May 2021 Meet the NYFC Career Challenge Winners Interview by Deirdre McArdle reated in response to the pandemic and the effect it has had on all of us, particularly those who were jolted out of mid- Cstage career building, the NYFC’s Career Challenge 2021 was designed as a competition for flutists 28 and over with no upper age limit. Martha Long and Jeffrey Mitchell were selected as the winners, based on the individuality, musicianship, and artistry of their playing. These side-by-side interviews are based on questions I emailed to them in mid-April.

DEIRDRE McARDLE: How did the DEIRDRE McARDLE: How did flute come into your life? the flute come into your life? MARTHA LONG: I started piano JEFFREY MITCHELL: Well, clar- lessons at age four, but I was a inet was my first instrument. I difficult student. After a few years, did not want to play it, but my my parents let me try a different older brother played and there instrument and I chose the flute. was an extra one in the house, Unlike the piano, I took to it im- so my mom told me to just do mediately. That doesn’t mean that it. I really did not like playing I was good, but I enjoyed playing clarinet; it hurt, which would immensely and I had great teachers come back to haunt my flute who inspired and encouraged me. playing later in life. In middle school I tried other instruments, DM: Do you remember the first Martha Long Jeffrey Mitchell but my band teacher, Ms. time you opened the case of your first instrument? Johnson (who was amazing), would not let me switch to ML: Vaguely! I have a much stronger memory of going home another instrument because I was first chair clarinet. with my first step-up instrument in middle school. I was awed every time I opened the case, and I couldn’t really pro- At some point in eighth grade, I borrowed a flute from cess that I would get to play it every day. the school and took it home. I was hooked! By the end of the year Ms. Johnson had heard me playing enough flute DM: What were your dreams for your future as a flutist? on the sly when I should have been practicing my clarinet ML: As a teenager, I wanted to play professionally, but I parts that she went to work and got me connected to Carl didn’t really know what that meant or how many career op- Hall, who was then principal piccolo of the Atlanta Sym- tions there were for musicians. In college, I realized that I phony. I had no idea what I was doing, but he took me Cont’d on page 4 as a student. He was patient, but firm, and really was the May Solo Series: absolute best possible teacher I could have had. Bonita Boyd & the Flute Music Cont’d on page 4 of Samuel Adler May 27, 2021 In concert 7:30 pm Winners of the NYFC Career Challenge 2021 More on pp. 6-7 Martha Long and Jeffrey Mitchell IN THIS ISSUE Thursday, May 13, 2021, 7:30 pm Meet the NYFC Career Challenge Winners 2021 Visit www.nyfluteclub.org/calendar prior to the event for connection details. Interviews by Deirdre McArdle...... 1 Program From the President: A Beloved Community by Nancy Toff...... 2 Spirit Flight Katherine Hoover (1937-2018) Member Profile: Sylvain Leroux...... 3 Fantasia No. 8 in E Minor Georg Philipp Telemann (1681–1767) Katherine Borst Jones Masterclass Report Image Eugène Bozza (1905–1991) by Diane Couzens...... 5 Jeffrey Mitchell, flute Bonita Boyd & the Flute Music of Samuel Adler Bio and works list by Nancy Toff...... 6-7 Memory (2011, ed. Mary Holzhausen) Chen Yi (b. 1953) Boyd—Adler: A 50-Year Connection...... 7 Flute Fair Recap Danza de la Mariposa (2008) Valerie Coleman (b. 1970) Flute Fair Reflections by Deirdre McArdle.....8 (preceded by commentary from the composer) Photo Gallery and Highlights...... 9-11 Martha Long, flute Announcements Live Zoom chat/Q&A with the performers, hosted by Deirdre McArdle Notice of Annual Meeting...... 2 Flute Happenings...... 3 Program subject to change Paul Taub (1952-2021)...... 11 2 — NYFC Newsletter A Beloved Community by Nancy Toff his spring, for the third time, I retire as NYFC president. TPerhaps the third time will be the charm. It has been my great joy and privilege to lead the club through its centennial THE NEW YORK FLUTE CLUB INC. celebration and to launch its second century. It has also been a great challenge to maintain the momentum in a year when all 2020–2021 arts organizations encountered unprecedented threats to their Board of Directors wellbeing. In many respects, we rose to that challenge—like Nancy Toff, President everyone else, we quickly learned to create an online existence. Patricia Zuber, First Vice President I thank profusely the board members and other colleagues who Kaoru Hinata, Second Vice President performed, taught, and worked behind the scenes. And I thank Deirdre McArdle, Recording Secretary our members for their patience as we did so. Katherine Saenger, Membership Secretary From the Next year, we hope, we’ll back to in-person activities: the May Yu Whu, Treasurer ensemble program, concerts, competitions, educational and President special events. We have a folder full of good but temporarily Amy Appleton Jenny Cline shelved ideas to revive, and I hope that some aspects of our Diane Couzens Fred Marcusa online activities will become part of the permanent programming. As one North Judith Mendenhall Jeff Mitchell Carolina colleague wrote, “One upside of this pandemic is that through virtual events, Linda Rappaport Jayn Rosenfeld flutists from everywhere have access to the New York Flute Club events.” Rie Schmidt Nicole Schroeder I’d also like to share some messages we received from members after the flute Malcolm Spector fair. One wrote, “In a year when community life is so direly needed, you created an extraordinary, safe and creative gathering place, and you did that so very well.” Advisory Board And another: “Thank you so much for all Jeanne Baxtresser Stefán Höskuldsson you and your crew did putting the flute Sue Ann Kahn Robert Langevin weekend together. I was able to visit many Michael Parloff Renée Siebert workshops and was humbled by the young persons’ concert. During the concert at the Past Presidents end, I had tears down my cheeks taking in Georges Barrère...... 1920– 1944 all that was seen this weekend. I learned so John Wummer...... 1944– 1947 much and was able to reconnect with friends Milton Wittgenstein ...... 1947– 1952 on Zoom. Please pass this all on with the Mildred Hunt Wummer...... 1952– 1955 wonderful people making all this possible.” Frederick Wilkins ...... 1955– 1957 So thank you to all of you for your support, Harry H. Moskovitz...... 1957– 1960 your encouragement, your emails, and for Paige Brook...... 1960– 1963 contributing your talents and your presence. Mildred Hunt Wummer ..... 1963– 1964 The flute club is for us a beloved community. Maurice S. Rosen ...... 1964– 1967 As your archivist and historian, I look Harry H. Moskovitz ...... 1967– 1970 back a century, to the NYFC’s first season, the Paige Brook ...... 1970– 1973 spring of 1921. There were some standards: Eleanor Lawrence ...... 1973– 1976 Beethoven, Kuhlau (of course), Taffanel, and Harold Jones ...... 1976– 1979 Caplet. There was a piece by a flutemaker- Eleanor Lawrence ...... 1979– 1982 composer, Albisi; the club’s first publication, Paige Brook ...... 1982– 1983 the Robert Russell Bennett Rondo Capriccioso; John Solum ...... 1983– 1986 works by the Americans Lamar Stringfield Eleanor Lawrence ...... 1986– 1989 and Charles Cadman; the quintet of a Sue Ann Kahn ...... 1989– 1992 woman composer, Mrs. H.H.A. Beach (as Nancy Toff ...... 1992– 1995 she preferred to be called); and an American Rie Schmidt ...... 1995– 1998 Indian singer. It was a remarkable start to a Patricia Spencer...... 1998– 2001 noble tradition, and as we continue into our Jan Vinci...... 2001– 2002 second century, we are fortunate to build upon it. Today, we have so much more Jayn Rosenfeld...... 2002– 2005 repertoire, so many more technical resources, so much more global outreach. I am David Wechsler...... 2005–2008 confident that the flute club will continue to be responsive to the world around us, Nancy Toff...... 2008–2011 and that our community has a bright future. John McMurtery...... 2011–2012 I wish you a wonderful summer and look forward to seeing you in person next Wendy Stern...... 2012–2015 fall. And I hope that we have the opportunity to invite Dr. Fauci, who is after all a New Patricia Zuber...... 2015–2018 Yorker, to be our guest of honor. Let’s hope he likes flute music as much as we do. Newsletter Katherine Saenger, Editor otice of nnual eeting 115 Underhill Road N 2021 A M Ossining, NY 10562 Sunday, June 13, 2021 914-762-8582 5:30 - 6:00 pm [email protected] he Annual Meeting of the and discuss plans for the coming www.nyfluteclub.org TNew York Flute Club, season. Copyright © 2021 by The New York Flute Club, Inc., Inc. will be held ONLINE Login information will be unless otherwise noted. All rights reserved. via Zoom. We will vote on a emailed to all members in good Follow us on Facebook, Twitter, and Instagram slate of officers and directors standing and will also be on the (nyfluteclub). Hit the Like button on Facebook for the next season, approve event’s online calendar page: to stay up to date on Club events. Members are invited to post and comment. the annual financial report, nyfluteclub.org/calendar. Jessica Yang, NYFC Social Media Chair May 2021— 3

