British Flute Society @BritishFluteSoc on Facebook @TheFluteEditor From the Editor Contact Elisabeth at [email protected]
his issue of PAN celebrates the 30th anniversary of the British Flute Society. In putting the June magazine together, it has been a treat to comb through the archives of PAN and discover the wealth of treasures that they contain. A handful of past articles have been republished here for you to enjoy, and others will soon Tbe available on the BFS website. A glance at the original committee list: Christopher Hyde Smith (Chairman), John Francis (Secretary), William Bennett (Concert Representative), James Galway (President) gives an insight into the calibre of people Trevor Wye first inveigled into his ambitious plan for a British Flute Society. Trevor himself hid behind the modest title of Assistant Editor, the post of Editor being brilliantly executed by Lorna Lewis, back in the days when producing a magazine required scissors and glue. Malcolm Pollock, Education Representative on the original committee, has rejoined the Council thirty years later, and in this issue contributes fascinating insights on the state of flute teaching then and now. The lowly Concert Rep is now our celebrated President William Bennett OBE; and our original President has become, of course, Sir James Galway, who, with his wife Lady Jeanne Galway, is now our Honorary Patron. The BFS can be justly proud of its achievement in fostering talent, enthusiasm, and flute-playing fun over three decades. Its future looks just as exciting. Do join us for the 30th anniversary celebration picnic in Regent’s Park on 23 June after Trevor Wye’s Premier Flautist recital. I hope you enjoy the June issue of PAN. Elisabeth Hobbs Editor
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June 2013 1 AMI 4534 s.i.o.h 184.6x123.3.indd 1 18/10/2011 10:15
The Council and Officers of the British Flute Society Chairperson Carole Jenner-Timms Vice Chairperson Rachel Misson Treasurer The British Flute Society Catriona Crosby Area Representative Co-ordinator Kate Cuzner Council Members President William Bennett OBE Helen Druiett; Kate Hill; Anne Hodgson; Vice President Sheena Gordon Lisa Nelsen; Niall O’Riordan; Honorary Patrons Sir James Galway Malcolm Pollock; Sally Quantrill and Lady Jeanne Galway AFT Representative Chairperson Carole Jenner-Timms Hugh Phillips Membership Secretary The Journal of the Nicola Thompson British Flute Society Legal Advisor Alastair Learmont BFS Secretary and Advertising Manager Volume 32 Number 2 Anna Munks June 2013 Editor Editor Elisabeth Hobbs Elisabeth Hobbs [email protected] Convention Programme Director Carla Rees Full contact details for all council members and Contacting the BFS officers are available from the secretary, Secretary and Advertising Anna Munks 27 Eskdale Gardens Purley, Surrey CR8 1ET Area Representatives Telephone and fax 020 8668 3360 [email protected] Avon & Somerset Carole Jenner-Timms 01761 233982 Birmingham Margaret Lowe 0121 474 3549 Membership Secretary Cardiff Justine Swainson 029 2075 1313 Nicola Thompson Cheshire Dawn Savell 01925 416647 48 Wistow Road Cumbria Suzanne de Lozey 01539 560054 Selby YO8 3LY Derry/NI Sarah Murphy 07811 107065 Telephone 0845 680 1983 Devon (West) & Cornwall (East) [email protected] Kym Burton 01837 861138 East Sussex Anne Hodgson 01273 812580 Hertford Sally Quantrill 01992 536236 Editorial Committee Hertfordshire Wendy Walshe 01707 261573 Carole Jenner-Timms Hertfordshire (Hitchin) Liz Childs 07711 080275 Alastair Learmont Isle of Wight Louis Henry 01983 531868 Rachel Mission Kent Pat Daniels 01732 770141 Anna Munks Lancashire Mark Parkinson 01257 410856 Niall O’Riordan Lancashire (Preston) Jane Pembleton-Smyth 01772 864587 Editoral Assistant Sarah Roberts Leicestershire Elizabeth Rowan 0116 2514595 Design and Layout Elisabeth Hobbs London E & Essex Kate Cuzner 01787 273628 NW London Joss Campbell 07930 093564 Cover image cartoon by Wibb (William Oxfordshire Kate Hill 01491 641212 PAN Bennett), first published vol. 1 no. 1 Scotland Marysia Williamson 01501 762 510 Southampton/Hants Sarah Heard 07779 927613 Surrey Jacqueline Cox 020 8773 0436 Printed by Lavenham Press Swansea Hugh Phillips 01792 865825 West Yorkshire Tracey Smurthwaite 01924 211538 Views expressed by contributors are their own and do not necessarily reflect an official view of the British Flute Society. Australia (VIC) Paula Rae +61 3 9882 6888 All copyrights reserved. Australia (NSW) Derek Galloway +61 4 50045753 France Atarah Ben-Tovim +33 5574 74428 Italy Geoff Warren +39 85 4159865 Muscat, Oman Nicholas Foster +968 95203966 New Zealand Marion Titmuss +64 75520794 Registered charity No. 326473 Qatar Pat Smith +974 4678121 ISSN 2052-6814 Contents
1 From the editor 4 Letters 6 News 17 Dates for your diary 54 Reviews 58 Last word Marcel Moyse 9
Features 18 The Radcliff flute in traditional Irish music Tom Greene on Paddy Carty 22 Canadian works for flute Jennifer Brimson Cooper on music in Ontario since the 1960s 28 Living with focal hand dystonia David Greenhalgh on his journey back to flute-playing health 32 32 Albert Cooper’s Gadget Page revisited Some early columns from the renowned flute maker 36 Better late than never Tony Corney on his Rudall Carte flute and how he finally learnt to play it
Regulars 38 Forgotten composers 44 Roz Trübger on a predecessor to the BFS 42 Baroque Elizabeth Walker on 30 years of historical performance practice 44 Well-being Niall O’Riordan on improving your playing by finding comfort in your jaw 48 Flute choirs Elisabeth Hobbs and Caroline Hobbs-Smith on new repertoire 50 Teachers’ portfolio Malcolm Pollock reflects on the changes since 1983 52 52 Flutewise Liz Goodwin on inspiring the next generation
June 2013 3 The Editor, PAN The Dairy Toot Baldon Letters OXFORD OX44 9NG Write to [email protected]
Prize Letter have passed the grades without mention of lack of tonging, Synchronicity bad posture, or other particular problems. I look forward to I just wanted to thank you for your articles in the BFS hearing the opinions of other colleagues. magazine on the subject of synchronicity and A Method Manda Williams Called Love. I was introduced to the concepts of positive A county music service perspective thinking, universal oneness and intuition a few years ago and Atarah’s letter really struck a chord for me as a specialist flute thought they were exciting, but didn’t really commit to them teacher working for the last 20 years with a county music as they seemed too esoteric and even weird. Reading articles service. When I started teaching, lessons were individual, on the subject in a traditional, quite conventional classical usually 30 minutes. Over time, with financial pressures, that music magazine written by respected players at the top of time was pared down and small group teaching was introduced. their game (Niall O’Riordan and Wissam Boustany) got me The pressure to recruit more students meant offering group thinking about these ideas again and ‘legitimised’ them in my teaching to younger and younger students, although the fact mind. The result is that it has totally changed my life and flute that the music service only stocked standard flutes for loan playing, the synchronicities are everywhere now I’m aware of meant that most colleagues found it difficult to teach below them, and making music is the joyous activity is supposed to Year 4. be. May the flow continue! Now with Wider Opportunities, music service teachers are Emily Johnson being required to provide whole class general wind teaching to children as young as seven. Some specialist flute teaching From the Editor: colleagues are using fife to good effect, but non-specialists June’s Prize Letter receives a copy of The New Flute: hardly know where to start. The verdict of the music service I Workbook and DVD by Tilmann Dehnhard, kindly donated work for is that flute is just too hard to teach in the large group by Universal Edition. This ground-breaking new tutor book is context and that therefore from now on they will not offer it to reviewed on page 54. young beginners at all. The only new players we are bringing up for the future through the state system, at least in this county, Starting too young? are ones who come in through other means. When it comes to the