Pan • Flute • News

The British Flute Society the President Sir James Galway OBE magazine Vice-president Albert Cooper • Chairman Atarah Ben-Tovim MBE pan lute pan f The Journal of the British Flute Society 3 News 49 The Musicians Benevolent Volume 27 number 1 Fund March 2008

Editor Robert Bigio In the second of our series on musicians’ • organisations, Rosalind Parry describes the activities of the MBF. Contacting the BFS

Secretary and advertising How flutes are made: Anna Munks 55 27 Eskdale Gardens padding and finishing Purley, Surrey CR8 1ET BFS competitions. The chairman writes. Telephone and fax 020 8668 3360 In the third of this series, Jim Phelan describes Email [email protected] Annual General Meeting. Flute choir news. BFS workshops: Robert Dick, Greg Pattillo the final stages of the making of a flute body. Membership secretary and Chris Norman. Convention artists part John Rayworth one: Sharon Bezaly, Michel Debost, Marianne The Nook, How Mill 61 Reviews Brampton, Cumbria CA8 9JY Gedigian, Andrea Oliva. New faces: Prema Telephone 0845 680 1983 Kesselman. Very new faces: Emma Resmini. Email [email protected] New CDs and music. Editorial 25 The extraordinary Robert Bigio Chevalier Rebsomen 1 Doveridge Gardens London N13 5BJ Telephone 020 8882 2627 Fax 020 8882 2728 Email [email protected] • Editorial committee Robert Bigio 73 Letters to the editor Simon Hunt Mike MacMahon Sebastian Bell. Music in the north of Scotland. • Jan Lancaster tells the tale of this amazing Assistant editor Carla Rees The new ABRSM syllabus, [email protected] nineteenth-century one-armed flute player. Junior editor Thomas Hancox Peter Spohr describes Rebsomen’s flute. [email protected] 75 Summer schools 2008 Copy editor Christopher Steward 43 A Boehm flute for a one- Summer schools in Britain and around the • handed player Design and typesetting Robert Bigio world. • Maarten Visser describes how his adaptations 78 The small print Cover Photograph by Peter Spohr allowed an accident victim to continue playing the flute with one hand. • BFS council, officers, local representatives Printed in the United Kingdom at the and the Association of Flute Traders. Small University Press, Cambridge announcements. Membership information.

Views expressed by contributors are their own and do not necessarily reflect the official view of the British Flute Society. All copyrights reserved. 80 The Last Word… Registered charity No. 326473 ISSN 1360-1563 A flute with a built-in piccolo. www.bfs.org.uk

News •

British Flute Society competitions, 13 February 2008

By Thomas Hancox

The eleventh Performance Plus Competition, along with the first-ever Needham Piccolo Prize and the second Geoffrey Gilbert Adult Amateur Competition, took place on Wednesday 13 February, in the Salvation Army’s Regent Hall in Oxford Street, London. The Performance Plus Competition was, as ever, divided into three classes of increasing ability (up to Grade 5, up to Grade 8 and post-Grade 8 respectively). Just under sixty players participated. Quite refreshingly, there was very little overlap in repertoire, and some fantastic time-keeping prevented Jennie Tu, Haruaka Sata and Charlotte Perkins any over-running (indeed, some classes finished ahead of schedule). free entry to this summer’s convention at the RNCM and a voucher from Top Wind. In second place came Catherine Hare, who won a voucher from Just Flutes and a BFS medal, followed by Ji-Hyun Chang who was awarded the Trinity Guildhall Prize and a BFS medal. Three further medals were also presented to Josephine Wilkin, Meera Maharaj and Paula Barda. Group C provided a real challenge for the adjudicators, with twenty-six competitors playing some of the most demanding repertoire. Over thirty minutes were spent on deliberation, trying to whittle down to the final few. Philippa Davies remarked on the ‘real sense of performance and overall preparation’ Amy Biss that was shown by each performer, adding that this competition ‘marked the highest standard yet’. Group A was won by Amy Biss. She won a BFS Matthew Lynch, who played his own composition, mirror and vouchers. In second place was Haruaka Tango, was given a composers’ prize. There were four Sata who won a voucher from All Flutes Plus and a BFS medal, and in third place was Jennie Tu, who received the June Emerson Wind Music Prize and a BFS medal. Medals were also awarded to Marin Tessier and Charlotte Perkins. A tight class followed, with players as young as twelve dealing with repertoire, as put by Atarah Ben-Tovim, ‘that their heroes would play’, and indeed there was much heroic playing to be found. The winner, fourteen-year-old Luke O’Toole, played with great musicality. Luke is in his first year at Chetham’s School for Music, Manchester, where he studies with Linda Verrier. He won a BFS mirror, Catherine Hare, Luke O’Toole and Ji-Hyun Chang

the www.bfs.org.uk magazine 3 pan • flute • News

Fiona Paterson Alena Lugovkina

medallists, David Smith, Charlotte Ashton, Yae Ram plus a BFS medal, went to Marion Gough. Three Park (at the tender age of eleven) and Kristan Swain. additional prize medals went to David Greenhalgh, The third prize was shared between Vytenis Gurstis Lynne Novis and Jo Coles. The Hunt Edition Prize and Jessica Kabirat, both of whom were given the was awarded to Akiko Kohita. ABRSM Prize and medals. In second place, winning Credit for organising such a wonderful day must an All Flutes Plus voucher and a medal, was Philippa go to Julie Wright, John Rayworth and Anna Munks. Mercer. However, it was Alena Lugovkina’s perform- Thanks must also be given to the vast array of gener- ance of Enescu’s Cantabile et Presto that won through, ous supporters and sponsors of the prizes; to Carla earning her a performance as part of the conven- Rees Dawson for photographing the day; to Arthur tion, a mirror, free entry to the convention and a Haswell for the on-site repairs carried out; and to BFS voucher. the two sensational resident accompanists, Jo Sealey The first ever Needham Piccolo Prize, in memory and Richard Shaw. The final thanks though are to go of the great Liverpool-based player Vincent Needham to the various juries throughout the day, consisting (1856–1916), was won by Fiona Paterson, who of Philippa Davies, Tony Ovenell, Julie Wright and received a stained glass painting and free entry to Christopher Hyde-Smith, all led by the never-tiring the convention. The second prize, the Julie Wright- and wonderful Atarah Ben-Tovim. Needham Prize and a BFS medal went to Debbie Martin. A £50 music voucher and medal were awarded to third-place winner Elinor Buglass. The Founder’s Prize of £25 went to Paula Barda, additional prizes of music were awarded to Sagar Masani and Kim Reilly and medals were awarded to Satoko Aizawa and Matthew Lynch. Ending the evening was the Geoffrey Gilbert Adult Amateur Competition which again revealed the vast numbers of incredibly gifted and musical non-professional flautists. This year’s winner was James Cairns, who won a £100 prize, a mirror and free entry to the convention. The second Photographs by Carla Rees Dawson. A selection of images from the prize, £75 and a BFS merit medal, went competition will be available to order James Cairns, centre, with adjudicators (clockwise from top from www.carlareesdawson.co.uk to Kate Osborne. left) Christopher Hyde-Smith, Tony Ovenell, Julie Wright and The third prize, £50 Atarah Ben-Tovim.

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The chairman writes…

Jubilee Jollies: some notes from the chair Fittingly, the Jubilee coincides with our sixth BFS Convention, voluntarily masterminded again by genius 2008 is the twenty-fifth anniversary of the BFS and, by Trevor, ably backed by Julie Wright’s relentless enthu- wonderful good fortune, almost all the founders are siasm. A feast of fluting: food for body, mind and soul, still with us: Jimmy Galway, Trevor Wye, Simon Hunt, plus a chance to make, or meet again, like-minded Christopher Hyde-Smith, John Rayworth, Susan Bruce friends with all the playing opportunities you could and Edward Blakeman. Only John Francis, who did want; plus a teachers’ symposium and and a piccolo such sterling work to get us started, has gone. symposium—it’s a bargain at £150 for all events, and Our wide mix of Jubilee events has included the students can come at half price. (See the announce- one-and-only Sir James Galway giving an inspiring ments elsewhere in this issue.) and motivating master-class in May, beatboxer Greg None of this would be possible without a lot of input Pattillo’s class in November, Robert Dick’s contempo- from all the members of the Council, the tireless work rary workshop weekend and Chris Norman’s fabulous of our unflappable secretary Anna Munks, our meticu- folk-fluting. lous membership secretary John Rayworth and Rachel The first Needham Piccolo Competition in Misson’s success at keeping the Society in the black. My February revealed tremendous enthusiasm and talent thanks to them all—and also to our editor Robert Bigio, among entrants aged from nine to forty-nine, and whose transformation of our magazine has contributed the Performance Plus Competition brought in many enormously to the international standing of the BFS. new young members. The high standard of playing Atarah Ben-Tovim, MBE, Director, Children’s Classic Concerts reflects the current excellent standard of teaching in Britain, epitomised by Liz Hargest in Ely. The picture below (which, sadly, she cannot see as she is blind) Baltimore, Maryland shows some of her pupils playing from memory while June 1–6, 2008 dancing the Mot Mots from Amos’s Animal Crackers at my Application Deadline April 15, 2008 Barbican Centre concert in October. On 22 November we will have the one-off BFS Jubilee Competition, in which players under twenty- five will be able to play their choice of any British music, first round unaccompanied, second round with accompanist. Watch out for more details on the web site (for which, as ever, many thanks to our fluting webmaster, Nick Wallbridge). For more information please visit www.peabody.jhu.edu/piccininimc

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the www.bfs.org.uk magazine 5 pan • flute

THE PEABODY CONSERVATORY OF THE JOHNS HOPKINS UNIVERSITY • News

Flute choir news Annual General Meeting

Anastasia Micklethwaite, flute player and director of Furness Music BFS Annual General Meeting Centre, writes: The Annual General Meeting of The British Flute Furness Music Centre is a true community music Society will be held at 2.30 pm on Sunday 27 April centre in the Furness Peninsula in South Cumbria, 2008 at Jubilee Room, the New Cavendish Club, 44 catering for all ages and abilities of people who Great Cumberland Place, London, W1H 7BS (Close to want to make music with others. There is a real Oxford Street; nearest tube station is Marble Arch) family atmosphere and everyone will find a warm welcome. Orchestral and choral musicians can join Join the BFS Council one of our groups at our Saturday music school, and Election and re-election of new officers and music lovers are welcome to any of our concerts. council members Our annual Chamber Music Showcase and regular Nominations are required for the following posts: Saturday ensemble workshops allow small groups of • Association of Flute Traders Representative to serve musicians of all abilities to play together, and we for 3 years currently have two small flute choirs which BFS • Area Representative Co-ordinator members and others are welcome to join. • Council Members to serve for three years We work with outstanding tutors and workshop The BFS is looking for enthusiastic flute players coaches who are leaders in their field and we tour who would be able to contribute to the running of abroad each summer. Members of the Hallé and the society by becoming a member of the council. other orchestras regularly work with us, as do musi- Council meetings are generally held in London cians from the Royal Opera House, English Touring four times per year. Input between meetings can Opera and other renowned vocal institutions. The be chosen to fit around your schedule and avail- Army’s Kings Division Band will give a workshop ability. If you feel you have ideas or experience to in Autumn 2008, and Atarah Ben-Tovim will lead offer, please contact Anna Munks, the society’s secre- workshops and concerts on 26 April and 27 and 28 tary, for further information and a nomination form. September 2008. Nomination forms are also available to download More details can be found on the Centre’s website: from the BFS website (www.bfs.org.uk). www.furnessmusiccentre.com. In the event that there are more nominations than vacancies, voting will take place at the AGM. Members of the BFS who will not be able to attend Flute Cocktail the AGM may obtain a postal voting form (which will include details of all nominations received) by appli- The fifth Flute Festival hosted by Flute Cocktail will cation to the Secretary. The nomination form should take place on 17 and 18 May 2008 with special guests be returned before 31 March 2008 and postal voting Ian Clarke and Tim Carey. It will take place as usual slips by 20 April 2008. Proxy voting is not allowed. at Sterts Arts Centre, near Liskeard, on the Cornwall- Nominations should be sent to arrive no later than Devon border. Enjoy two days of workshops, master 31 March 2008 to: Anna Munks, BFS Secretary, 27 classes and ensemble playing. Full details including Eskdale Gardens, Purley, Surrey CR8 1ET. Telephone prices and itinerary are on our website: and fax: 020 8668 3360 Email: [email protected] www.flutecocktail.co.uk Or contact Kym Burton either on 07796 002775 or preferably by email: [email protected]. The Flute New life member Festival is supported by Just Flutes, West Devon Borough Council and by the BFS. Helen-Louise Baker is now a life member of the BFS.

the 6 pan • flute magazine March 2008 News •

BFS workshops

Robert Dick Weekend notes and the intervals encompassed. Essentially, By Thomas Hancox it ‘involves you’ all the more with playing and the sound produced. ‘There’s a whole universe inside of here to be explored’ The subject of intervallic relationships was was one of Robert Dick’s concluding remarks to his another major point that Robert touched on, espe- weekend of flute classes and workshops, and an idea cially in terms of the vacancy of the chromatic scale that was most thoroughly explored. as a musical exercise. In his words, the scale can Over Saturday and Sunday (13–14 October), the often become an ‘automated’ reaction to getting American flautist-composer Robert Dick developed around the instrument, rather than actually consid- his view of the flute as an instrument that offers cer- ering how particular notes relate with each other in tainly more than just a single melody line. Having a particular mode. Furthermore, improvisation is an given classes in three of the country’s leading con- important musical exercise (and not a subordinate servatoires during the week, and flying out to Mexico creative process to composition, he stresses) as, ‘if to give a concert the day after, it was a surprise that you take the time to listen, then you will start to anyone could have the time, let alone energy, to give hear.’ another audience a comprehensive extended techniques work-out. However, around thirty fortunate players assembled in Worden Arts Centre, Leyland, to share Robert’s skills and insights. Robert has certainly had a wide-ranging musical career, having recorded works as diverse as the solo Fantasias of Telemann to works by Jimi Hendrix, and been a composition student, as both ndergradu- ate and postgraduate, at Yale University and Music School respectively. Indeed, as he was to reassure us in his solo concert, he has not got a degree for his flute playing—a veritable surprise given his outstanding virtuosity. The morning classes consisted of demonstration- based lectures, and tackled all of the conceivable extended techniques that one might want to utilise. Circular breathing is one of Robert’s particular Interesting though was his continual emphasis on specialities and was demonstrated and taught coher- the application of extended techniques in develop- ently over the two days, with interesting points ing conventional style, technique and expression. In made with regard to long phrases in the ‘traditional’ other words, the skills that one might think are only repertoire, such as the Mozart Concerti. As he stated, cultivated for the more contemporary repertoire though, it is important as an audience member when actually can be used to develop all forms of playing, watching a performer who is breathing cyclically, and it was this theme that was always apparent. that you too have to remember to keep breathing. One of the prime examples of this is the use of Other techniques covered included throat-tuning, singing before playing, during playing, and as a multiphonics, tongue stops and pizzicato, jet whis- reflective tool. Singing whilst playing not only opens tles, whistle tones and key clicks. Indeed, Robert’s the throat and prevents tension developing, but understanding of the flute is so profound that seem- develops a finer sense of the relationships between ingly most chords are possible, and his desire to

the www.bfs.org.uk magazine 7 pan • flute • News realise as many of his ideas on the instrument have led him to having a flute being customized by the Brannen Brothers, based on the Kingma System. This involves half-hole key systems, several extra tone holes and increasing the number of options of independent key control, all allowing us ‘to put the sound where she wants it.’ Furthermore, his imagination has resulted in the ‘Glissando Headjoint’, created finally by the Brannen Brothers company, allowing the performer to slide smoothly between tones. He demonstrated the particular strengths of such an innovation as the concluding piece of his Saturday night concert, Sliding Life Blues. As he explained, at one end of the slide ‘exists the flute we know, at the other is one of the ethnic worlds’ and this was developed in a fantastic finale work. Building to this climax was a programme of some of his compositions, covering his different compo- sitional styles, influences and particular technical focuses. Afterlight was one of his university compositions and was a wonderful demonstration of tonal control and harmonics. Piece in Gamelan Style was based on the Indonesian gamelan orchestra, with busy heterophonic upper writing, and lower drone- like tones, achieved through impressive multiphonics revolving around shared notes. ‘Rock-out with Lookout’ was Robert’s command for the third piece of the evening, a composition that resulted from the NFA’s commissioning scheme for new flute repertoire. The ‘pop vernacular’ follow-up to Lookout was Fish Are Jumping, a line taken from Gershwin’s classic Summertime, and featuring an improvised cadenza, in which the performer is instructed, simply, to ‘go wild’. Of course, as one of the major proponents and pedagogues of circular-breathing, a work demonstrating his outstanding grasp of this skill was in order, and the continuous burning of Flames Must Not Encircle Sides was the perfect provision of such a wish. Greg Pattillo’s flute beatbox workshop And, as a penultimate work, was Eye in the Sky for open-hole alto flute, inspired by the sci-fi writing of The fantastic Greg Pattillo, beatbox wizard of the Philip K. Dick (no relation), featuring a wonderful flute, gave a workshop for the BFS on 10 November. spatial creation and exploration of the universe, and It is simply impossible to describe in words Greg’s beyond, of the flute. energy and verve. Look him up on YouTube and add The eclectic range of styles, accessed through spe- to the twelve million people who have enjoyed his cific techniques, made for a fantastic weekend for performance. Greg Pattillo will be performing at all. I have no doubt that Robert’s return for the 2008 the BFS convention, which is yet another reason to Convention will be keenly awaited. come to what will be a fabulous event.

the 8 pan • flute magazine March 2008 News •

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THAMES VALLEY UNIVERSITY Graded Exams York a few years ago, returned on 3 February to give London College of Music Examinations Syllabus for Graded and Leisure Play Examinations Offered for FLUTE and JAZZ FLUTE in Music Performance THAMES VALLEY UNIVERSITY a workshop for BFS members at the Royal Academy London College of Music Examinations Piano, Pipe Organ, Flute, Clarinet, Oboe, Bassoon, Recorder, Classical Saxophone, Jazz Saxophone, French Horn, Trumpet, Cornet, Flugelhorn, Trombone, Baritone, Euphonium, Tuba, Violin, Viola, Cello, Double Bass, Harp, Classical Guitar, Drum Kit, Tuned Percussion, Snare Drum, Timpani, Leisure Play options for candidates Percussion, SingingSyllabus for Graded, Leisure Play 2006 – 2008and Step Examinations in Electronic of Music in London. Chris managed to persuade Keyboard and Electronic Organ who wish to play pieces only THAMES VALLEY UNIVERSITY London College of Music Examinations 2006 – 2008

three dozen players, many of whom insisted they Teaching Diploma Syllabus Graded exams accredited by QCA ALCM and LLCM in Teaching

Piano, Electronic Keyboard, Electronic Organ, Pipe Organ, Violin, Viola, UCAS points awarded for grades 6-8 Cello, Double Bass, Harp, Classical Guitar, Recorder, Flute, Oboe, Clarinet, Saxophone, Bassoon, Horn, Trumpet, Trombone, Bass Trombone, Baritone, could only ‘play the dots’, that they really could play Euphonium, Tuba, Singing, Percussion 2006 – 2007 by ear. He made sing, he made them dance, and he Diplomas made them play as they had never played before. Offered for FLUTE and JAZZ FLUTE Chris plays the sort of music that has in recent 4 levels of performance diplomas years wrongly been labelled ‘Irish’. Some of it is in 3 levels of teaching diplomas fact Irish, but some is Scots, some is French, and much has been carried across the Atlantic to places breaking new ground in arts qualifications like Nova Scotia, where Chris was born. LCM Examinations, Chris Norman’s playing is far from the some- Walpole House, Thames Valley University, times artless folk playing one sometimes hears in 18-22 Bond Street, London W5 5AA a pub. He plays with elegance and with variations T: 020 8231 2364 in colour, dynamics, tempo and articulation. The F: 020 8231 2433 E: [email protected] result is marvellous to hear, and makes everyone LONDON COLLEGE OF MUSIC http://mercury.tvu.ac.uk/lcmexams want to join in.

the www.bfs.org.uk magazine 9 pan • flute BUR-WorksOfArt-UK 10/12/07 10:09 AM Page 1

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Sharon Bezaly

Interviewed by Carla Rees

Sharon Bezaly is one of the world’s emerging stars. A prize-winning flute player, she began her studies at the age of eleven and performed her concerto début with the Israel Philharmonic Orchestra at the tender age of just fourteen. She studied in Paris under Alain Marion, Raymond Guiot and Maurice Bourgue, and then became the principal flute with the Camerata Academica Salzburg, until 1997. After that, Bezaly concentrated on building her successful solo career. She has played with some of the world’s finest orchestras, including the BBC, Tokyo Philharmonic, Stockholm Philharmonic and Belgian National Orchestra. Her schedule is punishing, with concerts planned in Amsterdam, Riga, Bergen, Stockholm and Malaysia, among others, in the first few months of 2008. Bezaly also has an extensive recording output. She has an exclusive contract with BIS, and has a discography of some twenty discs so far. One particularly interesting project is the From A to Z series, which includes new works alongside old masters. She is committed to contemporary repertoire and has commissioned a number of concertos which she hopes will become the standard repertoire of the future. Her recordings have won awards, such as the coveted Diapason D’Or, and her playing has been critically acclaimed throughout the world. tennis. Until I could get an instrument and a good teacher, I taught myself to play the recorder. What inspired you to start playing the flute? I really cannot Your concerto début was when you were only fourteen years old and say. One bright morning I woke up, knowing that I had been playing the flute for just three years. How did it come about? wanted to play the flute. My mother, being a pianist, Just before this début concert I was auditioning for never forced me and my siblings to play, and I cer- a place in the Young Israel Philharmonic Orchestra. tainly did not want to play the piano. I spent most Their chief conductor, Shalom Ronli-Riklis, took me of my childhood outdoors, swimming and playing on to this orchestra, which basically consisted of

the www.bfs.org.uk magazine 11 pan • flute • Convention artists 2008

Tel Aviv Music Academy students, which helped me into a dream, but also sometimes a nightmare. The much for later life. He then introduced me to Zubin dream is obviously that I am very much in demand Mehta, who invited me to give my début concert and could basically spend the whole year away from with the Israel Philharmonic Orchestra. Upon the home, and the nightmare is precisely that. I have a advice of my teacher and family, I regarded this as family with husband and a five-year-old boy. They a step along the way and not the concert. However, get to see far too little of me, and I of them. this encounter at such an early age with Maestro I suppose that the major turning point in the Mehta was so inspiring that, stepping on the stage, I career was that I got an exclusive contract with felt so happy and at home that all nervousness disap- BIS Records, one of the most reputed labels in the peared. world, and basically had a free hand on what I was How has your career developed? Were there any major pivotal points allowed to record. Since the BIS leadership shares which opened doors to other things? It is somehow like that my interest in new repertoire, the co-operation has old ketchup bottle. You try and try, and then every- been ideal. A recording contract is really important thing comes at once. The career has now developed for any artist—with it one has the chance to show the world how good one might be. Without it one doesn’t stand a chance. Has the advent of downloads changed this side of your work in any way? Downloading frees the music from being carried on a piece of plastic and is therefore much more available to anyone. It is hard for me to see that as a disadvantage, and statistics show that my products are very high on the classical downloading charts. Your A to Z project is an enormously exciting overview of the flute’s repertoire. How far have you got with it so far? Three volumes are out, the fourth (D to G) is planned, the commissions composed. Now it is only a matter of finding the time to record it. Who influences you? My husband, first and foremost, also musically. To let the cat out of the bag, he is the head of BIS Records, but I had my exclusive contract and several records behind me long before we became romantically involved. Musically speaking, I am hugely inspired by people such as Osmo Vänskä and Ella Fitzgerald. Playing with people like Gidon Kremer and Sándor Végh at a very early age certainly was very influential. There often seems to be some doubt from promoters about program- ming solo flute works; they argue that the instrument doesn’t have the same audience appeal as the piano or violin, and perhaps in many ways this is due to the lack of ‘big name’ romantic concerti. The twentieth century has become a ‘second golden age’ for the flute in many ways. How do you go about convincing promoters that the flute has a rightful place as a concerto instrument? I don’t. That’s the job of my agent! But, seriously, by creating superlative repertoire for my chosen instrument and making sure that I play it to the absolute extent