FLUTE Member Profile Most notable and/or personally satisfy- ing accomplishment(s): Being at the HAPPENINGS forefront of African/jazz collaborations Sylvain throughout his life; being one of the very first non-African professional Fula MAY ’21 Leroux flute players in the world; and seeing his l’école fula flute initiative stimulate May Thursday 7:30 - 9:00 pm NYFC member on the birth of a new generation of flutists 6 A virtual masterclass with flutist/ and off since 2003 in Guinea. composer GARY SCHOCKER (details in box Influential flute teachers: For classi- below). A NYFC 2020-21 Education event. cal flute: Jean Morin at the Jeunesses • Access is free. • Info and connection de- Employment: Presentation specialist Musicales camp, Alain Bergeron and tails, visit nyfluteclub.org/calendar. (graphic artist specializing in presenta- Marcel Baillargeon at École de Mu- tion software) at TBWA\Wildtype. May sique Vincent d’Indy (in Quebec), and 25 Tuesday 7:00 pm A recent recital/performance: A couple Jean-Paul Major in private lessons. For The Da Capo Chamber Players, of outdoor “pandemic” gigs in fall 2020 jazz theory: Art Roberts. For Fula flute: with PATRICIA SPENCER, flute, in a mix of with his five-piece African Jazz group Kikala Diakité, Mamady Mansaré, and archival recordings and current conversation SOURCE and Malian singer Abdou- Bailo Bah. Also: Karl Berger for impro- between composers and performers. This laye Diabate on the Lower East Side: visation and music philosophy. event: “Asian Echoes,” featuring Chinary Ung’s one right on the sidewalk of the Front Child Song and Chou Wen-chung’s Ode to High school: In the province of Quebec: Eternal Pine. Room Gallery; then another as part of École St-Michel (Sillery), Polyvalente • Access is free. • Info/registration: the LUNGS (Loisaida United Gardens) de Rimouski, École St Germain, Regina dacapochamberplayers.org/copy-of-concerts-1 Festival at the Plaza Cultural Garden (“It Mundi (Ville St Laurent), and Paul Gérin- May was quite wonderful to be out and play- Lajoie (Outremont) (“We moved a lot.”). Thursday 7:30 pm ing after several months of confinement; 27 I have also been playing outdoor con- Degrees: No degree past high school, BONITA BOYD and the flute music but a “High Distinction” in flute per- of Samuel Adler, hosted by Nancy Toff. A certs in the park with wonderful mbira NYFC 2020-21 Solo Series event. player Nora Balaban and friends.”). formance from Vincent d’Indy. Sylvain attended the Creative Music Studio in • Zoom webinar. • Access is free. • Info and Career highlight(s): Playing on the upstate NY (founded by Karl Berger and connection details, visit nyfluteclub.org/calendar. first African music record produced Ornette Coleman), “where I discovered in Canada, Nangape, by Yaya Diallo world music and had my brain rear- (“It was released in 1981, at a time ranged in workshops with Don Cherry, when recorded African music was still Leo Smith, Carla Bley, the Art Ensemble a rarity; it also attracted a fair amount of Chicago, Steve Lacy, and many, many of attention in the US.”); with virtuoso more teachers of that caliber.” Bailo Bah, producing and perform- ing Fula Flute—the first ever album Favorite practice routines: “I try to play JUNE ’21 entirely dedicated to that West African what comes in my head and learn Bach instrument (“It has achieved cult-like pieces by heart, such as the Partita June status and influenced many people in A minor, which I interpret freely. 22 Tuesday 7:00 pm to learn the instrument.”); performing Bach gave us, mere mortals, amazing The Da Capo Chamber Players, with his Fula Flute Ensemble at the music to feed our creativity and, when with PATRICIA SPENCER, flute, in a mix of opening gala concert of Zankel Hall in we manage to play it well, we get a archival recordings and current conversation glimpse of the eternal.” between composers and performers. This September 2003, alongside luminaries event: “Paen to Merging Cultures,” featuring Renée Fleming, John Adams, Emmanu- Other interests: As a professional graph- Valerie Coleman’s Freedmen of the Five Civi- el Ax, and Kenny Barron; inventing the ic artist for an ad agency, it is easy for lized Tribes and Kyle Gann’s Hovenweep. “chromatic tambin,” a fully functional, Sylvain to make record covers for his • Access is free. • Info/registration: chromatic version of the traditional friends (including a dozen for percus- dacapochamberplayers.org/copy-of-concerts-1 Fula flute and getting it patented (US sionist Adam Rudolph). He also enjoys Patent 8,618,395, issued in 2013); and, cooking French and French Canadian Virtual Masterclass with maintaining “l’école fula flute,” an recipes from the Jehanne Benoît cook- Gary Schocker alternative music education program book (his mother’s go-to, with recipes Thursday, May 6, 2021 in Guinea he co-founded in 2013 that like onion soup, baked beans, French 7:30-9:00 pm offers a full-scholarship basic education Canadian stew) as well as Haitian reci- Performer/Piece: with training in music and stage arts to pes like poisson en sauce. He follows Jenn Forese: 15–20 kids from poor families. politics and is very relieved (and some- Fantasia No. 2 (G.P. Telemann) Current flute: A plastic “New Voice” what hopeful) that efforts to address the Coreisa Lee: Guo (“I own a silver Yamaha and an problems of the world may be going in Sonata in A minor (C.P.E. Bach) antique ebony Haynes, but prefer the a saner and more rational direction. Elsa Nilsson: Guo unless I am performing in a clean Advice for NYFC members: Follow your Um a Zero (a Brazilian choro standard) concert hall. It sounds great and is light heart and strive to make your dreams Robbie Strauss and easy on my body. I also play many a reality. They might not materialize Regrets and Resolutions (Gary Schocker) Fula flutes and chromatic tambins that I in the way you intended, but you will Elyse Knobloch: have mostly made myself.”). learn a whole lot about yourself. Flute Forest (Gary Schocker) Jessica Taskov Masterclass Coordinator 4 — NYFC Newsletter