flute, Wider Opportunities seems to really mean No Readers respond to Atarah Ben-Tovim’s letter Opportunity. published in the March issue If we are going to start children so young, it would be Bad habits really helpful to develop a coherent methodology for doing I agree with Atarah Ben Tovim, I think many children are so, one that could be part of the training of new, enthusiastic, starting to play flute too young. I teach at secondary level young flute teachers, so that we all know how best to train and school, working with children from age 11 to 18. I spend a encourage the very young children we now need to teach to considerable amount of time trying to undo the bad posture ensure the lifeblood of flute playing in the future. habits, wrong fingerings, and so on, that the children have Sadly, I must ask you kindly not to publish my name if you acquired at their prep or primary school (often under the print this letter, as my music service has threatened to discipline tutelage of a non-flautist - but that’s another bugbear!). It is any colleague who publicly disagrees with their development strategy. very frustrating for all concerned and creates problems that Name withheld sometimes cannot be undone. I have experience of teaching younger children too, and I prefer to start them on fife, as they can concentrate on forming a good embouchure and tonguing technique without having to grapple with the physical problems presented by a full size flute. I’m not in favour of the curved headjoint, however, as I have noticed that many children who have been started on them play with a dropped chin. The grade system of exams isn’t always helpful, either. One boy, for example, who started lessons with me having apparently passed Grade 3 hadn’t even been taught how to tongue! Pupils can be reluctant to correct their habits if they have, in their own eyes, been successful, because they
4 www.bfs.org.uk An evolving viewpoint flash cards for BAG, and learn to name the notes and make the In answer to Atarah’s question, my views on teaching young matching finger shapes. When it is time to play the notes, they children have changed over time. With over 30 years of flute know where the fingers go, and are confident in reading the teaching behind me, I have, in recent years, found myself pitch. We also sing and name notes, compose, play in informal teaching flute to children as young as five. Initially, when faced school concerts, and generally have great fun. with eager child and enthusiastic parent I was very sceptical. So in answer to Atarah’s question, ‘Do we start too early?’, I put my cards on the table and said that I had never taught years ago, I would have said an emphatic yes. But we have to anyone of that age, but harnessed the mother’s enthusiasm, face the fact that the world and educational climate has changed suggesting that she come to the first few lessons and, with the dramatically in the last few years. Children are very pressurised child’s agreement, that she assist she with practice. academically, and the old way of children starting an orchestral We started on the fife but soon had to move on to the Just instrument at 11 is actually too late in most cases today. Very Flutes ‘Apprentice’ flute, once it became clear that although the rarely does one get a beginner of that age with the motivation fingers knew where and when to move, they were not able to and time to reach Grade 8 before they leave school. Twenty cover the holes properly due to their delicate structure. This years ago, children seemed to make much faster progress; there youngster is now nearly nine, can play scales beautifully, and weren’t as many distractions, and many already played the has just taken Grade 3. piano before taking up an orchestral instrument. Having tested the water, the following year I agreed to take Today, more and more students give up when they are on three of her eager classmates, aged six, and, in September about to take GCSEs; for many, the only motivation seems to 2011, I started five more five year olds. These little people have be taking exams. Such is the current climate that they are only become the highlight of my week! focused on exam-orientated goals; everything they do entails All my students start on fife, and the progression to flute reaching a tested standard and nothing seems to be done merely is always exciting. I do feel it is important to add at this point for pleasure any longer. that if we are to start very young people we must pay great Wherever one goes, it’s the same story: music services attention to posture. It is important to stand well and hold the reduced, or even cut; fewer young people learning to play flute properly, and this is where starting on the fife has such an musical instruments; a reluctance to sing. So, if we can enthuse advantage. It is light and therefore makes it possible to achieve the younger student while it is still fun to play (so that playing a good right hand position without having to struggle with the is ‘play’), we can make music a part of their life before the big size and weight of even a curved flute. pressures start to pile on. Then, they will be more likely to Really, my early aim is to teach music, not just flute, and continue to play throughout their school years. Some may even I start by introducing some musical concepts on the piano eventually make it to professional level. and using flash cards. In the first lesson, children receive three Pat Daniels
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June 2013 5 Don’t forget to register your membership on the BFS website at www.bfs.org.uk. Registering News online gives you access to unique members’ content, including the archives of PAN. Take a note of your membership number, found on the and People address sheet with this magazine, and follow the instructions on the website.
Robert Bigio wins The BFS will hold a 30th Bessaraboff Award Anniversary Celebratory Picnic in the Park he American following Trevor Wye’s Musical Instrument Premier Flautist Recital Society (AMIS) has on 23 June. Members are Tannounced that Robert invited to bring a picnic Bigio, former editor of with them to the concert PAN and internationally- and join us for an recognised expert on the informal celebration in Rudall Carte flute, has won Regent’s Park (weather the Bessaraboff Award for permitting) after the his recently published book, event. Rudall, Rose & Carte: The Trevor’s recital Art of the Flute in Britain. will conclude at The award honours the approximately 5.30pm year’s most distinguished and we propose that book-length publication in members of the audience English. should walk together to AMIS was founded in the York Gate entrance 1971 to promote better of Regent’s Park, turn left understanding of all aspects just after York Bridge, of the history, design, meeting up on Holme construction, restoration Green (by the lake and and usage of musical bandstand). instruments in all cultures Please note that and from all periods. The members of the Bessaraboff the parks are home Award Committee described to a rich variety of the book as outstanding, wildlife and all visitors highlighting Robert Bigio’s are asked to follow command of documents simple guidelines when relating to the firm’s history, picnicking in the Royal University of London. In The Bessaraboff Award Parks. In particular, his treatment of the cultural addition to Rudall, Rose & will be presented to context, the many beautiful Carte: The Art of the Flute Robert Bigio at the AMIS please remember to take photographs of instruments, in Britain, Robert Bigio conference in Colonial home all litter. Further and the high production has written Readings in Williamsburg, Virginia, in information and a map values of the book. the History of the Flute, May. Rudall, Rose & Carte: are available on the Robert Bigio studied and is widely published in The Art of the Flute in Britain event listing on the BFS music at the University of scholarly journals. He was is available from publisher website. British Columbia before for five years the editor of Tony Bingham at www. We hope you will moving to Britain, where the Journal of the British oldmusicalinstruments. join us to celebrate this he obtained his PhD at the Flute Society. co.uk. milestone anniversary.
