Gaubert's Flute

VOLUMEXXXVI , NO . 2 W INTER 2 0 1 1

THE lut i st QUARTERLY

Gaubert’s Flute Photo Photo Philippe Roëlandt ©

Recording Your Own CD Omar Faruk Tekbilek: Turkish Master of the Ney Piccolo Power: Anke Lauwers on Her Competition Prize

THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC

Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXVI, NO. 2 WINTER 2011 DEPARTMENTS 5 From the Chair 49 From the Program Chair 9 From the Editor 50 New Products 12 High Notes 52 NFA Office, Coordinators, 39 Across the Miles Committee Chairs 45 Notes from Around the World 54 Reviews 48 Passing Tones 68 Index of Advertisers

18 FEATURES 18 Gaubert’s Flute by Philippe Roëlandt A specialty flute restorer in Paris lands the assignment of a lifetime: to revive an 1874 Louis Lot flute belonging to Philippe Gaubert, using the techniques and tools of the flute’s own era.

24 Omar Faruk Tekbilek: Turkish Master of the Ney by Peter Westbrook A simmering concoction of influences from Turkey, Arabia, Greece, Persia, and even Spain— creatively stirred with the manners and sounds of musicians in the United States— provides the staple of music performed by this Turkish-born flutist. He performs on what is possibly the world’s oldest musical instrument.

30 A Primer: How to Record a Compact Disc by Ronda Benson Ford An active NFA flutist, teacher, and entrepreneur offers practical, step-by-step advice for recording and marketing a professional, high-quality CD—even without a publisher or recording contract. 24 36 The Road (Almost) Not Taken by Anke Lauwers The winning flutist for the 2010 NFA piccolo solo competition, who lives in Belgium, describes her experiences leading up to the event—one which she almost missed entirely.

Cover image © Philippe Roëlandt

THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE, SUITE H SANTA CLARITA, CA 91351

FOUNDED NOVEMBER 18, 1972 IN ELKHART, INDIANA

This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the National Flute Association, Inc., which reserves the right to refuse to print any advertisement.

30 ISSN 8756-8667 © 2011 National Flute Association, Inc. 36 nfaonline.org Winter 2011 The Flutist Quarterly 3 OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] markthomasflutist.com

Chair of the Board Jonathan Keeble University of Illinois 1114 West Nevada St. Urbana, IL 61801 217-333-8142 [email protected]

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

Secretary Francesca Arnone West Virginia University Division of Music P.O. BOX 6111 Morgantown, WV 26506-6111 304-293-4502 [email protected]

Chair of the Finance Committee Debbie MacMurray 4554 Leathers St. San Diego, CA 92117-3419 858-663-6389 Fax: 513-492-4580 [email protected]

Assistant Secretary Joanna Cowan White 400 Crescent Dr. Mt. Pleasant, MI 48858 989-772-6175 [email protected]

BOARD OF DIRECTORS Kimberly Clark (2009–2011) 15202 Circling Hawk Ct. Houston, TX 77095 281-550-4275 [email protected]

Daniel Dorff (2009–2012) 221 Meadowbrook Ave. Upper Darby, PA 19082 610-306-9480 [email protected]

Sarah Jackson (2010–2013) 20121 Crown Reef Ln. Huntington Beach, CA 92646 714-642-1971 [email protected]

Paul Taub (2008–2011) 1513 25th Ave. Seattle, WA 98122 206-328-5010 [email protected]

Linda Toote (2009–2012) 55 Arlington St. Newton, MA 02458 617-964-3571 [email protected]

Clifford Tretick (2008–2011) PO Box 1066 Mechanicsburg, PA 17055 828-242-4489 [email protected] From the CHAIR

n spite of my insights from having had the privilege of serving Charlotte. In addi- the NFA these past three years as program chair and then tion to this, the Ex- Ivice chair, it quickly became apparent at last summer’s ecutive Committee Anaheim convention that my colleagues in the NFA had treated is scheduled to meet me gently. Such was the avalanche of information, ideas, and in Charlotte for three hopes of the people I spoke with last August that I left the days of intense dis- convention with a notebook filled with plans for the future cussion and activity and a head spinning at the responsibilities I had inherited. at the midwinter I undertake these next two years of service to our organization meetings in January. with a sense of gratitude to Leonard Garrison for his attention We intend to con- to detail, his energy, and his passion for the NFA. He leaves us tinue tasks set out in the NFA’s strategic with the organization running efficiently, transparently, and Jonathan Keeble with an eye toward bettering the product we provide our mem- plan and to initiate bership. In addition, we lose the help of our secretary, Sandy several new projects Saathoff, and board member Adrianne Greenbaum. All three of geared toward expan- these individuals have volunteered hundreds of hours of their ding the scope of our time to the NFA. If you happen to see one of them around, Web site, offering new commissions, enhancing our donations, please take the time to thank them for helping make this and beyond. organization special. Through all this, we have the Charlotte convention to look In spite of how much these three people will be missed, I’m forward to! I’ve talked extensively with Charlotte Program excited to be joined by Beth Chandler as vice chair, Joanna Chair Lisa Garner Santa about her plans and have come away Cowan White as assistant secretary, and Sarah Jackson as our thrilled at the energy, vision, and organization she brings. newest board member. Over the course of the next year, we will Along with the usual terrific programming we have come to meet for monthly conference calls and lock ourselves down in expect at our conventions, the four days we spend together in meetings for several hours a day at next year’s convention in Charlotte promise to provide an opportunity to fete Carol Wincenc and Trevor Wye as our newest Lifetime Achievement Award recipients and Katherine Borst Jones as our National Service Award recipient. In addition, Amy Rice Blumenthal’s generosity has helped the NFA secure the world-class acoustics of the Blumenthal Center for many of the convention’s gala performances! I speak the obvious when I mention that the past two years have borne witness to some of the most perilous financial times this country has seen. Through it, the NFA board’s commitment to keeping costs as low as possible for our individual and commercial members has remained unflagging. We have assiduously worked to cut costs without compromising our offerings. Fortunately, the past two years’ conventions have left us in a state of relative financial health, but it is a fine line we trace between growth as an organization and overextending ourselves. To this end, we continue to target raising money for the endowment, garnering sponsors for our competitions, and targeting likely grant sources. Please consider giving in whatever way possible. —Jonathan Keeble

nfaonline.org Winter 2011 The Flutist Quarterly 5

15 /85  Brannen-Cooper Flute SDLUHGZLWKD/DÀQKHDGMRLQW 

$1(:%U|JJHU0HNDQLN ™ÁXWH 

RIIHULQJDXQLTXHSOD\LQJ 

KHDULQJH[SHULHQFH

HPDQDWLQJIURPWKH

ZRUOGUHQRZQHGZRUNRI

+HDGMRLQW0DNHU5DLQHU/DÀQ

follow us on follow our players on @BrannenFlutists THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Christine Beard, Christine Cleary, Amy Hamilton, Contributing Editors Lee Chivers, Masterclass Reporter Victoria Stehl, Art Director Steve Wafalosky, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo Seattle Symphony May 31 - June 3, 2011 Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar University of Colorado at Boulder Flute, Piccolo, and Alexander Technique Oakland, California With Christina Jennings, Betty Bang Mather Professor of Flute Emeritus University of Colorado University of Iowa Iowa City, Iowa Leone Buyse, Roger Mather Adjunct Professor of Flute (retired) Rice University University of Iowa Iowa City, Iowa Lisa Garner Santa, Jerrold Pritchard Texas Tech University Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Join us in beautiful Boulder for four days devoted Michael Stoune to the flute. We will delve into the practice, study, Associate Director of Graduate Studies, School of Music Texas Tech University and performance of our instrument with creative Lubbock, Texas workshops and sessions designed to address the Paul Taub Professor of Music, Cornish College of the Arts whole musician: body, mind, and artistry. Flutist, Executive Director, Seattle Chamber Players Seattle, Washington Nancy Toff activities include: Music Historian YogaPanamic classes • Warm-up Flutist classes • Recitals New York, New York Michael Treister, MD Repertoire masterclasses • Orchestral excerpts class Orthopaedic and Hand Surgeon Amateur Flutist Performance Issues panel • Group meals and hikes Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute Up to 20 performers and an unlimited number of University of North Carolina–Chapel Hill Chapel Hill, North Carolina participants will be accepted. Applications and CDs Charles Wyatt are due April 15th. To download an application and Flutist, Writer Nashville, Tennessee for more information please visit our website: Reviews Board http://music.colorado.edu/flute/panoramic-flutist Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Patricia George Professor, Performer, Masterclass Teacher, Author TuitiPerformers: $500 Pocatello, Idaho Ruth Ann McClain Participants: $400 Flutist and Studio Teacher One day events pass: $125 Memphis, Tennessee John Wion Professor of Flute The Hartt School West Hartford, Connecticut Application and CDs due April 15, 2011 National Flute Association, Inc, Staff http://music.colorado.edu/flute/panoramic-flutist Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director [email protected] • 303-492-7150 Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, Web Design Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. From the EDITOR he new year brings enhancements rule out smaller or newer clubs if they to The Flutist Quarterly, and I have an interesting or distinctive pres- Tlook forward to sharing them ence. I hope you’re enjoying these mini- with you in the months ahead. glimpses into the activities of our col- This year we’ll feature more of the leagues throughout the country. young people who took honors at the Few will care about another change: annual convention, with an article not The new edition of the Chicago Manual only about Mercedes Smith, placing of Style has relented to the times and first in the 2010 young artist competi- determined that “Web sites” have tion, but also an article (in this issue) become too ubiquitous to remain by Anke Lauwers, 2010’s piccolo artist uppercase and are now humble, generic first-place winner, and one by JiWeon “websites.” Who are we to argue with Ryu, our 2010 High School Soloist the Chicago stylebook? Future issues first-place winner. Ezra Spiro, the will bow to the times; enjoy the final inaugural recipient of the NFA’s new iteration of the old term in this issue. Frances Blaisdell Scholarship, will Steve DiLauro, who served as the write about his experiences participat- NFA’s advertising sales representative, ing in the convention last August. has moved on to pursue other inter- I welcome NFA member Christine ests. He has left us in good hands with Anne Welsbacher Beard, who will edit the Notes from Steve Wafalosky, who spent months Around the World department. Beard getting to know all DiLauro’s clients travels extensively and has a wide and has stepped right in for a seamless international network, and I look for- transition. We’re glad to have Steve I hope the new year finds you looking ward to her help in my ongoing efforts Wafalosky on board and hope you’ll get forward to the year ahead, whatever to bring broader and more timely to know him as you consider advertising changes it might bring your way. news about our shrinking world to in the magazine and online. —Anne Welsbacher each issue of the magazine. (Toward that end, I’m thrilled to have in this issue a brief piece about a recent event in Marseilles written by our 2010 Lifetime Achievement Award recipient Leone Buyse. Buyse last lent us her writ- Skidmore Flute ing skills with an article about Joseph Institute Mariano following his death, and as valuable as that contribution was, it was July 24 – 30, 2011 a pleasure to work with this article marking a happier occasion.) Christine Jan Vinci Beard’s contact information will be at Jeffrey Khaner the end of the department in each issue, Mark Vinci so feel free to contact her directly if you Jeffrey Khaner have news you think might be of inter- est—or continue to give me a holler; I’m always eager to know what’s up. Perhaps you’ve noticed by now that the editor of Across the Miles, Dolores August, and I have added a Spotlight to each issue, highlighting the vision and activities of an individual flute club. We Mark Vinci assign these profiles, but are happy to hear from club members who’d like Jan Vinci consideration. For the first issues, we’ve selected large, entrenched clubs with major programs or whose presence is summer 11 well established, but we don’t want to /FlCEOFTHE$EANOF3PECIAL0ROGRAMSssWWWSKIDMOREEDUSUMMER nfaonline.org Winter 2011 The Flutist Quarterly 9 True Ar tistr y Discover a palette of tonal colors, worthy of true artistry in every Altus flute. Designed for the finest musicianship, your Altus flute delivers remarkable resonance and an array of possibilities for your musical voice. The more you play your Altus, the greater your discovery of new performance levels. This is what your Altus flute was specifically designed to do. For you.

YFL-874H. T

color. voice. soul. altusflutes.com

   QUALITY . SUPPORT . PROFESSIONALISM D clear articulation in all in articulation clear and clean a provides headjoint EC the and instrument exceptional the throughout is quality tone The -Jeffrey Khaner,flute, Principal -Jeffrey “I’ Philadelphia Orchestra Philadelphia trle wt m my YFL-874H. with thrilled m Y PNSON EPENDS K J AMAHA EFFREY . HANER VALUE registers YFL-874H . .”

©2011 Yamaha Corporation of America. All Rights Reserved. High Notes News and activities about the accomplishments of National Flute Association members and the flute world

premiere recordings of pieces by internationally prominent and emerging composers whose work Taub has championed in the U.S. and in the countries of each individual. Peteris Vasks (Latvia), Giya Kancheli (Georgia), Sergei Slonimksy (Russia), and Franghiz Ali-Zadeh (Azerbaijan) are gobally rec- ognized composers whose works are widely played. Helena Tulve (Estonia), Artur Avanesov (Armenia), and Antanas Kucinskas (Lithuania) are younger composers whose works Taub has dis- covered through his work with the Seattle Chamber Players. The variety of pieces includes works for flute solo, flute duet, flute and piano, flute and electronics, flute and string quartet, and flute, piano, and percussion, and thus will include an additional eight musicians for the recording. Taub was among 44 artists selected from 125 applications to receive an award from the Office of Arts and Cultural Affairs of the City of Seattle. Taub has been involved for many years as an advocate and commissioner of new works by composers Jan Vinci Jennifer Higdon from all over the world, with a specialization in American, Baltic, and Caucasian composers. Many of the American FA member Jan Vinci and pianist Pola Baytelman per- pieces he has commissioned have been recorded, including on Nformed the world premiere of Pulitzer-Prize-winner a solo CD and recordings by his own ensemble, the Seattle Jennifer Higdon’s Flute Poetic,written for them, on November Chamber Players, but many Baltic and Caucasian pieces have 13 in the Ladd Concert Hall at the new Arthur Zankel Music not yet been documented on a high-quality CD. Taub’s project Center at Skidmore College. The performance was preceded will address this need. by a question-and-answer session with Higdon, who also gave masterclasses with music and composition students rian Luce, NFA member November 12 and 13, culminating the composer’s short resi- Band librarian for the dency at Skidmore. Vinci has had a longstanding connection NFA’s library, will perform to Higdon: She was Higdon’s flute teacher when the composer in a tribute to composer was in high school. In addition, Vinci and Higdon both stud- Robert Muczynski (1929– ied flute with Judith Bentley while attending Bowling Green 2010) February 14 at the State University in Ohio.The performance was part of the University of Arizona at Faculty Celebration Concert marking the opening of the new Tucson, where Muczynski music center. Visit skidmore.edu. was distinguished emeritus professor. The tribute also ctive NFA member and will feature piano professor Aformer chair of the New Rex Woods, who studied Music Committee Paul Taub with Muczynski, and the has received a $6,000-plus Arizona Wind Quintet. award toward production of a Muczynski’s chamber works, high-quality CD of solo and including the 1961 Flute chamber flute music by promi- and Piano Sonata, Op. 14, nent and emerging Baltic and Brian Luce, right, and Rex Woods are widely performed Caucasian composers. Upon around the world and have been recorded on many labels. The Paul Taub completion of the recording, a concert will feature that sonata, Muczynski’s Moments, Op. 47, performance of all the works will be given, scheduled for for flute and piano, Quintet for Winds, Op. 45, and other mid-November. From Riga to Tblisi: Recording and works. Muczynski was a faculty member at the University of Performance of Flute Music Written for Paul Taub will feature Arizona for 23 years (from 1965 to 1988). The recording

12 The Flutist Quarterly Winter 2011 nfaonline.org American Classics, Robert Muczynski Complete Works for from the United States, Korea, Puerto Rico, and Portugal. The Flute features among the performers Muczynski and Jean- final concert included guest performer Susan Hoeppner and Pierre Rampal. the Yamaha prize winners, who all performed with pianist Linda Mark. The Julius Baker flute choir, under the direction of Vanita Jones, closed the concert with a performance of the traditional Allegro from the Sonata in C Major by J. S. Bach.

n September 30, 2010, ONFA member Trudy Kane presented a faculty artist recital at Maurice Gusman Concert Hall at the Frost School of Music, University of Miami, concluding with a per- formance of Henry Brant’s Angels and Devils,conducted

Standing, from left: Marsha Gray, Dorothy Gudes, Jane Delcamp, Judy Antos, by Douglas Phillips and fea- John Goodman, Ann Droste, Jane Berkner, Emmanuel Lebrun-Damiens, Jan turing members of her flute Holkenborg, Roberta Forest. Seated, from left: Susie Siebert, Dottie Pienta, Erika studio. Kane spoke briefly Alexander, Kathy Murphy. before the piece on the level of FA member Jane Berkner directed the first Adult Flute difficulty and challenges faced NChoir Camp at Interlochen August 2–7, 2010, with par- by Brant’s work and on her ticipants from Michigan, New York, North Carolina, Ohio, pride in performing with her Pennsylvania, Wisconsin, France, and Japan. Daily flute choir talented students. Angels and D evils rehearsals were capped off with a performance at the end of Trudy Kane calls for solo flute the week. Each day’s schedule also included reading sessions accompanied by two alto for small ensembles and classes on piccolo playing and into- flutes, five C flutes, and three piccolos. Other selections per- nation basics for flute. Berkner led rehearsals and classes, formed by Kane and pianist Paul Schwartz included Jindrich which took place in the just-opened Malory-Towsley Center Feld’s Sonata for Flute, Gabrielle Faure’s “Morceau de for Arts Leadership, a new facility that houses adult education. Concours” and “Sicilienne,” Philippe Gaubert’s Nocturne et Many Summer Arts Camps were also in session, and evenings Allegro Scherzando and Eugene Bozza’s Agrestide. After 32 were spent enjoying other events on campus. The new Flute years as principal flutist of the Metropolitan Opera, Kane Choir Camp is a part of Interlochen’s growing adult enrich- joined the Frost School of Music faculty in 2008. She received ment program, Interlochen College of Creative Arts. Berner both a BM and MM from the Juilliard School of Music and was NFA High School Flute Choir Coordinator from 2001 to spent the following two years performing and touring with the 2006 and assistant to the program chair in 2000. Dates and New York Philharmonic. Kane has worked with Pierre Boulez, information for next year’s flute choir camp can be found at James Levine, Valery Gergiev, Placido Domingo, Luciano interlochen.org. Pavarotti, and Renee Fleming and is featured on commercial recordings and film scores such as Beauty and the Beast and The Untouchables. Visit http://trudykane.com/.