(ML interview, cont’d from p. 1) play on that stage! The acoustics of the school because I felt that I had fallen hall were unlike anything else that I behind and I was worried that I would wanted to play with other had experienced up until that point. It lose my scholarship. I was studying musicians, whether in an or- was truly an eye-opening, awe-inspir- with Jim Walker at the time and at my chestra or a chamber group. ing moment. first lesson back, he looked at me and told me that I was a better musician DM: Could you discuss if I can’t believe that I’m saying this, but than I had been before I left. He taught your reality came close? my professional concerts tend to blur me that I couldn’t be a good flute ML: Yes, I had excellent teachers in col- together. The Oregon Symphony does player without being a whole, healthy, lege who helped me navigate the world three or four performances of each con- happy human being. of orchestral auditions. I am extremely cert program, and it becomes hard to humbled to be a member of the Or- remember specific performances after a More recently, I had surgery in Janu- egon Symphony, based in Portland. Be- few years. A few standouts include my ary 2019 to alleviate a pinched nerve fore that, I was in the San Antonio Sym- first time playing Debussy’s Prelude to that was causing dexterity problems in phony in Texas for four years. In both the Afternoon of a Faun and a produc- my left hand. I wasn’t allowed to play orchestras, I’ve had incredible musical tion of Bartók’s opera, Bluebeard’s at all for six weeks, and then I had experiences with inspiring colleagues. I Castle, with sets designed by the glass- to work up to playing again over the love what I do and I’m looking forward blower Dale Chihuly. It was really hard course of another six weeks. My physi- to getting back into the orchestra when to focus on playing my part instead of cal therapist prescribed a set amount of the pandemic abates. staring at those marvelous sculptures! playing, starting with only five minutes a day. I began by playing works that DM: What are a few of your best memo- DM: Did you ever have a hiatus in your I love, like Bach sonatas and Ferling ries as a student and as a professional? playing, and if so how did you find oboe etudes. Both of these experiences ML: One of my college orchestras your way back to the instrument? showed me that it’s possible to grow performed at Carnegie Hall and toured ML: Absolutely. I am a firm believer as a person (and as a musician!) while China. The China tour was such a in taking time off from the instru- taking time away from the instrument. whirlwind experience and a huge les- ment to enjoy nature, to spend time son in being able to perform under with friends and family, and to read DM: Are you an active professional in less than ideal circumstances (jetlag, a good book. I had a health scare in more than one field? food poisoning, and other travel mala- college that required me to leave for a ML: No, the flute keeps me busy dies). Playing at Carnegie Hall for the full semester, and I did not play very enough! But I enjoy making Milk Bar first time is one of my most treasured much while I was receiving medical cakes, hiking, reading, doing crosswords, memories—it was such a privilege to treatment. I was terrified to go back to and learning foreign languages. ☐

