Louis Fleury and the Early Life of Pierrot Lunaire

Home , Fenwick Smith, Pierrot, Pierrot ensemble, Pierrot lunaire (book), Sam Most, Seattle Chamber Players

VOLUME 3 9 , NO . 1 F ALL 2 0 1 3

THE LUTI ST QUARTERLY Louis Fleury and the Early Life of Pierrot lunaire

The Center of Gravity in Flute Pedagogy and Performance The Inner Flute: A Transcript of Music and Words

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Table of

CONTENTSTHE FLUTIST QUARTERLY VOLUME 39, NO. 1 FALL 2013

DEPARTMENTS 11 From the Chair 47 Passing Tones 13 From the Executive Director 52 Honor Roll of Donors to the NFA 16 High Notes 54 New Products 36 From the Research Chair 56 Reviews 37 Across the Miles 37 The Inner Flute: A Transcript of 70 NFA Office, Coordinators, Music and Words Committee Chairs 43 Notes from Around the World 75 Index of Advertisers 20

FEATURES 20 Louis Fleury and the Early Life of Pierrot lunaire by Nancy Toff Front and center in new-music happenings of the early 1900s, Louis Fleury helped introduce Schönberg’s seminal work in Paris, London, and Italy.

26 Find Your Center: The Center of Gravity in Flute Pedagogy and Performance by Arya (Ali) BastaniNezhad Stable posture is crucial to performing well, and key to maintaining that posture with minimal effort and to maximum effect is the flutist’s center of gravity. Understanding these principles can help both in performance and in teaching flute performance.

26 32 Farewell to Dedicated Staff The NFA thanks Phyllis Pemberton, Madeline Neumann, and Maria Stibelman, who left the organization in 2012–13 after a collective 54 years of service at its Los Angeles-area headquarters.

Cover: The Italian Pierrot ensemble at the Piazza San Marco in 1924; Arnold Schönberg Center, Vienna.

THE NATIONAL FLUTE ASSOCIATION 70 E. LAKE STREET, #200 CHICAGO, IL 60601 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.

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

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

Secretary Ellen Huntington (2012) 104 S. Hi-Lusi Avenue Mount Prospect, IL 60056 847-204-2153 [email protected]

Chair of the Finance Committee Shelley Binder (2012) 8635 Constance Way Knoxville, TN 37923 865-385-9537 [email protected]

Assistant Secretary Penny Zent(2013–2016) 8418 Shadow Oaks College Station, TX 77845 979-696-7607 [email protected]

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

Janet Kinmonth (2012–2015) 33 Page Brook Road Carlisle, MA 01741-1617 978-371-2454 [email protected]

Wendy Herbener Mehne (2013–2016) 611 East Miller Road Ithaca, NY 14850 607-277-0540 [email protected]

Catherine Miller (2011–2014) 1212 5th St. Coralville, IA 52241 319-341-0042 [email protected]

Terri Sundberg (2011–2014) UNT College of Music 1155 Union Circle #311367 Denton, TX 76203-5017 940-565-3756 [email protected]

Jim Walker(2013–2016) 401 Rockedge Dr. Oak Park, CA 91377 818-991-4320 home; 818-438-0069 cell [email protected]

THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Dolores August, Christine Beard, Lee Chivers, Amy Hamilton, Contributing Editors Victoria Stehl, Art Director Steve Wafalosky, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute, University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University, Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute, University of Utah Salt Lake City, Utah Ellen Huntington Flutist, Lyrebird Ensemble Flute Instructor, Loyola University, Chicago Mount Prospect, Illinois Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus, University of Iowa Iowa City, Iowa Nina Perlove Executive Director, American Classical Music Hall of Fame “Internet Flutist,” realfluteproject.com Adjunct Instructor of Flute, Northern Kentucky University Cincinnati, Ohio Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino, California Rebecca Quigley Flutist and Studio Teacher, Westchester, New York Eldred Spell Professor of Flute, Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies, School of Music Texas Tech University, Lubbock, Texas Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon and Amateur Flutist Chicago, Illinois

Susan Waller Flutist, Teacher, Coach San Ramon, California Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Ruth Ann McClain Flutist and Studio Teacher, Memphis, Tennessee John Wion Professor of Flute, The Hartt School West Hartford, Connecticut National Flute Association, Inc., Staff Kelly Jocius, Executive Director Anne Welsbacher, Publications Director TBD, Convention Director TBD, Membership Director Brian Covington, IT Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. 800.348.5003 | WWBW.com PO Box 7479, Westlake Village, CA 91359-7479 Anniversary win FREE SHIPPING on most orders rass d W & B oodwind

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Exciting Developments at the NFA

his fall brings a number of exciting As we know, it is the substantial work, advances in NFA operations and innovative ideas, and tireless commit- Tprogramming. ment of the NFA’s volunteers that help On behalf of the NFA Board of to accomplish so much of the organiza- Directors, I am pleased to welcome the tion’s goals and fulfill its mission. We NFA’s new executive director, Kelly thank our many 2013 New Orleans con- Jocius. Kelly brings to the NFA years of vention volunteers who each made such significant and relevant experience in terrific contributions in helping to ensure Beth Chandler nonprofit management, particularly in a wonderful convention, especially Patti music organizations, including The Adams, Local Arrangements Chair; Sarah Midwest Clinic and Rush Hour Gill Schettler, Volunteer Coordinator; Coordinator; Sandy Schwoebel, NFA Concerts in Chicago. His excellent busi- Katie Codina, Stage Manager; and Anne Library Liaison; and Nancy Toff, Archives ness acumen, balanced with an under- Chabreck, Information Booth Manager. and Oral History Committee Chair. standing of the NFA’s artistic and pro- We also extend our sincerest gratitude I extend a special and personal thank grammatic needs and potential, will to our Convention Coordinator, you to outgoing Secretary Lisa Garner undoubtedly support the organization Sandra Saathoff, as well as Equipment Santa and members of the Board of in our continued growth. You may Manager Kimberlee Goodman and her Directors Sarah Jackson and Alison reach Kelly at executivedirector@nfaon- very capable assistant Jack McCurdy. Brown Sincoff. It has been a true honor line.org or 661-713-2699 (cell). And of course, an enormous thank and privilege to serve with you. On Kelly is pleased to be settling into the you goes to Program Chair Tadeu behalf of the entire Board of Directors, NFA’s new office in Chicago at 70 E. Coelho, and his assistant Krisztina Dér. I also express immense appreciation to Lake Street, Suite 200, Chicago, IL, What a terrific program they created for Interim Executive Director Katha 60601. You may reach the office at 312- convention-goers! Kissman for her leadership during this 332-6682 (phone) and 312-332-6684 The end of October again marks the past year. (fax). If you find yourself in the Chicago term expiration of many of our volunteer Now, we look to our future in area, please feel free to visit the office committee chairs, coordinators, and Chicago, both as our headquarters and and introduce yourself. appointees. We extend a sincere thank as host city to our 2014 convention. In addition to these operational devel- you to the following volunteers who so opments, another major initiative for the generously have given of their time, tal- Please join us in the Windy City next NFA this fall is the launch of a new online ents, and expertise to the NFA in these August 7–10! We look forward to cele- submission process for all of our conven- roles for the past five years: Lee Chivers, brating 2014 Lifetime Achievement tion competition applications. The NFA Masterclass Reporter/Flutist Quarterly Award honorees Robert Dick and has contracted with DecisionDesk, the Liaison; Patricia Harper, Special Maxence Larrieu and 2014 NFA top provider of online application sub- Publications Committee Chair; Sally Distinguished Service Award recipient mission services. This new electronic Humphreys, Convention Performers Patti Adams. Program Chair Philip procedure will significantly streamline Competition Coordinator; Rebecca Dikeman and Assistant Program Chair the application process for applicants, Johnson, Exhibitor Concert/Showcase Alice Dade are working diligently on a competition judges, and coordinators Coordinator; Jennifer Parker-Harley, stimulating program, “Perform, Inspire, alike. You can find more details in the Orchestral Audition Competition & and Educate.” In the meantime, have an competition flyer posted under the Masterclass Coordinator; Ali Ryerson, inspirational and invigorating fall!

KATE L PHOTOGRAPHY “Convention” tab at nfaonline.org. Jazz Flute Big Band Competition —Beth Chandler

nfaonline.org Fall 2013 The Flutist Quarterly 11 Lipstick Katherine Kemler Sonatina Free downloads of live performances available at kkemler.com.

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

Virtuoso American Feld, Franck, Sky Loom Flute Works Gaubert, Ginastera, Goddard, Genin, Ferneyhough, Jolivet, Schubert, Takemitsu, and Widor Including works by Including works by Liebermann, Liebermann, Lutosławski, Ibert, Muczynski, and Bartók and Hayden kkemler.com From the EXECUTIVE DIRECTOR

Kelly Jocius

Welcome to Chicago

am honored to join you as the new to the great city of Chicago we dedicate and Artistry), I was fascinated by the Executive Director of the National the realization of an idea—the largest stories of the people who are responsi- IFlute Association. One of the first hotel on earth. We pledge to you that ble for the extraordinary growth and things I was told about the NFA is how The Stevens will always provide rest, success of the NFA. It is because of these deeply the members care about the refreshment, and entertainment in such efforts that so many new opportunities organization. This has been evident in manner and in such measure that the are now available to us. Joining an every interaction I have had, and it has stranger within our gates will feel that organization with an equally rich histo- only added to the great excitement and Chicago is not only great in material ry and bright future is a dream situa- privilege I feel in taking this role and things but it is also host-friendly, hos- tion. As we enter a new era for the NFA, becoming a part of the NFA community. pitable, and kind.” Many Chicago resi- we will continue to embrace these tradi- The NFA is now operating from its new dents will tell you that the best time to tions along with new ideas, while keep- office in downtown Chicago, and if you visit is in early August, when summer is ing the focus at all times on the benefits are ever in the neighborhood, I invite in full swing and every neighborhood is to our members. you to pay us a visit. I would love to filled with people making the most of Perhaps nothing has inspired me more hear about your association with the the city’s diverse cultural offerings. The during my first weeks with the NFA NFA and what it has meant to you, as joy and vitality of the NFA convention than the number of talented individuals well as your ideas for how it can serve will be right at home here! Along with who are united in leading the organiza- you even better in the future. Program Chair Philip Dikeman and tion and serving the mission. It is in that As a Chicago native and longtime Assistant Program Chair Alice Dade, I same spirit of dedicated and creative member of the Chicago meetings look forward to welcoming you to a collaboration that I join the Board of industry, I am especially delighted that convention that is inviting, inspira- Directors, staff, volunteers, vendors, and the 2014 convention will be held at the tional, and fun, and as magnificent as every member of the National Flute historic Hilton Chicago. The welcoming the world-famous mile just a short way Association. I look forward to getting to spirit of the NFA is echoed in these north on Michigan Avenue. know you and working with you, words, which Ernest Stevens used to As I read the Winter 2012 issue of The Inspiring Flutists, Enriching Lives. open the hotel on May 2, 1927: “Tonight Flutist Quarterly (Forty Years of Vision —Kelly Jocius

nfaonline.org Fall 2013 The Flutist Quarterly 13

High Notes News and activities about the accomplishments of National Flute Association members and the flute world

atherine Ramirez imi Stillman has been Cwon second prize in Mappointed as the first the winds division of the Shirley and Sidney Curtiss 11th International Music Distinguished Faculty Chair Competitions “Città di at the Field Chamber Music Padova Prize” in Italy. Center at Settlement Music (In 2012, Ramirez took School. Stillman will lead two third prizes in the the newly named Shirley same competition.) In Curtiss Center for Woodwind May, Ramirez, who is Studies, named in honor of assistant professor of Mimi Stillman Curtiss’s nearly 50 years of music at St. Olaf College service as the founder and lead faculty member of in Minnesota, taught Settlement’s woodwind chamber ensemble program and in masterclasses and per- gratitude of her and her husband Sid Curtiss’s ongoing gen- formed with pianist Ina erosity to Settlement. Stillman will lead the program and Selvelieva at the Univer- coach wind chamber music ensembles, with an emphasis on sidad de Antioquia in wind quintets. Woodwind players of pre-college age are Medellín and the invited to apply. Visit msmusic.org. Universidad Nacional de Colombia Conser- iviana Guzman per- Catherine Ramirez vatorio de Musica in Vformed in more than Bogotá, Colombia. Their tour included an impromptu perform- eight countries and two dozen ance for the nuns at the Fundadora de la Congregacion de cities this year, beginning with Hermanas Franciscanas de Maria Inmaculada convent in a masterclass and recital in Bogotá. Also this past summer, Ramirez gave premiere perform- Buenos Aires with Claudio ances of Daniel Kellogg’s “Into Utter Forever” (2006) with Barile and then going on to pianist Vivian Fan as part of Jim Walker’s Beyond The perform in Chile, Argentina, Masterclass course in Los Angeles and with pianist Hui Wu at the and Uruguay. Her quartet, the 41st National Flute Association Convention in New Orleans. Viviana Guzman Group, per- Viviana Guzman formed in March in Angels lutist Peter H. Bloom has Camp, California; also in March, Guzman performed with the Fhad several transcriptions Carpe Diem String Quartet in Columbus, Ohio. In April, she published by Noteworthy performed in Papeete, Tahiti, and Fakarva, French Polynesia. Sheet Music, including the In May, Guzman toured her native Chile with pianist Mahani Fantaisie, Op. 124, by Camille Teave, performing, teaching, and conducting interviews Saint-Saëns (originally for including a performance for the president of Chile. Guzman violin, now for flute and performed and taught a masterclass for the Canadian Flute harp) and an alto-flute Convention in June, and in July, she hosted and co-produced arrangement of the clarinet with the San Francisco Flute Society a Flutes by the Sea obbligato to Schubert’s vocal Masterclass with Carol Wincenc. Guest artists included Peter H. Bloom piece “Shepherd on the Rock.” Barbara Siesel, Janelle Barrera, Fluter Scooter, Jane Lenoir, Kris Bloom performs these works in his fall 2013 concert tours Palmer, Magic Flutes Orchestra (Pamela Ravenelle), Crowden with pianist Mary Jane Rupert and mezzo-soprano D’Anna Summer Flute Choir (Laura Scarlata), Bel Canto Flutes (Gail Fortunato, appearing in Minnesota, South Dakota, Illinois, Edwards), the Oriole Flutes (Gala Yaroshevsky), and Flutes by Iowa, North Carolina, South Carolina, and Georgia. Also this the Sea Flute Choir (Janelle Barrera). Guzman performed at fall, Bloom marks his 28th season with Ensemble Chaconne the NFA convention in New Orleans in August and then and almost four decades with the Aardvark Jazz Orchestra. moved on to Honolulu, Pago Pago, American Samoa, and Visit americasmusicworks.com. Manila. Visit Viviana.org.

16 The Flutist Quarterly Fall 2013 nfaonline.org

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

Burkart Flutes & Piccolos 2 Shaker Road #D107 Shirley, MA 01464 USA Phone: 1-978-425-4500 E-mail: [email protected] The members of the Italian Pierrot ensemble and their colleauges were enthusiastic tourists: on April 3, 1924, they visited the Piazza San Marco. From left are violinist Alphonse Onnou, cellist Robert Maas, violinist Laurent Halleux, flutist Louis Fleury, composer Arnold Schönberg, singer Erika Wagner, pianist Eduard Steuermann, composer Alfredo Casella, clarinetist Henry Delacroix, and violist Germain Prévost.

o the flutist most familiar with Louis Fleury T through his pioneering editions of baroque Louis Fleury and music, notably the first modern edition of the Blavet sonatas, it may come as something of a surprise to find him at the center of some of the most the Early Life of important new-music events of the early 20th cen - tury: the Paris, London, and Italian premieres of Arnold Schönberg’s Pierrot lunaire, Op. 21, from Pierrot lunaire 1921 to 1924. Fleury served not only as contractor but as commentator, publishing a witty and percep- tive article on the preparation and reception of those concerts in Music & Letters.1 He has thus given us a Front and center in new-music happen- rare gem: an account of a seminal event in music his- ings of the early 1900s, Louis Fleury tory from the vantage point of a flutist. Commissioned by the actor and melodrama spe- helped introduce Schönberg’s seminal cialist Albertine Zehme, the work is based on a series VIENNA work in Paris, London, and Italy. of poems—or as Schoenberg put it, a suite of melo- , dramas—by the Belgian writer Albert Giraud, as translated into German by Otto Erich Hartleben. by Nancy Toff Schönberg scored it for voice, flute (doubling on piccolo), clarinet (doubling on bass clarinet), violin 2

(doubling on viola), cello, and piano. ARNOLD SCHÖNBERG CENTER

20 The Flutist Quarterly Fall 2013 nfaonline.org The world premiere took place at the Choralion-Saal in Berlin on October 16, 1912, with the composer conducting; the flutist was Hendrik W. de Vries, then a member of the Berlin Royal Opera.3 The performance was preceded by some 40 rehearsals, a good indication of the challenges for both performers and audiences. Schönberg subsequently took the work on a 16-concert tour of Germany, Vienna, and Prague over 18 months, but after that it had few performances for a decade, as Schönberg devoted himself to theoretical matters and Europe devoted itself to war.4 Pierrot did not reach Paris until 1922, the delay caused not only by the daunting difficulties of the work, which would require multiple—and thus expensive—rehearsals, but also by the ban on German music in France during World War I.5 Enter

Jean Wiéner, an entrepreneurial Schönberg’s full piece was first performed in Paris January on 16, 1922. pianist and pioneering concert organizer, whose new-music series had daringly juxtaposed, evening, but they cannot escape conscientious interpreters for example, Milhaud’s sonata for wind instruments; a cham- who willingly undertake a series of rehearsals. The moment ber music piece for jazz band; and Stravinsky’s Sacre du they see there is a logic behind these deeds of daring they will Printemps arranged by the composer for player piano.6 Fleury not be niggardly with their efforts.”11 observed, “His well attended concerts draw a peculiar public, The decision was made to present the piece in French— rather cosmopolitan, ready for any eccentricities and greedy curiously, not the original French of Giraud, but a re-translation for new sensations.”7 of Hartleben’s German version. In the immediate post-Great War era, Milhaud recalled, “A part of our public still found Enter Milhaud and Ensemble the German language hateful to hear, and it was also better For such an adventurous audience, Wiéner resolved to present that the words be understood, especially in a composition Pierrot and recruited Darius Milhaud to conduct. Milhaud was such as this, calling for a peculiar method of speaking on 12 intrigued, noting later that until the war he had heard very lit- notes.” The designated singer, Marya Freund, made the tle of Schönberg’s music in Paris.8 Fleury and the Société French libretto herself, after she had tried without success to Moderne d’Instruments à Vent (which he had taken over after use the original French text of Giraud. Barrère’s departure for New York in 1905) had been frequent collaborators in Wiener’s concert ventures, so it was only log- Opening Night ical that Wiéner asked Fleury to play and to contract the other The first French performance of Pierrot, consisting of only instrumentalists. His choices were Henry Delacroix (clarinet; Part I, took place on December 15, 1921, in the Salle des premier prix, Paris Conservatory, 1896), Alexandre Roëlens Agriculteurs. Fleury wrote of the Sprechstimme: “Madame (violin/viola, soloist in the Concerts Lamoureux and the Paris Marya Freund, excellent singer that she is, cannot quite forget Opera), and Louis Feuillard (cello, professor at the that she is a singer, and sings consequently with a reciter ’s Conservatory). Wiéner himself was the pianist. inflexions, whereas Schönberg intended it to be recited with Fleury explained that he opted for excellent technicians with musical inflexions.”13 Although Zehme had done it quite dif- vast experience, rather than younger new-music specialists ferently—more in an exaggerated recitation style with with “ passionate love of adventure.” “To my mind,” he wrote, accompaniment—Schönberg was not unhappy with “enthusiasm and devotion are here of small account as com- Freund’s performance, which she would repeat many times. pared with practised fingers and eyes.”9 Even so, the prepara- But Fleury’s commentary was prescient, as much ink has tions required 25 rehearsals.10 since been devoted by scholars to the notion of Fleury explained that despite the technical challenges, the Sprechstimme and its proper execution.14 performers were won over by their respect for Schönberg’s Fleury provided a wry commentary on the audience reaction. contrapuntal technique and classical grounding: “These con- Given that the unusual programming of Wiener’s earlier trapuntal subtleties, drowned in the apparent chaos of an concerts had not caused any protest, he mused, it was rea- aggressive polyphony, may escape the hearer of a single sonable to expect that the public would receive Pierrot with

nfaonline.org Fall 2013 The Flutist Quarterly 21 LOUIS FLEURY AND THE EARLY LIFE OF PIERROT LUNAIRE

The program for the London premiere of Pierre lunaire in November 1923. The Sprechstimme of Pierrot was preceded by Schumann lieder and an Italian baroque flute sonata. similar acclamation. “That the art of Schönberg has little appeal The first performance, in ultra-respectable Kensington, was the to the disciples of Stravinsky was clear from this first experi- cause of some trepidation for the musicians. But Fleury ment, which excited lively curiosity but ended in tumult. ... The wrote, “That the members of the Kensington Club should very first bars of this sung speech ... took everyone by surprise, have consented to hear this diabolical music, is a magnificent and the weird harmonies did the rest; and there we were in the proof of their eclectic philosophy. But that they should have lis- middle of a Homeric battle.”15 tened with such patience and fortitude is no less magnificent an Fleury was taken aback by the reaction of the packed house. instance of that sense of fair play which is one of the most endear- “The Parisian public remains calm, as a rule. Each number, last- ing characteristics of Britons. What an impressive calm! How ing from two to four minutes, was greeted with cheers and hiss- unexpected this inward peace after our stormy meetings at Paris! es. When the hisses had it, Milhaud began again and finished in At the most daring places in the score I watched the audience out a regular uproar. I saw one man in the third row of the stalls of the corner of my eye. They never blenched. They sat there, calm livid with rage when an encore was announced: he stamped vio- as a boxer who takes punishment with a smile. I thought of the lently, shouting out: ‘No, no! Not again! Not again!’” But bright moonlight nights of 1918 and the Zeppelins.”19 Milhaud conducted the entire work a second time at the end of The concerts at St. John’s Institute, Westminster, and Chelsea the program. The result: “Never has so short a programme fin- Town Hall were similarly successful, receiving the positive 16 ished so late.” The press reacted favorably, overall. reception Fleury expected in those more open-minded venues. The ensemble gave the full piece for the first time in Paris on The British press, on the other hand, was “frightfully bad,” an January 12, 1922, at the larger Salle Gaveau. The critics devoted eventuality he rationalized succinctly: “It is the duty of a critic extensive space to analysis of the work, treated it with great to say what he thinks, without mincing matters, and nobody respect, immediately recognized its importance in the pantheon of need take umbrage at it.”20 20th-century composition, and called for repeat performances, a On February 4, 1923, Pierrot received its U.S. premiere at a wish that was granted. The Wiéner ensemble repeated Pierrot on concert of the International Composers’ Guild in New York, a March 10 at the Salle Gaveau and yet again at the Théâtre des composers’ consortium directed by Edgard Varèse and Carlos Champs-Elysèes on December 14, bracketed there by the premiere Salzedo. The composer Alfredo Casella, a member of the ICG, of Webern’s Cinq Pieces for string quartet, Schönberg’s Six petites heard the Pierrot concert (where New York freelancer George pieces for piano, and a Josef Strauss waltz.17 21 In November 1923, the troupe decamped for London, Posssell was the flutist, Greta Torpadie the soprano) and was where there were three successive performances in private inspired to bring it to Italy under the auspices of his newly clubs; the string players here were H. Denayer (violin/viola) organized Corporazione delle Nuove Musiche. and Paul Mas (cello). In London there was another bizarre piece of programming: a set of Schumann songs, followed by New Players—and Conductor a baroque flute sonata by Leonardo Vinci, and then Pierrot. He invited Schönberg to conduct the work on a tour of 10 Fleury reported, “Never have the divergent characteristics of concerts in seven cities in Italy; Schönberg ultimately shared the two friendly and allied nations shone out to me more conducting duties with Milhaud. There were several changes 18 clearly than last November.” of personnel: Eduard Steuermann replaced Wiéner at the COURTESY NEW YORK PUBLIC LIBRARY