FA member Kimberly NGoodman presented the lecture “Navigating a Career in Music” October 25, 2010, at the Conser- vatorio de Musica de Puerto Rico in San Juan, Puerto Rico. Goodman, a self- From left: Sandra Ragusa, Ruth Baker, Linda Mark, Jiweon Ryu, Vanita Jones, Eric Kimberlee Goodman, fourth from right, employed musician, created Maul, Susan Hoeppner, Mayuko Akimoto, Kerry Walker. with flute professor Josue Casillas, seated. the lecture to help other self-employed musicians he annual Julius Baker Masterclass was held August 1–6, learn the tricks of the trade, including information on business T2010, at Western Connecticut State University. Winners cards, resumes, Web sites, tax deductions, getting and keeping were Jiweon Ryu, first place; Eric Maul, second place; and gigs, and networking. Goodman, who also teaches flute, Mayuko Akimoto, third place. Directed by Kerry Walker, the woodwind methods, music theory, ear training, and world week-long Julius Baker Masterclass event featured performers music part time at Otterbein University, presented the lecture

nfaonline.org Winter 2011 The Flutist Quarterly 13 for the annual NFA convention in programming mixes newly rediscovered the composer. A January 29 concert will Kansas City, the College Music Society and established works. Opening the sea- feature the chalumeau (a Baroque clar- in Missoula, Montana, at West Virginia son October 22 was a program explor- inet) and the Baroque bassoon in per- University, at Ohio State University, and ing works of the young George Frederic formances of German Baroque. The at Arizona State University. Visit kim- Handel, composed during his years in final program features some of the berleegoodman.com. Italy, with vocal chamber works, can- United States’ first composers, with solo tatas, and instrumental compositions sonatas, duos, trios, and quartets by he 22nd season continues for by Handel’s Italian colleagues, including John Christopher Moller, Raynor TMusicians of the Old Post Road, co- Alessandro Scarlatti, Giovanni Lulier, Taylor, Alexander Reinagle, and others directed by NFA member Suzanne Carlo Cesarini, and Domenico Sarri. performed April 8 at Christ Church in Stumpf and cellist Daniel Ryan. The For its annual holiday program on Cambridge and April 10 at First ensemble’s concert series brings period December 17, the ensemble presented a Unitarian Church in Worcester. Visit instrument performances of music of rare performance of 17th-century’s oldpostroad.org. the 17th, 18th, and 19th centuries to Marc-Antoine Charpentier’s Diologus historic buildings along the path of New Inter Angelos et Pastores Judeae in FA member Viviana Guzman England’s Old Post Road. The group’s Navitatem Domini and other works by Ntoured Asia in September in Hakodate, Kobe, and Tokyo, Japan, and Beijing, China. In October she hosted, SIR JAMESJAMES & LADLADY DYY JEANNE GALWAYGALG LWWWAAAYY produced, and performed at the San Francisco Inter-national Flute Festival announce the 22nd in Half Moon Bay, California. Guest flutists included Bulent Evcil, Matej Zupan, Timothy Day, Robin McKee, James GalwayGalw ay y InternatioInternational nal Flute Isabelle Chapuis, Nika Rejto, and Carol Alban. Also participating in the MasterclassMasterclllass & ConventionConv vention festival were the 86 performers in the following flute choirs and their direc- July 22nd nd d - July 31st tors: Bel Canto Flutes, Gail Edwards; 201120011 Avant Flute Choir, Teresa Orozco- Peterson; Stanford Flute Ensemble, Stellaa MMatutina Karen Van Dyke; and Magic Flutes, Weggis,eggis,, SSwitzerland Pamela Ravenelle. In October, Guzman performed with guitarist Peter Fetcher at the Livermore Civic Center Library Hall. She performed Vivaldi’s Flute Concerto in D Major and Three Tangos, which she arranged for flute and orchestra with the San Jose Chamber Orchestra. In January, Guzman performed with pianist Mahane Teave for the Frutillar Music Festival in Frutillar, Chile; the per- formance will be aired on National Chilean Television. She will appear as soloist with the Stockton Symphony March 10–12.

Photos by PaulPaul Cox Masterclasses with Sir r James & Lady Galway,Galway y,, Daily warm-ups,war rm-ups, Flute ChoirChoir,r,, Evening Concerts with Sir James & Lady Galway and Guest Artists VocalVocal Instructor,Instructor r,, Flute Exhibitors For informa ation, http://wwww.jamesgalway.jamesgalwwayy.com.com Viviana Guzman

14 The Flutist Quarterly Winter 2011 nfaonline.org

Marina Piccinini INTERNATIONAL FLUTE Master Classes B A LT I M O R E , M A RY L A N D x J U N E 18 – 2 2 , 2 011 APPLICATION DEADLINE:MONDAY, A P R I L 4 www.peabody.jhu.edu/piccininimc for details

Gaubert’s Flute by Philippe Roëlandt A specialty flute restorer in Paris translated by Patricia Nagle lands the assignment of a lifetime: with Jan Pack to revive an 1874 Louis Lot flute belonging to Philippe Gaubert, using the techniques and tools of the flute’s own era.

Since 1989, Philippe Roëlandt, a specialty flute restorer in Paris, has come into contact with many flutes and flutists. One day a very particular flute needing restoration arrived in his workshop. Roëlandt shares his story of this exceptional restoration. After Philippe Gaubert died in 1941, his flute, hidden in its case, was plunged into a long period of solitude. Then one day, Gaubert’s family decided to revive the flute and to have it restored. After consulting with several eminent flutists in Paris,

the family chose to work with me, and the flute arrived in my PHOTOS COURTESY OF PHILIPE ROÉLANDT

18 The Flutist Quarterly Winter 2011 nfaonline.org workshop. It is a great honor to have been entrusted with the restoration of Philippe Gaubert’s flute, and I thank especially the Poiré-Gaubert family for the immense confidence that they bestowed upon me. The flute of Philippe Gaubert was a Louis Lot, no. 1986, made by the Maitre Louis Lot himself. Built at the end of the first generation of Louis Lot Flutes (flutes that were made by Lot), the flute was delivered to Gaubert in 1874. Approximately 120 flutes were made that year, of which 70 were of metal. This exceptional flute, to which I devoted my absolute attention and care, took more than 100 hours to restore. I felt immense emotion; work on it certainly constituted the most unforgettable restoration in my last 20 years as a flute maker. Gaubert played this flute less than 50 years ago for a concert, for which he was accompanied on the piano by Maurice Ravel himself.

The Flute and its Challenges The flute is made entirely of solid silver with a C foot joint and soldered tube and tone holes, with a B-natural trill spat- ula used by the right hand to facilitate the B key for trilling normally used by the left hand thumb: a veritable Louis Lot (L.L.). There was a modification in 1927, when Gaubert made changes in the riser and mouthpiece of his head joint to make a more ergonomic and comfortable fit and to adhere to more modern designs. The aim of this restoration was to recover the original state of the flute itself and to retrace and honor the different tech- niques used when it was first made. A delicate task, especially because the flute had been repaired many times before, and not always in the correct manner. Furthermore, the flute was to be restored for a special program of concerts and exposi- tions of Gaubert’s works at the Cité des Arts in Paris, so that people could hear the original sonority of his flute. I dismantled the instrument—in a most meticulous way—to inspect and analyze all the pieces that would have been worn down by the passing of time and would therefore need to be modified. Once the keys had been removed and taken apart from their rods and pins, I had a perfect view of the whole ensemble of the instrument. Would there still be inside this magnificent flute some vibrations of this exceptional musician?

Peeking Inside Taking a closer look, I could easily recognize the familiar ways that Gaubert probably had of placing his flute horizontally on a surface—the varnished marks on the ornamental rings of the tube indicate the great age of the flute. The tube itself was straight with some dents, revealing a light warped curve and contortion of the barrel joint. The restoration also brought surprises, beginning with the keys. Each key on a flute has its own particular, precise posi- tion in relation to the rod; this determines its angle and height, which indicates largely the position of the flutist’s

The keys disassembled. Top: the tone holes unsoldered. Second: preparing and cleaning for soldering—note the dark portion on the rim of the soldered pewter tone hole, indicating that it has been oxidized and thus is vulnerable to leak- ing. Third: all cleaned up prior to soldering. Bottom: soldering the tone hole. hand and fingers on the flute. These precise positions affect the exact sound of the flute: the response, velocity, and subtle emotions that the flutist is able to bring out of the instrument. Regarding the flute in question, the sad reality was that all the keys on Philippe Gaubert’s flute had been deformed. Pads of diverse dimensions and considerably too thick had been forced into each key. This particular Lot needs a very thin pad, which is more delicate to put into place but incontestably determines the sonority of the instrument. I made by hand a set of measured pads with the thickness and to the exact criteria of the original ones in 1856. Each key had to be placed at its original angle and initial axis so that the mechanism could acquire its custom-made pads. Today, we perfectly understand the positioning of the Straubinger, Muramatsu aluminum, and Triad Nagahara pads. But insert- ing the old white Gold-beaters’ skin pad, sometimes twice as thin, using white wax—the only acceptable material—to allow the pad to stand straight in this magnificent Louis Lot key? It was exactly the same case with the springs. I found mod- ern springs throughout the body and did not wish to leave them in place. However, by finding some very good old spring needles (that easily prick the fingers of the flute maker), I was able to adjust the angles, curves, and pressure along with the content matter of the springs, so essential in playing legato.

Putting It Back Together Once the flute parts in the entire ensemble were returned to Above: Philippe Gaubert’s flute with an original edited version of the Taffanel & Gaubert book in the shop. Below: the author with the Gaubert flute. their original state, I would be able to work in detail with the individual flutist to reach the performer’s own particular artistic wishes. On the tube itself, the key supporting ribs, rings, and other soldered tone holes were soldered with pewter. This very well-known, pliable substance, which can be heated at low temperatures, is over time almost but not quite as solid as silver. What joy and relief to find that all the solder- ing on the Louis Lot was of the original craftsmanship. I do not mean to be sarcastic, but I prefer to clean up and refinish old, original soldering than newly soldered clumps. We can easily verify if a part is on the verge of falling off, but first we must inspect the air tightness of the tone holes. Inserting a perfectly made and adjusted pad inside a shiny sil- ver key over a tone hole that leaks at the soldering junction is absolutely not useful in any way. Fortunately, a sure but secret technique for verification, dating from the same period as this flute’s manufacture, exists today. Tone-hole soldering doesn’t last forever and, as expected, some of the tone holes had to be dismounted and re-soldered. (Note the darker color indicat- ing a trace of oxide pewter in the photo.) The solder no longer adhered and had become porous, so it was no longer airtight. I took this opportunity to consolidate all the other soldered tone holes on the instrument. To redress the curved warp on the tube and scattered dents along the instrument, we had first to consider that the tube was made from a rolled sheet of silver metal, which was then soldered with silver. In craft-made Louis Lot Flutes,

sublime for their sonority, nonetheless the visible soldered PHOTOS COURTESY OF PHILIPE ROÉLANDT

20 The Flutist Quarterly Winter 2011 nfaonline.org bonding of the whole length of the tube was done with modified silver. It was a clever mixture of 40- to-80 percent Many Generations: the Louis Lot Family Tree of silver with copper, so that the resulting alloy was able to melt at a lower temperature than silver, thus allowing the I. Made by Louis Lot IV. Made by E. Barat binding of the silver sheet. Because the soldering mixture 1855–1876 1889–1904 was softer than the silver metal tube, it could crack or Louis Esprit Lot Serial nos. 4752–7350 become porous when manipulated too violently. II. Made by Viliette V. Made by E. My second preoccupation was the thickness of the tube. 1876–1882 Chambille The particularity of the silver tube on the Louis Lot is its Serial nos. 2150–3390 1904–1922 refined thin width of measure and precision. It would be a Serial nos. 7352–9210 great shame, in restoring the flute, to flatten its dimen- III. Made by sion—and thus without a doubt modify its sonority. But Debonneetbeau VI. Made G. Chambille fortunately, I was able to use simple (but time-consuming) 1882–1889 1922–1951 techniques to exclude all risks and achieve a perfect result. Serial nos. 3392–4750 Serial nos. 9212–10442 I noticed that the ring on the head joint, specific to Louis Lot flutes and other rare makes of the same period, was not in its original position. A soldered-on ring, depending on its posi- tion, considerably changes the thickness of the tube of the Happy Endings headjoint and thus the sonority of the instrument. I wanted to replace the ring in the exact original position where Louis Lot In January 2011, the restored Gaubert flute was first adjusted it when he manufactured the flute. featured in a performance by Nicolas Duchamp of Once deoxidized, I lubricated the posts and rods with oil famous and unpublished works by Gaubert at Weil of the same thickness as the original oil used. Then I was Recital Hall at Carnegie Hall in New York City. able to mount the keys and adjust the mechanism. I cleaned and polished all the parts of the flute that were made from silver, a rather soft matter, by hand. This tech- nique takes much longer, of course, than using products or After so many hours spent in close contact with Gaubert’s machines, but this is the only procedure that prevents pre- flute, I feel I know it by heart. It had remained silent for so mature wearing and preserves the thickness of the precious sil- long in my company that I must admit the great pleasure I ver metal. The primary purpose of the hand-polishing was to had hearing the flute play, little by little. avoid altering the sonority. But I also believe that a flute maker Once the flute leaves my workshop, I know that I will miss should not, in the process of a restoration, add to a century of it. I will remember the form of every tone hole, the tube normal use five minutes of machine polishing that could per- made from a soldered flat sheet of silver, contributing to haps erase the original engravings on an instrument. unusual rich harmonics and an excellent homogenous The cylindrical tube was now straight, the tones holes sound, still today very much appreciated and sought after by solidified and airtight, the keys ready to be fitted with the flutists. The entire restoration was carried out with the new custom-made pads. The pads were fitted using white utmost respect toward this flute, which engendered the very wax. A very precise quantity was placed in each key to deter- specific character of Louis Lot of the first generation. mine the thickness of each pad with a precise overlap beyond I did not do this work for him, but each second I imagined each specific key. Again, this step is indispensable for the Philippe Gaubert playing this flute. It will be engraved in my sound, particularly for the key work of Louis Lot flutes. memory forever. > Once the pad is positioned, the next step is to fit it perfectly to the tone hole. Flutists of an earlier generation had to press Philippe Roëlandt began flute studies in 1977 and in 1986 started hard on a key to insure no leak, so the key had to perfectly learning the craft of flute building and craftsmanship at the embrace the tone hole. Today, flutes are extremely precise, and School of Metier des Arts in Le Mans, France. He became we all can appreciate this mechanical “perfection.” As the mod- director of a repair shop in Paris in 1990 and opened his own ern flutist is accustomed to such precision, on this flute we took shop in 1994. Today, he restores the flutes of such prominent the necessary time for each pad, alternating with intervals, to artists as Patrick Gallois. He continues to maintain the finally acquire a sensitive and stable adjustment. Gaubert flute on a regular basis to ensure its constant conser- vation. Visit ariamusique.fr. The Final Step Great care was taken in the last and very moving stage; one Editor’s note: Many thanks to Patricia Nagle for obtaining whole long week of tests—but it was never too long!—dis- and translating, with assistance from Jan Pack, this article, a covering the first notes and sonorities of this renovated flute: version of which originally appeared in Traversieres and is The Louis Lot of Philippe Gaubert! used here with permission

nfaonline.org Winter 2011 The Flutist Quarterly 21 Alto & Bass Flute Retreat July 28 - Au&ust 1, 2011 Boulder, Colorado Dr. Christine Po)er

Information and ap'lication forms availa%le at www.alto(ute.net Compact Discs from Crystal Records Leone Buyse was principal flutist of the Boston Symphony, and is now on the faculty of Rice University. She has six CDs on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid playing and a glistening recording” Fanfare. CD314: David Shostac, flute. Borne, Carmen Fantaisie; Kosins, Love CD319: Rivier Revisited. Chamber Love Letters. Music for Flute by Jean Rivier. “loaded Letters & Winter Moods; plus Boehm, Dinicu, & Debussy. Shostac is principal Los with charm” Fanfare. Angeles Chamber Orch. “outstanding fluent technique” BBC Music Mag. CD356: Tour de France. Fauré, Dolly CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- Suite & Morceau de concours; Saint-Saëns, Tarantella; Bizet, cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle Jeux d’enfants; Debussy, Syrinx, Petite Pièce, Première Rhap- Symphony. “nothing short of amazing.” American Rcd. Guide. sody, etc. With Michael Webster, clarinet; & Katherine Collier, CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas piano. “A charming entertainment.” Fanfare. by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- CD357: World Wide Webster. Dvorak, Slavonic Dances; De- formed with rare sympathy and expertise.” Fanfare. De Wetter-Smith is flute profes- bussy, Petite Suite; Brahms, Hungarian Dances; Gottschalk, sor at University of No. Carolina, Chapel Hill. Four Pieces. W/Michael Webster, clarinet; & Robert Moeling, piano. CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Taffa- CD715: Dedicated to Barrère. Music composed for cele- nel, Fantaisie; Griffes, Poem; Dzubay, Footprints; Van Brink, Dal Dosai; Zupko, Seven brated flutist Georges Barrère. Composers: Caplet, Woollett, Deadly Sins. Robertello: faculty of Indiana University; previously: Pittsburgh & Na- Gaubert, Seitz, Lacroix, Lefort, and Damaré. “marvelous record- tional Symphonies, Cleveland Orchestra. ing” Flute Talk. CD714: April Clayton, flute. Sonatines by Dutilleux, Francaix, CD716: Dedicated to Barrère, Vol. 2. Leone Buyse w/Martin Flute Agréable. Amlin, piano; & Paula Page, harp. Griffes, Poem; Varèse, Density Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ listening...entirely 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, appropriate stylishness” Musicweb. Sonatine and Invocation. Also De Lorenzo, Kriens, Jacquet. CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- CD710: Wind Effusions. Danilo Lozano, ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. Flute; David Muller, Bassoon. Duos by Villa-Lobos, Schröder, Gabaye, Jan Bach, & CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. Bozza; plus solos by Piazzolla & Osborne. Music by Sawai, Yamamoto, Hirai, Miyagi. “fascinating program...quite beautiful” Amer. Record Guide. Lozano is a founding member of Hollywood CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Woodwind Quintet. Ten Bowl Orch. Muller is former princ. Mexico Waltzes; From the Animal Kingdom; From the Plant World (all for flute and piano); Serenade and Theme City Phil. & Westwood Wind Quintet. and Variations (for woodwind quintet). “Blumer’s lush style reminds me of Richard Strauss. Fine flute playing; CD354: Weiss Family Woodwinds. [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. Dawn Weiss, flute; David, oboe; Abraham, CDs $16.95 each. U.S. Shipping: $2./order; foreign: $10/order. bassoon. Trios by Svoboda, Worthey, and Vivaldi, plus Messiaen, Le Merle Noir (flute Send for free catalog featuring woodwind & brass solo & ensemble. & pa.), Hindemith, Sonata (oboe & pa.), ® [email protected] Bourdeau, Premier Solo (bassoon & pa.). CRYSTAL RECORDS Dawn, solo flute Oregon Sym. 25 years. 28818 NE Hancock Road, Camas, WA 98607 USA • phone 360-834-7022

?\Xik_\saxophone; plus Pillin, Stein, C D 2 7 1 , o p . 1 0 0 , n o s . 3 & 4 Ibert, Rossini, DeWailly, Barthe, Arnold, Sowerby, etc. CD250: Klughardt, Quintet; Berio, Heussenstamm Bergsma, Concerto; Rochberg, To the Dark Wood; Carter, Quintet; Biggs, Scherzo; N\jknff[N`e[ Opus No. Zoo; plus Linn, Pillin, Stein, & Heussenstamm; CD750: Barber, Summer Music; Plog, Animal Ditties; Schuller, Suite; & Hl`ek\k Ligeti, Six Bagatelles; Mathias, Quintet; & Carlson, Nightwings; CD751: Dahl, Allegro William Schuman, Dances & Arioso; Husa, Serenade; Moyse, Quintet; & Sapieyevski, Arioso; CD752: Bergsma, Barber, Ligeti, Carlson The Westwood Wind Quintet (John Bar- Concerto; Rochberg, To the Dark Wood; Carter, Quintet; Schuller, Suite; Schuman, Dances; Mathias FHOORQD ÁXWH  KDV ÀQLVKHG UHFRUGLQJ DOO RI Reicha’s monumental 24 woodwind quintets. Plog, Animal Ditties; CD647: Holst, Terzetto; Plog, Four Miniatures; Sapieyevski, Concerto 1RZDYDLODEOHDUHRIWKHTXLQWHWVRQ&'V. for Viola & Winds, with James Dunham, violist of the Cleveland Quartet. Anton Reicha (1770-1836) was one of the most “An accumulation of instrumental polish and important repertory over a long period respected composers and teachers of his time. These are his masterworks. has resulted in a treasurable sense of ensemble and musical solidity.” Los Angeles Times “Extraordinary tone quality. The Westwood performers manifest a technical “The Westwood Wind Quintet has a standard of ensemble playing that “top-notch playing that can Westwood Wind Quintet is nothing short of breathtaking.” International Record Review finesse and a richness of tone one would normally expect only from a solo concert artist [CD601].” High Fidelity “Magnificent American group. Superlative playing only be envied by lesser “This displays once again that the Westwood Wind Quintet is one of [CD750]” Gramophone “Superb performing group” Washington D.C. Star ensembles. Exceptional the finest wind quintets in the world.” Intl. Double Reed Society Journal Reicha project, splendidly Compact Discs US$16.95 Add $2/order for U.S. shipping, or US$10/order for foreign airmail. played.” Fanfare Crystal Records, 28818 NE Hancock, Camas, WA 98607 USA • phone 360-834-7022 • fax 360-834-9680 Music by DAHL, HUSA, At select dealers, or order (check, Visa, MC, Discover) by phone, fax, email, mail, or at www.crystalrecords.com SAPIEYEVSKI, & MOYSE www.crystalrecords.com; email: [email protected] Omar Faruk Tekbilek: Turkish Master of the Ney

A simmering concoction of influences from Turkey, Arabia, Greece, Persia, and even Spain—creatively stirred with the manners and sounds of musicians in the United States—provides the staple of music performed by this Turkish-born flutist. He performs on what is possibly the world’s oldest musical instrument.