the 12 pan • flute magazine March 2008 Convention artists 2008 • of my abilities. Since you’re right, there is indeed a Which pieces in the flute repertoire inspire you the most? Oh, certain resistance to having flute as a featured soloist, that’s sensitive, but I don’t suppose that I hurt anyone one has to be that much better than ‘regular’ solo- if I say the concerti by Kalevi Aho, Christian Lindberg, ists in order to hack it, and one is never allowed a Sofia Gubaidulina and Mari Takano. In their totally second-rate day. different ways they epitomise what a flute can do and You have a strong interest in contemporary music and commissioning the music is just incredible. If you want the standard new works. How do you decide who to commission, and how does the repertoire, it is very difficult to pass Prokofiev, Jolivet commissioning process work? Purely on musical grounds and (and Mozart, especially with the Aho Cadenzas that the not-so-small proviso that they would be interested certainly give Mozart a twist). Recently a co-opera- in writing for the flute, given the smaller chances of tion with London Baroque opened new doors for me getting performances. Here it is a great advantage to in terms of interpretation of that repertoire. And, yes, already having some records with the results of previ- I do like the bravura repertoire—it is good ol’ fun. ous commissions and it is a huge advantage to have a How important is circular breathing in your range of expressive record company totally backing me up. I have been tools? Indispensable, as a musical means! And a fantas- lucky in that—so far—everyone I have asked has come tic way to free the composers from the straitjacket of through and either already has composed for me or is breathing pauses. It is not a circus, it frees me from in the process of doing so. There will be about twenty the limitations of the flute as a wind instrument—I concertos dedicated to me at the end of this decade, can shape any phrase the way I, and not my lungs, from composers from four continents. I also feel that want. it is the duty of successful artists to develop musical Do you incorporate contemporary techniques into your daily playing? life by inspiring composers to extend the repertoire. No. I concentrate on tone production, and some of The process is simple: I discuss with my husband those techniques actually work against the tone I and we decide whom to approach. The approach is strive for. being done with sending a few samples of my previ- You have a punishing tour schedule. How do you survive on the ous CDs, then a plan where to premiere it and record it. road? On the road I survive just fine. It is so interest- So far it has worked like a charm. Now, with growing ing to work with so many, and so different, people. fame, we get offers from composers rather than the Flying does take it out of me, though. I just had a other way round. period with sixteen concerts in ten different places, How do you find funding for the new works? In the beginning including two trips to Asia, and eight different pro- I paid for some myself, some were commissioned by grammes, in 7 weeks. After that, one knows one’s orchestras, some were for free. alive. But I have to demand business-class flights and What elements do you consider important in a piece of new music? Do good hotels, otherwise this wouldn’t be possible. you collaborate with the composers or advise them about what works What will you be playing at the BFS convention? A very stand- best for the instrument? It is important that the composer ard programme. Doppler, Messiaen, Godard, things has something to say. This is about music, not tech- like that, with some added peppercorn. • nique or techniques. If quarter-tones or multiphonics, slap-tongue or whistle-tones are important to express AKIYAMA HANDMADE FLUTES what the composer wants to express, I play them, but Tokyo, Japan I don’t feel that it is an end in itself to employ modern www.akiyamaﬂute.com techniques. With some composers I have had a very fruitful co-operation: they can send over two bars at a time for comment. With others I see the work the first time almost as a printed score. I would never presume to compose the piece for them, but I am very happy to tell what is do-able and not on a flute, and, if impos- Available from sible, suggest solutions. This cross-fertilising is very Top Wind inspiring for me. Telephone 020 7401 8787 www.topwind.com

the www.bfs.org.uk magazine 13 pan • flute • Convention artists 2008

war broke out she joined the American Red Cross and went to France to drive an ambulance. In France she was stationed at a chateau near Dijon where she met the son of the owner of the chateau, Henri Debost, then a lieutenant in the French army. Nature took its course, and Michel Debost was the eventual result. During the next world war, Michel, then aged nine, was given his first lessons by a friend of his father’s, Jan Merry, the very capable amateur player who had given the first performances of André Jolivet’s Cinq incantations, Charles Koechlin’s Les Chants de Nectaire and works by Georges Migot and Erwin Schulhoff. Merry’s teaching style, Michel remembers, was based on reading: first the duets in the AltèsMéthode and then baroque and classical duets. ‘I still think this reading skill is essential, because many technical hurdles in repertoire are just bad reading,’ says Michel. A year after the war ended Michel’s American uncle invited him to spend a year with him in California. He was sent first by train to his uncle’s ranch in Nevada on the Fourth of July, where, wide-eyed, he found cowboys with pistols, Indians, horses, a mail coach and herds of cattle. ‘I was stepping, I the little French boy, into a dream, which I thought then was normal America.’ As amazing to him was his first taste of an American high school in Marin County, California, which was in stark contrast to his rigorous French Michel Debost lycée—in America he found schools had sports, music By Robert Bigio and (what bliss for someone coming into his teens!) girls. ‘I had landed in heaven,’ he says. I grew up with Michel Debost’s recordings: first his In Marin County Michel had lessons with Merrill performance of the Poulenc Sonate, then his perform- Jordan, a member of the San Francisco Symphony ances of the Mozart concertos with Rudolf Barshai Orchestra, who had been a student of William and the Moscow Chamber Orchestra, and then a col- Kincaid. He was evidently not impressed with his lection of other recordings including Handel sonatas young student. Twenty years later, when Michel was and some virtuoso nineteenth-century pieces, and, of playing in the area, he called Jordan. ‘He remembered course, the many recordings of the Orchestre de Paris me and inquired what I had become. When I said a in which he played first flute. I felt I knew the man professional flutist, he would not believe me.’ before I ever spoke to him. Back in France, Michel attended the Paris Michel Debost was born in Paris in 1934 to a French Conservatoire from 1952 to 1954, where he studied father and an American mother. His parents, both with Gaston Crunelle. On leaving the Conservatoire born at the end of the nineteenth century, met during he served in the French army for three years, most the first world war. His mother, Elizabeth Witter, was of the time in Algeria. He says he managed to return the daughter of a well-to-do Californian couple who unhurt, physically at least, having not touched his had been unable to persuade her family to allow her flute for years. He almost took a job with Boeing air- to travel to Europe to study singing. Instead, when the craft, but an old friend of his in Dijon told him that

the 14 pan • flute magazine March 2008 Convention artists 2008 • playing the flute must be like riding a bike: you never forget. ‘He was right. So in 1957 I set about rebuilding my playing from the ground up, and alone. This is how I acquired my actual playing and ideas.’ Jean-Pierre Rampal became his great influence, although he never gave him a lesson. Rampal told him that if he wanted to learn from him he had only to listen to him. The two men became great friends, and Rampal was godfather to Michel’s son Charles. (He was also the teacher at the Paris Conservatoire of a talented young American, Kathleen Chastain. Later, in 1967, Michel spent a few months teaching at a university in the USA. He arrived a bachelor and left married to Kathy.) On leaving the army, Michel, then twenty-three years old, applied for every job and entered every competition. He did have a few lessons with Marcel Moyse. ‘But mostly,’ he says, ‘I felt that maturity comes from within, not from a teacher, especially not from a fierce one like Moyse,’ a man he describes as Michel Debost with Daniel Barenboim. destructive and self-destructive. He won competitions in Geneva, Prague, Munich, Turin and Moscow, with his success in Moscow leading to his recording of the Leopold Stokowski, Otto Klemperer, Seiji Ozawa, Mozart concertos. His career was far from being a Zubin Mehta and Pierre Boulez. Michel thinks of this catalogue of successes; he also came at the bottom in as his ‘golden age’ of orchestral playing. a few other competitions but, as he says, ‘You don’t In 1982, while a member of the Orchestre de talk about those…’ In a search for a job he was turned Paris, Michel became professor of flute at the Paris down no fewer than six times by the Paris Opera but Conservatoire upon Rampal’s retirement. He stayed eventually found a place as second flute in the Société until 1989, when he was offered a position as flute des Concerts du Conservatoire, later becoming first professor at the Oberlin Conservatory following the flute. In 1967 the Société went bankrupt, was effec- tragic death of Thomas Nyfenger. His friends warned tively nationalised and re-established under the name him that he would be bored to death in Oberlin after Orchestre de Paris. Michel was first flute under such Paris, but he and his wife Kathy fell in love with the conductors as Charles Munch, Herbert von Karajan, place and are still there. Georgdebost Solti, Pan Daniel1.30 Barenboim,1/30/08 3:09 Carlo PM Maria Page Giulini, 1 Michel Debost’s book, The Simple Flute, is a distilla- tion of his many years’ experience as a teacher and Michel THE SIMPLE FLUTE: player and contains his views on flute playing and music making: frank, occasionally trenchant, gener- Debost from A to Z ally entertaining and always instructive. “… a new kind of reference, At the BFS Convention Michel Debost will present a resting on fifty years of concert honouring the centenary of the death of Paul experience, full of sensitivity Taffanel. He will play a short programme of works e t r - S m i h W and good sense, with little associated with Taffanel, followed by a lecture based d e dogmatism and lots of on some ideas from his book. B r o k s © intelligence.” This article is based in part on a piece written in 2001 by Michel P h o t E. Pahud – Berlin Philharmonic Debost for the National Flute Association’s convention programme on Oxford University Press www.oup.com/us the occasion of his Lifetime Achievement Award. •

the www.bfs.org.uk magazine 15 pan • flute oto © David Williams 2006 oto © Ph DavidWilliams

Williams Flutes, Boston, MA USA phone: 1-781-643-8839 or visit: williamsflutes.com The British Flute Society Sixth International Convention 21–24 August 2008

Royal Northern College of Music Manchester

William Bennett • Sharon Bezaly • Denis Bouriakov • Wissam Boustany Rachel Brown • Ian Clarke • Philippa Davies • Michel Debost • Robert Dick Marianne Gedigian • Marco Granados • Adrianne Greenbaum Timothy Hutchins • Barthold Kuijken • Rhonda Larson • Lorna McGhee Jaime Martin • Julian Milford • Amy Morris • Nikos Nikopoulos • Andrea Oliva Daniel Pailthorpe • Greg Pattillo • Jonathan Snowden • Adam Walker Piccolo Symposium Christine Erlander Beard • Matjaž Debaljak • Lior Eitan Patricia Morris • Walfrid Kujala • Stewart McIlwham Flute groups Quintessenz • Vieri Bottazzini • Rarescale Flute Academy • London Flutes Flute choirs Atarah Ben-Tovim • Julie Wright Big Flutes Christine Potter • Carla Rees • Matthias Ziegler oto © David Williams 2006 oto © Ph DavidWilliams Jazz Steve Kujala • Jun Kagumi • Lulu (Haruka Okubo) Shakuhachi Elizabeth Reian Bennett Other artists Timothy Carey • Katharine Goeldner • Richard Shaw • Georgia Xagara

Lectures, talks and demonstrations William Bennett • Philippa Davies • Mia Dreese Arthur Haswell • Eva Kingma • Walfrid Kujala • Ian McLauchlan • Niall O’Riordan Stuart Scott • Helen Spielman • Liz Taylor • Denis Verroust • Emma Williams • Trevor Wye

Visit the BFS website for more details www.bfs.org.uk

Williams Flutes, Boston, MA USA Please note that the British Flute Society reserves the right to change or cancel any performance at this event without notice phone: 1-781-643-8839 or visit: williamsflutes.com • Convention artists 2008

me a solid technical basis in the playing methods of his master, my ideal flute player. Also very important for me was the Karajan Akademie of the Berlin Philharmonic where I had extraordinary teaching in the ideal way to play in an orchestra. I also had the big opportunityto play sometimes as principal flute in Berlin Philharmonic Orchestra—great emotions that I keep always in my mind. Also, winning international competitions (third prize in the ARD competition in Munich in 2004 and first prize in Kobe in 2005) gave me more confidence in my playing. About ARD of Munich-Germany, it was for me the first big international flute competition (2004) that I did in my career. It was difficult most of all because I already worked in orchestra in that period and practising during work in orchestra is very stressful and hard. Big emotions to arrive in final round (4 rounds) and got the 3rd prize. Big satisfaction for me in a very hard competition. Then the year after (2005) I won 1st prize in Kobe. You are an orchestral player as well as a chamber musician. How are the two disciplines different and how do you approach them? There are differences in the two disciplines: when I play chamber music I can use many more colours and I have more freedom in musical choices. In the orchestra instead I have to follow the conductor’s ideas; nevertheless I try always as if the orchestra is a big chamber music group. A lot of musicians forget this. What repertoire appeals to you most? I’m fond of baroque music but the romantic period appeals to me most. Unfortunately the flute literature has a lack of pieces from this era but I’m very happy when I have the Andrea Oliva chance to play romantic music in the orchestra. Interviewed by Carla Rees How do you balance your life in the orchestra with your frequent touring? To do both is very tiring. Fortunately I have to play only half of the Santa Cecilia orchestra season, What inspired you about the flute in the first instance? When I so I have free time left for teaching and playing as was a kid I studied the piano, but soon I understood a soloist. that it was not for me. I had a dream: to be a singer. What current projects are you working on? I’m thinking about So I chose an instrument easier and more ‘manage- recording a CD for flute and piano this spring and I’m able’ than the piano until I could join the singers’ organizing a USA tour with my wind quintet Nuovo class, but I instantly loved the flute for its voice and Quintetto Italiano, probably at the end of this year. the possibility to play a large variety of pieces during Who did you study with and what specific things did you learn the first years. from each teacher? I got the flute diploma in Modena What have been the major turning points in your career? I met under the guidance of Gabriele Betti, a good teacher Claudio Montafia, a pupil of James Galway, who gave who gave me the love for ancient music, always

the 18 pan • flute magazine March 2008 Convention artists 2008 • thinking about Italian bel canto in playing the flute and the freedom to know new teachers. As I said, Claudio Montafia helped me to understand how to solve a lot of technical problems. How? By giving me the knowledge of what I’m doing during the playing and the power of controlling it. Glauco Cambursano (formerly solo flute in the La Scala orchestra) gave me new ideas for the interpretation of orchestral excerpts. Jean-Claude Gerard in Stuttgart gave me the necessary disciplines for daily practising and for training for competitions. Andreas Blau and Michael Hasel were my teachers in Berlin. The first gave me the solidity of the solo flute orchestral player, the second a big help in musical solutions for flute and piccolo too. Sir James Galway, who I met in a master class in Italy in 2003, gave me in a short time a bigger sound with more focus and he told me always to play without fear: a lesson that I’ll never forget. Anything else you’d like to add? A suggestion for flute students: don’t stop looking for your ideal sound, keep in mind that one of the most important things is to sing and to give to the audience emotions and not only amaze it with a lot of quick notes. •

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the www.bfs.org.uk magazine 19 pan • flute Lufthansa Festival in association with of Baroque Music Rolls-Royce plc The Triumph of Peace | 15 May – 21 May 2008

St. John’s, Smith Square • Tuesday 20 May, 10.00pm Musica ad Rhenum • Jed Wentz flute & director

Music from the Court of Frederick the Great Quantz Flute Sonata in D major J S Bach Trio Sonata in C minor, BWV 1079 (Musical Offering) Frederick the Great Flute Sonata in D minor Telemann Suite in E minor (Nouveaux Quatuors)

20% discount for members of the British Flute Society booking by phone

Booking opens 3 March 2008 St. John’s, Smith Square London SW1P 3HA www.lufthansafestival.org.uk General Manager: Paul Davies St. John’s, Smith Square, Charitable Trust registered charity no. 1045390 www.sjss.org.uk | 020 7222 1061 Registered in England. Company no. 3028678

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the 20 pan • flute magazine March 2008 Convention artists 2008 •

a close friend to this day and was so insightful with detailed, polishing work. Her continued guidance is a treasure to me. I also have found that I am inspired by violinists, singers and pianists greatly. I usually choose to listen to music other than flute music with violin and voice coming in at the top! Leon Kirchner, American composer and Pulizter prize winner, taught about gesture in music along with line and that was a huge revelation to me. Truly, though, we are all influenced all of the time. Every musical moment in my life has, in some way, benefitted me and helped me to grow. It’s so difficult to narrow down influences! You have had a varied and successful career. What have you enjoyed most about your life as a flute player so far? Meeting people! What a rich community of artists there is all over the world and I have been fortunate to meet so many generous and special people. How did you make the transition from orchestral player to soloist? While a freelance musician in Boston for ten years, I kept a finger in many pies. While playing as acting principal flute with the Boston Symphony, I taught at Boston University, played with the Dorian Wind Quintet and performed solo recitals. Ask any free- lancer and they’ll tell you that they juggle all forms of music making and teaching to stay afloat in the business. My career has been no different. Marianne Gedigian What projects are you working on at the moment? I have begun Interviewed by Carla Rees to play chamber music with some dear colleagues from The University of Texas at Austin: violin profes- Where did you study and who with? My early training was sor Brian Lewis and viola professor Roger Myers. I with Donna Rofe-Olkowski in Michigan. She sug- love the sound of flute and strings and they are mar- gested when I was in the tenth grade that I move to the vellous players. I’m also involved with wind chamber studio of Detroit Symphony member, Clement Barone, music at our institution and perform with my great the solo piccolo player with the orchestra. I attended wind colleagues. Boston University for my undergraduate degree and What will you be playing at the BFS convention? I have not studied with the Boston Symphony Orchestra’s prin- finalised repertoire for the BFS yet and I’m a bit of a cipal flute, Doriot Anthony Dwyer. I returned to last-minute person. However, being a violinophile, school for one year (The New England Conservatory) I have just released a CD called Revolution which pri- where I studied with the Boston Symphony marily consists of my transcriptions of violin reper- Orchestra’s acting principal flute (and principal toire and bis of piano repertoire. I will likely include flute with the Boston Pops Orchestra), Leone Buyse. a great deal of this material at the convention. I’ve Who have been your main musical influences?Naturally all of my found transcriptions to be a wonderful way to extend teachers have influenced me greatly. Donna Olkowski the boundaries of our instrument and fill in some was the perfect cheerleader for early studies and was gaps in our timeline. I’m looking forward to the very encouraging. Clement Barone was a jewel of a convention as I’ve always collected great numbers of man with a huge heart. He inspired me to sing and British flute CDs. I am absolutely delighted to have forget I was playing the flute. Leone Buyse remains been invited. •

the www.bfs.org.uk magazine 21 pan • flute • News

New faces: Prema Kesselman

Why I chose the flute is not quite clear; I just asked for lessons a year after starting piano, having never knowingly heard it played before. I had seen pictures of the Hindu flute-playing God, Krishna, though, and this may have put the thought in my head of playing the flute. At first I was told that I was too small to start and that I would have to wait. At the age of eight I started playing the piano with the local community college’s youth orchestra, often substituting for those elusive harpists. This led quickly to opportunities to play with and accompany many other local musicians. Performing was a deeply moving experience for me and I found it a thrill to play with others. Flute lessons started (eventually) around age By Thomas Hancox eleven and I joined the same orchestra as a flautist only one month into lessons. I was determined and Prema Kesselman is a young American flautist who progressed very quickly on the flute, undoubtedly is most certainly making a name for herself. Having thanks to my piano background. just won the position of principal flute with the What was the form of your musical education? A key moment Santiago Philharmonic Orchestra, she already has in my education came at the age of thirteen when I concerto performances with the Royal Philharmonic stopped attending the local state school (called public Orchestra and recital work in the Carnegie Hall school in the USA) so that I could be attend an accred- under her belt. She was recently added to the roster ited home-schooling programme instead, along with of the Swiss Global Artistic Foundation. my brother (who is an oboist and pianist). I was frus- Interestingly, Prema is also a highly accomplished trated with the poor educational system and there pianist (her first piano concerto performance was no were no full-time specialist music schools nearby, so less than Ravel’s dazzling Concerto in G major, at the age home-schooling was the only option. Importantly, of fifteen) with not only most of the major flute rep- this allowed me access to many opportunities to par- ertoire’s piano parts under her fingers, but works at ticipate in musical activities that otherwise would the pinnacle of writing for the piano too. not have been available to me. Within the year, my After undergraduate training in the USA, Prema brother and I got permission from College of the came to London to study at Trinity College of Music Canyons (where the Youth Symphony was) to enrol with Wissam Boustany, from where her career has in their music theory courses. After two years, we blossomed further. She recently won Trinity’s Gold had almost completed the entire music curriculum Medal Prize Competition. at the college and earned college credit. At what age did you start the flute and why did you choose it? For my BMus degree I studied at Temple University’s I grew up in Valencia, California, which is about Boyer College of Music in Philadelphia, studying the forty miles north of Los Angeles. My family and I flute with David Cramer, who is the associate prin- sang regularly together, and, by the age of two, I had cipal flute of the Philadelphia Orchestra. I had piano learned over two hundred songs. I started the piano lessons, too. I gave my New York début on flute at at the age of six and soon knew that I wanted to be Carnegie Hall in May 2005, under the auspices of a professional musician—my parents would have to Artists International Presentations, as a winner of beg me to stop practising and come for my meals. their Special Presentation Début Award.

the 22 pan • flute magazine March 2008 News •

When and why did you decide that it was the flute that you would why did you make it in the first place? What are the main differ- pursue as opposed to the piano? What has the piano offered you in ences, especially in terms of musical opportunities, standards and terms of your flute playing? Despite more initial successes expectations? I found the course at Trinity challenging on the piano I could see that it was not the instru- in comparison to my undergraduate course in the ment I would be able to pursue completely. The piano USA, due to the amount of research and independent is an incredibly satisfying instrument—the sense of study required. A lot of work was needed, but it paid accompaniment in one hand, let alone counterpoint off in the end as I achieved a distinction in both my is just brilliant, but it was just the flute that took me. performance and dissertation. I still play the piano, often accompanying flute Moving to the UK has been the best decision I players (and my students) in preparation for audi- have ever made, meeting many wonderfully sup- tions and concerts and I always learn the piano parts portive people along the way. Conductors such as Jan to my own flute pieces. Knowing and feeling the Latham-Koenig (who conducts the Young Janacek harmonic scoring of a piece is essential whether it is Philharmonic and now the Santiago Philharmonic accompanied or not. Not understanding the harmony Orchestra also) believed in me and have furthered is like disregarding your colleagues while playing in my career. orchestra. I could not imagine playing flute without Finally, what does music mean to you and what do hope you can a strong piano background. achieve with it? I feel that music has the capability to What flute do you play on? I play on a handmade silver promote peace and unity, and express the depths of Powell, with a Lafin Adler gold headjoint (9K tubing emotion dear to one’s heart. Music can express the with a 14K lip-plate and riser). I used to play a Lafin inexpressible and unify all people because it crosses Adler silver headjoint with 18K lip-plate and riser, all boundaries. What the world needs most today is and prior to that, a Powell platinum headjoint. a unifying force. I resolve to bring light to the world How did you find the transition from the USA to the UK and with my music. •

Wissam Boustany ﬂute Aleksander Szram piano

ursday 22 May 2008 7.30 p.m. St. John’s, Smith Square, London SW1 Tickets £30, £25, £15, £10 Box Oﬃce 020 7222 1061 (Monday–Friday, 10.00 a.m. to 5.00 p.m.) www.sjss.org.uk