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Special offer: Andy Scott CD ndy Scott is offering BFS members the opportunity to Apurchase his recent CD, The Bad Tempered Flute, at a special discount price. The Bad Tempered Flute was reviewed for PAN by Marcus Roberts recently, and features unusual new repertoire for the instrument performed by three leading British flautists, Paul Edmund-Davies, Clare Southworth and Andy Findon. As part of Caliente, Andy appeared along with Lauren Scott (harp) and Clare Southworth at the BFS International Convention Flexible friends in Manchester last year, Two young PAN readers, Charlotte Lawrence and Jessica Mogford of Blewbury in performing several pieces Oxfordshire, share a love of fluting and gymnastics, and have sent in this photo to from The Bad Tempered show just what they get up to in their practice time. Older readers can only hope that Flute to much acclaim. their own fluting fingers remain as flexible as Charlotte and Jessica’s splits. Manager of Andy Scott and Caliente, Alison Owen- Mandolin fun The London Mandolin The London Mandolin Morley, says, ‘we would like his year’s London Orchestra was founded in Orchestra seeks to inspire to offer a special deal for Mandolin Festival 2009 to to give a modern players in mandolin and readers of PAN, who can buy Concert, Fun with twist to the long history guitar groups, enabling them TFlutes, combined the the CD direct from us for of the mandolin. It unites to participate in a public £7.50 plus P&P (£1.50 UK, harmony of a plucked string mandolin and guitar players performance regardless of £3.50 international) instead orchestra with the sweetness from local groups to perform age, ability or experience. of the full price of £13.38 of flutes. The London substantial works in the More information, plus video on Amazon. This idea arose Mandolin Orchestra, annual London Mandolin and sound clips from the following an approach to conducted by Steve Smith, Festival Concert, this year concert, is available at www. Andy from the Dutch Flute was joined by two flute teaming up with flute players londonmandolinfestival.org. Society for a CD discount soloists, Jan Coetzee and from across London. uk. offer, and we are happy to Nim DiRicci, for the follow that up with a similar concert held on 19 May offer here in the UK.’ at St Sepulchre-without- Readers can contact Newgate, Holborn. There Alison directly on Alison@ was also a guest performance saxofonix.co.uk. by Opal Flutes, a flute choir based in East Dulwich, London. Seven members of the group joined with the mandolins in exploring its unusual repertoire, which ranges from baroque to contemporary works. Soloist Nim DiRicci performed on both C flute and bass flute.
June 2013 7 News
Playing for Syria and Piazzolla. The Chairman n 25 April the of the Kensington branch Ancora Duo of Save The Children, Kiki helped to organise Greenwood, spoke about Oa wonderful evening to the valuable work that the raise funds for Save The charity does and Anne and Children. This flute and Sarah especially chose to guitar duo is well-known for support the appeal to help its fundraising activities and children caught up in the last year raised over £20,000 Syrian conflict. All the ticket for different charities. Anne money was donated to Save Allen, a life member of the The Children and everyone BFS, formed the Ancora Duo involved volunteered their four years ago with Sarah time and resources. Freestone, and their first If you would like to CD, Entrada, was chosen donate any money to this as album of the month by very important appeal then Musician Magazine. please get in touch with Sir Vernon and Lady Ellis Kiki ([email protected]) or kindly hosted the evening in Anne via her contact page Kensington which started at www.anne-allen.com, with a drinks reception and if you are able to gift- followed by a concert and aid your donation then an buffet supper. The Ancora extra 25% will be given by Duo performed a range of the government. For more virtuosic music incuding information about Ancora works by Bartok, Ibert, Pujol Duo visit www.ancoraduo. com.
Katherine Bryan of its American roots, after Katherine’s studies at with RSNO Juilliard in New York ignited nternationally acclaimed a passion for American flautist Katherine Bryan, repertoire. Her recording of who led a masterclass at this concerto will be the first Ithe Leicestershire Flute Day recorded in Britain. for the BFS last year, released Katherine is an her new concerto album on inspiration to young 20 May. The launch was flute players, having been marked with an exclusive appointed Principal Flute of performance at National the Royal Scottish National Geographic in London. Orchestra at the young age Katherine’s new album of 21. She is also a lecturer includes works by Rouse, in flute at the Royal Scottish Ibert and Martin played Academy of Music and with the Royal Scottish Drama and runs her own National Orchestra. The masterclasses, as enjoyed choice of works on the by BFS members last disc is very personal to September. The next edition Katherine, in particular of PAN will feature an the Rouse concerto. This interview with Katherine and work was chosen because a review of her new album.
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Fukushima flute a student from Fukushima acharias Tarpagos, who has lived through more flautist with the Radio than most of us can grasp, Symphony Orchestra can remind us why we Zof Greece, and former play music. A smile can be student of Michael Cox at enough to touch someone Royal Academy of Music, forever – and give meaning has recently been working that lasts a lifetime.” The in Fukushima, Japan, with successful Kickstarter appeal charity Keys of Change, raised over £3,000 which bringing music to children was used to fund the fourth who survived the 2011 musical project of Keys of tsunami and earthquake. Change in Tohoku in April. Zach first visited Working with Panos Fukushima in October Karan, Zach Tarpagos spent 2012, when he and fellow two weeks in the disaster musicians, Panos Karan area, right on the border and Raul Jiminez, worked of the nuclear exclusion
smiles of the 12-year old to bring classical music to students, who feel all this people around the world who and more, without saying are living in extraordinary anything. The advanced circumstances. To date, Keys teach the beginners and they of Change has completed all come to school early and projects in the Amazon, stay behind late to rehearse, Sierra Leone, Uganda and by themselves, without Japan, and Zach Tarpagos teachers, simply because hopes that he will soon they want to. They try as return to Fukushima to hard as they can to express continue his work there. their emotions with music; For more information, they say what words could and to support the work of never say.” Keys of Change, visit the Keys of Change was project website at www. established in May 2011 keysofchange.org.