by Peter Westbrook

isitors to recent NFA conventions may have noticed the earning his living in the recording studios of Istanbul. He per- presentation of more non-Western genres. Following forms on a dizzying array of wind, stringed, and percussion Vthe enthusiastic response to Steve Gorn’s performance instruments—including the zurna (a double-reed oboe like on the bansuri of northern India music at the 2009 convention instrument), the baglama (a long-necked lute), and the oud came the formation this year of the World Music Committee, (the classic lute)—and is an accomplished vocalist. so members can be sure that this trend will continue. Indeed, Of primary interest to flutists, however, is his work with one at the next convention, a major world music artist will expose of the most elemental of all instruments, the ancient end- us to not only one of the more exotic forms of the flute but blown flute known as the ney. one of the most ancient. Omar Faruk Tekbilek, who along with his award-winning Millenia of Music ensemble will be featured at the 2011 convention in Charlotte, Ney is an old Persian word for the reed from the arundo was born in Turkey to parents of Egyptian and Turkish/Syrian donax, or giant cane plant, found throughout southern Asia origin. He has also lived for some time in the United States and the Arabic Peninsula, from which the instrument is made. and is equally well known in Greece, Brazil, and Israel. He has Also known as nai, nye, nay, gagri tuiduk, or karghy tuiduk, the recorded and performed with musicians of international ney exists in various forms in Persian, Turkish, and Arabic tra- repute representing a wide range of backgrounds and genres, ditions. It is a most ancient instrument; depictions of ney play- including Nusrat Fateh Ali Khan, Ofra Haza, Don Cherry, Jai ers can be seen in wall paintings in the Egyptian pyramids, and Uttal, Karl Berger, ex-Cream rock drummer Ginger Baker, actual neys dating back to 2450 BCE have been unearthed in Simon Shaheen, Hossam Ramzy, Glen Velez, Bill Laswell, Mike excavations of the royal cemetery of Ur in southern Mainieri, Peter Erskine, Trilok Gurtu, and Brian Keane, an Mesopotamia. This indicates that the ney has been played con- American guitarist, composer, and producer with whom he tinuously for perhaps 5,000 years, making it one of the oldest has recorded several highly successful CDs. So while Tekbilek’s musical instruments still in use. From the 12th century CE origins are firmly rooted in Turkish soil, his music continues onward, the ney became the principle classical wind instru- to grow and develop, its Middle-Eastern foundations freely ment throughout the Islamic world and today is the only wind influenced by American jazz and Arabian classics. instrument found in Arab art music. In line with this breadth of accomplishment, Tekbilek is also To Western flutists the ney appears to be a bafflingly simple a multi-instrumentalist, one result of the many years he spent instrument. It consists of a single piece of hollow cane or reed

24 The Flutist Quarterly Winter 2011 nfaonline.org with five or six finger holes and one thumb hole—no keys, God, but he was wondering where this sound no lip-plate. The sound is produced by blowing obliquely was coming from. So he climbed down a well into the tube, not unlike blowing into a bottle, except that the and he saw that there was a bamboo down air bounces off one inner side of the flute to produce the there, and the wind was blowing through the sound. Modern neys may be made of metal or plastic tubing, hole and saying “hooo.” And this revealed a but nothing quite reproduces the elemental sound produced great secret, as the saint explained to his disci- by the natural material of cane or bamboo. ples, that everything in the universe recites Like the Indian bansuri, however, the simplicity of the instru- God’s name without instruction, but only ment is an asset, allowing a skilled player to produce a wide human beings need thought, imagination, range of colors and subtle microtonal pitches over more than knowledge of past and future—they mingle, three octaves. The basic pitch varies by region, each of which and our minds are occupied by those things. uses an instrument of a slightly different size, form, and finger- But this sound—its name is caught in our ing arrangement. It is also common for a performer to work breath. Just be conscious of this. It is already with several neys of different sizes to cover different pitch there—just be aware of it. ranges or to facilitate playing technical passages. This was so simple—he was overwhelmed with the fact that this was such a simple thing. Spiritual Connections That’s why we consider ney, when you blow Tekbilek’s interest in this ancient instrument was stimulated into it, we are putting that Name into it to get by spiritual as well as musical values. The instrument has a the sound. So, in our tradition, we consider the special, historical relationship with the ancient Sufi order of ney to be divine, because it comes out through Turkey known as the Mevlevi Dervishes. Sufism represents our breath. As the deity cleaned us inside and the more mystical, esoteric branch of Islam, given to the use then blew his breath into us and we became of various techniques to produce altered states of conscious- alive, so the same thing with ney: we clean the ness, among them the whirling dance forms of the Dervish inside and then we blow into it. order, for whom the ney is traditionally the primary source of accompaniment. The legends surrounding the ney are matched by its sound. Tekbilek was exposed to this tradition during his years in In the right hands, it has an elemental quality, as befits an Istanbul, and the head Neyzen, or ney player, Aka Gunduz instrument of such antiquity, created from such natural Kutbay, became a great source of inspiration for him. He was materials. It is no wonder that it is linked with spiritual expe- profoundly influenced by the Dervish’s mystical approach, rience, and perhaps no surprise that, under its spell, Tekbilek which he describes as a “fusion of sound and spirit,” and it studied religion with thoughts of becoming a cleric, or Imam. led him to a deep involvement with the music of the ney, which is now a central part of his music. Musical Fortunes In many traditions the flute has been considered too sen- Fortunately for the world of music, the recording studio sual for classical or religious music, whose practitioners have exerted a greater allure than the mosque. A decade of work in preferred the more austere sounds of vina or harp. “The flute Istanbul studios established him as one of the top session is not an instrument that has a good moral effect,” states musicians in Turkey. From there his career expanded into Aristotle in his Poetics. “It is too exciting.” concert tours of Europe and Australia. His first visit to the From Tekbilek, however, I learned that in the Islamic world U.S. came in 1971 when, at age 20, he toured the country as the ney is viewed rather differently. For one thing, the instru- part of a Turkish classical/folk ensemble. Once on American ment escaped the ban on music that held throughout Islam soil, two fateful meetings determined the subsequent course for many years. of Tekbilek’s life and career. “When Mohammad established our religion, music was The first occurred backstage after a concert in Rochester associated with drinking and other bad things, so he banned New York, where he met his future wife, Suzan. “I was 19 and music for a long time,” says Tekbilek. “But then, when the she was 16, and we wrote to each other for two years. She Sufis came out in the ninth and 10th centuries, even though music was banned, Mohammad said: ‘The ney is touching my It is a most ancient instrument; heart, so I cannot say anything about this instrument.’ So it was the collective gatherings that were banned, not the ney.” depictions of ney players can be Tekbilek explained that, in the Arabic tradition, the flute is seen in wall paintings in the Egyptian actually considered divine, because of its relationship with the breath. As he told me: pyramids, and actual neys dating back

There is a story about this from ancient times. to 2450 BCE have been unearthed in There once was a great saint and he went out excavations of the royal cemetery of into the desert. After a while, he heard the sound “hooo,” and this sound is the name of Ur in southern Mesopotamia.

nfaonline.org Winter 2011 The Flutist Quarterly 25 OMAR FARUK TEKBILEK: TURKISH MASTER OF THE NEY

all of these influences are wrapped in a Western package, as Tekbilek frequently performs and records with American musicians such as Keane, requiring that the microtonal requirements of Arabic and Turkish music blend with the equal-temperament of guitar and keyboard. It is always an intriguing mix, however, and one in which the most ancient of flutes contributes its prominent color. And through its link with the Sufis, the ney also brings the deeply spiritual affect, expressed as a deep longing by the indi- vidual to be reunited with the divine, famously expressed over 700 years ago by the famous Sufi poet Jalal Al-Din Al-Rumi, in the opening words of his Mathwani (or Spiritual Couplets):

Listen to the reed, how it complains and tells a tale of separation pains. Ever since I was cut from the reed bed, my lament has caused man and woman to moan. came to Turkey in 1974 and we got engaged and married the I want a bosom torn by separation, next year.” They settled in Rochester, which has a large to explain the pain of longing. Turkish community, and for 17 years Tekbilek worked as a Everyone who is far from his source steam presser and cloth cutter for a large tailoring company. longs for the time of being united with it once more. And yet he could not turn his back on music. During the day he worked on custom suits for Paul Newman and Arnold Visit omarfaruktekbilek.com for more information. > Schwarzenegger. At night he performed for local weddings and other gatherings with an ensemble called the Sultans, Peter Westbrook is the founding chair of the NFA World Music with musicians from Turkey, Egypt, and Greece, playing a Committee. He is the author of The Flute in Jazz: Window on kind of Middle Eastern dance music. Tekbilek recorded five World Music. Visit fluteinjazz.com. albums with this group without achieving any national prominence. But all of this changed with the second of these two fateful meetings, which occurred in 1988 during one of the group’s occasional forays into New York City. Grammy-winning documentary composer Brian Keane was working on the soundtrack for the movie Suleyman the Magnificent and was looking for musicians familiar with Middle Eastern instruments and forms. He dropped by a belly-dance club called Fazil’s in Manhattan’s Hell’s Kitchen neighborhood, where he heard the Sultans perform. He hired Tekbilek on the spot, beginning a collaboration that has last- ed to this day. The film score was highly successful and Tekbilek has subsequently recorded five more albums with Keane, as well as several solo albums.

Mediterranean Music The music that has evolved is a fusion of different genres. Turkish music has itself absorbed many influences, some from the East, some from the West. That gives his music what Tekbilek calls “four corners”—the classical, folkloric, and religious aspects of the Turkish tradition, and the Arabic, or as he calls it Arabesque, influence prevalent in that part of the world. Thus his performances display moments of deep mys- ticism, where the ney plays a prominent role, alternating with a strong romantic element of “heartbreaking love songs” cheek by jowl with ensemble dance-type forms and free, almost jazzy, flights of imagination. Asked to categorize his music, Tekbilek says, “You should call it Mediterranean music,” noting that it is rooted in the music of Turkey, Arabia, Greece, Persia, and even Spain. Yet

26 The Flutist Quarterly Winter 2011 nfaonline.org 0LFKHO'HERVW .DWKOHHQ&KDVWDLQ Hand Crafted. -XQH²-XO\ One of a Kind. 2%(5/,1 )/87(,167,787( One at a Time! $QLQWHQVLYHZHHNRIPDVWHUFODVVHVOHVVRQV DQGSHUIRUPDQFHVIRUKLJKVFKRRO FROOHJH VWXGHQWVWHDFKHUV SURIHVVLRQDOV 

 $SSOLFDWLRQ'HDGOLQH$SULO

)RULQIRUPDWLRQSOHDVHFRQWDFW &DOO   2&)OXWH#REHUOLQHGX ZZZREHUOLQHGXFRQVXPPHUIOXWH

Walfrid Kujala’s)OXWLVW4XDUWHUO\'HERVW)OXWH,QVWLWXWH new book: SDJHDGIRU:,17(5,VVXHRQHLQVHUWLRQ The “sequel”SXEOLFDWLRQV#QIDRQOLQHRUJ to the Vade Mecum 7LIIMSHJHSV NEW: From Progress Press The Flutist's Vade Mecum The Articulate Flutist: of Scales, Arpeggios, Trills Rhythms, Groupings, Turns and $QQD+RIIPDQQTrills and Fingering Technique by Walfrid Kujala DQQDKRIIPDQQ#REHUOLQHGXby Walfrid Kujala $18.95 $22.95 Walfrid Kujala's newest publication The Flutist’s Vade Mecum is an all- features 60 pages of comprehensive encompassing approach to the study articulation, rhythm and trill exercises, and and perfection of scale, arpeggio, and trill 15 pages devoted exclusively to the study technique. This book is intended not just of Bach and Mozart examples. for the initial learning of scales and Five cantatas illustrating Bach's authentic arpeggios but for permanent and ongoing articulations are excerpted, and a wide improvement of this material through range of exercises for improving your diligent review. Think of this Vade Mecum technique, articulations, trills, and applica- ("Go with me” in Latin) as a steady tion of alternate fingerings for the Mozart D companion, always available for Major Concerto are also included. review and renewal.

Special offer: order both books for $35 Purchase online from our website at www.walfridkujala.com or contact your local music bookstore. progress press

222 Main St. #504 Evanston, IL 60202 847-869-2998 he  ABELL FLUTE 8DBE6CN Y Specializing in oehm system wooden )utes, headjoints and whi les, handmad in grenadill% and erling silve . % $ Y  Grovewood Road Asheville, C8  JH6   KD>8: ;6M www.abellflute.com

A Primer: How to Record a Compact Disc

An active NFA flutist, teacher, and entrepreneur offers practical, step-by-step advice for recording and marketing a professional, high-quality CD—even without a publisher or recording contract.

by Ronda Benson Ford

When I decided to record my own CD, I entered into the process not really knowing what it would take to get from the beginning to the end of the project with a compact disc in my hot little hands. Initially, I thought it would be a six-month process. It ended up taking me 18 months, but I learned a lot along the way. I hope my experi- ences will be helpful to you. A composer friend, Robert Martin, had written a piece for me and offered to pay to have the piece professionally recorded. For several years, my mentor and friend, John Bailey, had also been encouraging me to do a vanity CD. According to Wikipedia, “a vanity press or vanity publisher is a publishing house that publishes books at the author’s expense.” Likewise, with a vanity CD, the artist pays to have his or her own CD recorded without a contract to market and sell it.

30 The Flutist Quarterly Winter 2011 nfaonline.org Musical Selection and Concept After deciding to record a CD, you need to decide which pieces to include on it. The one piece I knew I would include was Martin’s piece “Hommage à Tom et Jerry” for unaccom- panied flute and piccolo, which was written for me. My other ideas came from the research for my dissertation. I knew that Elizabeth Brown’s “Trillium” for solo flute and John Heiss’ “Fantasia Appassionata, Episode IV” for unaccompanied flute had not yet been recorded. Because my recording engineer did not have a piano in his studio and I wanted to include J.S. Bach, I chose the Partita in A Minor for solo flute, BWV 1013. My love of French flute music led me to my next choice. I originally wanted to record Henri Tomasi’s Sonatine for unaccompanied flute, but I had trouble obtaining permission to record the piece. For this reason, I chose to use a live recording of Pierre Sancan’s Sonatine for flute and piano. It is advantageous to include pieces that have not yet been recorded. I recommend checking fluteworld.com, amazon.com, and cdbaby.com to see if the chosen piece has been recorded previously. Be aware that use of piano accompa- niment or chamber groups will increase the time you will need ryfox.com to see a listing of which pieces can be recorded and to spend in the recording studio and therefore increase the total who has already recorded the piece. cost of the CD. Since this was my first disc, I wanted to include I naively thought that if I had performed a piece in a recital only my own performances, but another possibility is to have and had previously paid my accompanist for the perform- several performers share the cost of a single CD. ance, that was all that was necessary to include the piece on my disc. When I wrote to my pianist to obtain his permission Permissions to include the Sancan Sonatine on my CD, he informed me After deciding which pieces to include, you need to obtain that I needed to pay him a performer’s royalty fee. This fee permission to record them. This is called a “mechanical may be anywhere from $50 to $100 for 500 compact discs, license” and is required in order to legally include a piece on plus two to four percent of sales for each individual disc. your CD. Since Martin had written the piece for me and is It is important to keep copies of all approved agreements self-published, I did not have to pay him to record his piece and permissions, as these will be needed later during the pro- and include it on my disc. Elizabeth Brown is also self-pub- duction step. For my CD, I paid approximately $200 in lished and did not charge me any fees. I wrote to John Heiss’ mechanical licenses. I also paid an accompanist an initial fee publisher and was charged a minimal fee. of $121 and a percentage of the first 100 CDs sold. The music of J.S. Bach is in the public domain. Music is con- sidered to be in the public domain if “all rights have expired” or The Title “the authors have explicitly put a work into the public domain” I had initially planned to title my CD A Few of My Favorite or if “there never were copyrights”—a definition I found Things and was going to include the song “My Favorite Things.” through a Google search for “public domain music.” I discov- I recorded this piece and then felt that it was not of the same ered that because I wanted to use a specific edition of the J.S. caliber as the other pieces and decided to omit it. Bach Partita, with an editor’s articulation marks, I had to write At this point, I had no idea for a title. I talked with a stu- to the publisher for permission to play it. I paid approximately dent of mine who is in marketing, and she asked me about $50 to perform that specific edition for 500 CDs. the titles of the other pieces on the CD. When I mentioned I mentioned that I originally had wanted to record the the piece Fantasia Appassionata, she suggested the title of Tomasi Sonatine for unaccompanied flute. I wrote to the Passions. I loved this title and my problem was solved. Leduc publishing company in France and they told me to contact the Harry Fox Agency in the United States to have the Recording Sessions work listed in their online catalog as a choice of a piece to I found this to be one of the most stressful parts of the proj- record. I wrote to Harry Fox and they told me that this ect. It is important to find a recording engineer that you like process would take six to eight weeks. I made several and trust, as you will be working with this person very close- attempts to get the piece listed, but after months of being ly. As noted on the Web site schoolsintheusa.com: “Recording unsuccessful, I checked on some other pieces and discovered engineers make their living by the ability to create, scrutinize, that the Sancan Sonatine was already listed as a piece to critique, modify, shape, control, enjoy and rejoice in the record. I paid Harry Fox approximately $100 for permission details and sound quality of music and audio sound. They to record the piece on 500 CDs. I recommend checking har- operate equipment to record, mix and edit sound, music and

nfaonline.org Winter 2011 The Flutist Quarterly 31 A PRIMER: HOW TO RECORD A COMPACT DISC

videotape for motion pictures, television and radio pro- Tray Costs grams, videos, music recordings and live events. Recording Disc makers typically charge the following for engineers use a variety of electronic equipment and tech- niques to record, mix, process, manipulate and edit sound. their CD inserts with tray cards: They alter the sound and clarity of voice and instruments to create polished recorded sound.” $390 two panels If you are a university student or faculty member, check $490 four panels with the recording engineer assigned to the school. If the $590 six panels school has a recording engineering degree, you may be able to hire a student in the school and make this a project from $690 eight panels which you can both benefit. $790 10 panels A record producer is different from a recording engineer in that, according to the Web site collegecrunch.org, the “record See discmakers.com/design/pricing/ for more. producer manages every single aspect of the recording ses- —RBF sion, whether it is the instruments to be played, the financial aspect, etc. A record producer is there to see to it that both the recording session and the output are successful.” Although single notes and partial movements can be used, Record the pieces on your own equipment before going try to keep the portions as long and few as possible. into the studio. This will allow you to identify what needs Mastering will remove extraneous noises such as breaths, improvement before recording and save valuable time and lights, hums, traffic, etc. Your recording engineer should also money in the studio. Provide your recording engineer with a master the entire CD, which will equalize sound levels of each copy of each piece that you are planning to record and make movement and each piece, so that the listener will not have to sure all the measures are numbered. turn the volume up or down on a given piece or movement. My recording engineer also served as the producer. He My recording engineer provided me with a CD and mp3 files charged $65 per hour and let me record in 60- to 90-minute of the complete mastered disc. Splicing/mastering time for sessions. Many recording studios require you to reserve only Passions was 11.75 hours (broken into five sessions), for a in four-hour sessions. Price per hour can range from $30 to cost of $1,316. $200 or more, depending on the studio. I recommend recording all takes of a given movement dur- Artwork and Booklet Design ing a single session, to keep background ambience, tempera- After I decided on a recording engineer, he recommended a ture variables, and your tone the same. This will improve the graphic artist. My first meeting with the graphic artist was quality of digital splices and make the splicing less noticeable. just over an hour. I was somewhat overwhelmed, but also felt I did best when I recorded a given section of music approxi- I received very valuable information. Any graphic artist mately six times, and I was usually satisfied with at least one should be able to work with a template to create your com- of the six takes. pact disc booklet. My graphic artist had previously done At the end of each session, the recording engineer should some CD booklets, and he made general suggestions about provide a CD of the takes from that session for you to review being consistent with the artwork and font for the project. He outside the studio. Listen to all of the takes, note by note and charged $35 per hour, but this can vary from region to region measure by measure, with a friend who has a discerning and according to the experience level of the graphic artist. I musical ear to decide which to use and how they should be spent approximately $600 for this portion of the project. The spliced together. While listening to these raw takes of your graphic artist gave me a CD with a completed tray card, CD own playing, you may be too emotionally connected to the face, and eight-panel booklet ready for production. project to be objective. This is when it is nice to have the Each square of a CD booklet is called a panel, and the price opinion of someone you trust. My studio time for Passions will vary depending on how many panels will be used. (See was 12 hours of recording (broken into eight sessions) and sidebar.) Clearly identify each movement title and time on seven hours of reviewing and splicing. My total studio time the CD face (the label on the actual compact disc) and on the cost was $3,015. back of the traycard. I had previously hired a painter that specializes in pet por- Splicing and Mastering traits. I loved her work and asked if she could paint the art- After deciding what takes to splice together, you will then go work for my booklet. I had very specific ideas about what I back into the studio with your recording engineer to splice them wanted, which was helpful to my painter. She painted three into a unified whole. Plan to actively participate in all splicing new paintings for me; I also used the previous painting she and mastering decisions. Invariably, within a single movement had done. I spent $175 on the four paintings and they are you will like a portion of this take and a portion of that take. now beautifully framed pieces of art hanging in my home. Your recording engineer can digitally splice portions together. The graphic artist scanned each painting for my booklet. Identify by measure number which segments of which move- I recommend including program notes on each piece, ments to put together, for your best composite of each piece. biographies of each composer, and acknowledgements for

