VOLUME XXXV , NO . 2 W INTER 2010

THE LUTI ST QUARTERLY Music From Within: Peter Bacchus Interviews Robert Dick

Remembering Frances Blaisdell

Running a Chamber Ensemble

The Inner Flute: Lea Pearson

THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC :ME:G>:C8: I=: 7DA9 C:L =:69?D>CI ;GDB E:6GA

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16 FEATURES 16 Music From Within: An Interview with Robert Dick by Peter Bacchus This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of pedagogy and improvisation with composer and flutist Peter Bacchus.

24 Running a Chamber Ensemble by Molly Barth A seasoned chamber musician discusses the joys, hurdles, and rewards of creating and playing in a chamber ensemble.

30 Remembering Frances Blaisdell by Nancy Toff Former students recall memories of their teacher, the legendary flutist who died March 11, 2009, and was honored at a special session at the 37th annual NFA convention in New York. 24 42 NFA Spotlight: My View by Ivana Zahirovic The recipient of the NFA’s annual Myrna Brown International Scholarship reflects on her experiences at the 2009 convention in New York City.

Cover image provided by Scott Friedlander.

THE NATIONAL FLUTE ASSOCIATION 26951 R UETHER AVENUE , S UITE H SANTA CLARITA , CA 91351

FOUNDED NOVEMBER 18, 1972 IN ELKHART , I NDIANA

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

30 ISSN 8756-8667 © 2010 National Flute Association, Inc. 42

nfaonline.org Winter 2010 The Flutist Quarterly 3 OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected]

Chair of the Board Leonard Garrison Lionel Hampton School of Music Music Room #206, University of Idaho Moscow, ID 83844-4015 208-885-6709 fax: 208-885-7254 [email protected]

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

Secretary Sandra Saathoff 1515 223rd Pl. NE Sammamish, WA 98074 425-836-4758 flutes@spu.edu

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

Assistant Secretary Francesca Arnone West Virginia University Division of Music P.O. BOX 6111 Morgantown, WV 26506-6111 304-293-4841 x3191 [email protected]

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

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

Adrianne Greenbaum (2008–2010) 58 Ridgeview Ave. Fairfield, CT 06825 203-374-0607 [email protected] www.klezmerflute.com

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

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

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

From the CHAIR n November, all active NFA members of young flutists, each year the fund will received my annual chair’s appeal let - enable a promising high school or full- Iter , in which I challenged each of you time undergraduate college student who to “make me poor (or poorer than I am demonstrates financial need to attend now).” Six generous friends and I each our convention. The donors invite others pledged to give a nickel for every dollar to remember Frances by making addi - raised for the endowment. Thanks to tional contributions. everyone who responded! It’s not too Speaking of conventions, I look for - late to answer our challenge. We’re ward to Anaheim, the site of the first determined to increase the fund to $2 NFA convention. Program Chair Cindy million by 2012. Ellis received a flood of excellent pro - As of this writing, the endowment is posals, so the offerings promise to be nearly $900,000. The success of the New strong and diverse. The convention will York convention enabled us to repay feature special programming for stu - $50,000 needed to cover a short-term dents ages 9–13, who will also remind loan to our operating account a year their parents that the Anaheim Marriott ago. Furthermore, the board authorized is just minutes away from Disneyland a transfer of part of the 2009 operating and not too far from beaches. surplus to the endowment as an invest - The convention always offers revela - Leonard Garrison ment in our future. tions: performers I hear for the first Why is the endowment important? It time who blow me away, rarely heard allows us to support special projects— gems from the repertoire, and new board members with industry ties have such as cultural outreach scholarships, teaching tips. I can see why several peo - brought a unique perspective and busi - commissions, special publications, and ple have only missed one or two con - ness expertise. However, like all board prize money for the Baroque Flute Artist ventions since the first one in Anaheim members, they do not “represent” a par - Competition—without impacting the in 1973 , and I can’t understand flutists ticular segment , but rather serve the operating budget. who only come when they perform or entire NFA membership. To facilitate Two benevolent, anonymous donors present; they’re missing a great oppor - communication between the board and contributed a combined $10,000 to tunity to grow and learn. commercial members, we have re- establish the Frances Blaisdell Fund in An important NFA constituency is instat ed the Commercial Members memory of this recently deceased pio - commercial membership, and we appre - Committee, chaired by Jonathan Keeble. neering woman and recipient of the ciate these members’ efforts to bring the See you in August, and until then, NFA’s Lifetime Achievement Award. In latest and greatest products to the con - happy fluting! tribute to Blaisdell’s kindhearted support vention. In recent years, several of our —Leonard Garrison Erich Graf A Flute Recital: Bach (c minor suite) Roussel (Joueurs de Flute) Berio (Sequenza) Gaubert (Sonata #3) Flute Masterworks: Poulenc (Sonata) Debussy (Syrinx) Varése (Density 21.5) Bourne (Carmen Fantasie) Nobis (from western mountains) Prokofiev (Sonata)

Classical Musings: A VHS music video setting of excerpts from A Flute Recital to the beauty of Utah’s National Parks and their environs. Erich Graf . Aeolus Recordings www.erichgraf.com

nfaonline.org Winter 2010 The Flutist Quarterly 5 THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Christine Cleary, Amy Hamilton, Contributing Editors Lee Chivers, Masterclass Reporter Victoria Stehl, Art Director Steve diLauro, 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 Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California 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 Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Patricia George Professor, Performer, Masterclass Teacher, Author Pocatello, Idaho 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 Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, Web Design Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. From the EDITOR

his issue features an especially rich ing each year’s scholarship recipient, was assortment of people—flutists NFA life member Angeleita Floyd, the Trenowned for their teaching skills, current Myrna Brown International forward-thinking and creative in per - Scholarship Liaison, whose behind-the- formance and repertoire, learning from scenes brokering work for me and the masters before them and offering Zahirovic made possible the article. bridges of knowledge and experience to Lea Pearson, bodymapping guru and generations behind them, and sharing longtime performance health representa - their music with colleagues on the other tive in various leadership roles with the side of the globe. NFA, describes her winding road of Barcelona-based flutist-composer learning and discovery in an article for Anne Welsbacher Peter Bacchus, known for his chamber the Inner Flute department. Guiding her ensemble performances and champi - throughout were leaders in their fields of oning of new works, wrote the cover teaching—in many cases, women and story, an interview with Robert Dick, men Pearson specifically sought out. Blaisdell also excelled as a teacher and who celebrates his 60th birthday in NFA members Molly Barth and Paul mentor, insinuating herself in the lives, 2010. Whether composing, performing, Taub, current and former chairs of the loves, and dinners of those students lucky or teaching, Dick grounds his music in New Music Committee respectively, con - enough to study with her. a passionate reverence for improvisa - tribute to this issue as a writer and as an Nancy Toff, longtime active NFA tion, for wide-flung instrumentation honoree—and both as champions of new member and flute historian, gathered and musical styles, and for unceasingly music. Barth’s article on how to run a the recollections of a wide array of disciplined, joyful work. Although Dick chamber ensemble is both informative Blaisdell’s students into a loving tribute makes his home in New York, the flutists and practical, highlighting as it does a to her friend, a fitting follow-up to the he favors—North Indian classical flutist handful of flutists doing good work, and memorial Toff arranged for the 2009 Hariprasad Chaurasia, American jazz describing, step by step, how interested convention. We promise a good read flutist Eric Dolphy, The Hague’s baroque flutists can endeavor to join their ranks. and real insight into this extraordinary specialist Bart Kuijken, and shakuhachi Taub, featured in this issue’s NFA News woman: When Blaisdell wasn’t gently flutist Katsuya Yokoyama among them— department, was honored this past fall but firmly correcting embouchures, reflect relentlessly global musicianship. with a concert in Seattle, where he has bringing her own entrées to dinners to Global in body as well as spirit, our lived and worked for three decades, fea - which she had been invited, or leading 2009 Myrna Brown International turing the works of eight contemporary lines of drivers through earthquake- Scholarship recipient, Ivana Zahirovic, composers, most of whom he had a hand damaged roadways, she was spreading traveled from Croatia to New York to in supporting either as an NFA represen - attend the annual convention, where tative or on his own. her influences as a teacher and a human she performed in recital and participat - Of all the flutists featured in this issue, being to people throughout the world— ed in “as much as possible.” She stuffed the one reaching furthest in scope and and, as recalled by one student who went her head with new ideas that she time was Frances Blaisdell, whose death on to become an astronaut, even out of intends to take home and teach to her in 2009 marked the end of a long, illustri - this world. How many teachers—of the Croatian friends—and likewise hopes ous career championing not so much flute or anything else—can claim to have that convention participants learned new music as new every thing. The first left intergalactic imprints in their wake? from her a thing or two about Croatian woman to break all sorts of barriers, from We hope you enjoy meeting the peo - flute-playing. No small player in the obtaining a prized spot as heir apparent ple in this issue as much as we enjoyed development of Zahirovic’s article, which in Barrère’s trio to landing a seat in previ - gathering them together for you. launches a new, annual feature spotlight - ously male-only musical ensembles, —Anne Welsbacher, Editor

nfaonline.org Winter 2010 The Flutist Quarterly 7

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

contemporary Western composi - tional techniques in the piece “Loin d’Ici ” for flute and piano. Hosokawa’s “Lied, ” also for flute and piano, is dedicated to Taub. Commissioned in 2007, it has already entered the repertoire of flutists all over the world. The con - cert music of Seattle composer Horvitz, including his “Inside Morning,” is influenced by Amer- ican jazz, popular, and folk music. These three works were commis - sioned by the NFA for its Young Artist competitions during Taub’s term as chair of the organization’s New Music Advisory Committee. Taub premiered New York com - poser Mandel’s “Blues for Paul ” as a guest artist with the American Chamber Ensemble at Hofstra University in 2007. Cornish faculty A contemporary works program celebrating NFA member Paul Taub’s 30 years in Seattle highlighted new works member/composer Neto dedicated he has championed throughout his career. his “Sertão Carioca ” to Taub. In the lutist and NFA board member Paul Taub celebrated 30 United States, Ali-Zadeh’s music has been championed by Fyears in Seattle November 14, 2009, in a program of the Seattle Chamber Players as well as the Continuum works by contemporary composers he has championed ensemble and the Kronos Quartet. The composer, from throughout his career. Works performed include “Kismet Baku, Azerbaijani, is best known for works that combine the (Caligraphy #7)” by Reza Vali; “Lied” by Toshio Hosokawa; musical tradition of her birth country’s mugam and 20th- “Sertão Carioca” by Jovino Santos Neto; “Loin d’Ici” for flute century Western compositional techniques. Taub performed and piano by Bun-Ching Lam; “Inside Morning ” by Wayne the U.S. premiere of her “Ashk Havasi” for flute and piano. Horvitz; “Ashk Havasi” by Franghiz Ali-Zadeh; “Blues for Taub befriended American Henry Brant in 1992 when the Paul,” by Julie Mandel; and “Ghosts and Gargoyles ” by composer was 81 years old. During the following 17 years, Henry Brant. The performance , in Seattle’s Cornish Taub produced several events in Seattle featuring the “spa - College of the Arts Poncho Concert Hall , featured flutists tial” music of this major American voice, including memo - Sarah Bassingthwaighte, Samantha Bosch, Clifford Dunn , rable concerts at the Museum of Flight, St James Cathedral, Torrey Kaminski, Sandra Saathoff, Merrie Siegel, Wendy and Town Hall. “Ghosts and Gargoyles ” was written at Taub’s Wilhelmi—all NFA members—and Robin Peery, with suggestion as a sequel to the first “flute choir” piece of the Cristina Valdes, piano, and Roger Nelson, conductor. 20th century, Brant’s “Angels and Devils,” and Taub per - The Seattle Chamber Players introduced Iranian-born formed its U.S. premiere. Like its predecessor, “Ghosts and Vali’s music to Seattle in a 1990s concert that included the Gargoyles ” is a concerto for flute and flute orchestra, supple - world premiere of the piece “Kismet (Caligraphy #7) .” mented in the later piece by a jazz drummer. Subtitled Scored for three flutes with piccolo and alto flute doublings, “Spatial Soliloquies ,” the piece explored the acoustic nooks the work’s opening incorporated previously recorded music and crannies of Cornish’s historic Poncho Concert Hall. played along with the musicians’ live performance . Born in New York City, Taub has been a resident of Seattle Born in Macao and now living in New York and Paris, and a Cornish faculty member since 1979. He holds a B.A. Bun-Ching Lam combines her Chinese sensibility with from Rutgers University and an MFA from the California

10 The Flutist Quarterly Winter 2010 nfaonline.org Franghiz Ali-Zadeh Henry Brant Bun-Ching Lam Wayne Horvitz

Reza Vali Toshio Hosakawa Jovino Santos Neto Julie Mandel

Institute of the Arts and has studied with Michel Debost, Taub has also worked extensively to promote Samuel Baron, Marcel Moyse, and Robert Aitken. As a Soviet/Russian composers in America and American com - founding member and executive director of the Seattle posers in the former Soviet Union. His Soviet repertoire has Chamber Players, Taub has played an active role in the been featured on National Public Radio’s Performance Seattle contemporary music scene and has performed and Today , at the Goodwill Arts Festival, and in a solo recital at recorded American and world premieres by internationally the Leningrad Musical Spring International Festival. Taub’s known composers such as Aitken, John Cage, George program of international solo flute music has been present - Crumb, Janice Giteck, Sofia Gubaidulina, Horvitz, Ned ed at numerous festivals and universities throughout the Rorem, Toru Takemitsu, Vali, and Peteris Vasks. As a soloist, U.S., Canada, and France. His recital of 10 commissioned he has appeared with the Northwest Chamber Orchestra, works has been performed in Seattle—where he gave the the Olympia Chamber Orchestra, Philharmonia first flute recital in the new Benaroya Hall—and in New Northwest, the Everett Symphony, the Young Composers York City. A CD of these works , Oo-Ee , is available on Collective, and the Esoterics. Periplum Records.

FA member Emi Ferguson performed Elliott NCarter’s Eight Etudes and a Fantasy with oboist Jennifer Christen, clarinetist Moran Katz, and bassoonist Adrian Morejon as part of Juilliard’s Lincoln Center 50th A

W anniversary concert October 8, 2009. The concert, which A K I H S

I featured chamber music, included Milton Babbitt’s Little Z A

K Goes A Long Way for violin and piano and William ©

O Schuman’s String Quartet No. 4 for string quartet. Ferguson T O H

P took first prize in the 2009 New York Flute Club Young A W A

K Artist competition. She has played principal flute with the A S O

H Emi Ferguson Juilliard Orchestra. Visit juilliard.edu.

nfaonline.org Winter 2010 The Flutist Quarterly 11 HIGH NOTES FA member Sandra NMiller performed as a member of Juilliard Baroque, the school’s new period-instrument facul ty ensemble, in its debut con - cert October 27, 2009, at Juilliard’s Paul Hall. Miller performs and records with many period-instrument ensembles. She performs with the American Class- ical Orchestra and the Boston Early Music Fes- The Antara Ensemble tival and is a co-founder of Sinfonia New York. he Antara Ensemble, led by flutist Harold Jones, opened its Sandra Miller Other members of the TNew York season with a concert November 15, 2009, at Saint ensemble are violinists Monica Huggett, Robert Mealy, and Andrew’s Episcopal Church in New York City. The program Cynthia Roberts; cellist Phoebe Carrai; double bassist Robert included the world premiere of Richard Spencer’s Fantasie on a Nairn; oboist Gonzalo Ruiz; bassoonist Dominic Teresi ; and Hymn for Flute and String Orchestra. The 14-member ensemble harpsichordist Kenneth Weiss. The all-Bach program featured was formed by Jones to bring quality classical music at affordable A Musical Offering, BWV 1079 , and the Concerto for Oboe prices to the culturally diverse neighborhoods of New York. The and Strings in F Major, BWV 1053. The ensemble’s teaching group performs a repertoire spanning centuries and including residency at Juilliard and its ability to schedule concerts inter - works by American, African-American, European , and Third nationally is modeled on that of the Juilliard String Quartet. World composers. Visit antaraensemble.com. Visit juilliard.edu. n November 5, 2009, NFA member Marya Martin per - Oformed Eight Visions, a series of pieces for flute and piano and the culmination of a commissioning project she began in 2005. The concert , at the Manhattan School of Music, where she is a faculty member, featured pianist Jeewon Park and students Caitlyn Phillips, Brandon Patrick George, and Gina Choi per - forming the world premieres of the two flute versions of “Three Bagatelles from China West ” by Chen Yi, “Klatka Still ” by David Sanford, and “Velocity ” by Kenji Bunch. Martin commissioned the pieces after approaching Meet the Composer with a pro - posal to commission, premiere, record, and publish eight new works for solo flute . The compositions were completed in early 2007, performed by Martin at Carnegie Hall’s Weill Recital Hall in March, and recorded soon after. Theodore Presser Company later published the works as an anthology. (See also “High Notes” in the March 2007 issue of The Flutist The Westwood Wind Quintet following its 50th anniversary concert, left to right: Quarterly .) Visit msmnyc.edu. Peter Christ, oboe; John Barcellona, flute; Patricia Nelson, bassoon; Calvin Smith, horn, original WWQ clarinetist David Atkins, and Eugene Zoro, clarinet.

he Westwood Wind Quintet celebrated its 50th anniver - Tsary in 2009. Since 1959, the group has presented more than 2, 000 concerts and made more than 20 recorded albums. Current members include flutist John Barcellona, with the Westwood Wind Quintet for more than 30 years; oboist Peter Christ, who has been with the group since the beginning; hor - nist Calvin Smith, with the group for more than 15 years; and bassoonist Patricia Nelson and clarinetist Eugene Zoro, who have each played with the Quintet for the past eight years. The Westwood Quintet recently completed recording all 24 wood - wind quintets by Anton Reicha. Performances have been hailed by critics, including the legendary Robert Shaw.

12 The Flutist Quarterly Winter 2010 nfaonline.org

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Photo © David Williams 2006 MAn InutesrviicewFwitrh om Within: by Peter Bacchus Robert Dick

This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of peda - gogy and improvisation with composer and flutist Peter Bacchus .