with local children for ten zone. Zach told PAN, “there days, preparing music for is something raw about a joint performance. The the universal language of musicians were so inspired music and all the messages by the experience that it carries. It says: we are they decided to launch a here. You are not alone. We Kickstarter funding project are together. We want to to enable them to return to communicate. We want you Fukushima in March this to feel better. We want you year and continue their to know that we care. All this work. can be said in a few musical In their kickstarter. phrases, without translation com appeal, pianist Panos and without words. The Karan wrote, “The smile of response is in the priceless
June 2013 9 News
Rosanna Ter-Berg is plenty of scope for ornamentation and for the records new flute pupils to explore a wide range syllabus of tonal colours, make use of ollowing her recent expression and imagination, solo recital successes and to expand their stylistic at London’s Purcell awareness. There’s also a lot FRoom and Wigmore Hall, of dynamic variety and many flautist Rosanna Ter-Berg opportunities to develop was asked to record part of articulation, fast passage the new Associated Board work, long legato lines and flute syllabus (2014-17). pitch and breath control. The Rosanna (25) recorded the pieces have been well chosen entire repertoire for Grades for the expected standards, 4 and 6. especially those for grade 6 “It was an extraordinary which are considerably more challenge as a performer,” challenging.” she said, “and it took a Anyone wishing to study considerable amount of with Rosanna can spend a thought and preparation, week with her at the new flute as well as a high degree course at the Aberystwyth concentration and stamina Music Festival this summer. in the studio. There were In addition to looking at flute nearly 60 pieces to record in technique such as posture, Rosanna Ter-Berg just two days. breathing, articulation and “I had to adjust my usual tone production, Rosanna approach to performance. will focus on performance As a soloist, I often have skills, interpretation, the freedom to interpret extended techniques music in my own way, but it and creativity within the was crucial in this instance music. Rosanna says, “it to deliver a very accurate will incorporate some representation of the written unconventional but creative music for the exams. These methods into her teaching, recordings will be used by providing participants flute students in over 90 with a more imaginative countries, so it was necessary way of portraying and to play precisely what was communicating when presented on the page. performing. The key to “Unfortunately, the being a great performer is pieces on the new syllabus understanding the music are a closely guarded secret and communicating with so I can’t reveal which works the audience.” are included. However, I was Aberystwyth will be an extremely pleased to see such opportunity for flautists to a contrast of styles, and I was really think outside the box especially happy to discover and take their playing to the works by composers that next level. The Aberystwyth were new to me. There are Music Festival is held from also technical challenges 27th July – 3rd August 2013. for flute students looking to Bursaries are available. For develop their skills. details and booking visit “In both grades there www.rosannater-berg.co.uk.
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The National Youth Orchestra flute section Orchestra, as well as one of to get exactly the sound the most respected living she wanted, always striving n March, the National almost beatbox-esque) and Wagner interpreters, we for the quality of sound Youth Orchestra flute a repertory masterclass. were all a bit daunted about over beefiness, which can section – Octavia Richard, who has a separate living up to her expectations. be a lazy option when you IBovey, Daniel Shao, Epsie career as a conductor, The first rehearsal have an orchestra of 165 Thompson, Jack Reddick, also conducted the full with Simone Young was teenagers. Jenny Whitby, Matthew wind rehearsals with great on Schoenberg. As we In a later Q&A session, Higham, and Georgia Brown panache. We’ve now all ran through the first two Simone was asked about (filling in for Amy-Jayne started (and in one case, movements, we were all the situation for female Milton, who was unwell) finished) scouring his book, rather tense, not knowing conductors. She replied by – regrouped for the NYO Becoming an Orchestral whether we should play in naming ten male conductors Easter course. and pointing out that This Easter, we rehearsed they come in all shapes the Captain Blood Suite by and sizes; she is, she said, Korngold, Schoenberg’s “exactly the same, but with Concerto for String breasts”! Excitingly for the Quartet and Orchestra flutes, we discovered that (joined by Jack Liebeck she had studied flute at the and the Navarra Quartet), Sydney Conservatorium. We Stravinsky’s Symphony enjoyed a flute chat with her in Three Movements, and backstage, when she told us Rachmaninoff’s Symphonic that she plays a Muramatsu, Dances. It was a formidable but believes getting an in- task for the flute section, line G was her downfall as a and we were kept going by flute player. the support of NYO Staff, Other activities the flutes lots of Easter chocolate, and enjoyed included recording our wonderful tutor Richard a Hawaii Five-O/Happy The NYO flute section dressed up, perhaps not entirely unconvingingly, as OAPs Davis. Birthday piccolo medley to Richard Davis is a baroque style or not (the celebrate the birthday of our Principal Flute of the BBC Musician, essential for piece is based on a Handel other tutor, Sarah Newbold; Philharmonic and also anyone hoping to live out the concerto grosso). Simone terrorising the double teaches at the RNCM, so title, but interesting reading advised us to play it with basses by practising top Fs, he is used to working with for everyone. an expressive tone, saying, having waltzing lessons, and slightly older students; After the sectional “think Richard Strauss, yet watching the jazz flute scene he immediately gelled rehearsals, we had a few days maintain baroque phrasing”. from Anchorman together. with the teenagers of the of full orchestra rehearsal led She maintained this Rehearsals are still going NYO, however, thanks to by our Associate Conductor, precise level of instruction well, and we’re excited about his youthful enthusiasm Gerry Cornelius. Although throughout, and it’s safe to our upcoming concerts at and supportive nature. In he doesn’t conduct the main say the anxiety we felt quickly the Sage Gateshead and addition to whipping our concerts, he is wonderful turned into deep respect for Royal Festival Hall. You playing of the works into to work with and conducts her dedication to the score. can catch our BBC Proms shape, he also was generous ‘Creative Hub’ concerts (a Her compliments to the or Derry Concerts this enough to give general collaboration with the NYO orchestra came infrequently, Summer where we will be pointers on everything from Composers). but were all the more valued playing Beethoven’s epic warming up (at least an Conductor Simone when they did. We were Ninth Symphony under hour of long notes before Young took our concerts mesmerised by her dance- Vasily Petrenko. playing any fast ones) to on this course. As a like conducting style, which Follow the NYO flutes the importance of varied previous assistant to Daniel remained crystal-clear even on Twitter at @NYOtweets, articulation (we were Barenboim and currently while bringing off exciting @DanJShao, @EpsieClaire, amazed by the strength of Artistic Director of the rubati in the Rachmaninoff. and @Jred9749. his ‘out’ tonguing between Hamburg State Opera and She transformed the works, DANIEL SHAO the lips, which sounded Hamburg Philharmonic and seemed to know how
June 2013 11 News
Duets with Pahud and exciting method by The LSO on tour o you think a which it is possible to play areth Davies, lesson or two with duets with Pahud in front of Principal Flute Emmanuel Pahud your own computer screen. with the London Dmight improve your playing? “We filmed extensively with GSymphony Orchestra, and Perhaps you’d just enjoy Emmanuel last November,” great friend of both the playing a few duets with the Simonsen said, “using a BFS and Flutewise, has just master, or maybe you feel method that we developed published his new book, The a bit of first-hand advice ourselves. The sound is Show Must Go On, which from him on those tricky recorded as if you were combines material from orchestral excerpts might playing in front of him. his LSO on Tour blog with give you the edge in your This is as close as you can archival material from the behind-the-scenes account next audition. An impossible get to actually playing LSO’s historic 1912 tour of of the LSO’s worldwide dream? Not according to with Pahud.” In the same the US. touring schedule, in which Adam Simonsen, clarinettist recording sessions, Play with The Show Must Go On it seems that a surprising with the Royal Danish a Pro also recorded Pahud follows the travels of two number of challenges Orchestra and the driving playing many key orchestral musicians in the same remain the same, as Gareth force behind Play with a Pro, studies with piano, as well orchestra a century apart, and and his colleagues contend a new video-on-demand as an accompaniment-only is based on a combination of with airports, volcanoes, classical music education track. recently discovered diaries, travel strikes, and illness, website which brings the In coming months, Play archive material from A limited number of world’s leading wind players with a Pro will be adding London and New York, and signed copies is available for into your own practice more flute material, this time contemporary newspaper sale from the LSO at www. room. from Grammy nominee reports. The historical lso.co.uk/the-show-must- Since its launch four years Ulla Miilmann, principal material is set against a go-on. ago, Simonsen has devoted flute of the Danish Radio himself to developing the Orchestra. “Ulla is a very site, investing, he says, fine player and pedagogue,” everything he has in the Simonsen said. “We call her venture. His aim is a very the ‘flute doctor’ and in her Wessel Flutes democratic one: he is films she will explain many passionate about bringing exercises for maintaining the opportunity to learn and developing technique.” from the world’s top players Play with a Pro (www. Individually handmade to everyone, and he seems playwithapro.com) offers to be succeeding, with users single masterclasses and from 75 countries currently interviews to download, accessing the videos. some free content, and a This year, Play with a Pahud ‘bundle’ containing Pro has expanded its flute around nine hours of lessons offerings, developing a new and masterclasses.