Come and hear the new standard: Wissam and Aleks both playing from memory

Paul Hindemith Sonata Ian Clarke Touching the Ether André Jolivet Sonate Bushra El-Turk Une Marionette Desincarnée (world premiere—written for Wissam Boustany) Wil Offermans Honami (flute solo) Edwin York Bowen Sonata Op. 120 St. John’s, Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678

the www.bfs.org.uk magazine 23 pan • flute • News

Very new faces: Emma Resmini

By Robert Bigio

It was a ‘shout-at-everyone-in-the-house-to-listen- to-this’ moment. Someone on Sir James Galway’s internet chat list mentioned that her daughter’s solo with an orchestra was on YouTube. Ho-hum, I thought, but I clicked on the link anyway. When I had picked my jaw off the floor I contacted just about everyone I knew to tell them to listen to the most amazing seven-year-old flute player I have ever heard. For any seven-year-old to play the flute is interesting enough, but for a seven-year-old to stand in front of an orchestra and play the Borne Carmen Fantasy from memory to 2500 people, and to play it so well, is truly astonishing. Emma Resmini makes a marvellous sound, she has a terrific technique, an excellent sense of pitch and a truly rock-solid sense of rhythm. More than that, she gives the impression of loving every second of what she is doing. Her mother, Marilyn, explains that Emma played the YouTube performance without her two top front teeth and therefore had to modify a double- tonguing passage in the Borne piece. I think we can forgive her for that—seven-year-old girls are usually more concerned about the arrival of the Tooth Fairy than about virtuoso passages in showpieces for flute and orchestra. Emma is from Virginia, USA. She has non-musical parents, but her much older sister plays the violin. such young children—they usually begin playing a Emma loved listening to her sister play but refused band instrument in the fifth grade, which for Emma to take up the violin. After hearing a flute concert at is three years away. the age of three, however, she announced, ‘I want Emma’s first flute (the one she is holding in the to play that.’ She started Suzuki flute lessons, at first picture) was a Jupiter with extensions to the keys. for twenty minutes, and took about two months She now plays a Powell Conservatory flute with no to produce a reliable sound on the flute. By the special adjustments. end of her first year of lessons she had completed Emma’s performance was recorded in front of the four Suzuki study books and was having one-hour audience at the Center for the Arts Concert Hall in lessons. Emma now studies with Judy Lapple of Fairfax, Virginia. The orchestra is the George Mason George Mason University, who says, ‘I know it has University Orchestra, conducted on this occasion by been said that teachers inspire students, but I know Emma’s teacher, Judy Lapple. The film can be seen in my heart, Emma inspires me!’ Emma attends an on www.youtube.com/watch?v=a9qvzCc31Ec, or ordinary local school with children of her own age. else search for user name GeoRockMin. Hold on There is limited musical instruction in school for tight to your jaw. •

the 24 pan • flute magazine March 2008 The extraordinary Chevalier Rebsomen

The tale of the one-armed flute player is told by Jan Lancaster and his flute is described by Peter Spohr

he Château d’Arques, a massive fortress dating to the time of William the Conqueror, was the site of many battles, the most famous of which was Jan Lancaster, an art historian, the glorious victory in September 1589 of Henry IV and his far-outnum- studied at George Washington T University and in England at the bered Huguenot forces against the army of the Catholic League led by the Duc de University of Reading. She worked at Mayenne. The fortress, a spectacular ruin, dominates a hill rising from the valley The Phillips Collection for eight years of the Arques river in Normandy, only a few miles southeast of Dieppe, and its and has worked with the Dayton C. romantic but sobering history, its lovely setting with wide vistas of the Norman Miller Flute Collection at the Library of Congress since the autumn of countryside, has attracted many travellers over the centuries—historians, artists 2002. She reviewed the Miller print and writers. Among the writers drawn to Arques in the early nineteenth century collection from the spring of 2004 was Thomas Colley Grattan (1792–1864), an Irish journalist and novelist, friend until December 2006. A selection of the prints from the Miller Collection of Washington Irving, Lamartine, and other distinguished literary figures, who should appear online in the spring of was just beginning his career as a travel writer, despatching his stories to various 2008. Jan now assists the Performing periodicals in England as he walked the length of Europe. Arts Web team by finding images to In 1822 Grattan wrote of his visit to Arques and of a remarkable encounter he accompany Web presentations on choral music and musical theatre. made there with the ‘one-handed flute-player of Arques’. Though never named Her interest in Chevalier Rebsomen in the story, the gentleman Grattan met that day was Chevalier Anne-Toussaint is a personal research project which Florent Rebsomen (1789–1854). Here is the tale of their chance meeting. she hopes to continue. Jan can be reached at: Grattan had spent a fine October day walking from Dieppe to Arques, and he was [email protected]. standing in quiet contemplation amidst the ancient ruins of the fortress when

...the soft sounds of a flute came faintly towards me, breathing a tone of such peculiar and melting expression as I thought I had never before heard. Having for some time listened in great delight, a sudden pause ensued; the strain then changed from sad to gay, not abruptly, but ushered by a running cadence that gently lifted the soul from its languor, and thrilled through every fibre of being…Scarcely conscious of the movement, I descended the hill towards the village, in a pace lively and free as the measure of the music impelled me. When I reached the level ground, and came into the straggling street, the warbling ceased.... The Gothic church on my right assorted well with the architecture of the scattered houses around. On every hand a portico, a frieze, ornaments carved in stone, coats of arms, and fretwork, stamped the place with antiquity and nobleness… I sought in vain...to discover the musician [and] I wandered about, looking in a sort of semi-romantic mood, at every antiquated casement. Fronting the church, and almost close to its western side, an arched entrance...gave a view of a court-yard and house within...[where] a venerable old man was busily employed watering some flowers. A nice young woman stood beside him, with a child in her arms: two others were playing beside her; and close at hand was a man, about thirty years of age, who seemed to contemplate the group with a complacent smile. His figure was in part concealed from me; but he observed me, and

the www.bfs.org.uk pan • flute magazine 25 immediately left the others, and walked down the gravel path to accost me.... As he advanced from his concealed position, I saw that his [right] leg was a wooden one—his [left] was a perfect model of Apollonic grace. His right arm was courteously waved towards me—his left was wanting. He was bare-headed, and his curled brown hair showed a forehead that Spurzheim would have almost worshipped. His features were all of manly beauty. His mustachios, military jacket, and tight pantaloon, with red edging...and the cross of honour suspended from his button-hole, finished the brief abstract of his history. A short interlocution, consisting of apology on my part and invitation on his, ended in my accompanying him towards the house....We entered the hall—a large bleak anti-room, with three or four old portraits mouldering on the walls.... We then passed to the right, into a spacious chamber which was once, no doubt, the gorgeously decorated withdrawing-room of some proudly- titled occupier. The nobility of the present tenant is of a different kind, and its furniture confined to two or three tables, twice as many chairs, a corner cupboard, and a secretaire. A Spanish guitar was suspended to a hook over the Gothic marble mantel-piece: a violin lay on one table; and fixed to the edge of the other was a sort of wooden vice, into which was screwed a flute, of concert size, with three finger-holes and eleven brass keys; but of a construction sufficient to puzzle Monzani, and the very opposite to those early instruments described by Horace.... It is useless to make a mystery of what the reader has already divined: my one-legged, one- armed host was the owner of this complicated machine, and the performer on it, whose wonderful tone and execution had caused me so much pleasure. But what will be said when I tell the Thomas Colley Grattan astonished, but perhaps incredulous public, that his ‘good right hand’ was the sole and simple (1792–1864), 1853. Etching. one that bored and polished the wood, turned the keys and the ivory which united the joints, and National Portrait Gallery, accomplished the entire arrangement of an instrument, unrivalled, I must believe, in ingenuity London and perfection.... I shall not attempt minutely to describe the peculiarities of the music or the manage- ment of the flute, as the maker ran over, with his four miraculous fingers, some of the most difficult solos in Verne’s and Berbiguier’s compositions, which lay on the table before him. Nothing could be more true, more tasteful, or more surprising, than was his execution—nothing more picturesque or interesting than Château d’Arques. his figure, as he bent down to the instrument as if in devotion to his art. I listened for more than an hour, Arques‑la‑Bataille, near as his mellow and silvery tones were echoed from the lofty walls of his chamber.... Dieppe, in Normandy. Grattan alludes briefly to the tragic circum- stances of how this retired colonel lost his arm and leg, the loss of his arm being particularly devastat- ing to him, because of his love of playing the flute. Grattan was so charmed by the music and the man that he ended the article, saying: ‘He might make a fortune...if he would visit England, and appear as a public performer, but his pride forbids this, and he remains at Arques, to show to any visitor unusual proofs of talent, ingenuity, and philosophy.’ This scene of domestic tranquillity, with a handsome and gifted musician surrounded by a loving family, is a testament to an extraordinary man who overcame nearly insurmountable hardships in order to bring music into his life once more, and to play again the instrument he so loved—the flute.

the 26 pan • flute magazine March 2008 Chevalier Anne‑Toussaint Florent Rebsomen (1789–1854), about 1830. Published by H. Hill, late Monzani and Hill, 28 Regent Street. Lithograph, with touches of pink watercolour. Dayton C. Miller Collection, Library of Congress, Washington, DC.

the www.bfs.org.uk pan • flute magazine 27 Born in Paris on 8 October 1789, that momentous year of the French Revolution, A note on the portrait of Chevalier Rebsomen Anne-Toussaint Florent Rebsomen seemed fated to become a soldier. He was only eleven years old in 1800 when he began his military career as a fifer under Napoleon, The artist who made this for his father, Florent Rebsomen (born in Alsace in 1755), had served in the Gardes beautiful and sensitively Françaises since the age of nineteen in 1774, and ultimately became a captain in the drawn portrait is unknown. chasseurs à pied of the Imperial Guard, and aide-de-camp to General Jean-Louis Gros One wonders if it might (1767–1824). Within several years, the younger Rebsomen also joined the chasseurs have been made by Chevalier Rebsomen’s life- à pied, or light infantry, and he fought in Napoleon’s campaigns in Austria, Prussia, long friend, Théodore Gudin, Poland, Spain, Russia, and finally, Germany, returning to his regiment after recov- but no information has been ering from serious wounds he had received at ages seventeen and nineteen. Both discovered to indicate this. Rebsomens, father and son, were among the soldiers on the long retreat from Russia Because of the inscription back to France. Napoleon had suffered a terrible defeat at Leipzig and, on 30 October beneath the lithograph, it 1813, at Hanau, Napoleon’s army was forced to battle a former ally, General Wrede, cannot date before 1829, when Henry Hill took over commander of the Austro-Bavarian forces, who tried to block Napoleon’s return to Monzani & Co., thus a date France. It was a victory for Napoleon, but it was at Hanau that the younger Rebsomen of about 1830 seems likely sustained his terrible injuries as he led a charge against a battery firing on his regi- for this portrait. Perhaps ment. His right leg was shot away at the knee by a cannon ball. His father, hearing it was commissioned the of his son’s injury rushed to his aid and, with the help of a sergeant-major, carried same year Rebsomen visited him from the field of battle. Before they had reached safety, the sergeant-major was England, when a flute may have been made for him by killed, a cannon ball taking away his head, as well as the left arm at the elbow of the Cornelius Ward of Monzani, younger Rebsomen. The father also received injuries from the same cannon shot, yet the flute he is seen holding he managed to appeal to the great surgeon, Baron Larrey, who was fortunately near in this portrait. Chevalier at hand, to help his gravely wounded son. Baron Dominique-Jean Larrey (1766–1842) Rebsomen would have was the renowned surgeon to Napoleon’s army who believed that if soldiers were been forty years old in 1830. treated quickly on the battlefield, they had a great chance of recovery, and at each of The portrait is now in the Dayton C. Miller Collection, Napoleon’s battles, Baron Larrey spent more than fifteen hours a day searching the Music Division, Library of battlefield with his aides to care for the wounded soldiers. Napoleon said of Larrey: Congress. However, there ‘He is the worthiest man I have ever known’. The Baron knew both of the Rebsomens, is no documentation as to and he had even heard the young Rebsomen play his flute on several occasions, for when and from whom Dr. the young Rebsomen was never without his flute, and whenever he had the chance, Miller acquired this portrait. he tried to perfect his technique. Larrey was genuinely heartbroken to see the young It seems most likely that this lithograph was formerly man so seriously injured, for he had lost so much blood that he was nearly lifeless. in the collection of Rudall He was only twenty-four years old. The Baron explained to the elder Rebsomen Carte in London; the portrait that the only hope of saving his son’s life was to amputate his left arm and right leg. was frequently borrowed for The young Rebsomen, still conscious, told Baron Larrey that he could withstand reproduction, for example, the surgery, and the elder Rebsomen held his son during the terrifying ordeal. The in Goldberg (1906), Musica Baron was not at all sure of his recovery, but he dressed the wounds, and advised the (1909), Fitzgibbon (1914), and by Miller himself (1925). Dr. father to take his son and to turn themselves over to the Germans as prisoners. The Miller may have received next days and weeks were frightful as father and son, frozen with the cold and taking this portrait as a gift, or by refuge in an abandoned cottage, were nearly killed by marauding Cossacks, who, purchase, from Montague miraculously, dropped to their knees before their wounded enemies when they real- George, the managing ized it was a father trying to protect his son. The Russians cared for the Rebsomens director of Rudall Carte, tenderly; they dressed their wounds, and they left provisions for them before they some time after 1933, when it was last mentioned as still went on their way. The young Rebsomen suffered agonising pain, and his father soon being in the collection of prevailed upon wandering French soldiers to transport his son to a hospital at Hanau, Rudall Carte. and after another ten days, he was taken to a larger hospital in Frankfurt, thanks to the intercession of an aide to Baron Larrey, who had left behind some of his aides

the 28 pan • flute magazine March 2008 to care for Napoleon’s wounded soldiers. The elder Rebsomen never left his son’s side. Released about a year later, in 1814, the Rebsomens returned to France, both soldiers having received the cross of the Legion of Honour. Father and son were soon also named Chevaliers of the Order of Saint Louis, a royal and military order of chivalry established by Louis XIV in 1693 to honour exceptional officers, an Order abolished during the French Revolution, but which was reinstated by Louis XVIII during the Restoration. The younger Rebsomen had recovered suf- ficiently enough to serve once more, in 1815, this time as a commander in the National Guard at a barricade in Paris, but he retired from his military career the same year, at a rank equivalent to that of Colonel. In Paris, in August of 1816, he married Esther Morisse, the daughter of a businessman from Rouen. Eventually, L’Ambulance de la bataille they settled in Arques and had eight chil- de Hanau by an unknown dren. artist. Oil on wood. Le Some time after his recovery in 1814, and by 1822, Rebsomen had made a flute to Musée du Service de Santé be played with one hand. He called it a flûte solimane. He even designed and made the des Armées au Val-de- tools himself to aid his missing left arm, and he turned the flute on a lathe operated Grâce, Paris. In this painting, by his left foot. On 6 July 1822, Chevalier Rebsomen came to Paris at the invitation the surgeon, Baron Dominique-Jean Larrey, of the Académie royale des Beaux-Arts to present his flûte solimane and to play it for operates on Rebsomen on the Academicians. Musicians and composers from the section of musical composi- the battlefield at Hanau, tion were invited to attend and to make a report to the Academy. Among them were 30 October 1813. Baron Luigi Cherubini (1760–1842), the director of the Conservatoire, Henri-Montan Berton Larrey, Surgeon General (1767–1844), Jean-François Lesueur (1760–1837), and Charles Simon Catel (1773–1830). of Napoleon’s Imperial A certain M. Charles was specially invited by the section of musical composition to offer Guard, had established ambulances volantes, ‘flying his insights. Possibly this was Jacques Alexandre César Charles (1746–1823), the inven- field hospitals’, which tor, scientist, mathematician and balloonist, who had worked closely with Montgolfier. provided surgical treatment Charles had been elected to the Académie des Sciences in 1793, and was a professor on the battlefield, and also of physics at the Conservatoire des Arts et Métiers. On 13 July 1822 Berton read the removed wounded soldiers report of the section of musical composition to the other members of the Academy. from the field quickly in They were unanimous in their praise for the ingenuity of the instrument, as well as the specially-designed horse- drawn carriages. quality of its sound which they judged to be very fine. Above all, they felt it had a ‘sure- ness of intonation that instruments of this kind do not have ordinarily’. These eminent musicians were deeply ‘touched by the aspect of this young warrior who, mutilated by the furies of Mars, had known how to find consolation in the learned counsels of the Muses’. They did not hesitate to invite the other Academicians to give their approval to this instrument and to its inventor, who merited ‘honorable encouragement’. The report was signed by Messieurs Charles, Lesueur, Cherubini, Catel and Berton.

the www.bfs.org.uk pan • flute magazine 29 The following year, in 1823, Benjamin Gaillon (1782–1839), a botanist and zoologist with an interest in marine plants and animals near Dieppe, and a member of several learned societies, published a Notice for the Société Libre d’Émulation de Rouen in which he described Rebsomen’s one-handed flute and his recent honour by the Académie royale des Beaux-Arts (which is discussed by Peter Spohr in more detail in his accompanying article on Rebsomen’s flutes). It was also Gaillon who translated into French Grattan’s article on Rebsomen, which was published with other documents related to Dieppe and Arques in 1824. In the late summers of 1824, 1825, 1826, 1827, and 1829, Marie-Caroline de Bourbon-Sicile (1798–1870), the Duchesse de Berry, came to Dieppe for the bathing season. This was the period of the Restoration in France when the two younger brothers of Louis XVI—the comte de Provence, who became Louis XVIII (1814–1824), and the comte d’Artois, who became Charles X (1824–1830)—regained the throne after years of living in exile during the French Revolution and the First Empire of Napoleon. The Bourbons once again ruled France. Marie-Caroline, daughter of Francis I of the Two Sicilies, had married the Duc de Berry, son of the comte d’Artois, in 1816, but the Duc de Berry was assassi- nated in 1820. At that time, she and the Duc had a daughter, but a La Duchesse de Berry by Alexandre-Jean son was born to the Duchesse seven months after his assassination, Dubois‑Drahonet a ‘miracle child’, the comte de Chambord. Thus, the Duchesse was (1791–1834), about 1827. Oil the daughter-in-law of the new king, Charles X, and her son was an heir to the on canvas. Château‑Musée, throne. During the summers when she visited Dieppe, the Duchesse was feted daily Dieppe. (Photograph © B. by the villagers who welcomed with open arms this charming descendant of Henri Legros, Château-Musée, IV whose famous victory had taken place at nearby Arques. Seaside excursions, theat- Dieppe.) rical performances, balls and musical soirées, and even a re-enactment of the victory celebration of Henri IV at the Château d’Arques, were given in her honour. The Duchesse, kind-hearted and generous, and deeply touched by the warmth of her reception by the people of Dieppe and the villagers of the surrounding countryside, reciprocated. She patronised the arts and music, supported artisanal works such as lace-making and ivory-carving, took a special interest in the education of children, and contributed to many charitable causes. Absent from all of these festivities were the Rebsomens, ardent Bonapartists, who had a particular antipathy to the Bourbon family, especially towards the late Duc de Berry. During a review of the former soldiers of the Imperial Guard who had assembled in the Tuileries around 1818, the Duc de Berry, in a moment of anger, insulted the younger Rebsomen because he had not changed the buttons on his uniform from the Imperial eagle of Napoleon to the fleur-de-lys of the Royalists. The Duchesse knew of this insult and sought out the Rebsomens. She wanted to ask their forgiveness and to offer some gesture of kindness to them to make up for the harm her husband had done. Invitations were issued to the Rebsomens while she was in Dieppe and Arques, but they were politely declined. Determined to reconcile with the Rebsomens, she sought the advice of a mutual friend, the artist Théodore Gudin (1802–1880), who was later given the title of Baron under Napoleon III.

the 30 pan • flute magazine March 2008 Gudin, a painter of seascapes, often joined the Duchesse in her excursions in the countryside near Dieppe, or on her promenades by the sea, and sometimes they sketched together. Gudin became a life-long friend of the Rebsomens and he played an important role in their lives in the years to come; perhaps none so important as on this occasion. His arrangement of a meeting between the Duchesse and the Rebsomens, through a ruse, is described in Gudin’s memoirs. Though he does not give the year, it may have been in the summer of 1826 or 1827. Gudin enlisted the help of his mother, also a close friend of the Rebsomens, and they explained that a relative was coming to visit them in Arques. The Rebsomens invited the Gudins and their relative to dine with them. The Duchesse, simply attired, was introduced to the Rebsomens as a cousin and, at once, she charmed the family with her conversation, ease of manner, and gentle attentions to the Rebsomen children. After luncheon, she listened as the father told the tragic story of the younger Rebsomen’s injuries, and then the young chevalier played his flute for her. She was overwhelmed by his ability to play so beautifully with one hand, and she was deeply touched by the music. All of the family and friends had gathered around Rebsomen who had just finished playing, and the two eldest of the six Rebsomen children were sitting on the knees of the Duchesse and embracing her. She was one of the family. It was then that Gudin announced to the Rebsomens that she was the Duchesse de Berry, that she asked Benjamin Gaillon (1782–1839). their pardon for a memory that she wished to erase from their hearts with kindness. Stipple engraving by Ambroise Tardieu It was a transforming moment. All were in tears. The Rebsomens were completely (1788–1841), 1827. vanquished by the Duchesse and, she in turn, offered to sponsor the education of the youngest daughters of the Rebsomens. By a royal decree issued by Charles X in October 1827, Rebsomen’s daughters, Caroline and Augusta, were named students of the Maison royale de Saint Denis, and were enrolled in the Institution de la Légion d’Honneur at Saint Denis under the patronage of the Duchesse. A third daughter, Fanny, was enrolled at the Institution des Desmoiselles de Saint Louis at Versailles. After establishing a friendship with the Rebsomens, the Duchesse often visited them in Arques, but she always came alone, and with great discretion, as she did not want Signature of Chevalier to hurt the pride of the Rebsomens; her kindnesses and continued patronage were Rebsomen, 28 October 1826. heartfelt and, above all, she did not wish to bring attention to herself. From his Légion d’Honneur It is not clear when Gudin himself met the Rebsomens, but it must have been dossier, page 47. Archives some time before the Duchesse’s meeting with nationales, Paris. the Rebsomens, for he had already established his friendship with the family. As a painter, Gudin was drawn to Dieppe and Arques for the lovely seascape and landscape settings, and he had become friendly with many of the local inhabitants. Having served in the navy himself, Gudin established friendships with a group of retired English army and naval officers living in Arques. He was particularly attached to Captain Phelp, from Wales, who welcomed Gudin into

the www.bfs.org.uk pan • flute magazine 31 his large family, his house having all the charms of an English cottage with a garden overflowing with flowers. Nearby was the ‘chalet of the Rebsomens’, a ‘petite jolie maisonnette’, and each time Gudin passed this house, he was struck by the ...sounds of the most harmonious music. Talou [Jean-Louis Tulou, 1786–1865], the celebrated flute player had accompanied me to Arques, and he was struck as I was by the accents of his favourite instrument and was almost jealous of it. We were assured that the one who drew such melodious sounds from this instrument had only one arm. Bets were made, but how to have proof of it? The elder Rebsomen and his son, old grognards of the Imperial Guard, living in retirement, had, it was said, the greatest feeling of estrangement for the English; it was a matter of getting to know them, to penetrate this sanctuary which was closed to us; but the art which I cultivated soon made the terrain neutral on which friendship was not long in uniting us. I had begun a view of Arques after nature, and the Rebsomens, loving the arts, soon came around me while I painted. The old father with his long white hair and white mous- Presbytery, near the church of tache, former captain of the Imperial Guard, ventured first; soon I saw the son arrive. Was Notre-Dame-de-l’Assomption, it really he who was the virtuoso Talou [Tulou] had admired? He was before me and not Arques‑la‑Bataille. only was he missing an arm, but he was also missing a leg, and it was indeed he who played the flute with a Believed to be the single hand. Having lost two limbs in the same battle, he had succeeded with the single hand that remained family home of Chevalier to him in making a flute, first by making the tools himself, to hollow out the wood, to invent and to make a Rebsomen from about 1816 number of keys replacing the action of the left hand and, playing with one hand, he had attained a perfection to 1840. which won him the admiration and nearly the envy of the foremost artist this art had known. In May of 1830 Chevalier Rebsomen went to England, arriving with letters of introduction from the Duc d’Orléans to His Majesty, George IV. His fame as a flute Benoît-Tranquille Berbiguier (1782–1838) from Adolph player had preceded him, for his arrival in Brighton was announced in The Times. Goldberg: Porträts und Rebsomen’s talent was said to be equal to that Drouet, though he played with only Biographien hervorragender one hand. His ‘remarkable history’ was sketched out briefly, mentioning his battle Flöten-Virtuosen, -Dilettanen injuries, the design of the flute, and his appointment as the ‘leader of the Duchess und -Komponisten [1906]. de Berri’s band’. Undoubtedly, Gudin, and perhaps the Duchesse, helped to secure the letter of introduction from the Duc d’Orléans, a very close friend and patron of Gudin, in particular. By July 1830, the Duc d’Orléans (the son of Louis-Philippe, known as Philippe Egalité, the cousin of Louis XVI), was to become king of France as Louis-Philippe, after the abdication of Charles X. Thus the year 1830 marked a change in the fortunes of Chevalier Rebsomen. In this year, with his letter of introduction, Rebsomen may have had the honour of playing for the king of England, and perhaps it was in this year that he performed in concerts in Brighton at the new home of the sixth Duke of Devonshire, to whom he gave one of his flutes. It may have been in 1830, too, that a flute was made to his specifications by Cornelius Ward of the Monzani flute-making firm in London, the flute which he holds in his fine portrait. In France, with the July Revolution and a monarch who espoused a more egalitarian philosophy, Chevalier Rebsomen took on a more public and civic role in society. In 1831, he was elected mayor of Arques, serving as mayor until 1833. Believing strongly in education, he founded a primary school in Arques and, through his efforts to implement