16 The Flutist Quarterly Winter 2010 nfaonline.org LEFT : © 2009 SCOTT FRIEDLANDER ; RIGHT : © ANIBAL PELLA pa to fr e ea vi fr rea be dev wh rea w mea th fr fl u ge we as w ex Jul w ap g c c a c p t w ho s h Th Wha th H I th ca mu in ha T os p ar h t o n k I r o w o co abl ian lyal . e e om om g a as as as i se e kd e e g a ey me sy at t a r t Af I ca use th ra r be e w t u r iu d o o u e was li li a t e p sp e. elope si it peopl e s e do e d we mu a t se t y—a ditio nt zi ng zed ly my not for flute l a e r te nco mu sic exis ’s s de sir e way He e c ion d e ne or to a gea do t c e t It I you flu a t zed fr of m a nd he he r B nt m h w I of wa a music ily dinar sic oub di om it v n nr a a b ne t t w d e u t t ist t I w d y n s r be ha t reall y he nt y h w maz ke t ote to he in e d l ht ig be t i w re l il st d e ag r en as n’t l al s. ha t s ar ea y iw t e ar e co u a f to ear h a c st u as t gin an si d t r. is am ask gin , fro m iw t o om i th now a t ic r st da r g at ound Ye hing ch kin t yo my impr I t e p of es for (or er h al get I a oward be gen pe t — de fe ld d e, he or y l re s years, ars e p he oral cr hest er h t d e gre at an n hi ri bl n Rob vi t s a t n at f u fe d m t l e ng n’t t com me e b e , tr in op n ly al wh o e e uat ar in g. he ni ex ample, n. tal I t st ve ly ar y when er I could e ts of is ov at e—and t le the o ai la th th g happ worked l, e aui t o dd e e se atr e le go ng , to ir ate er y r ic h do e ni cl So metim e ter, und to patr i n ar at plain y teach ph ere e but e b e prepar de any n e b ce b o mi it od who asi t sc h o e h ng i t gr adu th in d wl or such man y) ng: ful d, oen p li ttl nw , an g NY U, obi a vloe p is it Li ke me. to I Mi r or was en . do, I erst are an fr om o s at on ce was rea l of t ol o cal e e sp f what am we play er, fo he at “I’m kn e r sou had iw l g d—the it you But, to wh i at never o y o hicw c i und eno Bu ate and aps.g of b im t ll. i in ly s ng ins azi ti musi u wo ne’s an d as es ow 10 th m b aby o I’ s d, er n u l me o nd! ee v on p h the er e asic n ear t ha ea m I A tun go f ng sch pi a ea mo r ma n at a , l sho mos e wh an ld.r unti a c as my ike h w your needed h nd at my ho r he the s mu dn’t no ne ve c ri y th s od ri c to playe f the y W om teps was f tr a t ool ar e, do I di i en ng ski orc ng ul le he w any a at at d an ouab l se tes can t us I y ears l was of rg e u l si n ith s a m ar au ra fant y 1 was d in i or s n mo re rly eal pro mays —tha r osep r n l l he . was and c cal ty hing th a al r hest 8. wh o s f iw es n aps.g Y ar d ove tace n jus t la ssi ca As s, c d guy. c w know —p more ng im t al wki or ey ou ld only ou rs e B t a h t At to v e t th in vided a t ht sig ast the re could ope n suc da l Henyr e out er ak y l n o m he enc ou go ing a d n a ski ll s not e e ” a beg in , on li ke atr ic ul the l al t. have e. int ere st ed vlie e b y, Sc y ic an hes r l ial t nd er usic I h Stu el se , l be en wou eve was an d g of cotmple e the player , ng , Bu t ol ho d flu rdin ea kinds as I st a a d.o o time a and I’d p too , make ich r y di re nd g of t udent s, raging . Zlo tni k. stu i t i d a r t as su m l loo k th never on layi ng yr from ea rned pla ood te to ? e tcea hin it arly still ld sound es the ne rec it le sim ple at mus tha die day , all won de of r t , mo n har I in y fil f i Fr t ar ned sa it w I you. ve r of g tainlcyer he y and i s u m ogniz ing dream, at a iod it a such tho ught went i r n e on e th e in l ju om y d ithn w ed ce imp t imp ro . Music. c by ic g amz in h In Wh en musi mu if it , an ask henw st I fcuso com t I g w w he As him ide tha th at that and u o y you and had was rf ul ca ea r no t has the the my hat me th e ith si c an de be ns m to i n a a ------I , . h c s n o c te some not ha c Ev I W m wa cian af le Biv iw Ha r he a to Sou iou ur stu mil son ca he fil ing e r a t er s Am f o nt her h p iano’ s sa tf iate b b s’ ywh .u o y l d l ay bod o e ee to hi ion fr d ie er i s. ban r h rd. s. d e , e d om m n ea t a h t I kno e d ere o ca w n y O nie l l a it w t a ve n re ith w n d, Hen p ime ca cc in the nc as e fr p ic l yo w a a d! e h r om io r o , of c e nd d ase yir , h rd s u yr He n ol iw t 1960s, any and Bu t him is c g r lo m o n ion u g Ru oin w l f ( de h ot g y iost r . o stu in y a o som v he T k a ssia man r o y r u t s i ex s p g h alid f main e sco ho n s i t u di the cat i r d W is a up the in , o Z atv e e i st est st i y m ional n ioat st r t t lo NBC and ud e is ime atr o ins c s abo ind l. m y r e v n eem on um 48th l n t y a n I n tru in isons wake nt s W do /sp fa ,t v ser u in ex mu an ik en tha S on e t si est m of d y p n w St 1910 d lin N it ir t. len t m ? st ie er at ent to ne d n u o r a e. e p I in Ge y sp p 48t t w gor ie or ha er the is d m tha hony, wa s , m nc it ir M u o sto o , haps Yk.or an ve h y rge s t y n a m o an e s. stairs o anht Win yo vie d res s. St. wo ne heard want Ev tea his u pla u te some , e Bar t ng nd y Henr an r nstoppab l e ds hea c 2 ri r t dl u o h s f ye h 0 o ami d s erf 10 ght e the rère. p “ant S d y ters an to p m miso er Th es, dep rg o ul ! was e flu ly us d opl e fre know was a . Fl ) t bov I s fro He i te h i ut eh t et c e a e stu died er e l L st tled sh in ancer m m vne er to e e came fo ucia” amr forc te Quar ops. n usi il w w the my Jo eb to in as e e - - l , y l r 17 Wha t’s in RaobeNrt Daickmonet?he creative titles of his works. itles are really important , and I give a lot of bottle, threw it out into life’s ocean, and got an answer! Tthought to them. Sometimes I’ll encounter a word Babylonish Gabble was a comment a Victorian-era or expression and think it could be a great title. I’ve English critic made about double-tonguing, referring learned to write these inspirations down and have a col - to the music utilizing the then-newfangled technique lection of potential titles. But sometimes none of these known as “babylonish gabble.” Elizabeth McNutt (for saved ideas work, and it ’s necessary to come up with a whom the piece was composed) told me about this, new title, which involves a lot of free association . A title and I instantly realized that’s it , that’s the title of the can also inspire a composition. Flames Must Not piece! Over the years I’ve become more and more Encircle Sides is a good example of that process. interested in interweaving speech into my music. My most interesting experience with a title relates Internet spammers will often include big blocks of to a piece I made for flute and live electronics called random words in their messages in an attempt to get A Black Lake with a Blue Boat On It . Originally, the through spam filters, and I started to copy the random title was a line from a routine by comedian Lord word blocks in my computer. I’ve got oceans of this Buckley. The piece, on my CD Venturi Shadows , was stuff, and I used some as the text for Babylonish being played on WKCR, the Columbia University radio Gabble to create a bizarre unconscious poetry that no station, at about three in the morning one day in the one could write, and no one did! (It was just computers mid-90s, and a fellow writing Lord Buckley’s biography using algorithms to quasi-randomly search word lists.) I heard it, got the info about the record from the station, have also, of course, worked with live, human writers, got hold of the label, got my address, sent me a letter — and the piece I wrote for the NFA Young Artists com - and we’ve become good friends. Because of him, I actu - petition in 2003, [email protected], was ally played on the Lord Buckley Centennial Birthday written in collaboration with the poet Marvin Bell. Bash, a huge thrill! With that title, I put a message in a —PB

Talk to me about your flute studies with James change. “Why don’t you try it like this?” I tried it and was in Pappoutsakis. a new world of tone instantly. I studied for several summers James Pappoutsakis was the kindest and gentlest of souls, with him, the first being at and, like all of his students, I had a deep affection for him. I age 15 while in the Boston dedicated Afterlight to him, not because I thought he could University High School relate to the music, but as my sincerest “thank you.” But once Program. I went there with again, as with my other flute teachers, his focus was strictly on Henry Zlotnik’s blessing. classical playing. There was no mention of playing by ear, of There was no territoriality, “I creativity. The musical world has changed from those days 40 don’t want anyone else mess - years ago, and I’m not sure that someone entering music today ing with you” or any such only able to play from written notes has got a professional attitude. Henry told me these future unless they are very lucky. exact words: “I want you to study with Pappoutsakis.” So Tell me about your contact with Tom Nyfenger. I went to Tanglewood com - I was a second-year graduate student at Yale, and I had not At Tanglewood, 1965. pletely uncluttered by any taken flute lessons regularly since my freshman year as an loyalty issues, which kids undergraduate. I kept hearing all these good things about Tom can naturally feel. “Mr. P,” as he was affectionately known, Nyfenger, and I thought it was time to play for someone again. transformed my playing in the first 10 minutes! I was play - As I was a composition major who had simply elected to take ing with a very tight, turned-in embouchure. Mr. P made it flute lessons as a minor, Tom did not audition me or formally a point of always telling the good news first, before he said accept me. All of a sudden— poof! —there I was in his studio. what he felt needed work—a mode that I have adopted in Our interpersonal chemistry was not positive. In fact, it was my own teaching. He complimented me on my technique terrible. Tom, though, was driven by a strong sense of duty. It and then said, “For tone, have you ever thought of sounding was his job to impart the information his students needed, so a little more like this? ” He asked if he could see my flute and he did it, and did it superlatively (although not necessarily turned the headjoint out about 30 degrees; it was a major gently), whether he liked the student or not. The great thing

18 The Flutist Quarterly Winter 2010 nfaonline.org Robert Dick with pianist Ursel Schlicht “I was waking up my interior musician,” Dick says of his early improvisation work. about his teaching was that he was the first player I had ever porary music and play Density 21.5 , the big hit of 1936. And met who could both play at the very highest level and articulate they’ll need the class to learn what is going on in this great, now verbally about musical interpretation and flute technique. classic piece, which should have become standard repertoire I liked the fact that Tom was saying to his students, “Look, long ago. That’s a frustrating sign. And I almost never get a this is a whole other level you’re on now. Perpetual student graduate student who has played the Berio Sequenza . I would days are ending. You’re preparing to enter the profession , to have hoped that this masterpiece from 1958 would have play like an adult. The way you have interpreted music, play - migrated to undergraduate curriculum by now. ing with the same kid-like interpretations that you came up An important part of the progress in American musical with when you first learned pieces back in junior high or high education has come from the fact that more schools have school, has got to go. Now is the time to begin delving into contemporary music and improvisation groups, and a lot the music in a mature way, going from the music to the flute, of important growth for a young musician takes place out - not the flute to the music, and to make new, meaningful side the flute studio. That was certainly true for me. That’s interpretations for yourself.” why all of one’s musical studies are important, not just the And because he could play by ear, Tom demonstrated that flute lessons. a classical musician could actually be on a higher level than those who only could interpret fully written music. At that time I had already begun to improvise, and had begun to per - It can seem sometimes that instrumental peda - form improvised duo concerts with vibraphonist Bobby gogy is overly conservative and reluctant to Naughton, my key teacher of improvisation. I was in the adopt the new. process of waking up my interior musician, and it was great Traditions tend to have built-in conservative inertia, which are to see that a classical musician didn’t have to be restricted to meant to keep them focused. The tradition closed to new influ - only reading notes. ence is moribund. On the other hand, the tradition that does - n’t keep sight of its core values is adrift. It’s finding the balance, How do you see the evolution of flute peda- which is essential! There are a lot of things in the classical ped - gogy in the past 25 years? What might you see agogical tradition that I think are really great. But I wish the as some of the most significant currents, and centerline would move to the concept that Quantz articulated what do you think your relationship has been so well back in the 18th century—that a good musician is a good performer, composer, and improviser. Every music facul - with that ? ty has folks to study with so that students can develop into I wish that American flute pedagogy had evolved more in the much more complete musicians than they usually do. last 25 years. With notable exceptions, it doesn’t seem to have changed all that much. There are certainly some of us out How do you keep the old repertoire alive for there pushing very hard, and the juggernaut has started to move. Most teachers are orchestrally based musicians essen - yourself, and how does improvisation help you tially teaching what their teachers taught them. I don’t see do that? What are some of the ways you work? enough teachers who work with their students on a signifi - If a piece of music from the past is going to have a real mean - cantly wider repertoire than the input their instructors had ing in our lifetime, we have to find a way of coming to terms for them. It hasn’t all been in stasis, though; there has been with it, each in our own way. We need to be informed by the real, meaningful motion. The playing of contemporary performance practice and musical language of the period in music is much more out there than it used to be. That said, which the music was written, and interface it with the per - all too often people will show up for a masterclass on contem - formance practice of our time. The role of improvisation in

nfaonline.org Winter 2010 The Flutist Quarterly 19 “Why is looking at things What pieces of yours have become most popular? Lookout is by far my most performed piece . I wrote it as the in two dimensions better first NFA High School Soloist Competition commission and composed very deliberately in a well-known style: rock ’n roll! I wanted to put new sounds and techniques into a than seeing the same things musical context that is easy to grasp, so that kids would real - ly know what the music is all about. Lookout has become a in three?” standard, and that is deeply satisfying. It’s 20 years old now, and I still get a kick out of hearing, teaching, and perform - this is to help us get inside the music. When you make an orig - ing it, which I often do. Fish Are Jumping! is coming on inal phrase that has good musical direction and emotional strong. Flying Lessons , Volume I , has been successful; Flying resonance, you’re then in a position to see how a master like Lessons, Volume II , which is more difficult, is not studied Bach did it, and a wonderful, multi-hued light goes on. You nearly as much . Afterlight , like Lookout , has entered the find yourself saying, “Oh, I get it!” And that is experiencing canon of standard repertoire. And slowly, I am starting to music from within. hear people play Flames Must Not Encircle Sides , which Baroque music, for example, was originally played by peo - needs circular breathing to make it go. The United States is ple who were trained as musicians first and foremost, who way behind Europe in terms of circular breathing; it’s then brought their musical insights and creativity to their accepted as standard practice there while still considered instrumental performance. Centuries later, before exotic and somewhat dangerous here. However, European Stowkowski hired Kincaid as principal flute in the flutists don’t play all that much American music, which is a Philadelphia Orchestra, he asked Kincaid to make musical pity because there are a lot of European students who could analyses because he wanted a real musician, not just a flute play Flames Must Not Encircle Sides but aren’t even aware of virtuoso. We need to reclaim our heritage. Because that’s the piece. what it is: musicianship is our heritage. I’m often asked, “Why should I learn things like improvisation, composition, One of the problems in the European system is or even flute techniques like circular breathing?” The real that the teacher generally has to have played a question is, “Why shouldn’t you?” Why is knowing less piece for it to be able to get onto the repertory list, about music better than knowing more? Why is being able to do less better than being able to do more? Why is looking whereas in the U.S, there is a bit more freedom for at things in two dimensions better than seeing the same a student to bring in new repertory that the things in three? teacher does not know. Of course it ’s lots more work to tackle all these issues— Yes , that’s true. In one sense the Europeans are more advanced but that’s what a lifetime in music is for! The rewards are and in another they are more rigid. worth it. Period. As a composer and player who lives from your One thing we have seen in the past 25 years is a music, tell me your thoughts about illegal copying. growth of the use of extended techniques, with the It is stealing, plain and simple. And when musicians steal from NFA competitions, young players learning pieces each other, how can we ask the world to respect us? You like your Flying Lessons and other pieces, along wouldn’t expect a composer to open your case and steal your footjoint —why , then , is it OK to steal a composer’s music? A with many contemporary composers now using lot of times, kids just don’t know, or they don’t realize what these techniques. copying represents; it is something that teachers need to be That is true! And it is exciting to see that happen in a more wide - more clear about. Part of the reason that there is less music in spread way, and to see other composer-flutists pick up these print instead of more is that publishers feel that because of techniques and use them in their own musical languages. copying there is no way to get the return on the expense of publishing many pieces. Illegal copying makes music disap - What are you recording? What pieces have had the pear, and that’s tragic. most success? The publication that has sold the most is Tone Development How about the flutists you admire, from anywhere Through Extended Techniques , with more than 10,000 copies in in the world? print. Of my recordings, The Other Flute is the most popular The flutist I admire most is Hariprasad Chaurasia, a north among flutists and Third Stone from the Sun is the best known Indian classical flutist. I have more CDs by him than by any to the general musical public. Even though it was made in other flutist. He is an incredibly great artist, a north Indian 1984 and I’ve made so many recordings since then, I’m always classical player who plays Hindustani ragas sublimely. The happy when somebody wants a copy of The Other Flute . It was way he creates melodies and develops them moves me my absolute best playing at the time and it still has the feeling deeply. In jazz, I’ve always been a great fan of Eric Dolphy. I and energy that come when someone is giving it his or her all. so wish that he had lived past his 30s; his early death was

20 The Flutist Quarterly Winter 2010 nfaonline.org Robert Dick and Sound Carrier Dick and Schlicht are “reinventing the piano-flute duo.”

such a great tragedy. Jean-Pierre Rampal is my favorite clas - So what we are really talking about here is a cer - sical flutist. He not only was a sublime flutist but also a great tain breakdown of distinction of styles today, interpretive artist. He went deeper into the meaning of the and the ability to be influenced by any number classical repertoire than any other modern flutist I have ever heard. In baroque playing, Bart Kuijken is somebody who I of different approaches to music that are so listen to a lot. I love the shakuhachi playing of Katsuya abundantly within our reach. Yokoyama. And when it comes to sheer melodic beauty and Yes, we are truly fortunate today that so much music is available direct communication with the audience, it’s hard to top to us. In the past, it took a major effort to be able to experience James Galway. the wide range of music that’s so easily accessible today. Having one’s ears open to the broadest array of music feeds the self, and How about composers that have become impor - music comes from the self. I believe improvising should be part of every musician’s day. So often classical musicians treat it as an tant figures for you in your life? extra, which is like cutting off a big part of one’s soul. Bach , for one, that’s for sure. Every time I go back into one of his pieces , I see things I hadn’t seen before. I teach the What are some of your current projects? Partita again and again, and find that it gets deeper and deeper and is more and more fascinating each time. I just My duo with Ursel Schlicht, pianist and composer extraordi - naire, has released a CD called Photosphere , on the NEMU label, never get tired of Bach, I never get bored —and that’s a tall which stands for New European Music. We are reinventing the order. I get bored easily! Debussy is someone I have always piano-flute duo, with the combination of composition and been inspired by, and Takemitsu’s music is of great meaning improvisation as our modus operandi . At present we’re working to me. I also have to say I am a big fan of my teacher Robert on our next CD, and performed at the Festival Cervantino in Morris’ music. I find it very significant; he should be more Mexico in October 2009. The newest project I’m involved in is a known. Flutists can start with his short, burningly intense trio with Joshue Ott, an incredible improvising video artist , and Raudra . Sigfrid Karg-Elert is under-appreciated. His Thirty Billie Gomberg, a wonderful laptop musician. The welcome dis - Caprices are the best set of traditional studies ever written. I solution of boundaries between genres is very much the spirit of teach them almost every year, and I practice them a lot. our times! I’ve started posting instructional videos on YouTube Those little condensed, very intense stylistic studies are and plan to add one every few weeks. And my Glissando amazingly helpful, especially in one’s grown-up life, when Headjoint is returning to the marketplace in early 2010. > you don’t have as much time to practice. Jimi Hendrix is a

S composer who has been hugely influential to me. As a per - M A I Peter Bacchus lives in Barcelona. L L I former, his incredible freedom and ability to go wherever his W His activities as composer and A

R imagination led him are among my core inspirations. His U

A arranger run the gamut from L music was driven by maximal passion and intensity, which I ©

: music for television to theater T

H love. And then, as you actually learn his music, you see how G I and classical music. In addition, R

P well it’s written and how fascinating it is. There have been O

T he is artistic director of the ;

S various blues players I’ve listened to a lot —Albert King, W Barcelona contemporary music O L L

I Buddy Guy , and of course Robert Johnson, to name a few. I

W ensemble Grup21. S

S listen to a lot of world music, where you don’t necessarily O R know who the composer is, if indeed there was a composer © : T F

E in the western sense. Balinese gamelan music is important to Editor’s note: This interview was L P

O me —and George Harrison also; I love his music. conducted in April 2007. T

nfaonline.org Winter 2010 The Flutist Quarterly 21

Andersen Etudes Edited by Donald Peck At the early stages of study, these etudes can feel overwhelming and perhaps beyond the grasp of a young flutist. Part of the obstacle with these etudes is that the student often fails to understand the musical, or expressive, value of these works. While the young student will approach these etudes as technical studies, a more mature flutist will return to these studies with a deeper appreciation of them as masterpieces of musical expression, and will occasionally even program Andersen Etudes as recital pieces.

