NYFC MAR07.3Pp 2/15/07 9:08 PM Page 1
Total Page：16
File Type：pdf, Size：1020Kb
NYFC MAR07.3pp 2/15/07 9:08 PM Page 1 March 2007 INSPIRING arol Wincenc was the teacher who drew COLLABORATIONS: me to study at Juilliard more than 13 years ago. I first met her in 1990, when I A CONVERSATION Cwas a student at the Banff Centre for the Arts in Canada, and in the years following she WITH became a significant mentor, influence, and friend. We caught up with each other CAROL WINCENC in early January over a cup of tea at her Upper West Side apartment and talked Interview by Tanya Dusevic Witek about her teaching, her musical inspira- tions, and some of her current activities. TANYA DUSEVIC WITEK: You are in high demand as a performer and also as a teacher. When you are audition- ing students, what are some of the qualities that make certain candidates stand out? CAROL WINCENC: Is the sound alluring enough to bring us in? Is their musical interpretation really speaking to us—or, I should say—to me, personally? Are they being authentic? You can find an artifice in a lot of kids because their Peter Schaaf teacher told them to do it a certain way. If there is something that seems In Concert authentic, where I am getting a sense of who they are—their essence—that is Carol Wincenc, flute worlds right there. And then, of course, there’s that kind of talent when they’re Stephen Gosling, piano not even conscious of any of that, and Tanya Dusevik Witek, flute it’s just so dazzlingly wonderful. It’s a Saturday, March 10, 2007, 5:15 pm (Cont’d on page 4) Union Theological Seminary, 100 Claremont Avenue, New York (between 120th and 122nd Streets) IN THIS ISSUE Sonata No. 5 in C major, K.14 . .Wolfgang Amadeus Mozart (1756–1791) Inspiring Collaborations: A Conversation with Le Merle Noir . .Olivier Messiaen Carol Wincenc ............................1 (1908–1992) by Tanya Dusevic Witek Ballade . .Frank Martin From the President ......................2 (1890–1974) Flute Fair Musings Au delà du temps . .Yuko Uebayashi Member Profile ............................3 for two flutes and piano Herb Waldren Six Chassidic Songs Paul Schoenfield Announcements Flute Happenings..................................3 World premiere (b. 1947) Classified ............................................5 Flute Fair Update ..................................7 Program subject to change Ensembles Program Update ................7 NYFC MAR07.3pp 2/15/07 9:08 PM Page 2 2 — NYFC Newsletter Flute Fair Musings by David Wechsler ince this is the March column, it must mean that we are THE NEW YORK FLUTE CLUB INC. in Flute Fair mode. And indeed we are! What began as an iffy experiment has become somewhat of an institu- 2006–2007 S tion, and we in the flute playing community are the lucky Board of Directors beneficiaries. I still remember the first fair, in 1994, when David Wechsler, President Jean-Pierre Rampal was our guest. He had a fondness for Jayn Rosenfeld, First Vice President From the New York and was happy to participate in our maiden voy- Ardith Bondi, Second Vice President President Jeanne Wilson, Recording Secretary age. This year we are fortunate to have Carol Wincenc as Keith Bonner, Membership Secretary our guest artist, someone who is fond enough of New York Edward Wolf, Treasurer to live here! Once again, the fair will have interesting panels Katherine Fink Karla Moe and lectures, the competition, and, of course, the backbone of the all-day event— Susan Friedlander Seth Rosenthal the exhibits. Svjetlana Kabalin Rie Schmidt When I first started as a board member of the New York Flute Club, it was my Fred Marcusa Stefani Starin job to round up corporate sponsors. While soliciting a contribution from Lillian Nancy Toff Burkart, she suggested that we ought to have some sort of flute event here in New Advisory Board York. That got the whole ball rolling. And, needless to say, it has been very suc- Jeanne Baxtresser Robert Langevin cessful. A good deal of that success has been due to the exhibitors who come Harold Jones Gerardo Levy Marya Martin with all their flutes, music and flute paraphernalia. When I was the exhibits chair, I had to get to the fair really early (which I still do), do table assignments, and Past Presidents Georges Barrère .................... 1920–1944 supervise the load-in. I got to chat with all the makers before Daphnis and Chloë John Wummer ........................ 1944–1947 arrived. I still enjoy doing that. It always fascinates me how dedicated the flute Milton Wittgenstein .............. 1947–1952 makers are to their craft; how painstaking they are in maintaining a centuries-old Mildred Hunt Wummer ........ 1952–1955 Frederick Wilkins .................. 1955–1957 tradition of handcrafted musical instrument-making in an increasingly mass- Harry H. Moskovitz................ 1957–1960 produced world. Most flute makers today use some high-tech manufacturing tech- Paige Brook ............................ 1960–1963 Mildred Hunt Wummer ...... 