22 The Flutist Quarterly Fall 2013 nfaonline.org piano, members of the Pro Arte string quartet of Brussels came in, and most significantly, Erika Wagner of the Vienna Schauspielhaus took the vocal role. At the first concert, in Rome, Fleury feared that the musicians would not make it through the work successfully; he wrote, “From what I knew of the irascible Latin public I was afraid we should be pelted with tomatoes and oranges,” but happi- ly, “we were spared this supreme humiliation.” He pointed particularly to the disconnect between Italian bel canto and Schönbergian Sprechstimme: “The measured and inflected diction which the composer had imagined has, in itself, nothing in common with singing.”22 Fleury wrote, “The German language is unintelligible to almost all Italians, and the rough gutturals, being meaningless, sounded to them funny. Our audiences almost everywhere contained girls ready to giggle at the smallest incident or the mildest orchestral surprise; and in every town there was a small body of young musicians...who were quite determined not to allow a note of this infernal music to be played. Well, as I said, we were listened to everywhere till the very end.” In his estima- tion, the Rome concert was “a real success. But elsewhere we made heavy weather.” “The sense of fun—of course, in the best possible spirit—took complete possession of this easily swayed public, and found vent in laughter, witticisms and discussion.” He noted the presence in Florence of Giacomo Puccini, who “set a good example of patience and self-command to many a hot-headed youngster.”23 Casella reported to the journal Modern Music on the “violent arguments” that followed the Italian tour, noting—perhaps a bit defensively—that the Italian public was unprepared; it had

barely heard Schönberg before. Schönberg, he said, was “so The program for the Italian premiere in Rome on March 28, 1924, which followed alien to our temperament, that the chasm can never be the work’s U.S. premiere by a year. bridged.” He continued, “One can see how unprepared our repertory of standard institutions.”26 It became the model for public was for the hearing of a ‘bolshevik’ work like Pierrot the mixed chamber ensemble—a role established by its early lunaire. Before starting on tour with this production I antic- tours. Varèse founded the ICG in New York after hearing ipated rather serious consequences and perhaps even some Schönberg perform Pierrot in Busoni’s flat in Berlin.27 Hamilton governmental decrees prohibiting the recitals in the name of credits Pierrot for inspiring such “broken consort” performing the public peace. But, as a matter of fact, despite the outcries organizations as the Pierrot Consort of London, founded by of a portion of the audience, the production fared rather Peter Maxwell Davies and Harrison Birtwistle, subsequently well, certainly no worse than in other and more advanced renamed the Fires of London; and in New York, the Da Capo musical centers such as Paris, Vienna or Berlin.”24 Chamber Players, Speculum Musicae, et al. As a chamber music entrepreneur, Fleury certainly would have been pleased by such A Future for Pierrot? a proliferation of Pierrot-style ensembles. Fleury pondered the work’s future reception: “Will it be French Pierrot was also an important landmark in the revival of frenzy or British reticence or Italian merriment? All I can wish vocal chamber music, an effort in which Fleury was very for is what the Gallic soldier asked of the Roman captain who much involved. Though Pierrot was radically different from was going to condemn him unheard: ‘Strike, but listen!’ ”25 the works of Ravel, Delage, and Caplet, the vocal-instrumen- Fleury himself did not live to participate in future perform- tal combination was one that provided opportunities for ances; he died in June 1926 at the age of 48. For the Schönberg instrumentalists attempting to attract audiences that were very much opera-oriented. VIENNA festival in Paris sponsored by the Société Musicale , Indépendante, on December 15, 1927, Gaston Blanquart, Fleury’s contemporary in Taffanel’s class and now solo flutist of If He Could See Us Now the Colonne Orchestra, stepped in. As a scholar, Fleury would have been fascinated by the ongoing Fleury would probably have been somewhat surprised to find analysis of Sprechstimme execution by both performers and the work firmly ensconced in the “standard” modernist reper- musicologists. He would particularly have appreciated as well toire, enjoying frequent performances even in non-centennial that the issues he raised in 1924 have become germane once years. The New Yorker critic David Hamilton wrote in 1974, again with recent performances of the work by the theatrically

COURTESY ARNOLD SCHÖNBERG CENTER “Pierrot is in fact part of the standard repertory, though not the trained flutist Paula Robison—not as flutist, but as vocal soloist.

nfaonline.org Fall 2013 The Flutist Quarterly 23 LOUIS FLEURY AND THE EARLY LIFE OF PIERROT LUNAIRE When they completed the Italian tour, Fleury, Erika (Paris: Pierre Belfond, 1978), 50. 7 Wagner, and Henry Delacroix inscribed short tributes to the Fleury, 350. 8 Milhaud, 381. composer in the back of his conducting score, much as high 9 Fleury, 348. school students would sign a yearbook. Fleury wrote, “‘To 10 Milhaud, 382. conquer without peril, one triumphs without glory.’ We owe 11 Fleury, 349. 12 Milhaud, 382. to the great master Schönberg a bit of glory since he has per- 13 Fleury, 354. mitted us to triumph over the Philistines in Paris, London, 14 See for example, Avior Byron, “Pierrot lunaire in Studio and in Broadcast: and Italy.”28 > Sprechstimme, Tempo and Character,” Journal of the Society for Musicology in Ireland 2 (2006–7), 69–91. 15 Fleury, 351. Nancy Toff is the author of The Flute Book (3rd ed., Oxford 16 Fleury 352. See François Lesure, Pierrot Lunaire d’Arnold Schoenberg: Dossier University Press, 2012), Monarch of the Flute: The Life of de Presse (Geneva: Editions Minkoff, 1986), an anthology of press criticism of Pierrot performances from 1912 to 1924. Georges Barrère, Georges Barrère and the Flute in America, 17 Wiener, 50. and The Development of the Modern Flute. She is researching 18 Fleury, 352. the life and work of Louis Fleury, including his continuation of 19 Fleury, 353. 20 Fleury, 354. Barrère’s woodwind society in Paris. She lectured on Fleury at 21 Oja, 397. For a full account of the U.S. premiere, see also David Metzer, “The the 2012 NFA convention. Toff received the NFA’s National New York Reception of ‘Pierrot Lunaire’: The 1923 and Its Aftermath,” Musical Service Award in 2012. Quarterly 78, no. 4 (Winter 1994): 669-99. 22 Fleury, 355. 23 Fleury, 355. Notes 24 Alfredo Casella, “Schoenberg in Italy,” Modern Music 1/1 (1924): 7-8. 1 Louis Fleury, “About ‘Pierrot Lunaire’: The Impressions made on various audi- 25 Fleury, 356 ences by a Novel Work.” trans. A.H.F.S. Music and Letters 4 (1924): 347–56. 26 David Hamilton, “Moonlighting,” New Yorker, April 8, 1974 , reprinted in From 2 The full score is available on IMSLP, http://imslp.org/wiki/Pierrot_Lunaire,_ Pierrot to Marteau (Los Angeles: University of Southern California, Arnold Op.21_(Schoenberg,_Arnold) Schoenberg Institute, 1987), 46. 3 Susan Nelson, The Flute on Record, the 78 RPM Era: A Discography (Lanham, 27 Christopher Dromey, “A Snapshot of the Pierrot Ensemble Today,” [2]. Md.: Scarecrow Press, 2006), 447. De Vries was later a member of the https://eprints.mdx.ac.uk/9885/1/A%20Snapshot%20(Proceedings).pdf Metropolitan Opera orchestra and NBC Symphony. 28 “A vaincre sans peril, on triomphe sans gloire.” Nous devons à ce grand maître 4 Carol Oja, Making Music Modern: New York in the 1920s (New York: Oxford Schoenberg un peu de gloire puisqu’il nous a permis de triompher des Philistins University Press, 2000), 287. Oja credits the number of rehearsals to Nicolas à Paris, à Londres et en Italie. Louis Fleury. Milan 8 Avril 1924.” Jerry McBride, Slonimsky, “A Schoenberg Chronology,” Schoenberg, ed. Merle Armitage (New “Schoenberg’s Annotated Handexemplare,” Journal of the Arnold Schoenberg York: G. Schirmer, 1937), 226. Institute 5, no. 2 (November 1981): 184. Facsimile at Arnold Schonberg Institute 5 Darius Milhaud, “To Arnold Schoenberg on His Seventieth Birthday: Personal website, Pierrot Lunaire, Schönbergs 2. Handexemplar des Originaldrucks, Recollections,” Musical Quarterly 30, no. 4 (October 1944), 381; Fleury, 350. http://www.schoenberg.at/compositions/quellen_einzelansicht.php?id_quelle=15 6 Program of December 6, 1921, reprinted in Jean Wiéner, Allegro Appassionato 08&werke_id=478&id_gatt=&id_untergatt=&herkunft=)

24 The Flutist Quarterly Fall 2013 nfaonline.org

Find Your Center: The Center of Gravity in Flute Pedagogy and Performance

Stable posture is crucial to performing well, and key to maintaining that posture with minimal effort and to maximum effect is the flutist’s center of gravity. Understanding these principles can help both in performance and in teaching flute performance. by Arya (Ali) BastaniNezhad

26 The Flutist Quarterly Fall 2013 nfaonline.org n successful performance, players must maintain stable posture, which calls for intelligent, constant Icontrol and the flutist’s full understanding of the body’s center of gravity. The first area to explore when dealing with any aspects of physical or musical performance—such as ecole1, tone, breathing, and balance—is the center of gravity.2 Further, many persistent challenges and muscular aches facing flutists can be addressed with a precise understanding of the center of gravity. Nevertheless, almost no research addresses this topic.3 During the five years of my doctoral study work, from 2009 to 2013, I had the privilege of mentoring with Thomas Figure 1. Center of gravity. Pinschof, a Viennese flutist and pedagogue. Pinschof modified and developed ideas by his former professor, Ellen Müller-Preis (1912–2007), a world fenc- ing champion who taught breathing and movement to athletes, singers, and instrumentalists at Vienna University. I collected some 20 recordings, each 40–60 minutes in length, of discussions of various aspects of posture, support, balance, and the flutist’s center of gravity. I also interviewed 30 flute and other wind students in Melbourne and at the Australian Flute Festival in Canberra in 2011 and students and teachers in Tehran and Shiraz, Iran, regarding the ney, a Persian end-blown reed flute. Figure 2. Lumbar spine and the small of the back. Edited with permission from Nucleus Medical Media.

Introducing Your Center Müller-Preis, this is the center of gravity To lower the center of gravity, the of Gravity for performers.4 Pinschof describes this flutist should consider performance as According to the principles of the area as a controlling point where the a “muscular skill”5 that needs to main- Feldenkrais method, the pelvic region is lower and upper torsos join together and tain its center of gravity at the small of where the strongest muscles of the serve as the body’s balance point. the back and over the base support of body—the gluteals and quadriceps— the feet for maximum stability. This is articulate with the pelvic joints. This Low Center of Gravity the ideal physical positioning, with the region is also where the largest cross- The small of the back possesses striking- lowest possible center of gravity, and it sections of all the muscles occur, called ly vital functions. It supports the body requires constant attention during by flutist and pedagogue Michel Debost when it is straight and it provides elas- practice and performance. the “energy muscles” that allow stand- ticity—twisting, rotating, bending, and To experience the sensation of the low ing, walking, running, pushing, and lift- stretching at the waist—when the body center of gravity in action, lift or carry a ing. Here, the body’s weight is equally moves. The small of the back provides heavy object. Note if or how your abdom- balanced or distributed in all directions. both a firm fulcrum in the body and the inal muscles and upper body muscles are The center of gravity is this important location of a low center of gravity. This used to do so. Debost notes an incorrect point, from which the power of the per- specific functionality of the small of the “contraction of the abdominal muscles former’s body comes. (See Figure 1.) back in flute playing has been largely and the upper body that the individual The lumbar vertebrae constitute the overlooked within the theoretical and may apply to gain support.”6 Sometimes in largest segment of the movable part of pedagogical literature. However, this flute performance, the player obtains sup- the spinal column, from L1 to L5. functionality is extremely important for port through use of the chest, abdomen, Within that region, the lumbar spine is both performer and performance in arms, chin, and lips. This misuse of the closest to the L4 vertebra—the small of terms of technique, sonority, breathing, upper body is in direct opposition to the the back. (See Figure 2.) According to and posture. principles of the low center of gravity.

nfaonline.org Fall 2013 The Flutist Quarterly 27 Strategies for Developing the Center of Gravity

The exercises here place the body in unusual, challenging upper back and the bottom of the feet with the toes up. physical situations in which the flutist must seek support This posture is one of the best ways to feel the center of and balance through the natural use of the small of the gravity and its role in generating performance support. back to determine the point of gravity in relation to the In this position, you must employ the center of gravity feet. Try playing the flute while in these positions. in the small of the back to maintain a straight body. The isometric pressure helps prevent slouching or arching of ONE FOOT UP the back and creates effective support for the produced Hold one foot off the ground with the knee at a 90-degree tone. angle while playing a note on the flute. If the back is firm, the tone will remain constant; otherwise, the note will vary LEAN TO WITH BENT KNEES in pitch and quality. For this exercise to clearly demon- The functionality of this exercise is the same as the pre- strate the importance of a strong center of gravity, the vious one, except that here the knees are bent and you foot should be held high off the ground. must push the small of the back, not the shoulders, against the wall to generate efficient support for your BODY DOWN, LEGS UP produced tone. Lie on the floor on your back and lift both legs straight up. In this position, support will be generated by push- WIDE STANCE ing the small of the back against the floor. This support Stand on the floor with feet well apart. Try it first with is crucial to maintain a resonant note played while legs straight and then with knees bent. In this posture, remaining in this position. you need to have the feet firmly planted on the ground and obtain ideal alignment of the head, shoulders, and LEAN TO buttocks. The small of the back creates a firm fulcrum Lean against a piano, wall, or similarly protruding large compensating for the lack of balance caused by the spac- object so that your body’s two resting points are the ing of the legs.

Schools also frequently teach in oppo- “make the pelvis very nearly a spherical tion. (Imagine sneezing; this is where sition to these principles, instructing stu- body, the center of which is the center of the energy required to sneeze is generat- dents to breathe or maintain balance by action.”10 Maintaining the spherical ed.) He also maintains that the same keeping the abdomen “as flat and as taut body during performance is crucial for result can be achieved through “pushing as a board by drawing it in.”7 Such pos- performers, as the tonus of the lower the ground away”12 to maintain stability tural modes instigate restrictions over the abdomen is directly impacted by the and control over sound and intonation. pelvis, chest, ribs, neck, and throat and tensions imposed over any parts of the However, what remains unclear prohibit easy performance. upper body such as ribs, back, neck, and regarding Debost’s definition of the even eyes.11 Thus, the physiological center of gravity is the determination of Fullness of the Lower Abdomen characteristic of the lower abdominal a pivot or a rest-point that the body can Lowering the center of gravity offers muscles—besides its being the most rely on. The body needs to be firm and performers many advantages, chief proximal section of the abdominal among them the support of “fullness of wall—makes this the area where correct the lower abdomen.”8 Lower abdominal breathing, breathing management, and or subumbilical muscles are the impor- tone production initiate. tant muscles placed a little below the umbilicus or navel that is opposite the Pivots and Fulcrums performer’s point of gravity. (See Figure According to Pinschof, the performer’s 3.) One of the important benefits of center of gravity cannot be in the areas having a correct center of gravity is its such as the sternum and diaphragm, as contribution to forming the sense of is sometimes advised. Debost holds that fullness of that lower abdomen region. the center of gravity is “a point below Fullness of the lower abdomen should the navel that you feel when you sneeze be experienced in almost all moments or cough” and that it “must be as close and should be involved in every muscu- as possible to the ground, i.e. in the lar action or movement such as chang- lower abdomen.” He argues that a playing stance and breathing.9 er can use a great deal of energy that Almost all actions involve the small of accumulates below the navel area to cre- Figure 3. Lower abdominal (sub-umbilical) muscles, the back and lower abdomen and would ate efficient support in sound produc- edited with permission from Nucleus Medical Media.

28 The Flutist Quarterly Fall 2013 nfaonline.org stable in a fulcrum to hold steady against Principles into Practice the successive movements produced at Pinschof advises performers to place the beginning of breath attack and their weight not on their heels but on détaché. According to Pinschof, if the their toes—and especially on their little center of gravity was the navel area, the toes, which, he says, have far greater player would have to lean back. influence than recognized on the strong However, a backward inclination brings inner and outer thigh muscles that are a flute player little or no strength. Hence, essential in gaining balance and stability the logical position of this fulcrum, as in flute performance, and thus are key to Pinschof argues, seems to be on the keeping the center of gravity at the small lower back rather than the front, as its of the back.14 To make the thigh muscles looseness is an essential guarantee contract, it takes less effort to push against all the movements taking place slightly against the ground with the little in the front. Thus, the small of the back toes than it does to push with any of the becomes a firm fulcrum against both the other ones. pushing forward and drawing in of the To better transfer weight onto the lit- lower abdomen, while the breath attacks tle toes, slightly lift the median arch of constantly push the muscles of the lower the feet to give the toes a sense of abdomen forward to provide further squeezing or gripping the ground. Here, support for the air stream. the calf muscles are firmly contracted. The small of the back serves as a body- To increase the involvement of the calf carriage tool that provides stability to muscles, the bones of the lower leg the entire body. Gaining the ideal center should be at a small angle forward from of gravity causes a restraint-free upper the vertical15; in other words, the knees body including the thorax, the clavicle, should be bent slightly to ensure ideal the neck, the throat, the larynx, the jaw contraction of the calves and other leg and, most importantly, the head. As muscles. This posture allows the per- Pinschof emphasizes, the small of the former to experience a feeling similar to back generates a strong correlation lightly pushing the ground away in both Figure 4. Feldenkrais Axe-example, from The Potent Self, by Feldenkrais. between the lower and upper torsos on standing and sitting positions. one hand and performance proficiency This also increases the player’s con- To gain support of the small of the on the other. sciousness of feeling body weight back while seated, the feet should be on This is an important principle that through the feet on the ground through- the ground and the hands near the every flute player needs to take into out the performance. This conscious knees; the eyes should look out in a account. Otherwise, shifting the center sensation of gravity—which also forms straight direction to prevent the neck of gravity to any of the parts of the an important basis for the correct center from bending. Slump the back until it upper body, such as the chest, plexus, of gravity—is essential, as it allows the “touches the back of the chair in the diaphragm, or upper abdomen, puts the performer to lower the center of gravity lumbar region.”17 Thus a standing posi- performer under a compulsory, habitual to its lowest point in the body. The but- tion is similar to the sitting posture in cycle that demands maximum physical tocks should turn slightly underneath that the small of the back serves as a ful- effort with minimal outcome. In such a the body to give support while the crum, and thereby the fullness of the situation, although an individual feels strength is in the small of the back on lower abdomen and the looseness of the the “internal tension, he [or she] cannot the L4 vertebra, where the spine bends upper torso can be guaranteed. identify the problem in terms of muscu- inwards, as in the Feldenkrais axe posi- Through feeling the weight on the lit- lar tension.”13 tion. (See Figure 4.)16 The extra support tle toes, or pressing the toes on the This compulsive internal restriction will be created by the isometric work of ground, the performer can feel that the has caused many performers to relate the inside muscles against the outside large muscles at the back and the inner certain serious aches and problems con- muscles of the legs. sides of the thigh are forcing against cerning fingering or tonal or respiratory In a sitting position, the feet should be each other. Otherwise, the lack of con- insufficiencies to minor factors, such as firmly pinned to the ground and the trol on these muscles would cause the the brand of the instrument or their small of the back used to provide effi- performer to lose balance, which in turn inherited physical traits, while in reality cient support for air blown into the instigates serious breathing restrictions. these deficiencies are engendered by a instrument by gentle and constant push- lack of awareness and control over the ing against the lower back of the chair. Breathing Easy center of gravity. This misconception As Pinschof says, the more steadily one When individuals have mastered these may persist throughout a person’s life, pushes against the chair, the easier it is to techniques, the result is an enhanced depriving him or her of eminent dexter- maintain support for the sound and performance capability and a much ity in music performance. keep the pressure off the upper torso. wider range of expression and musical

nfaonline.org Fall 2013 The Flutist Quarterly 29 research into flute and ney pedagogies. Notes He is a senior lecturer in music and 1 Ecole is referred to as the “ideal physical posi- head of Wind Performance at Tehran tioning in performance.” Lotfi, Sharif, “A look at Art University; he also works as an the fundamentals of music performance,” Art Quarterly, 1997, Vol. 65, p. 4. honorary research associate at Monash 2 Information throughout is from interviews University. BastaniNezha has done through the five-year period from 2009 to 2013. extensive work in the area of music 3 Michel Debost is one of the rare flutists to do so, education and has published on the with his (brief) reference to this important topic in topic with articles including “Root his 2002 book, The Simple Flute. 4 The small of the back is an average position, based Tone: A holistic approach to Tone on a male body, for determining the center of grav- Pedagogy of Western Classical flute” in ity. Physically, the female’s center of gravity is lower, the Australian Journal of Music because a female’s larger pelvis area means the Education, “Primal sound and its lower part of the female body is heavier. 5 application in tone pedagogy of Timm, Everett. 6 Debost, 185. Western classical flute” in the 7 Feldenkrais,190. Malaysian Music Journal, and 8 Feldenkrais, 200. “Automatic breathing and flute per- 9 For more information, see chair-stand-up or formance” in PAN, the journal of the axe-swinging examples by Feldenkrais, 201. 10 British Flute Society. Feldenkrais, 207. 11 As Feldenkrais states, “The tonus of the abdomen is affected by relaxing the eyes, the The author with his mentor Thomas Pinschof to his left Bibliography mouth, the shoulders, the genitals, the anal and guitarist Jochen Schubert. Debost, Michel. The Simple Flute: From A to Z. sphincter, the legs and toes, the fingers, the ribs, dexterity. These enhancements can be New York: Oxford University Press, 2002. and (most of all) the head”, 207. maintained for the rest of the flute play- Feldenkrais, Moshe. The potent self: A guide to 12 Debost, 54–55. 13 er’s life with a minimum of effort and spontaneity. San Francisco: Harper, 1992. Feldenkrais, 193 Müller-Preis, Ellen. “Motion and Breathing,” 14 Detailed information regarding the role of the time. Breathing will be completely unpublished article from Thomas Pinschof, c. little toes in relation to support-balance is noiseless, and it will feel amazingly easy 1900. referred to in the author’s article, “Finding bal- to play. > Timm, Everett. A Treatise on Flute Playing (mas- ance through support in flute performance,” in ter’s thesis, unpublished). Rochester, New York: the Australian Journal of Music Education, vol. Arya (Ali) BastaniNezhad was award- University of Rochester, 1943. 2012, no. 2. BastaniNezhad, Arya. “Finding balance through 15 See Feldenkrais, 70. ed a PhD in music education from support in flute performance,” Australian 16 See axe-exercise by Feldenkrais, 195. Monash University in 2013 for his Journal of Music Education, 2012. 17 Feldenkrais, 194

30 The Flutist Quarterly Fall 2013 nfaonline.org Can’t Find it? Gotta Have it? Guiding the Next Generation The complete index of Classical Musicians

of articles in The Flutist Admission Of ce: 216.795.3107 | [email protected] | cim.edu Quarterly, volumes 16 11021 East Boulevard | Cleveland, OH 44106 through 36, is now online!

