise, to whet your appetite for morning’s Teacher’s Breakfast. The Orchestral Audition the first Gala concert. The Opening Gala Jazz concert—slated to be Competition and Masterclass takes place this day, and flute ensem- the most exciting Jazz Gala concert ever—features an all-star line- bles from the U.S. and abroad representing Mexico, Brazil, up, with Orlando “Maraca” Valle, Hubert Laws, Nestor Torres, Ali Argentina, China, Ireland, and more participate in this day’s Ryerson, the Jazz Flute Big Band, and others. events. Afternoon events include a panel on Jazz Flute Tone, a For convention early birds, on Friday we open with the Sunrise health session with doctors on site to help you diagnose and pre- Concert featuring a multitude of solo and chamber works and, for vent ailments, solo and chamber music events, and the annual those eager to launch their career, a Career Workshop at 7:30 a.m. reception NFA Gala Awards Dinner honoring our 2013 Lifetime

nfaonline.org Spring 2013 The Flutist Quarterly 45 CONFLUENCE OF CULTURES & PERSEVERANCE OF SPIRIT

Virginia Broffitt Helen Spielman János Bálint Lea Pearson

Achievement Award and Distinguished learn from such pedagogues as Patricia pedagogical mastery of Lars Nilsson is pre- Service Award recipients. Kicking off the George, Nancy Stagnitta, and Carla Rees on sented by several of his students; Maestro evening in the Pre-Gala concert will be the alto and bass flute. Stop in at the “Mutant” Nilsson himself will be at hand to charm us French Flute Orchestra under the direction flutes concert—where piccolos, alto, and with his charismatic approach to teaching of Pierre-Yves Artaud. bass flutes will abound! the flute. Friday and Saturday bring presen- As for the Saturday Orchestral Gala—well, If, after the evening galas, you haven’t had tations from the pedagogical practices of get ready for spectacular! Hear orchestral enough, fear not! A convention day is not Brazilian master João Dias Carrasqueira, the excerpts performed by flutists Karl-Heinz complete without the late-night Cabaret. legendary Julius Baker, and Lifetime Schütz of the Weiner Philharmoniker and Featured Cabaret events include the Billy Achievement Award recipient Aurèle Sarah Jackson of the LA Philharmonic Kerr Quartet, Fernando Brandão, and Nestor Nicolet. Artists involved in the Maestro accompanied by full orchestra! Also on the Torres in concert and a Havana Summit with Series include Antonio Carlos Carrasqueira, program are solo works by Lawrence Dillon, Maraca, Jane Bunnett, Torres, and other Lars Nilson, Eva Amsler, Nobutaka Shimizu, André Jolivet, Felix Mendelssohn, Krzystof great jazz masters. The Saturday night Jasmine Choi, and Jeanne Baxtresser. Penderecki, and Gary Schocker, conducted Cabaret features the spectacular Ali Ryerson Solo and chamber concerts feature by Ransom Wilson. and the Jazz Flute Big Band along with artists Marianne Gedigian, Raffaele The final day of the convention takes off Walker, Torres, and many other renowned Trevisani, Carol Wincenc, Marco with a Low Flute Lollapaloozza hosted by jazz masters. Granados, Nicola Mazzanti, Ransom Chris Potter and other “lowees.” Make time You might also choose to go to the movies. Wilson, Sophie Cherrie, Trudy Kane, Sibel to visit with the Myrna Brown Competition Yes! You will have a free ticket to experience Pensel, Cristina Ballatori, János Bálint, award recipient, stop in to listen to John the premiere of Peter Westbrook’s newly Nobutaka Shimizu, Michel Bellavance, Bailey lead us through the Widor Suite, or released film, The Flute in Jazz: Window on Karl-Heinz Schultz, Eva Amsler, Lorna participate in the second of three Flute World Music. McGhee, Carol Wincenc and John Masterclass Lagniappes (a Louisiana French This year we have created the “Maestro Barcellona, Jan Gippo, Virginia Broffitt, word for “something extra”). Bring your Series,” celebrating the pedagogical trends by Margaret Cornils, Claudio Barile, Szabolcs flute to this extra-special event, where you our master teachers. On Thursday, Keith Szilágyi, and others. will have the opportunity to play in any Underwood delights us with his incredible Barthold Kuijken, this year’s Lifetime simultaneously occurring open masterclass- out-of-the-box approach to flute pedagogy. Achievement Award recipient, will present es in the Grand Ballroom. Wander in and Later in the day, the Swedish/Argentinean masterclasses for modern flute players

Frost Flute Ensemble Nobutaka Shimizu

46 The Flutist Quarterly Spring 2013 nfaonline.org Bill McBirnie Raffaele Trevisani Florida Flute Choir

wishing to be more “authentic” in their George Pope continues to serve us by ensembles will rehearse once daily to pre- interpretation on the modern instrument offering yet another moving Remembrance pare for two performances (each!) on and also for those who play the transverse and Healing concert. From the technology Sunday—including playing on the flute. Sophie Cherrier, a teacher at the Paris and music panel, to flute club panels, to a Carnaval Final Closing Ceremonies! Conservatoire and member of Boulez’s discussion on new music for flute ensemble During the closing ceremonies, we con- Ensemble Intercontemporain, shares point- led by Trudy Kane with guest composers, tinue to celebrate the flute. But more ers on how the French approach flute train- panels and workshops abound on learning importantly, we celebrate our community ing. There are masterclasses for high school how to improve your improvisation skills, as flute choirs, reaffirming that playing students ministered by Marianne Gedigian, a getting started on the baroque flute, music with each other is good, fun, and jazz panel featuring Hubert Laws, and many improving your memorization skills, prac- capable of building lasting friendships— other educational sessions taught by artists ticing know-how, and on and on! And we making this world a better place. such as Trevisani, Wilson, and Bálint. All this, cannot forget our many flute choir reading After attending fulfilling, uplifting, and I haven’t even mentioned the three addi- sessions including the Jazz Flute Big Band informative, and enjoyable pedagogical and tional flute lagniappes! Reading Session and the Low Flutes wellness events, as well as lectures, cham- Wellness events include Helen Spielman’s Reading Session. ber, and solo concerts, panels, and even a presentation on self compassion, a plethora It is my wish that we celebrate flute choirs beignet time or two, we know you will of health committee events, and a panel at this year’s convention. For this reason, arrive at the closing ceremonies trans- called Doctor’s Diagnostic Dialogues. nearly 40 flute choirs will be featured in formed, grateful to have been an integral Morning sessions will include a pranayama lunch-hour lobby concerts (in both the gal- part of something special that embodies workshop to get your spirit going on Friday, leria lobby and the hotel lobby itself) and in the goals of our National Flute Association. a presentation on body mapping, another on our designated flute choir room. We hope that perhaps you will feel, deep in the brain—and you certainly won’t want to We are excited to announce a convention your heart, that your part in this extraordi- miss the Throat Scope event, which gives an first: any flutist interested in performing at nary event was essential and that, as part of inside look into the physicality of playing the the convention will be given the opportuni- the team, you made this truly our conven- flute. But, wait—there’s more! Don’t forget ty to do so by signing-up for the Swamp tion together. the Recover Your Rhythm Room, where you Jazz Flute Orchestra (directed by Ali Oh, you will want to be in that number! can go for retreat, quiet, meditation, and—if Ryerson) or the Gumbo Flute Orchestra Don’t miss out! See you in New Orleans. you’re so inclined—a massage. (directed by Aaron Goldman). These Laissez les bons temps rouler!

Karl-Heinz Schutz Diane Frazier Ysmael Reyes Angela Jones-Rues

nfaonline.org Spring 2013 The Flutist Quarterly 47 From Your CONVENTION DIRECTOR The theme of this year’s convention is “Confluence of Cultures & Perseverance of Spirit” We have some exciting programs planned!

Convention Site Information New Orleans Marriott 555 Canal Street New Orleans, LA 70130 504-581-1000 888-364-1200 toll free 504-523-6755 fax

$142 single/double $152 triple $162 quad Tax is 13%

The maximum occupancy is four persons per guestroom. Hotel valet parking is $35 per day.

For reservations, visit nfaonline.org and select the “convention” tab

The cut-off date for the convention rate is July 15, 2013. A one-night deposit will be charged the day after the cut-off date. The cancellation policy is 72 hours prior to arrival for full refund. Check-in time is 3:00 p.m.; check-out time is noon.

To take advantage of the conference room rate, please make your reservation early, as the NFA cannot guarantee the rate once the block is full. Reservations will be accepted on a first-come, first-served basis until the room block is full or until July 15, 2013.

Travel Information Airlines servicing the Louis Armstrong Airport, New Orleans: Air Canada, Air Tran, Alaska, American, Delta, Frontier, Jet Blue, Spirit, Southwest, United, and US Air. Please search online for the most competitive rates.

For information about local transportation from the airport, visit flymsy.com and select the “transportation and parking” tab.

Registration Schedule Preregistered attendees: Wednesday, August 7, 3:00–6:00 pm On-site registration for all attendees: 7:00–9:00 pm The exhibit hall is open Thursday–Saturday 10:00 am–5:30 pm and Sunday 10:00 am–4:00 pm

Instrument Security Room The instrument security room will be open from noon Wednesday, August 7, to 11:00 pm Sunday, August 11.

I am looking forward to seeing all of you in August! —Madeline Neumann, Convention Director

48 The Flutist Quarterly Spring 2013 nfaonline.org From the LOCAL ARRANGEMENTS CHAIR

New Orleans, On Stage and Off

elcome to New Orleans, a along the Moonwalk and then visit place like no other in Café Du Monde for a plate of hot, WAmerica and the site of the powdered sugar beignets (been-yeas). NFA’s 2013 National Convention. New Worth every calorie! Orleans is often described as the most Take a ride on the historic Streetcar! foreign city in the U.S. This singular city The city’s Crescent City nickname came is a gumbo of influences from past and from the pattern of its growth along the current residents: Native American, river, which made a large bend through Spanish, French, British, European, the delta starting at the original French Creole, black, and white. Its culture is settlement and moving out to what is marked by fierce devotion to its tradi- now known as Uptown. Because the tions, languages, religions, customs, highest ground in this largely below- Patti Adams food, and—especially—its music. sea–level city runs along the natural lev- One of America’s most fascinating ees of the city, the Streetcar—the oldest neighborhoods lies across the street surviving trolley in the United States— is home to hundreds of live oak trees, from the convention hotel, the historic takes its riders on a passage through his- lagoons, and the Audubon Zoo. City French Quarter. It has it all, from ele- torical eras and their evolving architec- Park, a streetcar ride from downtown, gant antique shops, art galleries, hotels, tural taste. The (dark green) streetcar hosts 11 million visitors a year. A pop- and restaurants to music clubs, shop- will take you along the beautiful live- ular place to picnic, play a sport, or ping, and more. Magical visits to make: oak–lined St. Charles Avenue and, 10 take a boat ride, it is home to the the Historic New Orleans Collection minutes from Canal Street, you can visit Botanical Gardens, the New Orleans and Rau Antiques on Royal Street plus one of the most beautiful neighbor- Museum of Art, and the world’s largest Jackson Square where you can visit the hoods in America. collection of mature live oaks, some famed Cabildo—rebuilt in the late Get off at Washington Street and more than 600 years old. Other sights: 1790s after it burned in the 1794 fire, spend time in the Garden District, a res- the Louisiana Children’s Museum, the seat of government in New Orleans idential area with luxurious mansions Ogden Museum of Southern Art, during the Spanish colonial period, and two miles upriver from the French Audubon Aquarium of the Americas, the location of the signing of the Quarter. It is a vibrant neighborhood Audubon Butterfly Garden and Louisiana Purchase in 1803—and built in the 1840s by rich tradesmen liv- Insectarium, New Orleans Cooking Presbytere buildings, flanking the oldest ing in the French Quarter looking for a Experience, Woldenberg Park, and World working Catholic church in America, “country” home. These mansions are War II Museum-US Freedom Pavillion. the St. Louis Cathedral. family residences that feature lush gar- New Orleans is used to being on Dining is a passionate art form here. dens, wrought-iron balconies, and stun- stage, hosting the Mardi Gras, Super In the Quarter are historic family ning architectural treasures. In the cen- Bowl, Jazz & Heritage Festival. But my restaurants that have been in New ter of it all is Lafayette Cemetery (one of favorite times are when she is off stage. Orleans for hundreds of years New Orleans’ most historic cemeteries) The sights, smells, tastes, touch, (Galatoire’s, Arnaud’s, Antoine’s) and and award-winning Commander’s sounds—New Orleanians live the five newer, fabulous ones (Bayona’s, Mr. B’s, Palace Restaurant, one of the best in the senses. In August, the city will be steamy the Palace Café). Casual local favorites world. Find out more about the many and humid, but its sensual pleasures are the Napoleon House (my personal historic homes and buildings to be seen will create an unforgettable experience! fav!), Gumbo Shop, Camelia Grill, Acme in New Orleans at the Preservation Oyster House, and Irene’s Cuisine. Resource Center at prcno.org. Local Arrangements Chair Patti Adams You haven’t truly experienced the Opened in 1898, Audubon Park was is assistant principal flute/solo piccolo city unless you see the mighty the site of the World Cotton Centennial of the Louisiana Philharmonic Orche- Mississippi River flowing behind the in 1884. In Uptown across the street stra and teaches at Loyola University levee at the French Quarter. Stroll from Tulane and Loyola universities, it New Orleans.

nfaonline.org Spring 2013 The Flutist Quarterly 49 THE PACKARD HUMANITIES INSTITUTE CARL PHILIPP EMANUEL BACH he omplete orks VOLUMES WITH WORKS FOR FLUTE

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&ODVVLFDO&ROOHFWLRQ,QF&RP Distinguished Service Award 2013 Labors of Love The building blocks to virtually every significant layer in the NFA’s growth—from creating its competitions to chairing and conducting for its conventions—have been in the capable hands of Angeleita Floyd, the National Flute Association’s 2013 Distinguished Service Award recipient, almost since the organization’s beginnings.

by Beth Chandler

ngeleita Floyd is a vibrant personality. Her warmth and presence reflect the heart and soul of a passionate musi- Acian and teacher. Her career as a flutist, conductor, and pedagogue have allowed for diverse and distinct opportunities, each of which she has embraced with optimism and a generous spirit. She has served for nearly 27 years as professor of flute at the University of Northern Iowa and enjoys frequent residen- cies as a guest artist, conductor, and teacher at flute festivals all over the world. Many of her students have achieved successes in Angeleita Floyd regional and national competitions and hold professional posi- tions nationwide. As the founder and director of Winzer Press Congratulations on your fine achievement of being honored Publishing, she has authored one book and has edited and pub- as the ninth recipient of the NFA Distinguished Service lished two others. Award! On this occasion, can you highlight significant Floyd’s prolific musical career has been balanced with accomplishments and memories within the organization? extensive service to the NFA. She has served in the presiden- I am thrilled to receive the NFA Distinguished Service Award. tial cycle (including as vice president, president, and imme- Honestly, I cannot imagine my life in music and the flute with- diate past president), as program chair (1995, Orlando), as a out considering the enormous part the NFA has played. It has board member, and as the general competitions coordinator been an honor to be involved at every level working with a as well as that of the Young Artist and High School Soloist tremendously talented and devoted group of people. You know competitions. She has been the the saying, “What doesn’t kill you makes you stronger,” and with Myrna Brown International each position there were new challenges and growth. I am grate- Liaison, Myrna Brown Inter- ful to the NFA for every musical experience, interesting chal- national Scholarship Committee lenge, and wonderful friendship that I’ve enjoyed since my first chair, and the Gala Awards convention in Milwaukee in 1975. Dinner chair, and recently served My first position was as coordinator for a new competition on the Search Committee for the started in 1986, the High School Soloist Competition. Charles IMAGE OF FLOYD BY SCOTT CAWELTI