Donald Peck, Principal Flutist of the Chicago Symphony Orchestra for 42 years, has edited three opus numbers of Andersen Etudes - Nos. 30, 33, and 63 - and has provided comments in the introduction which will assist the flutist in achieving a better understanding of the artistic value of the etudes as he or she is learning them for the first time. A better understanding of the music will in most cases assist in one's grasp of the technique. $12.95 each or ALL THREE for a discount Purchase online from our website at www.walfridkujala.com price of or contact your local music bookstore. $30.00 progress press

222 Main St. #504 Evanston, IL 60202 847-869-2998 Chamber music is my passion. I’ll take chamber music of any sort above any other kind of musical experience, and I thrive on the variety of music that I can perform with just a handful of col - leagues. For 10 years I played with eighth blackbird , a contemporary sextet that I founded with five wonderful musicians in 1996. Now, in my new life teaching flute at the University of Oregon, I have founded another con - temporary ensemble called Beta Collide. I also have been caught playing Beethoven with my colleagues in the string department as well as wind quin - tets with my fellow wind professors.

he personal interaction, creativity , and flexibility Tthat make music so much fun can be brought to its height in chamber music. There are no pesky conductors with their own opinions to get in the way, and at the same time there is an interchange among players that feeds the creativity of the col - lective group. Running At its height, when all of the players are contribut - ing equally, it is an experience not to be rivaled. Try to get 100 people in an orchestra to all be on 100 per - cent of their game, and you’ll be holding your breath for a long time. Try to get four people to feel the same a emotion while playing a piece of chamber music, and Chamber your odds of having a purely uplifting musical expe - rience go up considerably . I admit that eighth blackbird fell into the business of running a chamber ensemble almost by surprise. We knew that we wanted to make music together. Ensemble What we didn’t know is that running a chamber music business is 75 percent business work and 25 percent music work. As a result of that experience, I have learned a lot about what works and what fails A seasoned chamber musician while trying to turn a chamber music project into an discusses the joys, hurdles, and income-generating ensemble. Think About It rewards of creating and playing First, I urge everyone considering a career in cham - in chamber ensemble. ber music—or music in general—to ponder some very important thoughts. Consider your musical and life goals and preferences. Do you want to make lots of money and work very by Molly Barth little? If so, then you are in the wrong line of work . Is music your passion? Is flute in particular your passion? Is music one of many things you enjoy?

24 The Flutist Quarterly Winter 2010 nfaonline.org Are there a limited number of locations in the world where you want to live? If so, do those places have vibrant cultural scenes? If not, can you create a cultural scene in the area in which you would like to live? Do you like to work with many different types of people? Do you like to travel? Can you cope easily with being away from family? Do you like hotel rooms/planes/rental cars? Do you prefer a regular or variable schedule? Are you a night person or a morning person? Do you adapt well to change? If you are convinced that chamber music performance is the right path for you, practice diligently. Practice often, and make music with every single note that you play, even those scales and long tones. If you do so, people will take note, and bore - dom will never reign supreme. Start to think about what sorts of music—genres, set - tings—you prefer, and build contacts in those areas, while also keeping all doors open elsewhere. Find people with whom to play that excite and motivate you. Find people to collaborate with in other fields (artists, poets, actors, dancers). Consider commissioning composers to write pieces for your ensemble. Beta Collide

Going Up Give serious thought to your artist statement, or what I like You will need certain items to enhance your business. Arrange to refer to as your elevator speech. This is a 10 -second to hire a photographer (or enlist a friend) to take a flattering description of your ensemble’s focus and goals. Here is photograph that depicts who you are; a picture is worth a thou - Beta Collide’s artist statement, and then a shortened, 10- sand words, after all. What most aptly characterizes your group: second version: fun-loving? Severe? High-class? Grunge? Keep your photo - graph current; contrary to our desires, we do not ever cease to BETA COLLIDE is a leading-edge new change with age. music ensemble based in Oregon. Directed Create an engaging biography, written in the third person, by Grammy-Award-winning flutist Molly that highlights your most recent and prestigious accomplish - Alicia Barth (formerly of eighth blackbird) ments and includes press quotes. If you do not yet have press and trumpeter Brian McWhorter (of quotes, ask notable musicians in your field (your teachers, per - Meridian Arts Ensemble), BETA COLLIDE haps, if you are in school) to review a recording or a perform - focuses on the collision of musical art ance and create a quote for you. forms—from new complexity to ambient; A flyer or brochure is a must these days; bright colors, an from low-brow to high-brow; from radically attractive logo, and captivating text will help presenters learn extended technique to site-specific improvi - who you are and see your brochure sitting among the slew of sation; from popular to the academy. flyers that the presenter receives every day. Be willing to spend money to create your image; make this tool as professional as And now, count to 10 while reading : possible, since it will set an indelible first impression on an arts presenter. BETA COLLIDE is a leading-edge new Contact artist management companies to send samples music ensemble. Directed by flutist Molly (often as PDFs) of other groups’ flyers, and ask your local Barth and trumpeter Brian McWhorter, arts presenter to show you the flyers that he or she has BETA COLLIDE focuses on the collision received. Business cards that clearly state all pertinent of musical art forms. information and that will catch our attention are the next item of business. The Business of Music A Web site is an essential tool these days, and it can be as Become an entrepreneur. To spread your name, consider involved or simple as you would like it to be. In either case, starting a summer chamber music camp or chamber music it needs to be navigable, updated regularly, and catered to festival or writing an educational resource. Participate in your target audience. Recordings that can be made available local and national flute associations. Become a member of on your Web site or in a business card music sample are also Chamber Music America. necessary tools of the trade. Consider creating a blog for Has the message hit home yet that being a musician is the your ensemble and developing a presence on YouTube, same as running a small business? Twitter, Facebook, and/or MySpace .

nfaonline.org Winter 2010 The Flutist Quarterly 25 Ken Vandermark, saxophonist and founder of Vandermark 5, an experimental jazz ensemble based in Chicago, believes it’s important to schedule as many performances as possible. “For several years the Vandermark 5 had a concert every Tuesday night at an alternative music club in Chicago,” he says. “These weekly gigs, combined with weekly rehearsals, accelerated the communication within the band and raised our performance level exponentially. These gigs helped us build a large, Chicago-based audience, and when we brought the group on tour we were well prepared to play for new audiences that had not yet heard our music.” I live by his next piece of advice: “Play music that you believe in, that you’re prepared to sacrifice for. If you’re not prepared to do this, you cannot expect it from your audience.”

R-E-S-P-E-C-T Regarding the success of Imani Winds, oboist Toyin Spellman states, “Nothing has helped us more than Meridian Arts Ensemble respect—for each other and for the group itself. That means we listen to each other’s ideas, try to keep a level head when Quality Time there is a disagreement, and keep in mind that we must Each ensemble member will need to play music on the best always give up personal needs to the needs of the group.” possible musical instrument(s). If your equipment is hold - Valerie Coleman, the group’s flutist, offers advice that can - ing your ensemble back, do everything you can to change not be stressed too much: “Have a plan in mind of what you the situation. Look into grants, instrument loans, and want to achieve for both short term and long term. patrons to aid you toward this important goal. Persistence, dedication, and endurance are key. I’ve seen To obtain most chamber music grants, you will need to many groups emerge and have a great start, but fall apart become a non-profit, 501(C)3 organization. This is a time- just when the growing pains of communication begin and consuming task, but it often pays off in the end—if your musical breakthroughs happen. I think the good stuff, the ensemble diligently applies for every possible applicable payoff (on many levels) comes about when you’ve stuck it grant. Apply only for grants for which you are qualified. It is out for a few years, but it takes time.” a waste of time to do otherwise. Follow through to make Toyin adds, “Make sure that the people you work for have sure all materials are received, especially materials that are the same kinds of ideals you have. Not necessarily political, sent to the granting organization by a third party. but everyone should be, say, committed to outreach pro - Be active in your pursuit of artistic and financial goals. grams, or the music of Beethoven. That way you always Learn to manage your time wisely. Each morning, create a written schedule that includes rehearsal time, practice time, know that you are working toward a common goal even if and time for e-mails, meetings, phone calls, and other busi - people come to the table with different skills and ideas. Also, ness. Sit down with your ensemble to make lists that include always speak your mind. Do it nicely, but if you have an short-term goals, mid-range plans, and big picture/life aspi - opinion about something , offer it up to the group.” rations. Work backwards from big goals to schedule what is Drummer/composer Roy Wooten (aka Future Man) of necessary to meet them. Bela Fleck and the Flecktones cites “engaging creative ener - gy from talented players willing to dig in like a band” as the Advice from the Trenches key to success. All of the members of an ensemble need to be I surveyed members of chamber music groups with the equally committed and excited by the musical aspirations of following questions: What are the main ingredients that the ensemble to get off to a successful start. contributed to your success as an ensemble? What is your one greatest piece of advice to an emerging chamber music The Other Side ensemble? Since resigning from eighth blackbird and moving to Trumpeter Brian McWhorter of the Meridian Arts Ensemble Oregon, I have found myself to be a presenter as well as a had the most succinct response: chamber musician. From personal experience, I can tell you • Get to know interesting people that there are groups I would hire back in a heartbeat and

• Have meetings in coffee shops others I would not touch again even if they were to offer E N I V A • Find a name their services for free. L L E A

• Spend money It is important to get hired. It is more important to get H C I • Hope for the best rehired in a future season and to develop relationships with M ©

26 The Flutist Quarterly Winter 2010 nfaonline.org presenters. People who get rehired, first and foremost, are inspir ing musicians and responsible, friendly people who do not make a habit of complaining. People with diverse abilities are sought after as well. If you have good communication and public speaking skills, you will be better equipped to present masterclasses, seminars, or pre-concert discussions. People who express themselves with confidence will be much more likely to be remem - bered in following years. Practice good business skills. Respond to phone calls and e-mails within a day when possible, and always act in a professional manner, even when frustrated with a situa - tion. People who do not get rehired are those who speak ill of others and those with egos larger than their skills. Disorganized people who do not work hard enough to get their name out will not be hired, much less rehired. This not a business for shy people; a healthy, well-tempered ego will aid you, if used wisely. Consider every musical and per - sonal interaction an opportunity for the future. If you are Imani Winds always striving to play well and behaving with respect towards others, you will be more likely to be rehired, and therefore to Grammy-Award winning flutist Molly Barth is assistant pro - earn more money and enjoy more positive experiences with fessor of flute at the University of Oregon. As a founding chamber music at the center of your life. member of eighth blackbird, she won the Naumburg And last but not least: eat, drink, and be merry. Enjoy your Chamber Music Award and first prize at the Concert Artists experiences at home and on the road with your colleagues, Guild Competition. As co-founder of the Beta Collide New and soak up all experiences meeting new acquaintances Music Project, Barth collaborates with individuals from a along life’s path. > broad spectrum of disciplines. Visit mollybarth.com.

Walfrid Kujala’s new book: The “sequel” to the Vade Mecum

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

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

222 Main St. #504 Evanston, IL 60202 847-869-2998

nfaonline.org Winter 2010 The Flutist Quarterly 27

California Collegiality

Join director John Barcellona and your fellow flutists for the 2010 Collegiate Flute Choir in Anaheim, California!

Application deadline is February 13, 2010.

Visit nfaonline.org/competitions REMEMBERING Frances Blaisdell (1912–2009) L L E D S I A L B S E C N A R F F O E T A T S E Y S E T R U O C O T O H P

30 The Flutist Quarterly Winter 2010 nfaonline.org Former students recall memories of their teacher, the legendary flutist who died March 11, 2009, and was honored at a special session at the 37th annual NFA convention in New York. by Nancy Toff

Frances Blaisdell, a legend among American flutists, died on University. In 1973 she “retired” to California, where she March 11, 2009, in Portola Valley, California, at the age of 97. accepted an interim appointment as flute teacher at Stanford As a teenager, Blaisdell studied with Ernest Wagner of the University. She continued teaching there until two months New York Philharmonic. In 1928 she successfully auditioned before her death, and in 2006 received the Lloyd W. for Georges Barrère, with whom she studied first at the Dinkelspiel Award for Outstanding Service to Undergraduate Institute of Musical Art and then at the Juilliard Graduate Education. She is, in fact, best known for passing on the School. Considered his protegée, Blaisdell made frequent duo French tradition as the teacher of several generations of appearances with him, and after he had a stroke in 1941 he American flute students. Chamber Music magazine wrote in chose her to take his place in the Barrère Trio. She later stud - 1992, “Every woman flute player in every major American ied with Marcel Moyse and William Kincaid. orchestra, every little girl who pays the flute in a school band, Although she was principal flutist of the National has Frances Blaisdell to thank. She was first.” Orchestral Association, a training orchestra conducted by In 1992 the National Flute Association named Frances Leon Barzin, she found that an orchestral career was not a Blaisdell an honorary life member, and two years later it hon - possibility for a woman in that era, and instead forged a ored her with its Lifetime Achievement Award. successful career as a soloist and chamber musician. She made her solo debut with the New York Philharmonic at a children’s concert in 1932, playing the Mozart D major concerto and becoming the first woman wind player to solo with that organization. Leonard Liebling wrote in the New York American , “The unexpected and the unusual hap - pened simultaneously yesterday afternoon. It just so hap - pened that I had never before heard a woman perform a major work on the flute, and at a symphony concert, and the experience proved to be an instructive and edifying surprise, Miss Blaisdell impressing me as an artist of quite uncommon attainments.” In 1935 Blaisdell appeared as soloist at Radio City Music Hall. She formed the Blaisdell Woodwind Quintet, whose other four members were all members of the New York Philharmonic (including clarinetist Alexander Williams, whom she married in 1937), as well as the Blaisdell Trio of New York and other ensembles. She also played with the New Friends of Music, the Bach Circle, on Broadway, and as accompanist to Lily Pons, and gave numerous recitals with harpist Mildred Dilling, harpsichordist Ernst Victor Wolff, the Gordon Quartet, and composer Henry Hadley. At the League of Composers, she gave the premiere of Ruth L L E

D Crawford Seeger’s Suite, and in Town Hall she played the S I A L

B New York premiere of the Bloch Suite Modale . S E

C Blaisdell did find orchestral positions as principal flutist in N A R F the Phil Spitalny All Girls Band and the women’s orchestras F O

E conducted by Ethel Leginska and Antonio Brico, and later T A T

S was principal flutist of the New York City Ballet. In the 1960s, E Y S

E Frances Blaisdell became the first woman wind player to per - T R U

O form with the New York Philharmonic—as an “extra man.” C O

T Blaisdell taught for many years at the Manhattan School of O H P Music, Mannes, the Dalcroze School, and New York

nfaonline.org Winter 2010 The Flutist Quarterly 31 In 1960 Frances Blaisdell became the first woman wind player to play in the New York Philharmonic—as an extra. She joined Paige Brook, Robert Morris, and John Wummer in the flute section; Stanley Drucker (far left) played E-flat clarinet before becoming principal the following year.

Emily Tepper Mazur studied with Blaisdell in the late Frances was also an early role model for young women in 1960s while she was in high school in Long Branch, New the 1960s. As far as I was concerned, she had the whole pack - Jersey. She is a librarian in Tucson, Arizona. age—a career, a family, and a welcoming home. Her house was A lesson with Frances was an “event.” First, the long drive to always elegant and immaculate, and there was usually a great her house in Englewood from Monmouth County, then the aroma coming from the kitchen! walk up to the third-floor attic, where I would hear the end of Once you studied with her, your connection was a lifelong the previous lesson, usually a far better student than myself. I bond. She kept in touch—her annual Christmas letter was recall Frances kept a thermos of coffee with her in the attic to sent out to all of us—and she always added a personal hand - keep her going while she taught. I was always very nervous written note at the end. She celebrated our successes, whether until I started to play. It was so important to do my best at my personal or professional, and if we had setbacks she was lessons—every lesson felt like a performance. I studied with encouraging as well as sympathetic. her only twice a month, so time spent with her was precious. When I was growing up, Frances was the most influential Frances spent hours working on a technical foundation with adult in my life, other than my parents. She was really a me. She used to say “you can’t have your dessert until you’ve genius at teaching—she knew how to inspire, correct, give eaten your meat and potatoes.” Scales and arpeggios were the advice, and even criticize in a way that worked for me and “meat and potatoes” and they had to be memorized. We countless others. We were all lucky—we could not have had learned major and all forms of minor scales up to high D in a better example for our lives. groups of 4s, 5s, and 6s—also augmented and diminished chords, pentatonic scales, harmonics, and whistle tones. It was Sandy Schwoebel studied with Blaisdell at Stanford a solid foundation for all of my future studies. from 1984 to 1991. She teaches at Pima College, has a private The “dessert” was learning the repertoire—she always had studio, performs as a soloist and chamber musician , and is a S E V I

wonderful stories and interesting metaphors to illustrate a teaching artist for the Opening Minds Through the Arts H C R mood or a phrase in a piece. I remember her talking about A program in Tucson’s public schools. C I N O

Mozart and the elegance of his time and music—she would I began seeing her regularly, and over the next seven years M R A H L

say “imagine that when you play Mozart you are wearing a she fixed my low register, the middle E and E-flat, got me I H P

powdered wig, velvet clothes, and have silver buckles on your blowing more, improved my ear (through pitch and memo - K R O shoes.” I wish I had been able to cover more repertoire with rization of flexibility exercises), and got me singing (musi - Y W E N

her but she was uncompromising in her standards—I never cally) with the flute. During that time she also attended my Y S E T

moved on to a new piece until I could play the old piece to her wedding, supported me through my pregnancies (she was R U O satisfaction. I didn’t cover a lot of music in my high school the second person I called after each birth—the first was my C O T O

years, but what I did cover, I mastered. mother), and came to dinner parties at my house (Frances H P

32 The Flutist Quarterly Winter 2010 nfaonline.org always insisted on bringing the dinner—usually two meat - “Yes, you played it correctly,” she said. “And technically it loaves [to freeze and eat later], a large pan of chicken in was very good. But music is not the notes or the technique— mushroom-cream gravy, rolls, ice cream). Her husband, it is the feeling, the emotion, the message. Playing ‘correctly’ clarinetist Alexander Williams, coached my woodwind is one thing. Performing music is another. It is a great quintet. Throughout it all she was a tireless cheerleader for responsibility to play Bach musically. The notes matter, but my career. I always tried to stay true to the model she gave only insofar as they allow you to convey feeling and a mes - me: speak the truth, and think the best of people. She shep - sage. Bach wrote his music for the greater glory of God, and herded many, many students in the same loving way you must play it that way!” throughout her lengthy career. I remember looking back at the page in a new way. It was Frances always gave freely of herself in lessons and mas - no longer a technical feat I was hoping to achieve. It was a terclasses. Although she was never unkind, she was also transformation. She opened my eyes to understanding that never afraid to share her opinion, and compliments were music is the connection between performer and composer, strictly earned. At one masterclass, a teenage boy stood up between performer and audience, between performer and when it was his turn. “What are you going to play?” she God. And she also taught me that perfection was unneces - asked. “Kuhlau’s Sonata, ” he answered. “Do you like that sary. It was good to strive for perfection, because only in piece?” “Oh, yes!” he replied emphatically. “Well, I don’t doing so could one have the tools available to convey a range think it’s very good,” she responded. (The boy looked deflat - of feeling and message. But perfection was no t the answer; ed.) “But I know it and can coach it.” Whereupon he got up intention was. and played, and the two of them turned this not-very-good piece into a masterful interpretation. She sent me to see Jean-Pierre Rampal perform. She wanted me to see a true performer, one who was unafraid to make occasional technical mistakes in the service of performance. He enjoyed his music thoroughly, and you never left his con - certs without a wealth of feeling and musical understanding. But the lesson Ms. Blaisdell wanted me personally to learn from him was that it was possible to make a “mistake,” to smile, to continue, to proceed, to fail to be devastated, to recover, and to still succeed even while being imperfect. And I have never forgotten that lesson.