Visit nfaonline.org and look under the Flutist Quarterly section of the site to find the index.

(A printed index to issues prior to volume 16 is available from the NFA office on request.) BACHELOR OF MUSIC | MASTER OF MUSIC | DOCTOR OF MUSICAL ARTS ARTIST CERTIFICATE | ARTIST DIPLOMA | PROFESSIONAL STUDIES FAREWELL to Dedicated Staff

The NFA thanks Phyllis Pemberton, Madeline Neumann, and Maria Stibelman, who left the organization in 2012–13 after a collective 54 years of service at its Los Angeles-area headquarters.

The National Flute Association salutes the dedicated staff members of the national office, who served the organization NANCY TOFF well for many years. In 1991, the NFA moved its operations from :

Denton, Texas, where the organization was run solo by Myrna BELOW Brown, to Santa Clarita, California, where staff, office, and mem- ; bership rapidly expanded. In late 2013, the office moved its headquarters to Chicago.

The NFA thanks its California-based staff members for their BRIAN COVINGTON : devoted service and wishes them all the best for the future.

Phyllis Pemberton at the closing ceremonies of her first NFA convention, ABOVE Washington,1991, with future NFA president Gwen Powell.

32 The Flutist Quarterly Fall 2013 nfaonline.org Phyllis Pemberton, executive director “The year of my NFA presidency began with Myrna Phyllis came to the NFA in the spring of 1991 as executive Brown’s death and the office (in Myrna’s home) in coordinator. She holds a degree in flute performance from turmoil. Any time a question arose, the answer had Temple University, where she was a student of Murray Panitz, been, ‘let’s ask Myrna.’ Now, without her steady and also studied at the Tanglewood Institute. She served on the board of directors of the Santa Clarita Valley Youth guidance, we had to chart a new path. The first task Orchestra Foundation and the executive board of the Music was to sort out the office and set procedures in Teachers’ Association of California. She adjudicated several place to deal with day-to-day business. The second state festivals and competitions. In 1992, she was promoted to was to hire a new executive coordinator. During executive director of the NFA and later to CEO. Phyllis was Phyllis’s interview, there was a smile on every face. responsible for expanding the staff by hiring three full-time She was a perfect fit. We hired her. During the rest employees. She brought the institution into the 21st century when she hired the current webmaster. of my presidency, Phyllis was exemplary and innovative. After her first convention, I wrote in the fall Madeline Neumann, convention director 1991 issue of The Flutist Quarterly, ‘Phyllis Madeline joined the NFA in 1994 and quickly became indis- Pemberton’s first convention…kept her running pensable to the annual convention. She also handled many flat out at least 16 hours a day—one challenge office operations. In addition to her on-site convention duties, after the other. She is a quick study, unflappable, Madeline, a well-known cabaret singer, traded cellphone and computer for microphone and sequins at the Las Vegas (2003) and thinks splendidly on her feet. She proved to and Charlotte (2011) events. be more than equal to the task.’ On several occa- sions I have thanked her personally for this serv- Maria Stibelman, membership director ice to our association, and I welcome this oppor- Maria joined the NFA in the winter of 2000 and became the tunity to thank her publicly.” public face of the NFA as she dealt with members’ registrations, phone queries, and the like. She worked with Madeline on on- —Gerald Carey, NFA president (1990–91) and National site and pre-event annual convention administration. Service Award recipient (2008)

A tired Maria with exhibits manager Jim Magee, after another successful con- Madeline Vergari (Neumann) sang at the Charlotte convention with the Jazz Flute vention in Charlotte. Big Band. Behind her is a member of the band and its creator, Ali Ryerson. “We work with all types in this office, including a “Madeline has always been a wonderful friend to few ‘problem children,’ as I call them—people me, and in my experience as program chair and in who are cranky or upset or just generally difficult the presidential cycle, she was willing to help in to get along with. In her front-line position as the any way possible. I had a great time with these cheery voice people heard first when they called ladies and we laughed a lot. I was deeply touched the NFA, Maria had an uncanny ability to draw out last year when the first flowers I received in con- those very people, turning them into fast friends. dolence after Todd’s death were from the NFA As someone prone to crankiness herself, I confess office. I wish Phyllis, Madeline, and Maria all the to more than once relying on Maria to help me out best in their new endeavors.” in dealing with a difficult person.” —George Pope, program chair, Columbus convention (2000), —Anne Welsbacher, NFA publications director and NFA president (2001–02)

nfaonline.org Fall 2013 The Flutist Quarterly 33 “I was program chair the year Phyllis was hired in “We all went through some crazy personal times March 1991. What a lifesaver she was—and a quick during the planning of the convention, and it study. Over the years I have been so impressed by made me realize what strong people you all were Phyllis’s quiet and efficient demeanor. She has as individuals, which helped me work through caretaken our organization through many up-and- the challenges I had. Thanks for being strong down years, working with our revolving set of vol- women that I looked up to and learned from. Of unteer leaders and always with a pleasant and course, thanks for the leadership with the con- friendly hand. Most of us have no clue how many vention, also. But more than that, thanks for your improvements Phyllis is responsible for in running personal strength.” the NFA, but there are many. We owe her a tremendous debt of gratitude for all of her contri- —Cindy Ellis, program chair, Anaheim convention (2010) butions to the NFA.” “Both Madeline and Maria were good sports —Penelope Fischer, program chair, Washington, D.C. (1991) (they being California girls) as we tromped through the streets of NYC eyeing and earing a few possible alternative sites for James Galway’s Friday night recital. Their focus was always upon what would work best for the attendees of the convention, whether older, younger, greener, or more seasoned. Would the younger high school attendees from small towns feel comfortable walking out in the city at night? What about those who had more difficulty getting around? Then there was the time factor to be accounted for. They foresaw, forestalled, and forewarned me at every turn, giving a new dimension to the term troubleshooting. They had seen it all, heard it all, and done it all before dozens of times, and armed with this background of knowledge were truly the guardians of the convention experience.” Program chair Zart Dombourian-Eby consults with Madeline, Las Vegas, 2012. —Linda Toote, program chair, New York convention (2009)

“Phyllis Pemberton will be greatly missed by the “I’m proud to say that 22 years ago I was on the NFA. During my time on the board and my second search committee that unanimously recommended go-around through the veep/presidency/board Phyllis Pemberton to be the new executive director chair cycle of offices, I had the enlightening expe- of the NFA. It has been a deep source of gratification rience and significant pleasure of working very for me to have witnessed Phyllis’s faithful and self- closely with Phyllis. She consistently impressed less devotion toward guiding and overseeing the me as the person most capable of seeing the for- remarkable growth and maturation of the NFA dur- est and the trees, the branches and the leaves. She ing all these years. We owe Phyllis, along with her gently kept us from reinventing the wheel each staff colleagues, Madeline Neumann and Maria time a new person entered the scene, providing Stibelman, a great debt of gratitude.” invaluable context for what had always made the —Walfrid Kujala, program co-chair, Anaheim (NFA debut NFA great while encouraging progress coupled convention, 1973), president (1988–89), and Lifetime with responsibility. I owe a considerable debt of Achievement Award recipient (1997) gratitude to her for her hard work, keen intelli- gence, and overriding modesty in always deferring “Although my years serving as NFA jazz chair and the praise that she deserved to the more visible Jazz Flute Big Band coordinator have come to an elected officials whom she served so well.” end, the friendships I’ve forged will certainly live BRIAN COVINGTON —Kyril Magg, program chair, Dallas convention (1979), and on. During my years of service, three friends in :

NFA president (1982–83 and 2000–01) particular have come to define the very heart and BELOW

34 The Flutist Quarterly Fall 2013 nfaonline.org

soul of NFA—Phyllis Pemberton, Madeline Neumann, and Maria Stibelman. I had the privilege of working closely with each of them, behind the scenes, while planning a multitude of jazz events for many NFA conventions: Phyllis, always approachable and eager to help with any concerns I had while developing the Jazz Flute Big Band and jazz competitions; Maria, always at the ready to answer any membership queries or resolve any competition issues; and our dear Madeline, the workhorse who virtually made the wheels go round at our conventions. Working closely with Mad for years, I came to know an honest, indefatigable, dependable ally with a heart of gold. Despite facing serious health issues, she always went the extra mile for all of us. For me, her shining moment was in Charlotte in 2011, when she performed with the Jazz Flute Big Band with her dear husband and arranger Roger conducting. Madeline brought the house Erich Graf down, a night her friends will remember always. A Flute Recital: Bach (c minor suite) In 2013, New Orleans was easily the biggest jazz Roussel (Joueurs de Flute) year NFA has ever seen, thanks to our inspired Berio (Sequenza) program chair, Tadeu Coelho. It was truly jazz Gaubert (Sonata #3) flute’s shining hour. Although physically absent Flute Masterworks: from this year’s convention, Madeline, Phyllis, Poulenc (Sonata) Debussy (Syrinx) and Maria were not only with us in spirit, they Varése (Density 21.5) were a big part of its success.” Bourne (Carmen Fantasie) Nobis (from western mountains) —Ali Ryerson, Jazz Flute Big Band Coordinator Prokofiev (Sonata) The NFA’s officers, current staff and vendors, and—especial- Classical Musings: A VHS music video setting of ly and most importantly—its members salute the work and excerpts from A Flute Recital to the beauty of Utah’s National Parks and their environs. longtime dedication of Phyllis, Madeline, and Maria. > Erich Graf . Aeolus Recordings www.erichgraf.com

RESIDENTIAL SUMMER FLUTE CLASSES with PATRICIA HARPER

Marshall, CA - July 7 - July 11, 2014

For information and repertory list: e-mail: [email protected] telephone/fax (860) 767-0629

nfaonline.org Fall 2013 The Flutist Quarterly 35 From the RESEARCH CHAIR The 2013 NFA Convention in New Orleans included a fascinating presentation by this year’s Graduate Research Competition winner, Roberta Michel. The competition, which is sponsored by the NFA’s Research Committee (Nancy Toff, John Bailey, Susan Nelson, Kyle Dzapo, and Julie Hobbs), seeks to honor and recognize important new contributions to flute research. Michel’s dissertation on the flute works of composer Salvatore Sciarrino was selected as this year’s winner; her abstract below gives a sample of her work. “Producing Incantations: A Practical achieves human intensity and breathable Guide to Performing Salvatore warmth. In this dissertation I show how he Sciarrino’s Solo Flute Music” creates a new sonic palette, fabricating a Roberta Michel, new instrument out of the traditional City University of New York, 2012 flute, a “superflute” of sorts. Using his first volume of solo flute Jessica Raposo Salvatore Sciarrino’s works hold a semi- music, I borrow Sciarrino’s own analytical nal place in the avant-garde repertoire of tools to analyze these works, using his “fig- the late 20th century. Sciarrino’s musical niques of his works and turning those language is not widely understood nor ures” as interpretive, as well as analytical, physical techniques into musical gestures are his unique techniques for playing tools. Sciarrino’s flute works appears a while suggesting possible interpretations many instruments. Of the two instru- daunting undertaking to flutists because of through my experience of learning the ments he most consistently favors, the their notation and the almost complete pieces, as well as through interviews with piano and the flute, the flute is the absence of any traditional flute sonorities. champions of Sciarrino’s music. instrument with which he repeatedly I provide a guide to learning the tech- —Jessica Raposo

Leone Buyse was principal flute of Bos- ton Symphony, now on faculty of Rice University. She has six CDs on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid playing and a glis- tening recording” Fanfare. CD319: Rivier Revisited. Chamber Mu- CD314: Love Letters. David Shostac, flute. Borne, Carmen Fantaisie; Kosins, Love sic for Flute by Jean Rivier. “loaded with charm” Fanfare. Letters & Winter Moods; plus Boehm, Dinicu, & Debussy. Shostac is principal Los CD356: Tour de France. Music by Fauré, Saint-Saëns, Bizet, & Angeles Chamber Orch. “outstanding fluent technique” BBC Music Mag. Debussy, “A charming entertainment.” Fanfare. CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- CD357: World Wide Webster. Dvorak, Debussy, Brahms, & cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle Gottschalk. W/Michael Webster, clarinet; & Robert Moeling, piano. Symphony. “nothing short of amazing.” American Rcd. Guide. CD715: Dedicated to Barrère. Music composed for celebrat- CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas ed flutist Georges Barrère, by Caplet, Woollett, Gaubert, Seitz, by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- Lacroix, Lefort, and Damaré. “marvelous recording” Flute Talk. formed with rare sympathy and expertise.” Fanfare. CD716: Dedicated to Barrère, Vol. 2. Leone Buyse w/Martin CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Taffa- Amlin, piano; & Paula Page, harp. Griffes, Poem; Varèse, Density nel, Fantaisie; Griffes, Poem; plus Dzubay, Van Brink, & Zupko. Robertello: faculty of 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, Indiana University; previously: Pittsburgh & National Sym., Cleveland Orchestra. Sonatine and Invocation. Also De Lorenzo, Kriens, Jacquet. CD714: Flute Agréable. April Clayton, flute. Sonatines by Dutilleux, Francaix, CD710: Wind Effusions. Danilo Lozano, Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ ” Musicweb. Flute; David Muller, Bassoon. Duos by CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, Villa-Lobos, Schröder, Gabaye, Jan Bach, & High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- Bozza; solos by Piazzolla & Osborne. Lozano: ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. founding member of Hollywood Bowl Orch. CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. Muller is former princ. Mexico City Phil. Music by Sawai, Yamamoto, Hirai, Miyagi. “quite beautiful” Amer. Record Guide. CD354: Weiss Family Woodwinds. CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Wood- Dawn Weiss, flute; David, oboe; Abraham, wind Quintet. Ten Waltzes; From the Animal Kingdom; From the Plant World (all for bassoon. Trios by Svoboda, Worthey, and flute and piano); Serenade and Th. & Variations (for woodwind quintet). “Blumer’s lush style reminds me of Vivaldi, plus Messiaen, Le Merle Noir (flute Richard Strauss. Fine flute playing; [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. & pa.), Hindemith, & Bourdeau. Dawn was CDs $16.95 each. U.S. Shipping: $2./order; foreign: $10/order. solo flute Oregon Symphony for 25 years. ® Visit www.crystalrecords.com to see all CRYSTAL RECORDS [email protected] listings, hear sound samples, & order. 28818 NE Hancock Road, Camas, WA 98607 USA • phone 360-834-7022 36 The Flutist Quarterly Fall 2013 nfaonline.org Across by Dolores August the Miles News about flute club and flute choir activities throughout the United States

The Mid-South Flute Festival 2014 will be held March 28–29 open band director workshop by Katie Codina on SMART at Middle Tennessee State University in Murfreesboro, music and RhythmBee technology. In the afternoon, Tennessee. The festival will feature guest artist Göran Schettler presented an open college masterclass, Adams led Marcusson and many regional artists. Competitions will a piccolo masterclass, and Heather Zinninger presented a include Young Artist, College Masterclass, High School Soloist, masterclass on orchestral excerpts. The final two classes and Junior Showcase. Visit midsouthflute.org. were a body mapping class by Katherine Kemler and a laughing yoga class led by Sandra Lunte. Other events On April 14, the Austin Flute Society held its 25th annual included a middle school and high school young artist Young Artists Competition, held for the first time on the competition, a concert of Louisiana flutists and friends, campus of the new Concordia College. The new venue was and all-day mini-lessons with professional flutists and deemed successful for improved parking and comfort and teachers for students of all ages. The annual Louisiana reduced noise. On April 15, competition winners in the jun- Flute Festival is a well-attended event that is hosted in dif- ior, senior, and piccolo divisions performed a formal recital, ferent cities around the state. after which they were presented with certificates and cash prizes. This second day was expanded to include the first The Frederick Flute Choir (Maryland), under the direction April Flute Fest, for which vendors Jason Blank, an educator, of Jennings A. Glenn, begins its 25th anniversary season and Dana Reiner, of the Flute Finder, exhibited flutes. this September. The choir, a semi-professional adult group Workshops were presented by Kim Clark (body mapping) founded in 1989 by Glenn and dedicated to the production and Blank (basic flute techniques). Also new to this year’s of the finest music possible for audiences, has performed competition was the donation of a silver headjoint by more than 150 concerts at venues including the Kennedy Parmenon Flute County out of Paris, France, to first-place Center in Washington, D.C., the White House grounds, the winner Lorna Min in the senior division. She performed the NFA Convention, and regularly throughout the Washington, Sonata for Flute and Piano by O. Taktakishvili, third move- D.C., Maryland, Pennsylvania, and Virginia region. ment (Allegro Scherzando). Premiered works include those by Sonny Burnette and Paul Smith. Visit FrederickFluteChoir.com. The Austin Flute Choir performed its spring recital on April 7. A favorite piece was “An Afternoon with the The Seattle Flute Society will Kiddo,” by Greg Lutz; the group hopes to perform other launch its 2013–14 season pieces by Lutz in the future. September 29 with its annual Flute Celebration Day event The Louisiana Flute Society held at the University of held its annual statewide Washington School of Music. Louisiana Flute Festival March Additional highlights of the 16 in New Orleans. The festival season include the Felix was hosted by Patti Adams and Skowronek Memorial Event Loyola University. The featured Recital and Flute Workshop in guest artist was Göran Ian Clarke October and the Horsefall Marcusson, who presented a Competition in January 2014, adjudicated this year by Leone masterclass with winners of the Buyse (upper division) and Laura Barron (lower division). college- and graduate-level mas- The society will culminate the year of activities with the Patti Adams terclass competition and per- 2014 Flute Festival featuring Ian Clarke on April 6. In addi- formed a recital to close the event. Festival collaborative tion to a workshop and concert, Clarke will help select the pianist was Dianne Frazer. The day-long event was packed winner of the Second Annual Young Artist Competition, a with a wide variety of events for flutists of all ages and abil- new award created in 2013 that includes a $1,000 cash prize. ities and with exhibits and concerts. The festival began with Contact Torrey Kaminski, SFS president, at president@seat- a morning warm-up session by Sarah Schettler, an open tleflutesociety.org, or Alicia Edgar, SFS publicity chair, at adult amateur masterclass led by Anne Chabreck, and an [email protected].

nfaonline.org Fall 2013 The Flutist Quarterly 37 SPOTLIGHT ACROSSTHE MILES International Flute Orchestra The Seattle Flute Society Flute Choir has finished its season with performances in and around Seattle, including the SFS Flute Festival. The flute choir’s season will begin in September. Flutists interested in joining or seeking information may contact Flute Choir Manager Jennie Goldberg at [email protected] or Flute Choir Director Katrina Sibicky at [email protected].

The Southern Illinois Flute Society sponsored a masterclass and concert in April by Mark Sparks, Principal Flute of the St. Louis Symphony Orchestra.

Two highlights of the Chicago Flute Club’s 2013–14 season are the biennial Flute Festival and The International Flute Orchestra performing in Bilbao, Spain. the Solo Artist Competition. The 2013 Flute Festival, “Plays Well In May and early June 2013, the International Flute Orchestra with Others,” will be held toured northern Spain, performing in the cities of Segovia, November 8–10 at the Hilton Bilbao, Zaragoza, and Barcelona to enthusiastic audiences. Orrington in Evanston, Illinois. Conducted by John Bailey, Larson Professor of Flute at the The festival will kick off with an University of Nebraska-Lincoln and a past president of the evening of dinner and entertain- NFA, the group consists of 40 professional flutists, flute teach- Michel Debost ment celebrating the achieve- ers, and flute choir members and conductors from all over the ments of Michel Debost and Jim Keefe. Events and concerts, U.S. and Canada. Its ranks include alto, bass, and contrabass primarily focused on flutes in unusual combinations with flutists in addition to C flutists and a piccoloist. One highlight other instruments, will take place at both the hotel and for the group this year was our performance at the Lutkin Hall on the Northwestern University campus. Conservatory in Bilbao, where we were joined on the final Featured artists are Claire Chase, Mary Stolper, and Michel three pieces on the program by 60 local young flutists and sev- Debost with special guest artists Ali Ryerson, Kristin Carr eral teachers—more than Jackson, Jennifer Clippert, Ellen Huntington, Kathy Blocki, 100 flutists on stage. Martha Councell-Vargas, Nicole Riner, and Patricia George. Mikel Piris from the con- The festival will also feature flute choirs from around the servatory organized our country and an exhibit hall containing more than 30 visit. In Barcelona, the exhibitors. Flutists age 18 and older are invited to apply for IFO performed in the the 2013 Solo Artist Competition. The application deadline is beautiful medieval cathe- October 1, and the live final round will be held on November dral. Sharing the program 9 at Northwestern University’s Lutkin Hall in conjunction was the Barcelona Flute with the CFC Flute Festival. Visit chicagofluteclub.org. Ensemble, conducted by Judith Facio Navarro (left), Nancy Clew, and John Bailey. Joaquim Piqué and featuring flute soloist Peter Bacchus performing his own composition for solo flute and flute ensemble. Founded by its music director, Floridian Nancy Clew, in 1996, the IFO last toured Spain in 2001 (Madrid, Seville, and Granada). Meeting each May in the country to be toured, the IFO has given free concerts in Chile, China, Russia, Turkey, FLUTE SOCIETY OF GREATER PHILADELPHIA PHOTO COURTESY TOM MEANY

and many countries in Europe, including Greece, Poland, ; Slovenia, Slovakia, Croatia, Hungary, the Czech Republic,

Belgium, the Netherlands, Ireland, France, Italy, Austria, SHERMAN . England, and the Baltic Republics.