+44 (0)1749 860047 [email protected] www.wessel-flutes.co.uk Emmanuel Pahud recording for Play with a Pro 12 bfs.org.uk News
BFS Leicester Flute Day by breaking down the our instrument, as well as to structure into manageable engage with the mood and sections. We then all enjoyed content we wish to convey. In Search of Inspiration performing this with the This fitted particularly well piano in the concert at the with Wissam’s emphasis o be inspired is to piano playing of Aleksander end of the day. throughout the day on the Wissam’s morning and importance of maintaining be stimulated into Szram. Elizabeth’s own master afternoon masterclasses freedom and movement in activity or creativity, class for younger members were fascinating insights into our music making. Tand to have the emotions his teaching and philosophy. The early evening of the group took place in the lifted. In a pretty church church hall. They then had Wissam is, of course, concert was a perfect on a grey March day in the opportunity to perform, renowned for his ability to way to end the day. A few Leicester, around 25 flute with Aleks, to the whole communicate passionately chosen performers from players and keen listeners group in a mini-concert and directly with his the masterclass played were inspired to be not just of their own. Elizabeth audience. He does this with their pieces, taking imaginative and expressive also led a session on his music, but also verbally into account Wissam’s flute players, but imaginative memorisation and ensemble through his teaching. We comments from earlier in and expressive human skills, where flute players were treated to some lovely the day. Elizabeth played beings. Elizabeth Rowan of varying standards could playing from the attendees. the Milhaud Sonatine, from (BFS area representative play together. Elizabeth, This included the complete memory, with a wonderful for Leicestershire) had a creative and enthusiastic Doppler Hungarian Pastoral lightness and lyricism, organised a wonderful day flute teacher, taught us to Fantasy, and movements superbly accompanied of masterclasses with herself play the Bolivian tune The from well-known repertoire by Aleks. Wissam and and the charismatic Wissam Shore of Lake Titicaca, in by Telemann, Poulenc and Aleks’s Prokofiev Sonata Boustany, accompanied by two parts, from memory, Devienne, Widor, Ibert was staggering in both its the beautifully effortless and Taktakishvili, as well expansive scope and its as the lesser known Burton focussed intensity. With both Sonatina and a sonata by performing from memory, Reicha. All the performers the sensitive and responsive benefited from Wissam’s playing in this extraordinary holistic approach to sound, work showed a deep phrasing and expression. commitment to the music His guidance was insightful and to the partnership, and and personalised, tackling resulted in some of the most rhythm, tuning, and astonishing and moving breathing issues; with an playing I have ever heard. emphasis on ‘music as Wissam, Elizabeth and Aleks an instinctive desire to ended the concert with a communicate’, on utilising terrifically nimble rendition the ‘living sound’, and on of Gary Schocker’s Three an ever-changing, organic Dances, the movements approach to each note, entitled Easy going, Moody, phrase and piece. and Coffee nerves. Happily, Taking risks and facing this sent us all home with your fears was another the musical equivalent of a theme, and more than one full-of-beans coffee buzz. player had their music Thank you to Wissam, Aleks whisked away so they could ,and Elizabeth for inspiring try playing from memory. us and reminding us that it Improvisation can also is never too late to take a risk take us out of our comfort to help us move forward on zone and was introduced our flute-playing journey. as a way to increase our JOANNE WILLIAMS confidence and flexibility on
June 2013 13 News
BFS Oxfordshire Flute Day Learn to Play Day at All Flutes Plus n Saturday 16th March, All Flutes Plus joined music n March, 12 flautists attended the BFS Oxfordshire Flute shops across the country to celebrate this year’s Learn Day, run by Sally Quantrill and Kate Hill, and kindly hosted to Play Day in conjunction with the charity, Music by Kate at her home in the lovely Oxfordshire countryside. Ofor All (MfA). Throughout the day, anyone and everyone who IAfter a chat over coffee and homemade cake, the participants had ever wanted to take up the flute was given free tuition by a split into groups to learn some chamber music, and then joined group of leading flautists. together to play as a flute choir. We had an interesting and Music for All is a UK charity whose goal is Making More thought-provoking technique lesson focused on tonguing – I’m Musicians. As well as their annual Learn to Play Day, MfA still not sure whether I tend to use tuh, te, ti, or too, to start a organises a range of events and projects to bring music making note – and finished with an informal concert of the chamber to people of all ages and backgrounds, proving that you’re never music we had rehearsed. The group covered a range of ages and too young, never too old, or never too busy to learn to play an abilities, yet bonded over the enjoyment of a day of flute playing instrument. Their work with schools, particularly, has proven (and some delicious food). An excellent time was had by all. to be a great success. Throughout the year, they offer taster Oxfordshire members who were lucky enough to enjoy this sessions to the children, and even donate musical instruments special BFS Flute Day came away enthusing about the event – when they can. The importance of their work is recognised one was even inspired by her new-found flute friends to join by many, and the charity now counts among its supporters Al the Oxfordshire Adult Flute Ensemble, which rehearses on a Murray, Evelyn Glennie and, more recently, Jools Holland. Thursday evening in Oxford (new members always welcome!). This year’s event at All Flutes Plus kicked off with a flute AMY STOCKWELL beat-boxing workshop given by our own Ian Mullin. Drawing on techniques learnt from American flautist Greg Pattillo, Ian presented a quirkier style of playing using vocal percussion to transform the flute into a drum kit. Later in the morning, Flook’s Sarah Allen joined us to give the Irish Whistle its spot in the limelight. After