the 32 pan • flute magazine March 2008 strict sanitation measures in 1832, protected the people of Arques from a cholera epidemic then sweeping France. After 1830, Rebsomen was also fortunate in the patronage of Princesse Adélaide, the sister of Louis-Philippe, who took over the responsibility of the education of Rebsomen’s daughters, continuing the generosity of the Duchesse de Berry who had accompanied her father-in-law, Charles X, in exile. It was Gudin, again, who approached Princesse Adélaide on Rebsomen’s behalf. In the years from 1834 to 1840, however, Rebsomen seems to have struggled financially, as he now had eight children to support. He had obtained a position as percepteur, a tax collector, in Lillebonne, near Le Havre, but his sister, Madame Gros, the wife of General Jean-Louis Gros, lent him the 4,000 francs he needed as surety for this position. Rebsomen missed his home in Arques, and he hoped to obtain the position of percepteur in Dieppe. He appealed to Gudin and, once more, the artist came to his aid. He presented Rebsomen to Louis-Philippe, who advised him to go to the Minister of Finance, but he proved unsympathetic. For several years, Gudin wrote letters to government officials on Rebsomen’s behalf and arranged for Rebsomen to be invited to receptions at the Finance Ministry where he might make useful contacts. Finally, in December of Benoît-Tranquille Berbiguier 1840, Rebsomen obtained the position he sought, that of percepteur in Dieppe, a posi- (1782–1838): Trois Duos tion which brought him four times the income of his position in Lillebonne, and he Brillans & Faciles pour Deux Flûtes Dédiés à Mr was to receive an additional income from the commune of Neuville. Gudin claimed Rebsomen..., opera 46 [1825?]. in his memoirs that Maréchal Etienne Marcel Gérard (1773–1852) offered once to © British Library Board. All help Gudin in gratitude for a portrait Gudin had made of his son, Georges Cyrus rights reserved. Shelfmark Gérard (1818–1841), who had been secretary to the embassy at Constantinople. g.69.(5.). Gudin replied that he wished a favour for his friend, Chevalier Rebsomen. In his memoirs, Gudin indicated the favour was granted after the death of the maréchal’s son, but it may have been granted before then. It may have been through the good graces of the maréchal that Chevalier Rebsomen finally received the appointment he sought. Now, financially secure, Rebsomen moved with his family to Dieppe, and he held the position of percepteur until his death on 2 February 1854. Throughout his life, Chevalier Rebsomen played his flute and, in the 1830s, he performed on several occasions with the orchestra of the Société Philharmonique in Dieppe. In a review of a concert in July 1832, for example, he was praised for the purity and clarity of his execution of a difficult piece in B flat by Berbiguier. The music of Benoît-Tranquille Berbiguier (1782–1838), composer and flautist, apparently had great appeal for Rebsomen. Grattan, the Irish journalist, first mentioned him playing a piece by Berbiguier when he wrote about him in 1822. It may have been in the early 1820s that Rebsomen met Berbiguier, perhaps in Paris. It has been said that Rebsomen approached Berbiguier, flute under his right arm, and asked if he might play a duet with him. Berbiguier, seeing that he had only one arm, laughed, but then agreed. Rebsomen secured a stand to a table to support his flute, and then began to play. Berbiguier was so impressed that he dedicated his Trois Duos

the www.bfs.org.uk pan • flute magazine 33 Op. 46 to Chevalier Rebsomen. It is this piece of music that is seen lying on the table before Rebsomen in his portrait. Possessed of great personal courage, self-discipline and moral integrity, moulded undoubtedly by his military career, Chevalier Rebsomen was also blessed with a prodigious musical gift and creative ingenuity, all of which he brought to bear to overcome terrible hardships in order to realise his goal of playing his beloved flute once again. He also had a father who was devoted to him, and friends and patrons who admired him and helped him when he was in need. Though said to be a strict disciplinarian who raised his children according to his own high principles, he was, like his father, a devoted parent. He was well-loved by his children, as well as by the citizens of Arques and Dieppe. Though a proud patriot, Chevalier Rebsomen had an innate modesty. All of the nobility of his being was brought forth in his music, its great poignancy recalling the sorrows and joys of this remarkable man.

Sources and Acknowledgements

For this essay, I have relied principally on the following sources for biographical and other information about Chevalier Rebsomen: (1) André Rebsomen, ‘Souvenirs d’un Officier du Premier Empire: Anne-Toussaint Florent Rebsomen (1789–1854)’. Connaissance de Dieppe 3, nos. 26, 27 and 28 (January, February and March 1987): 2–5; 14–18; 14–17. Written in 1960, but not published until 1987, these three articles describe Rebsomen’s life in great detail—the battle at Hanau in 1813, his injuries and recovery, the story of the Cossacks, his invention of the one-handed flute, his years as mayor of Arques, his performances in concerts in Dieppe, the honours he received, the administrative positions he held, the roles of various patrons, especially those of the Duchesse de Berry and Gudin, and, of course, his family, especially the schooling of his daughters. Much is written in first person, apparently from Rebsomen’s unpublished memoirs. (2) Thomas Colley Grattan, ‘The One-Handed Flute-Player of Arques, in Normandy’. The New Monthly Magazine and Literary Journal 5 (October 1822): 369–372; reprinted in Grattan’s Traits of Travel; or, Tales of Men and Cities. London: Henry Colburn, 1829, vol. 1, pages 259–273; issued in translation by B.G. [Benjamin Gaillon], as ‘Le Manchot, Joueur de Flûte, à Arques’, in Notice sur Dieppe, Arques et quelques Monumens circonvoisins, by P.-J. Feret. [Dieppe], 1824. Dieppe: Editions Dieppe. Réimpression de l’édition de 1824. Grattan describes Rebsomen’s flute-playing and his home in Arques. (3) Procès-verbaux de l’Académie des Beaux-Arts. Tome Troisième, 1821–1825, by Béatrice Bouvier and François Fossier. Paris: École des Chartes, 2003, pages 110–115. These are the transcriptions of the meetings at the Académie des Beaux-Arts on 29 June, 6 July and 13 July 1822, in which Rebsomen is mentioned. The original ledger is in the Archives de l’Institut de France, Paris. (4) [Benjamin] Gaillon, Notice adressée à la Société Libre d’Émulation de Rouen, par M. Gaillon, Correspondant, Sur la flûte à une seule main, inventée par M. Rebsomen. Rouen: F. Baudry, 1823. Gaillon reports to this society in Rouen, Rebsomen’s recent invention of the ‘flûte solimane’, or one-handed flute, for which he was honoured the previous year by the Académie des Beaux-Arts. (5) Souvenirs du Baron Gudin, peintre de la marine, publiés par Edmond Béraud. Paris: Librairie Plon, 1921. These are the memoirs of Théodore Gudin, painter of seascapes, and friend of Chevalier Rebsomen. His arrangement of a meeting between the Rebsomens and the Duchesse de Berry is recounted in the chapter, ‘La Duchesse de Berry et sa Victoire d’Arques’. The patronage of Maréchal Gérard is described in the chapter, ‘Souvenirs de Dieppe’. (6) Dossiers de la Légion d’Honneur, Archives nationales, Paris. Dossier L2280020, for Anne-Toussaint Florent Rebsomen, contains about eighty-five documents, including many letters from Rebsomen to various persons. Many concern the education of his daughters. Dossier L2280021, for Florent Rebsomen, contains only a few documents. (7) Surgical Memoirs of the Campaigns of Russia, Germany, and France, by Baron D. J. Larrey. Translated from the French by John C. Mercer. Philadelphia: Carrey & Lea, 1832, pages 276–277. This is apparently volume four of Baron Larrey’s Memoires de chirurgie militaire, et campagnes. 4 vols. Paris: J. Smith et F. Buisson, 1812–1817. Baron Larrey describes Rebsomen’s injuries and surgeries in his memoirs, though the Baron’s recollections of events are slightly different than those given here, which are based on the descriptions given in André Rebsomen’s series of three articles in Connaissance de Dieppe mentioned above. (8) ‘Among the passengers from Dieppe on Thursday...’, The Times, London, 14 May 1830, reprinted from the Brighton Gazette. A newspaper notice of Rebsomen’s arrival in England. (9) William Spencer Cavendish, sixth Duke of Devonshire, Handbook to Chatsworth and Hardwick, 1845. From the section relating to his house in Kemp Town, Brighton, the duke wrote: ‘The curious flute was left as a tribute by its maker, the Chevalier Rebsomen, since Mayor of Arques, near Dieppe, an officer deprived of one arm and one leg, and yet so fine a musician, that when the Duke of Orleans recommended him to me, he performed at our most recherché concerts’. (10) H. Macaulay Fitzgibbon, The Story of the Flute. London: The Walter Scott Publishing Co., Ltd, and New York: Charles Scribner’s Sons, 1914, pages 259–260. Rebsomen’s meeting with Berbiguier, the playing of a duet together, and its dedication to Rebsomen are described herein. (11) Imbert de Saint-Amand, The Duchess of Berry and the Court of Charles X. New York: Charles Scribner’s Sons, 1892, pages 266–275. In this chapter on Dieppe, the daily excursions of the Duchesse de Berry in Dieppe and Arques are described for the summers of 1824, 1825, 1826, 1827, and 1829. It is my pleasure to acknowledge the following persons for their kind assistance: David Shive, who shared this odyssey with me in search of Chevalier Rebsomen and, on my behalf, graciously interviewed people in Dieppe and Arques-la-Bataille who had knowledge of Rebsomen, and helped me gather research materials in Dieppe and Paris; Claude Feron, historian in Dieppe associated with Les Amys de Vieux Dieppe and editor of Connaissance de Dieppe, who identified the presbytery in Arques as the former home of Rebsomen; Jean Decaux, photographer in Arques, who advised me to speak with Claude Feron; M. Sénécal Guy, Maire of Arques, and his staff at the Mairie, as well as Christine Colard and Alexandra Courraëy, of the Académie Bach, for permission to photograph the presbytery, the future home of the Académie Bach in Arques; Mme Lamarque, Archives de l’Institut de France, Paris, for locating the ledger of the Académie des Beaux-Arts, with notes of 13 July 1822 meeting honouring Chevalier Rebsomen for his invention of the ‘flûte solimane’; M. Bruno Galland, Archives nationales, Paris, for permission to reproduce an example of Rebsomen’s signature from his Légion d’Honneur dossier; M. Pierre Ickowicz, Conservateur, Château-Musée, Dieppe, for permission to reproduce the portrait of the Duchesse de Berry, and M. Bertrand Legros, photograper, for providing the image; M. Xavier Tabbagh, Conservateur, Musée du Service de Santé des Armées au Val-de-Grâce, Paris, for permission to reproduce the painting of Baron Larrey and Rebsomen at Hanau and M. Marc Beaumelle, for providing the photograph; Matthew Bailey, National Portrait Gallery, London, for permission to reproduce the portrait of Thomas Colley Grattan; Robert Balchin, The British Library, for his assistance in locating Berbiguier’s Trois Duos, Opus 46, dedicated to Rebsomen and Auste Mickunaite, and for permission to reproduce it; Hannah Obee, Chatsworth, Devonshire, for kindly providing the reference regarding the gift of a flute by Chevalier Rebsomen to the sixth Duke of Devonshire; Karen Burke and Bob Kosovsky, The New York Public Library for the Performing Arts, for their help in locating Gaillon’s Notice of 1823, and arranging for it to be photographed; and Jan Lauridsen, Music Division, Library of Congress, for granting me permission to write this article. Most of all, I thank Robert Bigio for inviting me to write an article on Chevalier Rebsomen, and for introducing me to Peter Spohr, the co-author of this essay. Finally, it is with great love and admiration that I dedicate this essay to my aunt, Jeanne Cawood King.

the 34 pan • flute magazine March 2008 Rebsomen’s flutes, by Peter Spohr

Flute described by Thomas Colley Grattan in 1822

Excerpts from Grattan’s report of his meeting with Rebsomen in 1822 are given in Jan Lancaster’s article above. Grattan describes Rebsomen’s flute, which was fixed to a table with a wooden vice, as ‘of concert size, with three finger-holes and eleven brass keys’. In his affirmation to what he calls the ‘astonished, but perhaps incredulous public’, he states that Rebsomen made his flute himself. He says, ‘[Rebsomen] turned the keys and the ivory which united the joints’, which suggests the flute had round, flat keys and ivory ferrules. Other authors, including Victor Coche in his Examen Critique of 1838, credit Rebsomen as the maker of his flute and even of devices to replace his missing left arm and of special flute-making tools. Although Coche refers to a flute with fourteen keys and eighteen holes like the one made by Cornelius Ward at Monzani’s workshops (more correctly, ‘Hill, late Monzani’) which is described in detail later in this article, it is possible that a man with as much enthusiasm, talent and energy as Rebsomen made one or more flutes by himself. Grattan probably got his information during his visit to Rebsomen himself. Grattan also writes that Rebsomen’s flute was ‘of a construction Peter Spohr performs on baroque, to puzzle Monzani’. (Monzani was the best-respected flute maker in London in the keyed and Boehm flutes. About thirty years ago he started to build years before Rudall & Rose.) Interestingly, Rebsomen’s fourteen-keyed flute dis- up a collection of transverse flutes cussed later came from the Hill-Monzani workshop. As in all other reports, Grattan and since then has organised several praises Rebsomen’s musical skills, and especially his virtuosity, taste and mellow, exhibitions of historic flutes with accompanying catalogues. He has silvery tone. There is no drawing or existing instrument which matches Grattan’s given lectures and written articles description but it seems likely that the flute he saw already had the same fingering about the history of the flute, flute system and principal arrangement of the keys as the other flutes discussed below. making and flute acoustics as well as about musical interpretation and performance practice. His main Flute presented at the Académie royale des Beaux-Arts in 1822 occupation is as managing director of a company manufacturing Rebsomen’s presentation of his flûte solimane at the Académie royale des Beaux-Arts groundwater instrumentation. in Paris in July 1822 and the report about it have been discussed in Jan Lancaster’s article above. In this report the flute is described as an instrument with eleven instead of nine keys which enables the player to accomplish with one hand everything one can accomplish with two hands on an ordinary flute. The dimensions of the flûte solimane are said to be the same, the sound is praised and the intonation is said to be more stable than is common on instruments of this kind. The report includes a description of the fingering which only differs in two aspects from the flute described by Gaillon in 1823 which is discussed in the next paragraph: the thumb key for covering the ‘last hole’ (which is finger hole 1 in today’s designation because of the different numbering) is called the D key. This is probably an error; the C key is meant, and there is only one thumb key for B instead of a second one for the forefinger as on the flute described by Gaillon. This explains the difference in the number of the keys. Interestingly, in France as late as 1822 the C foot with three holes was considered unusual. Furthermore, the lowest note is wrongly given

the www.bfs.org.uk pan • flute magazine 35 Chevalier Rebsomen’s flûte as C. A method for his flute by Rebsomen, now lost, is mentioned and devices for solimane and fingering chart, after a drawing by attaching the flute to furniture or to the body are described. Because more design the maker, 1823 features and materials of the flute are not mentioned it is hard to say if this was the From Gaillon’s Notice same flute that Grattan saw during his visit to Rebsomen’s home. adressée à la Société Libre d’Émulation de Rouen..., Flute described by Benjamin François Gaillon in 1823 1823. Reproduced by courtesy of the Music Division, The New York In his Notice adressée à la Société Libre d’Émulation de Rouen, Gaillon refers to Rebsomen’s Public Library for the recent honour by the Académie saying that, ‘…his approach has found favour with Performing Arts, Astor, the Conservatoire, the most distinguished composers and musicians of the capital, Lenox, and Tilden being a valuable discovery with regards to the mechanics and the musical art- Foundations. istry’. He reports that Rebsomen had sent him a sketch of his flute with fingering instructions and explanatory notes which state that ‘…the ordinary flute with its latest degree of perfection has nine keys [among these two F and two B keys] and six holes while the one-handed flute has twelve keys [among these keys for ‘finger’ holes 1 to 3 (today’s usual designation), a short F key, two B keys and a B to C trill key] and three finger holes. Both flutes have a C foot. This is followed by a description of the fingering. Compared to the description in the report of the Académie, the lowest note C is given correctly, a second key for B for the forefinger is mentioned and the key for the highest ‘finger’ hole is called the C key. Gaillon further All photographs mentions that the flute can be fixed to a piece of furniture by means of a small by Peter Spohr wooden vice or to a waist belt using a bent iron rod. Finally he praises Rebsomen’s unless otherwise playing skills saying that the intonation on his instrument was more constant and indicated. reliable than on the ordinary instruments of this kind. These last statements seem to be taken from the report of the Académie.

the 36 pan • flute magazine March 2008 Most interesting is the enclosed fingering chart with a sketch of the flute and fingerings for its entire three-octave range, including five indications for the use of fingerings for trills (Figure 1). Below the chart it says ‘Grav.[é] d’après le Des[sin] de l’auteur par [monogram EBF(?)]’, with a note concerning the fingering of D, referring to the already mentioned method by Rebsomen: ‘The D shown in the fingering chart is used only in particularly rare cases. I will show in my method the passages where there is no other way to play D other than with C No. 1.’ The sketch shows a flute with a C foot without a tuning slide. The key covers are round and flat, apart from the cover of the D key which is square. The finger holes look small and it is hard to say if the ferrules are meant to be of ivory or metal. As also mentioned in the description it is a four-part instrument although it does not seem to be possible to separate upper and lower joints without first removing some keys. The sketch of the flute is clear; only the cover of the G key No. 5 and the B key No. 8 on the back of the flute are not visible. As in the report of the Académie the numbering of the keys and holes begins, unusually, at the lower end of the flute. From the description in the text and from the fingering chart, the keys and finger holes and the fingers which are used to operate them are as follows:

Number in chart Today’s usual designation Operating finger (right hand only)

1 C key (foot) 4 (little finger) 2 C key (foot) 4 3 D key 4 1e TROU finger hole6 3 (ring finger) 4 short F key 3 2e TROU finger hole 5 2 (middle finger) 3e TROU finger hole 4 1 (forefinger) 5 G key 1 6 A key (for ‘finger’ hole 3) 2 7 B key (front side) 1 8 B key (back side) 0 (thumb) 9 B key (for ‘finger’ hole 2) 3 10 C key 1 11 C key (for ‘finger’ hole 1) 0 12 B to C trill key 1

In general the chart shows the usual fingerings for simple system flutes which can be found in contemporary methods by Berbiguier, Dressler, Drouët, Monzani, Nicholson, Wragg and others. It confirms the statement in several sources that Rebsomen’s flute had the same bore and tone hole sizes as the ‘ordinary’ flute. Compared to the two instruments discussed above this flute has one extra key (the additional B key on the front side) which makes some fingering combinations easier.

the www.bfs.org.uk pan • flute magazine 37 The flute at Chatsworth House given by Rebsomen to the Duke of Devonshire

Jan Lancaster has described Rebsomen’s arrival in England in 1830, possibly the year he visited the sixth Duke of Devonshire, and gave him one of his flutes. Robert Bigio discovered that this flute is preserved in Chatsworth House in Derbyshire, the ancestral home of the Dukes of Devonshire, and he was able to examine and photograph the instrument in January this year. The Chatsworth flute, which has no maker’s mark, has a C foot, no tuning slide and medium-sized finger holes. It is made of cocuswood with silver ferrules and twelve silver keys with screwed-on springs (Figure 2). It has saltspoon key cups and all keys except the (short) F key are mounted in silver saddles. On the footjoint the saddles are fixed to crescent-shaped plates. As on the flute shown in the fingering chart there are four pieces visible but the upper and lower joints are not detachable without first removing some keys. Some features of this flute look typi- cally French, such as the plates on the foot joint that attach the keys to the body, the decoration where the pointed key arms are soldered to the cups and the bulb and ferrule at the headjoint, while the saltspoon key cups are a more common feature of English flutes (Figure 3). It is possible that a ready-made headjoint and footjoint were used for this flute but at the least the upper joint had to be made specially or else inserts had to be added at the G and B holes to make the raised sections necessary for the new positions of the upper tone holes. The workmanship is acceptable but not excellent, and it is possible that Rebsomen made at least part of this flute himself. The flute differs from the one shown in the fingering chart in the design of the metal saddles on the foot joint and the touch-piece for the front side B key, which is closer to the axis of the finger holes and has an elegantly-made cross-arm to make it easier for the forefinger to move to it from one of its other four possible positions. The fingering system and position of all other touch-pieces are clearly the same as on the flute in the fingering chart. There has not yet been an opportunity to determine the musical qualities of this instrument.