(JM interview, cont’d from p. 1) open up all kinds of opportunities. I Anyway, those weeks with Lucas and entered exactly one, on the recommen- Larrieu ended up being the most posi- Do you remember the first dation of Julius Baker, who told me tive experiences of my entire education. time you opened the case to after I went to him for some private of your first instrument? lessons. He called my teacher and told Did you ever have a hiatus in your Yes. After I gave the bor- her that I had to do it. But I learned playing, and if so how did you find rowed flute back to the the wrong movement of the CPE your way back to the instrument? middle school, my mom and I knew Bach Sonata in A minor for the tape This could be a novella, but let’s just that I needed a flute of my own. But, round (when we still actually submit- say that after gigging for a couple of as a single mom, she didn’t have the ted tapes). I tried to cram the correct years after school, I stopped playing money for a new one. She worked in movement, but that didn’t go so well, for about ten years. I had a major crisis downtown Atlanta and there was giant so obviously I didn’t advance! in confidence in my playing to the pawn shop near her office, Ideal Pawn, point I was completely paralyzed and that had loads of instruments. She went physically unable to play. I developed in one day and brought home a stu- What are a few of your best memories awful stage fright to the point I would dent model Bundy or something and a as a student and as a professional? shake through entire recitals. My right Gemeinhardt 3SB, silver head (maybe The absolute best memory for me as arm from my thumb all the way up to the body) low B, open hole. Of course, a student was the summer of 2003. It my ear was in constant pain because of that sounded better, and she said, “I was the summer between my two years issues with the ligaments in my thumb. knew you would choose that one.” I at Yale, and Ransom suggested I go to I was miserable with how I sounded. I think that was Christmas and birthday the summer program in Nice. I signed was full of tension I had no idea how presents for the next couple of years! up to be in the classes of Vincent Lucas to get rid of, so I finally said forget this. and Maxence Larrieu. Well, towards I even sold all of my instruments. What were your dreams for your future the end of the school year, I had a very as a flutist? unfortunate masterclass with Sophie After my son was born, we moved I think I had pretty standard issue Cherrier. Ransom ripped me apart and from Manhattan to Riverdale. Working dreams that most young flutists have. I told me how the French would not be from home in probably the quietest wanted to get into good schools, but I kind to me or my playing. I was terri- neighborhood in NYC is BORING. By had no idea what I would do after that. fied. I practiced for six to eight hours the end of 2017 I decided I needed a I just figured I would take auditions every day before leaving for France, to hobby. My son was in daycare/school. and hopefully win a job. I thought it the point that I was in severe pain for a My wife is very driven professionally, was either that or be a band director. yet-to-be-discovered issue with my liga- and was in a very intense leadership Of course, I thought about entering ments that harkened all the way back program and finishing another master’s international competitions that would to why I hated playing the clarinet. degree. I had time I needed to fill. (Cont’d next page) May 2021 — 5

Katherine Borst Jones Workshop Report by Diane Couzens

atherine Borst Jones, professor exercises include: Kof flute at the Ohio State Univer- • tensing and releasing muscle sity, presented “Best Foot Forward: groups to practice consciously relax- A Performance Enhancement Work- ing muscles; shop” on Thursday, March 18. Prior • conducting a body scan and notic- to the virtual workshop, participants ing points of tension on the inhale were invited to complete an anony- and releasing tension on the exhale; mous survey about the concerns and and challenges they have faced while • breathing in for four counts, and performing, and the techniques they exhale while saying the word “calm” currently employ to address them. for the entire, long exhale. The workshop drew on Professor Examples of auditory exercises Jones’ personal experiences, perfor- include: mance enhancement classes taught by • speaking or hearing in your mind psychologist Dr. Neal Newman, and autogenic phrases (e.g., “my hands insights from a variety of books and are getting warmer,” “my breathing articles (on a list that can accessed is relaxed,” “my mind is calm”); through the event’s page on the • mentally speaking to yourself in a Club’s online calendar*). Based upon soothing and reassuring voice; and the survey responses and her many • hearing positive words in the years of performing and teaching, the voice of a friend or teacher. most common concern about performance is nerves. Examples of visual exercises include: Professor Jones distilled the concept of nerves and identi- • picturing yourself in a happy and calm location, such fied the “two evils” of performance: the fear of failure as sitting on the beach watching the ocean waves roll and the desire to do a good job. These are often the root in and out; mental causes that manifest in physical symptoms of • imagining a safe and beautiful color surrounding you, nervousness. She encouraged participants to notice what like an aura; and emotions they are experiencing while they are performing. • mentally placing yourself behind a plexiglass shield. Professor Jones then introduced the three-step model that musicians can use, not only to improve all sorts of public Professor Jones recommended experimenting with a presentations and performances, but also apply to many variety of exercises in multiple settings; combining the other situations in daily life: exercises that work best; and practicing them frequently. • notice your present state of mind; By doing so, you will eventually be able to move into • imagine your desired state of mind; and your desired state of mind whenever you want to. • prepare and practice strategies to move from present The workshop closed with some positive and encourag- state of mind to the desired state of mind. ing advice: Believe in your preparation, feel the music, In order to notice your present state of mind, you should take risks, and have fun! build your awareness through meditation, mindfulness, Diane Couzens works in the Office of the Provost/Academic and the practice of self-love. A desired state of mind could Affairs at Ramapo College of New Jersey. She received her include feeling excited, calm, confident, relaxed, attentive, BM from the University of Illinois at Urbana-Champaign and more. and her MM from the Ohio State University, where she There are three categories of exercises for moving from studied with Professor Katherine Borst Jones. your present state of mind to your desired state of mind: kinesthetic, auditory, and visual. Examples of kinesthetic * https://www.nyfluteclub.org/calendar