a very quick briefing about the instrument, Sarah taught the students the deceptively simple Hairy Chested Frog. Though tentative at first, under Sarah’s guidance, the players rapidly became more confident. As the day progressed, the shop became increasingly lively, with more and more budding flautists walking through the door; and we also welcomed flautists Ian Clarke and Lisa Nelsen. While Lisa concentrated on giving individual flute lessons upstairs, Ian commandeered the Warren Room for a group session. Using only the headjoint, Ian demonstrated the basics of flute playing and encouraged the students to Above: Quartets at the Oxford Flute Day experiment with rolling the flute to alter the pitch. It wasn’t long Below and right: Learn to Play Day at All Flutes Plus before their efforts paid off and they started to produce a really good sound. On a rainy day in March, it was really uplifting to hear so many new flute enthusiasts play their first few notes and to see two players walk away with their very first instruments. Let’s hope that MfA can continue to offer such a wonderful opportunity for many years to come! AMY NADDERMIER
14 bfs.org.uk News
Call for Convention proposals The BFS notes with regret the death of Derek Honner, The BFS is now inviting proposals from performers, F.R.A.M., aged 91, on 3 May ensembles, presenters, and workshop leaders for the 2013. Fellow of the Royal Ninth International BFS Convention which will take Academy of Music, Professor place at Warwick Arts Centre from 22-24 August 2014. of flute. Flute, alto flute and We are seeking high quality proposals covering piccolo player, formerly with a wide range of flute-related activities including, the London Philharmonic but not limited to, recitals, foyer performances, Orchestra, the Covent masterclasses, flute ensembles, lecture recitals, Garden Opera Company, workshops, chamber music, flute teaching, world music, the flute in jazz, the physiology and psychology and musician with the Royal of performance and presentations of research. The Artillery from 1938-1949. closing date for submissions is 1 September 2013. A full obituary will be published Early applications are welcome. See www.bfs. in the next edition of PAN. org.uk for details or email [email protected]
June 2013 15 BFS–RAMNews Premier Flautist Series 3.30 pm, Sunday 23 June 2013 One-hour recital, immediately followed by Duke’s Hall, Royal Academy of Music a question-and-answer session Marylebone Road, London, NW1 5HT
Celebrating 30 Years of the British Flute Society Trevor Wye Flute Juliet Edwards Piano The Carnival Of Venice 50 Variations for 60 Flutes and Piano A Flute Spectacular
Ticket information Members of the BFS £10 Non-members £15 Students £5
Online booking (at any time): www.ram.ac.uk or telephone the box office: 020 7873 7300 10am–12pm and 2–4pm weekdays during term time
BFS Celebratory Picnic in the Park Following Recital
Bring a picnic and join members of the BFS for an informal 30th anniversary celebration in Regent’s Park following www.bfs.org.uk (weather permitting). The British Flute Society is a Trevor Wye’s recital on Sunday 23 June registered charity: 326473 16 bfs.org.uk Visit eventfor furtherlisting at information. www.bfs.org.uk BFS–RAM Premier Flautist Series 3.30 pm, Sunday 23 June 2013 One-hour recital, immediately followed by Duke’s Hall, Royal Academy of Music EVENTS DIARY a question-and-answer session Marylebone Road, London, NW1 5HT JUNE 2nd BFS Flute Ensemble Play Day for flute players of all ages and abilities led by Tempest Trio. Classes on all aspects of flute playings. 10 am – 4.30pm, Prior’s Hall, Winchester Cathedral, followed by concert at 5.30 pm at the Discovery Celebrating 30 Years of the British Flute Society Centre, Winchester, featuring Tempest Trio, Flautissimo, and players from the day’s workshop. Tickets £25 to include the concert. BFS member receive 10% discount. Tickets for concert only £5. Book by 31 May at www.winchester- cathedral.org.uk or 01962 857275. For more details see www.sarahheard.co.uk.
Trevor Wye Flute 15th London Octave with Kate Hill (flute), Lorraine McAslan (violin), Christopher Bevan (harpsichord). Programme includes Vivaldi Flute Concerto, Bach B minor Suite for Flute and Strings, Bach Brandenburg Concerto no. 5. 7.30pm, St Martin Juliet Edwards Piano in the Fields, Trafalgar Square, London. Box office 020 7766 1100.
16th Caliente (flute, sax, and harp ensemble) presents an engaging, stimulating, and accessible event, rooted in classical The Carnival Of Venice music with jazz and folk influences, as well as new works by Andy Scott. 5 pm, Chipperfield Church Hall. Ticket 50 Variations for 60 Flutes and Piano information available from [email protected]. 23rd Central Scotland BFS Flute Day in Stoneyburn with Lis Dooner. Non-members welcome. 10am – 5pm, Stoneyburn A Flute Spectacular House, near J4 M8. More information available from Marysia Williamson [email protected]. 29th Carluke Primrose Orchestral Flutes 33rd Annual Concert featuring some new music and performances from the Youth Ensemble. 7.30pm, Carluke Lifestyles Centre, Carwath Road. Ticket information Members of the BFS £10 29th Recital by Elinor Buglass (flute) with David Humphries (piano). Bach Sonata in E minor, Mozart Andante in C, Hindemith Sonata, Liebermann Soliloquy, Borne Carmen Fantasy. 1.30pm, St Teilo’s Church, Woodville Road, Cathays, Non-members £15 Cardiff. Students £5 30th Jazz Play Day with Gareth Lockrane. Open to flute, clarinet, and saxophone players of Grade 5 standard and above. 10am – 4.30pm, Education Centre, Winchester Cathedral. Cost £25. Book by 31 May at www.winchester-cathedral. org.uk or 01962 857275. Online booking (at any time): JULY www.ram.ac.uk 14th Prayers and Meditations: Lisa Nelsen (flute), David Le Page and Catherine Leech (violin), Vanessa McNaught (viola), Karen Stephenson (cello), Meherban Gillet (bass). Music by Palestrina, Paul Simon, Tallis, Beethoven, Bloch, or telephone the box office: and Pink Floyd. 3pm, Congregational Church, High Street, Market Harborough. For more information and booking 020 7873 7300 see www.harboroughconcerts.co.uk. 10am–12pm and 2–4pm 25th Lunchtime concert by Sally Quantrill (flute) and Lydia Bosworth (piano). Programme includes music by Handel, weekdays during term time Gaubert, Arnold Cooke, and Debussy. 12.45pm, St Mary’s Church, Aylesbury.