Figure 2 (left). Rebsomen’s flute from the Devonshire Collection. Figure 3 (above). Detail of the footjoint of the Chatsworth flute. Photograph by Robert Bigio reproduced by permission of the Chatsworth Settlement Trustees.

the 38 pan • flute magazine March 2008 Flute by Cornelius Ward at Hill, late Monzani, serial number 2271, about 1830

About ten years ago I was fortunate enough to acquire a one-handed flute which had belonged to Chevalier Rebsomen, and this became a highlight of my collection not only for flute experts but also for those who have only a general interest in music and musical instruments. Even without knowing the story behind this flute one can easily imagine that it was designed with a strong desire to continue playing a beloved instrument despite its owner’s disability. The flute (Figure 4) is clearly the very same instrument shown in the famous lithograph discussed in Jan Lancaster’s article. This is supported by the fact that the lithograph was published by H. Hill, late Monzani and Hill, 28, Regent Street, and that the flute is stamped (crown)|HILL LATE|MONZANI & Co|REGENT STT|PICCADILLY|LONDON|2271 (Figure 5). Unfortunately the plain silver rings of the flute do not show the hallmarks as on most flutes by Monzani and Hill, which can help give the year of manufacture. According to an article by Amy Kreitzer in the Galpin Society Journal of 1995 and to further dates of hallmarks on Monzani flutes which I have collected through the years, the year of manufacture for serial number 2271 should be between 1822 and 1831. Because the firm Hill, late Monzani only started in 1829 it could well be that, as mentioned by Jan Lancaster, both the flute and the portrait showing Rebsomen with this instrument were made in 1830, the year he visited England. Coche states in his Examen Critique that Rebsomen’s flute was equipped with fourteen keys and eighteen holes. Ward writes in his The Flute Explained of 1844: ‘...we are able to speak decisively, as we were the maker of the chevalier’s flute’, and Rockstro writes in §529 of his Treatise that ‘Rebsomen designed the mechanism of his flute himself, and Cornelius Ward, then foreman to Monzani and Hill, was the actual maker’. Fitzgibbon writes in his The Story of the Flute that ‘a flute descending to low B, was made for Count Rebsomen in 1842’. It is hard to say if the first three authors are talking about the same flute, and if the year given by Fitzgibbon is a literal error. On the other hand there is no reason to assume that the Hill, late Monzani flute discussed here was Rebsomen’s last flute as we can be sure that there had been several flutes made by him or for him before. In any case its features ‘fourteen keys and eighteen holes (including the embouchure hole)’ as well as ‘descending to low B’ are consistent with this instrument. The flute is made of cocuswood with silver ferrules and keys. Brass springs (in most cases) are fixed with steel screws to the keys, and there are steel plates at the bottom of the keyways. The front side B key and the (upper) C key are mounted superposed in the same wooden block, and here a pointed flat steel spring at the (overhead) B key is used for both keys simultaneously. This arrangement can, for example, also be found on the C and C keys on the footjoints of Drouët flutes which were probably also made by Cornelius Ward. The same is true for the two trill keys which are mounted in the same way in the only existing silver saddle. The tenon at the lower end of the headjoint (instead of the upper end of the body) and the movable, flat key covers (Monzani’s ‘Patent Keys’) are typical features of the flutes by Monzani and their successor while there is no metal lining of the sockets

Figure 4 (right). Rebsomen’s flute made by Cornelius Ward at Hill, late Monzani.

the www.bfs.org.uk pan • flute magazine 39 for cork- or cloth-covered tenons as per Monzani’s patent of 1812. Finger holes 4 and 5 are large for a Hill, late Monzani flute and the size of the ‘finger’ holes 1 to 3, which are covered by keys, are larger still, rather like the holes of the Nicholson model flute. Ivory rings serving as reinforcements under the silver ferrules are similar to the design used by Thomas Prowse, the maker of Charles Nicholson’s flutes, and the design of the touch-pieces for the C and C keys on the footjoint with the notched C touch are similar to Prowse and later Rudall & Rose eight-keyed flutes. There are (original) pins in the wood under- neath the blocks for the C and C keys on the footjoint, a feature which can be found more frequently on clarinets. Without doubt this flute was beautifully made to Rebsomen’s specific design (see, for example, the meandering arm of the C key). It has obviously seen heavy use and undergone some minor repairs, adjustments and rough handling. The flute comes in its original mahogany case with a brass escutcheon inscribed ‘Le Chevalier Rebsomen’ (figure 6). No vice or other holder came with it but the scratches at the tuning slide clearly show where a clamp was fixed. Figure 5. The stamp on Compared to the Chatsworth flute described before, some Rebsomen’s flute changes and additions have been made: there is a tuning slide; the upper and lower joints are in one piece; a high D to E trill key for the forefinger has been added and the range has been extended to low B with an additional B key for the thumb. The position and fingering of the other keys and holes are unchanged. It seems that Rebsomen did not only want to possess a flute ‘with the latest improvements’ like the additional trill key and the B foot, but that he was also Figure 6. The escutcheon looking for a more powerful Nicholson-type instrument with large holes (includ- on Rebsomen’s flute case. ing the embouchure hole) which was by no means common in the Monzani workshop. In any case he received a most professionally- and elegantly-made instrument by one of the best flute makers in London. As mentioned by Rockstro, some touch-pieces can be controlled by the second joints of the first, second and third fingers, and this is absolutely necessary for the middle finger which has to close finger hole 5 directly and to open the A key for ‘finger’ hole 3 at the same time for several notes. The position of other touch-pieces, for example the cross-arm for operating the front side B key which we can also find on the Chatsworth

the 40 pan • flute magazine March 2008 flute, make it easier to move or slide from a finger hole to a key or between the keys, and interestingly a second touch-piece at the B key for ‘finger’ hole 2 has been fixed later with rivets opposite the short F key. In the sketch on the fingering chart and on the Chatsworth flute we can see a single wider touch-piece in this position. Figure 7 shows these two devices as well as the touch-piece for the A key for ‘finger’ hole 3 at finger hole 5 and the other four touch-pieces for the forefinger operating the G, the (upper) C and the two trill keys. Using the most versatile forefinger for as many as five keys besides the finger hole seems to have been well thought out. The touch-pieces for the thumb keys (from top to bottom: C key for ‘finger’ hole 1, back B key and low B) are shown in Figure 8. The fact that Rebsomen did not see a reason to change his fingering system, at least not between 1822 and 1830, can of course be explained by the difficulties these changes can cause for a player. However, looking more carefully at the flute and trying to play on it, it soon becomes clear that this system was devised with great ingenuity and that it might be difficult to improve it. After being invited to write this article I took the occasion to restore the flute, which I had planned to do for a long time because it was completely unplayable. Of course this was done most carefully without abra- sives, machine polishing or aggressive solvents, using original materials to the best current knowledge, keeping all removed or replaced parts and including an extensive photographic and written documentation. Now Figure 7 (above). Keys on the flute is in good playing condition and the Nicholson-style concept is the upper side of the flute. confirmed by a strong and open sound. Intonation is very good, which may be because the position and size of the left hand ‘finger’ holes are easier to position correctly because they are covered by keys rather than having their size and position determined by the possible stretch of the fingers. The pitch of the flute is quite high, and for playing at A=440 the tuning slide has to be pulled out about 15mm. There are no signs that the Figure 8 (below). Keys on the lower side of the flute. flute has been shortened and it is a perfect fit in its case. Sources and Acknowledgements

My thanks go to Jan Lancaster for providing me with high quality copies of literature, much which was not known to me before, as well as for her useful hints, and I want to thank Robert Bigio for his patient and untiring support including his trip to Chatsworth House where he examined and photographed the Rebsomen flute. We are all grateful to Diane Naylor of Chatsworth House for allowing us to examine and photograph the flute in the Devonshire Collection. There are two works in addition to those cited by Jan Lancaster in her article above: Amy Kreitzer: ‘Serial numbers and hallmarks on flutes from the workshop of Monzani & Hill’. Galpin Society Journal XLVIII (March 1995), pp. 168–180. Cornelius Ward: The Flute Explained: being an examination of the principles of its structure and action…London: published by the author, 1844. (Reprinted in Robert Bigio, editor: Readings in the History of the Flute. London: Tony Bingham, 2006.) •

the www.bfs.org.uk pan • flute magazine 41

A Boehm flute for a one-handed player

By Maarten Visser

dit van der Burg won the first prize at the Dutch National Flute Competition in 2003, has recorded two CDs and has given many public performances Esince. Amazingly, because of a disability, she plays with her left hand only. I first produced a flute for Edit six years ago, based on a student Yamaha, and it has been modified six times since. Now, Edit needed a new and better instrument. I Maarten Visser studied woodwind made her one based on an Altus flute, this time to low B. The new flute was beau- making and repairing in Newark (UK). tifully finished, and brimming with improvements. When Edit was presented with In 1986 he started his own business in Amsterdam, specialising in flutes this instrument, Mia Dreese, editor of the Dutch flute magazine Fluit asked me to and adapted wind instruments. He explain how the thing works. has made a one-handed Boehm flute, one-handed recorders and adapted saxophones, flutes and Rules and exceptions. The less you have to think, the easier it is to play. One clarinets. Work on ergonomic flutes operates a fingering system by applying rules. The more complicated, the more started in 1993 and resulted in rules; the more rules, the more lost time, the more lost concentration, the more creating the Swan-Neck headjoint and the Vertical headjoint. He has lost energy. The brain has an amazing ability to automate frequent processes. We been interviewed on Dutch radio call this learning. Learning goes quickest when the new structures are connected to twice and appeared in numerous existing knowledge. That is what I knew when I was trying to invent a one-handed press articles. system for Edit. I knew the system had to have as few rules as possible and that it www.flutelab.com had to connect to what Edit already knew. There were three possibilities I could think of. Each possibility would use a mechanical system and a fingering system, each with its own set of rules and exceptions to these rules.

The recorder technique. The first system is based on a trick which is also used in one-handed recorders: the functioning hand plays the lower holes of the instrument. The top holes are closed by keys which are operated by levers near the open holes on the lower half of the instrument. This can be attained on a Boehm flute by reversing the spring action. Then some levers must be built to operate the top hand keys. This system is not very complicated to construct, especially if the playing hand is the right hand. But to learn this system is difficult, because the top keys have a reverse action to the down keys. Fingers have to jump from holes to keys, and it is often required that the player simultaneously closes one hole and opens another.

Double keys. The second system, like the recorder technique, had been used before. The keys for the index, middle and ring fingers (second, third and fourth) are extended so that they can be operated by the like finger of the playing hand.

the www.bfs.org.uk pan • flute magazine 43 Each of these three fingers has now two keys: the one that was already there and the corresponding key for the missing hand. For example, the index finger may control the keys for F and C simultaneously. For F they both have to be pressed. If you play G next, you have to slide, because the C key has to remain depressed. The advantages of this system are its logic and its flexibility. All key fingering combinations remain possible. The downside is that it requires a lot of finger dexterity.

An echo from Theobald Boehm. In the third system we hear the echo of Boehm’s words that one finger should have one key. Boehm had to make a few compromises (though not as many as me) but his remains a good idea. The result would be that one key has multiple functions. The simplest way to do this is to pair the keys of the right and left hand. So the C (left little finger) becomes paired with the F (formerly right little finger), the A with the E and so forth. When you play the notes for left hand, some keys down the flute will move at the same time. Some notes will be a bit flat. If you want to play the lower notes (for the right hand), you use the same keys, plus a special feature to keep the top keys closed. A special key closes, in Figure 1 one movement, all the top keys. This special key can be operated by the thumb, a foot pedal or other means. The keys that are used for playing now only control the lower holes. A great advantage of this system is the simplicity of its operation. The disadvantages are that the key system becomes complex and sensitive, and a lot of force is required to close all the top keys at once.

A letter to Edit. From these three systems I then distilled three fingering tables. These were sent to Edit, with a letter in which I asked her to play scales, mentally, using the different fingering tables. I asked her to indicate which system she found easiest to work with. I was aware that Edit had studied the flute before her accident, so it was all the more important to link to her own mode of thinking. Her Figure 2 answer came quickly: she was sure it had to be system three. This was by far the most challenging to make, but, for it good ergonomical reasons, it was the most promising. Edit rejected the idea of a pedal because, of course, she is paralysed on one side of her body. If she used her good foot to operate the pedal, on which foot should she stand?

The thumb keys. There are still two thumb keys (Figure 1). The upper one is soldered to the pad cup and is used to close the C hole, the opposite to the system we are used to. The bottom touch, formerly the B key, lifts a lever, attached to a new axle. A lot of force is transferred here, so the lever is equipped with a Delrin roller to reduce friction. The extra axle is built over the existing key system. With four arms it closes C, A (which in turn closes B) and both the G keys. (The coupling between these two has been undone). And the thumb key also closes the C on the back of the flute. So fingering the special thumb key fingers a G, in one movement.

The first dual function keys. Now the keys must be made to control the lower holes with the left hand fingers. Down to G the holes are controlled by the left hand (Figure 2). Now let us look at the F key. It makes sense to bring the F to the left index finger. So the long F key would have to close the C simultaneously. But

the 44 pan • flute magazine March 2008 we have some tones that require the C to be closed when the F is open. With the first and second octave F there is no problem: the C is closed by the special thumb key, and the F can remain open. But we also need a high F. With the A and B keys open we cannot use the special thumb key. The same problem arises with high G and G. It is unfortunate but necessary: two touchpieces next to one another, one for the C and one for F, to be pressed separately or together as necessary. This long F key has no further bearing on the actions of other keys so it is mounted hovering over the B key. The C is given a new touchpiece which is made right next to the F key. For the technically inclined: the pin is removed from the B key, which is now disconnected from the F–B link. The hinge tube above the cup arm is sawn off and here come a short hinge for the F touchpiece. This hinge tube is now pinned to the steel rod. An extra piece of metal is added, fitted over the old B link. If you press the new F touchpiece, the steel rod turns, the old B link goes up, hits the extra piece of metal and the F key closes.

A lost B. At this point there was no way left to play B. The thumb B has been Figure 3 re-assigned to the special thumb key that closes all the top hand keys, and there is no right index finger to help us. So a new B. Right on top of the actual B key I mounted a touchpiece, one position down from the F key, that closes the B without further complications. So to play a B you put your fingers on the  C , thumb C key and B touchpieces. Indirectly, the B key will be closed by either the A key or the special thumb key.

The E key. The E key also posed some difficulty. Over the steel rod of the trill keys a new hinge tube is fabricated. On the high end a touchpiece is mounted which closes the A key (which in its turn, closes the B key). At the lower end an arm is attached which closes the E key. The long rod feels unstable, so to stabilise it the Figure 4 half-supporting pillar that is under the trill key rod is modified. A split bearing bushing of Delrin it fitted over the rod, and the bushing is enclosed with a cap which attaches to the old half-pillar.

Disconnected G keys. The D key also turned out to be quite complicated (Figure 3). First, it has to close the G key (in fact, two keys). Unfortunately, playing an A has now become very cumbersome, as it involves pressing the special thumb key to produce G, and then pressing the old G key. So the flute was converted to an open G system. Only the higher of the G keys must be closed to produce a G, which is very easy coming from A. But the special thumb key now has to close the two G keys simultaneously—and so does the D key! The D key closes the G holes, and low down also the D key, where a new problem awaits.

An extra hole for E. On an ordinary flute there is an E key and most of the time it is held open by the right little finger. In this case there is no right little finger to do that. Of course we could transfer the motion of the left little finger with a long key, much like the long C keys that can be seen on older instruments. Ring finger and little finger share an extensor tendon, which makes it difficult to use them independently. Because these fingers are physically so connected, motoric control of the fingers is also developed in a like manner. Because of this, extensive use of the little

the www.bfs.org.uk pan • flute magazine 45 finger hampers free use of the ring finger. As this is to be avoided, the E must be made to stand open by itself, and only close when needed. In a first attempt, a Dorus-like system was employed, but it proved unreli- able. Therefore a new system is invented (Figure 4). A second E hole is made opposite the old hole. A special key is made to close this extra hole in con- junction with the D key. So when the D is pressed down (by a Figure 5 lever which also closes Edit van der Burg with the one-handed flute adapted for her by Maarten Visser. the G keys) the D key and the new E key both close. The old E is maintained, in its normally closed position, and is operated by the left little finger by a long lever. Does this sound familiar? First you close two holes (to go a second down), then you open a dupli- cate of the lower hole to go up a semitone. That is what happens on your own flute when you play A—G—G.

Sax little finger. Not only E, but also low C, C and B are transferred to the left little finger by long levers (Figure 5). At Edit’s request these were fitted with rollers. Also taking into account the old G the little finger has now 5 keys to control. That poses no problem, as this finger is quite strong and it has a mobile joint at its base. Sax players never complain.

Even more touchpieces. Finally, some more touchpieces are added. The old G is fitted with a smaller, round knob, as the old G touch was in the way of the other pinky keys. The A got a small extra knob for playing trills. The special key that closes the top holes is given an extra touch so it can by used by either ring or middle finger. This way, the C hole at the back is left free, so high G and G can be played. Newly-added touches for the trill keys are given to ring and middle fingers. This article was first Edit’s flute has also special facilities for cleaning, a special headjoint, a specially published in Fluit, made case, a unique flute stand and a large leather grip for the right hand. The Journal of the Dutch result is a flute that enables Edit to play all flute parts with a range of three octaves Flute Society, and chromatically. is reprinted with grateful thanks. This design is not protected and all instrument makers are free to implement these inventions to facilitate disabled players to make music. •

the 46 pan • flute magazine March 2008

Musicians Benevolent Fund Listening to musicians—responding to their needs The second in the series on musicians’ organisations By Rosalind Parry

he concept of a benevolent fund may to some seem rather outdated, feeling more nineteenth-century than twenty-first. The Musicians Benevolent Fund, Thowever, has never been so relevant. The Musicians Benevolent Fund (MBF) was founded in 1921 in memory of Gervase Elwes, the celebrated English tenor. During its first year, just eleven grants were made totalling £90. However, the growth of the MBF from its beginnings until the outbreak of the Second World War was steady and it received a great boost when Dame Myra Hess generously donated the proceeds of her wartime National Gallery concerts. Today the MBF is the music business’s own charity—the largest of its kind in the UK. Last year it spent over £3 million supporting musicians from school age through to retirement from all areas of music and from across the UK and the whole of Ireland. The MBF’s work has two main strands: helping music professionals of all ages who are struggling because of accident, illness or old age and helping Rosalind Parry is Events and aspiring professionals with their education and the difficult first steps into a career Promotions Officer at the Musicians in music. Benevolent Fund. In her spare time she is a keen flute player and singer. Helping musicians in need

In 2007 the MBF spent over £2 million on helping musicians in need, support- Author’s picture ing over 1500 beneficiaries of whom forty-six are flute players. In fact, the MBF’s Chairman, Christopher Yates, and Director of Casework, Sara Dixon, are both flute players. In addition to supporting performers, the MBF also helps people who are or have worked in other areas of the music industry such as, for example, sound engineers, piano tuners, music teachers and producers. Dependants of members of the music industry are also eligible for help. The MBF has a team of trained caseworkers who visit clients in their own homes to assess their needs and provide help and advice or referral to specialist agencies where necessary. The MBF will tailor a care package to the specific needs of the client whilst ensuring complete confidentiality. Help offered by the MBF can take many forms ranging from covering the costs of household bills, purchasing mobil- ity aids such as wheelchairs and stairlifts through to helping with treatment costs and long-term support. The MBF will do everything in its power to enable people to return to work and this even includes covering the costs of retraining where necessary.

the www.bfs.org.uk pan • flute magazine 49 For elderly musicians and their dependants the MBF can also offer help towards care home fees, as well as running its own care home specifically for retired musicians, Ivor Newton House, in Bromley, Kent. Ivor Newton House has a lovely atmosphere where musicians are able to live with like-minded individuals in great comfort, with a lively activities programme and regular recitals given by MBF award winners which the residents can choose to be involved in or not as they wish.

Developing health awareness for musicians

The newest area of work for the MBF is in health awareness. The first project was the Healthy Orchestra Charter, a joint venture between the MBF and the ABO (Association of British Orchestras) launched in 2006. The Healthy Orchestra is a charter mark for professional orchestras that are display- ing good practice towards the physical, mental and emotional health of musicians. The Charter sets an industry-wide standard of care and good practice and comes in three levels (Bronze, Silver and Gold). Over half a dozen orchestras have already reached Bronze level status. The second major health project is the MBF Student Health Scheme which offers financial assistance with the treatment of performance-related health problems, both physical and psy- chological, for music students. A student suffering from any health issue affecting their ability to perform can apply to the MBF for a treatment grant, which can be used to pay for sessions with an appropriate therapist or practitioner. For more Ivor Newton House—the information please visit www.mbf.org.uk/studenthealth. MBF’s care home in Bromley, Kent. Supporting the next generation

For young musicians starting out the MBF offers financial support through school, higher education, onto postgraduate study and beyond through a wide range of award schemes. In 2007 almost 350 young people benefited from awards totalling £475,000. Awards are available for a whole range of instruments and voices with the following awards being particularly relevant to flute players and teachers: • For musicians who are eighteen years and under the MBF Young Talent Awards offer help towards the purchase of a new instrument, music lessons with a private teacher and fees or travel expenses for Saturday music centres and colleges. In 2007 £115,000 was awarded to a total of almost 200 young musicians who received awards ranging from £200 to £1000. Rosanna Preston, MBF Chief Executive, explains, ‘The MBF strongly believes in supporting the next generation of outstanding musicians through the Young Talent Awards. We welcome applications from all branches of the musical world and judging from the letters of thanks we receive we believe our grants are a vital help to these young musicians and their families.’ Young musicians need to be able to demonstrate talent (a Distinction in

the 50 pan • flute magazine March 2008 London Philharmonic Orchestra Chief Executive, Timothy Walker, receiving the Bronze Level Healthy Orchestra Charter. Left to right: Mark Pemberton (Director, Association of British Orchestras), Christopher Yates (Chairman, Musicians Benevolent Fund), Timothy Walker (Chief Executive, LPO), Martin Höhmann (Chairman, LPO) and Rosanna Preston (Chief Executive, Musicians Benevolent Fund). their last exam if exams have been taken) and that their parents or guardians are in financial need. The next deadline for applications is 12 June 2008. • For musicians who are over eighteen there are the MBF Music Education Awards (MEAs) for those going into full-time postgraduate study. Auditions are held annu- ally with awards ranging from £1000 to £5000. There is no upper age limit for the MEAs and the awards are intended to help towards living expenses and course fees. This year’s closing date is 8 February but applications will be accepted again from the autumn and next year’s closing date will be in early 2009. • For jazz musicians the MBF runs the Peter Whittingham Jazz Award where up to £4,000 is available for an innovative jazz project in the field of cutting-edge jazz. The project may be in recording, composition or performance. Applicants may apply for projects to be undertaken independently or with others and must be twenty-six or under. Recent award winners include saxophonist Soweto Kinch, Manchester-based jazz sextet 6pac and London-based jazz ensemble Led Bib, who used their award to fund the highly successful Dalston Summer Stew Festival in 2006. Applicants are asked to submit a detailed proposal and the finalists will then be invited to perform in front of an eminent panel of jazz musicians. The next closing date will be in October 2008 and the application process will open during the summer.

the www.bfs.org.uk pan • flute magazine 51 In addition to these individual awards the MBF provides an indispensable online database of sources of funding called the Funding Wizard (found at www.mbf.org.uk/fundingwizard). The database lists the various MBF awards as well as many others, with useful advice and tips for students and teachers. In 2007 the MBF also awarded almost £350,000 to organisations which provide advanced training and performance opportunities to young musicians. Organisations supported include The National Youth Orchestra of Great Britain, Live Music Now!, Young Musicians Symphony Orchestra, National Youth Wind Orchestra and Music For Youth amongst many others. The MBF also supported the Stratford-Upon-Avon International Led Bib, previous winners Flute Festival from 1998–2007 by providing of the MBF’s Peter four postgraduate student bursaries, and the Whittingham Jazz Award. Oxford Flute Summer School since 2005, providing an annual bursary for an outstanding British flute player.

How to support the MBF

For this vital work to continue, the MBF is entirely dependant on the generosity of the public. There are several ways to support the MBF. Any donation, large or small, is very welcome and can now be made by post, phone or online. Many people may not be aware that tax efficient donations can also be made through the payroll giving scheme—usually known as Give As You Earn (GAYE). Your employers will deduct any sum you decide from your gross salary, and you can nominate the charity to receive it. Just ask your employers if they run a GAYE scheme. And finally, if you would like some advice on how to remember the MBF in your will or make a donation in memory of a loved one then please get in touch. You may also like to think about joining the Friends of the MBF, a group of dedicated supporters who give regularly to the work of the MBF through an annual subscription. Anyone can become a Friend and there are separate categories for professional musicians, students and joint membership for couples. Friends benefit from a great range of discounts on magazine subscriptions, concerts and events, and musical giftwar,e all whilst being kept up-to-date with how their money is helping musicians.