NFA’s next executive director. DeLaney was the president and proposed the competition as ; The NFA has significantly part of his legacy. I was a doctoral student of Charlie’s at Florida benefited from her generosity State University at the time, so I felt challenged to run the com- of time and talent. It is fitting, petition smoothly since it was the first involvement for high then, that this summer she will school flutists. The first commissioned work for the high school be honored at the NFA Annual competition came from Robert Dick. I remember discussing Convention in New Orleans the parameters of the composition with him: C-foot or B-foot? with the NFA’s Distinguished Extended range (fourth octave)? And what about extended tech- Service Award (formerly called niques? I gave Robert the green light on all counts and suggested

Beth Chandler the National Service Award). that he send along an instructional cassette or performance IMAGE OF CHANDLER BY KATE L PHOTOGRAPHY

52 The Flutist Quarterly Spring 2013 nfaonline.org of the work to serve as a guide. Robert and I were both blown away by how brilliantly all eight of the high school finalists performed Lookout at the 1989 convention. I also have to mention my experience as program chair for the 1995 Orlando Convention. Programming numerous creative events over a two-year process was the “labor,” but the “love” was beyond my wildest imagination, actually watching the concerts come to fruition. Several of my favorites: Göran Marcusson’s first professional appearance at an NFA Convention performing a program of all fantasies—it was glorious; Jim Walker’s Pied Piper Fantasy (Corigliano) with a multitude of young flutists marching from the audience to the front—it gave us chills; and the Hall of Famous Flutists Past— I literally wrote the script on the plane, arranged for Monya Gilbert (Geoffrey Gilbert’s daughter) to narrate, and took the audience through a hilarious history of important flutists, com- Floyd and former student Nicole Molumby, left, at a flute festival in Boise, Idaho. plete with costumes and wigs. Envision a visit from Frederick Florida State University for graduate studies with Charles the Great (Ardal Powell), picture the Doppler Brothers (or were DeLaney. I’d known Charlie since my high school days, so it they sisters? i.e., Mary Stolper and Kathy Chastain), along with was like studying with a dear uncle. He told the best stories Nicholson (Jan Boland), Böhm (Trevor Wye), Gaubert (Michel and had the ability to bring out one’s strengths and to Debost), Barrère (Kyril Magg), and others; truly it was magical. improve one’s weaknesses, all through humor. He offered Just imagine how much easier it was to organize an Iowa Flute great support and encouragement, and helped us find our Festival or a Passion Flute Workshop after being the program own place in the music world. chair for an NFA convention. Gilbert’s teaching philosophy always stressed proper fundamentals, giving students the tools to become their own teacher. Your career has been wonderfully rich, and you have been He felt that, ultimately, we were the ones who guided our prac- able to follow many different paths as a teacher, performer, tice and music making, so it was important to have the right conductor, author, and publisher. How have you balanced information. Combining Gilbert’s logical analysis and seasoned your interests and priorities? musicianship with the artistry of Jean-Pierre Rampal and Finding balance in our busy lives is a lifelong quest. Having a William Bennett brought my teaching and playing to a new solid academic teaching position has made it easier to devote level. I became totally enthralled with Bennett’s playing and his time to different projects over the years. Fulfilling my respon- colorful way of teaching musical phrasing, so I went to his sum- sibilities to my students and the School of Music at UNI has mer masterclasses at Wildacres and in England for many years. always been my first priority. I feel fortunate that the univer- Since the early ’90s, I’ve invited Wibb to be a guest artist at the sity and academic life support my interests, talents, and joy in Iowa Flute Festivals hosted at UNI and have organized his learning and teaching. I’m a curious person by nature and American tours. A career highlight in 2010: working with Wibb enjoy asking questions and doing detailed work, and am fair- as his teaching assistant for his summer masterclass in Illinois. ly good at finding the big picture and organizing events. Wibb and Trevor Wye had both studied with Gilbert, so Bottom line, no matter which path I’m on, I throw myself their teaching helped to clarify and enhance what I learned into it and love what I’m doing. Perhaps I’m a bit of a per- from Gilbert. In 1993 I had a professional development fectionist, but I really enjoy a challenge and problem solving. assignment from UNI to study with Trevor Wye at the Studio And all of this is made much easier and more rewarding by in England. What a tremendous learning experience—from having a loving and supportive partner, Scott Cawelti. He exploring important repertoire to in-depth study of various enjoys performing, sings and plays the guitar, and has made styles, from Trevor’s demanding, no-nonsense approach to significant contributions in his field. We’ll celebrate our 17th his incredible musicianship and generosity. I have been for- wedding anniversary this summer. tunate to study with such gifted and diverse teachers and have always tried to take the best facets from each. Your flute teacher “lineage” includes many wonderful flutists and pedagogues to whom you credit your passion for music Speaking of Geoffrey Gilbert, you were inspired to write your and teaching. How have each of their legacies impacted you? finely detailed book on his legacy and teaching methodology. I grew up in Concord, North Carolina. My first teacher, Irene How did that experience affect you? Maddox, played principal flute in the Charlotte Symphony. She If you want to learn more about teaching the flute, probably the was a wonderful flutist and musician, as well as a fantastic role best way to do so would be to write a book about teaching the model. She organized the Charlotte Flute Club, introduced me flute. Because I knew that Gilbert would read every word, I was to world-class flutists, and encouraged me to study at the painstakingly methodical in collecting his teaching ideas. And he International Summer School in Nice, France, with Rampal. did read every draft and wrote a lovely letter that is included as an From there I went to study with Geoffrey Gilbert at Stetson appendix in the back of the book. One of my favorite stories University, followed by two summers in Nice, and then on to about the book comes from an interview printed in the Daytona

nfaonline.org Spring 2013 The Flutist Quarterly 53 train, staying in the teacher’s dormitory, and adjusting to their system and schedule where you didn’t give grades and the schedule was different every week. We loved the humanity and intelli- gence of the people, and made lifelong friends. The international flute festivals in South and Central America have been an extremely important part of my musical life. This summer will be the 23rd festival in Quito, Ecuador, and I’ve participated every year except one. It’s been so rewarding working with the students in masterclasses and private lessons, getting to know the maestros and maestras, and sharing our culture and our music in a selfless way. It was during the early years of the festivals that I started having neck and shoulder problems (dystonia) that caused me to stop performing. Of course it was devastating, but my desire to make music led me to conducting, so there’s always a silver lining. As the corals have grown, so has my skill and Floyd with fomer students Bree Mills, left, and Sarah Kowal at the 2012 convention. expertise as a conductor, and I’ve directed international flute Beach News Journal. To my dismay, Gilbert mentioned that he choirs of 90 flutists in the most glorious settings: the Teatro didn’t think he had a method for teaching the flute; “Didn’t every- Nacional de Costa Rica (San José), the Teatro Nacional Sucre, and one teach like me?” I assured him that indeed he had an effective the Casa de la Música in Quito, Ecuador, among many others. method, and he quickly responded, “I can’t wait to read the book Members of my international familia de flautistas were enthusi- to see what I do.” astically supportive through this difficult period, so for their kindness, I am particularly grateful. From The Gilbert Legacy emerged the creation of your own A highlight in my conducting career: conducting the “Ruby publishing company, Winzer Press, through which you have All-Star Flute Orchestra,” a “who’s who” of the flute world, at the been fortunate to bring to fruition several significant books. 40th Annual NFA Convention in Las Vegas. Can you share some highlights of this work? In 1987 I had completed the book on Gilbert’s teaching and dis- With so many interests, undoubtedly you must have new tributed copies to flutists whose lessons I had observed and projects on the horizon. What’s next? recorded. After his death in 1989, Gilbert’s fans encouraged me I’ve been awarded a professional development assignment grant to find a publisher. Not wanting to give up my copyright nor from my university for the fall of 2013 to continue working on editorial rights, I decided to publish the work myself. Winzer Geoffrey Gilbert’s contributions. Writing the complete story of Press was launched with the first printing of The Gilbert Legacy Gilbert’s life flows as a natural extension of the scholarly work in 1990; we printed subsequent editions in 1994 and 2004, I’ve done on his teaching methods. My work will focus on Trevor Wye’s Marcel Moyse, An Extraordinary Man in 1993, and Gilbert’s influence on the British School of flute playing, as well Sheryl Cohen’s Bel Canto Flute: The Rampal School in 2003. as his American years. A little trivia question for those curious minds: where does Winzer come from in the name Winzer Press? It’s Geoffrey Floyd sums up: Thinking about my life as a flutist and musi- Gilbert’s middle name. cian, I’d have to say that my greatest joy has come from teach- Publishing additional works was never my intention. However, in the fall of 1992, I received Trevor Wye’s manuscript for a book ing and my students. Watching them grow and develop into on the musical life of Marcel Moyse. Trevor had read The Gilbert mature flutists, educators, teachers, and performing artists has Legacy, admired the content and style, and asked if I would be given me the most satisfaction. I really love teaching; every stu- interested in publishing the work. Since I would be studying with dent is different and has different needs. It’s always a challenge him in England the following January, the timing seemed perfect. to find the right solution, make the right suggestion. I look for- Trevor aptly summed up our editorial work together in the ward to many more years of sharing all that I’ve learned and acknowledgements of the book: “She, armed with The Chicago making glorious music with students and colleagues from all > Manual of Style, corrected my English, whilst I, Cambridge over the world. Encyclopedia of English in hand, corrected it back again.” We had great fun arguing, and Marcel Moyse: An Extraordinary Man was Beth Chandler enjoys an active career as a soloist, chamber presented at the 1993 Convention in Boston. musician, and teacher, and is flute professor at James Madison University in Virginia. She performs as a guest artist at univer- In addition to your study with Trevor, you have enjoyed some sities and festivals throughout the U.S. and abroad. Chandler other international musical experiences. What have you has won numerous competitions and awards, including a gained from these experiences, and how have your students at Fulbright Grant to study in the United Kingdom. She holds UNI benefited? degrees from the University of Cincinnati College-Conservatory My teaching exchange in Örebro, Sweden, was a wonderful year- of Music, New England Conservatory, and Baylor University. long exchange with Torleif Ander and his family. We switched Her principal teachers include Helen Ann Shanley, Trevor Wye, places; he taught at my university, and I taught at both of his uni- Paula Robison, Jack Wellbaum, and Bradley Garner. She is pres- versities in Örebro and Arvika. I had to get used to traveling by ident of the National Flute Association.

54 The Flutist Quarterly Spring 2013 nfaonline.org Notes from Around Conventions, festivals, competitions, and other global flute activities the by Christine Erlander Beard World The Fourth Annual International Competition of Moscow Conservatory for Winds and Percussion was held November 1–8, 2012, at the Moscow Conservatory in Russia. The distinguished panel of flute jurors included Valery Kikta (Russia), Alexander Golyshev (Russia), William Bennett (Great Britain), Philippe Bernold (France), and Felix Renggli (Switzerland), the last three of whom led masterclasses during the week to coach the competitors. Thirty-one participants representing nine countries and three continents were accepted into the flute competition, which was held in three rounds. First prize was awarded to Sarah Ouakrat (France); a tie for Flötenfestival 2013 will be in Freiburg. second prize was awarded to Yulianna Padalko and Sergey Zhuravel (both from Russia); and the Diploma recognition Lombardi, Kersten McCall, Mirjam Nastasi, Hans-Peter went to Anna Kondrashina (Russia). The 2013 competitions Oggier, Wil Offermans, Sibel Pensel, Mei Xiang Piao, Marina will be held November 1–8, 2013. The flute competition will Piccinini, Sabine Poyé-Morel, Jutta Pulcini, Quintessenz, Felix be out of the rotation from 2013 to 2017, but the 2013 rota- Renggli, Günter Rumpel, Jørn Schau, Loïc Schneider, Karl- tion includes a division for woodwind quintets. Visit Heinz Schütz, Ruth Wentorf, Matthias Ziegler, and Jürg mosconsv.ru and select the “events” tab. Zurmüle. Visit floete.net.

The 23rd Haverhill Sinfonia Soloist Competition was held Sixty-three contestants on September 29, 2012, at the Haverhill Arts Center in will participate in the Haverhill, England. Of the 164 applicants from 35 countries, Eighth Kobe Internat- 25 finalists representing 11 countries were selected to the ional Flute Competition, competition, including England, Italy, Spain, France, Sweden, to be held March 28 to Australia, China, Canada, Kazakhstan, Slovenia, and the April 7 in Japan. Among United States. Of the instrumentalists accepted, only one 229 applicants from 34 flutist, Samantha Pearce (U.K.), made it into live rounds of countries and one re- the competition. Prizes included monetary awards totaling Sarah Frisof Stephanie Kwak gion, 63 contestants from £9,125 and performance engagements throughout England. 21 countries and one region had passed the preliminary The 24th Haverhill Competition will occur on September 28, screening that was held in August 2012, including three 2013; applications are due by August. Visit haverhillsinfo- American flutists: Sarah Frisof (2008 NFA Young Artist nia.co.uk. Competition, second prize), Sooyun Kim, and Stephanie Kwak (2007 NFA High School Soloist winner). Visit The German Flute Association announces its Flötenfestival kobe-bunka.jp/flute/en/index.html. 2013 Freiburg on March 23. The festival will include masterclasses, workshops, competitions, exhibitors, and concerts The subject of 68th Concours de Genève’s 2013 composition featuring international flutists András Adorján, Robert competition is a work for flute solo and small ensemble of five Aitken, Eckart Altenmüller, Eva Amsler, Lars Asbjörnsen, instruments, to be chosen from violin, viola, cello, oboe, clar- Yossi Arnheim, Evcil Bulent, Denis Bouriakov, Qiling Chen, inet, bassoon (secondary wind instruments are allowed); per- Sanqing Chen, Tilman Dehnhard, Robert Dick, Die 14 cussion; and piano. Scores selected as finalists will be given Berliner Flötisten, Lukasz Dlugosz, Jürgen Franz, Davide their first performance at the final round in Geneva in Formisano, Peter-Lukas Graf, Renate Greiss-Armin, Wally November, and the prize-winning work will be performed at Hase, Marianne Henkel, Carlo Jans, Joueurs de Flûte, Karl the final round of the 2014 Flute Competition. Postmark Kaiser, Maxence Larrieu, Andrea Lieberknecht, Salvatore deadline for entries is March 31. Visit concoursgeneve.ch.

nfaonline.org Spring 2013 The Flutist Quarterly 55 NOTES FROM AROUNDTHE WORLD chamber music, and flute choir. There are three participant levels: advanced, intermediate adults, and junior. Visit fluteschoollondon.co.uk.