AUGUST
29th Flercussion: Jo Ashcroft (flute) with Calum Huggan (marimba and percussion). Pieces by Piazzolla, Shostakovich, and Debussy. 9pm, The Hub, Edinburgh. For more information see www.eif.co.uk/flercussion
AUTUMN COURSES
BFS Celebratory 21 September Flute Day with Zoe Booth and Rachael Buxton, Benslow Music, Hitchin, Herts Contact: [email protected], 01462 459446. www.benslowmusic.org Picnic in the Park Following Recital 7–10 October Fantastic Flutes with Zoe Booth and Rachael Buxton. Benslow Music, Hitchin, Herts Contact: [email protected], 01462 459446. www.benslowmusic.org
Bring a picnic and join members of 15–17 October Sarah Francis’s Piano and Wind Course with Sarah Francis, Robert Codd and Stephen Gutman. the BFS for an informal 30th anniversary Benslow Music, Hitchin, Herts celebration in Regent’s Park following www.bfs.org.uk Contact: [email protected], 01462 459446. www.benslowmusic.org (weather permitting). The British Flute Society is a Trevor Wye’s recital on Sunday 23 June registered charity: 326473 June 2013 17 Visit eventfor furtherlisting at information. www.bfs.org.uk The Radcliff flute in traditional Irish music Tom Greene looks at Paddy Carty and his music
or anyone interested in playing traditional music on the Boehm instrument, I would strongly recommend that they become at least a little familiar with the playing of Fthe late Paddy Carty from Co Galway. Paddy Carty used the modern flute as a vehicle for performance, and was an innovator whose transition to the modern instrument echoed those which classical players made to the modern Boehm system flute. The instrument of choice for traditional Irish flute players has been, and still is, one of simple system design with, perhaps, some added keys. Extra keys are offered by most modern manufacturers and vary in number from one to eight. These keys allow a greater chromatic facility and extend the range of the instrument by a major second down to middle C. The Boehm flute has had little or no impact on the choice of instrument in the traditional flute playing community. The simple system flute has been almost the sole voice within the traditional genre since the 1960s. At that time, in the All Ireland senior flute competitions in Boyle and Mullingar, where Carty was a prize winner, three competing players used modern instruments. At the same competitive event in Cavan in 2010, however, there was only one, and he, to my knowledge Paddy Carty came, from the USA. In Irish traditional playing there was little contact with those who played in orchestras or in military bands, in both of which Learning the traditional Irish flute the modern flute had become established, and Carty’s playing Many traditional flute players progress from playing on the is all the more remarkable against that background. Although tin whistle to the flute. They are familiar with a simple system of he used the Boehm system for a time, he eventually settled on fingering and find switching to a simple system flute relatively the wooden Radcliff model, playing one made by Rudall Carte easy; this removes any difficulties with learning a new fingering of London. system, as would be needed with a Boehm instrument. The Carty made very few commercial recordings, unlike the flute was seen as the natural instrument of progression for a tin prominent players of later years. Samples of his playing have whistle player, and if a reasonable sound could be produced on been recorded on the Shanachie Label and some further house the flute, the transition was easily completed. A Boehm flute, recordings done by my late father in the mid 1960s are in the especially in respect of the fingering of F#, complicates that library of the Irish Traditional Music Archive in Dublin. There transition, exacerbated by the fact that most traditional tunes are also a few YouTube videos currently available, although I are played using the keys of D and G. would add that many of these recordings do not, in my opinion, Few traditional players in the 1960s were aware of any do his music full justice. Those of us who remember his live advantages of the modern instrument in the context of their playing are privileged. own musical ambition and expression. While the Radcliff Carty’s playing was truly innovative insofar as he used model with its particular F# fingering mechanism offered an the modern instrument to express an aesthetic of traditional easier transition – and was designed with that in mind – this flute playing not previously seen in that environment. This has was not well known in traditional circles. Such instruments impacted on traditional playing in a number of ways. were, of course, also very scarce in the Irish context.
18 bfs.org.uk Irish flute
In becoming aware of the advantages We can thus gain a sense of how and accordion players, and presumably of the Radcliff model, Paddy Carty innovative Carty was in bringing these appealed to his sense of melody, became the most prominent traditional traditional flute playing to new ground, leading him to seek out an instrument player to display the benefits of these especially as he himself had no classical on which they could be expressed. advantages to good effect. He was an background. Neither was there any Carty, therefore, widened the exemplar of what could be achieved on previous traditional flute player who had general melodic stock for traditional an instrument of modern design. set a template in terms of repertory and flute players. To any aspiring flute player The Radcliff flute had most of the technique to which others might aspire. with a desire to play such tunes, mastery advantages associated with the Boehm Carty’s work was, therefore, significantly of the Radcliff flute became a significant flute since it was, in fact, a modified original and, indeed, bold, given that advantage, and a considerable Boehm instrument. Its design, however, he had to compete in traditional flute development in how the flute could allowed easier execution of the types competitions where he was at risk of extend the melodic imagination of music frequently encountered in not being accepted as an authentic flute inherent in the traditional repertory. the Irish repertoire. The design of the voice in that particular musical milieu. mechanism meant that many of the Folk music composition difficulties with the fingerings of the Melodic developments In more recent times, composers of Boehm flute that the traditional player The new instrument allowed Carty traditional dance music such as Paddy encountered were avoided. The Radcliff to change the keys of a tunes from those Fahy and Paddy O’Brien have expanded models were, in addition, generally typically found in the tradition. Such the melodic selection to include a greater made of wood rather than metal, and transpositions worked to good effect use of modes and keys which have a this appealed to the traditional aesthetic, for both the tune and the listener and, minor character, and have adopted a both visually and acoustically. significantly, enabled Carty to play a more extended range. The difficult relationship between wider repertoire of traditional tunes, In the traditional manner, Carty did Irish music of both folk and art genres, including those which had frequent not use the range of the flute beyond and the wider context of European use of a Bb or F natural or which had the second octave, and was unaware of musical developments has received changes involving alternate switching the usual classical fingering for the high considerable attention (see H. White, D. Neither did he go downwards below The Progress of Music in Ireland, D to the C# or C natural keys. He did, Dublin, 2005) and the developments in however, use the instrument to give traditional flute playing cannot stand more fluid rendition of tunes in keys apart from this wider context. While the which required Bb or F natural, and Radcliff flute had made some inroads this can be heard in his recordings. By into classical playing with exponents playing the tune in the melodic sense such as John Amadio, the Boehm intended by the composer, he provided flute became, and has remained, the a more authentic rendition than that instrument of choice for the classical available to the traditional instrument. performer. Ornamentation The interface between classical Ornamentation with the fingers is players and the traditional fraternity very important in traditional playing of flute players was, in the Ireland of of C/C# and/ or F/F# within a phrase or passage. The different tonalities of these and the Radcliff flute allowed Carty the 1950s/60s, negligible, and is still to effect ornaments on F natural, Bb relatively limited. I have no evidence tunes allowed audiences to hear the possibilities of the flute in music which and C, thereby extending the range of that classical exponents of modern- possible ornaments at his disposal. The system flutes influenced Carty’s choice had, up to then, only been possible on instruments with a full chromatic sale, absence of the veiled sound arising of instrument; however, the French from cross fingering on the simple school of flute playing was prominent such as the accordion or fiddle. Where flattened sevenths in the key system instrument also permitted some in Dublin circles, influenced by the extra ornamentation possibilities, such teaching and playing of Andre Prieur, a of D were required, the Radcliff system meant that Carty could execute passages as alterations between C and C# or F pupil of Marcel Moyse in Paris. and F#, which he used to add colour The great shift in classical practice to around such notes in a superior manner in terms of intonation, phrasing and to certain tunes. He did not, however, the modern instrument was outside the make any attempt to ornament low experience of traditional players, both projection. He would only have heard these tonalities among traditional fiddle D note by using the C# foot joint key, musically and socially. perhaps a surprising omission.