32 The Flutist Quarterly Winter 2011 nfaonline.org

sales, as you will need to pay sales tax and declare this as income. If you sell CDs, all related creation costs can be claimed as business expenses on income taxes. CDs can be sold through Web sites such as cdbaby, amazon, ebay, or your own homepage; catalogs such as Flute World, Little Piper, or Carol Nussbaum; or local shops such as Borders, music shops, or gift shops. Commercial Web sites require a registration fee of anywhere from $30 to $100 and keep a percentage of sales (usually five to 15 percent). I chose cdbaby as the best and most economical choice for me. Some Web sites, such as centaurrecords.com, will accept unsolicited demo classical music CDs. Bring a few CDs with you everywhere. Do not miss any chance to sell one of your CDs just because you did not bring any. I spent approximately $6,000 on this project, and it took me a year and half to complete it. It is not a fast process, so be the people who assisted with the compact disc. I asked each patient. Think of it as a marathon rather than a sprint. > living composer to proofread his or her own information for the booklet. I am also lucky enough to have a friend with a Ronda Benson Ford has played with orchestras in Missouri, master’s in English and excellent proofreading skills who Kansas, Illinois, Texas, and Arkansas. She has performed at four proofread my booklet for free. If you do not have such a NFA conventions with both the Professional Flute Choir and the friend, hire a professional proofreader. If you are at a univer- International Flute Orchestra. She is the NFA’s Coordinator of sity, consider going to the school’s writing center for help. the High School Flute Choir Competition and a member of the NFA’s Pedagogy Committee. She has Production been featured on Mississippi Public A variety of local and Web-based companies can mass-pro- Radio, has had articles published in The Flutist Quarterly and Flute Talk, duce audio CDs. I considered discmakers.com, cdbaby.com, and has taught at various schools and and magtek.net, the latter a local company in Lenexa, Kansas. camps on a wide variety of subjects. Ultimately, I decided to go with the local company, She received her DMA in Flute Magtek, which was convenient when I needed to make last- Performance and Pedagogy from the minute changes. I gave them a CD of the music and anoth- University of Southern Mississippi, er of the complete booklet, CD face, and traycard. her MM in Flute Performance from I also had to provide them with proof that I had permission Illinois State University, and her BME from the University of from all the publishers, composers, and performers to have Central Arkansas. Her debut CD Passions was released in the CD duplicated. December 2009. Visit rondaford.com. Make sure the company you choose will include a free proof of the booklet for you to review before it is printed. A minimum order of compact discs is typically 500 but some companies require at least 1,000. Bulk production cost depends on disc quantity, booklet Erich Graf complexity, and number of colors on the CD face, traycard, A Flute Recital: Bach (c minor suite) and booklet. A typical cost is $1.50 to $4.00 per CD in the Roussel (Joueurs de Flute) 500-to-1,000 quantity range. Berio (Sequenza) Your CD’s case may be jewel or slim-line. I recommend Gaubert (Sonata #3) paying for the shrink-wrapping and UPC barcode to make Flute Masterworks: the CD look as professional as possible. Poulenc (Sonata) For Passions, Magtek produced 500 shrink-wrapped CDs Debussy (Syrinx) with UPC barcodes for $1,588. I paid a slight premium to Varése (Density 21.5) Bourne (Carmen Fantasie) work with a local business and have face-to-face meetings, Nobis (from western mountains) but it reduced shipping costs. Prokofiev (Sonata)

Sales, Marketing, and the End of the Marathon Classical Musings: A VHS music video setting of excerpts from A Flute Recital to the beauty of Utah’s Make sure that you put aside enough “gratis” CDs for National Parks and their environs. everyone involved, such as composers, publishers, and . accompanists. A typical amount is five to 10 for each, but Erich Graf Aeolus Recordings some may request many more. Keep accurate records of all www.erichgraf.com

nfaonline.org Winter 2011 The Flutist Quarterly 33

The Road (Almost) Not Taken directly with the editor in the United States, but even though it finally arrived, it took too long. Finally—after a lot of prac- ticing in a very short time—I was able to make the recording I needed to send in to the judges. But then I got a call from a Belgian orchestra to be a sub- stitute. Of course I said yes, but the deadline for sending the recording for the NFA competition was approaching, and I knew it would be very difficult to find another date. I found a Wednesday when I had time and Peter had time to listen. But I didn’t have a pianist yet! After a lot of stress (again), I found a very good pianist, Marie-Noëlle Damien. Peter helped me with the recording, and one day later I was able to send it— only two days before the deadline.

Second Verse, New Worries Two months later, I was invited for the semi-finals. Obviously at that moment I was very happy that I had sent the recording. But once again, I had a decision to make. I played in a youth orchestra, and we were going to make a concert tour to South Africa. It was the last parogram I would play with the orchestra and I had the opportunity to play first flute in the Fifth Symphony by Shostakovich, my favorite com- poser. I had plenty of reason for doubt: the orchestra was going on tour the second half of July, until August 3. My flight to Los Angeles was August 9. It was really a hard decision. I didn’t want to miss the Shostakovich symphony, but I also wanted to be perfectly prepa- red for the competition. Fortunately, the final concert in South by Anke Lauwers Africa was a few days before the orchestra came back, so I decided to book an earlier flight back to Belgium. That meant I had a few The winning flutist for the 2010 NFA days more to prepare between the tour and the competition. I had piccolo solo competition, who lives in a nice time on tour, but I didn’t see much of the country becau- se...I had to practice. When I came back, everyone asked me, “How Belgium, describes her experiences lea- was South Africa?” and I had to tell them, “I don’t know for sure, ding up to the event—one which she but I think it was nice!” Now I’m glad I went on tour—but I wasn’t so glad when I almost missed entirely. came back and I realized again that I only had a week left to prepare before the competition! It was again a week of hard ne of the first things my teacher, Peter Verhoyen, said to work, lessons, rehearsals, and a try-out—and a few days later Ome after the competition was, “And you almost didn’t it was time to leave for Anaheim. send that recording!” Last year, I entered the NFA’s 2010 competition for solo pic- Coming into Los Angeles colo, held at the 38th annual convention in Anaheim last I didn’t really know what to expect from the convention. Of cour- August, and—as can happen working long-distance with these se I knew the program, and I knew it would be very interesting, sorts of things—in the beginning, everything went wrong. but even then it was difficult for me to imagine the largeness of the For example, I ordered “The High and the Mighty from event. I was afraid it would be a bit overwhelming and scary. But Daugherty” (one of the required works) in Belgium, but that from the first day on I was charmed by the fine and friendly was not a good idea. Belgium is a nice country to live in but atmosphere and the kindness everywhere. Language was no pro- apparently not always when you need to order music. After a blem at all. Certainly it is easier when you are a native speaker, but lot of waiting, I cancelled the order and placed a new order in Belgium we are used to speaking English, because it is a very

36 The Flutist Quarterly Winter 2011 nfaonline.org small country, and of course we can’t assume everyone can The Bigger Prize speak Dutch or French. So the convention was a good occasion At that moment I really didn’t care about what prize I would to practice my English. have. I was thinking: “Being from Belgium, how many What I also liked a lot was the opportunity to discover so chances will I get to play a concert in such circumstances? many new pieces, especially for the piccolo, because all pic- Even more, in such circumstances and in the U.S.?” So I colo players have the feeling after a few years that nothing just wanted to play the best concert I could and to enjoy new is left to play. Well, I have plenty of new ideas now. this feeling as much as I could. This way of thinking seemed And then the competition itself. The fact that I had the to work. For that reason it’s a pity I can’t participate in the opportunity to participate at all was already a big event for me. piccolo competition again (first-prize winners are ineligi- I can’t complain about the opportunities I got in Europe. I ble to compete a second time), because only to have that obtained two master degrees in Antwerp, one for flute and one for piccolo. I also studied in Amsterdam (the Netherlands) for feeling, I would do it all again. two years. The master’s degree for piccolo is very new in That afternoon I just tried not to think of the results. I Europe. The idea was created in Antwerp and I’m glad to be went to Downtown Disney with Pieter-Jan and Ann-Sofie, one of the first students to get this degree. I have had a lot of Annemie and Peter’s children, and they made me laugh a audition training over the past two years, which helped me to lot. I was very relaxed when I came back. win a trial in the BBC Concert Orchestra last year, and I also But I have to be honest: I didn’t feel relaxed when it was have learned a lot of piccolo repertoire. So studying in Belgium time for the gala concert and for the announcement of the is not a disadvantage at all. But talking of competitions? As far piccolo competition results. All six semi-finalists had to go as I know, there is not one piccolo competition of this level in on stage and wait for the announcement. A few minutes Europe. Actually, this was my first piccolo competition in later, I learned I had obtained First Prize. general. It was a risk to travel that distance not knowing what to expect, but when I heard I had made the semi-finals, I had Thank You no doubts left at all. At this moment in my story I really want to thank a few There is also one thing I like very much about playing in people: Stefan De Schepper for going with us to Los Angeles other countries, also when I have orchestral auditions: and playing the piano so well. Annemie Verhoyen for arran- Nobody knows you. You can start from the first impression ging all the practical things and for being nervous together and you don’t have that extra pressure from people knowing with me. Aldo Baerten and Harrie Starreveld for all the inte- you and expecting something—or worse, expecting not resting flute lessons they gave me during the years at the con- really anything from you. I really like this feeling of being servatoire. The jury for their positive comments and for not known yet, not having anything to lose. giving me First Prize. And Peter, of course, for being one of > The Semi-Finals the best teachers I know, and for believing in me. Of course that doesn’t mean I didn’t want to make a good impression. I couldn’t ignore the fact that I was going to play for Anke Lauwers studied at the Conservatory of Antwerp with a jury consisting of very distinguished piccolo players. But the Peter Verhoyen and Aldo Baerten and at the Conservatory of most important thing for me was just to be able to enjoy these Amsterdam with Harrie Starreveld. She plays freelance in semi-finals and to trust my preparation of the last months. It various professional orchestras. was very helpful too that contacts with the other semi-finalists were very relaxing. Everyone was kind to one another, again proof that the atmosphere in competitions needn’t be only competitive. I was very glad to notice that. Gps!Uif Anyway, when I played the semi-finals, I was nervous, but I Qjddpmp!Tqfdjbmjtu enjoyed playing them. Some things went very well, but some boe!gps things went wrong, too, to my mind. So after I played, the end- less waiting for the announcement of the finalists started. Uiptf!Xip!Offe Actually, I was more nervous waiting for the announcement up!Tpvoe!Mjlf!Pof than I was playing for the semi-finals. So the relief was enor- mous when I heard I was one of the finalists. LFFGF In the final round I had to play the required work from 65!Divsdi!Tusffu Schoenfield and my own choice, a Belgian piece of Piet Swerts, QJDDPMPT Xjodiftufs-!Nbttbdivtfuut!129:1!VTB “Le Tombeau de Ravel.” This piece was originally written for CPTUPO Qipof;!892.47:.2737 (and recorded by) Peter Verhoyen. I liked this program a lot F.nbjm;!kjnAlffgfqjddpmp/dpn and I felt very good with it, because these compositions are not xxx/lffgfqjddpmp/dpn only very well written but also really nice to play and listen to. So when the moment was there to play the finals, I felt very dif- ferent by comparison with the semi-finals. I was less nervous, enjoying myself more, and able to do everything I wanted to do.

nfaonline.org Winter 2011 The Flutist Quarterly 37

Across by Dolores August the Miles

News about flute club and flute choir activities throughout the United States

The Raleigh Area Flute Association will host New York piece at a flute choir reading session at the 2008 NFA flutist Dave Weiss on Sunday, April 17, in an event titled Convention in Kansas City, but this is the first time the piece “Behind the Scenes on Broadway.” The afternoon will has received a public performance. The KCFC closed out the include stories, music, and videos to share glimpses into the first half of its season with its annual holiday performance at life of a Broadway musician. RAFA’s fall events featured Kansas City’s Crown Center complex, the home of Hallmark flutist Kate Steinbeck and flute maker Chris Abell in Cards. Plans for the spring include a Kansas-themed program September and Flute Fair guest artist Aralee Dorough in in celebration of the state’s sesquicentennial and a possible November. For information, visit raleighflutes.org. workshop with Kansas native Ellen Burr.

The Hampton Roads Flute Faire The Mid-South Flute Society will will host the 18th annual Hampton host Flute Festival Mid-South, at Roads Flute Faire on the campus Tennessee State University in of Old Dominion University in Nashville March 18–19. The festival Norfolk, Virginia, April 16. Guest will feature guest artist Rhonda artist Mimi Stillman will lead mas- Larson and will also include com- terclasses with High School and petitions, presentations, exhibits, College Competition winners and and flute choirs. A call for propos- will present a recital. For informa- als and competition guidelines tion, visit flutefaire.com or the may be found at midsouthflute.org. Hampton Roads Flute Faire Face- For information, contact jgdunna- Mimi Stillman book page. Rhonda Larson [email protected].

Magic Flutes Flute Choir from San Mateo, California, per- The Charlotte Flute Choir has a new home at the Southern formed October 10 at the San Francisco International Flute Park Music School; thanks to Connie Beach for her negotiat- Festival and held its annual winter concert December 12 at ing skills. Michael Lehtinen took in 25 homeless flutists and St. Matthew’s Catholic Church. The winter program includ- music files to share the school’s space. Also, thanks to Claire ed “L’Arlesienne Suite #2” by Bizet, “Jesu, Joy of Man’s Goodman’s son, Scott, the group now owns a new copy Desiring” by J.S. Bach, “Des Pas Sur La Niege” by Debussy, machine, which puts the choir back on track with working “Lo, How a Rose E’er Blooming,” and others. Magic Flutes is on a CD project and preparing for upcoming holiday per- directed by Pamela Ravenelle. formances. Player Michelle Conner is leaving for a three- month tour of duty in Iraq. The choir wishes her a safe return. The Kansas City Flute Choir obtained its nonprofit status in September. Also, two student choirs were dissolved and The Greater Cleveland Flute Society hosted an event with restructured into a single, primarily adult flute choir. jazz flutist Holly Hofmann on November 21 at The Music Advanced students may still join the flute choir by audition. Settlement in Cleveland. Hofmann performed and conduct- Cofounder and co-director Townes Osborn Miller was offered ed a clinic, teaching jazz techniques for flutists. In addition and accepted a temporary position on the music faculty of to its annual “Just Us” recital and concert in January, GCFS Mott Community College in Flint, Michigan. The flute choir will hold a student flute festival March 5 at Christ Episcopal wishes her well and holds out hope for her eventual return. Church in Shaker Heights, featuring Jane Berkner as guest The KCFC has continued to function under the direction of artist and clinician. For information, visit gcfs.org. cofounder and co-director Emily Smith. The “new” KC Flute Choir’s fall concert, “When autumn leaves begin to fall ...,” The Michigan Flute Orchestra presented its annual charity featured bassoonist Kim Krutz in a performance of Deborah concert at Madonna University in Livonia, Michigan, Anderson’s “Images from Mt. Tahoma.” Krutz performed the October 24. Under the direction of Shaul Ben-Meir, the

nfaonline.org Winter 2011 The Flutist Quarterly 39 SPOTLIGHT ACROSSTHE MILES Florida Flute Association flute orchestra premiered several new flute choir pieces: Elgar’s Enigma Variations, Gounod’s music from the Faust ballet, Tchaikovsky’s “Cappriccio Italien,” and Khachaturian’s “Aishe’s Dance” from Gayaneh. The MFO has entered into its 25th year, with members coming from all over southeast Michigan.

A performance in the 35th year of the Florida Flute Association. Five friends and teachers began the Florida Flute Association in 1976 at the National Flute Association Convention in Atlanta. The inspiration for our own state flute association was born with Nancy Clew (director of the International Flute Orchestra), Sarah Baird Fouse (with the University of Florida), and the late Charles The Olympia Youth Flute Choir DeLaney (Florida State University), Martha Rearick (University of The Olympia Youth Flute Choir, directed by Ninee Petchprapa South Florida), and Parker Taylor. Wolff, performed a “Flutes in Spring” concert in May. After beginning with a one-day Flute Fair, we now have 450 mem- Students all around Puget Sound performed at Olympia’s bers and hold a three-day annual convention. Our past guest “Artists’ Garage Sale” at the Olympia Armory, which raised artists have included major names in the flute world including funds for scholarships for Patrons of South Sound Cultural Julius Baker, William Bennett, Sir James Galway, Walfrid Kujala, and many others. Arts (POSSCA). OYFC also performed its spring concert An important element of our organization is the Gilbert at the Washington State Capitol Rotunda May 23 and its Memorial Endowment Fund administered by the FFA. Created to second annual “Holiday for Flutes” December 4. For infor- further the legacy of Geoffrey Gilbert, the Performance Study mation, visit pugetwoodwindstudio.com. Grant (odd years) and the Teaching Study Grant (even years) are one-time $1,000 awards given to FFA members who are accom- The Central Ohio Flute Association plished performers and committed teachers aiming to pursue will hold its annual flute festival future study. Geoffrey Gilbert was one of the most distinguished April 16 at Ohio State University. British flutists and flute teachers of the 20th century. Established Events include a recital and master- through the generosity of former students, particularly Sir James class with guest artist Marina Galway, the fund is perpetuated by individual gifts and Southern Piccinini, the final round of the Music Company royalties. This year we celebrate the 35th year of the Florida Flute 2011 COFA competition, a concert Association with a three-day convention January 28–30, 2011, at featuring flute choirs from across the Marriott Orlando Airport Hotel. Jill Felber, international the state, and an exhibit hall with touring and recording artist and professor at UC-Santa Barbara, nationally renowned vendors. For performs Saturday evening. The Friday evening concert features Marina Piccinini information, visit cofa.osu.edu. a program of music with an international flavor with Trudy Kane, former principal flutist of the Metropolitan Opera Orchestra and The Texas Flute Society is pleased professor of flute at the University of Miami, and Tereasa Payne, to announce the winners of the faculty member of Daytona State University and Bethune- 24th Myrna W. Brown Artist Cookman University and a touring musician with national Competition: Seth Allyn Morris of Broadway shows. Ann Arbor, Michigan, first place The convention includes professional and student flutists in ($1,200 prize); Shauna Hodgson of concerts, workshops, masterclasses, flute choir showcases, junior and senior juried Honors Flute Choirs, and exhibits of flutes, Cincinnati, Ohio, second place music, and accessories. The High School and College Young Artist ($500 prize); and Brittany Foster of competitions have cash prize awards. More information is avail- Cincinnati, Ohio, third place ($250 able at floridaflute.org, 941-962-1649, or [email protected]. prize). This fall, TFS hosted several —Irene Pruzan Carol Wincenc free clinics in the Dallas/Fort Worth area for the Texas All-State Auditions. Three predetermined The new Spotlight column profiles active flute clubs and choirs. Profiles are assigned in advance, but we welcome queries. Contact Dolores August for information. (See etudes of varying styles and difficulty were discussed. The pur- end of this section for contact information.) pose of these clinics is to offer assistance to the high school