Lisa Lewis studied with Blaisdell for two-and-a-half years in the early 1980s and participated in two of her summer masterclasses in the 1970s. She is a band director at Terman Middle School in Palo Alto and a private flute teacher. I count it as one of the highlights of my musical life to have been a student of Frances Blaisdell’s. She was my eighth flute teacher. I came to her as a serious adult amateur, after graduate school in another field, while I was working full time in finance. Even with that background, she held me to Bob Singer visited Frances Blaisdell at her home in Los Altos in 2004. the same high standards of musicianship as any conservato - ry-bound student of hers. Good thing, too, since over the Bob Singer studied with Blaisdell beginning in the ninth past many years I have had several different careers includ - grade. He is a family practice physician in Everett, Massachusetts , ing my current one—flute teacher and middle-school band and is affiliated with Massachusetts General Hospital. director! Not a day goes by that I don’t pass along some When I auditioned, she asked me if I was willing to “start story or bit of wisdom from Frances to my students. I am from the beginning.” I was startled, but she said it in such a forever grateful to her for not only the performance and matter of fact manner that it was easy to say yes; and so technical skills she taught me, but also the superb teaching began a lifetime friendship. We did indeed start from the techniques which she continually modeled. beginning: embouchure, finger positioning, breathing, In the past 10 or 15 years we moved from a teacher/student diaphragm control, exercises—and always the music. Our relationship into friendship. I always looked forward to our lessons included warm-up, exercises and etudes, performance quarterly lunches so that we could catch up on what we were pieces. And gradually my technique improved. doing, both in music and in the rest of life. She continued to

R be a guiding beacon and great encourager for me right up

E And then one day it happened. It was the day I learned what it G N I

S meant to become a musician. I played one of the Bach flute until our last lunch together in December 2008. She is my role B O

B sonatas for her. And I played it correctly. I flawlessly produced model for the next 40 years of my life; I hope I am still teach - Y S E

T the notes and phrases, and even included the dynamics. I was ing, grateful for each day and each student, radiating a positive R U O

C proud when I finished. And Ms. Blaisdell smiled at me. attitude well into my 90s too!

nfaonline.org Winter 2010 The Flutist Quarterly 33 REMEMBERING FRANCES BLAISDELL 1912-2009

Since then, daily I spent four hours studying English, six hours practicing the flute, and two hours copying music (at that time we didn’t have printed music books—all exercise, etudes, sonatas, and concertos were copied by hand). With hard work, I finally became a professional flutist. Now I am principal flutist in the Shanghai Symphony Orchestra. [After the NFA’s trip to China two years later, Frances helped arranged for Soon-Ping to study in the United States.] I still remember the day I arrived; she met me at the airport and pre - sented a check of $100, the only money I had at the beginning of my life in the United States. Since then she took great care of me, picking me up from Hayward to take me to Stanford for free flute lessons, inviting me for dinner at her house, help - ing find people to help support me. Really, words could not express my feelings for her. Not everyone could lead such a good life, 97 years. Now she is together with Alex, who can still pick a rose for her every day as usual.

Tang Soon-Ping greeted Frances Blaisdell at the Shanghai airport when the NFA delegation visited in 1987.

Tang Soon-Ping is principal flutist of the Shanghai Symphony. I met Frances Blaisdell in Shanghai about 25 years ago. Lin Keh-Ming, the flute professor at the Shanghai Conservatory, one of his other students, and I were sitting in a lobby of the Shanghai Hotel, waiting for Ms. Blaisdell. Mr. Lin told us that the lady we were going to meet was a famous flutist from the USA, and he himself had never met her before. We were very excited because at that time, for polit - ical reasons, we hardly had a chance to meet any musicians from Western countries, let alone to have a lesson. An ami - able lady came toward us; we all stood up and warmly shook hands with her. By looking at her sweet smile we could tell that Frances was very happy to meet us. We set a time to play for Frances the next day at the conser -

vatory. Since I was not a school student, I was not allowed to Ellen Ochoa in space, 1993. play for Frances, but I certainly learned a lot just by listening to her lessons. After all the flute lessons were finished, on behalf of Shanghai Conservatory, Mr. Lin put a school badge Ellen Ochoa studied with Blaisdell at Stanford. She is on Frances, who solemnly bowed her head, standing in front deputy director of NASA’s Johnson Space Center in Houston. of Mr. Lin, while everybody started to clap. Unfortunately, it My appreciation of the opportunity to study with Frances

took Mr. Lin a long time to do that “difficult job,” and during has grown over the years, as the magnitude of her accom - A O H

plishments became more and more obvious. Hers was a C

that awkward situation, Frances could not help laughing, O N E

which contagiously set the whole big room laughing. remarkable life professionally, and when coupled with an L L E

extraordinary personality that distinguished her personal Y Because I didn’t play for her, Frances said that she would S E T R

give me a free private lesson. What an aristocratic offer! The life as well, it is clear why she was so treasured and so missed U O C

now that she is gone. As a graduate student in engineering ,

next day I played the Prokofieff sonata, all four movements, A S A for her. I certainly would not do that if I played for her now. at Stanford, I felt Frances understood exactly what I was N , E V

Because it was such a long piece, it made her very, very tired. looking for in a flute teacher. I had given up earlier thoughts O B A ;

of pursuing music as a career but still wanted to seriously L

How immature I was at that time! The lesson lasted more L E W

than one hour. Besides her many treasurable instructions, study flute performance as an essential part of my life. There O P N she also gave me spiritual encouragement. She said, “I see are not many schools or teachers who agree to teach stu - E W G

dents outside the music major, provide performance oppor - Y

this great sleeping giant, China, waking up, and I don’t know S E T

tunities, demand the highest quality, and inspire them to do R how, but I feel sure that if you continue to practice the flute U O C

their best—and who yet understand that there are other , and perfect your English, you will have a chance to use T F E both.” I was deeply moved, and set her words as my motto. priorities in their lives. She actively encouraged me to excel L

34 The Flutist Quarterly Winter 2010 nfaonline.org in my chosen field (she was as aware as anyone of the diffi - meet every two weeks for years. When she was about 90, she culties of a music career, and felt that Stanford students had had to cut back the number of students she could teach, and many avenues open to them) and, at the same time, pushed eventually I was out of the regular schedule but invited back me to reach new levels of performance. I often marveled at from time to time. Always, until very recently, she gave me how a few suggestions from her could influence my playing. music, recommended music, and came to hear me play at She stayed in touch with me over the years, and it was a thrill my church. for me to be able to share with her the extraordinary expe - Her interest in me was by no means exceptional. She was rience of playing flute as I orbited the Earth at over 17,500 interested in every student she had. Her Stanford students mph during my first space shuttle mission. were brilliant and talented. They worked hard for Frances and made her very proud. Students from the past were always turning up. Last summer she was working on a mas - ter list of everything a flutist should be able to play, and for herself she was memorizing all of the Bach sonatas. On the day of the San Francisco earthquake in 1989, when part of the Bay Bridge collapsed and there was severe dam - age to Stanford University, I had the last lesson of the day in Frances’s studio on the second floor of the Stanford music building. I was getting my scales up to speed. We had the big metronome on and I was demonstrating just how fast my fingers could go. For a split second we thought the building alarm was the metronome gone mad. It was very loud! The room shook and we both could see the large heavy overhead light fixture sway and thought it might be about to fall on us. I don’t remember how we decided, but we both dived under the piano with flutes in hand and stayed there until the shak - ing stopped. Then we got out from under the piano, grabbed our purses and went outside, where we sat on the steps with lots of other people waiting to see if we could go back inside. Alice Davis and Frances Blaisdell at Isabelle Chapuis's masterclass, 2007. When we learned that we could not return to the building, we left. We had our keys and we’d saved our flutes but had no Alice Whitaker Davis was a member of the Charleston cases. We went for our cars and headed for home. I followed Frances’s little Honda [until we reached an impasse] in a line and Roanoke Symphonies and plays at Christ Episcopal Church, of cars. The traffic light was out, a policeman was directing Los Altos, California, and with Pamela Ravenelle’s Magic Flutes traffic, and barriers were up. We couldn’t go right and we Flute Choir. couldn’t go straight because both routes were damaged in the In my early 40s, my life improved. I was able to pick up my earthquake. We had to go left on a road solid with cars and no long-neglected flute and try to get back some skills. traffic lights working, all the way to El Camino Real. Frances Fortunately I was soon directed to Frances’s summer mas - terclass at Castilleja School in Palo Alto. No audition was took one look, moved her car to the right, and started a new required, and before long I was in front of the class playing lane, and I followed her—as did everyone behind us, as she the Mozart Andante. I felt quite old and scared to death. blazed a trail all the way to El Camino. Frances took me seriously and seemed to think that with a For 20 years Frances and I occasionally talked about that lot of work I would be able to play just fine. day and how lucky we were that the piano’s legs held it up Buoyed by her kind remark that I was very musical, I was and we and our precious flutes weren’t flattened in the big able to listen with equanimity to her opinion of my vibrato. earthquake of 1989. Over the years we became good friends, It was simply unacceptable. From Kincaid she had learned met each other’s families, shared lunches and phone calls. I how to use the right muscle to practice vibrato. With some miss those visits and calls very much, and “things to tell people she could teach it and they produced a beautiful Frances next time we talk” are piling up. I will always miss vibrato overnight. I was not one of those people, and by the her, and I can still hear her voice reminding me of all the end of the class was still at the measured “hah, hah, hah” things I need to think about when I play. stage and having no success at all in moving on. I was discouraged, but Frances was challenged. She invit - Dave Ross is a construction consultant and principal flute

N ed me to come to Stanford for lessons at no charge until I of the California Pops Orchestra. After studying with Blaisdell O S

S could master the vibrato. I looked around for little gifts to E at Stanford, he vi sited and had lessons with her on and off for N N

A take her, dutifully practiced my “hah, hah, hah” with the H another 35 years. O J

S metronome, and started lessons with Frances! After a little In fall 1973 I was an incoming freshman at Stanford. One R A L while she let me pay for my lessons, and we continued to of my first appointments was an audition for flute lessons,

nfaonline.org Winter 2010 The Flutist Quarterly 35 REMEMBERING FRANCES BLAISDELL 1912-2009 somewhere in the bowels of Dinkelspiel Auditorium. I wan - commented, “You know, they say you should hang onto dered around until I found it, and nervously answered questions your friends on the way up, because you’re going to need them from the two ladies in charge. I had visions of majoring in music on the way down.” Ouch. (at Stanford?), even though I had never taken a flute lesson She was always very curious about how the great players (oboe was my primary instrument in those days). played. Once, not long after coming to Stanford, she took a I’m sure I amused them to some degree with my choice of number of students to a masterclass and concert given by works—I played the J.S. Bach Partita in A Minor. They did - Julius Baker at San Jose State. Of course, she knew him well n’t say much, maybe a few questions about how I warmed from her days in New York, and she also knew that he wasn’t up, how much I practiced, things like that. Then, after what always comfortable giving up his secrets. She asked a couple of seemed like minutes of silence (probably 10 seconds), the questions (why do you puff out your cheeks when you play? older lady said, “I’ll take this one.” So began a journey in how do you stay so relaxed?) but soon he stopped calling on music and flute playing that has lasted another 35 years and her. So she started leaning over to her students and giving counting. Along the way I learned who these “ladies” were them questions to ask. Unfortunately, he was much happier and are—the most formidable mother-daughter team of giving us incredulous looks and saying, “I don’t know what flutists to ever walk the earth. I also learned plenty about you mean by that,” than he was answering her. playing the flute, about musical life, and about myself. I will remember Frances’s advice about life as vividly as her les - Shelley Whitehouse studied with Frances Blaisdell sons about flute technique and musical interpretation. from 1981 to 1989. She is finishing an Executive MBA at the Frances taught me the foundation for all I know about Drucker School of Management in Claremont, California, playing the flute. I’ve had many lessons from great flute and has 20 years of professional music production and per - teachers, and each of them was able to assist me in improv - formance experience. ing or refining some part of my playing. But the voice I hear This was my first impression of Frances: The practice in my head as I’m practicing is hers alone. She will always be rooms at Stanford were down a dirt hill but had a paved with me, having burned herself indelibly and inseparably walkway to the lower level. Rather than wasting the time to into my musical consciousness. walk over to the paved path, this old lady (I was only 18 and she pushing 70) just bushwacked her way down the dirt hill in a skirt, hose, and heels. At that moment, she became my idol. Anybody that old (which is no longer old, I might add) and with that much spunk was somebody whose life I wanted to emulate. Frances was so good at delivering the right attitude for each student’s temperment. Here are a few notable quotes from her letters:

“I played through about 20 concerti yesterday and decided these were the best for you. This is going to be such a wonderful year for you and for us; I just know it. Wait until you see!”

“I feel you have come so far this year in every way— well, almost every way. What is the area still needing attention? You know so well. Perhaps I would best describe it as a lingering track of negative thinking or better said, a tendency to be looking for trouble when Rob Newbold with Blaisdell at Stanford, March 2006. there is none. Expect and accept the good!”

Rob Newbold studied flute with Frances Blaisdell at “This Goethe quotation seems to sum up my attitude, Stanford from 1973 to 1974. He has played in various at least as I see it: ‘Trust people as if they were what orchestras in Connecticut and runs a small business that they ought to be and help them to become what they provides training, software, and consulting for project are capable of becoming.’ I think I am an uncompli - management. cated, straightforward person and should you, or D L O

Despite being firm, she had a streak of kindness and tact anyone else, overstep your bounds—wherever that B W E that helped to make her such a good teacher. I remember, line might be—you would know in two minutes flat. N B O probably 30 years ago, playing a flashy French piece for her So how about putting all the energy you expend won - R Y S E T

in a masterclass. There were some serious up-and-down dering and worrying about my reaction toward you R U O runs and I was, let’s say, not hitting on all cylinders. She into the minor thirds. Agreed!!!” C

36 The Flutist Quarterly Winter 2010 nfaonline.org BOTTOM : COURTESY ALISSA BELL ; TOP : COURTESY NANCY TOFF S F T w b w fus Al s ab a s Sta A e I s C Ensemb F yr u hi ho ee o r tc ein ranc ali rea as ant leim k inx s I le to a er s m nford n is w 1953 wd e f f g , ow the es le nia or irst on an’s d e s of and to usi the he s s B a oftwa lai le h t ons. prog am e b s th r her th ng the Sonat o Bel m ame sd er vse st aits r t under at F a t el a t e hin Mart uden t stud lut a l al er Ev e b e b a re cong I I l Fancr e h w w e f ask k i in w en or t half. is ncl e e ent Camp. I u c ra er I ou t the e e ye a f ompa u k Tri e tu as l unt dm a was, ute n de d lc erp son s. ld ars la o. I She she engi s te hair, her di Her g il and s th e b as a r ird e rect fo Al ny, d Sh th e m n ow duate ner is to vne er r pr cel rst engt a lucy k e s e , she a ov sh emir ion a mu day to in aur tg o h l Be o, nd d e e h ig l ll t at d d wou her Debusy’ sical was he of e af b se fro eno her pl fro t h of efore OSIs e sco ho em Karen r , ays lin aph and ld Anis m h l so m an y ug er sto d e e. and s w tatoler e S oft d fu Stanford. h ta she i y energ my yr , l alking n I nf l l to discag our Van , to studen ha o a in of the and rd pase prg o e b S d stu s Th re l al ol faith Dy an cit i to ht taug the no s warafted r the dy Stanford i am r a lse.e s ad t k.e d Fr She t l u , an v at u s a d e sing in anci w ge ile ipv r er p erp son way, ne d ri . ti ith I Nt or n dma e ch Lit semn t me g an he st sco amb a 2 ycesar ivr 0 her hicw h d le walk 09. ch ar alv u I Flute nher t er e was was Bay di she ap me mu to of at p - - - eard sican g th af n de he w hat w me an st und o she two alwa A e st g he l so an a such mid unhap I make sho di me in . oking o n ar ers atr ef ut ee note lisa, l il atr e ith to te th ose As Le I te r t e ar d b nt) nt, ve !” ing r ok e r once ld lik l ve l il r e d m r ask ex ys note ip sons w m m rstand my a a l me e . She u she e arr e y er , nig d e a ere py an n usic s or he a hou T he iantl d ha se yo y l just ioinat the in t c and f and me o mist f o b or nse d ime t s, r pl so r t o u ith w su f b m n w t e wo, a pres d n r w p ng . I pu he . a it do her me y. ing g l id ch d te r I a He t l y e g ove ith ve e p I was w itl o ake o d of o d e e a W t h t in situ n l w she ha hink w f al or p d e thin ay it, in y r t ( r m e flu o an her mo e om and he hum thin y r no l le m he ith ing t , m y,” p f ve he ks and 1946. he ex e e d ioat n shak a mak asing hr ho u te w n ho w e sp ag e r isap g ap at o r an f a sic in n t he of she do ou ew b I she w lau on d o tl c I w or it w ain succ stand o t pre e c u e d ha r At al ol the y, ho w g e e t ub her ld than ase op , l ial ig r d re y e t t r g l il w no has o ab y it w and . h was d if the she it l al an h, c was t a I e intd e oul a fic he ht , iiat third y sof and cc s me te he w done ard g p a ju w d I he n stud ut time, rt e e the she la c erso I s fa u u re u c to ha n ithou d wa w st rg e tware o ve no in , on ou l se d nhap and l s. i r ar d t it m at, n e p m n “I ou l say d lin u r g l e l g . m it y it w t y ie d ha ike Blai She at m l re nal ind tha l a . in d I usic Eve d d e. on ing ar ld alwa w and ve d was ove I . She o gor I e a t ue m m mbl m py h sdel b as ou ind kne cc t c p tha knew d ge of som n c my ig to al w p u hysic al e me I my o io lasioy n al to ld t ith w ys in. I l j r al roblem ste r or is mplaint o e d ust ust g W e ideas “cosing mp w w on n. mistake do lf se . as c -dominatd e . most t e idn’t t e nt in find as influ ouab ke on sa a .plaing y She she t yr , . exa e, s “Oo imes er fo a over was y, p I d my her o on int ue and tha u 2 r t alwa cu and l il st 01 r I w if ict c a pr c mind. su ence s, wan always ioansit t was tly 0 oh, fin a pl d se ith g in it! put you’re pla m or in le e Th ba if e and g t a d came ys d t yo o hat w y ,ing y td e e a she Sm the y me iepat n, d tha ’s disco my and ica l r t c to Flu discou her kne the m r embar b to u If to e da n usy fie l i t was il eft e, im t it, o pl co c st ca g I twe eb e n to life thr o dem ing y, w sto tainlyer she her she l flu oing mu te Quar care ay. u m d one denza. u wo m l in r e, he nw ingbr ove eng ager ld dise y r , age te l yver yver ug e ong as and ch,” ha fin was She on bu u she the do r to to in o o l y l l as i h d d d y - - - - - t f f 37 REMEMBERING FRANCES BLAISDELL 1912-2009