Finding out more

If you or someone you know needs the MBF’s help or if you would like to support the MBF then more information is available at www.mbf.org.uk, or by contacting the MBF on 020 7636 4481, emailing [email protected] or writing to Musicians Benevolent Fund, 16 Ogle Street, London W1W 6JA. •

the 52 pan • flute magazine March 2008 MBF_PAN AD.qxd 10/4/06 12:37 Page 1

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the www.bfs.org.uk pan • flute magazine 53 B&P-ProPiccoloUKad 12/6/07 10:58 AM Page 1

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Available Through: All Flutes Plus 60-61 Warren Street · London W1T 5NZ (+44) 020 7388 8438 · [email protected] How flutes are made The third article in the series: Padding and finishing

By Jim Phelan

Flutemaking lore: Q. What do you call a finisher who only works on D foot joints (foot joints with only one key)? A. The padder of little feet. The padder’s motto: The buck stops here.

hen I was eighteen I was apprenticed in an instrument repair workshop. In the summer of 1969 I padded my first flute using the ‘steam and clamp’ Wmethod as taught by the woodwind repairman under whom I was studying. We had 500 rental flutes to maintain for the Carl Fischer Company—in addition to equal numbers of clarinets and trumpet—and many of of them required repadding. Taking a day and a half to do the job, as we now do on professional Jim Phelan started making flutes in instruments, would have been utterly impractical. What I learned of value was to 1976 for a venerable Boston firm. He published the first edition of quickly assess the condition of an instrument and immediately decide what to do. The Complete Guide to the Flute in In the course of padding a flute, one has to make this kind of decision over and 1980. That book is now in its second over again. Where is the leak? How big is it? Should I relieve the hard spot or fill in edition and sixth printing. He left the flutemaking world in 1989 and the leak? Where is the lost motion coming from? What is the best way to remove spent six years working in high-tech it? There is no time for equivocation. and the medical instrument industry Today, more companies are describing those people who install pads as ‘finish- as a mechanical engineer. In 1996 he joined his wife, Lillian Burkart, to ers’. This makes sense because padding is a part of the finishing process which also make the Burkart flute. Even so, they includes fine-tuning the mechanics, polishing and regulation. Although, due to the are still happily married. advent of new and better pads, the actual time spent padding has been reduced, it is still the major part of the finishing job. Mechanics and polishing: When the keymaker finishes with the keys, the keys Author’s picture are left tight. That is, there is a minimum space between keys and between the hinge tubing and the steel rods. No springs have been installed and the keys are not polished. The first thing the finisher does is a visual check for obvious errors in keymaking and a check that there are no obvious clearance issues. In general, with ‘standard’ flutes, there are no problems. However, instruments having split E mechanisms, convertible B to C foot joints and the like, it is often the finisher who makes sure these extra keys actually work! The flute is then polished. We, as flutemakers, consider this a make-or-break process. If the keymaker has conscientiously done his or her job and the finisher really knows how to polish, the keys and body can be brought to a mirror finish without losing the sharp detail of the mechanism and without ‘wavy-gravy’ in the flat surfaces. As polishing is a metal-removal process, errors in polishing are very difficult to repair. Therefore, it is always preferable to under-polish than to over-polish.

the www.bfs.org.uk pan • flute magazine 55 The ‘steam and clamp’ After polishing, the flute is thoroughly cleaned in an ultrasonic cleaner. It is method is used on some absolutely critical that every grain of polishing compound is removed. Any polish- student model flutes. ing compound left in a post thread or bearing can migrate out over time and bind The pads are installed the mechanism. That is not a good thing in a new flute. I’ve found over the years protruding more than that flute players get really grumpy when their keys don’t go up and down! usual from the cup. Spring The springs are now installed. Why now? It is far easier to polish a flute without clamps are used to press the pads down onto the springs than with. We still use a rather archaic method for installing the springs tonehole. Steam is sent because, well, we haven’t found any better method. Each spring, made of white up through the flute gold, fits through a very precisely drilled hole a tiny bit bigger than the spring wire body, softening the pads. diameter. The finisher rounds one end of the spring and flattens the other. The The whole assembly is spring is slipped through the hole round end first and the flattened end is forced allowed to cool and to dry, into the hole using special pliers. Another special pair of pliers is used to give usually overnight. A semi- permanent set, or seat, is the spring a graceful arc. This arc is both aesthetic and functional, giving the key giving to the pads which movement an even, smooth feeling and looking good at the same time eliminates the need for The keys are assembled with oil. This is a critical step because although one shimming that is described does not generally consider the thin layer of oil taking up space, it does. It is the in ‘dry padding’. finisher’s responsibility to decide if the key feels right, if it is free enough, when the oil has been applied. When it is assembled, the instrument is ready to have the pads installed. When I started padding flutes in the early 1970s, there were only traditional pads, though A typical flute padding bench. The flute being we didn’t refer to them as such. Today, there are more choices. David Straubinger, padded has a detachable B Jim Schmidt, Jeff Smith, Luciano Pisoni and Ed Kraus have developed synthetic, foot. (The C extension has or partially synthetic, pads. Each one is a bit different and is described later been fitted temporarily to in the article. If the reader wants more information, the ‘Flute’ email list on the socket at the top of the Larry Krantz’s website (www.larrykrantz.com) often has lively discussions on footjoint.) the subject of pads. At this stage the pads are held in the cups using screws and washers, grommets or shellac (or some similar adhesive). Then the levelling process begins to make the pad fit perfectly on the tonehole. Using a feeler, the finisher first gets the pad touching in the front of the tonehole and the back evenly. If the pad is touching the back of the tonehole first, the pad is too thick and whole paper shims are removed. This allows the pad to sit lower into the cup and allows the pad to contact the front of the tonehole sooner. If the pad touches the front of the tonehole first, whole shims are added. Then, the finisher feels around the pad to detect leaks and hard

the 56 pan • flute magazine March 2008 spots. Partial shims cut from whole shims are used to raise the pad out of the cup where there is a leak. The whole shims can be cut to allow the pad to drop down to relieve high spots. As little as twenty years ago, pads were not nearly as flat as they are now. With the advent of some of the pads mentioned above which are far flatter than traditional pads, more attention is now paid to the flatness of the tonehole and the cup. Flatter cups, pads and toneholes have all contributed to shorter finishing times and more stable pad jobs which, in turn, have had the effect of producing etter flutes. Towards the end of the finishing process, the finisher starts to play the flute. This is also an important step as playing settles the pads into the cups A flute being padded. and starts to compress corks and felts. The blue material has Spring tensions are checked, final adjustments are made and the flute is ready for been stuck to the flute to the tester. preserve the finish while it At Burkart-Phelan, the flute often goes home with the finisher who practises on is being handled. it that night. This ‘test drive’ helps to ensure that the flute is solid and has no ‘jacks- in-the-box’ that would require the customer to return it for adjustment.

Styles of Padding:

Flute pads mimic the closing of the toneholes with our fingers. Our fingers are covered with skin and, hence, flute pads are covered with skin. Saxophone, bassoon and the lower-voiced clarinet pads are covered with leather. Pads for flute, oboe, An assortment of paper shims used in padding cor anglais and clarinet pads are covered with what is euphemistically called fish a flute, colour-coded by skin. It is not skin and it is not from fish. It is a membrane that forms a sack around diameter and thickness. the intestines of an unfortunate cow. Measuring in thickness about 0.025mm, it comes in sheets about 300mm by 600mm. It is translu- cent and can form an air-tight seal. The traditional pad is made from layers of cardboard and wool felt. These are glued together and one or two layers of fishskin are wrapped and glued around them. The glue that is generally used is mucilage because it is very thin and water-soluble. There have been many attempts at making a more stable, reliable and durable pad. These started with the Dura-pad of 1940s vintage. This was simply a disk of rubber and was not very successful. The Valentino pad was developed in the 1970’s. A more sophis- ticated attempt, it is made of several layers of polymer varying in density. Today, the Valentino franchise is owned by J.L. Smith & Co.

the www.bfs.org.uk pan • flute magazine 57 in the USA, which is in the process of refining the original concept. The Schmidt pad, made by Jim Schmidt of Los Angeles, is a combination of Delrin (a common polymer), Ultrasuede (a synthetic felt), and a variety of materials to cover. A tireless researcher, Schmidt is bent on finding a material more durable than fishskin. To date the most successful and generally accepted synthetic pad is the Straubinger pad. David Straubinger of Indianapolis originated the idea of using a Delrin shell and a resilient layer made from Ultrasuede wrapped together with fishskin. David’s pads still do not have the longevity of a felt and cardboard pad, but they are very easy to install and produce a strong, vibrant sound.

Methods of Padding

Although there have been all kinds of gimbles, gim- micks and gambits for installing pads, the two methods that have succeeded over time can be described as ‘wet’ and ‘dry’. A slight misnomer, the wet method uses a layer of melted (not technically ‘wet’) shellac to hold the pad in the cup and to provide a way to level of pad. This is the method used exclusively in every woodwind instrument except the flute. Shellac can be melted easily with a spirit burner and solidifies rap- idly—characteristics that are ideal for levelling pads. Shellac is put in the cup, the pad is put on top, the key is put on the instrument, heat is applied and the key is held shut. The molten shellac squirts to wher- ever it is need to level the pad. When it hardens, the pad should be perfectly level. Today, many repairers use hot-melt glue instead of shellac. The wet method works particularly well with toneholes that are not too big. The dry method works better with bigger toneholes. When a pad is put in ‘dry’, it is held into the Three modern padding cup either by a screw and washer or a grommet-shaped device, sometimes called systems. Top: Straubinger a French bushing. This is the gadget that holds a pad into an open-holed cup. The pads (courtesy of levelling is accomplished by the application of paper shims under the pad. Whole Straubinger Flutes, Inc.) shims that look like doughnuts are used to raise the overall level of the pad in the Middle: Schmidt Gold pads (courtesy of Jim Schmidt). cup so that the pad is touching the front and the back of the tonehole. Partial shims Bottom: Valentino pads are used to ‘fill in’ leaks, or places where the pad is not touching. At a more sophis- (courtesy of J.L. Smith & Co.) ticated level, a good padder will recognize when cutting shim material out from

the 58 pan • flute magazine March 2008 under a ‘hard spot’ will greatly shorten the padding job and produce a more stable shimming architecture. I should be mentioned that Clifford Trettick, a padder’s padder, uses a hybrid method that employs a layer of hot glue on which he places the paper shims and then the pad. Reportedly, he does this very successfully.

Repair

As it is the padders who normally do repair, I think it is appropriate to review some of the conventions used in flute repair. To my knowledge, Germany is the only country that requires a government- issued certificate for someone to hang up a shingle advertising ‘flute repair’. As for the United States, there is no such requirement. This has, in my opinion, led to a somewhat sorry state of woodwind repair in general. Hence, it is good to state what is expected when the player visits a repair shop. Here are the definitions of the most common repairs. Overhaul When a flute is overhauled, it is made like new. It is completely stripped- down and all old felts, corks, adjustment papers and pads are removed. All lost motion is removed. That means that any excess space between keys due to wear is removed. Then, the flute keys and body are polished, thoroughly cleaned, an anti- tarnish polish is applied and the flute is assembled as if it were a new flute. Because so much work is done, it is imperative that the flute be well played-in, re-checked and any changes made before being returned to the customer. Repad Occasionally, a player will decide to try a different kind of pad in a relatively new flute. Perhaps a flute that was purchased and not played for a long time or seldom played is resurrected. In these cases where there is not much wear from playing, a repad is recommended. A repad is exactly what the name implies. The old pads are removed and new pads are installed. Of course, the sections should be taken apart, cleaned and new oil applied. Again, thorough checking needs to be done before returning the flute to the customer. COA (Clean, oil, adjust) The COA should be an annual ritual for every flutist. It is an excellent time to talk to your repairer about any small problems you might be having with your flute. Far better to take care of small problems before they become dire. In a COA, the repairer checks to see how well the pads are covering and re-shims the pads as necessary. This often also requires modifying the adjustments between pads. Once the flute is playing well, the mechanism is disassembled, the old oil is cleaned out and new oil is applied. The flute is re-assembled, the pads are re- checked and the flute is play-tested. It should be noted that some repairers prefer to disassemble, clean and oil before doing the pad work. It should also be noted that replacing pads is generally at extra charge. Pad replacement: The player should examine the flute’s pads for torn skins. This is a sure sign the pad should be replaced. A repairer may recommend replacing a pad if the pad has become too stiff and is no long flexible. This can happen with felt pads over time. I strongly recommend, and I think most repairers would agree, that the replacement pad should be of the same style as the other pads in the flute. •

the www.bfs.org.uk pan • flute magazine 59 FluteThe

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the 60 pan • flute magazine March 2008 • Reviews

well-known oboist who doubles on the didgeridoo. He is also, evidently, an accomplished composer, as his inventive and skilfully-wrought folk arrangements demonstrate. Michael Dussek is a first-rate accompanist with a scrupulous ear for balance and CDs ensemble. With all this virtuosity one might expect an embarras de richesses, but not a bit of it! The message of this CD is that simple is beautiful, and that simple can also rustle up a storm to make your hair stand on end. The wooden flute offers good plain country fare, cooked properly, which doesn’t need the whole spice-jar thrown into the stew. Don’t just take my word for it, buy the disc. Richard Stagg

The English Flute. Celia Redgate, flute; Michael Dussek, piano. Divine Art DDA 25061

This CD has three united but distinct strings to its bow: it features works by English composers or by those who are honorary Englishmen despite their Dedicated to Barrère, volume two. Leone Buyse, flute; cross-border connections; it celebrates the achieve- Martin Amlin, piano; Paula Page, harp. Crystal Records ments and influence of important Royal Academy of CD716 Music teachers; and it celebrates the continuing sur- This is the follow-up to volume one (which I vival of the wooden flute in the twenty-first century. reviewed in the March 2007 issue) of works com- Celia Redgate (nee Pitstow) studied with the late posed in honour of Georges Barrère. Ten compos- Gareth Morris at the RAM, where she gained many ers are featured, amongst whom the outstanding distinctions. Her career has centred on recital work contributors are Gaubert, De Lorenzo, Griffes and and chamber music. Sir Edward German Jones’s Suite Varèse. The ample and well-researched booklet for flute and piano comes across as distinctly Elgarian, notes are provided by Nancy Toff. There is beautiful Sir John Tavener’s Greek Interlude could almost pass for playing to be enjoyed throughout this disc, and the English, and the Welshman Frederic Griffith’s Danse assortment of items is intriguing and well chosen. Nègre sounds as English as tea and toasted crumpets. Gaubert and Barrère were friendly rivals as The high points of the CD are, for me, York students in Paris, and the Sonatine quasi Fantasia was Bowen’s Sonata and Christopher Redgate’s Three English dedicated to Barrère in 1937. It is given a rapt per- Folksongs. Christopher, who is married to Celia, is a formance here, weakened only by a certain lack of

the www.bfs.org.uk magazine 61 pan • flute • Reviews rapport between the two players over dynamics, completing his ninth symphony. Joseph’s style, and over who has actually got the tune. In Density however, is retrospective, harking back to that of 21.5 such disputes cannot exist, but in Ms. Buyse’s early Haydn and the pre-classicists. At its best it is interpretation of it I feel that Varèse’s rhythms and reminiscent of Mozart’s serenades. dynamics are not rigorously enough respected, with This music makes extremely pleasant listening, the result that the menace, the suspense and the especially in the hands of the seriously talented hysteria of this disturbing piece go missing, and it Gragnani Trio, who affect a convincingly authentic all sounds a bit too tame. De Lorenzo’s adventurous playing style whilst using modern instruments. The piece, Sogno Futuristico, benefits much more from Ms. flautist Thomas Richter, who studied with Walther Buyse’s fluid approach. On the other hand, Maurice Theurer, Paul Meisen and André Jaunet, plays these Jacquet’s mellifluous transcription of Bach’s Prelude in works without any vibrato and with the modest E flat minor cries out desperately for some double-dot- dynamic range typical of the Classical traverso. He ting, but is allowed none. If beauty of sound be the does this elegantly and effortlessly, as though to the paramount virtue, you will definitely enjoy this disc. manner born, with perfect phrasing and unfailing Leone Buyse has the most wonderful sound, and in musical intelligence. its character it certainly harks back to what the great The trio with guitar was, according to the excel- man himself may have sounded like. Richard Stagg lent booklet notes by Johann Gaitzsch, a popular and widespread combination in the early nineteenth century. Thomas Richter and the violinist Anna Tarnawska are both members of the orchestra of the Hessian State Theatre in Wiesbaden, as well as performing in this and in other chamber groups. Richard Stagg

Joseph Kreutzer: Trios Op. 9. Nos. 1 to 4. Gragnani Trio: Thomas Richter, flute; Anna Tarnawska, violin; Karin Scholz, guitar. Thorofon CTH 2488 Bella Musica. Joseph Kreutzer was a violinist and composer, born in Aachen in 1790. He is not to be confused with his contemporary, Conradin Kreutzer, a German Tango Nuevo: Homage to Astor Piazzolla. Duo Arrabal: composer and conductor, nor with that of Rodolphe Thomas Richter, flute; Karin Scholz, guitar. Ambitus 96834 Kreutzer, a French violinist and composer who is famous as the dedicatee of Beethoven’s A major Two of the artists we have already met above wear violin sonata, Op. 47. Joseph Kreutzer’s trios were different hats for this celebration of the tango. The published around 1823, when Beethoven was two works, Maria de Buenos Aires and Histoire du Tango Pan—The Flute Magazine reviews policy

1. A review is published for the benefit of the reader, not simply to give an artist some publicity. 2. We do not guarantee to publish a review of every item sent to us. 3. The editorial team will choose the reviewer. Unsolicited reviews will not be accepted. 4. The reviewer may not like the work. A good review is not guaranteed.

the 62 pan • flute magazine March 2008 Reviews • present Piazzolla at his best and, in the hands of these performers, at his most persuasive. There are other works, by Jens Josef (1967), Rudi Spring (1962), Fredrik Schwenk (1960), and Ulrich Schultheiss (1956). All make entertaining listening and each has different things to say. Thomas Richter shows off his dazzling versatil- ity, now coaxing a broader sonority from his gold Boehm flute and using it to perform every sonic trick imaginable. Karin Scholz suddenly has a percussion section at her fingertips, as various points of her guitar-body are knocked, stroked and slapped Romantique. Moshe Aron Epstein, flute; Wolfgang Zerer, with flamenco-like precision. organ. Reinecke: Lento e mesto; Debussy: Syrinx; Dukas: Thomas is the compiler of the booklet notes, La plainte, au loin, du Faune; Poulenc Cantilena; Saint- which give vital and colourful information on the Saëns: Romance; Franck: Choral No. 1 in E; Jehan Alain: background to the tango and on Piazzolla’s life and Aria; Frank Martin: Sonata da chiesa. Ambitus AMB 96 906 career. I would rate this CD as unmissable. If you are not a Piazzolla fan, as I was not especially, you will A flute and an organ played together can have seri- soon become one. Richard Stagg ous balance problems and, often, even more serious ensemble problems. Moshe Aron Epstein, that most elegant and musicianly of flute players, and his regular recital partner Wolfgang Zerer, have not the slight- est difficulty in overcoming these problems. Epstein produces a truly glorious sound, one that reminds me of the playing of Fernand Dufrêne and Oliver Bannister all those years ago: rich, alive, colourful, flexible, with a tremendous dynamic range and with faultless intonation. This is wonderful flute playing; copybook flute playing, indeed, of the sort a teacher should play to students to show them how beautifully the flute can be made to sound. Epstein uses his technical gifts to the greatest musical advantage in this delightful disc of romantic works, most of them Sundial. Lucia Viola, flute and alto flute. Moophonix arrangements. The Reinecke is an arrangement of the 120807 slow movement of his Flute Concerto, for example, and Generous helpings of Brazilian sunshine are beamed the Poulenc is the slow movement of his Flute Sonata. to us by Lucia Viola, who recorded this album in Both work very well with organ accompaniment, as London, with direction by Chris Wells. Chris also does the Saint-Saëns Romance. La plainte, au loin, du Faune wrote most of the numbers, with the help of Pedro by Dukas, with its Debussy’s Prélude, works so well Casadalma and Mike Eaves. Chris plays percussion, on the flute that it should be in every player’s rep- keyboards and synth bass. Guitars are under the ertoire. (This arrangement is based on one for flute aegis of Mike Eaves and Ife Tolentino, while Gustavo and piano by Gustave Samazeuilh.) Jehan Alain, who Roriz is custodian of the acoustic bass. Valdo Silva died tragically young, was the composer brother of treats us to a ballad on Track Five. Don your shades, the organists Marie-Claire and Olivier Alain. His Aria commandeer a chaise-longue, order something in was transcribed for flute and organ by Olivier. Frank a tall glass with ice, face the sea, and dream as you Martin’s Sonata da chiesa is the only work on the disc wait for the shadows to lengthen. Richard Stagg specifically written for flute and organ. It is a dark,

the www.bfs.org.uk magazine 63 pan • flute • Reviews dense work that is rarely played convincingly, but Faust is composed by Schlicht, and was written Epstein and Zerer play it with such grace and even as a theme from her score for Mumau’s film of the delicacy that the work comes to life. Two solo works same name. Beginning with unisons in the flute and make up the recording: a choral by Franck for organ; piano, the parts drift gradually apart, working inde- and Syrinx, in a performance that made me listen to pendently from each other while using the same and enjoy this very familiar work in a way I have not melodic material. done for years. This is a wonderful recording. As the title suggests, Piece in Gamelan Style uses Robert Bigio Indonesian influences and demonstrates Dick’s astonishing virtuoso abilities. This is a fantastic piece of music, showing the extent of Dick’s creative imagination. Despite being well versed in contemporary techniques and their uses, I am still awestruck when I hear what Robert Dick is capable of achieving with the flute. Fragments, again by Schlicht, provides a comple- mentary voice to the Robert Dick compositions on this recording. Her style is lighter, though no less interesting, and the extended solo which opens this work reveals her considerable prowess as a pianist. The flute entry adds a further dimension to the sound world, and the pair take up the groove in a rhythmic frenzy. The energy is maintained throughout the work, which is played with real panache. Photosphere. Robert Dick, flute; Ursel Schlicht, piano. Nemu Records 002 This is a live recording of new works created and performed by Robert Dick and the pianist Ursel Schlicht. Robert Dick’s name has become synony- mous with the best in contemporary flute playing and exploration of new ideas. Lapis Blues is an atmospheric work with obvious oriental and blues influences. Using glissando headjoint and a vast array of whistle tones, multiphonics and other contemporary sounds, this is captivating from beginning to end. Robert Dick, the original master of contemporary techniques, is so fluent in their use that they create a vast array of colours and expressive tools. The use of prepared piano adds a further dimension and the two make a formidable combination. The opening of Emergence makes use of pitched per- cussive sounds on both the flute and the piano. The atmosphere builds up to the melodic bass flute entry, accompanied by sporadic piano additions. The constant evolution of textures and colours is well paced and intuitively felt, and the playing from both players betrays their brilliance as musicians.

the 64 pan • flute magazine March 2008 Reviews •

This is an electrifying recording, and it is par- Bagatelles is a set of two very charming and joyful ticularly interesting to see that Robert Dick is still pieces, light-hearted and full of energy. developing and evolving as an artist and extending Sandvik’s tone quality at the opening of Olav the boundaries of flute playing. His partnership with Berg’s Moments is stunning. A five-and-a-half- Ursel Schlicht is exiting, and I suspect many inter- minute work for solo flute, this is an outpouring of esting developments are yet to come. These are two emotion, performed with panache. The momen- artists who believe completely in what they do, and tum builds throughout the piece, with Sandvik achieve world class standards. Not to be missed. demonstrating real artistry in her performance. Carla Rees The final track on the disc is Knut Vaage’sFortuna , a comical work with a wonderful sense of fun. The ensemble playing in the opening movement Hoccetus is particularly impressive. The second movement is a very well-written slow movement for alto flute which makes good use of the instrument’s dark. The Scherzo reminded me a little of Shostakovich and sounds like it would be enormously enjoyable to play. Switching to piccolo for the end of the movement, this is full of sparkle and mischief. This is followed by a sensuous rev- erie, again, stylishly played with an excellent feel for the contrast with the previous movement. The piccolo returns for the extremely brief final movement, which provides a splash of quirky charm to Chromos. Gro Sandvik, flute; Einar Røttingen, piano. Pro the end of the work. Musica PPCD 9059 I thoroughly enjoyed this CD throughout, and am grateful for the opportunity to have heard This disc brings together new works for flute and these new pieces, all of which are of a very high piano from Norwegian composers, performed quality, well put together and musically interest- by Norwegian players. As such, it was all new to ing. The standard of playing is consistently good me; I had not previously heard any of the works throughout, with some wonderfully expressive or the performers, and the disc proved to be a moments. The duo playing between the flute and fantastic voyage of discovery. Everything about piano is excellent, and both performers are excel- this CD was appealing, from the layout of the CD lent ambassadors for the music they play. Highly sleeve and informative programme notes, to the recommended. recorded music. The opening track, Hidden Music, Carla Rees is instantly arresting, both in terms of the music itself, and the playing. I became an instant fan of the composer, Jostein Stalheim. The style is fresh and interesting, contemporary and biting but not harmonically aggressive. There is much variety within this fifteen-minute work, described in the liner notes as a ‘patchwork quilt’. Ivar Lunde Jr.’s Chromos, the title track of the CD is wistful and contemplative, with some beautiful phrasing from Sandvik. I was particularly taken by the ending, which was wonderfully played. In a complete contrast of style, Edvard Hagerup Bull’s

the www.bfs.org.uk magazine 65 pan • flute • Reviews

come through the texture when required, or can blend and fool the ear (as in the opening solo line of the Bizet La poupée: a beautifully controlled piccolo solo, in fact). Yes, these are professional players (all from Leipzig orchestras), but that does not necessarily guarantee the high level of ensemble, unity and polish displayed here; much hard work as an ensemble has been invested over several years. The sound engineering and post-production of the disc is first-class, as are the arrangements— mostly the fine work of the group’s piccolo player, Gudrun Hinze, with contributions from their Tour de France. Quintessenz. Claude Debussy: Prélude à bass flute player, Christian Springer (in the Saint- l’après-midi d’un faune, Petite Suite, Suite Bergamasque; Saëns), and Trevor Wye (in the Bizet and Couperin). George Bizet: Jeux d’enfants; Camille Saint-Saëns: Le Several of the tracks are skilfully and subtly enhanced carnaval des animaux; Maurice Ravel: Pièce en forme de Habanera, Alborada del gracioso; François Couperin; Le by the castanet playing of Friederike von Krosigk. The tic-toc-choc; Louis Ganne: Andante et Scherzo. Genuin Spanish-flavoured Ravel pieces are a gift for this, of Musikproduktion GEN87108 course, and the rhythms and nuances spilling from her hands bind seamlessly to the texture. You would think Having read excellent reviews of this flute quintet’s the ‘mallets’ of Couperin’s Rondeau would do so, too, live performance at the BFS Convention, I was look- yet this was the only track where, for me, the imagery ing forward to hearing them for the first time on failed. (Less French mallets, more East End spoons!) this, their latest CD, which continues the ‘world There is too much on this disc (a generous seventy- tour’ theme of previous discs. The contents list one minutes) to cite individual items and the playing is reads like a flautist’s dream calling card so the bar too consistently excellent to pick favourites, but if you is set high even before a note is heard. Also, to lead have any interest in what a flute quintet can achieve, with L’après-midi d’un faune seems a bold, if not—as the buy it. It could hardly be bettered. Philip Rowson sleeve notes suggest—audacious, choice. But I need not have worried: Anna Garzuly’s beautiful opening solo lulls you into an easy acceptance of the new sound-world. Your imagination takes over, re- interpreting the expected into the new but glowing tone-canvas now unfolding. Lines of colour thread among the voices in a continuous palette; arpeggios bubble and ripple gently through the shimmering view. (There is also an astonishing imitation of a muted French horn towards the end. To describe it further would spoil its impact: a masterstroke!) The orchestral scoring demands sensitive dove- tailing of lines and dynamics, but to achieve the same between only five players, under close-miked conditions, is quite something. In fact, the acoustic La Belle Vie: French Opera Fantasie. Bell’Alma Duo: Michele for the whole disc is very natural, with a resonance Frisch, flute and Kathy Kienzle, harp. SC126 well suited to this repertoire. Throughout, the quin- Michele Frisch is the principal flute of the Minnesota tet’s ease of interpretation and finely-judged pacing Opera Orchestra and Kathy Kienzle is their principal of the music is a delight; tone colour is so uniformly harpist; they played together for many years before matched and restrained that individual lines easily forming the Bell’Alma Duo in 2004. They released

the 66 pan • flute magazine March 2008 Reviews • their first CD in 2005, and now follow it with this period instruments. The performance of Seibelt’s La richly imaginative collection of transcriptions and Tempesta di Mare (in the middle of the Grand Serenade Op. arrangements from French operatic arias. Many 66 no.2) on the fortepiano by Theresa Bogard is just on the CD are slow, beautiful and mellifluous, for stunning. The flute player is Jan Boland, who plays example Au fond du temple saint from The Pearl Fishers, on an eleven-keyed wooden flute by Ziegler (1830). by Bizet, and Chanson Triste, by Henri Duparc. Frisch’s The other work on the CD is the Trio Op. 78 for flute, tone is invariably full-bodied with a wide vibrato, cello and fortepiano, which is a set of well-crafted well suited to this kind of music. A few items on variations on a Russian folk song. Alison Uren the CD are more florid: the well-known Variations on a Theme by Rossini, by Chopin, or the Grand Fantaisie by Paul Taffanel, on themes from Mignon by Ambrose Thomas. An effective addition in two items is a viola part played by Kerri Ryan; I especially enjoyed the version of The Flower Duet by Delibes, with the viola playing the lower part of the duet. Alison Uren