(JM interview, cont’d from previous page) ing. I was finally able to take all I had for a short time in a theater as direc- I went to the gym several times per learned from my teachers and combine tor of artistic operations. For the past week, but that’s not really fun! I fig- it with life experience and actually play nine years I have been the VP, Client ured, well, I have a master’s degree in pretty much how I had always wanted. Services for ArtsVision. We provide flute, maybe I could start playing again. venue, personnel, and production I never lost my love of music or the Are you an active professional in more management software designed specifi- flute, I just lost my will to fight with the than one field? cally for performing arts organizations. thing. So, I bought a new flute, pulled I’ve been lucky to always work in clas- I am able to take my education and out my tattered T&G and other etudes, sical music. When I decided to stop knowledge of the business and how incorporated a lot of knowledge of playing, I started working at CAMI organizations work and help them im- the body and breath I had gained over as an assistant, then associate artist prove business operations through our the years working with opera singers, manager. I then worked for a few years platform. It’s a lot of fun, and certainly went to play for people I trusted who with Zemsky Green Artists as an artist has required developing a set of skills I would be gentle with me as I dipped manager and worked for some amaz- certainly did not learn in music theory! my toe back into the pool, and got go- ing singers like Jonas Kaufmann, Ruth I’ve also just started an executive MBA ing again. Finally, after so many years, Ann Swenson, Marcelo Alvarez, and program, so we’ll see what other tricks I was (mostly) happy with my play- many others. Eventually I went to work I learn coming up.... ☐ 6 — NYFC Newsletter Bonita Boyd and the Flute Music of Samuel Adler This background material for the May 27, 2021 Solo Series event includes a brief biography of Samuel Adler and a list of his flute works, both compiled by Nancy Toff, and some reflections from flutist Bonita Boyd about her many connections to Sam. See Flute Happenings listing on p. 3 for link to connection details. Samuel Adler and the Flute amuel Adler, now 93 years young, is one of the impact on Smost productive composers of flute music today. European Born in Mannheim, Germany, he came to the United culture, was States in 1939. His large catalog, comprising more than awarded a Katherine Cumming 400 works, includes several solo works for flute and special army citation for distinguished service. In May piccolo and many chamber works that include flute. 2003, ASCAP presented him with the Aaron Copland Award for Lifetime Achievement in Music (Composi- Adler holds degrees from Boston University (BM) and tion and Teaching). He was inducted into the American Harvard (MA). He studied composition with Aaron Academy of Arts and Letters in 2001 and the American Copland, Paul Hindemith, Walter Piston, Hugo Norden, Classical Music Hall of Fame in 2008. and Randall Thompson and conducting with Serge Koussevitzky at the Berkshire Music Center. Mr. Adler’s association with flutist Bonita Boyd goes back many years. They taught together at Eastman, Samuel Adler is professor emeritus at the Eastman and Bonnie taught his daughter flute. In 1977 she School of Music, where he taught from 1966 to 1995 premiered his flute concerto with the Rochester Phil- and served as chair of the composition department harmonic, which they then recorded. To celebrate her from 1974 until his retirement. He was previously pro- 35th anniversary at Eastman, in 2011, Mr. Adler was fessor of composition at the University of North Texas commissioned to write a short solo work, which Mindy and music director at Temple Emanu-El in Dallas. From Kaufman, Bonnie’s former student, performed. 1997 to 2014 he taught composition at Juilliard. Juilliard commissioned his flute sonata to celebrate its He has received commissions and grants from the centennial in 2005, and Carol Wincenc both premiered National Endowment for the Arts; the Ford, Rockefeller, and recorded it. She also commissioned a duet, Caccia, and Koussevitzky foundations; the city of Jerusalem; which she and Jean Ferrandis performed at the NFA the Pro Arte Quartet, the American Brass Quintet, the convention in Pittsburgh in 2011. And just this past Wolf Trap Foundation; and numerous other symphony year, Adler wrote a solo piece, Alone, Together, which orchestras, including the Cleveland Orchestra and the Mimi Stillman premiered online in the midst of the National, Dallas, Pittsburgh, Houston, and Atlanta Sym- pandemic. phonies. —Nancy Toff

Adler has been awarded many prizes, including the Further information: Charles Ives Award, the Lillian Fairchild Award, the www.samuelhadler.com/ MTNA Award for Composer of the Year, and a special www.presser.com/samuel-adler?p=2 citation from the American Foundation of Music Clubs. www.milkenarchive.org/artists/view/samuel-adler/ In 1983 he won the Deems Taylor Award for his book The Study of Orchestration. While serving in the United States Army (1950-52), Adler founded and conducted the Seventh Army Symphony Orchestra and, because of the orchestra’s great psychological and musical Bruce Duffie Far left: A young Samuel Adler in Germany Left: Corporal Samuel Adler conducts the U.S. Seventh Army Orches- tra in Kessel, Germany, 1952 Above: Samuel Adler with Aaron Copland, April 1962 May 2021 — 7

Bonita Boyd and Samuel Adler: A 50-Year Connection

have had a wonderful nearly life-long relationship with tive work. In addition, ISamuel Adler. We met at Eastman in the early 1970s at my earlier recording of the beginning of my professional career. I was honored Sam’s Sonata for Unac- that Sam asked me to teach his extremely talented flutist companied Flute will daughter, Deborah, during her high school years. She was be played with artwork a fantastic and mature young artist, who then continued by my son, artist Henrik her studies at Northwestern. Soderstrom. I am very excited about this, as In December 1977, I had the honor of premiering Samuel Henrik has done similar Adler’s Flute Concerto. The premiere was televised by projects for the Silk Road PBS and conducted by Sarah Caldwell. We subsequently Project and others. recorded the Concerto with the Rochester Philharmonic Orchestra for the Vox label. Sam continued to grace the Nancy Toff and I will Eastman faculty with his presence until his “retirement” also talk with Sam about in 1995, at which time he enlarged his already prodigious his work. career by continuing to teach at Juilliard and actively com- pose for artists all over the world! I have often thought He returned to Rochester for a surprise party to celebrate about how valuable it would be for flutists to Eastman Players’ Bonita Boyd, flute, my 35th year of teaching at Eastman, and wrote A Bonnie and Richard Killmer, oboe, with Sam Tune for the occasion. Mindy Kaufman played the pre- be able to hear the Adler at a 1998 recording session miere of this at the celebration dinner! What a wonderful thoughts of major surprise! composers from the past who have written for them. I am therefore thrilled to have the opportunity for the major On the upcoming recital event for the NYFC, I will be American composer, Samuel Adler, to share his thoughts playing A Bonnie Tune, as well a newer unaccompanied with flutists and also leave future generations of flutists work written for Mimi Stillman during the pandemic, called such a gold mine! Alone, Together. I am very honored to play this contempla- —Bonita Boyd