tiny spoon. I observed as Frances took a spoonful of salt and sprinkled it over her grapefruit. For some reason, this doll-sized appointment made a huge impression on my 9-year-old self. I studied with Frances in junior high and high school. She picked out my first two instruments. “Remember,” she cau - tioned when handing me a new Powell flute, “it’s not a walk - ing stick!” My lessons were on Saturday mornings in the attic of her house. As I ascended the stairs, my heart beat a little faster, not just from the climb, but from the knowledge that I would be receiving her undivided attention and thoughtful In 1992, Blaisdell (center) spoke about her life at a standing-room-only instruction. She insisted I practice scales in certain note concert of the New York Flute Club. On hand to celebrate were her grand - daughter Allison (left) and daughter Alexandra. groupings, which has proven to be invaluable to this day for learning and executing difficult technical passages. She In addition, she left me with one last gift: fuel for a lifetime encouraged me to listen to other flute players in concert and of playing music. She told me to never stop playing flute, and on recordings. The ultimate goal of her teaching, I believe, was that I could bring so much joy to people if I keep playing. As to impart in each student the ability to be expressive, to reach a student of engineering, this has not always been easy, and I out and grab a listener. have wondered how I will keep music in my life now that I’ve Frances took a personal interest in my life, always calling on graduated and no longer take lessons. I feel well-armed, how - my birthday, writing long letters filled with advice. My last ever, for if there’s anything that will keep me playing when life visit with Frances was in 2007, when she was recovering from gets busy, it will be the memory of Frances telling me to. Part knee surgery. She was as alert as ever, articulate, opinionated, of my flute playing will always be for her. gracious. She has left us such an enduring legacy of courage, perseverance, artistry, and grace. It was a blessing to have Deborah Baron is Piccolo/Associate Principal Flute in known her. > the Dallas Symphony Orchestra. I knew Frances Blaisdell first as a family friend, several years Nancy Toff is the author of four books on the flute, including F F

before she was my teacher. My older brother studied clarinet Monarch of the Flute: The Life of Georges Barrère , which is O T Y

dedicated to Frances Blaisdell. She first met Blaisdell in 1987, C with her husband, Alex Williams. We had many wonderful din - N A N

ners at her home in New Jersey. The food was great, but I was when they were members of the NFA’s cultural exchange dele - Y S E T

more impressed by the decor and tableware. I remember that gation to China, and worked with her on publication of The R U O each place setting included a minuscule bowl of salt, each with a Barrère Album . C

38 The Flutist Quarterly Winter 2010 nfaonline.org THE INNER FLUTE The Whole Musician

by Lea Pearson

“I’ll never be a professional musician,” I said to my mom in 10th grade. After watching three older sisters go to conservatories, struggle to get jobs, and play in low-pay, boring gigs, I knew this would not be satisfying for me. I purposely chose a college with a progressive approach to education, seeking a less traditional path. Music, education, psychology—that was my triple major. I would be a music therapist.

nd here I am, 40 years later—doing music, move - I needed to return to school and really learn something ment education, and psychology—but from a com - about the music I wanted to play. How lucky that Mills Apletely different perspective. How did I end up doing College rejected me—the auditioner said I was not good what I expected but in an entirely unexpected way? enough to be a musician. How lucky for me that I chose While in college learning about adolescent psychology, Stanford University—not a conservatory, but a place that movement therapy, language acquisition, playgrounds for would nurture my desire to learn from a broad perspec - disabled children, and many other interesting things, I often tive. How lucky I was to study with Frances Blaisdell, who found myself playing music eight hours a day with two showed me what a true pedagogue is. How lucky for me orchestras, chamber groups, lessons, and more. I knew the that the school’s Baroque music program was still in place. passion of learning music in a community of friends with - I learned Baroque dance and style from George Houle— out the pressure of having to achieve. It was this joy that led once again, discovering phrasing through my body. Only me to a semester studying eurhythmics at the Dalcroze actually dancing a minuet or gavotte could help me feel Institute in Switzerland. I wanted to know what it would be how to phrase it. like to do music full time. There I found that what I had Yet now that I was playing so much, my old pains returned. thought was an aural art was truly a kinesthetic art—music I couldn’t afford Alexander Technique lessons, even though was first, last, and always about movement! I knew they would help. Having met my husband at Stanford, I moved with him to An Exploratory Path Michigan, where for 10 years I played in professional and I wanted a real job after college. I knew I wasn’t good enough semi-professional orchestras, taught flute at three colleges, to get a music job, and my arms would go numb when I and started a family. No relief from the pain. It got worse as practiced too long. But after working in the mental health I practiced more. field for three years, I felt like only half a person—no one A small flyer in the mail changed my life: “Master Class knew I was a musician, which was, I discovered, my primary with Liisa Ruoho—learn how the body works when you play identity at that time. the flute, learn to ease pain.” It was in Maine, which meant

nfaonline.org Winter 2010 The Flutist Quarterly 39 THE WHOLE MUSICIAN my folks could care for my infant son while I was at the class. I signed up. After one week with Ruoho, I knew she was the So here I am back to music, teacher I wanted to study with—but she was in Finland! I would have to wait 12 years to achieve that dream. psychology, and movement

A Detour education. My detours Yet once more, I gave up playing the flute. We moved to proved rich and rewarding. Kentucky, looking for a more racially mixed town in which to raise our biracial children—but it turned out to be a profes - I consider them essential for sional dead end. I stopped playing due to pain and family demands, worked in a day care center and for an educational the work I do now. reform office, and taught. Money was more than tight, yet I managed to get to one more masterclass with Ruoho in Ohio. ect to develop ways to identify and nurture students gifted in At that point, I realized that my opportunity to improve my the arts. Working with arts and gifted education folks on a situation was to go back to school. So what if I was 45 and had statewide level brought back my passion for education, which two small children? My family was willing to go with me to had been piqued by the challenges of getting appropriate pub - Columbus, Ohio, where Katherine Borst Jones had graciously lic schooling for my two gifted sons. I gained valuable experi - offered me an assistantship at Ohio State. Sweetening the deal ence in coordinating artist training, running workshops, and was the opportunity to study with Barbara Conable, a fabu - administering high-quality, professional development for arts lous Alexander Technique teacher—who lived in Columbus. educators. I even participated in three Kennedy Center pro - By then, I was uncomfortable all the time—sitting, standing, grams that trained artists to teach teachers. This led to three and lying down. I knew I could not ease the pain I was suffer - years of intense volunteer work with parents in our Ohio ing without in-depth work. Association for Gifted Children. But I had no time to perform and very little time to teach. On the Way In 2007 I left the world of education, knowing that I needed to So once a week, for three years, I went to AT lessons, funded by devote my energy to that which was closest to my heart: work - my school loans. The stress of school, working, and raising a ing with musicians to enhance performance through physical family made the work long and hard, but I was fortunate to be freedom and, once again, performing. mentored by both Barbara and Kathy Jones, each of whom gave me unconditional support. Balancing Mind, Body, and Spirit I was again fortunate in my choice of school—here I could So here I am back to music, psychology, and movement edu - study 19th-century African American women writers, cation—but from an inner, more integrated perspective. My women’s history, arts policy administration, and anatomy in detours proved rich and rewarding; I consider them essential addition to my music courses, which included African prerequisites for the work I do now. American music and an independent study on women com - My work in Body Mapping (including recognizing and posers. As a grad student at Ohio State I was eligible to apply solving my own challenges) enables me to watch musicians’ for a Fulbright scholarship, which allowed me to fulfill my 12- movements and help them determine what facilitates and year dream of studying with Ruoho in Finland with valuable what hinders effective performance. For example, a student uninterrupted time to work on my own performance issues. with jaw and neck pain came for assistance: three lessons While I was at Ohio State, Barbara Conable developed her helped him sort out that the pain was a symptom of not “What Every Musician Needs to Know about the Body” knowing how his body was designed to work. By learning to course, and I was fortunate to be among the first group of recruit support from the rest of his body, and to remap his musicians she trained. As I began to teach Body Mapping, I head/neck/jaw joints and spinal support, he was able to was fascinated not only with the power of accurate informa - reduce overwork and pain in the head/neck area and to play tion to transform one’s playing, but especially by the inti - more freely and musically , because he had more of his body mate connections between intention and action. One cannot available for expression. achieve expressive performance without the musi - My experience in performing enables me to explore just cal/cognitive/emotional intention that goes with it. exactly what it is we do when we perform: how do mind, body, spirit, and emotions work as a whole? What happens Another Detour when one aspect gets out of balance? What is our musical As soon as I finished my doctorate and wrote my book, how - intention, and how do we effectively recruit our bodies to ever, I took two jobs: one as director of an after-school arts express that? How do we achieve musical intensity without program, and one as coordinator of a four-year research proj - tensing up and getting in the way of the air? This approach

40 The Flutist Quarterly Winter 2010 nfaonline.org to injury prevention and performance enhancement goes As a performer and educator, I struggle daily with achieving deeper than learning what muscles to use. the inner balance that will allow me to work effectively. How My background in movement and Dalcroze reminds me much time should I devote to music, teaching and performing, that everything we do is movement, and that the quality of or nurturing emotional and spiritual well-being? our movement determines the quality of our sound. If we I continue to learn: My amazon.com account is heavy approach performance embodying the emotion, time, and with book purchases; every student gives me information space of the music, we will truly be able to communicate. about how musicians work; my Body Mapping colleagues While I am not a psychologist, I have learned to investigate provide continuous input with the success and challenges of psychological factors that affect how we approach study and their work. Most of all, working with folks in different performance. How does our self-perception affect our playing? countries, communities, and cultures keeps me remember - What happens when we do not identify ourselves as artists? How ing that there are many entry points to the path of whole - do we internalize others’ (not to mention our own) evaluations ness as a musician. > of our work in both positive and negative ways? My experience in arts education has given me an opportu - Lea Pearson, a certified Andover Educator, is the author of nity to observe arts educators at work, to learn the challenges Body Mapping for Flutists: What Every Flute Teacher Needs in educating youth, and to offer resources for guiding music to Know About the Body . With degrees from Ohio State students in using their bodies well. My Kennedy Center train - University, Stanford University, and Hampshire College, she ing gave me the tools to better plan, present, and evaluate has performed with the South Bend Symphony and the Toledo workshops to help people learn. My volunteer and adminis - Orchestra and has taught flute at Hillsdale, Heidelberg, and trative experience taught me how to understand local, state, Centre Colleges and Ohio State University. She specializes in and national arts perspectives; to participate in research; and performing music of composers not traditionally represented to write grants, reports, and articles. in the classical repertoire.

nfaonline.org Winter 2010 The Flutist Quarterly 41 NFA SPOTLIGHT My View

The recipient of the NFA’s annual Myrna Brown International Scholarship reflects on her experiences at the 2009 convention in New York City.

by Ivana Zahirovic

s the recipient of the 2008 Myrna Brown International Our recital program included April Sonatina by Bruno Scholarship, I had the honor of performing in recital at Bjelinski , which he composed for my former teacher, Irena Athis year’s NFA convention in New York City. Together Grafenauer, when she was only 16 years old. In Croatia, this is with my friend, Croatian pianist Mia Elezovic , I performed one of the most famous pieces ever written for flute, and every works by Croatian composers of the 20th century. Croatian flutist has it, or should have it, in repertoire. Written in It was my first visit to New York from my homeland of neo-classical style, its three movements describe typical Croatian Croatia, and also my first experience as a participant in an April weather, which changes a lot—sunny to cloudy to sunny . NFA convention. It is difficult to describe how impressed The next piece I performed was Soliloquy, Op. 61, for solo and thrilled I was to experience the events and to hear such flute by Bozidar Kunc. It was a very special occasion for me to a great amount of fabulous flutists all in one place! The play this piece because Kunc lived in New York in the second artistic beauty of the concerts, the high level of perform - half of his life. His daughter, soprano singer Ivana Kunc, who ances, the great flute exhibitions, the quantity of events, and was born in New York, came to this concert. She was very the amazing organization during the whole convention pleased to hear this work for the first time. This three-part completely exceeded my expectations. piece is very virtuoso for the flute. The first and third parts are The atmosphere was just amazing , and I liked how sup - in the form of an improvisation and are to be played very portive all the flute colleagues were to each other. This con - freely. Between them is a very fast, brilliant part. vention was also—probably just as for all other flutists We closed our concert with Flute Sonata, Op. 41 , by Krsto too—a great opportunity to see old colleagues and to meet Odak. I coincidentally discovered this piece two years ago and new ones. So I also enjoyed this international spirit of the knew immediately that I should play it. It has never been per - convention. I especially enjoyed hearing all the gala con - formed before , so I believe it was a world premiere at the con - certs in the evening but also the recitals during the days. vention, but I am not completely sure of this. It hasn’t been Meeting Sir James Galway and talking to him was of course published either—at least not in Croatia—so we played it an unforgettable experience , and playing in the world’s from a manuscript. Odak’s work, especially his sacral music , is largest flute ensemble for the world-breaking record was very well known in Croatia. It is written in post-romantic style unbelievably fun. and is full of beautiful motives and melodies. I was surprised , and of course very happy, at how warmly Recital Report the public welcomed this music and how interested they were I also performed in recital. The Croatian pianist Mia Elezovic in the pieces. lives in New York. When we were young students , we studied and played together in the Music Conservatory in Zagreb, Spreading the Music Croatia. So we were both very excited to see each other again The most impressive part of the convention was its innovation after so much time. and originality, as well as its rich offerings of information

42 The Flutist Quarterly Winter 2010 nfaonline.org Ivana Zahirovic was born in Sisak, Croatia , in 1976. She started to learn the flute at the age of 9 and in 1993 graduated from Music High School in Zagreb before starting her studies with Irena Grafenauer at the University Mozarteum in Salzburg, Austria, where she received a grade of excellence and a master of arts degree . She was awarded post-graduate studies with Michael M. Kofler at University Mozarteum and with Maria Goldschmidt at Hochschule für Musik Zurich. After winning an audition at the age of 20, Zahirovic became a member of Orchestra-Academy of Zurich Opera House, where she played for two years. Subsequently, she received positions at Symphony Orchestra Mozarteum Salzburg, Symphony Orchestra Bienne , and Munich Symphony Orchestra and played with such conductors as N. Harnoncourt, J.E. Gardiner, and F. Welser-Möst. She also had engagements with the Munich Radio Orchestra and Bavarian State Opera Orchestra in Munich. Zahirovic has won national and international competitions, among them the Lions Club International Competition and the AUDI Mozart International Competition 2008 in Italy. She was a member of the German chamber music organization Villa Musica. She has played solo concerts and chamber music concerts at international festivals such as the St. Marco Festival in Zagreb and Baroque evenings in Varazdin. She has also performed with the Zagreb Soloists, the Zagreb Philharmonic Orchestra Croatian Chamber Orchestra , and Orchestra Haydn di Bolzano e Trento in Italy , and has been featured in Croatian radio and television and performed in concert and recital both as a soloist and a chamber musician. about every aspect of flute playing and teaching. I was espe - classes , and competitions. Many of the convention events cially interested in the workshops and exhibitions , in which inspired me and gave me ideas for organizing our future activ - I tried to take part as much as possible. ities—for example , combining performance with a lecture, Those four days enriched my musical life and stimulated representing different kind of flutes, and pedagogic panels. new ideas in regard to my own playing, which I will try to Also, I am spreading the word to all my flute colleagues pass on to Croatian flutists—just as I hope that the flutists about how great this convention was and the great time I had at my recital at the New York convention took away unique in New York City. Already , some young Croatian flutists want examples of Croatian flute music. My article about this con - to apply for the next Myrna Brown International Scholarship vention , in which I describe my experiences, will be pub - I thank the members of the Myrna Brown International lished in Croatian Music Magazine . Scholarship panel for giving me this great opportunity to come I am an active member of the Croatian Flute Association, to New York , as well as NFA Convention Director Madeline a small society of 200 flutists , which offers concerts, master - Neumann for her support and help during the convention. >

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nfaonline.org Winter 2010 The Flutist Quarterly 43 Save the Date: Upcoming NFA Conventions

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New Orleans, Louisiana August 8-11, 2013 (Marriott Hotel at French Quarter)

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The Arizona Flute Society Friendly Ghost” arranged by Amy Rice-Young, and a surprise presented Greg Patillo and encore. With the breast cancer battle fought by one of Project in concert on October Flutissimo’s members as its motivation, the group expanded its 17, 2009. The event , held at second annual Susan G. Komen Breast Cancer Foundation Marcos de Niza High School Benefit concert in October. The group also unveiled its second in Tempe, featured a work - Christmas CD during its fall series. December brought a shop demonstrating beatbox Christmas series in which Flutissimo! Flute Choir performed techniques before the con - for residents in several local retirement homes, and the group cert. The Arizona Flute is looking forward to its spring concert series in May. Society Annual Flute Festival and Competition with Flute Fair was held on November 21, 2009 , at Phoenix College. Cash prizes and scholarships Gary Shocker to Flute Camp were awarded in each division. The Alla Breve Flute Choir will perform in February. AFS is raising funds to commission a five-minute flute choir piece by composer Gary Shocker for the Alla Breve Flute Choir. The piece will be premiered on March 27 at the Gary Shocker Flute Choir Masterclass and Recital. To donate, contact Sherry Finzer at [email protected] . The Arizona Flute Society is a non-profit organization, and a receipt is avail - able for tax purposes. The Arizona Flute Society will pres - The Heartland Community Flute Choir ent its Third Annual Flute Camp in June. For more infor - mation about this or any AFS events or groups, contact Now celebrating its seventh season, the Heartland Comm- Karen Kontos at [email protected] unity Flute Choir (Omaha, Nebraska) performed at The Midwest Clinic: An International Band and Orchestra The Charlotte Flute Choir has added a new instrument—a Conference, December 16, 2009 , in Chicago. Under the string bass, performed by Bruce Becker, band and orchestra direction of Christine Beard, professor of flute at the teacher at Queen’s Grant Charter School. The choir mem - University of Nebraska at Omaha, the HCFC was founded in bers look forward to the new dimensions of the group with 2003 and consists of more than 40 high school and college the addition of another instrument. students, as well as adult amateurs and professional flutists from Nebraska and Western Iowa. The concert program The 26-member Flutissimo! Flute Choir (Bedford, Texas) included Ian Clarke’s “Within,” a new arrangement of “Clog began its 13th season with a new conductor, Marco Jerez of Dance” by Nebraska native Howard Hanson, “La Milonga” Dallas. The 2009 Fall Series “Boo!” featured Halloween by Christopher Caliendo, “Sleep” by EricWhitacre (arr. music including “Ghosts of the Pecatonica” by Rex Still, Beard), and An Ozark Garden, a new collection of Ozark “Clusters and Flusters” by Ricky Lombardo, Harlequin Suite folk songs, arranged by Kenton Bales, professor of compo - by Ira-Paul Schwartz, “Masques” by Anne McGinty, “Danse sition at UNO. The ensemble also performed under the Macabre” arranged by Angeleita Floyd, “Hall of the baton of guest conductors Erica Neidlinger (DePaul Mountain King” arranged by Shaul Ben-Meir, “Caspar the University, Chicago), and Michael R. Beard (Henderson

nfaonline.org Winter 2010 The Flutist Quarterly 47 ACROSS THE MILES

State University, Arkadelphia, Arkansas). The HCFC was Magic Flutes performed its annual Winter Concert at St. also invited to perform at the 2009 Nebraska Music Matthew’s Catholic Church in San Mateo, California. The Educators Association Convention in Lincoln in November, choir performed selections from Messiah , “The Secret where they performed the same program under the same Language of Snow,” “African Noel,” “Flurries ,” and others. conductors. Visit heartlandflutes.org. Magic Flutes is directed by flutist Pamela Ravenelle.