40 The Flutist Quarterly Winter 2011 nfaonline.org flute community by way of improved practice methods and are the Alla Breve Flute Choir Concert with guest artist Kelly audition preparation/performance. On November 13, Linda Via February 13 at the Beatitudes Campus of Care in Chatterton presented her workshop “It Sounded Better at Phoenix, and AFS Summer Flute Camp June 1–4 at Tempe Home,” providing techniques to make performing more Church of the Nazarene in Tempe. For information, contact enjoyable. On November 20, Lois Bliss Herbine presented her [email protected] or azflutes.org. participatory lecture and masterclass titled “The Elements of Musicality,” which taught the “basics in the formation of a musical line” and melodious movements. The 34th Annual Texas Flute Festival will be held on the campus of the University of North Texas College of Music May 19–21. Guest artists include Carol Wincenc, solo concert flutist, Grammy nominee, and faculty member at the Juilliard School and Stony Brook University; Linda Toote, principal flutist of the Boston Lyric Opera and faculty member at Boston University College of Fine Arts and Boston Conservatory; Jonathan Keeble, flute professor at the University of Illinois at Urbana Champaign, principal flute of the Sinfonia da Camera, and recording artist; and Seth Morris, winner of the 2010 Myrna Flutissimo Flute Choir Brown Artist Competition. For information, visit texasflute- Flutissimo! Flute Choir performed the National Anthem and society.org or contact [email protected]. “God Bless America” at the Fort Worth Cats baseball game— on a day when temperatures reached 107 degrees. For the The South East Michigan Flute Assoc- first time, the annual performance incorporated the use of a iation hosted Greg Pattillo with microphone. The fall series featured an homage to Ellis Island, Project Trio in a concert, workshop, including a slide show accompanying music representing the and silent auction reception in birth countries of people who came through Ellis Island to the October in Ferndale, Michigan. United States. The choir ended the performance with the “Stars SEMFA will host a high school mas- and Stripes Forever” and a virtual fireworks show. The group terclass for SEMFA students with gave Christmas performances at many venues, including Western Michigan University flute retirement homes, malls, and the train station. A spring concert, professor Martha Councell-Vargas “A Flute Bouquet,” will feature music to celebrate the season. January 24 at the Westmin-ster Greg Pattillo Presbyterian Church, 1500 Scio The New Jersey Flute Society began its season with an Church Road, Ann Arbor, MI 48103. SEMFA’s Ninth extended techniques masterclass at Caldwell College Annual Flute Festival, its biggest event, features guest artist October 9 with Elise Carter. In November, a Flute Expo Raffaele Trevisani April 29–30 at the Walgreen Drama Center showcased DiZhao Flutes with Bill Hutzel, the Pro Flute on the University of Michigan North Campus in Ann Arbor. Shop with Joan Sparks, the Flute Center of New York with Its two competitions will be held during the festival: the High Phil Unger, and Flute Repair with Virginia Schulze- School Young Artist Competition and the Ervin Monroe Johnson. The expo also included a concert with Ronna Young Artist Competition. For information, visit semfa.org. Ayscue at Ryder University and a flute choir reading session led by Schulze-Johnson. Upcoming events include Duo The Alla Breve Flute Choir, conduct- Caramba! (flute and guitar) with Carla Auld, flute, ed by Elizabeth Buck, represented the February 5 at the Madison Public Library; Patricia Lazzara Arizona Flute Society at the NFA and Marimbist Yale Snyder in recital in March; an convention in Anaheim in August. Ensemble Festival for grades 7 to college age, coordinated The performance included the NFA by Patricia Lazzara, April 3 at Caldwell College; and the premiere of “Ikebana” by Gary Zinkali Trio, with Elise Carter, flute, performing in May. On Shocker, which was commissioned June 6 at Caldwell College in Caldwell, New Jersey, by the Society in 2010. The first “Celebrate the Flute,” coordinated by Annette Baron, will annual Autumn Affair was held feature solo flute, flute ensemble, and mixed ensemble per- September 26 at the Heirloom formances by adult NJFS members and musical guests. Kelly Via Restaurant in Scottsdale, Arizona. Officers for NJFS are Elise Carter, resident; Virginia The event featured the music of Christopher Caliendo per- Schulze-Johnson, vice president/program chair; Bill Hutzel, formed by the Caliendo Duo, with Caliendo on guitar and his membership secretary, webmaster, and treasurer; Patricia wife Kristin on flute, and included a silent auction. The AFS Lazzara, events coordinator; Prudence Wiedemann, secre- 2010 Competition and Festival was held November 20 at tary; and Jenny Cline and Carla Auld, newsletter editors. Phoenix College. The competition included entrants in all For information, contact [email protected] or visit divisions, Debut through College and Adult. Future events njflutesociety.org.

nfaonline.org Winter 2011 The Flutist Quarterly 41 ACROSSTHE MILES

UpTown Flutes members Elise Carter, Karen Demsey, Jeanne Fessenden, Patricia Lazzara, John McMurtery, Seth Rosenthal, Rebecca Vega, and Virginia Schulze-Johnson performed at William Paterson University September 23 as part of the Midday Artist Series. UpTown Flutes will perform at Caldwell College on April 7 to celebrate women composers. The 17th LIFC Professional Flute Choir Phyllis Louke Annual New Jersey Flute Choir Island flutist Pamela Sheryll Pfell. In addition, there was a Day, sponsored by the Music Department at Drew presentation on performance opportunities in the military. University, will be held March 27 from 8 a.m. to 6 p.m. The LIFC Holiday Flute Choir, under the direction of Lauren with a concert at 4 p.m. Flutist, composer, and arranger Osnato, presented “Silvery Sounds of the Season” December Phyllis Louke is the guest artist. Members of UpTown 4 at the United Methodist Church of Lake Ronkonkoma and Flutes and the New Jersey Flute Society participate in and December 5 in the Red Ballroom at Old Westbury Gardens. support this program. For information about UpTown Flutes, visit uptownflutes.com. For information about New Jersey The International Flute Orchestra Flute Choir Day, visit depts.drew.edu/music/beyond/. will tour Turkey in May. Con- ductor for the tour will be John The Capital Area Flute Club (CAFC) opened its season in Bailey. The orchestra toured September with an open house for area flutists to come and Belgium and Holland in May sit in for a rehearsal. Made up of amateur and professional 2010. The IFO is composed of flutists from around the New York Capital Region, CAFC college teachers and orchestra meets one Saturday a month from September through June; musicians from all over the U.S. meetings are held at St. Stephen’s Episcopal Church in and Canada and has been touring Delmar, New York, just outside of Albany. In October, CAFC different countries annually hosted a workshop with flutist Myriam Hidber Dickinson Nancy C. Clew and John Bailey since 1996. Membership in the from Arlesheim, Germany, who worked with the group on IFO is by recommendation from current members or appli- various items including the Peer Gynt Suite arranged by cation to director Nancy C. Clew at [email protected]. Shaul Ben-Meir, which will be performed at the annual May concert. Donations will benefit the local food bank and a The Seattle Flute Society will charity to be named at a future date. In December, the host its annual Flute Festival group performed for the fifth time at one of the local April 3. The festival will feature Winter Walk events held in the Albany area. For information, guest artist Denis Bouriakov, prin- contact [email protected]. cipal flute of the Metropolitan Opera Orchestra. The Festival Quad City Flutes Unlimited performed a concert entitled includes a warm-up, a concert, “Christmas Around the World” December 15 at Butterworth Denis Bouriakov flute choir performances, com- Center, Moline, Illinois. The concert was directed by Mary mercial exhibits, and a Young Members’ Recital. Other events Kae Waytenick, with Janet Stodd as artistic director. Music in the 2010–2011 season included a concert, masterclass, and included arrangements of Christmas music from Europe, yoga and improvisation workshops by the duo Forbidden Latin America, and Africa, as well as traditional favorites Flutes (Laura Barron and Liesa Norman) and a recital by arranged by Ann Cameron Pearce. University of Illinois flute professor Jonathan Keeble. Every year, the Seattle Flute Society sponsors the Frank and Lu The Long Island Flute Club opened its 26th season with a Horsfall Competition for flutists in middle school and high concert November 7 at the Sachem Public Library. The con- school. For more information, visit seattleflutesociety.org. cert featured the LIFC Professional Flute Choir, under the direction of Debra Schild, and the LIFC Honors Student The Greater Portland Flute Flute Choir, under the direction of Danielle Shulman. On Society held its annual flute November 13, LIFC held the 22 annual LIFC Flute Festival at choir reading session, “Cocoa Oyster Bay High School. This day-long event featured solo Cookies and Choir,” in January. and ensemble classes and a Body Mapping workshop by In February, the flute section of Lynne Krayer-Luke and performances by soloists Diana the Oregon Symphony—David Powers and Torin Olsen of the West Point Band and Long Marco Granados Buck, Alicia DiDonato Paulsen,

42 The Flutist Quarterly Winter 2011 nfaonline.org and Carla Wilson—performed a joint recital. The GPFS April Flute Fair fea- tured workshops, performances, a large exhibit hall, and guest artist Marco Granados. Granados per- VYRZOVW+PYLJ[VYZ!$P\3RUWHUñXWH "-HUDOG6FKZLHEHUWPRYHPHQW    'DYLG*LOOLODQGSLDQR"/DXUD'Z\HUñXWH \RJD :WLJPHS.\LZ[(Y[PZ[!0HU*SHYRL7YVMLZZVYVM-S\[L.\PSKOHSS:JOVVSVM   4\ZPJ +YHTH<2 (^HYK^PUUPUNJVTWVZLY   

PXVLFXPLFKHGXDGXOWSURJUDPV

T7\SZL Rose City Flute Choir 6XPPHU)OXWH,QVWLWXWH -XO\ Rose City Flute Choir performed a Lobby Concert at the National Flute IRUKLJKVFKRROVWXGHQWV  (Z\TTLYWLYMVYTPUNHY[ZJHTWVU[OL(UU  Association’s annual convention in (YIVYJHTW\ZJHYY`PUNOPNOZJOVVSZ[\KLU[Z[V Anaheim. The program included an L_JP[PUNUL^SL]LSZVML_JLSSLUJL  abbreviated arrangement of The Planets by Gustav Holst and Temple PXVLFXPLFKHGX\RXWKSURJUDPV of Heaven, an original piece in four movements by Phyllis Avidan Louke. Temple of Heaven was descriptive of the four temples at the center of <4-HJ\S[`+PYLJ[VY Beijing, China: Temple of the Sun, (T`7VY[LY Temple of the Moon, Temple of the Earth, and Temple of Heaven. These works were followed by the world premiere of a newly commissioned MIA ADVERTENTIE 56x65:Opmaak 1 03-09-2 work by Brian Balmages called “Celestial Bodies.” The piece, Balmages’s first for flute choir, Nederlands Fluit Genootschap includes flowing melodies and special
    effects including humming, key clicks, Dutch Flute Society wind noise, and jet whistles. The   encore piece was a world premiere of QUARTERLY FLUIT for the avid adult flutist “Every Time I Feel the Spirit” from Worldwide shipping! Four Spirituals for Flute Choir, May 2 - 8, 2011 arranged by Phyllis Avidan Louke. Wordt lid en ontvang de in the beautiful Blue Ridge Send information about flute club activ- nieuwe NFG-cd gratis! Mountains of North Carolina ities, and high-resolution images if avail- able, to Dolores August, Flute Clubs www.ashevilleflute.com Coordinator, [email protected]. [email protected] www.nfg-fluit.nl

nfaonline.org Winter 2011 The Flutist Quarterly 43 Simon Polak good intonation, traverso dynamics +31 653323203 and The Netherlands easily speaking

www.earlyflute.com [email protected] Notes from Around Conventions, festivals, competitions, and other global flute activities theWorld Marseille Hosts International Tribute to Jean-Pierre Rampal by Leone Buyse During the last three days of October 2010, the city of Marseille hosted an interna- tional gathering to honor the memory of Jean-Pierre Rampal. A native of Marseille, Rampal died in May 2000, leaving the international flute community an extraordinary Jean-Louis Beaumadier, Pascale Feuvrier, Sibel Pensel, Sheryl Cohen, Leone legacy through his decades as a Buyse, and Celso Woltzenlogel. soloist, chamber musician, recording artist, and teacher. Members of the Rampal family, including his wife Françoise, son Jean-Jacques, and daughter Isabelle, attended, as did many former Rampal students and young flutists seeking to learn more about his life. Organized by Marseille native and acclaimed piccolo soloist Jean-Louis Beaumadier, professor at the Marseille Conservatory and a former student of both Joseph and Flutists also performed at a “reverberant church”: Beaumadier, Feuvier, Andras Adorjan, Buyse, Woltzenlogel, Sibel Pensel, Claudi Arimony, and Cohen. Jean-Pierre Rampal, the “Journées Rampal” took place primarily at the Conservatoire National à Rayonnement Rampal’s duo partner for many years and now an adjunct Régional Marseille, where a comprehensive exhibition of professor at the Cincinnati College-Conservatory of Music. photographs illuminating Rampal’s remarkable career Among numerous other memorable events were two con- greeted attendees. Flutists from France, Germany, certs in the Basilica of the Sacred Heart, a beautiful, highly England, Austria, Spain, Italy, Russia, the United States, reverberant church that an enthusiastic local audience filled and Brazil performed, and master teachers Maxence to overflowing for both concerts. A light-hearted moment in Larrieu, Andras Adorjan, and Philippe Bernold presented Sunday afternoon’s closing concert was a group perform- classes featuring students from the Conservatory. As a ance of an arrangement by Bernard Boetto featuring themes grand finale to Saturday afternoon’s “Concert from Mozart’s flute concerti, ably conducted by Ransom Divertissement,” the indefatigable Trevor Wye presented Wilson and aptly retitled “Avenue Mozart” for the occasion, his ever-entertaining Carnival of Venice: 50 Variations for in honor of the Rampals’ Parisian address. A tangible cama- 60 Flutes, complete with interpreter. raderie enlivened the entire weekend, adding an unforget- On Saturday evening, Denis Verroust, president of the table spirit to this reunion tribute. Association Jean-Pierre Rampal, spoke on Rampal’s life. He was assisted by Bernard Duplaix, foremost living authority on Louis Lot flutes, and by two people who had 2010 NFA Lifetime Achievement Award recipient Leone known Rampal well: Caline Barbizet and Jacques Buyse is the Joseph and Ida Kirkland Mullen Professor of Bonnadier. Video and audio illustrations were particular- Flute at Rice University’s Shepherd School of Music. In 1993 ly moving, as were words by Sheryl Cohen, author of Bel she relinquished her position with the Boston Symphony Canto Flute: The Rampal School. It was also very mean- Orchestra to pursue a teaching and solo career after 22 years ingful to have in our midst pianist John Steele Ritter, as an orchestral musician.

nfaonline.org Winter 2011 The Flutist Quarterly 45 NOTES FROM AROUNDTHE WORLD The Second International Theobald Böhm Competition for Flute and Alto Flute will be held April 4–8 in Munich at the Hochschule für Musik und Theater. Sponsored by the Theobald Böhm Society in connection with the German Flute Society and the host school The competition will present prizes of 5,000, 3,000, and 1,500 (E) for first, second, and third places respec- tively, plus special prizes for best performances on an alto flute in G and on a flute with an open G-sharp key. Registration deadline is April 1; for more information, contact Ludwig Böhm by phone at 089-875367 or by e-mail at [email protected].

The submissions form for the British Flute Society’s 2012 Convention is available for download from the BFS Web site at bfs.org.uk. The submissions deadline is June 30, 2011.

NFA members Susan Berdahl, Mary Karen Clardy, Tadeu Coelho, and Helen Spielman were invited to the Fifth Latinoamericano Festival de la Flauta Traversa at the Escuela Nacional de Musica (National

Isabelle (left) and Michelle, students at Music School) in Teg-ucigalpa, the National Music School, were Honduras, September 27–Oc- among the Flute Festival’s participants. tober 1, 2010. Other visiting faculty were Yvan Bertet (France), Margareth Chinchilla (Costa Rica), and Laura Sierra (Honduras). Berdahl, who was instrumental in initiating the festival in 2002, rehearsed and con- ducted a flute orchestra of 40 musicians. Clardy, Coelho, Bertet, Chinchilla, and Sierra gave masterclasses and lessons. Spielman presented private sessions and a conference on performance anxiety. The festival takes place every two years and is organized by Jessie Godoy, professor of flute at the National Music School. There are no flute repair people in the country, one of the poor- est in all the Americas. Coelho and Spielman donated 10 flutes and three piccolos to students, through the generosity of the members of Flutes for Honduras Facebook Cause, Lisa Hedley, Karen Bogardus, and anonymous donors. Carolyn Nussbaum Music Company (flutes4u.com) donated two gifts for every participant at the festival. Coelho and Spielman received Fulbright-Hays Travel Grants for this endeavor. Additional sponsors were the Honduras Ministry of Culture, Department of Education, corporate sponsors, and private donors.

From left, Margareth Chinchilla, Mary Karen Clardy, Susan Berdahl, Helen Spielman, Jessie Godoy, Tadeu Coelho, and Yvan Bertet.

Editor’s note: Christine Beard is the new editor of this depart- ment. Send notices of international events, plus high-resolution images if available, to Beard at [email protected].

46 The Flutist Quarterly Winter 2011 nfaonline.org )/87(62/26 ZLWK 25&+(675$/$&&203$1,0(17

FKDQJHWKHWHPSRUHFRUG\RXUVHOI ZLWKWKHDFFRPSDQLPHQWDQGPRUH %DFK'DQ]L'HYLHQQH 'RQL]HWWL)DXUp*OXFN0DVVHQHW 0R]DUW7HOHPDQQ9LYDOGL IRUPRUHLQIRUPDWLRQ SOHDVHYLVLWRXUZHEVLWH

&ODVVLFDO&ROOHFWLRQ,QF&RP

   Two decades of experience   serving professional flutists 1'/& and their instruments   with craftsmanship and care

+*/$-$340(3  

Sarah Merrow Photo: Felix Rust +-'*%+-)!/'+*!*#-$,$-/+-3('./ 343 Medford Street $)!'(,!/-'"'!,!/-'"'!&!-,$-"+) 2nd Floor /$($,&+*$%!2 Somerville, MA 02145 978.771.7945
   www.syrinxflute.com Syrinx sarah@syrinxflute.com Fine Flute Repair PassingPassing Information about absent friends TonesTones utch flutist Koos Verheul died lutist and music therapist Karen recreational therapist at the Southern DOctober 8, 2010, in his home in FGutekunst, 57, died June 8, 2010, Wisconsin Center, a residential treat- Leinden, The Netherlands. He had been more than a year after being diagnosed ment center for adults with develop- diagnosed with cancer a year earlier. with a rare thymus cancer. After the mental disabilities, until her health Verheul was born November 7, 1927, in cancer had spread to her lungs and began to fail in 2009. She returned to Boskoop, The Netherlands. He studied heart, the musician and long-time the flute in the late 1990s, performing with Johan Feltkamp at the Conservatory world traveler told loved ones that she with the local American Legion Band in the Hague and in 1952 and 1954 par- was embarking on her “next great and in an ensemble of flutists that she ticipated in masterclasses taught by adventure.” Karen Gutekunst grew up in Italian flutist Severino Gazzeloni in Brookfield, Wisconsin, graduating from organized. Guntekunst’s last perform- Darmstadt, Germany, receiving the Milwaukee Lutheran High School, ance with the group was only days Kranichsteiner Musikpreis in 1954. In where she played flute as well a other before her death. The ensemble’s mem- 1959, Verheul became first flutist of the instruments as needed, including the bers have renamed their group the Residentie Orchestra in The Hague and French horn. She received a degree in Gutekunst Flute Ensemble in her honor. remained there until his retirement in music therapy at Alverno College in Gutekunst is survived by a brother, 1989. Throughout his life, Verheul cham- Wisconsin and worked as a music and Neal, and her sister, Jan Stittleburg. pioned contemporary compositions. Many new works were written for him Call For Scores and Proposal and he premiered numerous composi- tions. As a soloist, he performed with his Competition to commission a new, original wind quintet by the consortium of JWQP own orchestra and many others, includ- (Joint Wind Quintet Project): the National Flute Association, the International Double Reed Society, the International Clarinet Association, and the International Horn Society. ing the Netherlands Chamber Orchestra and the Dutch Radio Orchestra under AWARD and PERFORMANCE: the baton of such conductors as Pierre The winning composer will receive $10,000. There will be four featured performances in Boulez, Bruno Maderna, and Hans the summer of 2012 at each of the instrument society’s conventions. Zender. He played in many chamber ENTRY FEE and DEADLINE: music ensembles, including the There is no entry fee. All application materials must be received by March 1, 2011. Residentie Wind Quintet, and performed Announcement of winner will be June 1, 2011. in duo with pianist Jan van der Meer for SUBMISSION GUIDELINES: more than 50 years. He made many radio 1. Must display technical and compositional variety, yet be ultimately playable by a recordings, records, and CDs. Verheul reasonably large portion of our memberships. 2. 10–14 minutes in length, multiple movements accepted. continued to perform until the age of 80. 3. Balance of musical and technical activity in all parts. Also a passionate teacher, Verheul taught 4. Use of auxiliary instruments such as piccolo and English Horn OK. more than 200 students over his lifetime 5. The winner would be required to have the finished score and parts three (3) months at the Conservatories of Tilburg and before the premiere. Amsterdam and as a guest professor in 6. All materials will need to be submitted online via PDF and mp3 files. Amsterdam and Utrecht. He taught 7. Arrangements of previous work will not be eligible for this commission. impeccable technique, a large carrying COMPOSERS SHOULD SUBMIT: sound, clear articulation, and rhythmical 1. Bio – one (1) page only with any recent commissions and performances listed. precision, and encouraged students to 2. A clear description of proposed piece and interest in writing for wind quintet. 3. Score samples: proposed work, other wind quintet or wind writing, or other significant works. explore and learn the contemporary 4. Recorded samples of the submitted scores, in mp3 format only. repertoire as well as the classical orches- tral and chamber music repertoire. He Submit all application materials online at: http://www.hornsociety.org/jwqp. Submissions encouraged his students to go “their own will be judged anonymously; contestants should not put their names on any of the submit- ted materials besides the application. way,”‘ without pressuring them into fixed ways of playing. With the death of Koos JURY: Verheul, the music community has lost Mariam Adam – Clarinetist, Imani Winds (ICA) Peter Bacchus – Flutist, Grup21, Composer (NFA) an extraordinary musician, a champion Joseph Ognibene – Horn, Iceland Symphony (IHS) of contemporary music, a dedicated John Steinmetz – Bassoonist, Composer (IDRS) teacher, and a true and authentic human being. He will be missed. SEND ANY FURTHER INQUIRIES TO: [email protected] —Aldo Baerten