Michel Bellavance Matjaz Debeljak Rogerio Wolf The Eighth Internacional de Flauta de Costa Rica will take place April 1–7 at the National Theater and the National Institute of Music in San Jose, Costa Rica. The full roster of Bill McBirnie Peter Sheridan Christine Erlander Beard artist-teachers includes Jean-Louis Beaumadier, Michel Bellavance, Yvan Bertet, Elena Cecconi, Sheryl Cohen, Matjaz The Canadian Flute Association is proud to announce the Debeljak, Christine Erlander Beard, Angeleita Floyd, Eduardo first Canadian Flute Convention, to be held June 29–July 1 Gomez, Gabriel Goni, Jim Lyman, Horacio Massone, Susan at Appleby College in Oakville, Ontario, Canada. Confirmed Milan, Sergio Morais, Sergio Pallottelli, Carla Rees, Eldred international guest artists include William Bennett, Carla Spell, Jean Michel Tanguy, Michael Titt, Nestor Torres, and Rees, Atarah Ben-Tovim, Peter Sheridan, Alena Lugovkina, Rogerio Wolf. Registration deadline is March 15. Visit Niall O’Riordan, Bill McBirnie, Jean-Louis Beaumadier, acofla.org or send an email to [email protected]. Christine Erlander Beard, Christopher Lee, Kelly Via, Laurel Swinden, Margot Rydall, Mark Dannenbring, Meg Griffith, The Asociación De Flautistas de Espagña (AFE) presents a Megan Lanz, Nancy Nourse, Patricia Creighton, Patricia flute course in Madrid, Spain, with Davide Fomisano April Dydnansky, Rik Noyce, Samantha Chang,Sara Hahn, and 12–14. Visit afinarte.es (the website is in Spanish) or send an Stephen Tam. Visit canadaflute.com. e-mail to [email protected]. On May 25–26, the AFE presents a flute masterclass with Aldo Baerten, also in Madrid. The Dublin Flute Workshop, an intensive week-long flute Restricted to students of intermediate through advanced lev- course set in the leafy village of Rathgar (10 minutes outside els, the focus of the classes will be on orchestral excerpts. The of Dublin, Ireland), will be held July 22–29, 2013. Deirdre fee for performers is € 100; for auditors it is € 20. The enroll- McArdle-Manning and Robin Matathias will lead private ment deadline is May 17. Visit afinarte.es or send an e-mail to coaching sessions, group warm-ups, repertoire masterclasses, [email protected]. and evening classes on a variety of topics such as memorization, strategies for overcoming performance anxiety, and Flautiada Competition 2013 will take place April 25–28 at the Lyros: a distinct approach to natural tone production. There Conservatory in Bratislava, Slovakia. Dedicated to the mem- will be ample free time to practice as well as opportunities to ory of Vladislav Brunner, professor of flute at the enjoy the culture and nightlife of Dublin, yoga classes, cooking Conservatory in Bratislava, the competition specifies two cat- classes, and two group excursions. The application deadline is egories: for pupils under 18 years of age and for students of May 1. Send an e-mail to [email protected] or conservatories and schools with higher musical educations. visit facebook.com/dublinfluteworkshop. The winners of each group will obtain a scholarship for summer mastercourses. The application deadline is February 20, The Australian Flute Festival announces its 2013 competi- 2013. Visit flautiada.com. tions: The Flute Competition (open to flutists up to age 32), the Young Artists Competition (open to flutists up to age 18), The Canadian Flute Association announces it Fourth Annual and the Orchestral Excerpts Competition (open to flutists up Canadian Flute Competition 2013, to be held May 4–5 in to age 30). All applicants must be registered for the festival, Toronto and May 11–12 in Ontario. Sponsored by the which will take place October 4–7 at the Australian National University of Victoria School of Music, the competition is University School of Music in Canberra. The application open to all amateur flutists regardless of residence. deadline for all competitions is June 28 (Sydney, Australia, Competition categories include a special Canadian Flute time). Visit australianflutefestival.com. Convention class, along with concerto, sonata, and open classes for advanced students, flute ensemble and piccolo cate- In celebration of its 10th anniversary, the gories, and divisions following the Royal Conservatory of ensemble rarescale, with Carla Rees, artistic Music Grades 1–10. The postmark deadline for registration is director, has launched an international April 5. Visit canadaflute.com. competition for composers.This competition is open to student and professional or The Flute School London two-day course with Ian Clarke will semiprofessional composers of all ages and take place July 6–7 in Swiss Cottage, London, U.K. A non-res- styles. Rarescale is seeking chamber works idential, two-day course with special guest tutor Ian Clarke, using alto or bass flute, with a maximum the event will include workshops, masterclasses, concerts, Carla Rees duration of eight minutes. In line with

56 The Flutist Quarterly Spring 2013 nfaonline.org rarescale’s aim to develop a practical recital and chamber place April 6–13, 2014, in Krakow, Poland. For rules, repertoire, repertoire for the alto and bass flute, entries in all composi- and application materials, visit konkursfletowy.krakow.pl/en. tional styles will be accepted. The judging will take into account the suitability of the writing for low flutes and per- The 13th annual Chieri International Music Competition for Young Performers will take place November 12–18 in Sala formance practicalities in addition to compositional flair, Conceria, Chieri, Italy. The applications deadline is in technique, and originality.Entry deadline is July 15. Visit November. For more information, search for “13th annual rarescale.org.uk. Chieri International Music Competition,” send an e-mail to Chiara Giani at [email protected], or watch these pages. The deadline for application materials for the Sixth Inter- national Flute Competition Kraków 2014 is October 31. Open Submissions for “Notes from Around the World” should be to flutists born after April 6, 1984, the competition will take sent to Christine Beard at [email protected].

McBirnie, winner of the 2012 NFA Jazz Flute Solo Update from Canada Competition in Las Vegas, had his CD Mercy nominated for by Amy Hamilton the 10th Annual Independent Music Awards in the jazz album category. Visiting Guests: In October 2012, Toronto flutists and composers were treated to a weekend of workshops and perform- New Music, New Recordings, New Events: Robert Aiken pre- ances at the University of Toronto by contemporary virtuoso miered French composer Marc-Andre Dalbavie’s Concerto Robert Dick, who then visited Ottawa, where the Ottawa for Flute and Orchestra with Toronto’s Esprit Orchestra in Flute Association and the University of Ottawa sponsored a November and performed Canadian composer R. Murray masterclass featuring him. Camille Churchfield, former prin- Schafer’s Trio for flute, harp, and viola in the New Music cipal flute of the Vancouver Symphony, and Jeffery Khaner of Concerts series in Toronto this February. This work was orig- the Philadelphia Orchestra gave masterclasses for students of inally premiered March 2011 in Vancouver with flutist Lorna the Glenn Gould Professional School in Toronto in the fall McGhee and Trio Verlaine. British Columbia flutist Mark and winter of 2012–13. Austrian flutist Ulrike Anton present- McGregor will release a new CD titled Halos of the Moon in ed a concert and masterclass at Wilfrid Laurier University in March; it celebrates Canadian-Japanese cultural ties and fea- Waterloo, Ontario, in September, and Brannen Flutes visited tures works of Weisgarber, Tsurumoto, Gibbs, Genge, and Toronto and London, Ontario, this past November. New York Charke. McGregor’s Tempest Flute Ensemble will join with flutist Tara Helen O’Connor was featured in a National Arts Montreal’s ECM+ to premiere the work Four Elements in Centre Orchestra National Gallery of Canada chamber con- both Vancouver and Montreal. The work consists of four cert, which included performances of the Schubert Variations movements titled Water, Air, Fire, and Earth, and each is and George Crumb’s Vox Balaenae. Emmanul Pahud was the written by a different prominent Canadian composer. featured soloist with the Montreal early music ensemble Les Violons du Roy last October in a program featuring baroque The University of Western Ontario in London, Ontario, now and classical concertos, and he also gave a masterclass at the offers a doctor of musical arts degree and is accepting appli- Conservatoire de musique de Montreal. cations for September 2013.

Canadian Flutists: Patricia Creighton, principal flutist of Summer Programs: Domaine Forget Music and Dance Symphony Nova Scotia, performed J. S. Bach’s Orchestra Academy and the Orford Arts Centre Academy will offer Suite in B Minor with the orchestra in March 2012, and prin- flute study in scenic Quebec. Philippe Bernold and Jeanne cipal flutist Marie-Andree Benny was featured soloist in the Baxtresser will be among featured artists at Domaine Forget same work in December with the Orchestre Metropolitain in June 16–29, and Robert Langevin, Denis Bluteau, and Montreal. Toronto Symphony principal flutist Nora Mathieu Dufour will teach at Orford June 30–July 20. Shulman performed W. A. Mozart’s Flute and Harp Concerto Boxwood Festival in Lunenburg, Nova Scotia, July 21–27 with the orchestra in January, and flutist Leslie Newman was explores musical traditions in a holistic approach that inte- featured in a performance of this same work with grates music, dance, language, and crafts in educational out- L’Orchestre de chambre de Montreal last October. Interesting reach programs for adults, kids, and professionals. And, in a chamber concerts this year have included a performance of beautiful Rocky Mountain setting, Banff Centre will feature Cirigliano’s Brazilian Pictures for flute, piano, and string classes with flutists Ransom Wilson and Tara Helen quartet with Denis Bluteau and other Orchestre O’Connor July 1–19. Visit the NFA website (select Symphonique de Montreal members; and Christie Reside, Masterclasses under the “Resources” tab) for more informa- principal flutist of the Vancouver Symphony, was highlight- tion about these and other summer masterclasses. ed in a VSO Chamber Players concert that included Martin’s Ballade, Ibert’s Deux Interludes for flute, violin, and piano, Contact Amy Hamilton at Wilfrid Laurier University with and the Poulenc Wind Sextet. Toronto jazz flutist Bill Canadian flute news at [email protected].

nfaonline.org Spring 2013 The Flutist Quarterly 57 NEW PRODUCTS

NFA Lifetime Achievement Award Albany Records is pleased to recipient Carol Wincenc, with announce its release of a new CD, Lauren Keiser Music Publishing and Perennials, featuring the Scott/ Carl Fischer, has released another in Garrison Duo (Shannon Scott, clar- a series of Carol Wincenc Signature inet, and Leonard Garrison, flute) Editions. The publication, an Urtext with Rajung Yang, piano. The CD edition that includes a flute 2 part presents works by American com- composed by Wincenc, features 18 poser Daniel Dorff, vice president of pieces by French flutist Benoit publishing for the Theodore Presser Tranquille Berbiguier (1782–1838). Company and former NFA board member. The title feature is a The selected works are among his new trio for flute, clarinet, and piano; also included are original most frequently played pieces, recog- duets for flute and clarinet (“Two Cats,” “Three Romances,” nized for their musical and pedagogical value. Wincenc’s editing “Andante con variazioni,” “Three Little Waltzes,” and “Dances and composition for the work is based on methods of one of her and Canons”), Dorff’s arrangements of four Two-Part pivotal influences, Marcel Moyse. Inventions by J.S. Bach, and “Pastorale (Souvenirs du Frög)” for The pieces included in the publication are from clarinet and piano. Dorff’s music has been performed by Jean- Berbiguier’s Nouvelle Methode Pour la Flute (1818), which at Pierre Rampal, Walfrid Kujala, Donald Peck, and Denis nearly 300 pages long is a virtual encyclopedia of flute playing Bouriakov and orchestras including the Baltimore Symphony, with fingering diagrams, explanations of Italian musical Pittsburgh Symphony, Louisville Orchestra, Indianapolis terms, trill and ornament charts, advice on how to practice, Symphony, Detroit Symphony, Aspen Music Festival, and and numerous studies and musical examples designed to Spoleto Festival. Perennials is the second CD featuring the build technique. The idea of creating a second flute part was Scott/Garrison Duo on Albany Records, following the duo’s founded in the teachings of Moyse, who accompanied stu- first release, Barn Dances. Visit albanyrecords.com. dents on his own instrument and often vocally improvised melodies and/or lyrics. In adding his second line, Moyse was Carl Fischer Music presents a new col- able to underscore the harmonic, melodic, and rhythmic lection of solo pieces with piano structure and shape of the lines in a way that went beyond accompaniments for use at festival- verbal explanation. This way, the student learned about adjudicated events or in recitals. Solos rhythmic stability, phrasing, intonation, and quality of sound range in difficulty from grade 1 to 2 and by playing with the master. are progressively arranged, featuring a Existing editions of Berbiguier’s studies contain significant wide variety of musical styles from discrepancies and inconsistencies in dynamics, notes, time original compositions to arrangements signatures, and length. Through the generosity of the New of folk songs and classical pieces by York Public Library for the Performing Arts, Wincenc and Larry Clark and Sean O’Loughlin. Each assistant Bryan Wagorn were able to consult an original edi- volume includes a CD of full-version recordings for the student tion of the Nouvelle Methode, housed in the library’s special to use as an example and piano-only recordings to use in prac- collections. tice. The CD also contains piano accompaniments as printable In addition to verifying the accuracy of their renderings of PDF files. Visit carlfischer.com. the studies, Wincenc and Wagorn also have enriched the original with dynamics and articulation markings to help guide the student to an expressive and sensitive interpretation, Bart Feller, principal flute of the while keeping the text closely with Berbiguier’s original. Of New Jersey Symphony, New York particular interest in their editing work was Berbiguier’s fre- City Opera, and Santa Fe Opera quent use of cut time rather than common time and his use Orchestras, has released a new of rinforzando instead of sforzando (the former indicating a CD of the Mozart flute quartets. “reinforcement” of a note rather than an application of a sud- The recording has several dis- den, strong accent). tinct features: Feller performs on Visit laurenkeisermusic.com. a wooden headjoint, the string players use gut strings instead of Viviana Guzmán and guitarist Jérémy Jouve have released metal, the D and C Major Quartets are performed with double Traveling Sonata, a new CD on Reference Recordings featur- bass instead of cello, and there is frequent ornamentation. Feller ing European masterworks for flute and guitar. Featured on is joined by New York musicians Krista Bennion Feeney, violin; the album are works by Faure, Satie, Dyens, Duplessy, and Daniel Panner, viola; Loretta O’Sullivan, cello; and John Feeney, Ourkouzounov. Visit referencerecordings.com. bass. Visit bartfeller.net, Flute World, iTunes or CD Baby.

58 The Flutist Quarterly Spring 2013 nfaonline.org PassingPassing Information about absent friends TonesTones Christian Lardé: 1930–2012 rench flutist Christian Lardé died November 19, 2012. appointed professor of flute at the Conservatoire de FHe was 82. Montreal and in 1970 professor of chamber music at the Lardé studied at the Paris Conservatoire, where he won Conservatoire de Paris. first prize for flute and chamber music (1948 and 1951). He Many composers wrote for him, most notably Jean made his debut at the age of 19 playing principal flute with Francaix, and he also premiered works by Castérède and the Irish Radio Orchestra in Dublin. Two years later, he won Bancquart. His numerous recordings were of concertos, the Geneva International Competition. In 1956, he gave his Mozart flute quartets, and Kuhlau quintets, among others. first concerts in the United States and Canada, where he per- Lardé’s memorial service was held November 21, 2012, at a formed frequently throughout his career. In 1969, he was church in the village of Flayosc (in Var) in southeast France.

Patricia Haller Harbach: 1929–2012 atricia Harbach, 83, of West Melbourne, Florida, died July principal flute in the Brevard (Florida) Symphony Orchestra and P6, 2012. A longtime member of the NFA, Harbach traveled was chair of the orchestra’s board. A generous local philanthro- with the International Flute Orchestra to Ireland, France, pist, Harbach also served on the board and was a major sup- Austria, Italy, China, Russia, and the Baltics. She performed in porter of the Space Coast Ballet. She financially supported the Space Coast Flute Orchestra. She was active in the local Brevard’s oldest cultural organization, the Melbourne Civic arts scene in her Florida region and described by West Theatre, and was among the largest supporters of the Melbourne Melbourne arts columnist Pam Harbaugh as “one of the cul- Chamber Music Society. Harbach’s husband, Al, died in 2001. A tural community’s most enthusiastic supporters.” memorial service celebrating Harbach’s life was held July 8 and Harbach, a graduate of Cornell University, was for many years drew leadership from the region’s arts organizations.