Our repertoire consists of major symphonic, ballet, and Flute Society of Greater Philadelphia 2013 competition winners, from left: Rosie operatic works transcribed for flute orchestra, works original- Gallagher (first), Youngji Ahn (second), and Justin Holguin (third). ly for flute orchestra, and works specially written for the IFO, The Flute Society of Greater Philadelphia began its 12th sea- including those by Alan Leech and Phyllis Louke. The group son September 15 with its annual Open Member Meeting meets only in May, rehearsing for two days in the year’s select- and Flute Choir Reading Session at the Bala Cynwyd Library. ed country before embarking on the concerts. The season continued on October 12 at the Stage One —John Bailey

Performing Arts Complex of Delaware County with jazz MICHEL DEBOST PHOTO COURTESY STEVE J

38 The Flutist Quarterly Fall 2013 nfaonline.org flutist Ali Ryerson leading flute society members in NFA Jazz Flute Big Band arrangements along with tips on swing, phrasing, and articulations. This event was sponsored by Brio Flutes. On November 24th, the FSGP will have its second “Performathon” to benefit the Collegiate Young Artist Competition. The traditional Holiday Flute Choir reading and concert will take place at the Evesham Flute Studio December 15. In recital on February 22, 2014, flutists Adeline Tomasone, Marc Adler, and Tom Meany will explore music from varied faith traditions, both ancient and new. The John and Helen Tomasone Memorial Young Artist Competition will be held on March 15 at the Willow Grove Branch of the Settlement Music School. The annual Open Members Recital and Party will take place on April 5. This performance will feature flute society members and recent Young Artist winners in concert. The second annual Flute Fair Day will take place in early May. Visit philaflutesociety.org.

Send information about flute club activities, and high-res- olution images if available, to Dolores August, Flute Clubs Coordinator, [email protected].

nfaonline.org Fall 2013 The Flutist Quarterly 39 THE INNER FLUTE

A Transcript of Music and Words Crushing pain forces this flutist to turn to a new form of expression: writing. She applies her craft in this meditation on practice, performance, and her evolving storyline as an artist.

by Sarah Winstein-Hibbs rozen and sweaty, I’m alone in the semi-darkness back- passes us by, the crowd crescendoing in whistles and claps, my stage, the heartbeats in my temples a pressurized, palpable heart and smile so loud, and so big. Fthrum. Finally I get my cue: “And now for our perform- Back to the practice room. Tick tock, tick tock clacks the ance of Vivaldi’s Tempesta di mare,” the conductor declares. The metronome as I whiz away on clusters of notes, repeating each doors swing wide; the applause revs up; time slides into a strange group five, 10, 20 times each. Eyes not allowed to check the and wonderful standstill. I glide toward the podium as though clock—time goes faster when you don’t look at it. Gradually, underwater, grinning nervously, swinging my arms, clenching things start to flow, my resistance melting away as the air thrills my hand into itself. I take my bow. I lift my flute. under my fingertips. My tone is flexible and full, my mind is full All is suspended; all is anticipation. Then the conductor’s hand of questions: how should I play this? What does it mean? swoops to smash the invisible downbeat and the music breaks Mozart’s grace, Prokofiev’s energy, Brahms’s passion: these are open like a rapidly unfurling flower. The Allegro drives forward the puzzles and mirror-games and secret letters that I unravel, like some vital machine as it sweeps through an alphabet of color the mysteries that I love. and harmony. Under my hands the notes flutter like little birds. Little gestures, little flourishes, quick wavelets of water and air Dissonance and melody, rushing in with the tide and vibrating beneath my I lost myself in this. Maybe too much. When I began attending fingers. A sea of string melodies surrounds me; a constellation of the Eastman School of Music, I practiced my heart out, fighting harpsichord sparklings tingles at the edge of my consciousness. off the loneliness of college by immersing myself in music. But The audience presses its silent presence upon me from the dark, one night in the practice room a sharp pain shot through my live void beyond the stage. A final solo—I’m alone, building the wrist and wouldn’t go away. I kept returning to the practice tension high—and then in a swell of sound and heat the piece room again and again—maybe it won’t hurt this time. I picked

40 The Flutist Quarterly Fall 2013 nfaonline.org up my flute and played a note. Low F. Sounded OK. Tick tock, he’s trying to say; he self-consciously acknowledges the sheer tick tock. I picked it up, played another note. Put it back down inadequacy of words to communicate a phenomenon like love. again. Another note. Now it hurt. “Right wrist beginning to get Yet he’s still writing! What else can he do, but keep on trying, irritated after 3 min,” I wrote in my physical therapy log. keep on writing? I thrilled to these words, these compartments Waited five minutes. Time for another note. And so on. The of human life. Like Bernard’s writing, my experience with pain intensified; the doctor visits continued. music has been guttural, visceral, and difficult, but that doesn’t “Soft tissue is tricky,” an orthopedist counseled me. “When change the fact that it’s been soaring and lark-like, too. Now I it’s under trauma for a prolonged period of time, it may never just need to find the words for my own transcripts. heal correctly again.” I’d been steering my course with the Fits and starts of rhythm and silent sound begin to fill the belief that if I simply practiced hard enough, I could achieve page. Images glide through my mind’s eye, my pen racing to keep everything I put my mind to. May day. up. After the initial flood of colored and crazy words, here comes the march of the Sentence, the sturdy block of the Paragraph, the reassuring achievement of a Page. And then the inevitable return A New Stage to single, finicky, mincing words—but precisely which word? Eventually I transferred to the University of Rochester, nervous Which one can pin the butterfly down, the sense and sensation, and scared, out alone on an entirely new stage. I feared the vague the madness and music and rap ture of a moment? and threatening repercussions of such a radical identity shift, the My transcript is a complicated one, with many different and unpredictable consequences of throwing myself from a world of difficult realities, intoning a grating dissonance and a crystal physical sound and melody into a realm of intangible ideas and harmony all at once. Sometimes my story is a simple waltz; concepts. I tried to bridge the gap by coming up with felicitous sometimes it’s a dense modern novel. Sometimes it’s a sonnet. analogies: “It’s just like practicing!” I’d tell myself while memo- Sometimes it’s silence. But through the warp and weft of cir- rizing Spanish verbs. But these similes felt flimsy and contrived, cumstance, my voice remains the same. Here I am with my like shallow techniques straight out of the cheapest self-help pen; here I am with my flute. Out of all that’s happened, some- book. My love for music still burned inside of me, but I didn’t thing beautiful can arise, some melding of doubt and certainty, know what to do with it or who to share it with. Practicing some hybrid creature of words and music. Something still loosed an old fear instead of an old love; listening to favorite unformed, rough and imperfect, but beautiful nonetheless, pieces mostly reminded me of what I’d lost. Better to ignore it luminous, wondering, and full of mystery. > altogether, I thought. Better not to think or talk about it at all. Yet eventually I reached out for literature, declaring myself A former student of the Eastman School of Music, Sarah an English major. I was searching for a new mode of expres- Winstein-Hibbs is now a fourth-year English Literature major sion, a new way to communicate, and a new story to tell. The at the University of Rochester. She has presented her writing at words of this story didn’t come easily, however. Sometimes the University of Toronto’s Graduate English Conference and language does seem foolish, crudely labeling only the grossest the Annual Council on Writing at SUNY Buffalo and is pub- features of a complex landscape. When a former Eastman lished in the Journal of Undergraduate Research at the classmate asked me where I’d been this semester, an inevitable University of Rochester and online at threepercent, a blog for knot formed in my throat. I wanted to tell about the anxiety, translated literature. She enjoys teaching and performing on the anger, how confused and sad I was—but also how excited the flute occasionally, including an upcoming performance at and relieved, and so many other things I couldn’t name. But Eastman as part of a Bach Cantatas series. how can you stuff that all into one sentence? Instead I deliv- ered a neat, bulleted list: not at Eastman anymore; studying at University of Rochester; yes, it’s good there; why the switch? — Oh, because I had an injury. A grand oversimplification of one’s life; a brutal reduction of all that has passed. There are )/87(62/26 ways that sentences can circle around the very thing they ZLWK mean, avoiding and subverting the truth, compensating for a larger narrative that we don’t yet know how to tell. 25&+(675$/$&&203$1,0(17

FKDQJHWKHWHPSRUHFRUG\RXUVHOI My Own Transcripts ZLWKWKHDFFRPSDQLPHQWDQGPRUH Even though my life sometimes felt like a fiction to me, something about this new story hinted at familiarity. I felt the words %DFK'DQ]L'HYLHQQH I read. I heard in them a faint echo that I recognized, an inner 'RQL]HWWL)DXUp*OXFN0DVVHQHW cadence and melody: “Here again there should be music,” says 0R]DUW7HOHPDQQ9LYDOGL Bernard, the writer-figure in Woolf’s The Waves, “…a painful, guttural, visceral, also soaring, lark-like, pealing song to IRUPRUHLQIRUPDWLRQ replace these flagging, foolish transcripts—how much too SOHDVHYLVLWRXUZHEVLWH deliberate! how much too reasonable!—which attempt to describe the flying moment of first love.” Bored with his own “foolish transcripts,” Bernard calls on music to express what &ODVVLFDO&ROOHFWLRQ,QF&RP

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The Galway Flute Festival participants and staff in Weggis, Switzerland. Galway Flute Festival 2013 The annual festival in Switzerland this year included a new feature: a student ensemble performing a work by Matthias Ziegler and led by Christine Potter, who writes about her experiences at the event. by Christine Potter

he Galway Festival held in late July attracted more than A typical day at the festival starts with a vocal techniques T100 performers and students from around the world to class, after which Sir James leads a tone warm-up, followed by an intimate setting on Lake Lucerne. The conference facility is masterclasses taught by Sir James and Lady Jeanne. A workshop superbly managed by the Baldegger Sisters, an independent by one of the guest artists concludes the morning session. Many society of Catholic nuns. exhibitors were set up in the lobby with instruments to try— Sir James and Lady Jeanne Galway honored me with an the Adams European Flute Center, Haynes, Kingma, Lafin, invitation to come rehearse and conduct a work written by Mancke, Muramatsu, Nagahara, Pearl, and Yamaha. A delicious Swiss composer and flutist Matthias Ziegler titled Low Flutes lunch prepared by the sisters with fresh produce from their gar- at High Tides. This piece, scored for alto, bass, and contrabass den (the tomatoes were especially good) was followed by flutes, was premiered at the 2012 NFA convention in Las another session of masterclasses with the Galways, and Lady Vegas. For this festival, I worked with a student ensemble Galway also organized small ensemble reading sessions and enlisted to perform Ziegler’s piece. Having a performing coaching in addition to in-depth work on the Taffanel/Gaubert ensemble separate from the large flute choir is unusual for the scales. A flute choir rehearsal ended the afternoon. Galway Festival, and I was privileged to work with students Evening recitals featured two flutists. The Galways began hand-picked by Lady Jeanne for this contemporary work. Eva the festival with a joint performance on the first night, fol- Kingma generously loaned instruments for the student lowed by six more recitals of guest artists from around the ensemble, and the Galways also loaned some of their person- world, including Lorna McGhee, principal of the Pittsburgh al instruments for the festival. The piece was performed in Symphony; Denis Bouriakov, principal of the New York Ziegler’s recital and received enthusiastic applause. As a result Metropolitan Opera orchestra; pedagogue and master of all of my appearance, I have been asked to join the staff as next electric flutes Trevor Wye; Irina Stachinskaya, coprincipal summer’s Flute Choir Coordinator. with the Moscow Philharmonic and an alumna of the festival;

nfaonline.org Fall 2013 The Flutist Quarterly 43 NOTES FROM AROUNDTHE WORLD

Samuel Coles, principal with the and contained valuable ideas on problem solving for less London Philharmonia; Ziegler; advanced students. As a teacher, I was especially impressed Burak Besir, a jazz flutist and with how she made the Taffanel/Gaubert scales come to life. composer from Turkey, a jazz The generosity shown by the Galways toward their students flutist and composer; and Italian was inspiring. For several years, they have arranged to have piccolo virtuoso Nicola Mazzanti. three headjoints donated for the festival. This year the dona- After the concert, we gathered in tions were made by Lafin, Haynes, and Nagahara. By a vote of the cafe for well-deserved social all the students, the donations were awarded to the three stu- time. There was something dis- dents whom festival attendees felt would most benefit from a concerting about buying bottles professional quality headjoint. of wine from a nun, but that did- In addition, every festival features students from the previous n’t hold us back for long. year’s festival selected by the Galways as “Rising Stars.” The two The first evening recital I Rising Stars selected at last year’s festival were Aslihan And from Sir James Galway attended featured Han Guoliang, Istanbul, Turkey, and Katerina Bachevska from Ohrid, principal flute of the China National Symphony and professor Macedonia. They shared one of the evening concerts and at the Beijing Central Conservatory of Music. He included his proved themselves to be passionate and powerful performers. wife and son, fine flutists, on the program’s final piece, a Mozart The festival ended with the flute choir performing for an Divertimento. The appearance of his family on his recital was an audience of sisters and residents of nearby towns. For me, the example of the festival’s friendly and inclusive atmosphere. This outstanding pieces on this concert were “Lento,” arranged by strong sense of community became more and more evident as Julie Stewart-Lafin from the Dvorak String Quartet, Op. 96, the week progressed. On the other half of the program was Yossi No. 12; the Verdi Overture from Nabucco arranged by P. Totti; Arnheim, principal flutist with the Israel Philharmonic. His and a new composition by Northern Irish flutist and com- program began with an improvisation as he walked down the poser Gareth McLearnon titled Single Yellow Line. Conducted central aisle and was followed by the C.P.E. Bach Sonata in B by McLearnon, his piece energized both performers and audi- flat, a Sonata by Berlinski, and the Hue Fantasie. ence with its rhythmic vitality and scat syllables. The students in Sir James’ masterclass performed at an The festival concluded with a barbeque overlooking the extremely high level, and teaching focused on correcting lake, and the office staff surprised me with the gift of a large rhythm, intonation, and phrasing. Galway’s admonition to sparkling pin in the shape of an eighth note. I had bothered refrain from distracting body movements was not always them so many times asking for the keys and picking up and heeded. Perhaps when the performers see themselves on the returning altos and basses to the office, I thought they would videotapes being recorded, they will realize how important be glad to see me go, but au contraire! his observations were. Lady Jeanne’s classes were more basic I can hardly wait to go back.

Festival Internacional de Flautistas en el Centro del Mundo 2013 This festival in Ecuador, “at the center of the world”—whose founders 24 years ago included NFA 2013 Distinguished Service Award recipient Angeleita Floyd—annually brings together legendary flutists from around the world. A “younger” member of its faculty describes this year’s event. by Sergio Pallottelli

or the past 11 years, I have the globe have participated in the festival, bringing their expe- Fhad the honor of partici- rience, knowledge, passion, and musicianship to this once pating as a performer and fac- remote country in Latin America. Over the past decade, the ulty member at the incredible festival has grown into one of the most successful and popular Angeleita Floyd Festival Internacional de destinations in the flute world. Flautistas en el Centro del Mundo (the “International Flute As a “younger” member of the festival’s family, I look for- Festival in the Center of the World”), which takes place annu- ward to this gathering of colleagues, students, and friends each ally during the first week of June in Quito, the capital city of year, but the 2013 edition was truly special: It was a culmina- Ecuador. Founded 24 years ago by Luciano Carrera, the festi- tion of major exponents of the flute world, the best of the best val began as little more than a group of friends gathering in of pianists, and an incredibly dedicated orchestra of the best Quito to teach a few students and present a few concerts. This freelancers to be found in Quito, comprising the “Orquesta da original group included Angeleita Floyd (U.S.), Sheryl Cohen Camara Luciano Carrera.” The 2013 festival included about 18 (U.S.), Celso Woltzenlogel (Brazil), Cesar Vivanco (Peru), and invited guests representing the U.S., Brazil, Italy, Colombia, a few others who shared a great vision of what was to come. England, Japan, and Norway. It was incredibly inspiring to Throughout the years, legendary flutists from every corner of share dinners, recitals, and masterclasses with musicians such

44 The Flutist Quarterly Fall 2013 nfaonline.org as Paul Schliffer, Rogerio Wolf, Felipe Garcia, Michael Titt, Under the direction of maestros Luciano Carrera and Angeleita Floyd, Sheryl Cohen, Wendy Rolfe, Maria José Gustavo Lovato, Friday’s “concerto evening” featured soloists Carrasqueira, Hisako Hiratsuka, Eduardo Florencia, Cara with the orchestra playing a tour de force of varied works: Chowning, Rebecca Johnson, Lisette Perez, Eugenia Aizaga, Vivaldi’s bassoon concerto (with Shubin), Mozart’s Andante and Luis Fernando Carrera. and Rondo (with Schliffer and Rolfe, respectively), Flores de Schliffer performed with bassoonist Matthew Shubin, and Froso by Peterson-Berger (with Titt), the Haydn Cello their rendition of the Mozart Kegelstatt trio, assisted by pianist Concerto arranged for flute by myself, the Mozart Concerto in Chowning, was innovative and exquisite. Rolfe’s mix of D Major (with Johnson), and the Carmen “Fantasy” per- Baroque and modern was superb, going from Quantz to Latin formed by a young and upcoming flutist, Daniel Velasco. American folk music and joined by pianist extraordinaire The week was filled with multiple daily masterclasses led by Carrasqueira. Johnson gave a sparkling performance of the every invited flutist, pianist, and bassoonist, all geared toward Muczynski flute sonata, taking very daring tempos and deliv- the main focus of the week: transmitting the love of music, ering a most convincing performance of the work. Garcia hard work, and different ideas, and sharing each other’s cul- presented a wonderful afternoon of delightful Colombian compositions and a suite of pieces by German composer tures across countries and generations. The fun culminated Dario Perez. Titt charmed the audiences with his elegant Saturday night as all students and faculty joined together in a sound, performing off-the-beaten-path pieces by Paul Reade grand finale concert for flute choir lead by the incredible 2013 and Jonathan Dove. Brazilian flutist Wolf—with his breath- NFA Distinguished Service Award recipient, Angeleita Floyd. takingly beautiful sound—enchanted everyone in the hall It is truly a pleasure to join with so many friends, colleagues, with the rarely performed Clara Schumann Romances and and students to make wonderful music in the beautiful home the Gaubert Suite. I had the pleasure of performing the flute of this festival, La Casa de la Musica. The XXIV Festival version of Mozart’s B-flat Sonata for Violin along with a Internacional de Flautistas en el Centro del Mundo will take flute version of the Weber Clarinet Concertino, joined by place in Quito June 2–7, 2014. For more information, send an the wonderful Hiratsuka. e-mail to [email protected].

The Australian Flute Festival three sessions with guest lecturer Mazzanti. Tuition for per- will be held at the Australian formers is €600 and can be paid in three installments; the cost National University School of for auditors is €100. Applications can be downloaded at unre- Music in Canberra, Australia, strictedarea.com/corso_Palermo_2013-2014.pdf and must be October 4–7. The festival will received no later than October 15, 2013. feature American headliners Jim Walker and Marianna Gedigian The eighth International Flute Competition “Domenico and international guest artists Cimarosa”will be held December 4–6 in Aversa, Italy. The Michel Bellevance (Switzerland- application deadline is November 4; the competition is open to Canada), the Haga Duo flutists of any nationality born after December 31, 1965. (Sweden), Wouter Kellerman Complete competition rules and the application can be found (South Africa), Rebecca Steel online at concorsocimarosa.it or domenicocimarosa.com, or (New Zealand), Jeffrey Smith send an e-mail to [email protected]. Michel Bellevance (U.S.), and Australian flutists Lina Andonovska, Alan Aungles, Shaun Barlow, Margaret The first Unisa International Flute and Clarinet Competition Crawford, Morwenna Collett, Christine Draeger, Prue will take place at the Unisa Muckleneuk Campus in Pretoria, Farnsworth, Jocelyn Fazzone, Vernon Hill, Jude Huxtable, South Africa, February 2–15, 2014. Successful applicants will James Kortum, Janet McKay, Lamorna Nightingale, Gabriella receive a return flight ticket to South Africa as well as free Pusner, Jane Rayner, Peter Sheridan, and Virginia Taylor. For accommodation with host families. Flutists of any nationality complete information, visit australianflutefestival.com or who were born after February 16, 1983, are eligible to apply. send inquiries to [email protected]. Visit unisa.ac.za and type “flute competition” in the search box, or send an e-mail to [email protected]. The Peter-Lukas Graf Masterclass will take place at Teatro La Provvidenza in Vallo della Lucania (Salerno), Italy, The Fifth Carl Nielsen International Flute Competition will October 15–17. Visit vigormusic.it or send an e-mail to be held May 30–June 9, 2014, in Denmark. The competition [email protected]. is open to flutists of all nationalities under 30 years of age, born no earlier than May 30, 1984. Program information for The Corso Annuale di Ottavino 2013–2014 with Debora Rosti the competition will be available on the website on or before and Nicola Mazzanti in Palermo, Italy, is open to all flutists who October 1 at http://nielsen.odensesymfoni.dk. want to set or refine the study of the piccolo. The course will take place from November 2013 to June 2014 and will consist of Submissions for “Notes from Around the World” should be individual monthly lessons with primary teacher Rosti and sent to Christine Beard at [email protected].

nfaonline.org Fall 2013 The Flutist Quarterly 45 WWW.MASONGROSS.RUTGERS.EDU/ADMISSIONS

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Sam Most: 1930–2013 The “vital virtuoso” played a pivotal role in the development of the flute as a jazz instrument.

by Peter Westbrook

s the author of the book and film The Flute in Jazz, it was Amy privilege to meet and interview many of the early pio- neers of jazz flute performance. Since then, sadly, I have had to watch as, one by one, they pass away: Buddy Collette, Bud Shank, Herbie Mann, David Newman, James Moody—we have lost all of them in the past few years. On June 13, 2013, they were joined by the man said to be the “father of jazz Sam Most flute,” when Sam Most succumbed to cancer in a Los Angeles hospital. graduating from City College and the Manhattan School of While his passing was noted in the national press—the Los Music, Most joined his brother in the Tommy Dorsey orches- Angeles Times and New York Times were among those that tra at age 18, playing clarinet and tenor saxophone. He went published obituaries—Most was, along with others of his gen- on to work with the big bands of Don Redman, Buddy Rich, eration, largely ignored by critics in favor of younger artists and others, and made a number of fine recordings with his and the various “new things” that sweep through jazz from own small groups. time to time. Listening to the comments of his fellow musi- In the early 1960s, Most followed his brother to the West cians, however, and surveying a performance and recording Coast to work in the recording studios, while continuing to career spanning five decades, reveals both the extent of Most’s make some influential jazz albums for the Xanadu, Prestige, contribution to music and the affection in which he was held Debut, Vanguard, and Bethlehem labels. Along the way he per- by all who knew him. formed with an absolute who’s who of jazz and wrote a high- It is hard to exaggerate Most’s contribution to the develop- ly regarded method book, Jazz Flute Conceptions. But, self- ment of the flute as a jazz instrument, particularly in its adap- effacing to a fault, he learned that self-promotion can often be tation to the language of bebop—the music of Charlie Parker more important than talent in the music business, and periods and Dizzy Gillespie—in the years following World War II. of activity were interspersed with times of hiatus. Recent years Jazz historian Leonard Feather writes: “Justice should have seen him produce more fine records, however, and fea- demand that the history books document Sam’s role as the tured in a documentary film, Sam Most, Jazz Flutist by first truly creative jazz flutist,” while perhaps the most Edmond Goff and Fernando Gelbard. famous jazz flutist of his era, Herbie Mann, stated that, “The Gelbard sent me some thoughts about Sam Most. “In my order of jazz flutists is Wayman Carver, Harry Klee, and Sam opinion,” he writes, “Sam was the most important jazz flutist Most. Then the rest of us followed.” Bassist and composer ever…There are and there were many jazz virtuoso flutists— Charles Mingus, who was not given to excessive praise of his like Hubert Laws, Jerome Richardson, Frank Wess—and all of peers, named him as “…the world’s greatest jazz flute play- them admired and praised Sam. He will be missed as a won- er.” At the same time, however, he was also referred to as a derful human being and a one-of-a-kind musician.” “vital but often overlooked virtuoso.” It is not clear when Most took up the flute; he thought it was Born in 1930 in Atlantic City, New Jersey, into a family of when he was about 18, in 1948, when his brother sent him an Lithuanian Jewish immigrants, and growing up in the Bronx, instrument. His first recording, in 1953, established him as the Most was inspired to a career in music by his elder brother model bebop flutist and virtually the only point of reference

FERNANDO GELBARD Abe, an accomplished clarinetist and studio musician. After for up-and-coming jazz flutists. As Herbie Mann told me,

nfaonline.org Fall 2013 The Flutist Quarterly 47 “Sam Most had one song, Bennie Goodman’s ‘Undercurrent ment. On stage, this developed into a unique sound that was Blues,’ where he played flute, and I listened to it as much as I picked up by players such as Yusef Lateef, Harold McNair, could to see what it could do for me.” Jeremy Steig and, most significantly, Rahsaan Roland Kirk. The following year, 1954, Most was voted Downbeat maga- Former NFA jazz chair Ali Ryerson had an opportunity to zine’s “New Star.” By the 1960s, Most found himself using the work with Most over the past two years, inviting him to per- flute more frequently as jazz arrangers began to write for it as form at the 2012 Las Vegas convention. Noting that “All the part of their experiments with new timbres. As the years jazz flutists loved meeting and hearing this jazz flute legend,” passed, Most was admired for his saxophone and clarinet she writes: “Sam was one of the kindest, most gracious men work—not to mention his occasional scat singing—but he I’ve ever known. And no one played better jazz lines than Sam became best known by far for his flute playing. While his Most. Such a talent. I spoke with Sam the day before we lost sound, sometimes more breath than tone, was off-putting to him. He was in amazing spirits, and at peace. He told me he schooled players, his improvisations were models of invention had a wonderful life and was so grateful for it. I feel so grate- and coherence. As Fernando Gelbard puts it, “He never missed ful to have known him.” a single chord, and his solos were true jazz melodies.” Many performers were better known than Sam Most, but It was during this time that Most developed a technique that very few were better. There are few who will be more missed. was to become very influential. Trying to practice late at night in his New York apartment without disturbing the neighbors, Peter Westbrook, Ph.D. is the author of The Flute in Jazz: he found he could do so by humming quietly into the instru- Window on World Music.