Selected flute works of Samuel Adler Diary of a Journey (1995) Theodore Presser (ca. 8:00) flute, bassoon, and cello Premiere: Siegen, Ger- Alone, Together: A Mono- Canto V (1968) Commissioned by Friends many, 2014 logue for Solo Flute (2020) soprano, flute, violoncel- of the Library of the City Dedication: to Mimi lo, and piano of Phoenix Sonata for Solo Flute Stillman Commissioned for open- Premiere: Arpeggio Trio, (1981) Premiere: Mimi Stillman, ing of Interfaith Chapel, Phoenix, AZ, April 21, For James Galway September 16, 2020, University of Rochester, 1996 Southern Music (10:00) online 1969 Theodore Presser (15:00) Premiere: James Galway, Theodore Presser (6/2021) Ludwig Music Masters- Seattle, Washington, July Kalmus (10:00) Flaunting: A Study for 1982 A Bonnie Tune: A Scherzo Flute Solo (with optional Recording: Bonita Boyd for Solo Flute (2011) Canto XIII (1994) piccolo and/or alto flute) (Vox 7509) Commissioned to cel- piccolo (1965) ebrate Bonita Boyd’s Commissioned by Jan Dedication: To George Sonata (2004) 35th anniversary at the Gippo Morey flute and piano Eastman School of Music Ludwig Music Masters- Theodore Presser Commissioned for the Theodore Presser (3:40) Kalmus (6:00) 100th anniversary of the Premiere: Mindy Kaufman, Recording: Jan Gippo, Intrada (1967) Juilliard School Rochester, NY, August Albany Records (First woodwind quintet Dedication: For Carol 2011 Chairs) Troy 306 Oxford University Press Wincenc (5:00) Premiere: Carol Wincenc Concerto for Flute and and Stephen Gosling, Caccia: A Scherzo for Two Orchestra (1977) Madrigals (1986) New York, September 14, Flutes (2007) Premiere: Bonita Boyd, 6 flutes 2005 Theodore Presser (3:30) Rochester Philharmonic, Peer-Southern (8:00) Theodore Presser (14:00) Commission: Carol Win- cond. Sarah Caldwell, Recording: Carol Wincenc cenc for National Flute December 1977 Recitative and Rondo and Laura Melton (Naxos Association Southern Music Company Capriccioso (2014) 8.559602) Dedication: to Carol Win- (20:00) flute and piano cenc and Jean Ferrandis Recording: Bonita Boyd, Dedication: To Martin Triolet (1989) Premiere: Carol Wincenc, flute; Rochester Philhar- Herchenroeder flute, viola, and harp National Flute Association; monic, conductor David Commissioned by Studio Commissioned by Sigma Pittsburgh; 2008 Effron (Vox 7509) for New Music, University Alpha Iota of Siegen, Germany C.F. Peters (9:00) 8 — NYFC Newsletter Reflections on NY Flute Fair 2021: A Virtual Toolbox from Flute Fair Program Chair Deirdre McArdle ur Op. 1, No. 1, virtual flute fair was a great success for three of the four Othanks to the efforts of a terrific team. I am grate- pieces was a large ful to Jeff Mitchell, co-chair, for his outstanding work on part of his personal the technical aspects of A Virtual Toolbox, Kathy Saenger push to motivate for her innovative ideas and website implementation, Fred himself while under Marcusa for his efforts on behalf of our valued corporate lockdown. He is an sponsors, Jessica Taskov for her great ideas, the “Dynamic extremely interesting Duo” program editors Nancy Toff and Don Hulbert for their and multi-faceted Herculean efforts putting together a top-notch print flyer and person, and I am virtual program book, Pat Zuber for organizing the email very grateful to have blasts, Jenny Cline, Nicole Schroeder, Jayn Rosenfeld, and had the opportu- Rie Schmidt for Zoom hosting, Kaoru Hinata and Caroline nity to get to know Sonnett-Assor for stunning competition recitals, and mem- him a little over the bers of the flute community for sharing their talents at the course of several NYFC Flute Fair 2021: A Virtual Toolbox. months.

What was remarkable for me personally about the fair this My personal fa- year was that I could actually vorite masterclass attend some of the events of all time was instead of running around the “Window with putting out fires. I was Wincenc,” featuring particularly moved by the Carol working with presence of students from four adult, non- Africa; my most memorable professional flutists. moment and high point of It was unlike any L’École Fula Flute (above); the fair came to me via a masterclass I have Julien Beaudiment played works by Grieg, Richard Donald Smith (below). brief conversation with a ever experienced. Poulenc, Rachmaninov, and Roger Bourdin. young man in Nigeria dur- The energy was ing Richard Donald Smith’s loving and supportive. Nobody was nervous, and all of the “Music Education in Sub- players looked like they were really having fun! Plus they all Saharan Africa” lecture. We played beautifully! had students from Guinea in another session by Sylvain There were so many sessions that I had to miss; despite my Leroux. To hear his students best efforts, the sessions were so engaging that I could not play the fula flute as if they tear myself away from one to listen to another. I loved Rob- were right there with us was ert Dick’s “Warm-up for the 21st Century Flutist,” but had to an incredible experience. What a small and wonderful world miss Lish Lindsey’s “Let’s Play Marais,” so I am very excited we inhabit remotely now! to be able to access most sessions on the NYFC YouTube channel! Julien Beaudiment was a great pleasure to work with in the run-up to the fair. He gave us an unforgettable and deeply Though I hope that we can have the NY Flute Fair 2022 as personal coffee chat as well as inviting us to a lesson he was an in-person event, I hope that we can keep some aspects of teaching on the Bach Allemande at the Lyon Conservatory. the 2021 virtual flute fair, most notably the option of bring- His recital was incredible and preparing the transcriptions ing flutists together from all over the world.