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nfaonline.org Spring 2013 The Flutist Quarterly 59 Reviews of flute-related recordings, REVIEWSREVIEWS books, and other items of interest The Flutist’s Vade Mecum, Second Edition Walfrid Kujala © 2012 Progress Press

Editor’s note: Walfrid’s occur within beats (twos, threes, fours, etc.), as well as threes Kujala’s long career has in the time of twos, fours in the time of sixes, etc.—an inter- spanned multiple generations esting challenge! Trill studies and broken fourths, fifths, and of flutists and fellow NFA sixths follow. A bow to Ibert and Karg-Elert closes Part 4, in members. The following which the performer will immediately recognize the composi- reviews offer perspectives tional style of the two composers while learning whole-tone from representatives of two broken thirds, chromatic broken minor thirds, and chromatic of those generations. broken major thirds. Part 5 presents chromatic groupings of fives and sevens; he second edition of four types of “exotic” scales (pentatonic, blues, octatonic, and TWalfrid Kujala’s Vade the Hungarian minor); and finally the seven modal scales Mecum, released about 17 (Locrian, Phrygian, Aeolian, Dorian, Mixolydian, Ionian, and years after the first edition Lydian). As an extension of this type of modal scalar grouping, appeared in 1995, is more Kujala next explores six different ways of grouping the notes in than just a re-publication: It the perfect fourth (major, Dorian, melodic minor, harmonic is almost a completely new minor, natural minor, and whole tone). And, finally, he does book. An all-inclusive tutor to assist in the development of a the same type of exercise within the interval of the perfect fifth digital technique on the flute, it is written in a helpful and (Lydian, Locrian, natural minor, harmonic minor, melodic understandable style, with valuable guidance for all levels of minor, Mixolydian, major, and whole tone). flutists. The exercises are composed well to teach each spe- Part 6 contains two very interesting new sections. “Studies cific technique, and they are also interesting and fun to play. Based on Typical Chord Progressions” contains the chordal The Flutist’s Vade Mecum is in seven parts, with helpful progression of I, vi, iii, IV, V, I played as arpeggios and broken comments at the book’s beginning and end. Throughout are chords in each major and minor key (it is really fun to play), suggestions for the use of alternate fingerings (i.e., “facilitat- and it is an excellent study to teach the technical finger pro- ing fingerings”—which B-flat to use, which fingers may be gression from one arpeggio to the next in tonal music.“Short left down, etc.)—through the use of an easily readable Etudes Based on Chord Progressions from Prominent “code.” Part 1 is devoted to basic diatonic scales, arpeggios, Orchestral Passages” contains arpeggiated accompaniments to triads, and seventh chords, which form the basis of our flute 26 of the better-known orchestral excerpts for flute by technique. Kujala pays homage to his practice of these basic Beethoven, Brahms, Debussy, Dvorak, Haydn, Mendelssohn, techniques in his early years using the books by Gabriel Prokofiev, Rimsky-Korsakov, Schumann, Smetana, Richard Pares and Henri Altes. Part 2 is entirely new in this edition, Strauss, and Tchaikovsky. This section continues with four and is cleverly titled “La Scala Kujala.” It contains 30 inter- orchestral excerpts by Mozart (each transposed into several esting exercises, composed by Kujala, that build on the fun- different keys), five excerpts by Bach, and one each by damental technical components learned in Part 1. Beethoven, Ravel, Prokofiev, and Mendelssohn, as well as a Part 3 is called “Extended Intervals: Attaining Defter Fingers short finger-twisting exercise based on the Poulenc Sonata. and a More Supple Embouchure.” Again, this is an entirely Kujala suggests several very helpful “facilitating fingerings” to new section that presents a single exercise over and over again achieve a more facile and even technique when playing these but beginning each time on a different note in a different key orchestral excerpts. and, cleverly, covering the entire range of the flute. Each pres- In the five pages of Part 7, Kujala succinctly suggests help- entation of the primary exercise makes use of the same inter- ful ideas to achieve the greatest benefits from the study and vals (chromatic intervals, whole tones, diminished sevenths, practice of the materials he presents in his Vade Mecum. augmented triads, perfect fourths, and perfect fifths). Part 3 This is an excellent compendium of musical exercises to closes with expanding intervals and alternating minor and assist the flutist in the development of a facile digital tech- major intervals. Part 4 begins with an interesting exercise titled nique on the flute. “Composed Accelerandos,” in which varying numbers of notes —William Montgomery

60 The Flutist Quarterly Spring 2013 nfaonline.org typical chord progressions, a short etudes section (previously presented as excerpts) now significantly expanded, and perhaps the most appealing addition of all, a section entitled “Extended Intervals: Attaining Defter Fingers and a More Supple Embouchure.” This really is a set of calisthen- ics for the face. Omitted in this second edition are 13th chords and, sadly for the reviewer, one personal favorite: “Triads with Lower Neighbors,” which in the previous edition outlined major, minor, and diminished chords for each key. The page of 25 variations that followed these triads was an exhaustive illus- tration of how far one can go in expanding the possibilities of a single study. Fortunately, this material is not gone altogether. It appears in another of Kujala’s publications, The Articulate Flutist: Rhythms, Groupings, Turns and Trills, in a newer super-expanded form. While the book is rich in material for a lifetime of study, it is the opening text that delivers Kujala’s overarching phi- hat if a young student poking through stacks of flute losophy. There are always solutions but there are no quick exercise books were to come across the title Vade W fixes. If the material is difficult, it is worth doing. Those Mecum? He might well be inclined to pass right by it in who use the volume but overlook the text lose a great gift. favor of one in a language he recognized, or another with an ornate cover featuring the picture of a well-known flutist— In this electronic age, we all begin to assume that informa- an innocent but ultimately costly mistake. The Latin Vade tion should be instantly and readily accessible at the touch Mecum translates, roughly, to the phrase “go with me” and of a fingertip. We begin to lose the skills and patience nec- has come to be a shorthand title for a systematic instruction essary to employ the sort of discipline we need to achieve book. An old-fashioned name, for the old-fashioned total comprehensive technical mastery. We find that it is less approach of incremental, step-by-step improvement. And attractive to use those same furiously texting fingertips for in this case, who better to “go with” on the lifetime journey the purpose of improving our diminished seventh chords. If of learning the flute than the trusted and avuncular peda- we are guilty of adopting this mindset, just imagine the gogue Walfrid Kujala? work ethic of our students. If the material is difficult, it is Visually, Kujala’s second edition is an attractive, beautifully worth doing. The truth is that every musician would do well bound and printed anthology. Thanks in large part to his to follow Kujala’s example and approach daily practice in wife, Sherry, who has an extensive background in this area, his thorough, thoughtful fashion. great care has been taken with every aspect of the engraving Kujala also offers more sage counsel, echoing and adding process and binding of this volume. It is an updated version to the voices of teachers through the ages, by warning of the of Kujala’s impressive handwritten manuscript first edition. dangers of mindless practice, which fast becomes earless Much of the same material makes its way into the second practice. Customize your routine, he encourages, “adopt a edition, sometimes organized under different chapter head- flexible attitude” to keep your practice from becoming rote ings. There are of course additions and expansions of materi- and to keep you tuned in. Practice in front of a mirror or al and a judicious number of deletions. with a recording device. Vary the practice with different The material contained herein represents the equivalent tempos and articulations. Like the earlier incarnation, the of a full body workout. By the time you have played through second edition of the Vade Mecum’s greatest strength is that the contents of this book, you will have worked every major, it again reminds us all of the rewards of time-worn and minor diminished, and augmented muscle group. Each scale, triad, key signature, and mode are treated in every time-proven industry and diligence. articulation, meter, inversion, and rhythmic grouping imag- Sherry Kujala describes the nature of a book-binding job inable. No combination has been left unexamined. This as being one where you “repeat…one very small step thou- then becomes your core, the basic building blocks of your sands of times with no apparent reward in sight”—yet that musical vocabulary. When these encyclopedic exercises are job was “critical to the success of the final product.” I can properly worked, any piece of music you encounter will think of no better analogy for what we do when confined to present little challenge, or at least a more familiar challenge, our small practice spaces. What results from the dedication and you will be ready for the marathon, thanks to Walfrid of both Kujalas is indeed a final product that they describe Kujala, your personal trainer. as a “beautifully bound tool box,” inside and out. Wherever The new material includes modified scale patterns, more you “go” with the flute, don’t leave home without it. challenging meters and more wicked interviews, studies on —Linda Toote

nfaonline.org Spring 2013 The Flutist Quarterly 61 Book Flute 102: what had been used for fundamental studies at the beginning Mastering the Basics of the prior key. This routine allows a student to feel comfort- Patricia George and able even though the pitch content has changed. The first set of lessons in F Major has a range extending only to F3. By the Phyllis Avidan Louke end of Flute 102, the student has gained range up to C4 and is ©2012 Theodore Presser able to play key signatures of up to three sharps or flats. Company Interesting highlights include short introductions to extended techniques, such as flutter-tonguing and multiphon- lute 102: Mastering the ics, and guided improvisation. Because these techniques are Basics is a new method F introduced early and without pressure, students will not be book by Patricia George intimidated when approaching them later in the educational and Phyllis Avidan Louke, process. Each unit includes intermediate-level solos with released as a follow-up to piano accompaniment. George and Louke have included addi- Flute 101: Mastering the Basics. This installment sys- tional solos at the end of the volume, allowing for plenty of tematically takes the inter- choice and varied recital repertoire. The final repertoire piece mediate flutist through important stages of music development. in the lesson progression is Mozart’s Andante in C. George and Louke do an excellent job of explaining all termi- Naturally, this volume has been designed to follow the authors’ nology and guiding the teacher on how to teach phrasing and previous book—but it probably can seamlessly follow the first other concepts. In a way, Flute 102 serves as not only a method book of any flute method series fairly easily. Additionally, Flute for students but also a pedagogical manual for teachers. 102: Mastering the Basics would be a very good choice for a later The book is organized into 35 lessons, including five lessons middle school student who is new to private study but already in each of seven keys. The intent is for a student to be assigned knows quite a bit about the instrument. The material is interest- one lesson each week, and it seems practical that most young ing and varied and would easily allow the teacher to make sure students would spend about a year in the book. The progres- there are not holes in the student’s knowledge. sion of keys taught is logical, and in addition to changing key Flute 103 is expected to be released this year and will finish signatures, the progression of material is such that each group the progression through key signatures, providing a solid of lessons gets progressively more difficult. When a new key is foundation for advanced study. introduced, the material presented is the same or similar to —Rebecca Johnson CDs Edge: Flute Music countries: the Armenian Artur Avanesov and Giya Kancheli from the Periphery from Georgia, the Latvian Peteris Vasks, Elmir Mirzoev from of Europe Azerbaijan, and one Russian, Sergej Slonimsky. Hence the album’s title: Edge: Flute Music from the Periphery of Europe. Paul Taub Such locations might conjure an expectation of the exotic, ©2011 Present Sounds and while this music, superbly performed by Taub and his col- Rcordings leagues, does indeed have a strong sense of the alien, this appears to spring as much from the stylistic tendencies of con- s a founding mem- temporary music as from the geographical locations of its ber of the Seattle A composers. Indeed, the encroachment of Western European Chamber Players, an ensemble that focuses on art music into more far-flung parts of the world—including, contemporary repertoire, former NFA board member Paul of course, Eastern Europe—has had the effect of erasing many Taub’s most recent recording reflects a geographical interest of the stylistic differences between European folk and art beyond Seattle, where he is a professor of music at the Cornish music traditions. College of the Arts. While touring the Soviet Union with the Equal temperament (spread through such instruments as ensemble (and, on another occasion, under the auspices of the the accordion) has blotted out the subtle differences in local NFA), Taub was exposed to the music of several Soviet com- tunings, while chromaticism has blurred the subtleties of posers and has since become something of a champion of their modal tonalities. Add the effect of mass communications, and work. He felt compelled to explore this music, Taub told the we find that indigenous forms of expression that might dis- Seattle Times, “as a way of finding something in the repertoire tinguish Latvia from Armenia or Azerbaijan, while they might that nobody else was playing.” be preserved by folk music experts and ensembles, are largely Taub’s most recent recording reflects this passion, featuring absent from the palette of contemporary composers. If those on the work of five composers from what are now formerly Soviet display here have broadened the scope of the contemporary

62 The Flutist Quarterly Spring 2013 nfaonline.org genre, it is through a personal vision, forged in the experience of mastered the techniques required by these genres, from the their homelands perhaps, but without too much that springs extended techniques specifically called for in each piece to the from specifically nationalist traditions—contemporary modes overall pristine clarity of expression and sensitive use of of expression are too stylistically narrow to allow for that. dynamics that is the hallmark of this music. I am sure the end None of this should be construed as a criticism of the result will delight Avanesov, Kancheli, Vasks, Mirzoev, and recording under review, for there is much to admire here. Slonimsky, and it certainly belongs in the collection of all Having premiered works by Aitken, Cage, Crumb, Rorem, devotees of contemporary flute performance. Takemitsu, et. al., with the Seattle Chamber Players, Taub has —Peter Westbrook

Project Trio: When Pattillo’s recent performances, including that on the CD Will Then Be Now here under review, have in large part been devoted to his work Greg Pattillo with the Project Trio (Pattillo, flute; Peter Seymour, bass; and © 2012 Project Trio Eric Stephenson, cello). This CD is full of remixed classical pieces by Beethoven, Bach, and Rossini. My personal favorite of ears ago, when I first these is the group’s rendition of the William Tell Overture, full Yheard the “beatboxing of wit as well as ensemble cohesion. I do not think that their flutist” on YouTube and Bach arrangements work particularly well, however. before I knew anything Listening to the group’s original compositions on this CD, I about him, I could hear can visualize its members in live performance. Their collective that this virtuoso had extensive classical training, so I asked smiles, communication, and obvious love for music are infec- around and discovered that he is a graduate of the Cleveland tious. My personal favorite piece here is “Raga Raja”; the delicate Institute of Music. While studying in the conservatory set- ebbs and flows of energy are fantastic. “The Stacks” is light- ting—and to this day—the “beatboxing flutist” Greg Pattillo hearted fun. “Donna Lee,” originally composed by Miles Davis spends time on the streets and in the subway system honing and Charlie Parker, fills out the album and demonstrates the his skills as a busker. Since achieving his fame on YouTube, Pattillo has become known worldwide for his diverse skill set, most traditional jazz playing to be found on the album. one small component of which is his beatboxing. He is also a This CD is a great reminder of the whole of what we do. As talented jazz musician, arranger, composer, and clinician, and professional musicians, we work to achieve the highest possi- a solid classical flutist. It is that combination of technical ble level of technical proficiency, yet sometimes in the process prowess, creative raw energy, and zeal for life that makes Greg we lose the creativity of the music. This album has both. Pattillo so special. —Molly Barth