Ron Waln: 1931–2013 ormer NFA president important role in breaking the NFA’s pattern of appointing FRonald Lee Waln died in male-only presidents. Charlie DeLaney (NFA past presi- Athens, Georgia, on July 20, dent) told me that he and Ron lamented the fact that in two 2013. Waln’s life was filled prior years a male had won against first me and then Bonnie with music and his family. Boyd. So Charlie and Ron together figured they could guar- Born in Cedar Rapids, antee a woman president for 1987 by running Bonnie and Iowa, on June 25, 1931, Waln me against each other! As a result, I was elected the NFA’s grew up in Oberlin, Ohio. He 15th president, and Bonnie its 17th. Since that time, NFA was introduced to the flute in voters have elected about an equal number of female and third grade and earned a male presidents.” Bachelor of Music Education Waln was also a past president of the National Association from Oberlin College, a of College Wind and Percussion Instructors. He had been a Master of Arts from the member of the Georgia Music Educators Association and the University of Iowa, and a Music Teachers National Association and adjudicated for the Doctor of Philosophy from Georgia Governors Honors Program and Southeastern Music the University of Iowa. Waln Festivals for several years. Ron Waln served in the Air Force Band Waln performed on flute often in solo recitals and small during the Korean conflict. groups and especially enjoyed being part of the UGA Waln married his wife Clara in 1956, and their first son was Woodwind Quintet, appearing on U.S. and international born in 1959. He joined the music faculty at Florida State University soon after, and two years later, in 1961, a second son stages. He was a member of the UGA Baroque Ensemble and was born. The family moved to Athens, Georgia, in 1965, when performed in Augusta, Georgia, as a guest member of the Waln joined the music faculty at the University of Georgia. Augusta Symphony and for opera performances. During his time at UGA, Waln helped the music school Waln enjoyed making bassoon reeds at the music mature and grow into a nationally recognized program. He school—partly as a way to continue contact with students. continued to teach at UGA until he retired in 2000, and con- He loved to laugh, especially at bad jokes and puns. He tinued to stay active on campus after retirement. Waln was enjoyed traveling, swimming, fresh strawberries and sweets, known as a devoted teacher and mentor, helping his students and Georgia football. grow toward performance careers or to become music educa- Waln is survived by his wife Clara; son David, David’s wife tors themselves. Jana Lyn, and their sons Carson and Davis of Atlanta; son Waln served as president of the National Flute Association Bob and his partner Hector Vera of Atlanta; and sister in 1979–80. “I knew Ron in his high school years when I was Donna, her husband Kenneth Monroe, and their family in a flute student at the Oberlin Conservatory; later, he studied Northfield, Ohio. In lieu of flowers, memorial gifts may be flute with me,” said University of Iowa Professor Emeritus sent to the UGA Hodgson School of Music Scholarship Betty Bang Mather, former NFA president and 2012 Fund or the Music Ministry at Athens First United

Lifetime Achievement Award recipient. “Ron played an Methodist Church. COURTESY THE WALN FAMILY

48 The Flutist Quarterly Fall 2013 nfaonline.org Roger Mather: 1917–2013 lute author, scholar, Of his passion for flute, his wife Betty said he starting play- Fteacher, and enthusi- ing it at Cambridge “as a foil to his scientific studies there and ast Roger Mather—and a later to his engineering career in this country.” On his many member of The Flutist travels, he sought out and befriended leading flute and picco- Quarterly’s editorial advi- lo players and makers. Discovering that players had different sory board for decades— ideas about matters such as breath and embouchure, he began died peacefully at Mercy to experiment to learn which ideas worked best for which Hospice in Iowa City on players in which situations, Bang Mather said. April 20, 2013. His wife, “When I met him, he was a branch chief for NASA five days Betty Bang Mather, was a week. At the same time, however, he was teaching junior high with him. flutists on Saturdays at a music store, to test his findings; he Born in 1917 in Green- had collected Lot and Powell flutes of the best series; he had wich, England, to Richard developed his own methods for caring for and repairing these and Marie (Schultze) flutes; he had at one time collected 24 Powell head joints to Mather, Mather moved compare playing qualities and to see whether they played best Ron Waln with his family to Jam- on the body they were made for (they did); he had given flute shedpur, India; Stargard, clinics and repair workshops at notable schools; and he had Germany; and London, England, in the 1920s. He attended landed a book contract from a British publisher.” Uppingham School and Cambridge University, Trinity College, Bang Mather said that three Louis Lot flutes that her husband in England, where he received his bachelor of arts in physics and owned and cared for were built in about 1887 by E. Chambille, chemistry and an honorary master’s degree in metallurgy; and “perhaps Lot’s best maker.” One of them belonged to Georges MIT in Boston, where he was awarded a master’s of science in Laurent, former principal flutist of the Boston Symphony metallurgy in 1940. Orchestra and, after his retirement, “Roger’s mentor and friend.” As a metallurgist, he worked at steel companies in Chicago, Flutist Fred Marcusa, to whom Mather sold one of the Lot Toledo, Detroit (during World War II, for the military Jeep), flutes he had curated, said, “Roger, for me, was the height of Pittsburgh (U.S. Steel), Wilmington, and Cleveland (at the NASA Lewis Research Center). After retiring from NASA in erudition, a renaissance man. He loved the flute and loved 1973, Mather shared with his wife a flute teaching position at his wife. His clarity of purpose and focus made him one of the University of Iowa School of Music until their retirement my favorite people in the almost 40 years I knew him. in 1996. He wrote metallurgical articles, three books on play- Speaking on the phone with him (recently) recalled many ing the flute (with a fourth scheduled for release in 2013–14), wonderful times over many years I could inhabit his world numerous articles for various flute magazines including The of flutes, metallurgy, and music, which now must go on Flutist Quarterly (most notably, “But How Do You Sound to without him.” the Audience?”) and, after his second retirement, poetry for Roger Mather is survived by his wife Betty; children Arielle U.S. and U.K. anthologies. His book of poetry, Melodious of Las Vegas, Nevada, and Christopher and wife Diane (Luke) Musings, will be available at lulu.com in fall 2013. of Paoli, Pennsylvania; granddaughters Courtney and Ashley “I think many will come to agree that Roger has given of Gloucester City, New Jersey; and sister Ruth Hughes of flutists invaluable advice on how to approach sound on the Oxted, Surrey, England. He is preceded in death by his parents, flute,” said flutist Mark Dannenbring. “His background in sci- a brother John; and his first wife, Dorothea. His body is deed- ence allowed him to probe that area more thoroughly than ed to the University of Iowa and his eyes to the Iowa Lyons Eye anyone has or likely will in the future.” Bank. Memorial contributions may be sent to the National Flutist Jeanne Baxstresser said, “I carry like a religion a Music Museum (414 E. Clark St., Vermillion, SD 57069), Iowa number of Roger’s fundamental principles on flute tone, City Hospice (1025 Wade St., Iowa City, IA 52240), or ALS particularly his comments on projection. I often quote him Development/Research (27001 Agoura Road, Suite 250,

COURTESY BETTY BANG MATHER in my masterclasses.” Calabasas Hills, CA 91301).

SAVE THE DATE

Chicago, Illinois Washington, D.C. San Diego, California August 7–10, 2014 August 13–16, 2015 August 11–14, 2016 (Hilton) (Marriott Wardman Park) (Town and Country Resort)

nfaonline.org Fall 2013 The Flutist Quarterly 49 Henri Dutilleux: 1916–2013 omposer Henri Dutilleux, who wrote the Sonatina for Flute had the temerity to disagree, writing two large symphonic works Cand Piano (1943) and was among France’s leading modern in the 1950s, and Boulez’s disapproval “effectively scuppered composers, died in Paris on May 22, 2013, at the age of 97. Dutilleux’s chances of making his name,” according to the Born in Angers in 1916, Dutilleux was a prolific composer of Telegraph. predominantly instrumental works, including symphonies and “He was very brutal,” Dutilleux recalled. “When he was orchestral pieces. He studied at the Douai Conservatoire and, young, he didn’t like what I wrote, and I didn’t agree with his from 1933 to 1938, at the Paris Conservatoire. He won the Prix de aesthetics at all. The problem was he had a lot more power Rome in 1938 for his cantata L’Anneau du Roi but did not com- than me.” He turned to other countries for his audiences, and plete the entire residency in Rome due to the outbreak of war. non-French commissions followed. Dutilleux was extremely After a year’s service as a medical orderly in the Army, he spent self-critical, wrote very few major works, and destroyed or the Second World War in a variety of jobs including, in 1945, at revised many of his pieces. His early work was derivative of Radio France, where he was responsible for commissioning new Ravel, Debussy, and Roussel; his later music, influenced by music until 1963. It was during the war that Dutilleux began to stake out his reputation as a composer with works such as the Bartok and Stravinsky, was evocative in scale of German com- Sonatina for Flute and Piano (1943). In 1951, Dutilleux received posers, but was entirely original. international acclaim with his Symphony No. 1, the first of his From 1961 to 1970, Dutilleux taught composition at the École two symphonies. He also composed chamber music, solo con- Normale de Musique in Paris and, from 1970 to 1971, at the certos, and ballet music. Paris Conservatoire. He resisted attempts to categorize him as The (London) Telegraph noted that Dutilleux met success belonging to musical “schools.” Throughout much of his career, with his works only in countries outside of his native France his work was overshadowed by that of his compatriot Olivier thanks largely to the wrath of enfant terrible Pierre Boulez, who Messiaen; it wasn’t until after Messiaen’s death in 1992 that had publicly stated that symphonies were obsolete. Dutilleux Dutilleux began to receive recognition in his own right.

Robert DiDomenica: 1927–2013 omposer and flutist Robert DiDomenica died May 20, his later years, his focus shifted to opera. His first, finished C2013, of pneumonia at the age of 86. The former dean of in 1972 but not performed until 1990, was adapted from the New England Conservatory in Boston and member of its Jean Genet’s play The Balcony. He also wrote a trilogy based faculty from 1969 to 1992, DiDomenica was a prominent on Shelley’s play, The Cenci, a setting of Hawthorne’s The flutist in New York in the 1950s and ’60s, won a Guggenheim Scarlet Letter, and a setting (unfinished) of Becket’s Waiting award in 1972, and composed throughout his life. for Godot. His works are archived in the Library of Congress A native New Yorker, DiDomenica was born on March 4, and Harvard University. 1927, in New York City. He began composing while in the Navy DiDomenica is survived by his wife Ellen Bender, a flutist, during World War II. He received a bachelor’s degree from New teacher, and composer; sons from his first marriage: David, York University, where he studied with Harold Bennett, member Peter and wife Patsy, and Claude and wife Bessie; and four of the Metropolitan Opera Orchestra for 21 years. He studied grandchildren: Maria, Rebecca, Angelina, and Vincent. composition with Wallingford Riegger, but his most influential teacher was Josef Schmid, a protégé of Alban Berg. Before taking his teaching post in Boston, DiDomenica performed freelance with groups including the New York Gps!Uif City Opera, the Bach Aria Group, the New York Philharmonic, the Modern Jazz Quartet, and various Qjddpmp!Tqfdjbmjtu Broadway shows. He joined the NEC faculty at the invita- boe!gps tion of conductor and composer Gunther Schuller, then Uiptf!Xip!Offe president of the NEC and a lifelong friend. up!Tpvoe!Mjlf!Pof DiDomenica, a prolific composer, wrote works performed at the Berkshire and other festivals; by Gunther Schuller; by James Levine and the Munich Philharmonic; the Opera Company of LFFGF 65!Divsdi!Tusffu Boston and Sarah Caldwell; the Boston Modern Orchestra QJDDPMPT Xjodiftufs-!Nbttbdivtfuut!129:1!VTB Project; conductor Paul Dunkel, a former student; and by his Qipof;!892.47:.2737 first wife, now deceased, pianist Leona DiDomenica. CPTUPO F.nbjm;!kjnAlffgfqjddpmp/dpn DiDomenica’s style always evinced “an Italianate lyri- xxx/lffgfqjddpmp/dpn cism,” said composer John Heiss, who performed many of DiDomenica’s works. Besides symphonic works and concertos, DiDomenica composed for piano, voice, chamber ensembles, and flute. In

50 The Flutist Quarterly Fall 2013 nfaonline.org -IYAZAWAs(AYNES -URAMATSUs!LTUS (AMMIGs!RISTA 'RENADITTE.EW6OICE +OTATOs4OM'REEN 6ERTICAL3WAN(EADJOINTS !ZUMIs!VANTIs,YRIC *UPITERsDI-EDICI 29 !MADEUSs%MERSON $EAN9ANGs$E&ORD *AMES'ALWAY3PIRIT 4REVOR*AMESs$I:HAO Honor Roll of Donors to the National Flute Association

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

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

52 The Flutist Quarterly Fall 2013 nfaonline.org Nikki Lohr Harvey Sollberger Jean M. Harling Robert Katayama Diane J. Lynch Lezlie Spann Patricia Harper Linda Kirkpatrick Haynes Challenge Samantha Marshall Janet Sperry Alexandra Hawley Joanne Lazzaro J.T. Martin Rosalind Stack Eric Hoover Harvey Leikind Endowment Fund Cory Maxfield Keri Starling Jerry Jenkin Leslie Maaser he Wm. S. Haynes Company’s Lorna Mc Ghee Sydnee Stein Robert Katayama Julie Martin Maisel donation of $125,000 for the NFA Karen B. McClintock Deborah Steinbacher Sue Kurian T Audrey McPherson Rebecca B. Swann Joanne Lazzaro Linda Mintener endowment includes a matching chal- Wendy Mehne Syrinx Flute Repair Janet Maestre Margaret A. Peterson lenge of an additional $125,000. As of Mary V. Miller Ayana Terauchi Julie Martin Maisel Deborah L. Ragsdale August 21, 2013, the endowment Julianna Moore Norman C. Thibodeau Leslie Seid Margolis Patricia Schmid stands at $1,323,188.42. Thank you! To Roland F. Moritz Rosalyn Trotter Katherine H. McClure Kristin Webb date, the following individuals have Christine Fish Moulton Albert Vreeland Edith K. Nishimura stepped up to the challenge: Kathy Glover Murdock Melanie Walters Christine E. Potter Dedications Conor Nelson Agatha Juichih Wang Nancy Budd Peter Katz Linda M. Prior Anonymous in Honor of Pamela Nelson Richard Warner Ginger (Virginia) Bostwick Walfrid Kujala Robert Willoughy’s Susan Nelson Maya Washington Rombach-Adams Roberta Brokaw Linda Mintener 90th Birthday Susan Nguyen Valerie L. Watts Ronnie Rothchild Leone Buyse Deborah Sinacore Alex Ogle Kristin Webb Sue Rudholm Andrew D. Callimahos in Andrew D. Parker Julia Omarzu Arnie Wernick Edith Sagul Honor of Chesapeake Callimahos Amy Pribulick Kris Palmer Joanna Cowan White Patricia Schmid Youth Symphony Gerald V. Carey Virginia Schulze- Dan Parasky Christina Wince Mary DeLano Sholkovitz Orchestra Beth E. Chandler Johnson Richard L. Dalton Angela Allen Sherzer Deborah Sinacore Parker Kerrie Wrather Vespaziani Robert Singer Chesapeake Flute Consort Steven Finley Lucille Snell Jennifer Parker-Harley Eileen Yarrison Nancy E. Toff in Memory of Helen Flute Center of John Solum September Payne Leung Ka Yau Susan Waller Callimahos Hurry New York Nancy E. Toff Martha Peltier Kelly K. Yeung Arnie Wernick Marilyn First in Memory Leonard L. Garrison Ruth Toff Sibel Pensel Charles Young Jean Ohlsson West Patricia George Ignace Cathy Pescevich Kreplin of Vickie Bigley Alan Zaring Ann E. Graham Vanmoerkerke Jason Peterson David Hart Fund Betty Austin Hensley James R. Walker Mary Peterson Peggy F. Baird Legacy Circle/ Myrna Brown Fund Jill Heyboer Alice Kogan Antonio Carlos Portela Laurie Benson Planned Gifts Eva Amsler Donna Long Jerz Weinreb da Silva Leonard L. Garrison Frances Lapp Averitt The NFA Legacy Circle Katherine Borst Jones Theresa H. Wilson Amy Porter Yvonne Chavez Peggy F. Baird honors individuals who Tamara Kagy Eileen Yarrison Kathryn A. Prinz Hansbrough Leone Buyse help ensure the future of the Sue Ann Kahn Linda M. Prior Margaret Foote Jamner Andrew D. Callimahos NFA through planned gifts. Irene Pruzan Christopher Krueger To join the Haynes Challenge Leaders, send Robert F. Cole It is with deep appreciation Judith A. Ranheim Julie Martin Maisel Lynne L. (Hadley) Fowlkes your check and a note on how you would that we recognize these Arlene H. Renico Linda Pereksta Leonard L. Garrison like to be recognized in the listing to: members: Cynthia Roberts Wendy H. Rolfe Ai Goldsmith Haynes Challenge Grant Rachel Rodgers Nancy Susan S. Goodfellow Linda and Harry Fegley c/o The National Flute Association, Inc. Charlotte Jane Roth Schneeloch-Bingham Betty Austin Hensley Leonard Garrison 700 E. Lake St., #200 Fenwick Smith Rita Roth Amber Hrynczyszyn Katherine Borst Jones Chicago, IL 60601 Ronnie Rothchild Anne Welsbacher Jerry Jenkin Carol Kniebusch Noe Toby Rotman Stephanie A. Wheeler Sonia Ruiz Robert Willoughby Crystal Safarian Elaine Marie Schaeffer Frances Blaisdell Fund Lynette Schatz Eva Amsler Mary Schneider Rebecca Tryon Andres Lisa Schroeder Peggy F. Baird Virginia Schulze-Johnson Laurie Benson Magda Schwerzmann Joanne Ennis Bourquin Gina Leija Sebastian Carol Christofferson Darrius Serrant Susan J. Clark Jialin Shan Charlotte Ellis Arastu Sharma Colin Garnett Heidi Toevs Sheridan Leonard L. Garrison Ken Sherman Jacqueline Goudey Robert Singer Susan Greenberg

nfaonline.org Fall 2013 The Flutist Quarterly 53 NEW PRODUCTS Recordings, music, and other products by and for NFA members

Ensemble HD, led by flutist Wil Offermans’ CD Luna y Joshua Smith, has released Sierra has been released follow- Live at the Happy Dog, a dou- ing the flutist’s 10-year resi- ble vinyl album, from Gotta dence in Granada in the heart Groove Records, one of the of southern Spain’s Andalusia. world’s leading makers of Luna y Sierra reflects a heritage vinyl recordings. The album of Moorish history, the world- features Smith’s colleagues famous Alhambra, the people from the Cleveland Orchestra and their love for local cuisine, and pianist Christina Dahl. the flamenco, the poems of Federico Garcia Lorca, sheep and The double vinyl album was recorded live in December goats strolling the mountainsides, and the dynamic climate 2012 at the Happy Dog Bar in Cleveland; its release party and nature of the Sierra Nevada. The works on the CD are was held at a May concert sponsored by Classical Offermans’ interpretations of his own compositions: the title Revolution, a national movement to bring classical music to piece, “Tsuru-no-Sugomori,” “Dance with Me,” and the nontraditional venues and new audiences. Proceeds from ensemble pieces Bamburia and Forbidden Valley, a quintet for the record, funded with the help of a Kickstarter campaign bass, bass in F, countrabass, contrabass in F, and double con- by Smith and his colleauges that raised $15,000, will go to trabass flutes. Visit wiloffermans.com. local music charities. The album includes Beethoven’s Serenade for flute, violin, and viola; Britten’s Phantasy for oboe, violin, viola, and cello; Smith’s arrangement, with Flutist Katherine Bryan, whose Dahl, of Debussy’s Prelude to The Afternoon of a Faun for 2010 debut album was nomi- flute and piano, Piazzolla’s Le Grand Tango for viola and nated for an International piano; Bolcom’s Graceful Ghost Rag for solo piano; and Classical Music Award, has works by Messiaen, Webern, Shostakovich, Ravel, released a new CD featuring Halverson, Part, and Webern. Performing with Smith and flute concertos by Christopher Dahl are Cleveland Orchestra members Amy Lee, associate con- Rouse and Jacques Ibert. certmaster; Frank Rosenwein, principal oboe; Charles Bernard, Composer Martin and Debussy assistant principal cello; and Joanna Patterson-Zakany, viola. also are represented on the CD, Live at the Happy Dog, complete with digital download codes, is titled Katherine Bryan Plays available at ensemblehd.bandcamp.com. Visit soloflute.com. Flute Concertos by Rouse and Ibert. The works are conducted by Jac van Steen and accompanied by the Royal Scottish National Orchestra, for which Bryan is principal flutist. Bryan, who has a career-long passion for American reper- Kenneth Smith, flute, and Paul toire, selected the Rouse concerto in particular for its Rhodes, piano, are featured on American roots. This recording will be the first British Flute Vocalise on the Divine recording of Rouse’s 1993 flute concerto. Bryan made her Art Diversions imprint. The concerto debut at age 15 with Daniel Harding and the CD is a companion volume to Orchestra of the Academy of St. Martin-in-the-Fields, A Song Without Words, a set of London, and her American concerto debut with the Julliard three CDs devoted to the lega- Orchestra at the Lincoln Centre, New York, in 2001. She has cy of Paul Taffanel. Those CDs performed with the Helsinki Philharmonic, Hallé, (Vision, Dedication, and Nurnberger Symphoniker, New York Philharmonic, and Imagination) outline the many English Baroque orchestras as well as the Royal Scottish ways in which Taffanel’s life and work influenced the future National Orchestra with whom she is currently in residence. of flute playing, the development of the instrument, the She is also a lecturer in flute at the Royal Conservatoire of music that was written for it, and the way the flute is taught Scotland. She won a full scholarship to study at the Juilliard and played today. Flute Vocalise complements this set with School of Music, New York, and was a prize winner at the concert repertoire that has significant links to Taffanel and Young Concert Artists International Competition in New his ideals. Several tracks were originally released on ASV York and a finalist in the BBC Young Musician of the Year and here have been remastered and recompiled with previ- for three consecutive competitions. She was awarded the ously unreleased tracks. Contact John Cronin at Julius Isserlis Scholarship by the Royal Philharmonic [email protected]. Society.Visit linnrecords.com.