The International Flute Orchestra will perform in Brussels, Maastricht, Ghent, Bruges , and Am sterdam in May. The May 2009 concerts in Poland were well received , especially the Chopin pieces arranged by Shaul Ben Meir and the Polish national anth- em arranged by Nancy Nourse. Concerts also were given in Krakow, Zakapone, Warsaw , and Gdansk. The Nancy Clew orchestra is composed of col - lege teachers and orchestral Bonita Boyd John Bailey musicians from all over the United States and Canada and has The Northeastern Ohio Flute Association hosted fall semes - traveled to a different country each year since 1996. For fur - ter guest artists John Bailey, professor of flute at the ther information about the IFO, contact director Nancy C. University of Nebraska-Lincoln, on September 27 and Clew at [email protected]. Bonita Boyd from the Eastman School of Music for the Fall Flute Festival on November 1 . During the spring semester, Les Flutes Enchantees (Fresno, California) will participate the Graduate Flute Ensemble (coached by Jane Berkner) pre - in the 13th Annual International Flute Choir Festival at miered a ballet score for four flutists (playing piccolo, C Fresno Pacific University March 26–27. The festival was flute, and alto flute) and two pianos. The work, Images founded by Janette Erickson, who managed the festival for Surfacing , was composed by Bruno Louchouarn. The musi - 12 years and was recently named director emeritus. For cians and dancers worked with the composer during his festival information, contact Teresa Ishigaki, Festival week-long residency thanks to a grant from the MetLife Coordinator, at [email protected] . Meet the Composer’s Creative Connection program. The work was performed by flutists Carolina Erickson, Heather The Long Island Flute Club opened its 25th anniversary Leighty, Shelley Smith, and Ashley Watkins, and was con - season November 8, 2009, with a performance by the ducted by Ashley Shank. Visit neofa.org . LIFC Professional Flute Choir, under the direction of Debra Schild, and the LIFC Honors Student Flute Choir, under the direction of Lauren Osnato. The concert, held at the Westbury Memorial Library, featured the Long Island premiere of “Energico !” by Howard Buss, which received its world premiere by the LIFC Professional Flute Choir at the NFA convention in New York in August 2009. The 21st annual LIFC Flute Festival took place November 14 at Adelphi University, with a day of masterclasses, ensembles, lectures , and concerts. The LIFC Holiday Flute Choir performed December 12 at the United Methodist The South East Michigan Flute Association Church of Lake Ronkonkoma and December 13 in the Red The South East Michigan Flute Association held a master - Ballroom at Old Westbury Gardens. The LIFC encourages class in October 2009 with Alberto Almarza in Ann Arbor. all Long Island high school and college flutists to enter the November’s event featured Detroit Symphony flutist Sharon annual LIFC High School and College Flute Competitions, Sparrow in an open masterclass for adult amateurs. SEMFA’s to be held February 6–7 at Nassau Community College. flute choir, directed by Jacqueline Wright, performed at Information and applications may be obtained by sending the Chicago Flute Festival in November. The association’s an email to [email protected] or by visiting longisland - seventh annual Spring Flute Festival will feature Marianne fluteclub.org. Gedigian April 16– 17 in Plymouth, Michigan , with the

48 The Flutist Quarterly Winter 2010 nfaonline.org winners of the two competitions participating. Contact The Texas Flute Society is pleased to announce the winners of [email protected] for the High School Young the 24th Myrna W. Brown Artist Competition: first place , Artist Competition and [email protected] for the sec - $1, 200 prize, Daniel Alexander, Houston; second place, $500 ond annual Ervin Monroe Young Artist Competition. Visit prize, Brittany Foster, Cincinnati, Ohio; third place, $250 prize , semfa.org. I-Jeng Yeh , Bloomington, Indiana. In fall 2009, the Texas Flute Society hosted several free clinics in the Dallas/Fort Worth The Seattle Flute Society will Metroplex for the 2009–2010 Texas All-State Au-ditions. The host its annual Flute Festival, clinics explored three predetermined études of varying styles featuring guest artist Marco and difficulty. The purpose of these clinics was to offer assis - Granados, on April 11. The tance to the high-school flute community by way of improved festival will include a warm-up, practice methods and audition preparation/performance. The concert, and Latin music work - 33rd Annual Texas Flute Festival will be held on the campus of shop with Granados, flute the University of North Texas, College of Music, May 20– 22. choir performances, commer - Guest artists include Amy Porter, professor of flute at the cial exhibits, and Young University of Michigan; Ian Clarke, professor of flute at the Members’ Recital. Other events Guildhall School of Music and Drama; Elizabeth McNutt, in the 2009–2010 season director of the contemporary music ensemble Nova and lec - include a concert and master - turer on contemporary performance practice at the University class with Baroque flutist of North Texas; and Daniel Alexander, winner of the 2009 Stephen Preston, a guest artist Myrna W. Brown Competition. Marco Granados recital with Lisa Garner Santa, For application forms about masterclasses, exhibitor infor - and a Body Mapping Work- mation, and upcoming events, visit texasflutesociety.org. shop with Amy Likar. Every year, the Seattle Flute Society sponsors the Frank and Lu Horsfall Competition for flutists in Please send information about flute club activities, and middle school and high school. For information about the high-resolution images if available, to Dolores August, competition or any events , visit seattleflutesociety.org. Flute Clubs Coordinator, [email protected].

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The Marcel Moyse Society has issued a new DVD that fea - tures an interview with Marcel Moyse from a French televi - sion show. The subtitles are translated by Michel Debost. Visit moysesociety.org.

Grup21, directed by flutist- Krzysztof Kaczka composer Peter Bacchus, opened its season with a con - Polish flutist Krzysztof Kaczka won first prize in the 2009 cert in Barcelona October 14 Australian Flute Festival Flute Competition held at the featuring collaboration with Elder Conservatorium of the University of Adelaide the electronic music founda - October 3– 5. Jean Ferrandis served as jury chair. First prize tion Phonos in performing included a Pearl silver flute and 7,500 AUD cash. In the final new music for electronic round, Kaczka performed the world premiere of Charles sounds and real instruments. Bodman Rae’s Toccata Agogica for solo flute, a piece com - The annual collaboration this missioned by Elizabeth Koch in memory of David year combined music and Cubbiner. Kaczka is newly appointed principal flutist of the Peter Bacchus image with a video and a Guangzhou Symphony Orchestra in China. Born in Torun, short film, and included a he made his New York debut at Carnegie Recital Hall as win - work for real-time interactive computer and flute solo. Prior ner of the IBLA Grand Prize International Competition in to the concert performance, which was available via Web 2008. He graduated from the Hochschule für Musik und connection, was a talk featuring Madrid composer José Theater in Munich, where his teacher was Marianne Manuel López López and Bacchus speaking on image and Henkel-Adorjan, and completed his postgraduate studies music and on real-time interactive music with computers. with Irena Grafenauer at the University Mozarteum The talk was in Spanish and Catalàn. The concert included Salzburg and Wolfgang Schulz, principal flutist of the “Lizamander ” (2003) for flute and Max/MSP by Russell Wiener Philharmoniker and a professor at the University of Pinkston, featuring Bacchus on flute accompanied by the Music and Performing Arts in Vienna. He also studied with interactive program Max/MSP on a Mac computer; La casa Pierre Yves Artaud at the Conservatoire National Superieur de los vientos (2001) (The House of the Winds) for flute/alto de Musique et de Danse de Paris (Erasmus Scholarship), flute, clarinet/bass clarinet, violin, cello , and prerecorded Elzbieta Dastych-Szwarc and Grzegorz Cimoszko at the electronics by Chilean-Catalán composer Gabriel Brncic, Frederic Chopin Academy of Music in Warsaw, Zbigniewa and “Suspicious Motives ” (1999) for flute, clarinet, violin, Kamionka in Cracow, and Cecylia Knopp in Chorzow. He cello , and prerecorded electronics by American composer was a finalist in, among many other competitions, the Eric Chasalow. The event also featured a viewing of Klink National Flute Association Chamber Music Competition in (2005), a short silent film featuring music for solo cello by 2007 (second place ). Visit australianflutefestival.com . Bacchus, written for the film and performed live accompa - nying the images, in the silent film tradition, and Fluit , the magazine of the Dutch Flute Society, reports that “Octandre ” (2001), transcribed for piano by López of the a previously unknown Ballade for flute and piano or orches - 1922 instrumental work by Edgard Varèse, accompanied by tra was discovered in 2008 in the estate of Swiss composer a video inspired in this version of the piece .

nfaonline.org Winter 2010 The Flutist Quarterly 51 NOTES FROM AROUND THE WORLD On November 19, 2009, the ensemble presented a sympo - The Seventh International Convention by the British Flute sium-concert at the National Library of Catalunya. The event Society will be held August 19–22 in the Royal Northern focussed on the Spanish 20th-century piece , La Pell de Brau College of Music in Manchester, England. Program chair is (The Skin of the Bull) by Narcís Bonet, written for wind quin - Trevor Wye. Visit bfs.org.uk. tet, harp, piano , and percussion to accompany recited poetry The Sixth International Flute Competition Domenico by Catalan poet Salvador Espriu. La Pell de Brau , written in Cimarosa was held December 3–5, 2009. Visit concorsoci - 1960 to the Spanish people, addresses the country’s history marosa.it/homeen.htm . and the Spanish Civil War. One of the most famous passages from the poem, which comes at the end of the work, address - es the Franco dictatorship in Spain:“There are times when one man must die for a people, but never should a whole people die for one man: Remember this always Sepharad.” Sepharad Two decades of experience is the poet’s metaphor for the Spanish people, and the form of serving professional flutists the taut bull skin is a metaphor for the Iberian peninsula. Visit and their instruments grup21music.com . with craftsmanship and care Flutist Robert Aitken and t Ringo Chan, director of the s u R x i l

Hong Kong Flute Centre, e F : o t o

toured Manila, Philippines, h P Chengdu , and Shanghai, China Sarah Merrow October 24 –November 14, 2009. 343 Medford Street Working in collaboration with 2nd Floor and at the invitation of the Somerville, MA 02145 Philippines Flute Association, 978.771.7945 Sichuan Conservatory of Music, www.syrinxflute.com Syrinx Shanghai Normal University, sarah@syrinxflute.com Fine Flute Repair Tonji University (Shanghai ), and the Shanghai Conservatory Robert Aitken of Music, Aitken and Chan conducted flute training cours - Christine Po*er’s Workshops for Flutists es and concerts . Chan led the Philippines Flute Association Tone Development • Air Management • Flute Orchestra and the Sichuan Conservatory of Music Performing with Con(dence • Vibrato • Intonation Flute Orchestra in the performances of a number of flute concertos, many of which premiered in the Philippines Contact Chrisat cpo*er@alto)ute.net and China. Visit flute.hk . to book her for your next Flute Festival

The fifth annual “instrument feast” event, sponsored by the Swedish Wind Ensemble, will be held February 13–14 in Stockholm. The theme for this year’s Valentine’s Day event is Love. Each year’s event has featured one orchestral wind instrument, including trombone, clarinet, saxophone, and horn . The fifth event will feature the silver flute for Flute Feast 2010. Special guest is Sir James Galway, together with his wife, flutist Lady Jeannie Galway, who will lead and perform with the Flute Feast Choir, an ensemble of more than 200 flute play - ers—youth, amateurs, students, teachers, and professionals. The weekend will include workshops, exhibitions, and per - formances and meetings with Sir James Galway , who will also give a special masterclass. The Swedish Wind Ensemble, Sir James and Lady Galway, and the Flute Choir also will perform in concert. Featured guests also include Robert Bigio, Mike Mower, Matthias Ziegler, Andrea Griminelli, and Matjaz Debeljak. Visit http://jonasflute.webs.com. Flute Festival München 2010, a festival for music and the - atre in Munich, Germany, will be held March 19–21. The event includes a festival and competition for flute orches - tras. Visit floete.net.

52 The Flutist Quarterly Winter 2010 nfaonline.org 38 TH ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION

ANAHEIM , CALIFORNIA AUGUST 12–15, 2010

California, here we come, Right back where we started from…

ew York, New York! What a fan - The theme of our convention this tastic convention Linda Toote year is “Illuminating Tradition.” This Nplanned for us! Four non-stop is a historic year for the NFA as we days and nights of concerts, reading ses - return to Anaheim, the host city of our Cynthia Ellis sions, lectures, roundtables, cabarets— very first convention ’way back in it was a fantastic event all the way 1973. I have received a flood of pro - around, in one of the most exciting posals that will insure an interesting ciously accepted the offer of being our cities in the world. The entire NFA staff, and diverse offering of concerts, mas - keynote speaker at the Flute Lover’s board, and volunteers were integral to terclasses, and lectures. (Note: those Lunch: He will inspire and entertain! Our the convention’s success, and I’m hum - who submitted proposals will be noti - lifetime achievement awards honorees, bled by the vast amounts of positive fied in March or April; please do not Fenwick Smith and Leone Buyse, will be energy that pour out at each and every contact me or the NFA office regard - the headliners for our Friday evening convention. We ended our summer on a ing the status of your proposals, as it recital. This will be a convention not most positive note. And now we march takes time for me to get through all to be missed! bravely into winter, inspired and 285 submissions.) Given our close proximity to Disney- refreshed and ready for more! We will be planning a special event land, be sure to bring your families along! The musicians and teachers among for younger student flutists this year, I’m working on a mass flute ensemble us, myself included, have a fresh start specifically elementary and junior-high performance at Disneyland for August 11 every fall, whether marked by the new ages, with the first Kids’ Kamp program. (calling all flutists) and reduced-price school term or the start of another con - This event will serve as an introduction cert season. And so I begin on the jour - to the NFA for our very youngest Disneyland admissions along the way for ney toward next year’s convention in flutists. More details coming! flutists and family members alike. Anaheim, California. I attended many, Headliners this year will include So stay tuned! California, here we many meetings behind the scenes in Michael Faust, Carol Wincenc, Cathy come! New York in order to help me plan Ransom-Karoly, flutists all, and Jan another exciting convention. Gippo, piccolo. James Walker has gra - —Cynthia Ellis

nfaonline.org Winter 2010 The Flutist Quarterly 53 NEW PRODUCTS Recordings, music, and other products by and for NFA members

The New York Flute Club and The third CD by UpTown Flutes , 21st Cantilena Records announce the Century Gems , features works by Ian release of Samuel Baron: Memorable Clarke, Peter John Bacchus, Andrew Performances 1966–1995 . This two- Downes , and Catherine McMichael. CD set features Samuel Baron’s Members of UpTown Flutes are Carla definitive performances, talks, and Auld, L. Elise Carter, Karen Demsey, recordings. Baron’s closest friends Jeanne Fessenden, Patricia Lazzara, and colleagues have personally John McMurtery, Rebecca Vega , and assembled the pieces on this compi - Virgina Schulze-Johnson, director, all University professors, pro - lation. Restored from long-forgotten tapes and recordings, fessional artists , and teachers. Visit uptownflutes.com . these works will introduce new generations to the wide-rang - ing repertoire and insightful performances of this luminary of 20th-century flute playing. Among colleagues on these ObliqSound has released Like Water , recordings are Jean-Pierre Rampal, the Bach Aria Group, featuring jazz flutist Anne Drum- mond in her debut recording. The oboist Ronald Roseman, and harpsichordists Yehudi Wyner CD explores the rhythms of Brazil and Kenneth Cooper. Visit nyfluteclub.org. and features Klaus Mueller and Xavier Davis (piano), Paul Meyers (guitar), Nilson Matta (bass), Dud- The Pasadena-based, award-win - uka da Fonseca (drums), Tom Chiu ning flute and guitar duo AlmaNova (violin), and Dave Eggar (cello). (flutist Jessica Pierce and guitarist Almer Imamovic) were recognized FineLine announces the release of at the 2009 Just Plain Folks Awards Music in Motion , the latest CD by Show in Nashville August 24, 2009. Netherlands flutist Abbie de Quant. Just Plain Folks is a community of The CD features works by Prokofiev, more than 51,500 song writers, du Bois, and Vasilyevich. The 2009 recording artists, and music industry CD follows releases of Hommage a professionals, and host to the world’s largest independent music Poulenc (2006) and Serenade (2002). awards, with its mission to recognize “the other 98 percent of Visit abbiedequant.nl . independent musicians.” AlmaNova won in two categories: Best Instrumental Album 2009 (for Debut ) and Best Instrumental Song 2009 (for “Sarajevo Nights”). Although classically trained Scarecrow Press has released A Dictionary for the Modern Flutist musicians with graduate degrees from the University of by Susan J. Maclagan with a forward by Trevor Wye. The book Southern California, Alma Nova explores, with Debut , the presents clear, concise definitions of more than 1,500 common diverse folk music of the Balkans, particularly Almer’s native flute-related terms that a player of the Böhm-system flute could Bosnia and Herzegovina. “Sarajevo Nights” is an original com - encounter. Fully illustrated with more than 100 images, the book position by Imamovic that seeks to capture the energy and includes in-depth definitions on such topics as technique, repair, hopefulness of post-war Sarajevo. Visit almanovaduo.com . acoustics, articulations, intonation, common ornaments, flutemaking, and flute history. This full-service dictionary includes an extensive bibliography for easy reference; appen - Bill McBirnie announces the release dices for further information on such things as flute classifica - of Mercy , an all-acoustic CD featur - tions, types of modern flutes and their parts, key and tone hole ing duos with pianist Robi Botos and names, head joint options, and audition excerpts; and essays on quartets with Botos, Pat Collins on flute tuning and flute clutches by Trevor Wye and David Shorey, bass, and John Sumner on drums. respectively. Maclagan has researched and classified each term, Musical styles range from bebop including flute words that have caused confusion or not been (“Yardbird Suite”) to bossa nova clearly defined previously. Carefully labelled illustrations for (“Gentle Rain”) to Dixieland (“Way many flute types, parts, mechanisms, and accessories make the Down Yonder in New Orleans”). The definitions easier to visualize. The entries also consist of brief title track is a rhapsody written by Botos. Visit indiepool.com biographies of more than 50 significant names in the flute com - or CD Baby. munity worldwide.