48 The Flutist Quarterly Winter 2011 nfaonline.org 39THANNUALNATIONALFLUTEASSOCIATIONCONVENTION

OUGH D HR IV T E R Y S T I I T N

Y

U

MANY FLUTISTS, ONE WORLD AUGUST 11–14, 2011 Lisa Garner Santa CHARLOTTE, NORTHCAROLINA

he 2010 Convention, “Illuminating Charlotte Convention Center. For overcoming the challenges facing flutists Tradition,” highlighted the vision information, contact Amy Whitehead at when undergoing treatment and recovery. Tof NFA founder Mark Thomas as [email protected]. Other headliners include Paula Robison we celebrated the growth of our organi- Charlotte is also home to our own (also speaking at the Flute Lover’s Lunch), zation in the home of its first convention, Amy Blumenthal of Alry Publications. Paul Edmund Davies, Jean-Louis Anaheim, California. Thomas envisioned Through the generosity of the Blum- Beaumadier, Jill Felber, Brad Garner, an organization that would support all enthal Family and Foundation and the Göran Marcusson, and Guoliang Han. flutists, from students to teachers, begin- North Carolina Blumenthal Performing You won’t want to miss Japan’s Magnum ners to professionals, amateurs to concert Arts Center, we will have access to the Belk Trio or Italy’s flute choir, Joueurs de Flûte. soloists. Not only have we fulfilled this Theater, one of the finest performance Bill Westney, author of The Perfect Wrong vision, but we now reach beyond per- venues ever experienced at a convention. Note, presents his “Un-Masterclass.” ceived boundaries of nation or ethnicity Thursday’s Gala features Rachel My assistant, Meg Griffith, and I are to serve a global community of flutists. It Brown on traverso and the Dorian having such fun sorting through the seems natural to embrace this coming Consort Instrumental Ensemble with more than 300 proposals! We are together under the theme of our 39th Eva Amsler. Friday’s Gala showcases impressed with the level of creativity. We annual convention, “Unity Through Rhonda Larson and Turkish world hope to have notifications out no later Diversity: Many Flutists, One World.” flutist Omar Faruk Tekbilek. Saturday’s than March 1, and appreciate the While tradition illuminates the path, Gala begins with a world premiere patience of all who submitted proposals. global communications through medi- opener by Mike Wofford for multiple We are excited to have Danielle Miller ums such as iTunes and YouTube have set flute choirs, orchestra, and rhythm sec- Wunderlich and Lynn Bowes, co-presi- off a chain reaction of unprecedented tion, followed by performances by dents of the Charlotte Flute Association, musical creativity. The accessibility to this Christina Jennings, Jean Ferrandis, as local arrangements chair and volun- creative output has upwardly propelled Marina Piccinini, jazz flutist Holly teer manager. Rosene Rohrer and Nancy the level of performance, pedagogy, and Hofmann, and Lifetime Achievement Schneeloch-Bingham, president and sec- scholarship. All of this promises us an Award Recipient Carol Wincenc. A retary of the Raleigh Area Flute exciting 2011 convention in the Queen Lifetime Achievement Award also will Association, will serve as stage manager City of Charlotte, North Carolina—coin- be presented to England’s Trevor Wye, and information booth manager. cidentally, home of Mark Thomas! and the NFA couldn’t honor Wye with- It is a great honor to serve as program Thomas turns the big 8-0 in 2011, out hosting a performance of his signa- chair. Not until I began wearing these and the NFA, along with the Charlotte ture Carnival Variations! shoes did I truly begin to understand the Flute Association, will celebrate, begin- The NFA will pay tribute to dedicated depth of generosity to be found within ning with a special tribute recital featur- member Katherine Borst Jones with a the NFA. Many individuals contribute to ing former students on Thursday. That Lifetime Service Award. Borst Jones will the whole of this organization: Indeed, evening, the Charlotte Flute Association also moderate a panel discussion on the NFA is a living, breathing exemplifi- hosts a birthday celebration at Mimosa Breast Cancer and the Flute, an open cation of Unity through Diversity. Grill, just a short walk from the dialogue with audience members about —Lisa Garner Santa

nfaonline.org Winter 2011 The Flutist Quarterly 49 NEW PRODUCTS Recordings, music, and other products by and for NFA members

Albany Records is proud to Theodore Presser announces a announce the release of new edition of Daniel Dorff’s Simultaneous Worlds. Rep- Flash! for solo piccolo with band ertoire includes Alejandro accompaniment. The winner of Rutty’s “Simultaneous Worlds”; the 2009 International Piccolo David Maki’s “Ilta”; Mark Sym-posium biennial composi- Engebretson’s “Two Duos”; tion competition in its original John Allemeier’s “Songs of version for piccolo and piano, Earth and Sky”; Jeff Herriott’s this edition comes fresh from the “...dissipation of a thought...”; NFA premiere featuring Walfrid and Carl Schimmel’s “Temper Kujala, who commissioned the Mutations.” The music is performed by Due East, a duo new band version specifically for consisting of flutist Erin Lesser and percussionist Greg Beyer. this concert, following his many Though they were not composed with this particular recording performances of the original piccolo and piano version. The in mind, each of the six pieces on this CD explores different East Coast premiere was held November 18, 2010, featuring ways to combine the sounds of flute and percussion. Boston Symphony piccoloist Linda Toote with the Boston Stylistically, these compositions vary greatly, but they also University wind ensemble. Visit presser.com. complement each other by showing the manifold possibilities that flute and percussion duos offer, from evoking folkloric idioms to exploring new sounds through special performance Golden Tone Records has released effects and nontraditional timbres. Due East has performed Virtuoso Flute Trios, featuring throughout the United States, Canada, Brazil, and Europe and music for two flutes and piano per- has been invited to participate in the NFA’s annual convention, formed by Paul Fried and Alan the SEAMUS conference, and the Percussive Arts Society Weiss, flutes, and Bryan Pezzone, International Convention. In 2008, Due East won first prize in piano. The CD (available as a the NFA’s Chamber Music Competition. The duo has given DVD) includes music by Böhm, recitals at concert series, new music festivals, and universities Doppler, J.S. Bach, and Kuhlau. around the U.S., and in 2006, it was invited to be Ensemble- Fried has recorded widely in a vari- in-Residence at the Yellow Barn Music Festival. Due East’s ety of styles and by a wide variety of composers, including concert programs range from extensive multi-media and classical, baroque, easy listening, and contemporary music in technology-driven works to music that incorporates folkloric solo, duo (with guitar, piano, oboe, harpsichord, and others), influences from around the world. Visit albanyrecords.com. chamber, and full orchestra settings. Weiss has performed with the Boston Pops Orchestra and many other musicians and ensembles, was principal and solo flutist of the Virginia Pearl Flutes Performing Artist (Norfolk) Symphony, and has been a member of the Boston Tina Signorelli recently released Classical Orchestra since 1987. Visit paulfried.com. her first solo CD, Nuances. Most of the 15 pieces on the CD are premieres of works written by Carl Fischer Music has published David Carlson’s Vocalise Gary Schocker, Christopher for solo instrument (flute or cello) with piano accompani- Caliendo, and other living com- ment; the piece is for advanced players. Carlson has com- posers. Signorelli is the first adult posed in many genres including orchestral music, chamber to graduate from the Eastman music, and opera. His works have been performed by some School of Music Community Education Division with honors, of the country’s leading orchestras and chamber ensembles. earning an adult certificate in He has received grants from Meet the Composer and com- flute, certificate of advanced missions from Chamber Music America, the a cappella achievement in performance, and two certificates of merit. vocal group Chanticleer, and opera companies in New York, She has performed with the NFA’s professional flute choir and Utah, California, Missouri, and Florida. In 1995 he was performs in numerous small ensembles. Visit given an Academy Award in composition by the American tinasignorelli.com or pearlflutes.com. Academy of Arts and Letters. Visit carlfischer.com.

50 The Flutist Quarterly Winter 2011 nfaonline.org Theodore Presser Company announces new works for flute solo, duet, and ensemble by composers such as Gary Schocker and Daniel Dorff from Theodore Presser and affiliated publishers Falls House Press and Billaudot. Visit presser.com. Arranged by Martin Melicharek III, Falls House Press offers Famous Arias from “The Magic Flute” for flute choir, featuring “Monostatos’ Aria,” “Papageno’s Aria,” and “The Queen of the Night.” The works in this transcription are taken directly from the score and are faithfully reproduced in this edition; for advanced players. Old New Borrowed Blue: A Collection of Fun Duets for Flute and Bb Clarinet by Daniel Dorff, from Tenuto Publications, follows Dorff’s Three Romances and Two Cats for flute and clarinet duo. Tenuto presents a new collection of three more flute and clarinet duets: “Three Little Waltzes,” premiered at the 2010 NFA convention, and new editions of the earlier “Dances and Canons” and “Andante con Variazioni,” all together in one publication; for intermediate to professional players. Originally composed for flute, French virtuoso flute and piccolo player Eugène Damaré’s 1st Polonaise, Op. 225, from Billaudot, is now available for piccolo and piano, arranged by Jean-Louis Beaumadier; for advanced players. Paul Taffanel’s free arrangement of a theme from Tchaikovsky’s popular opera, Eugene Onegin, is a part of a story about a selfish hero who comes to regret his rejection of a young woman’s love and a careless fight with his best friend that ends fatally. For flute and piano, Arioso (extrait d’Eugène Onéguine by Tchaikovsky), Op. 24, is for advanced players. Best known for his Carnival of Venice for flute, French Romantic composer Paul-Agricole Génin left behind lesser-known gems for the flute world, and now piccolo players will have the chance to play his Berceuse, Op. 6, from Billaudot, arranged by Billaudot’s Jean- Louis Beaumadier; for advanced players.

nfaonline.org Winter 2011 The Flutist Quarterly 51 NFA Office, Coordinators, Committee Chairs Please check the NFA Web site for any changes and updates to addresses, phone numbers, and e-mail addresses: nfaonline.org

NFA OFFICE Program Book Editor Historical Flutes Convention Performers ARCHIVES AND LIBRARIES Chief Executive Officer Anne Welsbacher Linda Pereksta (2007) Sally Humphreys (2008) NFA Librarian Phyllis T. Pemberton 7213 E. Chelsea St. University of Wisconsin–Oshkosh 380 E St. Bob Diaz 26951 Ruether Ave., Ste. H Wichita, KS 67206 Department of Music Salt Lake City, UT 84103 NFA Music Library Santa Clarita, CA 91351 316-440-2800 800 Algoma Blvd. 801-355-8859 c/o University of Arizona Libraries 661-713-6013 fax: 316-440-2801 Oshkosh, WI 54901 [email protected] 1510 E. University fax: 661-299-6681 [email protected] 920-424-4226 Graduate Research Tucson, AZ 85721-0055 [email protected] [email protected] Program Book Advertising Michelle Cheramy (2007) 520-621-7010 Sales Representative School of Music [email protected] Jazz Convention Director Steve Wafalosky Memorial University Kris Keith (2010) Madeline Neumann LaRich & Associates, Inc. of Newfoundland OTHER APPOINTMENTS 26951 Ruether Ave., Ste. H 512 East Washington St. 5129 Glenaire Dr. St. John’s, Newfoundland Development Consultant Santa Clarita, CA 91351 Chagrin Falls, OH 44022 Dublin, OH Canada A1C 5S7 Christa Flueck 661-299-6680 440-247-1060 614-263-1702 [email protected] fax: 661-299-6681 Fax: 440-247-1068 [email protected] [email protected] [email protected] High School Soloist [email protected] Director of Public Relations Low Flutes Cristina Ballatori (2009) Ann Rosenblum (2008) Membership Director Program Book Bio Editor Christine Potter (2009) University of Texas at Brownsville 12 Princeton St. Maria Stibelman Lisa Van Dusen (2007) 2985 18th Street Fine Arts Dept./Music Summit, NJ 07901 26951 Ruether Ave., Ste. H 26629 N. 45th Pl. Boulder, CO 80304 80 Fort Brown 908-608-1325 Santa Clarita, CA 91351 Cave Creek, AZ 85331 303-443-3330 Brownsville, TX 78520 fax: 908-608-1326 661-713-2072 480-473-4877 [email protected] 585-880-4381 [email protected] fax: 661-299-6681 [email protected] [email protected] [email protected] New Music Advisory Gala Fundraising Dinner Chair Jazz Flute Soloist Flute Choirs Coordinator Dianne Aitken (2010) Publications Director Angeleita Floyd (2008) Ali Ryerson (2010) Kelly Via (2007) 116 Earl Grey Road Anne Welsbacher 3743 Beaver Ridge Cir. 12 Longview Dr. 965 Daisy Ct. Toronto, Ontario 7213 E. Chelsea St. Cedar Falls, IA 50613 Brookfield, CT 06804 Lawrenceville, GA 30044 M4J 3L5 Canada Wichita, KS 67206 ph/fax: 319-268-1001 203–740–2044 770-935-1379 316-440-2800 cell: 319-290-2852 416-465-3967 [email protected] [email protected] [email protected] [email protected] fax: 316-440-2801 aliryerson.com Flute Clubs Coordinator [email protected] COMMITTEE CHAIRS Nominating Jazz Flute Masterclass Dolores August (2009) 1809 Sevilla Road Advisory Committee Beth Chandler (2010) Bryan Kennard NFA Online Administrator Fort Worth, TX 76116 Leonard Garrison (2010) 3215 Briarwood Ct. 8100 N. Mo Pac Expy. #243 Brian Covington 682-553-0979 [email protected] Lionel Hampton School of Music Harrisonburg, VA 22801 Austin, TX 78759 Music Room #206, University of Idaho 540-574-3772 216-224-3123 [email protected] CONVENTION Moscow, ID 83844-4015 Fax: 540-568-7819 [email protected] Flute Research Coordinator 208-885-6709 Program Chair [email protected] Michelle Cheramy (2007) fax: 208-885-7254 Jazz Flute Big Band Lisa Garner Santa Ali Ryerson (2009) School of Music [email protected] Pedagogy Texas Tech University 12 Longview Dr. Memorial University Stacey Graham Steele (2009) Box 42033 Amateur Resources Brookfield, CT 06804 of Newfoundland 110 Poplar Forest Dr. Lubbock, TX 79409-2033 Lisa Fahlstrom (2007) 203-740-2044 St. John’s, Newfoundland Slippery Rock, PA 16057 [email protected] 1216 Travis View Ct. [email protected] Canada A1C 5S7 724-794-2127 Gaithersburg, MD 20879 aliryerson.com 709-737-7477 Assistant Program Chair 301-948-5333 [email protected] [email protected] Meg Griffith Masterclass Performers fax: 301-279-1323 Grants Committee Texas Tech University [email protected] Performance Health Care Jill Heyboer (2007) Danielle Hundley (2008) Box 42033 Lea Pearson (2010) Music Department 1124 Collier Rd. Lubbock, TX 79409-2033 Archives and Oral History 3085 Kenlawn St. Missouri State University [email protected] Nancy Toff (2007) Columbus, OH 43224 901 S. National Ave. Moscow, OH 45153 425 East 79th St., #6F 614-353-7259 Springfield, MO 65897 513-876-0885 Convention Director New York, NY 10075 [email protected] 417-836-4875 fax: 513-362-6709 Madeline Neumann 212-772-1343 [email protected] [email protected] 26951 Ruether Ave., Suite H [email protected] Piccolo National High School Flute Choir International Liaison Santa Clarita, CA 91351 Carl Hall (2009) Career and Artistic Development Ronda Ford (2009) Aldo Baerten (2009) 661-299-6680 1352 Metropolitan Ave SE Laura Barron (2009) 9226 Constance Mezenlaan, 11 fax: 661-299-6681 Atlanta, GA 30316-1670 196 W. 18th Ave. Lenexa, KS 66215 Sint Genesius Rode [email protected] 404-377-6112 Vancouver, BC 913-888-9546 Belgium B-1640 [email protected] Canada V5Y 2A5 [email protected] Ph/fax: 003223811575 Local Arrangements Chair 604-875-8865 [email protected] Danielle Miller Wunderlich [email protected] Special Publications Newly Published Music 10255 Reindeer Way Ln. Patricia Harper (2008) Jennifer Robin Lau (2007) Legal Advisor to the Board Charlotte, NC, 28216 Commercial Members 38 Oak Dr. Center of the Arts Linda Mintener 352-359-2212 Beth Chandler (2010) Centerbrook, CT 06409 MSC04 2570 3976 Plymouth Cir. [email protected] 3215 Briarwood Ct. 860-767-0629 1 University of New Mexico Madison, WI 53705 Harrisonburg, VA 22801 [email protected] Albuquerque, NM 87131 608-231-1680 Convention Equipment Chair 540-574-3772 505-401-2398 fax: 608-266-3049 Kimberlee Goodman Fax: 540-568-7819 World Music [email protected] [email protected] 4783 Cherry Park Dr. [email protected] Peter Westbrook Masterclass Reporter, Columbus, OH 43230 13012 Magellan Ave. Orchestral Audition and Masterclass Cultural Outreach Flutist Quarterly 614-805-5261 Rockville, MD 20853 Jennifer Parker-Harley (2008) Terri Sundberg (2010) University of South Carolina Lee Chivers (2008) [email protected] 240-481-2213 UNT College of Music School of Music 1933 E. Renee Dr. [email protected] Exhibits Management 1155 Union Circle #311367 813 Assembly St. Phoenix, AZ 85024 Jim Magee Denton, TX 76203-5017 Columbia, SC 29208 623-580-5244 COMPETITION COORDINATORS N’Awlins Trade Show and 940-565-3756 803-777-4853 [email protected] Convention Services, Inc. [email protected] [email protected] General Coordinator Myrna Brown International 612 Highland Ct. Development Diane Boyd Schultz (2009) Piccolo Artist Liaison and Scholarship Mandeville, LA 70448 Katherine Borst Jones (2007) University of Alabama Hillary Feibel (2009) Coordinator 985-626-3046 4635 Rutherford Rd. School of Music, Box 870366 6435 West Jefferson Blvd. #138 Angeleita Floyd (2007) fax: 985-727-3940 Powell, OH 43065 Tuscaloosa, AL 35487-0366 Fort Wayne, IN 46804 3743 Beaver Ridge Cir. [email protected] 740-881-5008 205–348–4532 260-450-6674 Cedar Falls, IA 50613 fax: 740-881-5252 [email protected] [email protected] ph/fax: 319-268-1001 Exhibits Assistant [email protected] cell: 319-290-2852 Patti McCleney Professional Flute Choir [email protected] N’Awlins Trade Show Endowment Baroque Flute Artist Richard Wyton Nancy Schneeloch-Bingham (2007) Pamela Youngblood (2009) and Convention Services, Inc. Myrna Brown Society P.O. Box 294 Hayes School of Music Texas Woman’s University P.O. Box 8538 PO Box 425768 Eva Amsler (2007) West Redding, CT 06896 Appalachian State University Mandeville, LA 70470-8538 Denton, TX 76204 1650 Snowball Wy. 203-938-0667 Boone, NC 28608 ph/fax: 985-893-9521 940-898-2495 Tallahassee, FL 32301 [email protected] 828-262-6447 [email protected] [email protected] 850-877-2096 [email protected] Graduate Research [email protected] Showcase and Exhibitors’ Michelle Cheramy (2007) Young Artist Concert Coordinator School of Music Collegiate Flute Choir Virginia Broffitt NFA Library Liaison Rebecca Johnson (2008) Memorial University Dorli McWayne (2008) School of Music, Western Illinois Univ. Sandy Schwoebel (2008) 1010 North Busey Ave. of Newfoundland 780 Merlin Ln. 1 University Circle 2102 E. Florence Dr. Urbana, IL 61801 St. John’s, Newfoundland Fairbanks, AK 99709 Macomb, IL 61455 Tucson, AZ 85719 812-786-4526 Canada A1C 5S7 907-479-6701 309-298-1064 520-321-4821 [email protected] [email protected] [email protected] [email protected] [email protected]

Reviews of flute-related recordings, REVIEWSbooks, and other items of interest CDs Jazz Recordings from Alumni of the NFA Jazz Flute Big Band

Mercy Labyrinth Some Other Time Bill McBirnie Mark Adler Bob Chadwick ©2010 Bill McBirnie © 2007 (re-issued 2010) © 2010 BobChadwickFlutes Adlermusic Records Records

permanent legacy of Ali ARyerson’s tenure as NFA jazz committee chair (which ended November 2010) is the Jazz Flute Big Band, which appeared at the 2007 and 2009 conventions in Albuquerque and New York and will continue to appear every other year beginning next August in Charlotte. Meanwhile, alumni Jazz Brasil Three’s Company from the ensemble have issued Mark Weinstein Holly Hofmann recordings of interest. © 2010 Jazzheads Records © 2010 Capri Records

Holly Hofmann (hollyhofmann.com) was a member of Jazz Flute Big Band), Garnett’s wife, award-winning violin- the 2007 Albuquerque group and continues to direct the ist Regina Carter, trumpeter Terell Stafford, and clarinet NFA jazz flute masterclasses. Submitting to economic real- master Ken Peplowski. ities, Hofmann finds herself working frequently in a duo The duo tracks demonstrate the diversity of form and setting rather than in the more ideal quartet or quintet. color that Hofmann and Cunliffe draw from the flute/piano However, she has turned a liability into an asset, develop- combination, aided by their original compositions and ing her duo into a distinct voice with the help of two fine Cunliff’s deft touch as an arranger. The guest artists and the pianists, her husband Mike Wofford, and Grammy- unusual instrumental combinations they create add further award–winner Bill Cunliff. For Three’s Company, Holly’s variety to a session that never fails to hold interest. These are fourth recording in the duo format, Hofmann and Cunliff first-rate jazz artists at the top of their game, with Hoffman’s create a change of pace by adding guest artists on four agile flute work and Cunliff’s unerring musical intelligence tracks—drummer Alvester Garnett (heard with the 2009 evident every step of the way.