54 The Flutist Quarterly Fall 2013 nfaonline.org Clear Note Records ann- The Gemeinhardt company celebrates its 65th anniversary ounces Venezuelan flutist in 2013. The company was founded by Kurt Gemeinhardt, a Ysmael Reyes’s debut CD fourth-generation flutemaker from Markneukirchen, release, Incanto: Contem- Germany—a location with a two-centuries-long history of porary Venezuelan Music, instrument-making. Arthur Gemeinhardt (Kurt’s father) featuring works by promi- trained in Berlin under Emil Rittershausen, a Böhm flute nent modern Venezuelan specialist who trained in Munich under Böhm himself and composers. The CD’s pieces his partner Carl Mendler, Sr. Once finished with his appren- are influenced by the tra- ticeship with his father, Kurt Gemeinhardt moved to St. ditions of the folklore, Gallen, Switzerland, where he hand crafted flutes for noted urban culture, and indigenous groups of Venezuela and rep- musicians. In 1928, he was invited to America to make resent a diversity of traditional genres and dances. The instruments in Elkhart, Indiana, and in 1948 opened his selections offer an overview of the spectrum of Venezuelan own shop, the Gemeinhardt Flute Company. His original composition styles over the past 20 years. Susan Olenwine plan was to make a limited number of professional-quality joins Reyes on piano. Visit ysmaelreyes.com or clearnote.net. flutes, but the demand for these flutes grew quickly. Three years after opening his original factory, he designed a larger Yamaha has announced the development of “cryogenic reso- plant to meet production needs, which included mid-priced nance restoration,” a proprietary method of deep-freezing brass and entry-level flutes along with professional models. and metal woodwind instruments that reduces residual strain Gemeinhardt soon became the music industry’s largest pro- in the metal and allows the instrument to respond more quick- ducer of flutes and piccolos. Over the past decade, the com- ly with what Yamaha’s Los Angeles Atelier center director Bob pany has been through many changes and has re-emerged Malone called “that broken-in feel.” The cryogenic procedure is as a revitalized company with new developments, thanks to carried out at the 5,000-square foot, dedicated instrument design, testing, and restoration center located at the company’s its current president, Dave Pirtle—a longtime staff member headquarters in Buena Park. Before treatment begins, techni- whose career at Gemeinhardt began with sweeping floors in cians use fiber optics to examine valve alignments, tone holes, the shop at the age of 18—and a small staff. In 1997, the and bore configuration and to check for the build-up of dirt. company acquired Roy Seaman Piccolos and subsequently Once inspected, the instruments are cleaned using ultrasonic developed a new composite model called the Storm for use sound waves instead of other industry-standard cleaning prac- outdoors. In addition to flutes and piccolos, the company tices, which involve acidic solutions and can be environmental- has expanded to making saxophones, clarinets, and stringed ly unsound and difficult to use. After inspection and cleaning, instruments. Visit gemeinhardt.com. flutes are immersed in a freezer at room temperature before being brought down to -325 degrees Fahrenheit. Then, each instrument is gradually returned to room temperature, which Carl Fischer announces the takes approximately 24 hours from start to finish. Once com- publication of Circular plete, the process simulates years of aging and breaking in. Warm-Ups and Drills for Cryogenically treated instruments provide a more resonant, Band, an exercise book that centered tone, an even timbre throughout their range, and teaches the basics of ensem- improved response. Contact Yamaha at 714-522-9011, write to ble playing using one simple [email protected] or visit http://4wrd.it/yamahausa. tool: the circle of fourths. One book serves for all instruments. The circle of MakeMusic, Inc., has released the SmartMusic iPad app, avail- fourths can be used in a vari- able for free in the Apple App Store. The new interactive music ety of ways to teach theory, education app delivers the functionality of the desktop version tone, intonation, technique, and, with an annual subscription, provides unlimited access to balance, blend, and ensemble SmartMusic’s repertoire library. Beginning in fall 2013, students awareness, and Circular also will be able to receive and submit assignments via Warm-Ups and Drills for Band can be used to teach students SmartMusic. In May, MakeMusic, Inc., appointed Karen to master all of its exercises in all 12 keys, major and minor. VanDerBosch as its new CEO. The appointment was announced It also presents warm-up chords and chorales using scale following the acquisition of MakeMusic by LaunchEquity. degree numbers or solfége, so that they can be played in all VanDerBosch was formerly MakeMusic’s chief operating officer keys. This approach will help students build aural skills and and chief financial officer and has been acting CEO of improve their understanding of voice leading and function. MakeMusic since June 2012. Visit makemusic.com. Visit carlfischer.com.

nfaonline.org Fall 2013 The Flutist Quarterly 55 Reviews of flute-related recordings, REVIEWSREVIEWS books, and other items of interest

Film

The Flute in Jazz: to the music, the overwhelming procession of flutists, how- Window on the World ever accomplished and/or significant, could possibly detract Peter Westbrook from the especially individual identities of all these uni- formly extraordinary players. To be sure, Westbrook is to be ©2011 Harmonia commended for striving to present a fully extensive essay, Productions (film) ©2008 Harmonia Books, but in this instance less might have been more, and more ©2011 second edition valuably informative. (book) In a documentary intended to be as comprehensive as possible, only one jazz flutist of significance, Ali Ryerson n 1927, the virtuoso Cuban (who is indeed a celebrated and major international pres- Iflutist Alberto Socarras ence), is permitted any on-screen comments. And especially created the first recorded in a film that hopes to focus on the acceptance of the flute improvised solo on “Shooting by the jazz community and music listeners everywhere as the Pistol” with jazz legend well, it was surprising that there was no reference to the Clarence Williams. Since Canadian flutist Moe Koffman, whose 1957 recording of his then, the jazz flute first slowly composition “Swinging Shepherd Blues” was the first time a and later increasingly became jazz flute instrumental was to become a Top-40 pop hit single a ubiquitous presence in the the world over. Also, the film could have noted the contribu- music. Yet, while the initially halting and then accelerated accept- tions of Henry Mancini, whose signature incorporation of jazz ance of the instrument in jazz most interestingly mirrored both flute (played by Bud Shank) in numerous movie and television the evolving social and musical norms of the past century, a scores indelibly introduced that musical sound to a vast knowledgeable overview of the flute and its place in jazz has not worldwide public. been attempted until now. To his credit, Westbrook gives deserved recognition to the Completed in 2012, the movie documentary The Flute in late Sam Most, the oftentimes neglected true father of the Jazz: Window on World Music is the work of Peter Westbrook, jazz flute, and to the aforementioned Bud Shank, both jazz a well-respected author, musicologist, educator, and—not legends among the inestimably important innovators and incidentally—jazz flutist. Associated with a book by the film- influences in the history of the instrument in jazz. The Flute maker (the original was released in 2008 and reprinted in in Jazz: Window on World Music additionally makes the per- 2011), the movie begins with a brief performance of the jazz suasive case that the subject is most worthy of an all-inclusive, standard “Stolen Moments” by an ensemble named Flutin’ scholarly appraisal, and as Westbrook is a notably accom- Jazz that includes Westbrook as a its member. plished author, anyone further interested or curious will Following that promising beginning, there is a perhaps overly-brief discussion by one of several academics who appreciate Westbrook’s companion book for that definitive appear throughout as commentators—a manifestly very summary. expert Westbrook fortunately serves as the film’s principal Author’s note: Peter Westbrook’s book arrived several days expositor—indicating the stereotypical barriers that initial- after the above review was submitted, and it was immediately impeded the acceptance of the flute in the jazz world. ly evident that his companion volume has achieved every- What then follows is an array of historical film segments thing and so much more than his film aspired to. It is a priv- spotlighting virtually every flutist associated with jazz in the ilege to revisit this subject and most enthusiastically and current and past century. appreciatively congratulate Peter Westbrook on an encyclo- As the majority of clips are concert-performance footage, pedic and definitive 365-page history entirely worthy of his some viewers might be put off at an overall effect of the passions and uncommon eloquence. repetitively same camera shot, and with so many performers —Robert Golden, Vice President, Marketing, Carlin featured irrespective of their importance or even relevance America

56 The Flutist Quarterly Fall 2013 nfaonline.org Books

La Flauta en El Tango The flute is making something of a comeback in tango now, Paulina Fain however, which was boosted by the First International Tango ©2010 G. Ricordi and Co. Meeting for Musicians, organized by Fain in Buenos Aires in July. Moreover, the flute community is now realizing that n 1950, a 24-year-old col- working in such areas as tango can add dynamism and color Ilege student named Irv to flute performance in general. Kratka issued a series of five I can’t think of a better introduction to the genre than this recordings of Schubert’s book. The result of three years of work, it is a meticulously Trout Quintet, each with thought-out presentation, beautifully realized by the publish- one instrument omitted, to ers, G. Ricordi and Co. of Munich. Written in both Spanish be filled in by a student and English, the book includes two CDs with recordings of the playing along. This was the examples found in the text and a separate booklet labelled first “play-along” recording “Piano Parts” but actually containing the piano and flute parts and the beginning of Music of several compositions by Fain that illustrate the fine points Minus One, still going of performance for the tango, both traditional and contempo- strong today with more than 900 albums in various genres. In rary, and closely related forms, the vals and the milonga. 1967, Jamey Aebersold followed with a jazz play-along series This is much more than just a play-along album. It is, in that is now a standard resource for jazz educators in many fact, designated by the author as a fundamental study method. countries. Other publishers and individual artists have fol- After an introduction explaining the limitations of notation in lowed (I am a big fan of Paquito D’Rivera’s Music Minus Me capturing the nuances of the music, Fain takes us through a books on Cuban and Brazilian jazz), until today, play-along series of sections devoted to conveying the basics of these music books, CDs, and DVDs have become a virtual cottage nuances: melody, expression, phrasing, rhythm, articulation. industry. With her new book, La Flauta En El Tango, Paulina Additional sections are on ornaments, extended techniques, Fain has made the first tango music contribution to this genre. ensemble playing, the history of the flute in tango, and a com- Tango sprang up in the 19th century as a result of the inter- parative table of tango styles. An appendix contains a glossary, action of European and African cultures in the clubs and index, references, and a table of typical rhythmic patterns. At dance halls of Buenos Aires. Later interactions with jazz and the end of each chapter are exercises, tips, referrals to the European classical forms, as well as innovations in approach audio tracks (which contain tracks for listening and for play- to the dance itself, led to the development of Tango Nuevo, ing along), and an original work for flute and piano by the best known from the compositions of Ástor Piazzolla. author illustrating the concepts within the chapter. The author Piazzolla’s work is well known to flutists, with several major has overlooked no detail in producing this volume, which is to compositions for flute and other instruments arranged for it be part of a series for various instruments. by others. Within the tango tradition, however, the flute made Whether your interest is learning to play this most appeal- only a brief appearance, as Fain tells us in her introduction, ing style of music or simply to expand your musical hori- during the Guardia Vieja (Old Guard) period from the late zons, La Flauta En El Tango will be a most valuable addition 19th century until around 1905, when it was eclipsed by the to your library. more flexible bandoneon. —Peter Westbrook

nfaonline.org Fall 2013 The Flutist Quarterly 57 CDs Flute and Piano The Reinecke Sonata “Undine,” which is in typical late 19th- Masterpieces century four-movement sonata form, deserves recognition as Paul Fried one of few solo flute offerings by the classical/romantics of that era. Reinecke was an admirer of Brahms, Schumann, and ©2013 Golden Tone the like, and this sonata provides flutists with an opportunity Records to perform music conspicuously missing from an important era in music history. While the Romantics wrote elegantly for his CD of master- flute in their orchestral works, they generally did not regard pieces, featuring T the instrument as “strong enough” for a solo chamber role. works of Schubert, Thus they relegated the flute to an avian role in the orchestra. Reinecke, and Prokofiev, Throughout their performance of this work, Fried and is the most recent offer- Pezzone spin their phrases as one entity and trade roles as ing in Paul Fried’s ever- increasing discography. His mastery of the flute is well known, soloist and accompanist seamlessly. Both artists have the abil- and his recordings constitute an important legacy to the flute ity to sing a melody when it is required. world. I have heard him in both live and recorded settings, and The Prokofiev Sonata is one of the greatest solo flute com- there is little difference in the superb quality between the two. positions of the 20th century. Whenever a recording of such The distinct individuality of his singing tone, the flawlessness an important work appears, it is highly beneficial to perform- of his technique, and his dogged experimentation with “what ers simply as an object of comparison. I have always been works” most certainly define him as a perfectionist. Fried collab- beguiled by Prokofiev’s ability to put his melodies to use both orates here with the gifted pianist Brian Pezzone. Pezzone is a as solo statements and as percussive accompaniments. This is highly versatile artist who maintains a fine reputation as soloist especially apparent in the slow movement of the sonata. on the concert stage, collaborative chamber artist, and active stu- While this offering is less muscular than some, Fried and dio musician in the Los Angeles area. Pezzone present a highly convincing performance of the work. The Schubert Variations and the Prokofiev Sonata are major The first movement is leisurely, but the contrast between works in the flute/piano literature. Both are important for melody and percussion is highly pronounced. Pezzone is very flutists, but, due to their innate difficulty, they also are stan- poetic in the solo piano passages, and Fried gives the aria-like dard repertoire for pianists. The Prokofiev Sonata is also solo melodies a plaintive quality. The duo performs the scherzo claimed by violinists and often performed thusly. Latest schol- with an acidic clarity. They have given the central section of the arship confirms that the work was originally composed for movement a “plainsong” quality—very refreshing. They bring flute, but since Prokofiev’s version for violinist David Oistrakh the movement to an exciting conclusion. In the slow movement, reached the U.S. first, the controversy remains as to which was they clearly understand the complex intertwining of melody the original solo instrument. and accompaniment and execute it with great finesse. The final The Schubert Variations is possibly one of the most difficult movement is a microcosm of the martial quality present in and demanding works in the flute repertoire. Fried and many of Prokofiev’s orchestral works. Fried’s performance of Pezzone acquit themselves admirably. Most notable is their this movement vets his many years as an orchestral player. “grazioso” concept of the piece and their distinctly vocal There are a few semantic gaffes in the liner notes and the interpretation. There are many performances of this com- writer of the composers’ bios is not credited, but these are position in which the “black notes” are simply played wie minor problems in the light of the overall quality of this pro- eine Fledermaus aus der Hölle. While this may be impressive duction. Fried’s discography will always occupy space on my to some, it is simply not compatible with Schubert’s passion “essential flutists” shelf. for lieder. —Erich Graf

Deep Blue Dallas,and appeared again at the NFA’s 2005 convention in Ian Clarke San Diego. His second CD, Deep Blue, is another remarkable ©2013 Ian Clarke recording from a remarkable musician. Clarke would qualify as remarkable purely for his flute per- ritish flutist Ian formance, possessing a huge sound and flawless execution that BClarke, professor effortlessly incorporate extended techniques as needed. It is an of flute at London’s approach that is perfectly matched to his material, which consists Guildhall School of entirely of original compositions by Clarke himself—who is also Music, made his inter- a remarkable composer. Many of his pieces have entered the national debut at the standard repertoire, aided by meticulously prepared sheet music 2001 NFA Annual available from his website at ianclarke.net. Students in particular Convention in benefit from this, as Clarke is also a remarkable educator.

58 The Flutist Quarterly Fall 2013 nfaonline.org Given the impeccable execution of this material by Clarke are always subservient to the overall musical purpose. The and pianist Tim Carey (including intricate overdubbing on result is that Clarke’s sound world avoids the trap of being “Curves,” with Clarke playing all three flute parts), the focus locked into the one-dimensional affect characteristic of much turns to the compositions themselves. What is remarkable contemporary music. about these is the genre: Clarke has created a sound world A case in point: The opening title track combines subtle entirely his own, one that hovers intriguingly between several manipulation of intonation with a sensibility that hovers different genres. between timeless universality and a pop ballad. All these While his recordings are classified as “classical”—Deep Blue pieces are full of color and movement, programmatic to some is moving up the “classical” charts in the UK—that designa- tion is of even less than usual use here. They have a jazz sen- degree—though not as much as “The Great Train Race” from sibility at times, although they are certainly not jazz—there is Clarke’s first CD—and possessing an engaging freshness. Of no improvisation here. They should probably be called “con- course, this is only his second recording, and it remains to be temporary” music, but Clarke’s work is very different from seen if he can retain that quality after his 10th or 20th. So far much of that genre. It is almost entirely tonal, if quite chro- the signs are very promising. matic and/or coloristic in places, and the extended techniques —Peter Westbrook

Fofa le nna 1974), which opens the CD. The Distell Foundation commis- (“Fly With Me”) sioned the work for Williams and Pauw. It begins with both Marietijie Pauw and flutes playing sustained notes. The melody gradually becomes Barbara Highton more animated and the flutes separate, intertwining melodic Williams material. Trills and flutter tonguing commence and gradually ©2011 Southernbuzz evolve into singing and playing. The activity gradually comes to a cadence giving way to the flutists’ voices reciting prose his CD contains a about “flying together.” Their spoken words intertwine and Tcross section of overlap playfully, as did their flutes earlier in the piece. The works for two flutes flutes once again enter, but this time exuding even more joy as and solo flute by con- a consequence of the quicker tempo and more rhythmic temporary, 20th-centu- focus, including syncopations. ry composers (with one Muyanga is one of two South African composers on the exception) from South Africa, the U.S., Spain, Italy, France, program, in addition to five other composers representing a and Czechoslovakia; W. F. Bach’s Duet No. 4 in F Major multinational approach to 20th- and 21st-century solo and rounds out the album. duet flute compositions. All works have a connection to The recording is a binational effort by American flutist tonality and several have a small amount of extended tech- Barbara Highton Williams and South African flutist Marietjie niques such as pitch bending and singing while playing. Pauw. Williams was raised in Washington, D.C. and now is based The one exception to the programming is W. F. Bach’s Duet in New Jersey; Pauw performs and teaches in South Africa. No. 4 in F Major, which takes its place at the end of the CD. The flutists exemplify impeccable intonation and blending The program overall has a homogenous feel due to the unin- of their timbres and performance styles. The recording qual- terrupted timbre of flutes (either in duo or solo format) and ity is top notch—just the right amount of reverb and space. the thread of commonality between compositional approach- The balance in dynamics and sound quality is perfect between es (excluding the Bach). the two flutists. Recording and mastering credits (in Other works are Lunette by Elizabeth Brown, an American Stellenbosch, South Africa) go to Jurgen von Wechmar and composer (b. 1953), a multi-movement piece; Incantesimo for Tim Lengfeld respectively. solo flute, by South African composer Hendrik Hofmeyr (b. The CD’s liner notes, however, leave much to be desired. 1957), which contains pitch bending and chromatic motives They give no performance credits, even for the two solo evoking an exotic and sensual atmosphere; Dialogo angelico works, “Incantesimo” by Hendrik Hofmeyr and Andante by Italian composer Goffredo Petrassi (1904–2003), featuri- appassionato by Elisenda Fábregas. They are barely legible, ung sustained dissonances and timbral colors; Andante appas- written in approximately 7-point type and partially obscured sionato for solo flute by Catalan-American composer Elisenda by the graphics, and although they provide biographical Fábregas (b. 1955); Sonate Op. 75 for two flutes by French information on the composers, they offer no background on composer Charles Koechlin (1867–1950); and Cinq Inventions the pieces themselves, which could be of interest to listeners, by Czech composer Jindrich Feld (1925–2007), written in a especially since most of the works are not within the standard modern yet roughly tonal idiom. repertoire of flute duets. The CD, overall, is well performed and a welcome addition The standout piece and performance of the recording is the to expand the array of flute solo and duet compositions. title work, by South African composer Neo Muyanga (b. —Julie Koidin

nfaonline.org Fall 2013 The Flutist Quarterly 59 CDs Tropicale: Flute represents his sister. The second, Carolina, depicts his niece. and Guitar Music This movement is the most complex as it unfolds slowly and of Italy and Latin sadly but then becomes happy and energetic, only to return to the original mood. The final movement was based on Iznaola’s American 5-year-old niece, Camila. It is clear that Camila, at the time, Aron Berkner was very innocent and enjoyed dancing! Duo Distance, by Italian composer Vincenzo Sorrentino, is ©2012 Clear Note described beautifully by a quote taken from the liner notes: “...each one of us takes refuge in his inner world, isolating our- he AronBerkner selves form the world and creating a ‘distance’ between us and TDuo—consisting others…” The moments of “rest” scattered throughout the of Jane Berkner, piece create this sense of “distance.” flute, and Stephen Aron, guitar—has compiled a wonderful Film composers with a foot in the classical realm seem to collection of music by Latin American and Italian composers. create works for the concert stage that are sonically pictur- The combination of these pieces shows how composers from esque. Mario Casteinuovo-Tedesco’s Sonatina, Op. 205 (1965) varying reaches of the globe borrow similar influences and is no exception. From grand harmonic progressions to expres- musical elements including jazz, African, and Latin folk ele- sive melodies that will tug at your heart-strings, this three- ments. The duo’s playing demonstrates the rich harmonies movement work is fit for letting your imagination run wild. Be and meandering melodies beautifully. sure to listen for whether it was a happy or sad ending! The CD opens with Sonata Tropical (1998) by Jose Lezcano, “Jobiniana No. 2” by Brazilian-born Sergio Assad fuses a Cuban-born composer. This three-movement work com- Brazilian rhythms and utilizes the whole tone scale as the basis bines elements of Cuban popular music and American jazz. for harmonies and melodies, suggesting French elements. The The first movement, En Clave de Són, energetically opens with hypnotic, ostinato moments are quite enjoyable. rhythms reminiscent of those performed by claves in popular “Tigre de Lapa” is an arrangement of a popular hit by the Cuban music. Canción de Madrugada (or Song of the Dawn) Brazilian clarinetist and chôro composer from the mid-20th cen- contrasts the first with its bluesy harmonies and melancholic tury, Luiz Americano. Americano was known for his use of dimin- melodies. The final movement, Samba-Finale, uses a samba ished seventh arpeggios and chôro rhythms when executing his groove punctuated by exciting repeated notes in the flute. popular melodies, and this piece definitely highlights those ele- “A Casinha Pequinina” (A Little House) is a traditional Brazilian ments. The title suggests a “hot player (tiger) of the jam session.” folk song that was arranged by Brazilian-American guitarist Venezuelan-born Marco Granados’ beautifully haunting Laurindo Almeida. I encourage listeners to look up the lyrics for piece, “Vals del Olvido,” is a slow waltz. The flute begins the added understanding of this mournful melody’s meaning. melodic line in the low register of the piece and gradually Ricardo Iznaola describes his “Triptico Criollo” as being finds its way soaring into the high register only to gradually composed in a “Neo-nationalistic” style. He uses some of the return to the register and tones in which this piece began. Venezuelan musical styles that were influenced by European This is an imaginative collection of works representing influ- and African styles. As a result, brand new musical styles and ences that touched composers from a few Latin American coun- forms became the national sound of Venezuela. Iznaola bases tries and Italy in different ways. It is a joy hearing how these each of the movements on the personalities of three family composers interpreted those influences in their own ways. members. The first, Raquel, light-hearted and almost carefree, —Tess Miller