54 The Flutist Quarterly Winter 2010 nfaonline.org Heart Dance Records announces Clarion announces the release of Solemn Splendor, featuring Sanctuary , recorded by Sherry the Adoramus Vocal Ensemble, directed by Mark Burrows, Finzer. Sanctuary , a meditative New organist Aaron Medina, and flutist Dolores August playing on Age CD, features music to accom - Gramman’s “Still, Still with Thee.” Adoramus Vocal Ensemble modate listeners’ discoveries of new is the resident chamber choir of First United Methodist pathways to healing and peace. Church, Fort Worth, Texas. Adoramus has developed a loyal Compositions have been created following based on adventurous, yet accessible, programming. with a variety of flutes, including the Solemn Splendor is a collection of some of the most revered modern C flute, the alto flute, and choral music of the 20th and early 21st centuries, including the Native American flute. Original and distinctive melodies the motets of Maurice Durufle, two spiritual arrangements by incorporate such elements as Gregorian chants and move - Moses Hogan, and the premiere of four previously unrecord - ment of air and water. Visit sherryfinzer.com. ed works.

Jim Schmidt of J.S. Engineering Emanuel Flutes is pleased announces a new solution to the to announce that all three problem of sticky pads with a members of the Metro- lubricant, a dry powder nicknamed politan Opera Orchestra, “magic dust,” embedded in the the which opened its 2009–10 skin of his Digital Gold pad. season with Puccini’s Molybdenum disulfide, a safe and “Tosca,” play Emanuel naturally occurring mineral, is Flutes. Members of the released throughout the extended flute section are Stefán life of the pad to prevent the noisy “kissing” sound or occa - Ragnar Höskuldsson, Diva sional slow release from the tonehole rim. The lubricant is Emanuel Arista, left, and Stefán Höskuldsson, Goodfriend-Koven, and also sold separately in small applicator bottles as a remedy for principal flute, Metropolitan Opera Orchestra. Stephanie Mortimer. sticky pads of all brands. Visit jsengineering.net.

nfaonline.org Winter 2010 The Flutist Quarterly 55 RREEVVIIEEWWSS Reviews of flute-related recordings, books, and other items of interest CDs American Vistas senses a waiting, a way of being between loves, existing in the Leone Buyse, interstices of emotional life. “Inside” promises light, sky, and wind running wild. “Joy” describes the poet’s understanding of flute and alto flute how his lover’s true joy is his own endlessness, how she “pock - © 2009 Albany et(s) me like a flute,” how her joy at her own power to fill and empty him eternally defines his love for her. The music seems to xcept for Kurt Stallman’s be entirely one with the text, a blurring of aesthetic media rarely E“Lumina II for Wolo encountered. The vocal renditions of these texts are enriched by Flute,” the works of all 10 the lines of commentary provided by the flute. composers featured on this “Philomel,” by Richard Barnefield (1574–1627), supplies the extraordinary CD are for text for Copland’s musical word painting with clarinet, flute , and combinations of voice, flute, soprano. Originally composed as part of a student assignment in piano, and/or clarinet. They represent a broad range of text and 1923, the work foreshadows Copland’s mature works and has style, from the melodic Irish folk song reimaginations by John become part of his catalogue. Copland himself wrote that he was Corigliano (“The Salley Gardens,” “The Foggy Dew,” “She often asked about this piece’s“modal” writing, but confessed that Moved Through the Fair”) through 17th-century texts of his generation was never taught any modes except major and Thomas Dekker and Richard Barnefield (“As it fell upon a day” minor: “If the music sounds modal it is because I wanted to from “Philomel”), through texts by or inspired by the Bengali come close to the expression of the poetry.” And this he does, poet Rabindranath Tagore, to the more modern poets of the quite beautifully. 20th century: Amy Lowell, Marianne Moore, Anne Fessenden , “Cantilena One for Solo Soprano” (1951) by Kenneth Gaburo Padraic Colum , and others. This verbal eclecticism is matched in (1926 –1933) incorporates the poem “Whence do you bring this nearly every way by the variety of musical presentation. disquiet, my love?” text by Rabindranath Tagore, from Vaishnave Pianists Martin Amlin (“Two Songs on Poems of Anne Songs (from The Fugitive and Other Poems , New York. Fessenden” for soprano, alto flute, and piano) and Scott Gendel Macmillan, 1921). This piece features Fulmer’s exquisitely beau - (“Patterns” for soprano, flute, and piano) are featured with Leone tiful soprano voice as it wanders for only two and a half minutes Buyse, flute, and Mimmi Fulmer, soprano, performing their own through the “one sleep of delight” that fills the “boundless compositions. (Clarinetist Michael Webster rounds out the list of world(s)” of lovers in passionate embrace. performers on the CD.) Buyse’s rich alto flute rendering of Martin Amlin’s “Lookout” “Patterns,” I must confess, is perhaps my favorite track, proba - and “The Song Wheel” balances beautifully with both voice and bly because of the brilliant word paintings Gendel renders from piano. The purity of the alto flute’s upper register is especially Amy Lowell’s poem (from Men, Women and Ghosts , New York: remarkable. Equally luminous are Buyse’s delicate ornamental Macmillan, 1916). The text evokes the passionate rebellion of a flourishings on Braxton Blake’s (b. 1954) settings of “Three young woman who, encased in silks and brocade, wanders in a Songs on Poems by Marianne Moore,” including “No Swan So garden filled with free flowers blowing in the wind, eroticizing Fine” (musings on the transience of earthly grandeur, opulence, the naked freedom of the water sliding in a marble basin, imag - and decadence at Versailles: “the king is dead”), and “What are ining her lover, and finally mourning his death in battle. In a Years?” (acceptance of one’s mortality yields the joy of knowing month, they would have broken the patterns, all the taboos; the that our eternity lies therein). The final poem, “To a Prize Bird ,” restrictions, her suffocating brocades would have been shed, and sports a fabulous flutistic bird whose outspokenness challenges they would have been married. Patterns: gardens following their defeat with “brazen claws.” own paths and borders, their own flowerings, through the sea - In “I Heard in the Night,” Henry Cowell (1897–1965) sets flute sons. Patterns: a woman following her paths, observing her and voice to sing Padraic Colum’s poem “No Child.” A sleepless restrictions, in the stiff encasement of brocade. Patterns: a young woman mourns her childlessness as she listens to pigeons stir - man following his duty and his society’s expectations in the ritu - ring in their nest and bids them quiet. Buyse and Fulmer togeth - als of battle. “Christ! What are patterns for?” wails this dramatic er most tenderly evoke her pain through a text that reminds us poem’s final line. of how such midnights so often sharpen the burdens of our wak - Yet it is difficult to select a favorite. Also emotionally striking ing lives. Then, from the sorrow of childlessness to the nightly are Maura Bosch’s three brief musical excursions commissioned rituals with a sleepless infant, flute and voice plead gently for the by Fulmer on Jim Moore’s concise poem inspired by his reading baby to enjoy “golden slumbers” in a brief five-line verse by of the Gitanjali, the 1911 collection of spiritual poetry by the Thomas Dekker (1570–1664) set to song in “Lullaby” by Ralph Bengali poet Rabindranath Tagore. In “In the Meantime,” one Shapey. Here, the evenness of the rhyme scheme (AABBB) is

56 The Flutist Quarterly Winter 2010 nfaonline.org belied by the dissonance between flute and voice, suggesting per - quite certain where we are going but always delighted with the haps the resistance of the child’s surrender. new arrival points, even startled by the final, almost uncharac - Finally, Buyse also presents here a premiere recording of teristic flourish. Stallman’s “Lumina II for Solo Flute” (2003). We hear a lovely, All in all, this new release is worthy of attention in itself and meandering melodic line, founded on C-sharp, based on a pri - also offers new possibilities for exciting recital programming. The mary musical cell with four-note cellular material that Stallman accompanying booklet reproduces all the texts in full, allowing calls “a reference shape that develops, multiplies, and transforms for closer study, and the biographical information provided for as it moves through various registers and colors of the flute.” both composers and performers is clearly presented and useful. Entranced, we travel along this inventive musical line, never —Cynthia Stevens

John Wion Live: the radio broadcast performances due to the fact that the accom - A Retrospective— panying ensemble was sight-reading. It is also explained that the opera recordings came from audience members who covertly Recordings from captured performances in an era when not everything was pro - 1957–1987 fessionally preserved as it is today. In addition to the inherent © 2009 John Wion energetic difference of a live performance, these are all “one- take” recordings, and when one listens with that in mind, Wion’s n 2007, John Wion self-pub - remarkable, inspired performances become that much more so. Ilished his memoir, Wood, In addition to the energy of the set’s spontaneous quality, Silver and Gold, with lulu.com. another great feature is its variety of composers and styles. While He compiled the two-CD set Wion does not always include multi-movement works in their John Wion Live: A Retrospective with the intention of providing a entirety (he includes all movements of the Lovelock Concerto soundtrack to accompany the book. Whether you have read, simply because he feels it is a work deserving of more attention), intend to read, or do not intend to read the book, this compila - he does show his versatility by placing opera solos next to works tion is worth considering as an addition to your collection. ranging from the “traditional” (including Sonata by Prokofiev, Those whose ears can tolerate only the most pristine and tech - Ballade by Reinecke, Sonata BWV 1030 by J.S. Bach) to the nologically advanced recording quality may have a difficult time avant-garde (including Synchronisms #1 by Davidovsky, Arcade appreciating this collection. Because these recordings are taken 3b by Humble, and others). (For a full listing, visit from a variety of live performances and venues (radio broad - http://homepage.mac.com/johnwion/recordings.html.) casts, boot-legged opera performances, recitals, recordings of his This compilation beautifully chronicles the highlights of an solos with a variety of orchestras, and chamber performances), exceptional career and provides an impressive glimpse of flute the sound quality changes from one track to the next and is often performance in the second half of the 20th century. While you a bit stuffy or muffled. However, Wion includes liner notes that do not have to purchase his memoir to appreciate these record - describe the context for each performance, which adds interest ings, you may be inspired to read more about Wion and his jour - and excitement in the listening experience. ney playing on a wooden, silver, and, finally, gold flute. For instance, we learn that there may be some inaccuracies in —Tess Miller

doin’ the D to the floor. One is tempted to get in the car, roll down the Alexander Zonjic windows, crank the CD player up to 10, and cruise around © 2009 Heads Up town—in a convertible. International Kenny G makes an appearance on this CD. It’s easy listenin’ all the way. The music is driven by the bass throughout. The heads sometimes enjoy going are catchy and easily recognized as each tune progresses, but the Iinto a fast food place and thrill of hearing really wonderful improvisation on a set of cre - getting something that sim - ative changes is not what this recording is about. Then again, a ply tastes good, even if my burger is not a filet mignon, nor is it trying to be. The tunes are taste buds are not especially appealing and slick, and the studio processing is for the most challenged. Our lives might part done well, if a bit excessive. I did notice a couple of bones in be enhanced by foods that are organic, gluten-free, free-range, my burger, though: A few edits are not quite seamless. and all-natural—but now and then, deep down inside, maxi - If there is something missing in the meal, it is more har - mum pleasure comes from a super deluxe burger with the works. monic variety. Despite the rhythmic punch and solid groove, So it is with music. there is a disturbing sameness between many of the selections. Flutist Alexander Zonjic’s latest CD, doin’ the D , may not It certainly contributes to the comfort level of the music, but thrill jazz listeners looking for the hottest groove, but if you I’d like to be surprised here and there by a flavor not expected. are looking for something that you can chew on and enjoy, I’m heading out the door for a burger with the works. Care you’ll love this recording. The flute playing is solid and beau - to join me? tiful and the rhythmic groove refuses to let you pin your feet —Brooks de Wetter-Smith

nfaonline.org Winter 2010 The Flutist Quarterly 57 CDs Lua e Sol contrast ing well with the guitar solo that follows. “Estrelinha” Mark Weinstein and the title tune are Weinstein’s compositions. The rhythm sec - tion of “Estrelinha,” a beautiful ballad in waltz tempo, creates © 2008 Jazzheads, Inc. much interest, and the solos on this tune (flute, guitar, and bass) are wonderful. “Lua e Sol” is a real expedition. It starts with a he more I truly listen to bowed bass, and the rest of the rhythm section enter freely before Tflutist Mark Weinstein’s a slow groove is set up for the haunting flute melody. The tune Lua e Sol , the more I like it. begins to gain a lighter feeling, and then Weinstein starts impro - The band (Weinstein, flute, vising. The flute solo tells a long story and becomes very wild. It alto flute, bass flute; Romero is virtuosic in nature, and the rhythm section complements it Lubambo, classical guitar; extremely well. The subsequent guitar and percussion solos are Nilson Mata, acoustic bass; and Cyro Baptista, Brazilian percus - equally compelling. sion) is well rehearsed, the music nicely arranged, and the side - The two classically styled tunes, “Choro da Gafieira” and men are terrific in every way. Weinstein’s creative soloing “Segura Ele,” are technical, short, and to the point. They are both expresses many moods. The all-Brazilian music represents lots of sweet compositions and fun to hear. On this album, Weinstein’s different styles, including samba, bossa, ballad, and even a cou - deep, rich tone on the alto and bass flutes really comes through. ple of more classical tunes. The moods vary widely on this On the tunes “Floresta” and “Emorio,” he makes use of interest - recording, from upbeat to mysterious and dark. Along with ing superimposed chords and octaves. Weinstein’s two inspiring compositions, the other pieces were The most outstanding features of this CD include the music written by prominent Brazilian composers. itself, which is varied and dynamic; the excellence with which it’s The opening tune, “Canto de Ossanha,” is absolutely delight - played by all band members; and Weinstein’s writing, soulful and ful. The groove is quite infectious, the tune catchy. Within the well thought-out. I highly recommend Lua e Sol as a splendid song, the key gently sways back and forth between sections addition to any music lover’s library. of minor and major. The opening flute solo is energetic, —Jill Allen

The New Lyric Flute Ortiz , and Margi Griebling-Haigh. The use of chamber music Susan Royal rather than just flute and piano adds interest to this CD; musi - cians include Natasha Farny, cello; Nathan Hess, piano; James ©2007 Centaur Records, Inc. Piorkowski, guitar; Danna Sundet, oboe; and Jody Guinn, harp. With the exception of the Liebermann, the pieces can be said usan Royal is to be com - to be“programmatic” in nature , in that there is some extra musi - Smended for having the cal influence in their conception. Two examples are the Cortese courage to produce an “I Dream’d in a Dream ,” inspired by a Walt Whitman poem of album of contemporary flute the same name , and Schocker’s “Hannah’s Glade ,” inspired by a music—not just contempo - photograph of the English garden owned by the work’s commis - rary, but music written since sioner. The result is pieces that are quite accessible for the casual the year 2000. The title “The New Lyric Flute” refers to contem - listener , yet interesting for the connoisseur. porary composers who have rediscovered and are utilizing the This reviewer’s favorite piece was the Griebling-Haigh lyric qualities of the flute. This CD harkens back to the old series Danses Ravissants for flute, oboe, cello, and harp. It is loaded of recordings, “Classical Music for People Who Don’t Like with exotic sounds conjuring images of colorful and magical Classical Music”: We could call this “Contemporary Music for creatures. Each listener’s imagination will find something dif - People Who Don’t Like Contemporary Music.” ferent; the composer wants us to dance. Some of the composers are familiar to serious flute players All the players produce solid performances of all the pieces. and some are lesser known. They include Lowell Liebermann, They obviously understand and enjoy the music they are making. Gary Schocker, James Piorkowski, Glen B. Cortese, William —Keith Pettway

I’m Flying Jill Allen is a case in point. The Yamaha clinician and former Jill Allen NFA jazz committee chair gained exposure in the jazz press © 2005 Ambi Records while living in New York City in the 1990s, but the time she has spent living in areas such as Kansas and Florida mostly has kept nvestigating and interview - her off the critics’ radar screen, which rarely focuses outside a Iing jazz flutists for my few major cities. Those who heard her impressive performance recent book on the subject with the NFA Jazz Flute Big Band at the 2007 convention in has confirmed my suspicion Albuquerque know that this neglect is quite unjustified. that talent does not auto - I’m Flying is Allen’s most recent recording, her third overall. matically generate press cov - Recorded in 2005, it finds her working with an excellent New erage or critical accolades. York-based rhythm section—pianist Toru Dodu, bassist Tony

58 The Flutist Quarterly Winter 2010 nfaonline.org Marino, and drummer Adam Nussbaum—and displays the Allen’s playing throughout displays her technical fluency essential elements of both her style and her distinctly original and imaginative improvisations. Her approach to sound pro - approach to material. The program includes three originals by duction, however, is a little unusual. She writes: “The album Allen, “Stand Clear of the Closing Doors,” “One Day,” and I’m Flying is a big departure from all previous projects I have “The Meaning,” plus five standards, including the title track, done, in that I was pursuing a non -vibrato approach. I was which comes from Mark Charlap’s music from Peter Pan ; “The exploring what was possible on the flute without all that vibra - Sound of Music,” from the movie of the same name; “Getting to to flute players (including myself) use.” For me, flute perform - Know You,” from The King and I ; “Wouldn’t It Be Loverly,” from ance in every genre needs to draw on all the tonal variation the My Fair Lady; and “I Hear a Rhapsody,” a 1941 hit featured in the instrument can produce; with zero vibrato , the tone is a little 1952 film noir, Clash by Night, and the only selection that could colorless. But that is a personal view, and it is a minor point. be considered a jazz standard. The arrangements by Allen and Flutist Quarterly readers with an interest in jazz will enjoy her husband/collaborator Gary Wofsey give each item a distinc - this recording and, like myself, hope that Jill Allen produces tive twist, such as the 5/4 sections in “The Sound of Music.” Julie another one soon. Andrews , eat your heart out! —Peter Westbrook

Anton Reicha amazingly stable, which could partially account for the wonder - Woodwind Quintets, ful sense of ensemble this recording displays. Volume 11, Op. 100, It is seldom that one comes across a recording that with care - ful listening displays absolutely no major flaws, in performance nos. 3 and 4 or engineering. This is such a recording. The players understand Westwood Wind the music, each other, their instruments, and how they fit into Quintet the mix. The result is simply beautiful ensemble playing. The © 2008 Crystal Recordings intonation is about as good as it gets when it comes to any cham - ber music, especially a woodwind quintet. We have all heard peo - his is the penultimate ple speak despairingly about the woodwind quintet as an inferi - Tvolume of an ambitious or chamber ensemble. This recording proves that wrong. project to record all of the Reicha woodwind quintets. It is diffi - It would probably be cost prohibitive for most individuals to cult to put together a series such as this, but the venerable own the whole set of these quintets, but anyone who loves great Westwood Wind Quintet has created what could be the defini - music well played should own at least one. If other volumes stack tive recording of these wonderful pieces. up to this one—and earlier reviews in this publication indicate The year 2009 marked the 50th anniversary of the founding of that they do—institutional libraries would do well to own the the Westwood Quintet by oboist Peter Christ, who is still with whole set. the ensemble. Over these years the personnel have been —Keith Pettway