Hidden Tango. Richard Hand guitar, Jennifer Stinton flute. CACD090

An enticing opening to an excellent CD, Stephen Goss’s Honey to Ashes is a set of highly contrasting miniatures, ranging from original compositions to arrangements and from reflective solos to Brazilian and jazz-rock influenced duets. Both players shape Chamber Music at Schönbrunn. Johann Nepomuk every phrase with care and the clarity and colour Hummel: Grande Sérénade en Potpourri, Op. 63, No. 1 and of the tone is superb, even in the fastest passage- Op. 66, No. 2; Trio, Op. 78; Potpourri, Op. 53. Red Cedar work. The ensemble is impeccable. In Histoire du Chamber Music. FDS 57983 Tango by Astor Piazzolla, the four pieces reflect the tango’s transformation throughout the twentieth If Hummel were alive today, cheerfully plagiarising century. ‘Bordel 1900’ is light, graceful and lively. other composers, he would fall foul of our modern ‘Café 1930’, the best known of the four, is slower and copyright laws! However, the fascinating and ingen- more romantic. ‘Nightclub 1960’ shows the influ- ious compositions on this CD were clearly subject ence of the Brazilian bossa nova on the Argentinian to no such restraints. The Grand Serenades Op. 63 and tango. ‘Concert d’aujourd’hui’ is a mixture of tango Op. 66 and the Potpourri Op. 53 were probably com- music and contemporary concert music. Once again posed by Hummel for performance by himself and the performances are really enjoyable and beauti- his colleagues for a series of concerts in Vienna in fully balanced. Jennifer Stinton’s relaxed, appeal- 1815. They freely quote popular tunes from Mozart, ing tone is perfect for this type of music and it is Cherubini, Seibelt, Nadermann and others, and the complemented by Richard Hand’s warm and flex- melodies are cleverly and seamlessly manipulated ible guitar playing. Hidden Tango by Jerry Owen is into coherent and witty works, brilliantly per- based on ‘Spring’, a print by the Argentinian painter formed on this CD by Red Cedar Chamber Music on Mauricio Lansky, and it is a mixture of the pastoral

the www.bfs.org.uk magazine 67 pan • flute • Reviews and energetic dance. The two instruments almost become one in parts of this piece. The arrangement of the Villa-Lobos Bachianas Brasileiras for soprano and eight cellos works superbly and once again Jennifer Stinton’s ability to sustain a long line, while imper- Music ceptibly changing the tone colour, enhances the playing. Disappointingly, her performance of Syrinx is rather ordinary, with a few thin notes, and, while she plays Fauré’s Morceau de Concours very beautifully, I do not consider that this piece works well with Trevor Wilson: Three Fantasy Dances for flute and guitar accompaniment. However, Satie’s Gnossiennes violoncello. Phylloscopus Publications. and Gymnopédies bring the CD to an atmospheric close. Brenda Dykes The Three Fantasy Dances are colourful, lively Spanish- flavour pieces, composed in 2007 by Trevor Wilson, who is currently Head of Music at Thirsk School and Sixth Form College. Each one is about four minutes long, and reflects a different mood. The first is marked Andante amabile, with a rocking cello part and a lilting melody for the flute. The second is a Tango, and the third is sparkling and energetic, marked Vivace ritmico. All three are technically demanding for both players (Grade 8 or above). Page-turns are not always possible and some judicious photocopying of single pages is going to be necessary in performance. The music is very rewarding and a welcome extension to the rather limited repertoire for this combi- Wind Chamber Music of Theodor Blumer, Volume 3. Ten nation. Alison Uren Waltzes (Hausmusik) Op, 56; From the Animal Kingdom Op. 57a; From the Animal World Op. 57b (all for flute and piano); Serenade and Theme and Variations Op. 34 for Gundula Gruen: Gypsy Music for C instruments. Spartan wind quintet. John Bailey, flute; Mark Clinton, piano; Press. Moran Wind Quintet. Crystal Records CD757.

Theodor Blumer’s charming music for winds These are great fun, guaranteed to wake up students deserves to be better known, and Crystal Records who are a little weary of too many exam pieces. must be congratulated for bringing this music to our The volume contains sixty-four tunes from Eastern attention. Blumer was born in 1881 in Dresden and Europe and the Balkans, together with a lively CD died in 1964 in Berlin. Blumer’s beautifully-crafted with demonstrations on violin, flute and accordion. flute and piano pieces are delightful, undemanding, There are melodies from Russia, Hungary, Romania, not difficult to play and basically just a lot of fun former Yugoslavia, Poland, the Czech Republic and for performers and listeners. I want to hear more of Bulgaria, in all possible moods from melancholy to this composer’s music. He is said to have written a exuberant. At the end there are ten Romany tunes flute concerto. John Bailey is a most accomplished and five virtuoso Gypsy pieces, most of which sound flute player who performs these little pieces with the better on the violin rather than a wind instrument. perfect combination of warmth and humour. He is Several tunes throughout the volume go too low for ably assisted by the pianist Mark Clinton and by his the flute (below middle C), but there is no reason fellow members of the Moran Wind Quintet. This why a flautist shouldn’t play up an octave where nec- recording is simply lovely. Robert Bigio essary. There are interesting introductions to each

the 68 pan • flute magazine March 2008 Reviews • section explaining the characteristics of the music (‘Belladonna likes buttered toast, Especially with from each country, and the instruments it would her Sunday roast’) and sometimes the rhythm of the be played on. The CD can be used for listening or music fits the name or the poem, but not always. play-along; you have to pan the sound-balance to The duets themselves are straightforward pieces in the left or the right to hear 95% tune or 95% accom- simple time, suitable for Grade 1 players, and cer- paniment. Some tunes would be playable by a Grade tainly will provide them with some amusement. At 3 student; others are fast and furious, with much the end, students are invited to write a poem and ornamentation, and would appeal to more advanced compose a duet based on their own names, and a players. Alison Uren page of blank manuscript is provided. Alison Uren

Tony Radford: Bossamanda. Four flutes and rhythm section or piano. Deben Music Richard Kershaw: Dawn Chorus for flute and piano. Phylloscopus Publications. This Bossa Nova for four flutes would be very enjoyable for players of about Grade 5 or 6 stand- Many composers have written music for the flute ard. The lead role is shared well between the parts, which imitates bird-calls (Prokofiev, Saint-Saëns, and the music is rhythmically varied and buoyant. Messiaen, Takács) but it is often very technically The composer states that the ideal accompanying demanding. Now Richard Kershaw, a keen bird- ensemble would be piano or keyboard, double watcher, has chosen six different birds and writ- bass or bass guitar, and rhythm guitar. Drums or ten these four delightful pieces for flute players other percussion could easily be added, but only a of Grade 5 standard, and a rather more advanced piano part is provided, with guitar chord symbols. pianist. The first is the Cuckoo, a joyous lively piece It is broadly in ternary form, with a rather more in F major. Then there is the Woodlark, slow and florid middle section, and a short Coda. wistful, with descending chromatic figures and a Alison Uren brief interlude of trills. Third is the Blackbird and Song Thrush, where piano and flute sing gently to Paul Harris: What’s Your Name? Easy duets for two flutes. each other in short lilting phrases. My favourite in Queen’s Temple Publications. the book is the final piece, Willow Warbler and Chiff Chaff, with its slow and soulful warbling There is one duet in this book for every letter of phrases, and livelier middle section imitating the the alphabet, but if you are looking for duets called song of the chiff chaff. These two birds are both Emma, Jack or Mary you will be disappointed! members of the genus Phylloscopus, and indeed The names chosen are unusual ones: Archibald, Dawn Chorus was written especially for Phylloscopus Belladonna, Carena, Demetrius, Estrella and so on. Publications. Very highly recommended. There are quirky little poems to introduce each one Alison Uren

FLUTE REPAIRER Three Holiday Sketches by David Barton (fl & pno) Three Fantasy Dances by Trevor Wilson (fl & cello) Arthur Haswell Full list & online sales at www.phylloscopus.co.uk Top-quality repairs to all fl utes and piccolos Specialist in the repair and restoration of old wooden and metal fl utes Next day courier collection and delivery K. Rachel Malloch 92 Aldcliffe Road West Wharmley, Hexham, Northumberland NE46 2PL Lancaster, LA1 5BE www.fl uterepairer.co.uk tel. 01434-674408 Tel: (01524) 67498 + answerphone

the www.bfs.org.uk magazine 69 pan • flute • Reviews

Gary Schocker: Two Flutes (on the loose) in Fujian. Gary Schocker: Show Tunes for flute and piano. Falls Theodore Presser Company House Press

This work is made up of three varied movements, The first tune, ‘oohlala!’, is an exuberant, flowing although they are all based on the same Chinese melody over a vamp accompaniment. The next, ‘if scale and all three make use of the passages of par- only’, is a simple, reflective aria over a spare accom- allel fourths and octaves which dominate much paniment, while ‘opening night’ is a very lively, Chinese traditional music. ‘Hand in Hand’ is very rhythmically exciting number, with sudden dynamic much a trio, with the piano contributing spiky syn- changes and interesting harmonies, often involv- copations at the start and flowing semiquavers under ing chromatic movement. It is exhilarating both to the flutes’ more expansive melodies in the central listen to and to play. The whole work lasts about five section. There are several bottom Bs in the second minutes and would be ideal concert repertoire for flute part. ‘My Father’s Lullaby’ is based on ‘Lullaby anyone of Grade 6 to 7 standard and above. for Harp’ written by Paul Schocker and it begins Brenda Dykes with the two flutes playing a beautiful unaccompanied duet. The piano then joins in with simple Gary Schocker: In Memoriam for flute and piano. chords and occasional melodic figures. This is a very Theodore Presser Company gentle, quiet movement, which contrasts wonder- In Memoriam is a three-and-a-half-minute gem. A fully with ‘Favorable Wind’. This descriptive piece is rather hypnotic, repetitive accompanying figure full of semiquaver movement in the flute parts and is joined by an elegiac flute melody. The mood rather spare writing in the accompaniment, but all becomes more intense for a few bars in the middle, characterised by sudden dynamic changes. The last but it soon becomes calmer, with the piano taking bar has three pianissimo beats followed by a final the original melody and the flute sustaining long loud chord in which both flutes play top D. This is notes. There follows a reprise of the opening mate- one of my favourite Gary Schocker works and it is rial. This piece could easily be played by a flautist of not too difficult for players of about Grade 7 to 8 about Grade 4 standard and by a pianist of Grade 5. standard. In its entirety it lasts about seven and a half Brenda Dykes minutes. Brenda Dykes Gary Schocker: Gilded and Bronzed for flute and piano. Gary Schocker: Mitzvah Bars for two flutes. Falls House Falls House Press Press. This is a fantasy on Von Tilzer’s ‘She’s Only a Bird in Mitzvah Bars is dedicated to ‘Gabe’ and the opening a Gilded Cage’, a woeful tale of a girl who did not theme begins GABE F. Although this is just a short marry for love, and in his note Gary Schocker says miniature, it is a reflective and attractive conversa- that the flute here is a ‘brightly-plumaged fowl flap- tion that could be played by flautists of Grade 5 to 6 ping, flapping, flapping against those gilded bars…’ It standard. Brenda Dykes begins with a virtuosic and improvisatory introduction. There follows the ‘Theme and Variant’, which is full of chromatic runs, semitone sequences and trills. Then comes the ‘Verse’ followed by ‘Deviant’, in which the flute part is initially only slightly orna- "MUPGMVUFT #BTTGMVUFT mented over a highly dramatic piano part. The flute then takes over the initiative with cascades of notes bringing the piece to an end, suggesting that the bird has possibly escaped and flown away. I love this work ,JOHNB4ZTUFN'MVUFT $POUSBCBTTFT and I believe it will become a classic, being a real duet between the flute and piano and much more )PPGETUSBBU_1#(SPMMPP _5IF/FUIFSMBOET musically satisfying than similar works, such as the 5FM 'BY _JOGP!LJOHNBGMVUFTDPN_ XXXLJOHNBGMVUFTDPN various variations on the Carnival of Venice. Brenda Dykes

the 70 pan • flute magazine March 2008 Reviews •

Allen Krantz: Summer Music for flute and guitar. Falls Joseph Haydn: Allegro Molto from Symphony No. 8 ‘Le House Press Soir’. Arranged for flute choir by Anthony McDonald. Falls House Press This is a suite of four short pieces. A prelude is followed by a dance and trio, a berceuse and a final, .This excellent arrangement of the first movement of more extended fast movement in concise sonata Haydn’s Symphony No. 8 is for piccolo, four flutes, alto form. The style is generally pastoral and very much and bass. As in many very early classical works, sev- influenced by the American folk idiom. Allen Krantz eral elements of the baroque style remain, such as is a guitarist of note, so the guitar part, while not dif- the use of continuo, counterpoint and dance-move- ficult, is always interesting. The flute writing tends ment—in this case a gigue—and it is these aspects to be largely for the middle range of the instrument, that make the movement so suitable for transcrip- but it is attractive and again not too taxing. Two tion. All the parts have melodic interest and the players of about Grade 6 standard would really enjoy work would make an exciting opening to a flute working at this suite and it is also a pleasing addition choir concert. Brenda Dykes to the concert repertoire. Brenda Dykes Jonathan Cohen: (Your Results May Differ) for flute choir. Darlene Dugan: Reflections on Bonnie Doon for flute choir. Falls House Press Falls House Press Jonathan Cohen is an amateur musician, playing the Darlene Dugan, a well-known flautist in the United flute and bass flute in various ensembles, but this States, founded the West Michigan Flute Association three-movement suite is very well-constructed and and directs its Flute Orchestra. She was commis- is enjoyable to play, as well as being attractive to sioned to write a musical tribute to Patricia Schaefer, audiences. ‘Bass Motives’ starts with huge jumps who had been a piccolo-playing member of the on the bass flute, joined after a few bars by the alto. Association. The theme of ‘Ye Banks and Braes o’ These continue in a swing rhythm while the piccolo Bonnie Doon’ was chosen to reflect the Scottish and flutes add interesting counter-rhythms. ‘Blue part of Schaefer’s ancestry. At the start the theme Morning’ is a lyrical, introspective movement and has a bagpipe-style accompaniment and this is fol- this is followed by ‘Big Sky’, an up-tempo dance that lowed by several variations. The second has a pic- is reminiscent of some big band music. It is scored colo obbligato floating above the other flutes. The for piccolo, four flutes, alto, bass and optional contra scoring is piccolo, three flutes, alto, bass and cotra- bass. Brenda Dykes bass flutes. However, there are cello, bassoon and bass clarinet alternatives to the contrabass flute part. Works for flute and piano. Jean Sichler: Pichenette; The third variation is a beautifully written trio for Croissant de lune; Le souffleur de verre; Le coeur sur la main the three bass instruments, while the final variation (second cycle. Guy-Claude Luypaerts: Ondulation et Platine. Alphonse Leduc. has a background of rippling semiquavers similar to those in Smetana’s ‘The Moldau’ as a reflection of These pieces all belong to a collection published by Schaefer’s Czech heritage. This has been one of my Alphonse Leduc to promote the love of music and its own flute choir’s favourites in recent months. interpretation, the main objective being the encour- Brenda Dykes agement of good taste in young musicians. All the pieces are gems and even at just over a minute in Joachim Andersen: Scherzino. Arranged for flute choir by length, as they all are except for Le souffleur de verre, Lisa McArthur. Falls House Press there is ample time for shaping and dynamic grad- The solo flute is here accompanied by two other ing. They really are most beautifully written for the flutes, alto and bass. It is an attractive and well-bal- instrument, even Pichenette, which is only about Grade anced arrangement, with excellent editing. Apart 1 standard, but at the high prices charged it is dif- from the solo part, only the first flute has any ficult to recommend that teachers suggest that pupils melodic interest, but it is a most effective backing to should buy them. Le coeur sur la main is a more sub- the lovely solo. Brenda Dykes stantial piece. It lasts four minutes and, being from

the www.bfs.org.uk magazine 71 pan • flute • Reviews the second cycle, it is more difficult and complex. I for each of the pieces, including a glossary of terms, like it very much and feel that it could be useful in in English, German and French, although some of the many ways, from how to shape a cadenza to how to English text was missing from my copy. maintain light, crisp tonguing when playing loudly Victoria Borisova-Ollas’s Four Pieces are full of char- in high, fast passages. However, once again I would acter and delightful to play. There are moments of be deterred by the price. Brenda Dykes technical difficulty (especially in the third movement, Happy Hour), but the pieces would be well suited Pascale Boquet and Gérard Rebours: 50 Renaissance & to a Grade 8 player looking for some alternative rep- Baroque Standards with Variants. Examples and advice ertoire. The style is contemporary but approachable, for playing and improvising on any instrument. Éditions and each of the movements has a distinctly different Fuzeau musical feel, making them ideal recital material. Another beautifully produced publication from Postcards, by David Cutler, is a descriptive set of four Fuzeau, though a newly written method rather than pieces based on jazz styles. There is more than a hint of their usual facsimile reprints of historical sources. comedy in these works; the second movement, Pinstriped The authors, who are lute and guitar specialists, have Tomatoes, tells the story of a drunken man, while the compiled a rich collection of short musical examples final movement,…And a bottle of yarn… according to the from the sixteenth to early eighteenth century with composer, ‘shows a ship full of pirates, [who] instead valuable tips on improvising divisions. This music of drinking and plotting their mischief…seem to be predates the span of repertoire for most flautists but obsessed with another pursuit: crocheting.’ The pieces should be essential for recorder players and anyone involve a few contemporary techniques, including interested in the Renaissance flute. However, all the singing and playing, pizzicato, key slaps and air sounds, pieces can be played on or adapted for the flute and and all of these are well presented and well explained. the book would be an extremely useful teaching Although these are technically challenging works, they resource for any instrument. How better to learn how are rewarding to play and their light-hearted feel means Renaissance music sounded than to play it yourself? that they would fit in well to many performance occa- Fantastic for encouraging improvisation too. I wish sions. I’d had this book twenty years ago. Rachel Brown Roxanna Panufnik’s The Conversation of Prayer takes its title from a Dylan Thomas poem. In the most part slow Flute Project: new pieces for solo flute. Works by Victoria and meditative, it contrasts well with the previous two Borisova-Ollas, David Cutler, Roxanna Panufnik, Arvo Pärt works. This is a well-written miniature which shows and Jay Schwartz. Universal Edition UE 33661 the flute’s expressive and technical range well. This is a delightful collection of new works for solo flute The contribution from Arvo Pärt is the simplest and which were composed at the request of Mathieu Dufour, shortest of all the pieces, and requires a good tone and Emmanuel Pahud, Emily Beynon and Kazushi Saito. expressive playing. Entitled Estländler, it has a dance-like The preface gives detailed performance instructions feel and is enjoyable to play. The final piece in the book is Jay Schwartz’s Music for Flute. Using tremolos, key clicks and glissandi, this piece uses repeated motivic ideas to build up momentum. A virtuosic work, its main difficulty lies with the stamina needed to maintain the flow without interruption. This is a great collection for anyone interested in exploring different repertoire. The pieces are suitable for recitals, auditions or competitions, making this ide- ally suited to advanced students or experienced ama- teurs. They are challenging, musically interesting and cover a wide range of styles. Well worth exploring. Carla Rees

the 72 pan • flute magazine March 2008 Letters to the editor • Sebastian Bell The venue for the play was Lonach Village Hall, in the hills of Aberdeenshire, close to the end of the Scottish tour From William Bennett, London for theatre group ‘Reeling and Writhing’. The exposed landscape of Sanna, on the headland of I regret the rather sudden and unexpected death of my Ardnamurchan is the setting for Only the Men, the story dear friend and colleague, Sebastian Bell, who was well- of a son who returns to the last working croft upon his known as a brilliant performer of contemporary music father’s death. through his association with the Fires of London and the The play appealed on many levels, including the fact London Sinfonietta. He was equally well-known as a clas- that the score (for solo flute and alto flute) was by Eddie sical flautist. Bas was an outstanding teacher who taught at McGuire. By no means did the music ‘accompany’ the play. the Royal College of Music, and then at the Royal Academy It was integral, essential and hypnotic as the flute player, of Music in London, where he became the head of wood- Katie Punter and her music, portrayed the daughter whose wind and brass. He was very well liked by his students, life had been tragically cut short. The characters continued one of whom remarked about him recently, ‘The wonder- to weave the tale of this crofting family reaching an unex- ful thing about Bas was his total lack of bullshit!’ pected, but extremely effective ending. It was always a privilege to visit him and his wife, Eddie had initially been commissioned to write a suite Lis, in their house on Eel Pie Island, in the Thames off of eight pieces. The initial score led to a much closer Twickenham. To get there you had to walk across a ‘Willow working relationship with the writer, Tim Nunn, and the Pattern’ footbridge and on to a twisty path surrounded by director, Katherine Morley (sister of the flute player Ruth trees, little houses, boats and sheds, leading to an iron gate Morley), and became a much larger piece of music. The with a sign announcing ‘Ivy Castle’. The gate was held script evolved alongside the music, both developing on an shut by a rope slung over a pulley attached to a large brick, equal par. which would shut the gate with a resonant clang as you Not enough is written about live performances in the released it, perhaps as an early warning of impending visi- North of Scotland. I look forward to seeing a new name on tors. Once through this gate you passed a dock filled with the BFS rep list soon! house-boats to the left, and a row of sheds to the right leading to the castle itself. This was more of a palace than The New Associated Board Exam Syllabus a castle, having lots of generously-sized windows liter- ally hanging over the river, pouring light into rooms with From Atarah Ben-Tovim deep-coloured walls which were covered with wonderful pictures by Bas’s mum. During my ten years as an Associated Board Representative From the kitchen, the sitting room or seated at the I have always encouraged flute teachers to let their stu- dining room you would enjoy your coffee or glass of wine dents play a piece on the piccolo, without asking the Board (delicately chambréed in the microwave) watching little in advance—and no examiner has ever made a complaint. boats sculling up and down the river. Bas Bell was a genial The McDowall Comic Song (Grade 4) and Kelly Whistling Song and generous man who worked hard and took much pleas- (Grade 5) sound great on the piccolo. Vivaldi flute con- ure in life. He is sorely missed by all of us. certos work well and the study Jade used to be a winner. Piccolo fans—don’t ask anyone, just do it! Music in the north of Scotland We are all starting to get used to the Associated Board Albums, and for Grades 1 to 5 is there really that much dif- From Gillian Watt (formerly Leonard), Aberdeenshire ference? According to research 88% of teachers used only the Harris and Adams choices and I guess it will be the I stepped down as BFS Rep some time ago after many same for the Albums. Grade 6 upwards is another issue. years as an active promoter of the flute in the north east of But as a European Representative working mainly with Scotland. When will someone has come forward to fill my French, German or Dutch teachers, it is heaven to be insist shoes? In that capacity I was recently contacted by Eddie they all buy the flute and clarinet graded albums rather McGuire to let me know of a play performing in the area. than arrive with piles of photocopies. It was an excellent example of innovative, live music in PS: The new Needham Piccolo Prize at the BFS Aberdeenshire—we need someone to take on the mantle Performance Plus Competition was a great success and of BFS rep in the area to let people know what they might such fun. Piccolo teachers, players and composers for the be missing! instrument—we need you.