Extended Circles for the flutist and many of his own original compositions. and Vision Pit Those compositions are the focus of the two CDs that he has Gergely Ittzés released to date, and they present a dizzying array of extended techniques along with astute attention to nuance of tone Recorded 2008 and timbre. ergely Ittzés is Extended Circles begins with a fun exploration of Romantic Gone truly mind- flute playing titled “L’effet Doppler.” He goes on to perform blowing person. To “Projections,” which honestly is the first composition that I peruse his website is have heard that really compels me to want to learn to circular to enter into a com- breathe. “Zhuang Zi’s Dream” is beautifully meditative, and plete world of the “Circles” is at times maddeningly virtuosic and at other times flute. He has composed Mozart Concerto Cadenzas and made dreamy. His “Sound Poem I” presents a dense amount of available his realizations of three Bach Sonata continuo parts. material, and the next two “Sound Poems” enjoy a bit more He offers an extensive compilation of multiphonic fingerings poetic subtlety. Particularly fun for me to hear is his compo-

60 The Flutist Quarterly Fall 2013 nfaonline.org sition based on the works of Robert Dick, a figure who was within a fairly short work, leaving me always engaged. Two clearly an inspiration for many of the techniques Ittzés tracks on the CD are dedicated to the aesthetic of John Cage, explores on the CD. To end the CD, Ittzés skillfully performs and seven tracks are based on Buddhist and Taoist teachings. his set of five etudes, “Just a Tube 1-5.” This recording has been The latter, in particular, explore dichotomies of flute sounds. extremely useful to my students studying these etudes. The larger works are saved for the end of the CD. “Double Vision Pit shows, according to Ittzés, “an attraction to exot- Raga ” is inspired by Indian music and presents two contrast- ic cultures, civilizations different from the European.” It begins ing ragas, which become interwoven and then separate once with a live recording of a free improvisation that is quite con- again. The final, 27-minute track is the result of a residency sonant and harmonious at the outset, then a bit eerie, shifting Ittzés held at the Banff Center for the Arts in 1994. The work again to a jovial yet nostalgic sound world, and ending with a soft dark breeze. It was exciting for me to hear Totem, the piece depicts a Sioux Indian shamanistic ritual and is extremely that Ittzés wrote for the 2012 NFA Young Artists Competition. overpowering to the senses. The complexity of sounds that he The work is a bit more approachable for the player not accus- achieves is exceptional. tomed to a daily regimen of extended techniques, yet it still I wholeheartedly recommend both of these CDs and the com- features the traits that I admire in the music of Ittzés. As with positions of Gergely Ittzés to adventurous flute-playing souls. his other works, here he explores many timbres and themes —Molly Barth

Canti Senza Parole written in 1992, displays his timbral and temporal flexibili- Mario Caroli ty. I appreciate the CD (which features pianist Keiko © 2010 Stradivarius Nakayama) for its inclusion both of familiar works and virtually unknown pieces. Much of the CD is devoted to Marin s the title suggests, Marais’ “Les Folies d’Espagne,” which is at various times joy- AMario Caroli sings ful, carefree, sensual, and occasionally quite pained. I partic- through his flute in ularly enjoyed his interpretations of the fast variations in every work on this CD. this work but felt the slow movements in general to be too He seductively draws drawn out. I found “Solitude” by Magnus Blöndal an enormous variety Johansson to be particularly captivating. This expansive, of colors out of the spiritual work gives me a sense of what the mind might instrument, and never for a moment lacks emotion. As he stretched the boundaries experience in an isolated part of the world, utterly alone of the slow movements and pushed the limits of the fast pas- with thoughts and memories that so easily bury themselves sages, I was drawn into every piece. in a more hectic environment. The CD ends with a hopeful The wide scope of works that Caroli chose, from Caccini’s and nostalgic interpretation of “Pièce” by Gabriel Fauré. “Amarilli,” written around 1600, to Kurtag’s “Doloroso,” —Molly Barth

Music Symphony No. 41 in C publication’s front cover you will find interesting information Major, K. 551 “Jupiter” about the history of the original work (perfect for sharing with Mozart, arr. Paige an audience) and helpful suggestions concerning divisi sections. The timing of the work is suggested to be eight minutes. Dashner Long (The Berlin Philharmonic’s performance of the original ©2013 Falls House Press orchestral version was 7’ 37’’.) This piece is reminiscent of other works by Mozart arranged for flute choir that are most eed a flashy opener for Nyour next flute choir impressive when played at the recommended, quick tempo. concert? Paige Dashner The performance demands that must be taken into consider- Long brings us yet another ation include the choir’s ability to articulate quickly as an worthy contribution to the ensemble and to convincingly play quickly contrasting literature with an arrange- dynamics. Strong alto and bass players will be helpful, as they ment of the first movement reproduce important cello and bass orchestral lines. I predict of Mozart’s “Jupiter,” this arrangement will become a favorite. Allegro vivace. Inside the —Stacey Steele

nfaonline.org Fall 2013 The Flutist Quarterly 61 Music Philadelphia Portraits harmonic style is tonal with extended tertian harmonies, and (with CD by Lois the melodic and rhythmic style provides a rather transparent Herbine) song-like character that exudes each person’s quality. I especially enjoyed the second movement, Coltrane, which Cynthia Folio alludes to some of his famous songs. It includes a written-out ©2011 Portfolio Publications solo that is quite virtuosic for the piccolo player. The Coltrane quote, underscoring gthe spiritual nature of the work is, “Let his wonderful five-move- us sing all songs to God/ To whom all praise is due.” Tment work by Cynthia The fourth movement, Benjamin Franklin, was inspired by Folio for piccolo and piano the high-pitched glass armonica that Franklin so loved—indeed, was commissioned by and the Franklin quote references it. The sound of this movement is dedicated to respected pic- described by the composer in the score’s program notes: “The colo artist Lois Herbine, attempt in this movement was to evoke the ringing, high-pitched who premiered the work at sounds of Franklin’s glass armonica, through the use of the high the 2011 Annual NFA register of the piano combined with the middle register of the Convention in Charlotte. In piccolo, and long passages using the sustaining pedal in the the program notes, the composer states that Herbine sug- piano.” The resultant timbre is truly distinct and bell-like. The gested the theme and provided feedback on drafts. It was piccolo part has a beautifully soaring and fluid line. truly a collaborative process, and the recording that I heard of The last movement, Betsy Ross, contains many fragments Herbine performing the work reinforces that sense of shared from fife and drum tunes as well as patriotic songs including “La joy in the creation and performance of a new composition. Belle Catherine,” “Battle Cry of Freedom,” “Reveille,” “Crown Each movement is titled after an inspirational figure from Point,” “Yankee Doodle” (of course!), and “You’re a Grand Old Philadelphia: Vincent Persichetti, John Coltrane, Marian Flag.” This movement provides a rousing and humorous finish Anderson, Benjamin Franklin, and Betsy Ross. In addition, to this excellent new work by Cynthia Folio. I recommend this each contains a quote from that person that helps to give a piece for advanced students and professional piccolo players. sense of overall unity, creativity, and spirituality to the set. The —Andrea Loewy

Brandenburg Concerto score is incredibly well laid out with great clarity of spacing, notes, No. 6 and markings. The dynamics and articulations are stylistically J.S. Bach, arr. Scott Goff, appropriate for the period. The ease of reading the parts and scores means a tremendous amount when working with students. ed. Judy Nishimura The optional keyboard part can be played on harpsichord, ©2011 ALRY Publications piano, or organ. The alto and bass flute parts either work with the continuo with the same steady pulse or sometimes have cott Goff, retired princi- their own melodic interest. pal flutist of the Seattle S The Concerto No. 6 is in the usual three-movement, slow-fast- Symphony, has done an slow concerto grosso form: Allegro moderato, Adagio ma non excellent job in transcribing tanto, and Allegro. The middle slow movement has a lot of florid this concerto for flute choir. expressive writing for the C flutes and alto flute, and this would His instrumentation is four be a wonderful chance for either a professional or student cham- C flutes, alto flute (or alter- nately another C flute part), ber ensemble to work out intonation problems and balance. This bass flute, and optional key- movement does not merely consist of a brief slow area tucked board continuo. The notes of this Alry edition state that the between two quicker movements but is instead an extended slow work was first performed at the 1982 National Flute movement with highly nuanced and expressive writing. Convention in Seattle, and now—more than 30 years later and All four C flutes and alto flute have a chance to participate with Alry’s recent move to that city—it is being published. in this interplay of melodic and beautifully sensitive writing. The original Bach instrumentation was rather dark and sub- The bass flute part reinforces the harmonic bass line of the dued with no violin parts. It consisted of two viola da braccio, continuo. The outer movements have faster passagework for two viola da gamba, cello, violone, and harpsichord. I like the all the instruments. Suggested metronome speeds are all in potential use of alto (rather than another C flute) and bass good taste. The timing for this work is 16 minutes and it is flute here in the flute choir transcription because their warm graded at level III or IV. However, a more advanced ensemble sounds capture the timbres of the original cello and violone, a group would get equal enjoyment from the excellent publica- large bass instrument of the Renaissance and baroque periods. tion. I highly recommend this finely written arrangement of The publication’s editor, Judy Nishimura, a flutist, composer, Bach’s Brandenburg Concerto No. 6. and engraver, works with Alry in its engraving department. The —Andrea Loewy

62 The Flutist Quarterly Fall 2013 nfaonline.org Flute Music of the again the amazing quality of sound of Siegel’s low register. I Americas, Vol. 2 especially enjoyed the work by Gottschalk, Recuerdos de Merrie Siegel Mexico, dedicated to these two performers. The performers do a wonderful job with this virtuosic work. The last move- ©2011 Merri Siegel & Milton Rubén Laufer ment, Yaqui, named for an indigenous tribe in Northern and Central Mexico, radiates joy and energy. Gottschalk states in errie Siegel and the program notes that the work is “a commentary by mem- Mpianist Milton ory of Mexico.” Rubén Laufer, the fea- “Elegia (a la memoria de Nacho)” is a songful tribute to a tured artists on this dear friend of the composer, Luis Ignacio Helguera, who beautiful CD, present died in 2003. In describing Japanese legend, the program varied, colorful, virtu- notes state that “the flute is the only sound that can be heard osic, and imaginative works by Mike Mower, Carlos Sanchez by those who have passed on; Lavista was convinced of this, Gutierrez, Mario Lavista, Astor Piazzolla, Arthur Gottschalk, and hence the choice of instrument for this work.” Siegel and Mozart Camargo Guarnieri on this second volume of a and Laufter do an amazing job of bringing out the changes dazzling set from Siegel. (The first, Music of the Americas, was of texture and timbre. Lavista employs microtonal melodic released to great acclaim in 2005.) material, altered fingerings, and the use of various changes The timbres and expressive qualities of the two instru- of color and sound imitating the Japanese shakuhachi flute. mentalists work very well together. The opening piece, Siegel’s tapers at the ends of expressive phrases are gorgeous. Sonata Latino, by Mike Mower, demonstrates the electrical Two other compositions beautifully played on the CD are energy between the two performers. In the very opening of Guarnieri’s charming Sonatine and Gutierrez’s “Cinco, the first movement, Salsa Montunate, Siegel’s staccato is stunning in its short yet ringing and vibrant quality. The cinco y seis” from a set of etudes written for flutist Lory two artists perfectly match timbre, note lengths, and drive. McConnell. The latter, another unaccompanied work, The second movement, Rumbango, exhibiting a combina- requires great facility and embouchure flexibility because of tion of rumba and tango rhythms, exhibits Siegel’s full and the large descending forte and expressive leaps. Siegel colorful low register, which she weaves well through the demonstrates her tonal and technical virtuosity here. piano’s colorful texture. The third movement, Bossa All the works on this CD are performed with verve, confi- Merengova, is rhythmically very stable and appropriately dence, and a great sense of collaboration. I highly recom- dance-like and light. mend this CD. The Tango Etude No. 4 by Piazzolla for flute demonstrates —Andrea Loewy

Modal Exercises for helpful hints and quotes from the teachers to whom she pays Double- and Triple- homage (Stacey Steele, Angeleita Floyd, and Katherine Borst- Tonguing Mastery Jones), the basic tonguing mantra—”technique is simply fast Kathleen A. Melago tone”—is amply addressed. There is a bit of overkill in the book. Some of the modal ©2011 ALRY Publications exercises are presented with double-flats in the key signatures. athleen Melago has com- Despite the included explanation, I feel that this is unnecessary Kposed a volume of exer- with the more readable enharmonic sharp key signatures cises designed to enable the printed in the appendix—especially when the impetus of the simultaneous mastery of mul- book is to perfect one’s tonguing. Additionally, in the daily tiple tonguing patterns and double-tonguing exercise section, all of the t-t-k-k-t-t-k-k the modes. Conceptually, the measures are unnecessary, because they have been addressed book is structured similarly to in previous bars. This, however, is nit-picking. the traditional Moyse and I will keep this book on my stand so I can re-familiarize Taffanel-Gaubert daily exer- myself with the “other” five modes that have eluded me all cises but is augmented by the all-modal application, which extends and broadens our lifelong focus on the Ionian (major) these years. and Aeolian (minor) modes. Also included is a user-friendly In the mission statement for the book, Melago writes that explanatory introduction to the modes. due to a bout with poison ivy, she faced several weeks of sleep- I subscribe to the fact that any exercise, if practiced right- less nights, which gave her the opportunity to create this vol- eously, is a good exercise. Melago has zoned in on how to ume. Finally, an upside to poison ivy! strengthen the weaker “k” or “g” syllable, and thanks to her —Erich Graf

nfaonline.org Fall 2013 The Flutist Quarterly 63 Music Dedication (Widmung) been arranged for three C flutes, two alto flutes, and one bass, Schumann, setting by David flute, which may be doubled on contrabass. The arrangement H. Bailey remains true to the piano setting, with the lyrical solo line being shared by upper and lower voices at different times in this three- ©2012 Falls House Press minute work. he flute choir library of tran- Although at first glance this piece may appear to be technical- Tscriptions now has a beautiful ly approachable, the difficulties lie in the subtleties. The beauti- addition with this arrangement of fully simple melodic line begs for mature players to do the orig- Schumann’s Dedication. In the inal song setting justice, and care must be taken to accomplish words of Linda True, the forward’s the balance needed to meet the delicate demands of this piece. author, “In 1840, Robert Schumann With the exception of 16th-note flourishes in the second flute, took five poems by Friedrick Ruckert, the accompaniment lines are not technically demanding. set them to music as songs, and dedicated them to his beloved However, multiple parts are often given the role of harmony, so Clara as a wedding gift. Franz List arranged ‘Dedication’ for solo the ability to play with tonal and dynamic control in all registers piano in 1849. It was revised by William Scharfenberg and has will be what is needed to make this piece sing. been set for flute choir by David H. Bailey.” This lovely work has —Stacey Steele

Sinfonia from Cantata No. 29 lished arrangement for flute choir has that same grandiose J.S. Bach, arr. Paige Dashner and majestic instrumental sonority but this time all within the Long flute family. The score requires two piccolos (to be changed at specific times to flute parts), five C flutes, alto flute, bass flute, ©2012 Falls House Press and timpani. The fine arranger, Paige Long, has used the two piccolos for a bright type of orchestral/flute sound that con- Paige Dashner Long’s arrangement of J.S. Bach’s Sinfonia from Cantata trasts with the middle section without piccolos. During this No. 29 is an outstanding addition lighter area of the work that imitates the swell manual of the to the flute choir literature. Bach organ, the piccolo players are directed to switch to flutes. In used his previously composed spite of the fact that there are few dynamic markings, the com- work, the first movement of the Vio bination of flutes in various registers and the use of piccolos in Partita No. 3 in E Major for violin, this arrangement give a wonderfully varied texture and sound. as the material for the orchestral Paige Dashner Long is widely recognized in the flute com- Sinfonia or first movement of this cantata, “Wir danken dir munity for her work as flute choir director, contrabass flutist, Gott, wir danken dir” (“We thank you, God; we thank you”). and composer/arranger. She definitely brings that experience Bach wrote the Sinfonia for the 1731 inauguration of the to fruition with this arrangement of Bach’s famous Sinfonia. Town Council in Leipzig, an event of pomp and pride. In this In addition, her fine program notes clarify the historical back- orchestral work, he employed the ceremonial and joyous ground of the work as well as the arranger’s imaginative sound of an orchestra consisting of three trumpets, two oboes, instrumentation replicating organ registrations. strings, continuo, timpani, and solo organ. This newly pub- —Andrea Lowey

12 Original Colombian range of Colombian rhythmic patterns useful for the player to Pieces for Flute and Guitar learn and to understand; they also provide useful educational Carmen Liliana Marulanda; material. Each piece has a specific purpose, outlined in the Luis Julio Toro and Marco preface, and the dance styles are clearly explained. The music Granados, accompanying itself is of intermediate standard, with well-written guitar parts and instinctive flute writing. The pieces are relatively CD short but could be performed individually or in groups and ©2012 Carmen Liliana Marulanda would provide an interesting stylistic contrast within a more traditional recital, as well as being ideal for Latin-themed per- he pieces in this well-present- formances. The score comes with a CD recording of each of Ted collection by Colombian the tracks, performed by Luis Julio Toro and Marco Granados. composer and flutist Carmen Lilian Marulanda include a —Carla Rees

64 The Flutist Quarterly Fall 2013 nfaonline.org REVIEWS WINNING PUBLICATIONS Each year, the NFA hosts the Newly Published Music Competition, for which publishers submit any works they’ve recently published for flute. Included here are reviews of the winning pieces for 2013, which reflect the findings of the panel as a whole. Totem Gergely Ittzés ©2012 Falls House Press

ungarian flutist and composer Gergely Ittzés takes double-stops on the flute to new levels, per- Hforming them with unprecedented clarity of tone and accuracy of intonation. With Totem, which the NFA commissioned for its 2012 Young Artist Competition in Las Vegas, he has found a new, profound voice as a composer and written an effective and compelling, although challenging, work. Totem has an improvisatory air, and there are no barlines. A melody, based on a series of 12 pitch- es each held to a specific octave, gradually unfolds. Melody becomes harmony as double-stops echo melody. Ingenious effects abound, among them multiphonics in which one voice is trilled, a whis- tle tone, a tongue pizzicato passage, and key clicks based on special fingerings. All of these effects demand concentrated practice, and flutists should consult the composer’s Flouble, a software package with videos demonstrating his method. The score of Totem presents fingerings in notation developed by István Matuz. Many flutists prefer the graphic notation common in works of Robert Dick and others, and fortunately, an appendix translates the fingerings to this more familiar presentation. Totem is one of the most structurally coherent and effective recent pieces for solo flute.

ver his long career, French composer Jean-Michel Damase (b. 1928) has bequeathed a rich Orepertoire to flutists. His Sonate en concert (1952) for flute, cello (ad lib.), and piano and 17 Variations (1952) for woodwind quintet are especially well known. Thanks to the assistance of piccoloist Jean-Louis Beaumadier, the NFA scored a major coup by commissioning For piccolo, which was featured in the 2012 Piccolo Artist Competition in Las Vegas after Beaumadier had premièred it beautifully at the 2011 convention in Charlotte. The seven-minute work is an excellent addition to the limited but growing repertoire for piccolo and is exquisitely suited to the instrument. Damase knows how the piccolo and piano should relate; the piano’s left hand often stays in the treble clef, creating a light, transparent texture. In a style similar to his earlier music, this work exemplifies Damase’s lyric gift and rich harmonic palette. After a brief opening cadenza, the main theme proceeds at a leisurely pace. Only the last page presents technical challenges, when the piccolo plays up to 11 notes per beat. For piccolo promises to become a mainstay of recitals.

his publication is a complete collection of lesson materials, eliminating the need for a separate Tmethod, scale, and solo book. It begins with a daily warm-up routine, followed by a series of lessons including a week’s worth of material. Each lesson is organized so that each left page is “core technical and tone development exercises” and the corresponding right is “rhythm studies, etudes, duets, and solo repertoire.” Although organization is consistent, there is enough variety to keep the student interested and engaged. For example, the scale exercises for the week might be based on thirds, arpeggios, or dominant sevenths; they might focus on a major key paired with the relative minor, parallel minor, or dominant key, or on whole tone or chromatic scales. Etudes and melodic studies include examples from the standard etude books and original exercises. Definitions, transla- tions, practice suggestions, and performance suggestions are included, with additional suggestions on practicing and phrasing in the back. The book is spiral bound, making it easy to lay flat on the stand; is durable enough to last through its 35 lessons; and has a fingering chart conveniently placed on the inside of the cover. A piano accompaniment book is available separately.

ive Lyrics for Flute and Piano is a well-crafted, beautiful, and intelligent piece. Both parts are Fextremely demanding but idiomatic, especially for advanced players. The flute writing is a musical blend of extended techniques and opportunities for free, imaginative playing. The movements are based on haiku or haiku-like poems; four movements are based on poems by American poet W.S. Merwin and one on a haiku by Japanese poet Basho. Each movement evokes the sounds of a particular bird and time of day. The ethereal and haunting last movement has echoes of previous musical moments. Everything about this is beautifully presented, especially the brilliant cover art and well-spaced, clear print. The composer’s directions are concise and easy to follow. This is a substantial addition to the flute repertoire.

ritten when Donizetti was just 22, his short but charming Sonata is full of drama, lyricism, and Wmemorable tunes. If you are a fan of the flute writing in his great operas and do not know this piece, it is worth exploring. Until this new release, it could be hard to find, and previous editions, especially free versions found on the Internet, are of low quality. This is a beautifully designed, well-edited new edition, and it fills a definite need. It also includes scholarly but succinct notes on the work itself, giving us a more comprehensive engagement with the piece.