54 The Flutist Quarterly Winter 2011 nfaonline.org Toronto-based Bill McBirnie (myspace.com/billmcbirnieex- pianist Robert Boston. Classically trained, Chadwick has tremeflute) was a featured soloist with the 2009 ensemble remarkable technical proficiency that he places at the serv- and is well known as the jazz flute specialist on Sir James ice of a fertile imagination. He and Boston have chosen Galway’s Web site. Mercy is his third recording in a purely lesser-heard compositions well suited to their style of acoustic setting and demonstrates the qualities that have improvisation, gently deconstructing them in places, attracted admirers in both Canada and the U.S. McBirnie grooving in others, then shifting into the territory between also exploits the duo format here, alternating duo tracks with jazz and contemporary composition. This kind of inven- the more traditional quartet format. In each setting tion requires a strong sense of order, and Chadwick’s never McBirnie’s flute work—full-toned, technically brilliant—is lets him down. To obtain a copy of Some Other Time,you enhanced by the talented young Romani pianist Robi Botos, will have to go to his Web site. Once there, you can see a expanding to a quartet with the addition of bassist Pat preview of a DVD featuring Chadwick on an even greater Collins and drummer John Sumner. variety of flutes in a live performance with bassist David McBirnie continues in the vein of his earlier recordings, Craig, along with other new projects. It is definitely worth staying within mainstream bounds while exploring jazz the effort. standards and classics. For aspiring jazz flutists, McBirnie is a walking encyclopedia of jazz licks delivered with his It is not unusual for some effort to be required to find quality personal touch, supported by one of Canada’s finest jazz recordings, as the music industry’s support for jazz is ane- rhythm sections. mic at best, and many artists have to record, package, and dis- tribute their own music. Another case in point is Labyrinth by Where McBirnie is stylistically conservative, Mark Marc Adler (myspace.com/marcbadler), who has written for Weinstein’s aesthetic is all about diversity. Heard on alto the Jazz Flute Big Band as well as appearing as featured soloist. flute with the NFA ensemble (and as one of the 2009 master- A resident of Pennsylvania rather than New York City—what a class participants), Weinstein (jazzfluteweinstein.com) also features C and bass flutes on his recordings and, more difference 100 miles makes!—Adler is largely ignored by the importantly, the widest range of genres, setting his flute work jazz press, but with the help of the Pennsylvania Council on the in the context of straight-ahead jazz, Brazilian, Cuban, Arts, Adler has produced this fine recording that features his African, Ukranian, and Jewish settings, among others, in the original compositions as well as his high-energy flute work. process of producing 13 albums. All of Weinstein’s record- This is “post-bop” contemporary jazz, more chromatic than ings feature top-flight accompanists, and Jazz Brasil is no bebop and thus more abstract, but again, well worth the effort. exception, pairing Weinstein with NFA jazz master Kenny For a copy, go to cdbaby.com/cd/marcadler2. Barron on piano, supported by the great Brazilian bassist Nilson Matta and Italian percussionist Marcello Pellitteri. Flutists seeking exposure to jazz, these recordings give an This is not Brazilian jazz in its purist sense, but rather excellent cross-section of modern styles and are all highly Brazilian pieces—such as Ary Barroso’s “Brazil” and two recommended. bossa nova classics by Antonio Carlos Jobim—given a jazz —Peter Westbrook (fluteinjazz.com) treatment, while the jazz standards, including two by Thelonius Monk, are jazz dishes with a Brazilian dressing. But Weinstein always serves up interesting fare, and this is no exception. Originally a trombonist, his flute technique is unconventional, but his playing is always creative, full of unexpected twists and turns. And Barron is on his way to becoming a jazz icon, so there is some great playing here. If you enjoy Weinstein’s recording, watch for his next one, but be ready for something completely different!

Like Weinstein, Bob Chadwick (bobchadwickflutes.com) was limited to one instrument within the NFA ensemble, being featured on bass flute. In his own work he does not even restrict himself to Western instruments, however, going beyond piccolo, C, alto, bass, and contra-bass flutes to per- form on various Asian instruments such as the Japanese shakuhachi and Chinese dizi, plus Irish whistles, Romanian pan flutes, and interesting hybrids. For Chadwick’s recording Some Other Time, we return to the art of the duo as he performs a selection of jazz stan- dards alternating with free improvisations, in duet with

nfaonline.org Winter 2011 The Flutist Quarterly 55 CDs Quicksilver: it deserves, avoiding over-sentimentality. The effect is authentic Songs and Dances and homespun. of the Americas David Liptak’s five works in Songs for Persephone are woven around text extracted from a poetical novel, Persephone, by Bonita Boyd Homero Aridjis, published in 1967. As Liptak states in his © 2010 Albany Records notes, “More than anything else, these songs address the mys- terious power of love.” Each is a small vignette, the longest his enjoyable recor- barely more than four minutes in length, the shortest just over Tding features two a minute. Included in the liner notes is the English translation standards of the litera- of the five texts. The music is wonderfully descriptive of the ture for flute and gui- brief images brought forth by the poetry. Kathyrn Lewek’s tar, Robert Beaser’s soprano voice is full of character, perfectly suited to the music. Mountain Songs and Liptak’s contribution to the temperament of the opening and Astor Piazzolla’s Histoire du Tango, and is the premiere record- closing works on this recording is fortuitous, providing ing of David Liptak’s 1997 Songs for Persephone for flute, voice, contrast to the Mountain Songs, yet filled with the mystery of and guitar. Beaser’s and Piazzola’s works are well known and the tango. The fit couldn’t be better. One can only hope for loved for good reason. They are musically fulfilling and the even more new works for this combination. writing for both instruments is gracious and idiomatic. Their appeal is immediate, yet each seeks its cultural roots in its own The poetry for the second and fourth works in Persephone way. Bonita Boyd and Nicholas Goluses on guitar have per- describes musicians working in a brothel, a perfect lead-in formed as a duo since 1993, and the clarity of their ensemble to the first of Piazzolla’s four tangos, “Bordel, 1900,” playing is ample evidence of this long collaboration. This is presenting life in a similar environment. The connection is their second duo recording for Albany Records. unmistakable. Whereas Mountain Songs are unmistakably The pieces in Mountain Songs are not direct quotes of specific American, Histoire du Tango pulls the listener into the enticing Appalachian folk tunes, but they take their inspiration from that spell of Argentinean tango. The allure of the dance in all its rich tradition. The music is original and non-improvisational, guises is strong and contagious. This is a welcomed addition yet the composer encourages appropriate rubato. Bonita to the numerous recordings of Piazzolla’s wildly successful Boyd’s sound glows from the inside, never with edge, even composition. when the tessitura is high and peppered with quick articula- Quicksilver is an appealing excursion into the folk roots of tion. For these songs, it is ideal. Goluses plays with warmth the Americas, exploring through song and dance the warmth, and precision, his rubato providing stylistic spontaneity. humor, pathos, and personality of these cultures. Together, they interpret Beaser’s score with the simplicity that —Brooks de Wetter-Smith

J.S. Bach forms on a wooden Romantic-era flute (a Rudall-Carte found in Sonatas for flute Paris with a reproduction of a Louis Lot headjoint). Smith also and harpsichord uses color and nuance to transform his sound in ways that will convince you for a moment that you are living in Bach’s time. Joshua Smith Smith’s interpretations are influenced linguistically and/or © 2009 Delos vocally. He stylistically utilizes rubato, vibrato, articulation Productions, Inc. variance, and subtle note emphasis to add inflection. In the second movement of the G Minor sonata, for example, the “Baroque music is a highly personal, even long notes in the main theme are shaped vocally, with glorious improvisational style direction, blossoming as the note is held. Vibrato, when that can and should be present, is used in the manner of an ornament, reminiscent approached with a of Baroque singing. sense of lightness and cheer.” In this vein, Joshua Smith presents It is sonically obvious that these performances are the result his interpretations of Johann Sebastian Bach’s B Minor, G of years of research and experimentation by Smith and harp- Minor, E-flat Major, and A Major sonatas as well as the Partita sichordist Jory Vinikour independently and together. Happily, in A Minor. Even if the listener does not read the liner notes this scholarship has led both musicians to perform not only (which I recommend doing), it will be apparent instantly on with impeccable precision (especially on the intricate synco- hearing that many years of research and experience went into pated rhythms), but also cheerfully and with a free spirit. I the making of this CD. highly recommend this CD for anyone looking for a freshly Although the instrument used in this recording sounds like a historic performance of these flute sonatas. Baroque flute, it is explained in the notes that Smith actually per- —Tess Miller

56 The Flutist Quarterly Winter 2011 nfaonline.org Voyage: American same title. The rustic setting of the painting is delivered in Works for Flute warm colors, the sun very low in the horizon. A peasant girl and Harp working in the fields pauses as if to listen to the lark behind Jonathan Keeble her. The visual impact is dreamy, dark, and rather melancholy. Young captures this beautifully, and the duo’s rendering is © 2010 Albany touching, tender, direct, and very personal. To listen to this he preface to this music, one’s breathing is occasionally suspended, particularly TCD says it all. “The in the outer movements. It is perhaps the deepest, yet sim- cycle of birth, death, plest, statement of the CD. The voyager wants to return to this experience, and the music harbor, seeking the depth and peace it provides. renewal of life can be A particular focus for this CD is the music of Stephen found in varying de- Andrew Taylor. Two of the works, “Pulse Aria” and “Achoo grees as the inspiration for several of the works in this Lullaby,” are scored for flute and electronics. The recorded recording….” This inspiration is in turn drawn from sounds of the composer’s young son provide a presence that is numerous sources—impressions of Chinese and Japanese both humorous and meaningful to the context. What could screens, a number of 19th-century French poets, a French have been gimmicks are used generically to carry the music impressionist painting, a novella, the heart beat of an forward. The third of the set, “Agoraphobia,” adds harp to the unborn infant, a Chinese lullaby, a sci-fi story of space trav- mix. Wonderful control of extended techniques results in a el. Most of the compositions are scored for flute and harp, seamless exploration that is compelling to listen to and but a fascinating “set” is conceived for flute and electronics, encourages the mind to journey celestial space beyond what is and one work is for solo flute. known. This trilogy is a welcomed virtuosic display of extend- “Dance of the White Lotus Under the Silver Moon” (1998), ed techniques that serve the needs of the music rather than by Stella Sung, is the longest work on the program and is an the performers. The performance is spellbinding. exceptionally effective opener. It is oozing with mood, color, Marcel Grandjany wrote “O bien aimée” for baritone and hypnotic calmness, lyricism, elegant melismas, and above harp in 1955, yet it reflects a musical sensitivité of a much ear- all—magic! The listener is transported to an Asian space akin lier generation. Keeble has replaced the baritone with flute, to Zen. Time is suspended, and one feels an expanse of the the outcome of which is full of charm. At 3½ minutes, it is the moment. The duo communicates with the listener with much shortest work on the CD and could be a charming encore, sensitivity, in an acoustic space that is clear and rich without somewhat reminiscent of Fauré in its simplicity. artifice. Keeble’s sound is infinitely flexible, with many subtle The final work is a revised version of Gary Schocker’s “In colors, and the lines he draws with his sound can be stun- Memoriam,” with an emotional tonality lighter than most of ningly poignant. the other works presented. Schocker’s original version, for John Corigliano’s “Voyage,” originally composed in 1971 for solo piano, dates from 1982. The revision presented here was a cappella chorus, was reworked in 1983 for flute and string made four years later, and also exists for flute and piano. It orchestra. This, in turn, was transcribed for flute and harp in 1988 by Valerie von Péchy Whitcup. It is a reflective, attractive serves as a “renewal,” as presented in the CD’s preface, and it work, and can serve as a quiet interlude. It is given an is a fitting closure that is both French and very American. extremely sensitive performance by both Ann Yeung on harp Contrary to the jacket’s statement providing publisher names and Keeble on flute. Unfortunately, its placement on the for each of the compositions on this recording, “In recording immediately following Sung’s music seems to Memoriam” is available from Schocker’s regular publisher. diminish its impact, even as it explores the same contempla- The sound design for this recording is as intimate as the tive sonic landscape. music. The listener is not sitting in a virtual concert hall lis- “Rapid•fire” for solo flute by Jennifer Higdon is gradually tening to both performers. The experience is more similar becoming a mainstream effort among advanced flutists. It is a to their playing just for you in a small and personal venue. demanding work in terms of stamina and technical chal- One occasionally hears the breaths, even when taken slowly lenges. Keeble plays it as if he wrote it. More than that, his before a soft passage. The effect is that the listener breathes playing grips the listener by its subtleness, not just the blaze of with Keeble and experiences the phrases with him. With a notes racing across the page. Too often, it is played seemingly few necessary exceptions, there’s no attempt to push or in “survival” mode, but this performance takes the music dominate with the flute sound. The playing is relaxed and much further. This presentation alone could justify the understated and entirely unselfconscious. Keeble’s and recording as part of every flutist’s CD collection. Yeung’s collaboration is memorable, and their efforts are Charles Rochester Young’s 1989 “The Song of the Lark” indeed a bountiful voyage. interprets an 1884 painting by artist Jules Breton with the —Brooks de Wetter-Smith

nfaonline.org Winter 2011 The Flutist Quarterly 57 CDs Crushed Violets: G Minor, movement III of An American Suite, and “Folk Song Music for Flute and Dance” contain striking syncopations and harmonies that Ken Kreuzer allude to jazz and Latin dance music. Kreuzer also demonstrates a classical compositional style in ©2009 Krusher several of his pieces. For instance, “Spiral Architect” reminded Enterprises my ear of Muczynski in the rhythms and explorations of the higher flute register. During “Little Rondo,” the listener will his collection of certainly hear the classical form, but the harmonies add a music for flute by T twist, as they are more idiomatic of jazz. up-and-coming com- poser Ken Kreuzer is Several of the works are about as short as a pop tune, , joyful, haunting, intense, although two of them, An American Suite and Altitudes contain and overall very fresh. Seven works on this CD are for flute and three movements on one track (a bit of a bummer for going piano, two for flute and harp, one for flute choir, and one (Etude back and listening to specific movements). and Chorale) features pianist Andrea Merrill alone. Flute solo performance duties are divided among several Each piece demonstrates both Kreuzer’s background in jazz flutists, and they all sound tremendous. Kreuzer’s composi- and rock (although you will not hear blazing guitars and tons tional style works well for the flute, and I especially enjoyed of reverb) and his classical training. The jazz, rock, and other his handling of flute choir orchestration as his use of popular elements present themselves in the form of folk-like extreme-sized flutes was artfully crafted. melodies, jazz-like harmonies, and meters that change in star- This is an accessible disc for a variety of listeners, and there tling and fun ways. “A Night in Dublin,” “Song of Peace,” and are several exciting pieces that could be programmed to “Crushed Violets” contain folk-like melodies that create a lighten the mood of any recital. haunting atmosphere when combined with the piano. Waltz in —Tess Miller

Claude Debussy: Sonata It is therefore remarkable that he has found the time and for Flute and Piano enthusiasm this late in his career (2006) to present a recital— and one of sufficient merit that it can be offered for perma- in D Minor nent display. Included in the CD of his recital are the Bach arr. from Sonata for Partita BWV 1013, his transcription of the Debussy Cello Violoncello and Piano Sonata (of which more below), a sonata by Dutch composer by Paul Lustig Dunkel Matthew van Brink (b. 1978) and another by Dunkel’s first teacher, Robert Di Domenica (b. 1927), and the Ballabile di © 2009 Edition HH Ltd Concerto of Giulio Briccialdi (1818–1881). Throughout he handles all the technical requirements with aplomb—indeed, it takes the very rare imperfection to remind one that this is a live performance. Of the unfamiliar works, the van Brink sonata, called Dal Dosai, is in three move- ments—Garam Masala (jazzy), Asafoetida (meditative), and Tarka (bustling). Dunkel calls it “one of the best sonatas writ- Paul Lustig Dunkel: ten for flute and piano in recent years,” and makes a good case Live in Recital for his belief. Di Domenica taught composition at the New England Conservatory and served as its dean. The 1957 Flute © 2009 Paul Lustig Sonata, dedicated to his teacher Harold Bennett, was his first Dunkel/MSR Classics serious composition. In three connected movements, it is a well-constructed 12-tone work that deserves to be better aul Dunkel has had a long and distinguished career in the known. In total contrast to everything else is the three-section PGreater New York City area as a flutist, conductor, and now concertino that Briccialdi wrote (with orchestral accompani- arranger. He has been a longtime member of the New York City ment) to show off his own prodigious talents. The ensemble Ballet orchestra (its principal flute since 1999) and a freelancer in and balance with the excellent pianist Peter Basquin along the city’s orchestras and new music groups. In the 1980s he with the recorded sound are commendable. began conducting and was for many years the music director of The possibility of a version for flute of Debussy’s late, two- the Westchester Philharmonic, where he notably commissioned movement cello sonata was gestating in Dunkel’s mind for Melinda Wagner’s Flute Concerto (1999 Pulitzer Prize). some 30 years before he transcribed it and included it in the

58 The Flutist Quarterly Winter 2011 nfaonline.org above recital. And, perhaps using that performance as a guide, pizzicato and glissandi, the result never sounds awkward. He he made a few more modifications for the publication creatively arpeggiates, double- or flutter-tongues, and other- reviewed here. Those who decry the Franck and the wise makes this a satisfying “flute piece.” His recital perform- Arpeggione on flute will scoff. For the rest this is a welcome ance makes the strongest case, and I believe anyone adding opportunity to play a major work, and they can only be grate- this to their repertoire will be more than happy, and thankful ful to Dunkel for the time and experience that has brought it to both transcriber and publisher. The copy is clear, with good to fruition. Although he had to deal with questions of range page turns for the flutist. (apart from the upward transposition) and special effects like —John Wion Music