the www.bfs.org.uk magazine 73 pan • flute • Letters to the editor

From Nicholas Foster, Muscat, Sultanate of Oman for some time; it can only be a matter of time before they are made available for all instruments. I under- Further to the recent review in this journal of the stand the reason for the inclusion of the CD record- ABRSM flute syllabus 2008–13, I would echo most of ings, but there will always be the risk of the examiners the conclusions of your reviewer. I was fortunate to having to endure countless identical performances as receive a selection of the new flute and clarinet exam a result. pieces recently, just in time to include in a weekend flute-clarinet workshop. My colleague and I were able From Julie Wright, Twickenham, Middlesex to incorporate them into the timetable and all the students enjoyed playing and discussing the music on I agree completely with the request for the piccolo to offer. Overall the pieces were well received with just be included on the Associated Board list as an accept- a few obvious exceptions. It is impossible to please able instrument for examination, even if only for everyone but it was interesting to note the consensus. one category in each grade (as in the current Trinity One did wonder at the criteria used in selecting cer- Guildhall listings). Many of my students play the pic- tain exam pieces in the past, although the new syl- colo as soon as they reach Grade 4 or 5, and the work labus does seem to have a broader appeal. Obviously covered on aspects of intonation, tone, technique and the greatest attraction of the new books is the financial hand position consolidates what has already been cov- implication. Living and teaching in the Middle East is ered in the early years and so is also invaluable for a very rewarding experience but can be frustrating their flute playing. As exams are an important influ- when it is impossible to look at a choice of pieces in ence and motivation in the musical education of so the local music shops; imported music has a high price many young players, we, as teachers, are dependent tag. These new volumes will ensure music making is on the examining boards for the sense and sensibility even more attractive to students the world over and I of their syllabus content. Let’s not overlook the role can see a huge market for them, especially outside the of the piccolo in this and keep the options as broadly- UK. The idea has been available for piano and violin based and as interesting as possible. •

The Flute Kitchen in the beautiful spa town of Harrogate North Yorkshire 25th – 29th August 2008 A residential course exploring the ingredients that make a great flute player! Artistic Director: Paul Edmund-Davies With Margaret Humphreys, Clare Jefferis and Christine Lorriman A stimulating programme for all levels of flute player from grade 4/5 standard through to professional, with a combination of classes, flute choirs, ensembles, performance and extended technique seminars and the option to take individual lessons from some internationally renowned tutors. Incorporating the ‘Young Artist of the Year Competition’, first prize to include a Trevor James alto flute. For further details and online booking go to:- Thank you to Trevor J James, www.windstruments.co.uk Miyazawa UK, Sonare Winds & +44 (0)1274 510050 Verne Q Powell for their continued and [email protected] generous support

the 74 pan • flute magazine March 2008 Summer Schools 2008

A Breath of Fresh Air food at home and local restaurants, heated pool two miles from the Dordogne. Flute House Party atmos- Set in the idyllic Suffolk countryside, A Breath of phere. Historical tour with Atarah’s author husband, Fresh Air is one of the longest-running flute courses not compulsory. in the UK. Now in its eighteenth year, A Breath of Price: 590 euros per person, all included, but not Fresh Air was founded by Anna Noakes to bring travel. Budget flights to Bergerac from Stanstead, exactly that to a new generation of students and Southampton, Birmingham, Bristol, Liverpool, professionals. Exeter and East Midlands. Also flights to Bordeaux We pride ourselves on giving students intensive and train via Paris or Lille. Pickup from Bergerac or individual attention from our team of highly expe- Libourne. rienced professionals. In addition to Anna, and our flute tutors Julie Murray and Hattie Webster, we are Atarah and Julie’s Conspiracy of Flutes No. 14 proud to present some of the country’s most highly- regarded chamber musicians to work with our stu- Bloxham School, near Banbury, Oxford. 29–31 dents. This year we are fortunate to be joined by August 2008. Justin Pearson, reknowned cellist and playwright; [email protected] internationally-regarded harpist Gabriella Dall’Olio; 020 8241 7572 and superb pianist Yukiko Shinohara. 41 Devon Avenue, Twickenham TW2 6PN Every student has at least one opportunity to per- www.atarah.tv form in our very own lunchtime recital series, regularly attended by the public. Top Wind have attended Host Atarah Ben-Tovim MBE and Director Julie all our courses and bring with them a fantastic selec- Wright, (the most experienced course organisers in tion of instruments and repertoire. Course fees are the world) invite ADULT flute-players of ALL levels: £375, and those applying before 1 March 2008 will beginners (yes, beginners!) to advanced players to receive a £50 discount. A limited number of bur- their inspiring long weekend. As much playing as saries will be available for students with financial you want! Solo lessons. Star guest. Free wine! Party difficulties. Please contact [email protected] for atmosphere! Great food! Large pool and Good com- details on how to apply. For further information on pany. Altos, basses and piccolos encouraged. the course, please visit our website www.flutecourse. com. Jean-Louis Beaumadier piccolo course

Advanced Flute Course No. 6 in France Jean-Louis Beaumadier piccolo course at Académie Internationale d’été de Nice, France from 29 July to 7–11 May 2008 4 August 2008. 0033557474428 [email protected] [email protected] www.atarah.tv www.hexagone.net/nice Venue: Atarah’s converted farmhouse and flute museum near Bergerac Airport ‘Cubertou’ Wind Chamber Music Week in south Director: Atarah Ben-Tovim MBE Hon Doc west France Course details: Atarah’s ONLY intensive course for Diploma-level and post-Diploma adults, with limited Location: Lot Valley, SW France. 23–30 August. numbers. Detailed work on solos, concertos with Deadline: None but places limited flute orchestra accompaniment, flute finesse, flute Disciplines: Flute, oboe, clarinet, bassoon, horn chamber music and teaching issues, pianist. Great Age Range : 16+ www.bfs.org.uk the 75 pan • flute magazine Summer Schools 2008 Summer Schools 2008

Cost: From £195 to £650 per week, full board. Study Jazz Flute in Italy Details: For advanced players and students (Grade 8+) wishing to extend their knowledge and experi- Jazz flautist Geoff Warren presents his long-weekend ence of the chamber repertoire. seminar in Italy this summer. Tuition will be avail- Delightful surroundings, food and wine along- able in English and Italian and students will have the side masterclasses, chamber groups and recitals with chance to develop improvising skills as well as to superb tutors: Lynda Coffin (flute), Andrew Knights look at the various stylistic conventions in jazz and (oboe), Barry Deacon (clarinet), Laurence Perkins jazz-related music. (bassoon) and Peter Merry (horn). Participants will have the chance to interact with a live jazz rhythm section and to record in a studio. Claire Mallalieu The course will be held in Villafranca, near Verona, Beauville Arts SARL at the M.A.T school of music. Dates: 27–29 June L’Ancien Presbytère 47470 Beauville, FRANCE [email protected] +33 (0)5 53 87 72 18 www.geoffwarren.com www.matrecords.it [email protected] www.beauvillearts.com OSU Flute Workshop 15–19 June 2008

Hindhead Children’s Summer Flute Courses Katherine Borst Jones, teacher

01428 604941 http://music.osu.edu/2_news_events/camps/flute_ www.hindheadmusiccentre.co.uk workshop.php

Course A (17–20 July) Junior flutes from 5 notes to In its thirty-second year, the annual Flute Workshop Grade3! +beginner wind clarinet, sax, recorder etc. for high school students provides private lessons, technique classes, master classes, twice-daily Course B (20–24 July) Flutes Grade 3 to Diploma. coached small ensembles, solo night, recitals and concerts that include all participants. Other activi- Course Director: Julie Wright ties that will improve the student’s knowledge and Tutors: Atarah Ben-Tovim MBE, Julie Wright with abilities as a musician are included. Paul Bagshaw, Nick Foster, Roy Stratford and a great Participants will experience college first-hand team for four days with other students who share similar interests. Ensemble coaches are current and past Now in its eighteenth year, this is the oldest and OSU flute majors. Katherine Borst Jones plays a full most successful children’s holiday flute course in the opening night recital and teaches all master classes. world, giving children of all levels enough motiva- The workshop fee includes all instruction, hous- tion and inspiration for a whole year with solo work, ing, a workshop T-shirt and photograph. The work- technique, ensembles, flute orchestras, competi- shop is open to all high school flutists, including tions. those entering the ninth grade in 2008. Registration Lots of fun and friendship in glorious coun- Fee: $395. Download the application as well as other try house setting with six-acre garden, supervised documents by visiting: heated swimming pool, superb home cooking, warm family atmosphere. http://music.osu.edu/2_news_events/camps/flute_ [email protected] workshop.php

the 76 pan • flute magazine March 2008 Summer Schools 2008 Summer Schools 2008

Oxford Flute Summer School, Worcester College, Carla Rees, Sarah Watts and Michael Oliva on the Oxford idyllic Scottish island of Raasay. Raasay House, Isle of Raasay, Scotland 10–15 August 2008. Tutors: Peter Lloyd, Michael Cox, Further details from [email protected] or Timothy Hutchins, Kate Hill and Stephen Preston. phone 020 8666 0116. www.oxford-flutes.co.uk The Scottish International Flute Summer School Contact: Administrator, 12 Jesse Terrace, Reading RG1 7RT St. Leonards School, St. Andrews, Scotland email: [email protected] 19 to 26 July 2008 tel: +44(0)118 950 7865 Wissam Boustany, Ian Clarke, Ruth Morley with One of the most respected flute summer courses, Scott Mitchell Piano. Oxford Flute Summer School offers inspiration to all Our course includes master classes, private les- flute players at every level—the true amateur as well sons, technique workshops, piano coaching sessions, as post-graduate and professional players. Everyone student and staff concerts and much much more. can participate at their appropriate level and enjoy As well as the week long course we have a 3 day the superlative teaching and performances of profes- course for adult amateur players led by Patricia sors and participants. Dydnansky. Full details at www.flutescotland.co.uk Flute masterclass with Ransom Wilson at Saint [email protected] Catharine’s College, Cambridge, England. Tuttiflutey 2008 17–26 July 2008 Monday 4 August to Friday 8 August 2008 Enjoy ten days of masterclasses on all repertoire in The New School, Butterstone, Perthshire, Scotland. Saint Catharine’s College chapel, accompanied by pianist Tim Carey. The course also features tech- Come and join us to improve your flute playing, nique sessions with Daniel Alexander, a partici- meet new friends and have a great time. This fan- pants’ final evening recital, and recitals by Ransom tastic summer flute course has been running suc- Wilson and Daniel Alexander. cessfully since 1994 and is the only course of its Course costs £625 for each active participant, kind to be offered in Scotland. As well as cover- which includes masterclass tuition and full board ing in detail all the technical aspects of flute play- and accomodation. ing, students are also encouraged to develop and For more information and for applications, visit: explore their own musical ideas guided by a dedi- www.ransomwilson.com/cambridge.html cated and highly experienced team of music edu- cators. Contact Daniel Alexander at [email protected] Students of all school ages and abilities are welcome and an escorted train service to Scotland rarescale alto and bass flute course on Raasay from London is available. Tutors this year include Louise Matthew, Michelle 31 March to 3 April 2009 McCabe, Sophia Duncan, Ian Judson, Laura Bailie and Sheena Gordon. Masterclasses and workshops for alto and bass flute, Please contact Louise for further information: bass clarinet and composers lead by rarescale members www.tuttiflutey.co.uk •

www.bfs.org.uk the 77 pan • flute magazine The Council and Officers of the British Flute Society Atarah Ben-Tovim MBE Chairman Anna Munks Secretary and Advertising Manager Irene Barnes Rachel Misson Treasurer Simon Hunt Albert Cooper Honorary Vice-president Mike MacMahon Susan Bruce Legal Representative Ian Mullin Robert Bigio Editor Tony Ovenell John Rayworth Membership Secretary Mark Parkinson Events Co-ordinator Nick Wallbridge Webmaster and Software Consultant Hugh Phillips Trevor Wye Archivist Julie Wright Full contact details for all council members and officers are available from the BFS web site (www.bfs.org.uk) or from the secretary: Anna Munks Secretary, 27 Eskdale Gardens, Purley, Surrey CR8 1ET. 020 8668 3360. [email protected] Area representatives Avon & Somerset Carole Jenner-Timms 01761 233982 London (North West) Patricia Clelland 01895 437570 Birmingham Margaret Lowe 0121 474 3549 London (South East) Susan Mary Whittaker Cumbria Suzanne de Lozey 01539 560054 Oxford Carolyn Whiting 07785 370822 Devon (South) Garth Freeman 01626 865653 Norfolk Elaine Smith 01508 538704 Devon (West) and Cornwall (East) Kym Burton 01837 861138 Scotland (East Central) Irene Barnes 01577 864216 Hertfordshire Wendy Walshe 01707 261573 Suffolk Sylvia Fairley 01394 386876 Hertfordshire (Hitchin) Liz Child 07711 080275 Surrey Jackie Cox 020 8773 0436 Kent Kenneth Murray 01622 741964 Swansea Hugh Phillips 01792 865825 Lancashire Mark Parkinson 01257 410856 Twickenham Julie Wright 020 8241 7572 London (East) Kate Cuzner 01787 273628 West Sussex Lindy Thwaites 01243 553623

France South West Atarah Ben-Tovim, 2 Le Bosc, Juillac 33890, Gensac, France +33 5574 74428 [email protected] International Representative Julie Wright, 41 Devon Avenue, Twickenham, Middlesex TW2 6PN 020 8241 7572 [email protected] Australia (Melbourne) Paula Rae +61(0)418502664 [email protected]

The Association of Flute Traders

All Flutes Plus 60–61 Warren Street, London W1T 5NZ 020 7388 8438 www.allflutesplus.co.uk Arista Flutes 10 Railroad Avenue, Bedford MA 01730, USA +1 781 275 8821 www.aristaflutes.com Bill Lewington Unit 8, Hornsby Square, Southfields Industrial Park, Laindon, Essex SS15 6SD 01268 413366 www.bill-lewington.com Burkart Flutes & Piccolos 2 Shaker Road, #D107, Shirley MA 01467 USA +1 978 425 4500 www.burkart.com Chapel Digital Music Publishers 1 Southfield Avenue, Leeds LS17 6RN 0113 2663994 www.music-for-flute.com CMA Publications Strawberry Holt, Westfield Lane, Draycott, Somerset BS27 3TN 01934 740270 www.cma-publications.co.uk Dawkes Music Reform Road, Maidenhead, Berkshire SL6 8BT 01628 630800 www.dawkes.co.uk Dawsons Music Ltd. 65 Sankey Street, Warrington, Cheshire WA1 1SU 01925 622197 www.dawsons.co.uk Emanuel Flutes 1001 Great Pond Road, North Andover MA 01845 USA +1 978 686 6009 www.emanuelflutes.com Jupiter/Di Medici c/o Korg UK Ltd. 9 Newmarket Court, Kingston, Milton Keynes MK10 0AU 01980 857100 www.korguk.com Eva Kingma Flutes Hoofdstraat 10, 9444 PB Grolloo, The Netherlands +31 592501659 www.kingmaflutes.com Lopatin Flute Company 122 Riverside Dr., Studio C, Asheville, North Carolina 28801 USA +1 828 350 7762 www.lopatinflutes.com Mancke Flutes Dürsitter 1, D-54597 Lünebach, Germany +49 6556 900858 www.mancke-flutes.com Kevin Mayhew Publishers Buxhall, Stowmarket, Suffolk IP14 3BW 01449 737978 www.kevinmayhew.com Jonathan Myall/Just Flutes 46 South End, Croydon CR0 1DP 020 8662 8400 www.justflutes.com Pearl Flutes c/o Gareth McLearnon, Pearl Music Europe 07771 880462 www.pearlflute.com Studio Music Ltd. 2 Bridge Road, Bridge Works, London NW10 9BX 020 8830 0110 www.studio-music.co.uk Top Wind 2 Lower Marsh, London SE1 7RJ 020 7401 8787 www.topwind.com Trevor J. James Worldwind House, Ashmill Park, Ashford Road, Lenham, Kent ME17 2GQ 01622 859590 www.trevorjames.com United Music Publishers Ltd. 33 Lea Road, Waltham Abbey, Essex EN9 1ES 01992 703111 www.ump.co.uk Universal Edition (London) Ltd. 48 Great Marlborough Street, London W1F 7BB 020 7439 6678 www.universaledition.com/london Williams Flutes 1165 Massachusetts Avenue, Suite 201, Arlington MA 02476-4331 +1 781 643 8839 www.williamsflutes.com Windstruments 1 Ryshworth Bridge, Crossflats, Bingley, Bradford BD16 2DX 01274 510050 www.windstruments.co.uk Wiseman Cases 7 Genoa Road, London SE20 8ES 020 8778 0752 www.wisemancases.com Yamaha-Kemble Music (UK) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes MK7 8BL 0870 4445575 www.yamaha-music.co.uk

the 78 pan • flute magazine March 2008 Membership of the BFS Announcements From January 2008 UK Two flutes, Three flutes, Four and More! Visit music-for-flute.com Individual £25 • Two members at the same address £30 Carla Rees Dawson—Specialist photography for flute players Student (under 26), OAP and disabled £15 www.carlareesdawson.co.uk Schools and flute clubs £25 [email protected] 07961 131565 Europe • Individual £30 2008 Wind Chamber music courses in Scotland Full details visit www.billerbeckoboereeds.co.uk Student (under 26) £20 • Worldwide Have fun, IMPROVE and enjoy gaining fresh, NEW IDEAS Individual (air mail) £35 Welcome to an inspirational FLUTE CONSULTATION Student (under 26), OAP and disabled £25 with Nicholas Vallis-Davies (former LSO, EMI soloist etc) Schools and flute clubs £35 at Open Academy near Glastonbury Tor www.openacademy.info or phone 01458 860006 Life membership • UK individual £375 Fantastic COOPER headjoint for sale. Hear it being played on ‘Epic UK joint £450 Hollywood Theme’ and ‘Carnival of Venice’ on the CDs to listen to page at Europe individual £450 www.openacademy.info—come for a coffee and try it for yourself in Somerset if you are interested. Europe joint £525 • World individual £525 Come along and rehearse advanced chamber music, for improvement World joint £600 and fun. Play lovely flute music and meet nice people at Open Academy ~ www.openacademy.info. Helpful, light-hearted coaching Membership Secretary John Rayworth with Nicholas Vallis-Davies The Nook, How Mill, Brampton, Cumbria CA8 9JY Telephone 0845 680 1983 Email [email protected]

Index of Advertisers

Abell Flute Company 20 Lopatin Flutes 9 Akiyama Flutes 13 Lufthansa Baroque Festival 20 All Flutes Plus IBC Mancke Flutes 72 Allianz 60 Miyazawa 42 Brannen Brothers Flutes 20 Musicians Benevolent Fund 53 Brio Flutes 77 Oxford Flute Summer School 53 Wissam Boustany 23 Pacific Coast Jazz 65 Burkart Flutes 10 Peabody Institute (Marina Piccinini) 5 Burkart & Phelan Piccolos 54 Pearl Flutes OBC Michel Debost 15 Phylloscopus 69 Arthur Haswell 69 Royal Society of Musicians 19 Jupiter Flutes (Korg) 48 Scottish Flute Summer School 64 Just Flutes IFC Top Wind 2 Eva Kingma Flutes 70 Williams Flutes 16 Rhonda Larson 19 Windstruments Flute Kitchen 74 LCM Examinations 9 Woldingham Summer School 60

the www.bfs.org.uk pan • flute magazine 79 The Last Word…in inventions By Robert Bigio

t the opposite end of the scale of design success to the Boehm flute of 1847, featured in the September issue, must be the instrument that was the life- Atime’s work of a British man named Thomas William Moore. This gentleman determined that what flute players really need is a flute with a built-in piccolo. Mr. Moore’s instrument is a standard Boehm flute that shares an embouchure with a piccolo that is fitted upside down to the end of the headjoint. A series of rods transmit motion from the flute end of the instrument to the piccolo on the top, and a lever slides the stopper from one side of the embouchure to the other, to blow either the flute or the piccolo. Thomas William Moore left an unpublished account of his life and of his invention. In 1910, at the age of twelve, he took up the fife, followed by the six-keyed piccolo. When he left school he was sent to learn the trade of gunsmithing. He served in the first world war, after which he, and many others, found he had to take any work he could find. After playing the piccolo in a local amateur orchestra he decided to take up the flute in earnest. He bought an old eight-keyed flute, then acquired a Boehm. He wrote, ‘My mechanical background caused me to begin to think of the possibilities of a flute and piccolo combined in one instrument, which would give the flutist another octave, to demonstrate his command over, and avoid the necessity of changing instruments at short notice.’ Another advantage, he felt, was that some awkward high-register fingerings would be avoided by transferring to the piccolo side of the instrument. In 1928 he set about designing his new flute. By the time the second world war had broken out in 1939 he had progressed to producing the head and body joints, without any holes in them, and a complete footjoint. ‘Even when the flying bombs were coming over London in 1943,’ he wrote, ‘I was still working on my superflute, and during the fuel crisis of 1947 when industry broke down through lack of power, I sat and shivered at my work.’ Eventually, about 1949, he completed his flute but was disappointed with it as it was overloaded with keywork and was very heavy. ‘Still,’ he wrote, ‘I had the satis faction of knowing that I could produce more notes from my flute than anyone else could from theirs, and I felt I was opening up new ground.’ Mr. Moore finally patented his invention in 1950. ‘Although I would not suggest as some others have done,’ he wrote, ‘that here is the perfect flute, I think I might say that this is a distinct step forward. No doubt the march of time will see other inventions brought about, but I should be sorry to see the day, when the whole practice of instrument playing should disappear in a welter of electronic devices, and synthetic music.’ Thomas William Moore’s invention may not have been as successful as Boehm’s flute (indeed, it was not successful at all), but I maintain a very soft spot for this most dedicated gentleman. Thomas William Moore’s flute is now in the Bate Collection of Musical Instruments in the Faculty of

Music at the University of Oxford. Robert by Photograph Bigio used with kind permission ofCollection, the Bate University of Oxford.

the 80 pan • flute magazine March 2008