Legacy: I was thrilled to be able to listen to this CD, as its ebullient 19th-Century 19th-century repertoire fits perfectly with de Wetter Smith’s Virtuoso Duos musical strengths. His flute sound and that of CD companion Brooks de Wetter- Ulrike Anton match quite effectively for most of the pieces, though the pieces on which de Wetter Smith plays flute 1 seem Smith, Ulrike to have more drive and overt phrasing, especially toward Anton important cadence points. Pianist Ryan Russell is skilled at © 2012 Centaur alternating roles quite proficiently, from background rhyth- Records, Inc. mic stabilizer to soloist. Some of my favorite tracks on the CD are the third movement of Jean-Louis Tulou’s Grand Solo onths ago, I was Concertante, which has an unbridled energy, and the first Mdriving to work at the University of Oregon listening to my classical music sta- Andante con moto of Kaspar Kummer’s Grand Trio Brilliant, tion when I was treated to the most beautiful flute tone I had with a lovely exchange among all three players. heard in a long while. It harkened back to the graceful ele- This is a great CD for any flute teacher to own, as it suggests gance and virtuosity of tone that I associate with Jean-Pierre fun repertoire and is an excellent model for romantic-style Rampal. I waited in the car even after arriving at my destina- flute tone. tion, to hear that the flutist was Brooks de Wetter-Smith. —Molly Barth

nfaonline.org Spring 2013 The Flutist Quarterly 63 CDs Song of the Black to be sublime. Gareth Farr’s Theke (“waterfall”) is dark and rich Swan: Works and employs fantastic shaping of phrases. New works written or Inspired by Nature arranged for the Aletheia Duo include a haunting piece by Shafer Mahoney and a colorful work by Reynold Tharp. Aletheia Duo Yeung’s arrangement for flute and harp of Kent Kennan’s © 2012 Albany Records work Night Soliliquy is lovely; the color of the harp is much more well-suited to the flute than are the standard versions hen I return home utilizing piano or large ensemble. Keeble performs one solo from a busy day W work on the CD, written by César Vivanco Sanchez, a piece teaching, I reach for music with a wide depth that is improvisational in character and based on a familiar of color and emotion, Andean folk tune. The title track, written by Villa-Lobos and music that deeply moves me and draws me into the infinite arranged by Keeble, is gentle and reassuring. The duo ends the timbral nuances of the flute. This is one of the first CDs I turn CD with a work by Carl Nielsen depicting the fog lifting as a to. Jonathan Keeble and harpist Ann Keung (who together mother must part ways with her son. The ending is appropri- make up the Aletheia Duo) have assembled a stellar set of ate to this CD: hopeful but with a brooding, restless quality. works for their new CD, and they both have a magical way of Keeble’s depth of tone and palate of colors is magnificent conveying the moods of each piece. throughout the album. This is a fabulous addition to a flute The most universally well-loved work on the CD, Debussy’s player’s CD collection, both for the quality of the performance Sonate for flute, viola, and harp (with Masumi Per Rostad, and the diversity of the repertoire. viola), is spirited and thoughtful; I find the ensemble’s pacing —Molly Barth

The Dreams of Birds exoticism). Olson has an admirable command of all of the Jenni Olson members of the flute family featured on this recording— ©2012 Delos piccolo, flute, alto flute, and bass flute. Her dulcet dark pic- Productions, Inc. colo tone is especially appropriate for Montano’s “Dragonfly” for solo piccolo. The writing, to coin a term, is enni Olson, an active “insective” and provides a welcome alternative to Rimsky- JLos Angeles-based free- Korsakov’s too-often–performed portrayal. According to lance flutist and peda- composer Bear McCreary, “Incantation” evokes a séance. gogue, has assembled a The work does have a quality of the primeval and prehis- notable group of per- toric, as in Stravinsky’s Rite of Spring. Kelley’s Tripartite formers and composers Sonata is a superb addition to the contemporary flute liter- for The Dreams of Birds. The title of the CD is the first of its ature. It is a logical update of the iconic flute sonata of Paul nine compositions, all of which involve the flute family and Hindemith to the present day. various combinations of instruments. In addition to Olson, To a fault, all of the composers represented on this album the musicians include Brian Pezzone (piano), Marcia are creative, inventive, and excellent craftspersons. Each Dickstein (harp), Christin Webb (bassoon/contrabassoon), appears to have a working knowledge of the flute’s language Andrew Duckles (viola), Sherri Chung (voice), and Lynda and grammar. That, in itself, demonstrates a true commitment Marks (percussion). The composers represented on the album to the creation of a new viable work of art. The music on this are Jenni Brandon, Alex Shapiro, Dave Volpe, Damian CD is highly listenable and generally reflects a fusion between Montano, Joachim Horsley, Peter Jaffe, and Daniel Kelley. the impressionism of the early 20th century and the more con- The works in general are highly evocative and theme-based temporary New Age world music. (i.e., birds, insects, waves, the moon, serenity, mysticism, and —Erich Graf

As in Dreams latest Noteworthy Duo CD release, As in Dreams—Reflections Noteworthy for Flute and Guitar. Both Schroeder and Nigro are California- based musicians active in performance and pedagogy, and Duo/Lisa Schroeder both serve on the faculty of Vanguard University of Southern ©2011 Noteworthy Duo California. Schroeder produces a compelling dark flute sound that is beautifully offset by Nigro’s smooth tone and supple lutist Lisa Schroeder guitar technique. The music on the CD is a luscious smorgas- Fand guitarist Michael bord of musical delicacies—most of which are tango-related— Anthony Nigro have col- written by a stellar group of composers identified with the laborated to create the dance genre: Jose Luis Merlin, Ernesto Cordero, Christopher

64 The Flutist Quarterly Spring 2013 nfaonline.org Caliendo, Celso Machado, Jorge Cardoso, Maximo Diego Pujol, When this rebirth occurred, Piazzolla was already an old man. and Ariel Ramirez. This album demonstrates that there were many other fine Merlin’s “Agua de Trapiche” is exotic and evocatively per- composers of the genre, who are deservedly recognized here. formed. The final movement is a malambo, easily embraceable While the performances left me tingling, the CD packag- by tango enthusiasts. Cordero’s “Fantasia Mulata” contains ing left me cold due to its paucity of information about the plaintive solo flute writing along with additional exotic embell- performers and the composers. Only a description of ishments, including nontraditional flute articulation and per- Merlin’s composition and an authorless poem are printed in cussive guitar-tapping. Machado’s samba and bossa nova are the box. This sent me to the Internet to assemble the infor- featured here in a light-hearted traversal. In addition to well- mation I required for this review. My research confirms that crafted contributions from Caliendo and Cardoso, Pujol’s Suite the poem “Alfonsina y el mar” (“Alfonsina and the sea”) is Buenos Aires features vignettes of picturesque countryside sites. a samba composed by Argentine Ariel Ramirez and Felix A very appropriate final selection for the album is a “lazy” Luna. The song/poem is a tribute to the poet of the same samba by Ariel Ramirez; it’s nearly time for my siesta. Both nationality Alfonsina Storni, who committed suicide Schroeder and Nigro have a firm and highly convincing understanding of the presentation style of this music. in 1938 in Mar del Plata by jumping into the water from a During the past quarter-century, tango has enjoyed a rebirth pier. Since the poem and the description of Merlin’s work, of popularity in the United States. It certainly bears mention- “Agua de Trapiche” (“Water of Trapiche”), are adjacent in the ing that a large part of this phenomenon was due to the influ- jewel case, I assume there is a connection between the two ence of Astor Piazzolla. Performances of his music by the San through water imagery. Francisco Symphony along with the commercial release in the Additionally, on the duo’s website, the section devoted to U.S. of several superb albums made his name a household “meeting the performers” on this new release features bios of word. A bandoneon player who studied with Nadia Boulanger Schroeder and Merlin but omits Nigro, the performing guitarist. and channeled the music of Bartok and Stravinsky—go figure! —Erich Graf

Emanuel Stokes presents beautifully flavorful interpretations in the Ensemble well-loved and oft-performed Fantasie Brillante sur “Carmen” ©2011 Champs Hill by François Borne. The fireworks display throughout this Records piece seems effortless. I truly enjoyed that the textural land- scape of this ensemble is further explored by having both of he young and tal- these duos performed. Tented Emanuel The first movement of Louise Farrenc’s Trio, Op. 45, begins Ensemble’s self-titled dramatically as unison and relayed flourishes demonstrate the debut disc presents a amazing unity of this ensemble. The serene mood of the sec- beautifully constructed ond movement balances the first perfectly. We are awakened collection of pieces for from our reverie by a flurry in the fanciful third movement. flute (Anna Stokes), cello (Louisa Tuck), and piano (John Reid). The activity in this movement is interspersed with moments of The first movement of Nikolai Kapustin’s Trio, Op. 86, bois- calm, but when it seems the piece will leave us with a tranquil terously demonstrates the composer’s penchant for the jazz feeling, we are quickly jolted awake for the finish. The fourth idiom. The tender moments in this movement have elements movement alternates between rhythmically active and lilting that suggest a tango, which is why it is so fitting for the disc to moments, and the piece ends boldly. I have to agree with the end with Piazzolla. A slow, sensuous dance is performed with liner notes’ assessment that Farrenc’s music is truly a treasure impeccable phrasing during the second movement, and the worthy of more performance. rhythmic interactions among all three instruments in the third La Muerta del Ángel comes from music that Astor Piazzolla are truly exciting. originally wrote for a theater production by the same name. Philippe Gaubert is no stranger to flutists. His compositions are replete with waves of joy, melancholy, ecstasy, pain, and, Piazzolla’s dark intensity is perfectly suited to depict the vio- overall, tremendous beauty. The Pièce Romantique provides a lent scene of an angel being murdered, and the colors created calm contrast to the jazz energy heard previously. The by the Emanuel Ensemble resonate with richness able to excite Emanuel Trio beautifully crafts phrases and contrasts. the imagination. Schumann’s Adagio and Allegro in A flat Major, Op. 70, was This CD presents lesser-known chamber pieces worthy of originally for horn and piano; however, Schumann provided his wider recognition and enjoyment. Listeners will delight in the own transcription using a variety of instrumentations, including performance of the Emanuel Trio and will look forward to its cello and piano. The Adagio is expressed with fluidity and pas- next project. sion. An air of energetic longing permeates the Allegro. —Tess A. Miller

nfaonline.org Spring 2013 The Flutist Quarterly 65 CDs Anatomy of Sound are skill-driven; others are more concentrated on attitudes the (DVDs) player brings to music-making. Considerable time is spent Amy Porter with the nuts and bolts of sound: its core, intonation, airspeed, energy, volume, and vibrato. Practicing skills are emphasized © 2012 Porter Products constantly. In addition to the impact of various genres of yoga, here does sound brief mention is also made of Alexander Technique, Pilates, Wcome from? As we and Feldenkrais. know, the answers have Porter makes a connection between one’s life experiences many layers, often fil- and what is expressed in music. Central is the “letting go,” tered by ignorance or physically and emotionally. She shares part of her back- partial truths. Indeed, ground as a child, sailing, competitive horsemanship, and the explanations of what even eight years of playing trumpet, and attempts to weave happens as we create a these elements into whom she has become as a musician. tone are as interconnect- Letting go is poignantly seen in the reaction of one student ed and convoluted as in her summer workshop. Point made! The 25-minute the variety of tonal demonstration of Porter’s warm-up routine is beautifully objectives found among various players. Of course, there is no illustrative of a player whose approach to playing is disci- “one sound.” Amy Porter, assisted by other guests, especially plined and highly organized. It is most instructive. certified yoga instructor Laura Dwyer, attempts to bring a The production of a DVD is very different from that of an holistic approach to the source and nurturing of sound. Their audio CD. The visual component occupies a partnership three-hour journey through the anatomy of sound, based on with what is heard. This DVD is not without a few blemish- Porter’s workshop by the same name, embraces two DVD discs es. These shortcomings do not negate the value of the prin- and is brimming with ideas, teaching concepts, a 30-minute ciples and concepts presented, but they are distractions. guided yoga session, and a detailed view of how Porter practices Much of Porter’s instructive segments are read from a com- (glitches and all). puter monitor off camera, and her persona often comes The DVD set may seem initially to be directed to flutists in across as rather wooden. One feels she is reciting the lines early stages of development, but soon it becomes clear that its rather than talking with the viewer, as a teacher would com- advice is beneficial to those at all levels. Teachers responsible municate with a student. At times, too much attention is for providing beginning students with a foundation for tone placed on production details, resulting in a visual perform- and technique development will find this set enormously ance that is self-consciously contrived. This overemphasis on valuable. Instructors of advanced students will discover prom- production carries even into the final credits, which list her ising approaches to familiar issues. There are gems for all play- hairstylist and makeup artist. Is that really necessary for a ped- ers, amateur or professional. The workshop is about how agogical video? The last segment of Disc 2 consists of out- sound is developed, a path encouraging the growth of the takes from the production. While it is great to see her riotous musician within. No DVD can answer all the questions or cure humor, the DVD ends with a hint that perhaps the DVD is as all the ailments, but Anatomy of Sound is a fully thought-out much about her as the subject she so ably explores. presentation that guides viewers to more self-aware approach- Her most effective remarks, displaying her personality es to music-making. and energy, are often enjoyed in her voice-over observations The background soundtrack comes from live and commer- of her warm-ups. When she makes a mistake, she admits it, cial recordings Porter has made. Her playing is radiant and and we see her correcting it. Some of the most compelling always musical, providing a context that gives evidence of the examples of Porter’s skills as a teacher are seen in the far-too- insights being presented. Some of the many topics traversed brief clips taken from her summer workshops. Her reactions

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66 The Flutist Quarterly Spring 2013 nfaonline.org to students are spontaneous and supportive, and the teach- of delivering the message. There is strong reason to hope Porter ing points she makes are most effective. will produce many more instructive DVDs that might provide Making cameo appearances at the workshops are Ian Clarke in-depth explorations of technical development, articulation, and Keith Underwood. perhaps even interpretative perspectives. Porter is an exception- This DVD set deserves a hearty “two thumbs up” for content ally gifted flute player and a superb musician. One seldom sees if not for the complete package. Certainly, what is shared is more both in the same person. consequential than how it is presented, but presentation is part —Brooks de Wetter-Smith

The Music of Djavan tunes in the world don’t guarantee the best jazz interpreta- Lori Bell tions.” In this CD, flutist Lori Bell and producer George Klabin ©2008 Resonance have combined their talents to uncover the “instrumental Records potential” of Djavan. Combining Bell’s familiarity with Brazilian music and her or those of us focused intuitive understanding of the wide variety of timbral possi- Fprimarily on classical bilities on both alto and C flute with the pianistic brilliance of music, the name Djavan a young jazz star from Israel, Tamir Hendelman, as well as the may not immediately res- “solid foundational rhythm team of bassist David Enos and onate. Yet this Brazilian drummer Enzo Todesco,” has produced an album to be treas- artist who wrote “high-spirited, eclectic” songs that “com- ured by today’s jazz aficionados and discovered by those who bined…rock, pop, and African elements” was immensely pop- have yet to embrace such imaginative arranging opportunities. ular in the 1970s. Still, as the liner notes indicate, “the best —Cynthia Stevens

nfaonline.org Spring 2013 The Flutist Quarterly 67 Music Rondo for Piccolo well as several small flute ensemble works. and Piano Presser’s Rondo for piccolo and piano was first published in William Presser 1967 but was re-released in 2012. This brief work is intimate- ly scored, with often only one voice in the piano at a time. It is ©2012 Tenuto Publications primarily imitative in style and often has two voices in canon illiam Presser (1904– with one another. The piece is attractive and enjoyable from a W2004) was an American listener’s perspective and, at three minutes long, a nice length composer and violinist who for a short piccolo piece to finish a recital. spent much of his career at Rondo uses the full range of the piccolo. The lowest notes of the University of Mississippi the instrument are highlighted many times, so any performer at Hattiesburg. His PhD in of this piece must have an excellent instrument that is also in music theory from the good working order. Many of the runs traverse multiple octaves. Eastman School of Music The highest pitch is a B-flat, which should be accessible for most allowed him to study with serious players. composers Bernard Rogers This is a great piece to add to the “recommended” list for col- and Burrill Phillips. His chamber music for flute includes sever- lege flute players interested in piccolo study. al potentially interesting combinations with brass instruments as —Rebecca Johnson