Window with Wincenc: A masterclass with Carol Wincenc, with winners of the adult masterclass competition. Top: Ethan Lin of Burkart Flutes provided the introduction; performers (L to R) were Katherine Saenger, Yiqun Zhao, Rebecca Sayles, and Jane Sandstrom. May 2021— 9 NYFC Competition 2021 Winners Concert

In Concert The Winners of the 2021 NYFC Competition Sunday, April 11, 2021 • 5:00 pm Fantasia No. 8 in E Minor Georg Philipp Telemann (1681-1767) Four Pieces for solo flute Jindrich Feld (1925-2007) Cameron Cullen (third prize), flute Min Ha Kim Danza de la Mariposa (2008) Valerie Coleman (b. 1970) Fantasia No. 10 in F Minor Georg Philipp Telemann Summerland William Grant Still (1895-1978) Tyler Martin (second prize), flute Kyung-A Yoo, piano

Introduction, Theme, and Variations Franz Schubert (1797-1828) on “Trockne Blumen,” D. 802 (1824) Mei for flute alone (1962) Kazuo Fukushima (b. 1930) Min Ha Kim (first prize), flute Beilin Han, piano

The New York Flute Club thanks Phil Unger and the Flute Center of New York for funding the first prize of the 2021 NYFC Competition. Cameron Cullen Tyler Martin

Tips from Flute Fair Presenter Richard Hawkins on the connection of motivation, music, and mental health

usicians get pleasure out of playing and performing. ensembles return M2020 was a year of loss—the opportunity to to in-person perform, the loss of companionship, the loss of income rehearsals and for professional musicians, all of which led to a loss performances. Be of motivation to practice and play. This, in turn, had like an athlete a negative effect on mental health, with many feeling trying to get back in shape and remember that when discouraged, sad, frustrated, angry, lonely, and unfocused. you’re not practicing, your competition is! Tip for improving motivation: Regain your focus. Richard Hawkins, a longtime amateur oboist, is a Formulate goals for yourself: Decide where you would psychologist in the department of psychiatry at New York like your playing to be in a week, a month, or when Presbyterian Hospital/Weill Cornell Medical Center.

Tips from Flute Fair Presenter Chip Shelton on Balancing Two-Plus Careers hip Shelton spoke about his new book, Excel in Two The satisfaction CCareers. Assisted by colleagues Gene Coleman and Dotti you receive from Anita Taylor, he elaborated on the concept of “Plan BeTM,” always prioritizing defined as a proactive strategy of pursuing two careers your life’s goals simultaneously to fortify the likelihood of maintaining a will far surpass the lifestyle of choice while doing what you love most fleeting moments (music, art, dance, athletics, etc...). of pleasure you forego. Principle 1: Business Before Pleasure The discipline ensures you sustain relevance and excellence in preparing for and building out your chosen careers. The cornerstone of being able to successfully launch co-careers in the arts, athletics, etc. and another practical Chip Shelton (chipshelton.com) has enjoyed two careers: profession is prioritization. professional musician and (now retired) orthodontist. 10 — NYFC Newsletter New York Flute Fair 2021: A Virtual Toolbox In case you missed a presentation (or want to see it again): Most Flute Fair presentations were recorded and (thanks to our video production guru Jennifer Szabo) are on the Club’s YouTube channel. Go there directly, or get there from the Flute Fair presenter pages (organized alphabetically by presenter last name): nyfluteclub.org/concerts-events-and-more/flute-fair/flute-fair-program/2021-presenter-pages.

Hilary Abigana Vibrant Possibilities Christine Beard Self-marketing Strategies Jenny Cline (Zoom host)

Robert Dick 21st Century Warm-up Daniel Dorff & Joan Sparks 24 Melodic Warmups Cobus du Toit Gadgets for Flute

Leonard Garrison Telemann’s 12 Fantasias Patricia George The Scale Game Adrianne Greenbaum The Klezmer Flute

Mark Vickers & Denise Koncelic NYFC Ensemble Alicia Lindsey Let’s Play Marais Deirdre McArdle (Flute Fair program chair)

Jeff Mitchell (Flute Fair program co-chair) Chris Potter Tips for Low Flutes Rachel Rudich Yoga for Flutists May 2021 — 11

Anna Fisher-Roberts Aleatoric Adventure Christian Paquette Only the Words... Helen Park AI Accompanist Apps

Adam Sadberry Using Your Identity... Katherine Saenger Ergonomic Headjoints Nicole Schroeder (Zoom host)

Nancy Toff (NYFC President & Zoom host) Caroline Sonett-Assor YMC Winners Concert Sylvain Leroux Fula Flute in Guinea