Brésil 1900 the key players in developing the choro style and later genre that Jean-Louis would emerge from this period. Beaumadier, piccolo The works in general follow the melodic and harmonic struc - ture of works by European flutist-composers of the era, such as © 2007 Studio Alys; Wilhelm Popp and Theobald Böhm, sometimes offering virtu - © 2009 Skarbo osic display. Waltzes, mazurkas, and other dances prevail, although some pieces are more poetic, such as “Oriental” and rench flutist Jean-Louis “Evocação” by Silva. Brésil 1900 offers a glimpse of salon music FBeaumadier and Brazilian pianist Maria José Carras- during this period in Brazil. Although Beaumadier does a beau - queira combine forces to tiful job on piccolo, a switch to flute on several of the more lyri - record a body of flutist-as- cal works would have been a welcome timbral change.“Oriental,” composer works emerging from Brazil during the approximate for example, is similar in nature to Doppler’s “Fantasie Pastoral period of 1860–1907. Although originally scored for flute and Hongroise,” and when performed on flute offers nice low register piano, Beaumadier performs all works on piccolo. The record - color opportunities and harmonic effects. That said, the piccolo ings focus on the compositions of Pattápio Silva (1880–1907), adds a delightful “music box” effect to the waltzes and mazurkas, who was the first flutist to record in Brazil’s then new recording such as “Primeiro Amor” and “Margarida.” The piano writing, industry. The remaining five titles are devoted to compositions typical for the era and style, uses characteristic oom-pah-pahs of Joaquim Antonio Callado (1848–1880), traditionally credited and the like, allowing the piccolo to predominate. as the founder of the first choro group, and Belgian flutist The collected works of Pattápio have been recorded on flute Mathieu-André Reichart (1830–1880), who came to Brazil in by various Brazilian artists. This performance on piccolo, 1859 upon the summons of the Emperor Pedro II to perform in however, lends a fresh approach to the collection. his court. Reichart and Callado were colleagues and said to be —Julie Koidin

nfaonline.org Winter 2010 The Flutist Quarterly 59 CDs Woodwind Echoes: never previously have crossed your CD sights, but you might like Crescent Duo and to take a listen here. Presenting 10 different 20th- and 21st-cen - tury composers, with combinations for flute/clarinet, Eclectic Trio flute/clarinet/saxophone, flute/clarinet/bass clarinet/saxophone, Joanna Cowan White flute/bass clarinet, flute/clarinet/saxophone and marimba, and © 2008 Central Michigan all of the above plus percussion, we have here a truly eclectic set University of very listenable music. Catherine McMichael’s “Eclectic Trio: A Shor t Dance Suite for Flute, Clarinet, and Alto Saxophone” ll faculty at Central (2003) blends timbres in a most pleasing way with movements AMichigan University that tease our interest: sarabande, tango, and jitterbug . Many School of Music, these fine of the pieces have a jazzy or improvisational feel, and nearly all musicians (Joanna Cowan White, flute; Kennen White, clarinet; of them can provide new ideas for recital material. John Nichol, saxophone; Andrew Spencer, percussion) may —Cynthia Stevens Books Performing in the Zone: Performing in the Zone explores the value of mental visualiza - Unleash Your True tion, a fundamental technique for performance confidence, but in this case the discussion is not as complete. Neuroscientific Performing Potential! data tells us that for mental visualization to be most effective, a Jon Gorrie person must be deeply relaxed. In deep relaxation, the brain pro - © 2009 Jon Gorrie duces alpha waves—slower than the everyday beta brain rhythm. Alpha waves create a state of calm, focused awareness, which is ny book that offers effective the ideal state for creative thinking, learning, and absorbing the Atechniques to help overcome imagery of success we seek to integrate. performance anxiety is always wel - Although Gorrie gives a good description of visualization, he comed. Performing in the Zone: offers only a brief paragraph about relaxation. His discussion Unleash Your True Perfor-ming lacks detailed instructions on how to become relaxed—through Potentia l by Jon Gorrie is an excellent progressive muscle relaxation, for example, or through some new resource. Gorrie guides readers other technique. Similarly, only one page is devoted to positive through a large number of both basic and innovative techniques self-talk, long known by cognitive behavior theorists and clini - and presents a 12-week performance success program that cians to be one of the most effective tools to help nervous per - provides a structured format to help readers apply them. formers focus, obtain control of their minds and bodies, and Gorrie is a professional trumpet player originally from New reach their goals for confident, satisfying performance. Zealand who lives in Sweden. Writing in an easy-to-read, con - Gorrie maintains a supportive, encouraging, and empathet - versational style, he shares his story of struggling with perform - ic tone throughout the book. There is, perhaps, a lack of emo - ance anxiety. He talks about important issues such as breathing, tional depth and breadth concerning the emotional experience time management, body language, feigning confidence, avoid - ing negative people, and practicing performance. His discussions of performance anxiety. Readers will find less here about the overflow with sound techniques to help performers of all kinds great variety, far-reaching reasons and manifestations of this build confidence in high-pressure situations. These techniques very common and often painful, even crippling condition are presented thoughtfully and are based on sound principles. than they will find in other resources, such as Eric Maisel’s The Gorrie begins by expanding on the performance equation Performance Anxiety Workbook . Even so, Gorrie’s voice and first introduced by Barry Green in his book, The Inner Game practical approach are engaging and inspiring. of Music . While Green’s parameters include actual perform - Of course, the question for readers is will Gorrie’s 12-week ance level, best performance level, and performance with program work? As far as the timeframe is concerned, many (internal) interference, Gorrie’s alternative performance equa - people overcome performance anxiety much quicker than 12 tion ingeniously incorporates a number of vitally important weeks once they find the key to address their individual issues. factors: cognitive and physical attributes, external interference, Others take much longer than three months; for some, the and the appropriateness of the player’s performance arousal road to confidence on stage may be a journey of years. level. Integrating these factors gives much greater depth to our Gorrie’s program is logically sequenced and, if followed dili - understanding of the outcome of performance. gently, may help flutists and other musicians with mild stage Gorrie’s performance arousal diagram is one of his most fright make real progress on the road to performing confi - valuable offerings. He provides clear, easy-to-understand dently. Those who suffer moderate to severe performance anx - graphics and explains how performers can use this tool to help iety may be unlikely to find their way to confident, liberated modulate their level of anxiety. With a bit of imagination, flutists performance through this book—or any book—alone; by will be able to adapt this diagram to address their individual themselves, techniques are rarely the solution. But for anyone needs in myriad ways—for example, to use it in the context of who seeks more control over their performances on stage, mental visualization. The simplicity and adaptability of this tool Performing in the Zone is highly recommended. alone is worth the price of the book. —Helen Spielman

60 The Flutist Quarterly Winter 2010 nfaonline.org Music The Mary Karen Clardy composers as diverse as Böhm, Kohler, Karg-Elert, Paganini, Flute Études Book II and Andersen provide students with a pleasing variety of material and opportunities to develop technical proficiency. ©2008 Schott Music Corp The études are arranged into the circle of fifths, with two for each minor and major key, 48 in all. Scales at the end of the his excellent volume of stud - book and biographical information about the composers Ties is the follow-up to The round out the book’s offerings. The volume is well presented Flute Etudes Book , currently in its on good quality, off-white paper, and page turns are generally fourth printing. Aimed toward taken into consideration with the layout. This excellent book the advanced player, Book II con - will undoubtedly be very useful for teachers and students tains a range of études selected alike. from the repertoire standards; —Carla Rees

Viotti, Gianella, play and to listen to. The three composers worked during the Mercadante: Tre duetti height of the Classical era, and the pleasing melodies and har - monies are typical of the style. Comments I jotted in the mar - italiani per due flauti gins while sightreading these with a student include “pleasant, Revisione di Rien de Reede sweet, cute, fun....” The duos are suitable for use as light fare for a program of chamber music or music for a reception or ©2003 Edizioni Riverberi Sonori party, and they are good sightreading material for a moderate - ly advanced player. The preface includes brief biographies and his collection of three duets lists of other flute works by each composer. The layout and Tby Giovanni Battista Viotti, readability of the edition is very good, and the print is clear Luigi Gianella, and Saverio and easy to read. Mercadante is truly a delight to —Rebecca Hovan

-ARINA0ICCININI INTERNATIONAL FLUTE -ASTER #LASSES BALTIMORE, MARYLAND x JULY 7–12, 2010 APPLICATION DEADLINE: A PRIL 26, 2010 www.peabody.jhu.edu/piccininimc for details nfaonline.org Winter 2010 The Flutist Quarterly 61 YFL-894H

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NFA OFFICE Program Book Editor Historical Flutes DMA/PhD Dissertation OTHER APPOINTMENTS Chief Executive Officer Anne Welsbacher Linda Pereksta (2007) Michelle Cheramy (2007) Development Consultant 72 13 E. Chelsea St. School of Music Phyllis T. Pemberton 801 Frontage Rd., #912 Christa Flueck Wichita, KS 67206 Oxford, MS 38655 Memorial University 26951 Ruether Ave., Ste. H [email protected] Santa Clarita, CA 91351 316-440-2800 662-513-0508 of Newfoundland 661-713-6013 fax: 316 -440-2801 [email protected] St. John’s, Newfoundland Director of Public Relations fax: 661-299-6681 [email protected] Canada Ann Rosenblum (2008) [email protected] Jazz A1C 5S7 Program Book Advertising Ali Ryerson (2004) [email protected] 12 Princeton St. Convention Director Sales Representative 12 Longview Dr. Summit, NJ 07901 Madeline Neumann Steve DiLauro Brookfield, CT 06804 High School Soloist 908-608-1325 26951 Ruether Ave., Ste. 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Chelsea St. [email protected] Wichita, KS 67206 Cedar Falls, IA 50613 Eugene, OR 97403-1225 12 Longview Dr. 316-440-2800 ph/fax: 319-268-1001 w: 541-346-3790 Brookfield, CT 06804 Flute Research fax: 316-440-2801 cell: 319-290-2852 [email protected] 203-740-2044 Committee Chair [email protected] [email protected] [email protected] Nominating aliryerson.com Michelle Cheramy (2007) NFA Online Administrator COMMITTEE CHAIRS Jonathan Keeble (2009) School of Music Brian Covington Advisory Committee University of Ilinois Masterclass Performers Memorial University [email protected] Patti Adams (2008) 1114 W. Nevada St. Jill Heyboer (2007) of Newfoundland 2840 Coliseum St. Urbana, IL 61801 Music Department St. John’s, Newfoundland CONVENTION New Orleans, LA 70115 217-333-8142 Missouri State University Canada A1C 5S7 901 S. National Ave. Program Chair 504-895-5908 [email protected] 709-737-7477 Springfield, MO 65897 Cynthia Ellis [email protected] [email protected] 417-836-4875 California State University Fullerton Pedagogy Amateur Resources [email protected] Department of Music, PO Box 6850 Stacey Graham Steele (2009) Grants Committee Lisa Fahlstrom (2007) Fullerton, CA 92834-6850 110 Poplar Forest Dr. 1216 Travis View Ct. National High School Flute Choir Danielle Hundley (2008) 661-313-8274 Slippery Rock, PA 16057 Gaithersburg, MD 20879 Ronda Ford (2009) 1124 Collier Rd. [email protected] 724-794-2127 301-948-5333 9226 Constance Moscow, OH 45153 [email protected] fax: 301 -279-1323 Lenexa, KS 66215 513-876-0885 Assistant Program Chair [email protected] 913-888-9546 fax: 513 -362-6709 Christina Cobas Performance Health Care [email protected] [email protected] California State University, Fullerton Archives and Oral History Stephen A. Mitchell (2008) Department of Music, PO Box 6850 Nancy Toff (2007) 4820 Redcastle Ridge Newly Published Music International Liaison Fullerton, CA 92834-6850 Nashville, TN 37211 425 East 79th St., #6F Jennifer Robin Lau (2007) Aldo Baerten (2009) [email protected] 615-386-9089 Center of the Arts New York, NY 10075 Mezenlaan, 11 212-772-1343 fax: 615 -832-7888 MSC04 2570 Sint Genesius Rode Convention Director [email protected] [email protected] 1 University of New Mexico Madeline Neumann Albuquerque, NM 87131 Belgium B-1640 26951 Ruether Ave., Suite H Career Development and Piccolo 505-401-2398 Ph/fax: 003223811575 Santa Clarita, CA 91351 Business of Music Carl Hall (2009) [email protected] [email protected] 661-299-6680 Laura Barron (2009) 1352 Metropolitan Ave SE fax: 661 -299-6681 196 W. 18th Ave. Atlanta, GA 30316-1670 Orchestral Audition and Masterclass Legal Advisor [email protected] Vancouver, BC 404-377-6112 Jennifer Parker-Harley (2008) to the Board Canada V5Y 2A5 [email protected] University of South Carolina Linda Mintener Local Arrangements Chair 604-875-8865 School of Music 3976 Plymouth Cir. Julie Long [email protected] Special Publications 813 Assembly St. Madison, WI 53705 4743 Pimenta Ave. Patricia Harper (2008) Columbia, SC 29208 608 -231-1680 Lakewood, CA 90712 Commercial Members 38 Oak Dr. 803-777-4853 fax: 608-266 -3049 310-945-6712 Jonathan Keeble Centerbrook, CT 06409 [email protected] [email protected] University of Illinois [email protected] 860-767-0629 1114 West Nevada St. Piccolo Artist [email protected] Masterclass Reporter, Convention Equipment Chair Urbana, IL 61801 Hillary Feibel (2009) Flutist Quarterly Kimberlee Goodman 217-333-8142 6435 West Jefferson Blvd. #138 4783 Cherry Park Dr. [email protected] COMPETITION COORDINATORS Fort Wayne, IN 46804 Lee Chivers (2008) Columbus, OH 43230 General Coordinator 260-450-6674 1933 E. Renee Dr. Cultural Outreach 614–805–5261 Diane Boyd Schultz (2009) [email protected] Phoenix, AZ 85024 [email protected] Horace Alexander Young (2007) University of Alabama 623-580-5244 5615 Morningside, Suite #309 School of Music, Box 870366 Professional Flute Choir [email protected] Houston, TX 77005 Exhibits Management Tuscaloosa, AL 35487-0366 Pamela Youngblood (2009) 281-660-0025 Jim Magee 205–348–4532 Texas Woman’s University NFA Library Liaison N’Awlins Trade Show and [email protected] [email protected] PO Box 425768 Sandy Schwoebel (2008) Convention Services, Inc. Development Denton, TX 76204 2102 E. Florence Dr . 612 Highland Ct. Baroque Flute Artist 940-898-2495 Mandeville, LA 70448 Katherine Borst Jones (2007) Tucson, AZ 85719 4635 Rutherford Rd. Nancy Schneeloch-Bingham (2007) [email protected] 520-321-4821 985-626-3046 Hayes School of Music fax: 985 -727-3940 Powell, OH 43065 [email protected] Appalachian State University Young Artist [email protected] 740-881-5008 Boone, NC 28608 Donna Shin (2008) fax: 740-881-5252 Myrna Brown 828-262-6447 University of Washington Exhibits Assistant [email protected] International Liaison and [email protected] School of Music Patti McCleney Endowment Box 353450 Scholarship Coordinator N’Awlins Trade Show Angeleita Floyd (2007) Zart Dombourian-Eby (2007) Collegiate Flute Choir Seattle, WA 98195 -3450 and Convention Services, Inc. 3743 Beaver Ridge Cir . 2515 10th Ave. W. Dorli McWayne (2008) 206-543-9877 P.O. Box 8538 Seattle, WA 98119 [email protected] Cedar Falls, IA 50613 Mandeville, LA 70470 -8538 780 Merlin Ln. 206-285-0206 Fairbanks, AK 99709 ph/fax: 319-268-1001 ph/fax: 985 -893-9521 [email protected] 319-290-2852 cell [email protected] 907-479-6701 ARCHIVES AND LIBRARIES [email protected] Forum/Web Site [email protected] NFA Librarian Showcase and Exhibitors’ Brian Luce (2008) Bob Diaz Concert Coordinator P.O. Box 210004 Convention Performers NFA Music Library Myrna Brown Society Rebecca Johnson (2008) University of Arizona Sally Humphreys (2008) c/o University of Arizona Libraries Eva Amsler (2007) 1010 North Busey Ave. Tucson, AZ 85721 -0004 380 E St. 1510 E. University 1650 Snowball Wy . Urbana, IL 61801 520-621-7015 Salt Lake City, UT 84103 Tucson, AZ 85721 -0055 Tallahassee, FL 32301 812-786-4526 fax: 520 -621-8118 801-355-8859 520-621-7010 850-877-2096 [email protected] [email protected] [email protected] [email protected] [email protected]

Index of ADVERTISERS Abell Flutes ...... 43 Harper, Patricia ...... 50 Oberlin ...... 22 Asin, Nadine ...... 29 Jeanne Baxtresser ...... 14 Ogura Flute Works ...... 46 Asheville Flute Vacation ...... 6 Keefe Piccolos ...... 50 Packard Humanities Institute ...... 38 BG Frank Bichon ...... 13 Kemler, Katherine (2) ...... 23, 49 Peabody Conservatory of the John Hopkins Bradley Leighton ...... 6 Kingma Flutes ...... 66 Institute ...... 61 Brannen Brothers Flutemakers, Inc...... 65 Landell Flutes ...... 23 Pearl Corporation ...... 2 Burkart Flutes and Piccolos (2) ...... 9, 68 Little Piper/Dean Yang Flutes ...... 55 Polak, Simon ...... 12 Cardinal Classics ...... 50 Lopatin Flute Company ...... 50 Potter, Christine ...... 52 Chopsaver ...... 4 Lyric Flutes/Hammig Piccolos Progress Press (3) ...... 23, 27, 46 Clarion Insurance ...... 45 (see also Miyazawa) ...... 8 Sheridan Flute Company ...... 22 Classical Collection, Inc ...... 50 Mancke-Flutes ...... 5 Syrinx Flute Repair ...... 52 Crystal Records ...... 41 Marcel Moyse Society ...... 50 Tai Hei Shakuhachi Flutes ...... 43 Drelinger Headjoint Co. (2) ...... 22, 49 Miles Zentner ...... 22 Wacha, Sandra Moore ...... 66 Fluit ...... 46 Miyazawa Flutes, Ltd (2) ...... 8, 67 Williams Flutes ...... 15 Flute Specialists, Inc...... 29 MPulse (University of Michigan) ...... 6 Winzer Press ...... 28 Flute World ...... 44 Muramatsu America ...... 63 Yamaha Corporation of America ...... 62 Graf, Erich ...... 5 National Flute Association ...... 29 Your Flute Works ...... 44

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