Czárdás sense of historical context to the piece, which could easily have Vittorio Monti, trans. been added to the front of the piano score for the performers’ Jasmine Choi interest. The only hint at the original instrumentation is in the variation written out completely in harmonics, with the ©2012 Falls House Press instruction to “please use no vibrato…to create the same effect on [sic] harmonics on violin.” A paragraph about why Choi asmine Choi is possibly wanted to arrange this piece (even if just the little bit of back- one of the most recognized J ground I found on Wikipedia) would add a nice personal young virtuoso flutists today, touch to this edition, since Choi’s name is perhaps the most and it is exciting to see her branch off into the world of notable characteristic it has. publishing. It seems fitting This arrangement is entirely playable and lays well on the that such a technically gifted flute, with the exception of the aforementioned “harmonic player would offer us her ren- variation.” The harmonics don’t really work, and the per- dition of the classic encore former’s note seems to admit this: “finger the note a 5th lower piece “Czárdás,” which she for all harmonics, except for the mid C#, E, E# which I would has undoubtedly tested on stage many times. use the same fingerings for the octave lower [sic].” These notes “Czárdás” is a traditional Hungarian folk dance that has exist- are too low to be played off of a lower partial, so they don’t ed since at least the 18th century. Many composers in the really come out as harmonics at all—the middle-register fin- Romantic Era used thematic material from the piece, including gerings for E# and E are the same as the low-register finger- Brahms, Delibes, and Tchiakovsky, but the most famous version ings, breaking the spell of that magical, ethereal sound. Choi is probably Vittorio Monti’s arrangement for violin and piano, could have transcribed this variation into a different key so written around 1904. Since then, many arrangements of Monti’s that all the notes were high enough to work as harmonics, or work have been made for various wind and string instruments. she could have written her own short variation to more accu- Monti’s version—and therefore Choi’s version—begins rately portray the particular talents of the flute rather than with the main melody and includes four variations, mostly fast merely copy what the violin traditionally does. But in this and wild, making this a perfect encore. Because the theme is so middle-to-high range, the variation only seems to highlight ubiquitous, whether or not audience members know the name how much better it would sound on violin. of the tune, many will hear something familiar in it, which Since this is not the only edition of this piece, and since makes for a great way to end a concert. It’s all flash in the flute many will probably purchase it because they are fans of part with a simple piano accompaniment, which makes it prac- Jasmine Choi, it would be wonderful to see more of her musi- tical to take on the road. So, if nothing else, this is a nice contri- cal interpretation in the score. There are minimal dynamics bution to the literature. sketched in and some notes to change tempos, but a major Except that this is not the only edition available for flute and part of what Choi is selling in this edition is her star power, so piano: Carl Fischer, Billaudot, PWM, and Masters Music all the score should reflect her interpretation as an artist, and have their own editions. So this one really needs to have some- show us all the dynamics and articulations that we would hear thing that the already existing editions do not. There is no if she were playing it on stage. As an internationally recognized

68 The Flutist Quarterly Spring 2013 nfaonline.org performer, she would make her edition more relevant if she edits it before printing any more copies. shared her artistry with us. “Czárdás” is a great little encore to know about—it’s easy to The “Performance Notes,” by the way, have grammatical play and to coordinate with accompaniment, and people like it. errors and appear in the back of the piano score despite the But I cannot recommend this particular edition in the face of fact that they are solely addressed to the flutist; I would put what looks to be a rather incomplete homework assignment. this in the flute part and be sure someone at Falls House Press —Nicole Riner

Concerto for its own punctuating rhythms and provides minimal melodic Flute/Piccolo and content. The piece is pure athleticism for all involved, and it Orchestra requires excellent rhythmical precision, as well. The patterns in Martin Amlin the flute part are not quite typical tonal groupings, but they are repetitive and lay well under the fingers, so a professional player ©2012 Theodore Presser Co. could learn the notes in a reasonable amount of time. had the great fortune to The piano reduction employs rather thick, dense har- Ihear Linda Toote, for monies, but looks playable and convincing enough for a per- whom Amlin wrote his formance in a concerto competition. I do not think one would Concerto for Flute/Piccolo want to perform this reduced score in a recital, but then, I and Orchestra, perform the hardly ever think that about concertos; the orchestral colors world premiere of this piece are too crucial in these chords. at the NFA convention in Las Amlin’s Concerto provides a brief, exciting bit of bravado for Vegas last summer, and I a very capable performer; like “Sprite” by Michael Torke, it goes enjoyed it immensely. This by in a flash and exudes high energy. It is nice to have a short brief piece sparkled with excitement under Toote’s capable piece like this for flute and piccolo with orchestral accompani- direction and kept the audience members on the edges of our ment. And the part resembles an easier version of the Rodrigo seats. By the time I got home, I couldn’t remember many Concerto without the incredible length, which means it fulfills a details about the piece, but I knew I liked it, so I was thrilled similar purpose without taxing the audience. Without much of a to be able to get my hands on the score to review it for you. melody or any opportunity to sustain notes, the flute/piccolo The Concerto is not much more than 10 minutes in dura- part tends to be one-dimensional. It may feel like thankless work tion and is a through-composed flash of bright light with one in practice sessions, but the performance is a true delight for the brief lyrical section. Less than half (the first four pages of the solo part) is played on flute, and the rest is performed on pic- audience, so the effect is worth the training. colo. The lyrical section, the last thing to be played on flute, Amlin’s Concerto for Flute/Piccolo is exciting, brief, and showcases the low register beautifully; the rest sits in the high (with some devoted practice time!) entirely playable. It also registers of both the flute and piccolo. allows the performer to shine on both flute and piccolo; in Reminiscent of the Rodrigo Concerto, this piece has no dis- fact, it is more a piccolo than it is a flute piece. With a skilled cernible melody in the majority of the solo part; the flutist plays orchestra, it works wonderfully, and it is a charming addition punctuating 16th notes, heavy on octave jumps and outlined to our concerto repertoire. chords pasted together in creative ways, while the orchestra plays —Nicole Riner

Tritsch-Tratsch-Polka, Otherwise, I would say it could be played by high school students Op. 214 with a solid sense of rhythm. Because of the range, it is best left Johann Strauss, ed. to more experienced piccolo players who will not be at all challenged by the piece but will enjoy quickly putting together a Bernard Boetto lighthearted old favorite for their audiences. Expect to get a ©2011 Billaudot Editions chuckle or two from the group—this is not serious literature. Billaudot’s edition is clean and easy to read, with well- ne of the world’s most marked D.C. and coda sections and easy page turns in the Ofamous polkas has piano part. The piano accompaniment is straightforward and become a short, simple picco- consists mainly of a constant driving rhythm in eighth notes, lo duet with piano accompa- easily played by moderately experienced collaborative pianists. niment. Both piccolo parts As a meaningful addition to the piccolo repertoire, it leaves are quite simple to play, something to be desired, but as an easy, crowd-pleasing encore except possibly for range: the or bit of fun on a concert, it’s a pleasant palate cleanser for per- second part goes up to a high formers and audience members. F#, and the first part has its share of high As and a high B. —Nicole Riner

nfaonline.org Spring 2013 The Flutist Quarterly 69 Music Badinerie Bites Back two voices. The four-bar coda at the end has an almost J.S. Bach, arr. Melanie Nutcracker-inspired flair. Thorne The entire piece takes less than five minutes to perform. It is written for four C flutes, no auxiliary instruments. ©2002 Sempre Music Although the range is not particularly wide (the score covers from low C sharp to high F sharp), it is somewhat rhythmi- adinerie Bites Back is a cally demanding and requires a good sense of pulse to segue flute quartet arrangement B from one variation to the next. All performers must also be of the Badinerie from J.S. Bach’s Suite in B Minor. It is capable of performing the original theme convincingly; this written as a through-com- is probably the most technically challenging aspect to the posed piece with stylistic des- piece. Advanced high school students or young college stu- ignations to signify the four dents could find it a challenge; as a clever encore, it could be short variations. put together relatively quickly by advanced players. The opening statement of One must be careful, in a flute ensemble program, not to err the theme puts the original on the side of short, fluffy pieces that do little more than evoke solo in the top voice accompanied by staccato eighth notes in a fading “aaaw” from the audience—we have a long history of the second, third, and fourth parts. The variations sound like non-serious pieces in our repertoire. While there is a definite the theme but are twisted into different shapes as a kaleido- cute factor to this arrangement, I find it very charming and scope might distort a simple visual image: There is “waltz engaging to the end. If balanced well with heftier pieces, it style,” which turns the melody into a silky 3/4 tune with inter- could make a nice palate cleanser or encore in a program. connected, almost floating accompaniment; “slower swing Since the solo is so well known and often studied, it could also style” evokes a Henry Mancini-esque sense of easy listening be a great exhibition piece to take into the public schools for jazz; “relaxed swing style” is slightly more fluid. The piece clinics and recruiting trips with college students. Badinerie wraps up with an almost manic return to the original theme, Bites Back is a nice little diversion and an easy addition to any this time with the eighth note accompaniment in the top two teacher’s ensemble music library. voices and the melody played in thirds between the bottom —Nicole Riner

Totem in this way, like a painter might echo a subject’s eye color in a Gergely Ittzés nearby vase on a table. The overall effect of the piece is serene ©2012 Falls House Press but still manages to be engaging, for the sounds created by the performer are so interesting and varied. otem was commissioned Fast passages are very playable, and phrase lengths are deter- T by the NFA for its 2012 mined by the player’s air supply, not unlike traditional shakuhachi Young Artist Competition in playing. Most of the piece is written as a series of multiphonics Las Vegas. The unaccompa- somewhat challenging to produce. I would situate them a bit nied piece relies heavily on above Robert Dick’s repertoire in difficulty level. Easily executed extended techniques, particu- pizzicato tonguing, tongue rams, and key clicks are also present. larly multiphonics, and is Ittzés has been clear and detail-oriented in both his score and approximately six minutes in his performance notes. The carefully notated dynamics, approx- duration. Its composer, imate note length ratios, and specific extended techniques are Gergely Ittzés, cites inspira- clear and easy to read; this score very successfully communicates tion from the solo works of what Ittzés wants as a composer. Performance notes act as a kind Jolivet, Hoover, and Takemitsu, among others, in his creation. of tutorial on how to play the piece, and although his demands The piece is largely an exploration of colors: most phrases are challenging, everything is indeed possible to play on the flute. begin with three 16th notes slurred into one or more multi- As a great performer himself, Ittzés has written very well for the phonics of indeterminate length, creating an almost medita- tive quality in pacing. There are moments of fluttering activi- instrument. His introductory essay likewise explains his compo- ty, in which the performer plays repetitive patterns of 16th sitional process and what he tried to achieve in the piece, which notes faster and slower, louder and quieter. But the majority of is helpful as we try to faithfully realize his vision in performance. the piece is like the opening, with a short burst of energy fol- The number and difficulty level of the multiphonics alone lowed by a series of long tones, like held poses in yoga. Some makes this a composition that requires a serious commitment of these “held poses” also echo their 16th note pick-ups, on the performer’s part; there are many new fingerings to learn, repeating one or two of the pitches in a double-stop that has and the sounds don’t all come easily. But the reward is in the end an eerie harmonic quality to it. Ittzés is a master of tone paint- product, which results in an utterly enchanting piece of music. ing and very cleverly picks out and highlights certain pitches —Nicole Riner

70 The Flutist Quarterly Spring 2013 nfaonline.org Three by Schocker

hree new pieces from Gary Schocker offer something coda as ending. In moderate tempo, this is a lyrically satis- Tfor everyone. Amuse-Bouches, literally “happy mouth- fying piece that mimics perhaps the delicious drifty sensa- fuls,” starts us out with a delicious slicing sausage (“saucis- tion one might feel if indulging in the liquor from which it son sec”) in simple time at quarter note around 96 with no takes its title. “Birthday Wish” is a piano solo for his Aunt particular rhythmic difficulties but a lovely interplay among Jeannette, languorous and thoughtful, compound meters at oboe, flute, and piano that keeps the listener chewing hap- 44. “Stefan’s Dream” (for flute and piano), simple time, at pily, swallowing only occasionally. The second movement, heartbeat tempo (quarter at 60), presents simple, lovely, “pain au chocolat,” savors at quarter note around 66 (again, even soulful melody completely without affectation. “Early simple time) the delicious sweetness of a chocolate crois- Spring” for Gyula, also for flute and piano, is written in sant: never eat one of these quickly or you lose half the compound meters at the eighth note (100)—not difficult, but pleasure! The last movement, “cornichons,” are cute little lively, bursting with the spurts of spring promise and its occa- gherkin pickles that in a lively compound meter (dotted sional recessions (ritards). But spring ends, finally, into the quarter at 126) slide down easily after quick crunchy little long slow hot summer whispers of a low C fading forever. bites. Fun! “Another Year,” for flute and piano, although rhythmical- This Little Light, for piccolo (or flute) and string quartet, ly straightforward at moderate tempo, provides the disso- makes me wish I had a string quartet to play with. Accessible nances that echo the uncertainties with which we seem to for intermediate to advanced, its mixed meters lovingly carry move into each new year. “Sabroso,” for flute and piano and forward a simple melody shared by all, and its rhythms dedicated to Luis Alfredo, provides more tempo changes sometimes are in unison and sometimes cleverly alternate than the other pieces, a brief cadenza-like line, and a freer among all players. The little light, I think, is the dancing pic- feeling throughout. “Fly Away,” for Miyuki, for flute and colo singing merrily above the strings whose sonorities lift it piano and the longest piece in this collection, begins with a up and allow it to sparkle all by itself. Delightful. moderately paced soulful movement (restrained, unadven- In the eclectic collection For Friends: Smorgasflute!, turous) but provides a lively second half that does indeed Schocker pays homage to some of his closest friends and rel- “fly away” with a nimbleness that makes us catch our breath atives. Some of them we might recognize, as for example the in admiration. “Birthday Wishes” for Lisa, for flute and first piece “Vapor” for David Williams (maker of my own piano, is a tantalizing fantasy beginning with the first four precious flute and dear friend as well). Here we have a beau- notes of the traditional “Happy Birthday” melody, then foil- tiful melody, simple, sweet, unassuming, as is David’s own ing these expectations with an extended melodic excursion personality. The piano simply carries it forward, never elsewhere before concluding with the traditional melody’s obstructing or stealing the show. This piece is all David. final notes. Very imaginative. Most of these pieces, however, are for people unknown to All of the pieces in For Friends are easily accessible by me—yet one can feel the composer’s profound affection in flutists intermediate and above, though a table of contents each. “Absinthe” for flute and piano is dedicated to Gaspar for both the flute and piano parts would have been helpful. Hoyos and Stanley Hanks in ABA form with a freely drifing —Cynthia Stevens