Easy Concert Pieces, include “E Shtikl Babier” (a klezmer song), “The Royal Flute,” Band 1, Vol. 1 “Dance of the Butterfly,” and “Celtic Sibiria” from 6 Pieces for ed. Günther Johannes Flute and Piano, and “The Dream” from The Fairy Tale Suite. Each of these pieces is fairly short (one page in the book) of Schmitz about two to three minutes in duration at most, and would be © 2007 Schott appropriate for an intermediate level player, somewhere around Levels D, E, and F (and possibly easier Level G) as out- his collection of solos lined in the NFA Pedagogy Committee’s publication Selected Tincludes several arrange- Flute Repertoire and Studies: A Graded Guide. Schmitz com- ments (all by Schmitz) of ments in his preface on the pieces: “ ‘El Shtikl Babier’ has ele- well-known works from the ments of Jewish music, while the ‘Dance of the Butterfly’ classical repertoire by great sounds more impressionistic and ‘The Dream’ might be a bal- composers such as Mozart lad from musical theater.” My favorite of all of these is “The and Beethoven as well as the Dream,” a dark, haunting melody with interesting and unusu- lesser-known Edvard Grieg and Erik Satie. The arrangements include favorites such as the al harmonies in the piano giving it the impressionistic flavor first movement of Eine kleine Nachtmusik, Mozart’s “Turkish mentioned by Schmitz. The melody is full of yearning and March,” Grieg’s “Morgenstimmung” from Peer Gynt Suite, pathos, building to a climactic high Bb before the recap. “Fur Elise” by Beethoven, and Satie’s “Gymnopédie No. 1.” Teachers looking for something new for their intermedi- Schmitz’s arrangements are very faithful to the original com- ate students may find this collection a good addition to their positions, the best of which, in my opinion, are Eine kleine library. While the favorites from the classical repertoire can Nachtmusik, “Morgenstimmung,” and the Gymnopédie. be found as arrangements by others in other collections, the Schmitz has also included some of his own compositions, combination of these well-done settings along with stating in the preface that they “cover a broad range of styles, Schmitz’s unusual and interesting original works makes this some of them influenced by jazz, impressionism, world music collection distinctive. or film music.” This statement couldn’t be more true. Titles —Rebecca Hovan

Pictures at an interest and timbral variety and finding ways for the whole Exhibition work to suit the flute choir sound. Here, Judy Nishimura has (the 5 Minute Four) solved the problem by creating a “five-minute tour” of Mussorgsky’s Pictures at an Exhibition, which includes major Mussorgsky, arr. highlights from the full work in an amusing and entertaining for flute choir by way. As she says in her program notes, “The Unhatched Chicks Judy Nichimura run amok among the Children at Play, the Gnome repeatedly © 2010 Alry Publications dives into the passersby, the house with hen’s legs struts through the Great Gate of Kiev, and so on.” The arrangement potential problem with works well and serves as an excellent way of introducing the Aflute choir arrangements work to an audience in an entertaining way. Scored for picco- of major works sometimes lo, four flutes, alto, bass, and optional contrabass, this is one to can be the length of the origi- look out for. nal, in terms of maintaining —Carla Rees

nfaonline.org Winter 2011 The Flutist Quarterly 59 Music Improv Games for One bevy of others including all modes, blues whole-tone, chro- Player matic, and klezmer. A complete knowledge of chord structures Jeffrey Agrell and intervals is also essential, although Agrell does provide some chord outlines and patterns by scale degree. Once famil- ©2010 GIA Publications, iar with these theory essentials, the player is guided by the Chicago, IL author through various chord sequences, transpositions, rhythmic patterns, stylistic applications, and the like. his is the second improvi- There is also a substantial emphasis on playing familiar Tsation book by Jeffrey tunes by ear—so much so that the two last chapters are indices Agrell, who aims to provide devoted to titles and styles. The “Familiar Tunes” chapter is all-encompassing exercises immense, containing over 490 titles. How “familiar” they are for classical musicians of any might depend on the age of the musician, but the categories instrument or voice type. are numerous and span a wide variety of styles including “The Agrell’s purpose for this sec- Beatles,” “Bossa Nova,” “Children’s Songs,” and “Holiday ond book is to provide a Songs.” The “Styles and Forms” chapter contains more than physically smaller version of the original 500-plus exercise 280 suggestions and is organized alphabetically, ranging from tome, so as to “fit in just about every case” and be easily trans- portable. Half of the material contained within Improv Games “Adagio” to “Zydeco.” Agrell provides no music, only titles. for One Player, according to the author, is from the original big The tunes and styles are all to be played by ear. book, while the other half is newly published, from his own Although the book’s title indicates that the games are for invention or collection. For further information, including one player, Agrell does suggest computer programs such as Agrell’s background and methodology for these publications, Band-in-a-Box for accompaniment. Flutists and other single- see Brooks de Wetter-Smith’s comprehensive review of Agrell’s line instrumentalists would benefit from playing with a first book, Improvisation Games for Classical Musicians (2008, chordal instrument, a programmable computer accompani- GIA Publications) in the summer 2009 issue of this magazine. ment, or even the vast array of accompaniment CDs on the This new, slimmer version method is 50 pages, containing market, such as the extensive Jamey Aebersold series. 12 chapters of improvisation games and exercises. Improv Games for One Player is a fantastic resource for Forethought went into the book’s physical design—heavy teachers and players alike. Derivatives of some of the exercises bond paper with a coated metal spiral spine to survive the can certainly be used with beginning and intermediate stu- rigor of daily practice. Printing is clear, with a “fun” font— dents. Doing so may even provide the extra inspiration need- possibly chosen to look less “serious” for those who may be ed to learn those scales and arpeggios. As Agrell advocates, intimidated by improvisation. Even the choice of “games” as a improvisation serves as an important component in achieving euphemism for “exercises” relieves pressure. “comprehensive musicianship.” Including this book on the Most of the games require knowledge of basic technique and music stand will provide a varied and thorough approach by theory. The reader should be familiar with scales—minimally which to begin the path toward this lofty goal. major, minor, and pentatonic—but the author also suggests a —Julie Koidin

Vibrato Workbook The book states that it is for all levels, but it definitely is set Chris Potter up to cater to young readers of music; it serves as a nice sup- © 2010 Falls House Press plement for more advanced players with vibrato problems. (with CD) The opening pages discuss the importance of using a steady, strong airstream and offer exercises for improvement. After ibrato Workbook for flute that, the majority of the book is in one chapter (15 pages) of Vplayers of all ages is the exercises built around the concept of playing repeated notes latest contribution from the on “ha.” Rhythms of eighth notes up to sextuplets are writ- prolific flute teacher Chris ten into scales, simple folk tunes, and even excerpts from Potter. Having come from the orchestral and chamber literature, all performed on “ha” to “hear it, copy it” school of create a pulsing effect. This builds upon the most basic and learning vibrato, I am always ubiquitous form of pre-vibrato exercises, but having tunes looking for a more thor- written out with metronome markings keeps us disciplined, ough, organized way to and moving into actual melodies helps bridge the gap teach vibrato to my students who can’t just pick it up on between exercises and music. their own. Vibrato Workbook is the most satisfying I have A brief second chapter deals with the awareness of pitch seen to date. fluctuation in vibrato and directs students to try using different

60 The Flutist Quarterly Winter 2011 nfaonline.org widths of vibrato in the same tempo. The third chapter pro- Three, she plays each tune various times with different styles vides excerpts of familiar melodies in which the student must of vibrato for comparison. decide where and how to play vibrato. Potter has produced many fine, thoughtful books for use in “Two Special Gestures,” an addendum to the third chapter, the studio, and Vibrato Workbook is no exception. More pays homage to some of William Bennett’s phrasing tech- importantly, it is a much-needed addition to the pedagogical niques, a nice opportunity to remind us further that we are, literature and seems to provide a very effective way of devel- after all, making music with our vibrato rather than executing oping vibrato, which is so often difficult for students yet so a mere sound effect. crucial to flute playing. I have enjoyed working through the In the CD that comes with the book, Potter accurately book and look forward to using it in my studio. demonstrates what she has notated in the book. In Chapter —Nicole Riner

Lyric Pieces for reworking of pieces for various Japanese flutes: shinobue, Piccolo Solo ryuteki, and shakuhachi. These are not difficult to play, and the expanded register contrasts nicely feature the greater range David Loeb of the piccolo. The realized ornamentation recalls what “tradi- © 2010 Alry Publications tional instrumentalists might well have added to the more skeletal score.” ix tiny miniatures for solo I enjoy especially the pieces’ meditative mood: The pleasure Spiccolo: just what every derived from these rather bird-like songs evokes quiet Asian piccoloist dreams of. The gardens and mossy temples. variety of moods and tempos The works are appropriate for either advanced high school and the simplicity of line or college. clearly trace to David Loeb’s —Cynthia Stevens

Offertoire for Alto An alternative part for C flute is also provided. The music is Flute and Piano well presented, although the one-page turn is positioned at a Laura Pettigrew point at which there is no time to turn. © 2010 Alry Publications The piece works well for the instrument, using a full range of pitches up to high A, and includes some cadenza-like pas- his short, melodic work sages. Composed as an offering to the earth at a time when Tfor alto flute is of moder- environmental concerns are under the spotlight, this is a top- ate difficulty and is accompa- ical piece and is enjoyable to play. nied by a simple piano part. —Carla Rees

Sky Watch…looking additional parts for alto and bass. Based on the lines from a inward… op. 58, poem by Mary Oliver, the music has flowing melodic lines for flute quartet and simple rhythms with an intention of achieving a con- templative and meaningful work. or choir The piece is not technically demanding, so it would be Deborah J. Anderson suitable for relatively inexperienced players. However, more © 2010 Alry Publications advanced players also might find it to be an interesting study as well, for tone quality, intonation, and practice in ensem- his is a simple work for ble playing. Tfour flutes, with optional —Carla Rees

nfaonline.org Winter 2011 The Flutist Quarterly 61 Book Beyond the Notes: Musical Thoughts and Analyses Thomas Nyfenger ed. E. Joffe © 2009 Nyfenger Holdings, LLC

t the 2009 NFA convention in New York AI found myself listening to a presenta- tion about Thomas Nyfenger (1936–1990), the teacher of many famous flute players of our time. He was called the “answer man”— if teachers didn’t know a solution, they went to Nyfenger. When I heard the performance of his version of the fifth Jeanjean etude for flute with piano, I immediately bought his (second) book. I didn’t know him personal- ly, but from the writings found after his too- early death, now edited as a book, I see the image of a musician who looked behind the notes, had a lot of experience but remained honest and open, and was prepared to share his thoughts and feelings with his students. This kind of book is rare; not many musi- cians are able to put such clear, outspoken opinions on paper. His urge to find the essence of a work—with most important parameters being time signature, phrasing, and harmony—makes him, for me, a great musician. Nyfenger encouraged the reader not to be afraid of experiments with free thinking and, most important, imagination. He showed that the embellishments in a grave from a methodical sonata by Telemann are not different from the Charlie Parker solo “Just Friends.” A large part of the book describes, often measure for measure, his ideas on important flute literature, includ- ing the Bach sonatas, Mozart’s concertos, the Andante from the Fauré Fantasie (with an interpretation as from a movie!), and important flute solos from the Fourth Symphony by Brahms and Debussy’s Prélude à l’après-midi d’un faune. An appen- dix includes a number of fantasies by Telemann adapted by Nyfenger for two flutes. After reading this book, I felt as though I had had a refreshing conversation with Thomas Nyfenger himself. —Mia Dreese

62 The Flutist Quarterly Winter 2011 nfaonline.org At the Wm. S. Haynes Company,

a dedication to the highest level

of craftsmanship is at its core.

Flutemakers use old world skills

in combination with forward

thinking ideals to produce

the most revered ßutes in the

world. Historically, Haynes has

developed crafting techniques

and methods that have been

adopted as the paradigm in the

ßutemaking industry. When you play a Wm. S. Haynes ßute, you know that you are playing an instrument with a history of more than 100 years of mastery in ßutemaking.

OE&K&@9QF=K2  L@=?=F=KAKG>9E=JA;9F>DML=E9CAF?

8G6;IHB6CH=>E

oaddaYek&`Yqf]k[gehYfq$af[&   )*ha]\egflklj]]l   Zgklgf$eYkkY[`mk]llk(*)). .)/,0*%/,-. ooo&oek`Yqf]k&[ge

SUBSCRIPTIONS articles for style, content, or space requirements. The Flutist Quarterly budget does Receipt of The Flutist Quarterly is a benefit of membership in the National Flute not include honorariums for authors. Association, Inc. Subscriptions are available to libraries and institutions at a charge Editorial deadlines for The Flutist Quarterly apply to time-sensitive depart- of $35 per year. Personal subscriptions are not available. The Music Library Catalog ments providing news of interest about flutist activities and products. Unsolicited (6th ed.) is also available to libraries and institutions at $15 per copy. feature articles (see above), items for review, and news about member achieve- ments may be sent at any time for consideration. Submissions to Across the Miles ADDRESS CORRECTIONS should be sent to its editor at least one week prior to deadline dates to be consid- Bulk-rate mail is not forwarded. Send address corrections to: Maria Stibelman, ered for inclusion. Send materials to time-sensitive departments for the fall issue Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351; by June 1; the winter issue by September 1; the spring issue by December 1; and 661-250-8920; 661-299-6681 (fax); [email protected]. The NFA will be the summer issue by March 1. responsible for one missed magazine in the event an address change crosses in the mail. Missed issues due to bad addresses are available at the rate of $10 per copy Please send all submissions except Across the Miles and New from Around the through the membership services manager. World (see these departments for contact information) to: Anne Welsbacher BACK ISSUES 7213 E. Chelsea St. Members and nonmembers may purchase back issues of The Flutist Quarterly Wichita, KS 67206 at the rate of $10 each through the membership services manager at the 316-440-2800 address listed above. fax: 316-440-2801 [email protected] EDITORIAL GUIDELINES Please submit manuscripts electronically as Word files attached to an e-mail No submissions will be returned. message that clearly states what you are submitting. (Unidentified attachments might be deleted as a virus security precaution.) If you are unable to submit via ADVERTISING GUIDELINES e-mail, please send submissions as Word files on a CD. Please include a single- Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, spaced, printed copy of your submission. Queries via e-mail or phone prior to or contact Steve DiLauro. The following dates are deadlines for The Flutist submission are encouraged, and welcome at any time. Quarterly: fall issue, August 1; winter issue, November 1; spring issue, February Submissions should also be accompanied by a cover letter stating that the mate- 1; summer issue, May 1. rial contained in your submission (1) is entirely original; (2) has not been previ- ously published; and (3) is not currently under consideration for publication else- Please send advertising submissions and queries to: where. Manuscripts under copyright need to include permission to duplicate 10 Steve Wafalosky, NFA Advertising Sales Representative copies for review purposes only. LaRich & Associates, Inc. You will be notified that your manuscript has been received. Posted quarterly 512 East Washington St. deadlines (see below) pertain only to time-sensitive department submissions, not Chagrin Falls, OH 44022 feature articles, which are reviewed throughout the year. Accepted manuscripts 440-247-1060 will, when appropriate, go through a review process. Authors might be asked to fax: 440-247-1068 revise manuscripts during this procedure. The editor reserves the right to edit all [email protected]

Index of ADVERTISERS Abell Flutes ...... 28 Crystal Records ...... 23 Keefe Piccolos ...... 37 Altus Flutes America, Inc...... 10 Di Zhao Flutes/New England Flute ...... 51 Kemler, Katherine (2) ...... 22, 38 Asheville Flute Vacation ...... 43 Drelinger Headjoint Co. (2) ...... 22, 38 Kingma Flutes ...... 47 BG Frank Bichon ...... 65 Fluit ...... 43 Landell Flutes ...... 27 Brannen Brothers Flutemakers, Inc...... 7 Flute Specialists, Inc...... 28 Little Piper/Dean Yang Flutes ...... 16 Burkart Flutes and Piccolos (2) ...... 15, 70 Flute World ...... 44 Lopatin Flute Company ...... 47 Cantilena Records ...... 64 Frederick Harris Music Co...... 2 Lyric Flutes/Hammig Piccolos Cardinal Classics ...... 5 Graf, Erich ...... 33 (see also Miyazawa) ...... 53 Chopsaver ...... 4 Guo Musical Instruments ...... 67 Mancke-Flutes ...... 38 Clarion Insurance ...... 35 Harper, Patricia ...... 47 Miles Zentner ...... 28 Classical Collection, Inc ...... 47 Jennings/Buyse & Panoramic Flutist ...... 8 Miyazawa Flutes, Ltd (2) ...... 17, 53 Conn Selmer (Emerson Flute) ...... 6 John Lunn Flutes ...... 55 MPulse (University of Michigan) ...... 43 Muramatsu America ...... 72 National Flute Association ...... 48 Music for Alto Flute and Piano Oberlin Flute Institute/Oberlin College ...... 27 Ogura Flute Works ...... 62 Packard Humanities Institute, The...... 34 HarwHarwood:ood: SonaSonatinatina Peabody Conservatory of the John Hopkins Institute ...... 16 Pearl Corporation ...... 69 The SonatinaiatnoSehT is annasian Polak, Simon ...... 44 excellent atnellexce addition tootnoitidd the recitallaticreeht anddna Potter, Christine ...... 22 teaching regnichaet repertoirereiotrepre Progress Press (3) ...... 27, 34, 68 featuring traditionalratgniruatef lanoitidra Rhonda Larson ...... 66 and improvisatoryvorpmidna yroatsiv San Diego Flute Guild ...... 46 sounds basedsabsdnuos onnodes Sheridan Flute Company ...... 26 ancient JapanesepaJtneicna esenap Sir James Galway ...... 14 imperial courtoclairepmi musiccisumtruo Skidmore College Summer Flute Institute ....9 - Gugaku.ga .kugauG- Syrinx Flute Repair ...... 47 Tai Hei Shakuhachi Flutes ...... 22 Wacha, Sandra Moore ...... 47 William S. Haynes Flute Company ...... 63 Beethoven:Beetthoovven: LargoLargo Williams Flutes ...... 71 Winzer Press ...... 29 Yamaha Corporation of America ...... 11 Theobald BoehmheoBdlaboehT (1794 -4971(mh - Your Flute Works ...... 62 1881) inventeddetnevni)1881 the alto fluteetulfotlaeht in 1850, and arrangedradna,0581ni piecesseceipdgenrar by myb majoraajj composerspmocro tootrseso SAVE THE DATE promote his newensihetomorp instrument..tnemrutsniwe Las Vegas, Nevada The Largo is asirgoaLehT a transcriptionnoitpircsnrat of the slow movementomwolsehtfo offotnemev August 9–12, 2012 Beethoven’s firstrsifs’nevohteeB PianoonaiPtrs (Caesar's Palace) Concerto..otrecnoC New Orleans, Louisiana August 8–11, 2013 is it VVisitisit (Marriott Hotel at French Quarter) www.progress-press.comwww.progress-press.com Chicago, IL to learn more about these piecpieceses or to purchase online August 14–17, 2014 (Hilton) progressessogrpr pressessesspr Washington, D.C. ProgressP Press 2sserPssergor 222 Main St. #504 Evanston, IL 60202206LI,notsnavE405#.tSniaM222 847-869-29988992-968-748202 August 13–16, 2015 (Marriott Wardman Park) :ME:G>:C8: I=:7DA9C:L=:69?D>CI;GDBE:6GA

68ji6WdkZi]ZGZhi###

I]ZcZl8Vadg‚^hEZVgaÉhbdhigZhedch^kZVcYÓZm^WaZ]ZVY_d^ciZkZgXgZViZY# DjgXgV[ihbZc^c?VeVc]VkZYZh^\cZYVeZg[ZXiWaZcYd[edlZg[jaidcZ! Z[[dgiaZhhVgi^XjaVi^dcVcYZmXZei^dcVaYncVb^XgVc\Z^cdcZ]ZVY_d^cii]Vi ^hh^beanV_dnideaVn#LZ^ck^iZndjidignEZVgaÉhcZl8Vadg‚]ZVY_d^ciVcY ZmeZg^ZcXZVcZlaZkZad[jcbViX]ZYeZg[dgbVcXZ#

EZVga8dgedgVi^dc™*).BZigdeaZm9g^kZ™CVh]k^aaZ!IC(,'&&™-%%".),"(',* lll#eZVga[ajiZh#Xdb

THENATIONALFLUTEASSOCIATION , INC . NONPROFITORG USPOSTAGEPAID 2 6 9 5 1 RUETHERAVE . , SUITEH LOSANGELES , CA SANTACLARITA , CA 9 1 3 5 1 PERMIT # 1 8 3 1

ADDRESSSERVICEREQUESTED

nvsbnbutv RVBMJUZ!TQFBLT!GPS!JUTFMG

NVSBNBUTV!BNFSJDB!TBMFT!BOE!TFSWJDF UFM;!)359*!651.7535!!}!!GBY;!)359*!756.6557 GMVUFANVSBNBUTV.BNFSJDB/DPN XXX/NVSBNBUTV.BNFSJDB/DPN