Paul Taub (1952–2021) n Saturday, April 10, as part of the Seattle Flute Society’s He was also one of the performers Ofestival, Zart Dombourian-Eby, piccoloist of the Seattle in Brant’s Ghosts and Gargoyles and Symphony, played the world premiere of Ken Benshoof’s Mass in Gregorian Chant, which Bittersweet, a piece commissioned by the Seattle Flute the NYFC recorded in 2005/6 (New Society. The intended performer was Paul Taub, executive World 80636-2) and he wrote the director of the Seattle Chamber Players and a former New program notes for the CD. One of Yorker who last performed for the New York Flute Club our most rewarding (and fun) collab- in February—but Paul died too young, of a heart attack, in orative projects was a presentation March. The piece was named after a cocktail ordered by the on Henry Brant at the NFA conven- composer’s wife, but the title became all too real, as Zart tion in Anaheim in 2010, at which performed it in Paul’s memory. Paul resurrected his Partita for flute and piano, which Claude Monteux and Brant himself had He was a wonderful teacher (professor emeritus at the played at the Flute Club in 1957. Years earlier, Paul had Cornish College of the Arts) and a zealous advocate for new helped me arrange an interview with Henry about Angels music who worked closely with Robert Dick, Robert Aitken, and Devils (see NYFC Newsletter, March 2003). Henry Brant, Pēteris Vasks, Sofia Gubaidulina, Bun-Ching Lam, and John Luther Adams. He was a founding mem- Paul was actively involved in NFA projects: He was a mem- ber and executive director of the Seattle Chamber Players, ber of the NFA’s cultural exchange delegation to the Soviet which has played more than 100 premieres. Paul served on Union in 1989. He conducted oral history interviews with the board of directors of the National Flute Association and Nicholas Slonimsky and Robert Aitken; served on the New Chamber Music America and two terms as president of the Music Advisory Committee, and had recently been named Seattle Flute Society. commission coordinator.

Paul was a member of the NFA’s cultural exchange delega- The flute world has lost one of its most creative members. tion to the Soviet Union in 1989 and became deeply in- —Nancy Toff volved in performing Russian music; he was part of the Flute Full obituaries: Club’s concert of Soviet music in March 1990, playing the www.seattleflutesociety.org New York premiere of Pēteris Vasks’ Landscape with Birds https://www.seattletimes.com/seattle-news/obituaries/paul- and a chamber piece by Sofia Gubaidulina. taub-flutist-and-new-music-champion-dies-at-68/ The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

June 13, 2021 Annual Meeting

Virtual event; connection details at www.nyfluteclub.org

st Greetings! May brings us the final events of the NYFC 101 Season season (not counting the not-to-miss annual meeting on June 2020- 2021 Events 13, 2021 at 5:30 pm). We have a concert by the two winners of the NYFC’s Career Challenge 2021 on May 13 and a Solo October 22, 2020 (SS) • Thursday, 7:30 pm Patricia Spencer plays Noel Da Costa Series event two weeks later, featuring flutist Bonita Boyd and October 25, 2020 (C) • Sunday, 5:30 pm the music of her friend and longtime Eastman colleague Samuel McGill & Wincenc play Gabriela Lena Frank Adler. Deirdre McArdle interviews the Challenge winners November 5, 2020 (SS) • Thursday, 7:30 pm (starting on p. 1) and Bonnie Boyd and Nancy Toff provide Density 21.5 with Molly Barth some background on the Boyd-Adler connection and Sam’s November 12, 2020 (E) • Zoom Teaching many works for flute. November 15, 2020 (C) • Sunday, 5:30 pm From the In this month’s “From the President,” Nancy Toff Claire Chase and the Density 2036 Project Editor looks back on her three-year term as NYFC president (a December 3, 2020 (SS)• Thursday, 7:30 pm John Heiss interviewed by Meg Griffith challenging time period, by any measure!) and shares some December 13, 2020 (C)• Sunday, 5:30 pm thank-yous received from happy Flute Fair attendees. And, reminding us that she Winners of the 2020 NYFC Competition is also the Club’s archivist, provides us with a NYFC program from 100 years ago. January 14, 2021 (SS)• Thursday, 7:30 pm Those of you who missed Katherine Borst Jones’s performance enhancement Emily Beynon on Marius Flothuis workshop on March 18 can get a flavor of what you missed from Diane Couzens’ January 24, 2021 (SS)• Sunday, 5:30 pm article on p. 5. (I confess that I would have paid closer attention to her tips about Janet See, baroque flute (with harpsichord) February 25, 2021 (E)•Robert Dick nerves had I realized in advance how handy they would be for my segment of February 28, 2021 (C) • Sunday, 5:30 pm the Flute Fair’s Window with Wincenc masterclass....) Solo Flute Spectacular This issue is a 12-pager to accommodate reporting about this year’s Opus March 11, 2021 (SS)• Thursday, 7:30 pm 1, No. 1 virtual flute fair. It starts off with impressions and thanks from program Mary Oleskiewicz on the Bach Partita chair Deirdre McArdle and is filled with photos and snippets from the many March 18, 2021 (E)• Katherine Borst Jones presentations. Keeping to the Flute Fair theme, Sylvain Leroux, a familiar face to March 21, 2021 (C)• Sunday, 5:30 pm Adam Sadberry of the Memphis Symphony the Flute Fair attendees who saw his presentation on playing/teaching the fula April 10-11, 2021• Flute Fair: Virtual Toolbox flute in Guinea, is this month’s member profile subject (p. 3). May 6, 2021 (E)• Gary Schocker masterclass As this is the last of the newsletters for the 2020-21 season, I would like to May 13, 2021 (C)• Thursday, 7:30 pm thank the year’s interviewers, writers, photographers, and proofers for their many Career Challenge Winners Concert contributions. This group includes Molly Barth, Emily Beynon, Mili Chang, Diane May 27, 2021 (S)• Thursday, 7:30 pm Couzens, Meg Griffith, Katherine Hoffman, Mindy Kaufman, Deirdre McArdle, Jeff Bonita Boyd & the flute music of Samuel Adler June 13, 2021• Sunday, 5:30 pm Mitchell, Jayn Rosenfeld, Pat Spencer, Nancy Toff, Barbara Williams, and Lily Wu. Annual Meeting Best wishes to all for a happy and healthy summer and conditions that will All events will be virtual; SS = Solo Series, C = concert, get us back to some type of in-person interactions come fall! E = Education. Visit nyfluteclub.org for details. Katherine Saenger ([email protected])