J. S. Bach Overture-Suite in B Minor BWV 1067 Betti Bang Mather and Dean M. Karns ©2012 Theodore Press here are at least 10 other editions of this well-known work, but this new entry edited by Betty Bang TMather and Dean M. Karns is the one to own. The Preface and Performance Notes provide a rich context, addressing the place of the work in Bach’s oeuvre, its use of dance rhythms and forms, Baroque affect and prosody, articulation, and tempo. Unlike some ungainly old editions still in print, the keyboard reduction achieves both transparency and practicality—it can be played! The editors have wise- ly elected to omit violin parts when they double the flute. One wishes the figures had been printed on the bass line. Analytical notes are interjected throughout the keyboard score and flute part, but these do not interfere with legibility. Editorial additions are unobtrusively added in gray. Bach’s manuscript of the flute part is also included, although the smudginess makes some passages almost impossible to read in this reproduction. Bach’s piece is worthy of a lifetime of reflection and reinterpretation, and this new edition provides much food for thought.

his flute quartet, commissioned by Femme Flutale, was inspired by a room of James McNeill TWhistler paintings at the Freer Gallery of Art, a part of Washington D.C.’s Smithsonian Institution. The four movements are given descriptive titles based on themes, colors, and other elements of paintings of the room. The cover art encapsulates the imagery of this exotic composition. Considering how intricately the four parts interweave, the page turns are strategically placed. The first flute doubles on piccolo, while the fourth part is written for alto flute.

ritten by a flutist known for his creative use of the extended language of the flute, this compo- Wsition for three flutes and piano showcases a wide range of color possibilities and “curvy” musical lines through the use of quarter-tones and alternate fingerings, all notated clearly in the score. Open-hole flutes are optimal for this work. The performance notes at the beginning of each flute part explain the composer’s notation choices for the extended techniques, and those at the end of the piano score summarize well the thematic concepts of the three movements. To complete the total package, the cover’s watermark features an image of a Möbius strip. Curves was performed at the 2012 NFA Convention in Las Vegas.

his flute quartet for four C flutes, based on Native American themes, was commissioned in 2006 Tand written in 2009. It is a good-quality publication that looks like it would be an enjoyable piece to play. The front contains the composer’s performance notes and biography. The parts are clean, clear, and easy to read. A nice glossy cover pictures the specific instruments in the ensemble and the content is in a nice, simple format and easy-to-read font. The piece contains rudimentary pitch bends and tremolos, a good introduction for students just learning those techniques. The notes include an explanation of the note bends used and suggestions for performance venues and set-up. The use of Native American themes is a creative idea for the composition and would be enhanced by the suggested performance set-ups. Performance time is less than three minutes; the piece is grade three in difficulty.

amian Gallagher’s piece clearly stands out in quality. Attention has been paid to all the Ddetails. The cover is exceptionally strong and its art is distinctive. The individual parts fit nice- ly into the outside cover, which is firmly attached to the piano score. All of the parts are easy to read, and page turns are all acceptable. The publication includes individual parts for the flute and cello but also includes a score for only the flute and cello, which is very useful. The cover of the flute and cello score matches the cover of the overall part; however, it lacks the color and rigidity.

his challenging, eight-minute work contains explicit performance instructions, especially a clear Tpresentation of the fourth variation’s free unmetered material. Scored for flute/piccolo, clarinet/bass clarinet, violin, cello, piano, and percussion (one player), this avant-garde work is perfect for a Pierrot ensemble.

his book includes 32 trios arranged or composed by Larry Clark. A former middle-school band Tdirector, Clark says in his introduction that “having students play in small chamber-music groups was a very beneficial exercise to improve the students’ overall musicianship.” He created a collection of trios available for all instruments, so that students can create chamber groups based on skill level rather than a specific instrumentation. The collection includes a variety of folk songs, excerpts from the classical repertoire, and original compositions. The parts are equal in difficulty with the melody moving from line to line along with a sense of rhythmic independence. While there are clearly marked dynamics, style markings, and tempo markings, there are no specific metronome markings. Although each trio is only one to two pages in length, most have repeats indicated, giving the performers the option of making the piece longer for a performance, or keeping it short for sight-reading practice. The level is early intermediate, with key signatures rang- ing from one to four flats. Because these trios might be sight-readable by even intermediate students, the focus can be placed on the development of chamber music skills.

Autumn Vespers FC-309

he listener is drawn in from the opening bars of this piece as Alexandra Molnar-Suhajada andra MexAl M-narolandra - aajdSuh IIRR LRK&HWXO)U UL Tmakes effective use of the flute choir colors. She writes for the high and low flutes in different combinations and plays the upper and lower voices off each other, making all the parts interesting to play. This is a lengthy work, more than 13 minutes, and is scored for large flute choir, including piccolo, four C flutes, two alto parts, bass, contrabass, and contralto. The three lowest flute parts are effective, but the piece works without them. In addition, the composition opens with harp, adding to both the color and texture. While the harp part is prominent in the first movement, its sound is often lost in the texture of the remaining three movements. All four movements begin simply, the first two with bass and alto solos accompanied by harp. The third opens with a short C flute solo, followed by a unison C flute passage. The final opens with low flute choir answered with similar material in the upper voices. The harmonies used throughout are lush, reminiscent of the romantic English composers, helping to make this work an audience pleaser.

Inno for Joueurs Vincento Sorrentino ©2012 Forton Music At first glance, the score of this piece seems full of busy work for flutes, with extended passages of tongued 16th notes. However, this very writing gives the piece its charm. Inno for Joueurs is written for a large flute choir including piccolo, five C flute parts, two alto parts, and bass, with optional contral- to, contrabass, contrabass in G, and sub-contrabass. These low instruments add to the texture but are not essential for a successful performance. The piece is all about texture, with the rhythmic drive of articulated 16th-note passages layered under, over, and around lyrical passages. The piccolo is used skillfully, sometimes adding to the texture and at other times soaring above. Vincento Sorrentino makes effective use of voicing, grouping the upper, middle, and lower flutes into separate choirs. All the flute parts are treated equally, making it challenging for all the performers. A short, three-minute work, it can be used as an effective and energetic program opener or closer.

his work for flute choir is, rather than an arrangement, a collection of cleverly defined “inter- Tpretations” inspired by several works by Debussy; it was commissioned to launch future volumes that will feature works by Saint-Saens and Joplin. Kelly Via offers an opportunity for each part to shine while achieving a variety of textures in a compact, four-minute work scored for two piccolos, four flutes, two altos, two basses, and contrabass. This clear and easily readable publication is of excellent quality.

ALRY SELECTS

A Little Norwegian Suite NFA 2013 WINNER Edvard Grieg, arr. Tonje Elisabeth Berg ©2012 ALRY Publications Arranged for Flute Choir by Tonje Elisabeth Berg irst performed at the 2012 NFA Convention, this suite was arranged for flute choir (five flutes, two Faltos, and bass) by Tonje Elisabeth Berg, a flutist in the Norwegian Air Force Band. The three movements (Morning Mood, Anitra’s Dance, and March of the Trolls) are cleverly and effectively arranged to maximize the color possibilities of a flute ensemble. The score and parts are crisp, well- spaced, and clearly and consistently marked, and the cover is attractive and protective. ALRY Publications is a strong presence on the flute ensemble market —Newly Published Music Committee members.

N ORT H W ESTER N U N I V E R SITY Bienen School of Music

The Bienen School of Music offers · Conservatory-level training combined with the academic ﬂexibility of an elite research institution · Traditional BM, BA, MM, PhD, and DMA degrees as well as innovative dual-degree, self-designed, and double-major programs · Close proximity to downtown Chicago’s vibrant cultural landscape · A new 152,000-square-foot facility to open in summer 2015

Woodwind Faculty Clarinet Flute Steven Cohen John Thorne J. Lawrie Bloom Leslie Grimm 847/491-3141 Richard Graef Oboe Saxophone www.music.northwestern.edu Michael Henoch Timothy McAllister Scott Hostetler Bassoon The Bienen School’s new facility will include the Mary B. Galvin Recital Hall Robert Morgan Lewis Kirk (pictured above), the Carol and David McClintock Choral Rehearsal and Recital Christopher Millard Room, an opera black box theater, teaching studios, practice rooms, classrooms, Charles Ullery and administrative ofﬁces.

nfaonline.org Fall 2013 The Flutist Quarterly 69 NFA Office, Coordinators, Committee Chairs Please check the NFA website for any changes and updates to addresses, phone numbers, and e-mail addresses: nfaonline.org

NFA OFFICE Program Book Advertising Jazz Flute Choir Composition ARCHIVES AND LIBRARIES Steve Wafalosky Kris Keith (2010) Paige Dashner Long (2011) Executive Director LaRich & Associates, Inc. 5129 Glenaire Dr. PO Box 1436 NFA Librarian Kelly Jocius 512 East Washington St. Dublin, OH 43017 Flagler Beach, FL 32136-1436 Michelle Monroe-Menjugas 70 E. Lake St., #200 Chagrin Falls, OH 44022 614-263-1702 386-569-3010 NFA Music Library Chicago, IL 60601 440-247-1060; fax: 440-247-1068 [email protected] [email protected] c/o University of Arizona Libraries 312-332-3382; fax: 312-332-3384 [email protected] 1510 E. University [email protected] Low Flutes Graduate Research Tucson, AZ 85721-0055 Program Book Bio Editor Christine Potter (2009) Jessica Raposo (2012) 520-621-7010 Convention Director Lisa Van Dusen 2985 18th St. Indiana University East [email protected] TBD 26629 N. 45th Pl. Boulder, CO 80304 Springwood Hall 223 70 E. Lake St., #200 Cave Creek, AZ 85331 303-443-3330 2325 Chester Blvd. OTHER APPOINTMENTS Chicago, IL 60601 480-473-4877 [email protected] Richmond, IN 47374 [email protected] 312-332-3382; fax: 312-332-3384 765-973-8632 Flute Choirs Coordinator [email protected] New Music Advisory [email protected] Joan da Silva Heit (2012) Gala Fundraising Dinner Chair Dianne Aitken (2010) Angeleita Floyd (2013) 2604 Amanda Court Membership Director 116 Earl Grey Road High School Flute Choir 3743 Beaver Ridge Cir. Woodstock, MD 21163 TBD Toronto, Ontario Kelly Via (2012) Cedar Falls, IA 50613 410-655-6849 70 E. Lake St., #200 M4J 3L5 Canada 965 Daisy Court ph/fax: 319-268-1001 [email protected] Chicago, IL 60601 416-465-3967 Lawrenceville, GA 30044 312-332-3382; fax: 312-332-3384 [email protected] 770-935-1379 [email protected] Flute Clubs Coordinator [email protected] [email protected] COMMITTEE CHAIRS Dolores August (2009) Nominating Information Technology Consultant High School Soloist 2 Raintree Court Zart Dombourian-Eby (2012) Brian Covington Advisory Committee Cristina Ballatori (2009) Mansfield, TX 76063 2515 10th Ave. West [email protected] Jonathan Keeble (2012) University of Texas at Brownsville 682-553-0979 Seattle, WA 98119 University of Illinois Fine Arts Dept./Music [email protected] 206-285-0206 Publications Director 1114 West Nevada St. 80 Fort Brown [email protected] Anne Welsbacher Urbana, IL 61801 Brownsville, TX 78520 Frances Blaisdell Convention 7213 E. Chelsea St. 217-333-8142 585-880-4381 Scholarship Coordinator Pedagogy Wichita, KS 67206 [email protected] [email protected] Marie G. Jureit-Beamish (2010) 661-313-8274 Stacey Graham Steele (2009) Principia College Music Department [email protected] Amateur Resources 110 Poplar Forest Dr. Jazz Flute Big Band 1 Maybeck Place Ann Konopinski (2011) Slippery Rock, PA 16057 Billy Kerr (2013) Elsah, IL 62028 CONVENTION 4100 Teal Lane 724-794-2127 1857 Glen Ave. 618-374-5006 Wolverine Lake, MI 48390 [email protected] Pasadena, CA 91103 [email protected] Program Chair 248-669-9037 626-791-6267 [email protected] Philip Dikeman Performance Health Care [email protected] Grants Committee 1801 Fatherland Lea Pearson (2010) Rebecca Collaros (2011) Archives and Oral History Nashville, TN 37206 3085 Kenlawn St. Jazz Flute Masterclass 2112 Wittington Blvd. Nancy Toff (2007) 248-212-9013 Columbus, OH 43224 Bryan Kennard (2010) 425 East 79th St., #6F Alexandria, VA 22308 [email protected] 614-353-7259 2015 Cedar Bend Dr., #401 703-622-6952 New York, NY 10075 [email protected] Austin, TX 78758 212-772-1343 [email protected] Assistant Program Chair 216-224-3123 [email protected] Piccolo Alice K. Dade [email protected] International Liaison School of Music Carl Hall (2009) Career and Artistic Development Aldo Baerten (2009) The University of Missouri 1352 Metropolitan Ave. SE Jazz Flute Soloist Ellen Johnson Mosley (2011) Mezenlaan, 11 214 Fine Arts Building Atlanta, GA 30316-1670 Bryan Kennard (2010) 605 E. 69th St. N. Sint Genesius Rode Columbia, MO 65211 404-377-6112 2015 Cedar Bend Dr., #401 Wichita, KS 67209 Belgium B-1640 917-355-0505 [email protected] Austin, TX 78758 316-210-0222 Ph/fax: 003223811575 [email protected] 216-224-3123 [email protected] [email protected] Special Publications [email protected] Local Arrangements Chair John Bailey (2013) Commercial Members Legal Advisor to the Board Janice Frank School of Music, University of Masterclass Performers Zart Dombourian-Eby (2012) Linda Mintener (2009) 1524 N. Columbia St. Rebecca Hovan (2012) 2515 10th Ave. West Nebraska–Lincoln 23685 Arlene Ave. 3976 Plymouth Cir. Naperville, IL 60563 Seattle, WA 98119 Lincoln, NE 68588-0100 Elkhart, IN 46517-3643 Madison, WI 53705 630-210-4713 206-285-0206 402-472-2651 574-875-5447 608-231-1680 [email protected] [email protected] [email protected] [email protected] fax: 608-266-3049 [email protected] Convention Equipment Chair Cultural Outreach World Music Kimberlee Goodman Terri Sundberg (2010) Peter Westbrook (2010) Newly Published Music Masterclass Reporter, 4783 Cherry Park Dr. UNT College of Music 13012 Magellan Ave. Danilo Mezzadri (2012) Flutist Quarterly Columbus, OH 43230 1155 Union Circle #311367 Rockville, MD 20853 20 Classic Woods Dr. Jeanie Pierce 614-805-5261 Denton, TX 76203-5017 240-481-2213 Hattiesburg, MS 39402 7413 W. Jones Ave. [email protected] 940-565-3756 [email protected] 601-296-7865 [email protected] [email protected] Phoenix, AZ 85043 Volunteer Coordinator COMPETITION COORDINATORS 602-793-3833 Jennie Brown (2013) Development Orchestral Audition and Masterclass [email protected] 687 South Hawthorne Avenue Katherine Borst Jones (2008) General Coordinator Jennifer Parker-Harley (2008) University of South Carolina Elmhurst, IL 60126 4635 Rutherford Rd. Diane Boyd Schultz (2010) Myrna Brown Dine-Around School of Music 630-782-6366 Powell, OH 43065 University of Alabama Karen McLaughlin Large (2012) [email protected] 813 Assembly St. 740-881-5008 School of Music, Box 870366 234 McCain Auditorium Columbia, SC 29208 fax: 740-881-5252 Tuscaloosa, AL 35487-0366 Manhattan, KS 66506 Exhibits Management 803-777-4853 [email protected] 205-348-4532 850-345-1446 Jim Magee [email protected] [email protected] [email protected] N’Awlins Trade Show and Endowment Convention Services, Inc. Piccolo Artist Jim Keefe (2010) Baroque Flute Artist Myrna Brown International 612 Highland Ct. Hillary Feibel (2009) Keefe Piccolo Company Sarah Paysnick (2012) Liaison and Scholarship Mandeville, LA 70448 6435 West Jefferson Blvd., #138 54 Church St. 42 Calvin Street, Apt. 3R Coordinator 985-626-3046 Winchester, MA 01890 Fort Wayne, IN 46804 Somerville, MA 02143 Nicole Molumby (2012) fax: 985-727-3940 781-369-1626 260-450-6674 413-654-8462 5124 W. Outlook Ave. [email protected] [email protected] [email protected] [email protected] Boise, ID 83703-3517 208-571-5782 Exhibits Assistant Graduate Research Professional Flute Choir Collegiate Flute Choir [email protected] Patti McCleney Jessica Raposo (2012) Pamela Youngblood (2009) N’Awlins Trade Show Indiana University East Tabatha Easley (2011) Texas Woman’s University NFA Library Liaison and Convention Services, Inc. Springwood Hall 223 Department of Music PO Box 425768 Christine Harper (2013) P.O. Box 8538 2325 Chester Blvd. Virginia Commonwealth University Denton, TX 76204 5318 E. Holmes Mandeville, LA 70470-8538 Richmond, IN 47374 922 Park Ave., P.O. Box 842004 940-898-2495 Tucson, AZ 85711-2323 ph/fax: 985-893-9521 765-973-8632 Richmond, VA 23284-2004 [email protected] [email protected] [email protected] 804-828-6120 520-748-8611 [email protected] Young Artist [email protected] Exhibitors Concert and Showcase Historical Flutes Virginia Broffitt (2010) Coordinator Nancy Schneeloch-Bingham (2012) Convention Performers Oklahoma State University Public Relations Kathy Melago (2013) Hayes School of Music Whitney Farris O’Neal (2013) Department of Music Viviana Guzman 105 Pinehurst Drive Appalachian State University 106 Wheaton Ct. 132 Seretean Center P.O. Box 625 Cranberry Township, PA Boone, NC 28608 Florence, AL 35633 Stillwater, OK 74078-4077 Half Moon Bay, CA 94019 205-344-0282 405-744-3964 650-560-0135 724-432-3663The Flutist Quarterly Winter 2012 nfaonline.org828-262-6447 [email protected] [email protected] [email protected] virginia@virginiabroffittcom [email protected]

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 and Notes from Around the World should be sent to those departments’ editors at Bulk-rate mail is not forwarded. Send address corrections to Membership Services, least one week prior to deadline dates to be considered for inclusion. Send materi- 70 E. Lake St., #200, Chicago, IL 60601; 312-332-6682; 312-332-6684 (fax); als to time-sensitive departments for the fall issue by June 1; the winter issue by [email protected]. The NFA will be responsible for one missed September 1; the spring issue by December 1; and the summer issue by March 1. 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 through the membership Please send all submissions except Across the Miles and Notes from Around the services director. 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 at Wichita, KS 67206 the rate of $10 each through the membership director at the address listed above. 661-313-8274 [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 contact the editor. Queries via e-mail or phone prior to submission Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, are encouraged, and welcome at any time. or contact Steve Wafalosky at the address below. The following dates are dead- Submissions should also be accompanied by a cover letter stating that the mate- lines for The Flutist Quarterly: fall issue, August 1; winter issue, November 1; rial contained in your submission (1) is entirely original; (2) has not been previ- spring issue, February 1; summer issue, May 1. ously published; and (3) is not currently under consideration for publication elsewhere. The Flutist Quarterly retains all copyright on articles published in the mag- Please send advertising submissions and queries to: azine; however, upon request, authors may retain copyright and it will be so noted Steve Wafalosky on articles printed in The Flutist Quarterly. 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] New at the NFA Store A new pedagogy anthology.

The Flutist’s Handbook: A Pedagogy Anthology, Volume 2, with works by 40 pedagogues and flutists. Pick up more publications, plus CDs, T-shirts, caps, pens, mugs, and more at the NFA Store at nfaonline.org—or call 661-713-2072.

Index of ADVERTISERS

Abell Flutes ...... 46 Harbor Winds Woodwind ...... 42 Professional Suite Royalton Music Center ...14 AraleeDorough/University of Houston (2)15, 51 Harper, Patricia ...... 35 Progress Press ...... 7 Arizona State University...... 25 Jeanne Baxtresser ...... 75 Resonance Flute Consort/ Karen Smith...... 10 Bienen School of Music at Northwestern...... 69 Keefe Piccolos ...... 50 Brannen Brothers Flutemakers, Inc...... 4 Kemler, Katherine ...... 12 Rutgers, The State University/ Mason Gross 46

Brixton Publications...... 57 KHS America, Inc...... 78 San Diego Flute Guild ...... 57 Burkart Flutes and Piccolos (2) ...... 19, 76 Kingma Flutes ...... 73 Sankyo (see also Miyazawa)...... 71 Chopsaver...... 14 Landell Flutes ...... 51 Sunderman Conservatory of Music...... 24 Clarion Insurance Associates, Inc...... 6 Little Piper/Dean Yang Flute (3) ...... 31, 39, 42 Classical Collection, Inc ...... 41 Magnolia...... 57 Tai Hei Shakuhachi Flutes ...... 39

Cleveland Institute of Music...... 31 Miles Zentner ...... 39 Trevor James/Hammig Piccolos Crystal Records ...... 36 Miyazawa Flutes, Ltd (3) ...... 8, 71, 77 (see also Miyazawa) ...... 77 David and Nina Shorey...... 42 Muramatsu America...... 18 Verne Q. Powell Flutes, Inc...... 79 Drelinger Headjoint Co...... 9 Nagahara Flutes...... 74 Viento Querfloeten ...... 30 Fatrock Inc. Music Publishers...... 35 National Flute Association ...... 31, 73 Flute Specialists, Inc...... 51 New England Flute Shop, The ...... 35 Wehr’s Music House ...... 53

Flute World Company, Inc...... 12 Ogura Flute Works ...... 73 Winzer Press ...... 72 Flute.com...... 3 Packard Humanities Institute, The...... 46 Woodwind and Brasswind ...... 10 Galway Management ...... 17 Paul Fried Flutist...... 42 Yamaha Corporation of America ...... 80 Graf, Erich ...... 35 Pearl Corporation ...... 2 Hal Leonard...... 17 Potter, Christine ...... 31 Your Flute Works ...... 53 www.tjflutes.com.tjflutes.com [email protected]

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