nfaonline.org Spring 2013 The Flutist Quarterly 71 Music Three Little Sonatas both parts are quite straightforward. Interestingly, the flute Drouet part contains a line at the beginning of each sonata with the ©2011 Schott tonic and dominant triads written out to orient the student to the key, which is a nice pedagogical touch and apparently e ouis François Philippe existed in Drouet’s original manuscript from 1830. It is rem- LDrouet was a Dutch iniscent of precluding techniques from an earlier genera- virtuoso flutist, composer, tion, though there is no indication that such improvisation conductor, and by all is expected in a performance. accounts sought-after ped-

agogue. Flutists may be Schott’s edition comes with a well-written preface that helpfully places the pieces in history and explains correc- most familiar with his etudes, 72 studies for early tions made to the urtext. It also includes a brief biography high school players and 25 of Drouet and quotations from his other writings instruct- studies for advanced high ing students on the proper approach to tonguing, which school and young college comes in very handy in these sonatas and helps encourage a

students. While he was born the year after Mozart died, general intellectual curiosity about historical performance these three simple sonatas, written around 1830, are situat- practice. The care with which editor Nikolaus Delius ed firmly in the Classical style and are well-written teaching researched the subject matter inspires confidence that the pieces for younger players with four or five years of study. music to follow is trustworthy in source. The music itself is The three sonatas in this collection are in the keys of C somewhat sparse, with minimal dynamics and some articu- Major, A Minor, and F Major. Each is comprised of between three and four movements, fast-slow-fast or fast-slow-fast- lations in the flute part and a thin realization of the piano fast, and each takes between five and seven minutes to play. part along with the original figured bass symbols, allowing The piano parts are in a transparent Classical style, with (but not demanding) both performers to apply their own simple harmonic material in moving quarters and eighth historical detective work just as a performer in the 1830s

notes in the right hand and a bass line for the left hand. A would have done. pianist would not need to be terribly advanced to perform As an introduction into historical performance practice, these parts, making these pieces practical choices for studio this is an excellent edition of Drouet’s sonatas. And as far as recitals and solo competitions. The flute parts alternate high school-level repertoire goes, it is a welcome addition to between quarter, eighth, and 16th notes, and the fastest passages are generally all stepwise motion within the key and our rather brief list of Classical Era music and lends variety written in repetitive patterns easy for students with some to the music we teach. It is a fine set of sonatas for teachers practicing experience to grasp. The flute range remains and young players alike to own and enjoy. between low D and the F above the staff, and rhythms in —Nicole Riner

Cherry Blossoms pletely pleasing and satisfying. The melodies and harmonies are, Gary Schocker as always with Schocker’s music, beautiful, lyrical, and intrigu-

t took me a while, but I Members of the ensemble, particularly the string players, Ifinally managed to get a were a bit dismayed to see the key signature (six flats), but group together to read they loved the piece despite that fact. The harpist was very “Cherry Blossoms” in prepa- happy to see pedals and pedal changes notated in the music. s ration for writing this review, Some mixed meter and a few minor tempo changes occur and I am so glad I did. The throughout, but these changes are done smoothly and make piece is scored for flute, clar- sense for the musical line and phrasing. I highly recommend inet, harp, and string quartet, this lovely chamber work, and I hope to include it on a pro- an unusual combination, but gram myself in the near future. one that I found to be com- —Rebecca Hovan

72 The Flutist Quarterly Spring 2013 nfaonline.org NEW waayy Model Headdjjoint

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nI ffoo hagan@ araflfl gan.wwwmcoes.tu hag araflfl mcoes.tu Honor Roll of Donors to the National Flute Association

The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings, and flute choir), and endowments. The list reflects donations received from November 1, 2011, through March 1, 2013.

Sapphire ($10,000–$49,999) Sandra Church Linda Pereksta Jacqueline Goudey Melanie Addington Bickford W. and Laura Eugenia L. Cline George S. Pope Ann E. Graham Dianne Aitken Brannen Robert F. Cole Christine E. Potter Vanessa Gwynne Lori Akins Wm. S. Haynes Flute Co. Margaret Cornils Luke Ronald Prechel Harbor Winds-Woodwind Claudia Anderson Mark & Judith Thomas David Cramer Deborah L. Ragsdale Repair Services Sara Andon Linda Crisafulli Wendy H. Rolfe Julie Guitry Harris Jan H. Angus Emerald ($5,000–9,999) Linda Cykert Sue A. Rupp Susan Hayes Alice D Avouris Eleanor Duncan Armstrong Richard L. Dalton Edith Sagul Lisa Hedley John R. Bailey Angeleita S. Floyd Monica Daniel-Barker Sam Ash Music Wilda M. Heiss Joanna Bassett Levit Flute Company Karen B. Demsey Lisa Garner Santa Eric Hoover Beth Behning The Aaron Copeland Fund Judy Diez d’Aux Patricia Schmid Sandra Howard Vicki Bell for Music Zart Dombourian-Eby Therese Schneider Carolyn Krysl Hutchinson Sandra Benke Nancy E. Toff Daniel Dorff Frances Shelly Jennifer Isadore Debra Blecher Darlene Dugan Angela Allen Sherzer Yeva Johnson Nancy Budd Bostwick Platinum ($2,500–$4,999) William J. Egnatoff Mary DeLano Sholkovitz Melonie M. Jones Carla Bowman Eleanor Duncan Arthur J. Ephross Sign of the Silver Birch Music Keefe Piccolo Company Beverly Bradley Armstrong Ann Fairbanks Ellen Silverman Katherine Kemler Danielle R. Breisach Angeleita S. Floyd Steven Finley Alison Brown Sincoff Laura Sanborn Kuhlman Morgan M. Bresett-Brown Wm. S. Haynes Flute Co. Cynthia J. Folio Fenwick Smith Anne M. Laboda Jennifer Brimson Cooper Katherine Borst Jones Noreen B. Friedman Lucille Snell Lawrence H. Liggins Jennie Brown Colin Garnett John Solum Elie Litov Alex Burdette Gold ($1,000–$2,499) Katrina Garnett Corydon S. Sperry Andrew Liu Jean M. Burnett Anonymous Lisa Geber Terri Sundberg Nancy Loomba Linda Caillavet The Abell Flute Co. Patricia George Paul Taub Deborah MacMurray Michelle Caimotto Leone Buyse Aaron Goldman Betsy Templeton Leslie Seid Margolis Elise Campbell Gerald V. Carey Susan S. Goodfellow The Flute School (online Marcia Strom Metzger Trish Campos Marilyn First Susan Greenberg with) Jeffrey Khaner Catherine Miller Hiram G. Carrasquillo Rivera Flute Center of New York Penny Griffy The Flutist’s Faire Mary Minsk Nikolaos Chalkias Leonard L. Garrison Yvonne Chavez Hansbrough Ruth Toff Polly Monson Sandy Chang Sarah Jackson Kathleen Ann Henkel Philip Trackman Elizabeth Z Morales Xue Chen Katherine Borst Jones Betty Austin Hensley Keith Underwood Howard E. Motteler Kimberly Clark Sherry & Walfrid Kujala Jill Heyboer Peggy Vagts Anna-Katharina Mueller Shelley Collins Nagahara Flutes NNI Inc. Dorothy (Dot) Holcomb Ignace Vanmoerkerke Sharon Muller-Ho Cara Conway Nancy Schneeloch-Bingham Ellen Huntington Julia K. Vasquez Marissa Heartly Olin Alexandra Conza James R. Walker Rose V. Johnson Ann S. Vinod Lauren Osnato Lynne Cooksey Sue Ann Kahn Alice Kogan Weinreb Margaret A. Peterson Mary E. Craig Silver ($500–$999) Trudy Kane Jean Ohlsson West Margaret Jane Radin Tara Novy Crawford Sue Blessing Ellen Kaner Patricia Wheeler Catherine Ramirez Mark Dannenbring Jerry Jenkin Robert Katayama Stephanie A. Wheeler Ginger (Virginia) Luella Daugherty Martin Melicharek III Peter Katz Robert Willoughby Rombach-Adams Maretha Davel William Montgomery Tara Kazak Theresa H. Wilson Helene Rosenblatt Maria Luisa David Robbins Jonathan Keeble Richard E. Winslow Sue Rudholm De La Cerda Rohde Sandra Saathoff Janet D. Kinmonth Kara Wuchner Ali Ryerson Marilyn Deavers Straubinger Flutes Linda Kirkpatrick Ying-Yu Emily Yeh Heidi Schuller Erin Delaney Nancy M. Vinson Marjorie Koharski Peter Sheridan Jessica Deskin Christopher Krueger Donor ($50–$99) Sherry’s Flute Repair & Sales Ann Droste Wood ($100–$499) Gay Landstrom ALRY Publications, LLC Emily Hope Skala Sophie Dufeutrelle Anonymous Donor Joanne Lazzaro Jan Boland Ann D Smith Emily Duncan Robert Aitken Amy Likar Joanne Ennis Bourquin Diana Sparacin Donna Morse Dymond Eva Amsler Gail E. Looney Wissam Boustany Patricia Spencer Lisa Ann Fahlstrom Rebecca Tryon Andres Phyllis Louke Bonita Boyd Alexa Still Jill Felber Francesca Arnone Leslie Maaser Burkart Flutes & Piccolos Cynthia C. Stokes Katherine Fink Deborah Rebeck Ash Janet Maestre Bret Burns Patricia Stortz Sarah B. Fouse Frances Lapp Averitt Claire Della Mahon Joanne K. Chadima Natalie Syring Diane Gold-Toulson Peggy F. Baird Julie Martin Maisel Chesapeake Flute Consort Lew Tabackin Ai Goldsmith Teresa Beaman Rebecca Malone Carol Christofferson Cynthia R. Tate Jennifer Grady Brooke Bennett Roger B. Martin Andrea Clark Rae P. Terpenning K. Dawn Grapes Laura Benning Betty Bang Mather Susan J. Clark Catherine W. Tetreault Alyssa Greengrass Laurie Benson Richard A. Mc Pherson Harriet Coppoc Verne Q. Powell Flutes, Inc. Gaile Griffore Brannen Brothers Katherine H. McClure William R. Davis, Jr Susan Waller Maria K. Harding Flutemakers, Inc Dorli McWayne Marcela DeFaria Lenora Warkentin Courtenay Hardy Carol Brecker Catherine Miller Claire Durand-Racamato Mihoko Watanabe Jean M. Harling Claudia H. Brill Linda Mintener Charlotte Ellis Anne Welsbacher Linda Hartig Roberta Brokaw Catherine Montano Penelope Fischer Ruth M. Yanagi Adrienne Havelka Andrew D. Callimahos D. Kent Morest Lewis T. Fitch Alan Zaring Pamela Hawley Kirsten Carlson Madeline Neumann Lynne L. (Hadley) Fowlkes Kimberly Helton Beth E. Chandler Edith K. Nishimura Hans Friese Friend ($1–$49) Ellen Hershey Gary & Kathryn Chandler Joyce Oakes Kimberlee R. Goodman Patti Adams Gunn Hill

74 The Flutist Quarterly Spring 2013 nfaonline.org Julie R. Hobbs Sonia Ruiz Leslie Seid Margolis Priscilla Ochran Holt Crystal Safarian Katherine H. McClure Amber Hrynczyszyn Elaine Marie Schaeffer Edith K. Nishimura Haynes Challenge Caroline Calabro Hughes Debra C. Schild Christine E. Potter Don Hulbert Mary Schneider Linda M. Prior Maria Infurchia Lisa Schroeder Ginger (Virginia) Endowment Fund Sarah Jackson Virginia Schulze-Johnson Rombach-Adams Margaret Foote Jamner Magda Schwerzmann Ronnie Rothchild he Wm. S. Haynes Company’s donation of $125,000 for Donna Long Jerz Arastu Sharma Sue Rudholm T the NFA endowment includes a matching challenge of an Emlyn Johnson Ken Sherman Edith Sagul additional $125,000. As of March 1, 2013, the endowment Rebecca R. Johnson Robert Singer Patricia Schmid stands at $1,223,461.07. Thank you! To date, the following Harvey Sollberger Tamara Kagy Mary DeLano Sholkovitz individuals have stepped up to the challenge: Catherine Kapoor Lezlie Spann Robert Singer Janet Sperry Nancy E. Toff Mindy Kaufman Nancy Budd Bostwick Tamara Kagy Rosalind Stack Susan Waller Melissa Keeling Roberta Brokaw Peter Katz Amalie C. Kempton Keri Starling Arnie Wernick Deborah Steinbacher Leone Buyse Walfrid Kujala Bryan Kennard Jean Ohlsson West Syrinx Flute Repair Andrew D. Callimahos Linda Mintener Janice S. King Alan Zaring Ayana Terauchi Gerald V. Carey Virginia Schulze-Johnson Elyse Knobloch Beth E. Chandler Angela Allen Sherzer The Flute Market Myrna Brown Fund Laura Koenig Richard L. Dalton Lucille Snell Heidi Toevs Sheridan Eva Amsler Mary Kopsieker Flute Center of New York John Solum Michael Treister Frances Lapp Averitt Sue Kurian Leonard L. Garrison Nancy E. Toff Rosalyn Trotter Peggy F. Baird Samantha Kurihara Patricia George Ruth Toff Albert Vreeland Leone Buyse Esther Landau Ann E. Graham Ignace Vanmoerkerke Melanie Walters Andrew D. Callimahos Mary Laurie Wm. S. Haynes Flute Co. James R. Walker Agatha Juichih Wang Robert F. Cole Elaine Layne Betty Austin Hensley Alice Kogan Weinreb Richard Warner Lynne L. (Hadley) Fowlkes Matthew Lee Maya Washington Jill Heyboer Theresa H. Wilson Gina Leija Sebastian Leonard L. Garrison Valerie L. Watts Ai Goldsmith Donna Long Jerz Eileen Yarrison Harvey Leikind Kristin Webb Katherine Borst Jones Carmen A. Lemoine Susan S. Goodfellow Arnie Wernick Betty Austin Hensley Kasumi Leonard To join the Haynes Challenge Leaders, send your check and a note Joanna Cowan White Amber Hrynczyszyn Barbara Levine on how you would like to be recognized in the listing to: Kerrie Wrather Vespaziani Jerry Jenkin Gerardo Levy Haynes Challenge Grant Eileen Yarrison Robert Katayama Tzu-Ying Jennie Lin Leung Ka Yau Linda Kirkpatrick c/o The National Flute Association, Inc. Margaret Linnan-Kegel Kelly K. Yeung Joanne Lazzaro 26951 Ruether Ave., Suite H, Nikki Lohr Charles Young Harvey Leikind Santa Clarita, CA 91351 Diane J. Lynch Leslie Maaser Carlen Mandas David Hart Fund Julie Martin Maisel Susan J. Manwaring Peggy F. Baird Linda Mintener Samantha Marshall Laurie Benson Margaret A. Peterson J.T. Martin Leonard L. Garrison Deborah L. Ragsdale Cory Maxfield Yvonne Chavez Patricia Schmid Karen B. McClintock Hansbrough Kristin Webb Audrey McPherson Margaret Foote Jamner Christopher Krueger Wendy Mehne Dedications Julie Martin Maisel Julianna Moore Andrew Callimahos in Roland F. Moritz Linda Pereksta Wendy H. Rolfe Honor of Chesapeake Christine Fish Moulton Youth Symphony Conor Nelson Nancy Schneeloch- Bingham Orchestra Pamela Nelson Lisa Gerber in Memory Susan Nelson Fenwick Smith Anne Welsbacher of Jack Wellbaum Susan Nguyen Marjorie Koharski in Lisa Norton Stephanie A. Wheeler Robert Willoughby Memory of Helen Alex Ogle Callimahos Hurry Kris Palmer Frances Blaisdell Fund Patricia Wheeler in Dan Parasky Eva Amsler Memory of John Jennifer Parker-Harley Rebecca Tryon Andres Thomas September Payne Peggy F. Baird Chesapeake Flute Consort Ann C. Pearce Laurie Benson in Memory of Helen Martha Peltier Joanne Ennis Bourquin Callimahos Hurry Sibel Pensel Carol Christofferson Anonymous in Honor of Jason Peterson Susan J. Clark Robert Willoughy’s Mary Peterson Charlotte Ellis 90th Birthday Antonio Carlos Colin Garnett Portela da Silva Leonard L. Garrison Legacy Circle/ Amy Porter Jacqueline Goudey Planned Gifts Donna Prather Susan Greenberg The NFA Legacy Circle Kathryn A. Prinz Jean M. Harling honors individuals who Linda M. Prior Patricia Harper help ensure the future of Irene Pruzan Alexandra Hawley the NFA through planned Judith A. Ranheim Eric Hoover gifts. It is with deep appre- Arlene H. Renico Jerry Jenkin ciation that we recognize Rachel Rodgers Robert Katayama these members: Charlotte Jane Roth Sue Kurian Linda and Harry Fegley Rita Roth Joanne Lazzaro Katherine Borst Jones Ronnie Rothchild Janet Maestre Carol Kniebusch Noe Toby Rotman Julie Martin Maisel Gwen and Richard Powell

nfaonline.org Spring 2013 The Flutist Quarterly 75 Inspire the desire to aspire.