1963–1964 niques. But the bottom line is to get a reliable mechanism with an aesthetically Maurice S. Rosen ................ 1964–1967 pleasing look, and, more importantly, a beautiful sound for you and the listener. Harry H. Moskovitz .............. 1967–1970 In both areas, most of the professional flute makers have succeeded. You pay for Paige Brook ............................ 1970–1973 Eleanor Lawrence ................ 1973–1976 that level of attention to detail and craftsmanship, to be sure, but in addition to Harold Jones .......................... 1976– 1979 buying the tools of your trade, you are also buying an individual work of art. It’s a Eleanor Lawrence ................ 1979–1982 little like the Patek Philippe ad, where they say, “You don’t own the watch, you Paige Brook ............................ 1982–1983 John Solum ............................ 1983–1986 just care for it for the next generation.” As far as price, however, if you factor in Eleanor Lawrence ................ 1986–1989 inflation for the past 85 years or so, the cost of a new professional flute is about Sue Ann Kahn ...................... 1989–1992 Nancy Toff .............................. 1992–1995 the same as it has always been relative to a decent weekly salary. Rie Schmidt ............................ 1995–1998 I always find the bigger flutes, the altos and the basses, of unique interest. In Patricia Spencer...................... 1998–2001 these instruments you see a bit more variation in design and construction, espe- Jan Vinci .................................. 2001–2002 Jayn Rosenfeld........................ 2002–2005 cially in the bass flutes. Rudall Carte used to make a bass flute with a double (or “S”) bend in it. Presumably this was done to have the embouchure plate facing the Newsletter Katherine Saenger, Editor right direction. But the flutes had no trill keys on them. Presumably this was done 115 Underhill Road because it was too difficult to rig up a mechanism to have trill keys open in the Ossining, NY 10562 middle of a bend. Or, maybe they thought nobody would ever play a trill or a 914-762-8582 [email protected] third octave note on a bass flute. My bass flute is of the other design, the one that looks like a long “J.” It too was made with no trill keys, so I had them retrofitted Sue Carlson, Layout/Production after I bought the flute. Except for Ravel’s Daphnis and Chloë, Stravinsky’s The 789 Westminster Road Brooklyn, NY 11230 Rite of Spring, and Varèse’s Deserts, the alto flute is pretty scarce in early 20th- 718-258-5325 century orchestral music. However, alto and bass flutes are used in a lot of com- [email protected] mercial music, film and TV dates. The arranger Gil Evans used the alto flute quite www.nyfluteclub.org imaginatively and effectively in his arrangements for the Miles Davis records Miles Ahead, Porgy and Bess, and Sketches of Spain. Henry Mancini used altos and Copyright © 2007 by The New York Flute Club Inc. basses in many of his film scores. And now, with the explosion of flute ensem- unless otherwise noted. All rights reserved. bles, they have become more popular. So, when you go to the fair, make sure to toot a big baby! NYFC MAR07.3pp 2/15/07 9:08 PM Page 3 March 2007 — 3 FLUTE HAPPENINGS Member Most notable and/or personally satisfying accomplishment(s): Retiring from the FREE to current NYFC members, this section lists upcoming per- formances by members; flute-related contests, auditions, and Profile Board of Education in 1996 at the age masterclasses organized/sponsored by members; and brief of 54; running the NYC Marathon ten descriptions of members’ new recordings, sheet music, and books. Herb Waldren Send submissions to the Newsletter Editor. years in a row (1979-1988) with a per- NYFC member sonal best of 3:07 in 1981; in 2001, MARCH ’07 since 2003 resuming his flute playing activities and Monday 8:00 pm joining a church (UUCSR) in which he MAR could feel comfortable, after being The New York New Music Ensem- 5 ble with JAYN ROSENFELD, flute, away from both since his early 20s. will perform Bernard Rands’ Memo 4 (for solo Employment: Individual investor; retired flute) and two sextets, Donald Martino’s Not- science teacher (NYC high schools). Favorite practice routines: Herb’s turno and Steve Mackey’s Micro-Concerto for favorite book of practice routines is percussion. Most recent recital/performance: Playing Taffenel and Gaubert’s Seventeen Big • Merkin Hall, 129 West 67th Street, NYC. • a flute and piano arrangement of Daily Finger Exercises, but he says, “I Admission: $20 general, $10 students/seniors. • Debussy’s The Little Shepherd and Pre- Info, call 212-501-3303. believe that practice routines should be lude to the Afternoon of a Faun at the selected based on what you think you Monday 8:00 pm Unitarian Universalist Congregation at MAR need to work on most. Many of the Shelter Rock (UUCSR) in Manhasset, 5 The Sylvan Winds with SVJETLANA new pieces that I want to perform KABALIN, flute, will perform NY, in September 2006.