The Music Development Program will be presenting music teacher The Royal Conservatory information sessions across the US to support student and teacher is pleased to announce participation. The Program inspires excellence with individual student assessments in all instruments and voice, and the academic areas the Music Development of theory, music history, and pedagogy. Program. Find out how you can join the growing community of teachers who are discovering the benefits of the Music Development Program: k A recognized national standard that supports student success k An effectively sequenced course of study with built-in flexibility k Outstanding teacher and student resources including a rich variety of repertoire and etudes k Professional, detailed adjudications k Ease of participation – no membership fees, paperwork, or volunteer hours

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NFA OFFICE Showcase and Exhibitors’ Historical Flutes Flute Choir Composition ARCHIVES AND LIBRARIES Concert Coordinator (2008) Nancy Schneeloch-Bingham (2012) Paige Dashner Long (2011) Interim Executive Director Rebecca Johnson Hayes School of Music PO Box 1436 NFA Librarian Katha Kissman DFAC 2415 Dept. of Music Appalachian State University Flagler Beach, FL 32136-1436 Michelle Monroe-Menjugas 202-669-4423 Eastern Illinois University Boone, NC 28608 386-569-3010 NFA Music Library [email protected] 600 Lincoln Ave. 828-262-6447 [email protected] c/o University of Arizona Libraries Charleston, IL 61920 [email protected] 1510 E. University Convention Director 217-581-6627 Graduate Research Tucson, AZ 85721-0055 [email protected] Jazz Jessica Raposo (2012) 520-621-7010 Madeline Neumann Kris Keith (2010) 14 N. Taylor Avenue [email protected] 26951 Ruether Ave., Ste. H 5129 Glenaire Dr. Program Book Advertising Bldg. 2, Apt. 3 Santa Clarita, CA 91351 Dublin, OH Steve Wafalosky Norwalk, CT 06854 OTHER APPOINTMENTS 661-299-6680 614-263-1702 LaRich & Associates, Inc. fax: 661-299-6681 [email protected] 203-858-7992 512 East Washington St. Flute Choirs Coordinator [email protected] [email protected] Chagrin Falls, OH 44022 Joan da Silva Heit (2012) Low Flutes 440-247-1060 2604 Amanda Court Information Technology Consultant Christine Potter (2009) High School Flute Choir fax: 440-247-1068 Woodstock, MD 21163 Brian Covington 2985 18th Street Kelly Via (2012) [email protected] 410-655-6849 [email protected] Boulder, CO 80304 965 Daisy Court 303-443-3330 Lawrenceville, GA 30044 [email protected] Program Book Bio Editor 770-935-1379 Membership Director [email protected] Lisa Van Dusen [email protected] Flute Clubs Coordinator Maria Stibelman 26629 N. 45th Pl. New Music Advisory Dolores August (2009) 26951 Ruether Ave., Ste. H Cave Creek, AZ 85331 Dianne Aitken (2010) High School Soloist 2 Raintree Court Santa Clarita, CA 91351 480-473-4877 116 Earl Grey Road Cristina Ballatori (2009) Mansfield, TX 76063 661-713-2072 [email protected] Toronto, Ontario University of Texas at Brownsville 682-553-0979 fax: 661-299-6681 M4J 3L5 Canada Fine Arts Dept./Music [email protected] [email protected] Gala Fundraising Dinner Chair 416-465-3967 80 Fort Brown Patti Adams [email protected] Brownsville, TX 78520 Flute Research Coordinator 2840 Coliseum Street Publications Director 585-880-4381 Jessica Raposo (2012) New Orleans, LA 70115 Nominating Anne Welsbacher [email protected] 14 N. Taylor Avenue 7213 E. Chelsea St. 504-895-5908 Zart Dombourian-Eby (2012) Bldg. 2, Apt. 3 [email protected] 2515 10th Ave. West Wichita, KS 67206 Jazz Flute Big Band Norwalk, CT 06854 Seattle, WA 98119 661-313-8274 Ali Ryerson (2010) 203-858-7992 [email protected] COMMITTEE CHAIRS 206-285-0206 [email protected] [email protected] 12 Longview Dr. Brookfield, CT 06804 Advisory Committee CONVENTION 203-740-2044 Frances Blaisdell Convention Jonathan Keeble (2012) Pedagogy Scholarship Coordinator Stacey Graham Steele (2009) [email protected] University of Illinois Marie G. Jureit-Beamish (2010) Program Chair 110 Poplar Forest Dr. aliryerson.com 1114 West Nevada St. Principia College Music Department Tadeu Coelho Slippery Rock, PA 16057 Urbana, IL 61801 1 Maybeck Place 120 Harwick Place Court 724-794-2127 Jazz Flute Masterclass 217-333-8142 Elsah, IL 62028 Winston-Salem, NC 27103 [email protected] Bryan Kennard (2010) [email protected] 618-374-5006 336-659-7860 2015 Cedar Bend Dr., #401 [email protected] [email protected] Amateur Resources Performance Health Care Austin, TX 78758 Lea Pearson (2010) 216-224-3123 Ann Konopinski (2011) Grants Committee Assistant Program Chair 3085 Kenlawn St. [email protected] 4100 Teal Lane Rebecca Collaros (2011) Krisztina Dér Columbus, OH 43224 Wolverine Lake, MI 48390 2112 Wittington Blvd. 14755 Brenda Agnes Place 614-353-7259 Jazz Flute Soloist 248-669-9037 Alexandria, VA 22308 Hughesville, MD 20637 [email protected] Bryan Kennard (2010) [email protected] 703-622-6952 301-274-0348 2015 Cedar Bend Dr., #401 Piccolo [email protected] [email protected] Austin, TX 78758 Archives and Oral History Carl Hall (2009) 216-224-3123 Nancy Toff (2007) 1352 Metropolitan Ave SE International Liaison [email protected] Convention Director 425 East 79th St., #6F Atlanta, GA 30316-1670 Aldo Baerten (2009) Madeline Neumann New York, NY 10075 404-377-6112 Mezenlaan, 11 Masterclass Performers 26951 Ruether Ave., Suite H 212-772-1343 [email protected] Sint Genesius Rode Santa Clarita, CA 91351 [email protected] Rebecca Hovan (2012) Belgium B-1640 661-299-6680 Special Publications 23685 Arlene Ave. Ph/fax: 003223811575 Career and Artistic Development fax: 661-299-6681 Patricia Harper (2008) Elkhart, IN 46517-3643 [email protected] [email protected] Ellen Johnson Mosley (2011) 38 Oak Dr. 574-875-5447 605 E. 69th St. N. Centerbrook, CT 06409 [email protected] Legal Advisor to the Board Wichita, KS 67209 Local Arrangements Chair 860-767-0629 Linda Mintener (2009) 316-210-0222 Patti Adams [email protected] Newly Published Music 3976 Plymouth Cir. [email protected] 2840 Coliseum Street Danilo Mezzadri (2012) Madison, WI 53705 World Music New Orleans, LA 70115 20 Classic Woods Dr. 608-231-1680 Commercial Members Peter Westbrook (2010) 504-722-1115 Hattiesburg, MS 39402 fax: 608-266-3049 Zart Dombourian-Eby (2012) 13012 Magellan Ave. [email protected] 601-296-7865 [email protected] 2515 10th Ave. West Rockville, MD 20853 [email protected] Seattle, WA 98119 240-481-2213 Convention Equipment Chair Masterclass Reporter, 206-285-0206 [email protected] Orchestral Audition and Masterclass Kimberlee Goodman Flutist Quarterly [email protected] Jennifer Parker-Harley (2008) 4783 Cherry Park Dr. COMPETITION COORDINATORS Lee Chivers (2008) University of South Carolina Columbus, OH 43230 1933 E. Renee Dr. Cultural Outreach School of Music 614-805-5261 General Coordinator Phoenix, AZ 85024 Terri Sundberg (2010) 813 Assembly St. [email protected] UNT College of Music Diane Boyd Schultz (2010) 623-580-5244 University of Alabama Columbia, SC 29208 [email protected] 1155 Union Circle #311367 803-777-4853 Volunteer Coordinator Denton, TX 76203-5017 School of Music, Box 870366 [email protected] Sarah M. Gill Schettler 940-565-3756 Tuscaloosa, AL 35487-0366 Myrna Brown International 4519 S. Galvez St. [email protected] 205–348–4532 Liaison and Scholarship [email protected] Piccolo Artist Coordinator New Orleans, LA 70125 Hillary Feibel (2009) Development Nicole Molumby (2012) 504-319-5074 Baroque Flute Artist 6435 West Jefferson Blvd., #138 Katherine Borst Jones (2008) 5124 W. Outlook Ave. [email protected] Sarah Paysnick (2012) Fort Wayne, IN 46804 4635 Rutherford Rd. Boise, ID 83703-3517 42 Calvin Street, Apt. 3R 260-450-6674 Powell, OH 43065 208-571-5782 Exhibits Management Somerville, MA 02143 740-881-5008 [email protected] [email protected] Jim Magee 413-654-8462 N’Awlins Trade Show and fax: 740-881-5252 [email protected] [email protected] Professional Flute Choir Myrna Brown Dine-Around Convention Services, Inc. Pamela Youngblood (2009) Karen McLaughlin Large (2012) 612 Highland Ct. Collegiate Flute Choir Texas Woman’s University 234 McCain Auditorium Endowment Tabatha Easley (2011) Mandeville, LA 70448 PO Box 425768 Manhattan, KS 66506 Jim Keefe (2010) Department of Music 985-626-3046 Denton, TX 76204 850-345-1446 Keefe Piccolo Company Virginia Commonwealth University fax: 985-727-3940 940-898-2495 [email protected] 54 Church St. 922 Park Ave., P.O. Box 842004 [email protected] [email protected] Winchester, MA 01890 Richmond, VA 23284-2004 781-369-1626 804-828-6120 NFA Library Liaison Exhibits Assistant [email protected] [email protected] Young Artist Sandy Schwoebel (2008) Patti McCleney Virginia Broffitt (2010) 638 S. 6th Ave, Unit 1 N’Awlins Trade Show Graduate Research Convention Performers Oklahoma State University Tucson, AZ 85701 and Convention Services, Inc. Jessica Raposo (2012) Sally Humphreys (2008) Department of Music 520-490-1817 P.O. Box 8538 14 N. Taylor Avenue, Bldg. 2, Apt. 3 380 E St. 132 Seretean Center [email protected] Mandeville, LA 70470-8538 Norwalk, CT 06854 Salt Lake City, UT 84103 Stillwater, OK 74078-4077 405-744-3964 Public Relations Coordinator 77ph/fax:The 985-893-9521 Flutist Quarterly Winter 2012 nfaonline.org203-858-7992 801-355-8859 [email protected] [email protected] [email protected] virginia@virginiabroffittcom TBD Lipstick Katherine Kemler Sonatina Download live performances of additional repertoire for only $1 per track at kkemler.com.

Including works by Including works by ter Veldhuis, Higdon Dutilleux, Sancan, Works available by and Ian Clarke and Gieseking Damase, Fauré,

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Index of ADVERTISERS

Abell Flutes ...... 22 David and Nina Shorey...... 7 Harper, Patricia ...... 51 ALRY...... 38 Dean Yang Flutes...... 15 James Galway...... 16 Australian Flute Festival...... 38 Drelinger Headjoint Co...... 9 Jeanne Baxtresser ...... 16 Brannen Brothers Flutemakers, Inc...... 3 Fatrock ...... 31 Keefe Piccolos ...... 51 Burkart Flutes and Piccolos (2) ...... 6, 81 Flute Center of New York ...... 44 Kemler, Katherine ...... 78 CaseAce ...... 31 Flute Specialists, Inc...... 36 KHS America, Inc...... 4 Chopsaver ...... 12 Flute World Company, Inc...... 67 Kingma Flutes ...... 23 Clarion Associates, Inc...... 10 Fried, Paul ...... 27 Landell Flutes ...... 23 Classical Collection, Inc ...... 51 Graf, Erich ...... 35 Little Piper...... 43 Crystal Records ...... 22 Harbor Winds Woodwind Repair Service...... 7 Miguel S. Arista Flutes ...... 51 Miles Zentner ...... 38 Miyazawa Flutes, Ltd (2) ...... 17, 79 Muramatsu ...... 2 Music Factory Direct ...... 42 Musikgarten...... 36 Nagahara Flute ...... 73 New England Flute Shop, The ...... 51 National Flute Association ...... 27, 43, 59 Ogura Flute Works ...... 59 Oklahoma City University...... 37 Packard Humanities Institute ...... 50 Panoramic (see also University of Colorado at Boulder) ...... 8 Pearl Corporation ...... 83 Piper Piccolos ...... 38 Polak, Simon ...... 50 Potter, Christine ...... 36 Professional Suite Royalton Music Center....12 Resonance Flute Consort...... 8 Royal Conservatory of Music...... 76 Scottish International Summer School ...... 44 Sherry’s Flute Repair & Sales ...... 80 Tai Hei Shakuhachi Flutes ...... 22 Tempo...... 75 Texas Christian University ...... 7 Trevor James/Hammig Piccolos (see also Miyazawa) ...... 79 University of Colorado at Boulder (see also Panoramic) ...... 8 University of Oregon...... 51 Verne Q. Powell...... 82 Viento Querfloeten...... 44 Winzer Press ...... 37 Woodwind and Brasswind ...... 78 Yamaha Corporation of America ...... 84 Your Flute Works ...... 43

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