June 2013 19 Irish flute The British Flute Society’s
The keyed instrument did present some disadvantages in player but gave new musical expression to music previously ornamentation, making the use of glissando difficult. He did only available on other traditional instruments, such as the Ninth International Convention use a sort of passing semitone in an upward step to effect this accordion, fiddle or concertina. In using the Radcliff flute, on occasion, but infrequently. Finger vibrato did not figure in he was able to match the chromatic spectrum available to his renditions, but as he was not a frequent player of slow airs, players of other traditional instruments. His music conveys this was not, in any case, a particularly noticeable lack in his both a recognition of its provenance and also an awareness of playing. something new, both in terms of instrumental performance and the traditional flute-playing aesthetic . Tone colour and projection Carty’s style of playing was a bridge between the traditional Friday 22–Sunday 24 August 2014 Carty played with a rich and full tone. His musical intentions and the modern. He played to the strengths of the instrument, were therefore well served by the instrument he choose. The and though his renditions were faithful to the tradition, they Warwick Arts Centre more homogenous sound of the modern instrument was well suggested both evolution and development. It would be wrong suited to his playing style, and gave a great sense of darkness to say that his music was not received or understood, however to the lower notes, lending an almost operatic dimension to his few fully grasped its significance or were able to approach the University of Warwick playing, especially in the slower tunes. standards he set. In comparison to the traditional voice of the simple system It is perhaps too soon to define his legacy. He was models, Carty had far greater projection. This was especially significantly ahead of his time and expressed a musical vision manifest on the lower notes and also for E, A and C natural, for the traditional flute. He also had a technique that was which were often weak and husky on the traditional flute. There not easily emulated. Any attempt to follow in his footsteps Nearest rail station Coventry: were few notes which lost their place in the melodic line due required a good tone, projection, musical taste combined with to poor volume. His blowing and embouchure technique also good finger dexterity, and a refined sense of melody. It is to be just 1 hour from London Euston produced a clearer, stronger sound than that of the traditional hoped that the future will bring a fuller appreciation of what he player. endeavoured to express in his musical ideas and playing style. and 15 minutes from Birmingham Airport While Paddy Carty’s repertory was from the folk compendium, he did not imitate the traditional simple system TOM GREENE Booking opens 1 January 2014
www.bfs.org.uk 20 bfs.org.uk Registered charity no: 326473
Warwick 4.indd 1 5/14/2013 11:39:24 AM The British Flute Society’s Ninth International Convention
Friday 22–Sunday 24 August 2014 Warwick Arts Centre University of Warwick
Nearest rail station Coventry: just 1 hour from London Euston and 15 minutes from Birmingham Airport
Booking opens 1 January 2014
www.bfs.org.uk Registered charity no: 326473 June 2013 21
Warwick 4.indd 1 5/14/2013 11:39:24 AM Canadian Works for Flute: composers of the Ontario region by Jennifer Brimson Cooper
wealth of repertoire by Canadian composers is available During a summer session at Tanglewood (Boston, USA), he to flute players but remains little known. Internationally also worked with composers Olivier Messiaen (1908-1992) and recognised Canadian composers from the Ontario Aaron Copland (1900-1990). Freedman commented that ‘one Aregion, Harry Freedman, Harry Somers, Srul Irving Glick, R. of the best things Copland said to our group was that music Murray Schafer, and Robert Aitken represent a generation of should be as simple as possible, but no simpler.’ students of Canadian pedagogue John Jacob Weinzweig, who Freedman has written two solo works for the flute, Soliloquy have all contributed significant works to the canon of Canadian (1971) and a commission for Canadian flautist Robert flute repertory. Popular compositions include Harry Freedman, Cram, Romp and Reverie (2002). Soliloquy was written as an Soliloquy (1971); Harry Somers, Etching from the Vollard introduction to contemporary techniques. In this atonal work, Suite (1964); R. Murray Schafer, Sonatina (1958); Srul Irving Freedman employs an expressionistic approach using the entire Glick, Sonata for Flute and Piano (1983) and Robert Aitken, chromatic collection as a source for pitch material. Icicle (1977). These pieces are frequently performed and have A soliloquy is defined as a monologue representing a series become firmly established works within the oeuvre of Canadian of inner reflections, and is a fitting title of Freedman’s 1971 flute composition. work for flute and piano. Both instruments begin the work with independent lyrical motives with atonal harmonies occurring only as the musical lines phase together. These motives are expanded throughout the work, evolving into more complex ideas. The elusive melodic lines in flute and piano are often embellished with short cadenzas in each instrument. Soliloquy is a post-tonal work employing chromatic pitch collections and a recurring four-note motive in the main body of the work. The opening dialogue between flute and piano is followed by the main body of the piece, marked ‘suddenly faster’. Here, Freedman introduces the central motive, pitches F sharp-B flat- G-A; this motive appears throughout the work. Canadian League of Composers annual meeting 1966. L to R: Applebaum, This highly lyrical work tends towards long, broad phrases Surdin, Freedman, Weinzeig, McCauly, Somers, Couture, Glick, Beckwith, Kenins, Beecroft, Mather, Anhalt. layered in the flute and piano. A personal monologue or Image: Library and Archives Canada, Ottawa. ‘soliloquy’ is apparent in the independent phrasing of the flute and piano lines throughout. While the work does not introduce any 20th-century flute techniques, it does introduce the student Harry Freedman to atonal language, presenting this in an accessible manner. Composer and oboist Harry Freedman (1922-2005) The work also aims to familiarise the student with the concept served a 25-year period as cor anglais player with the Toronto of unmeasured music, in which the performer must convey Symphony Orchestra. It was during his time with the orchestra direction without a given meter. A quiet accompaniment paired that he developed sensitivity to instrumental technique and with the warm sonorous low range of the flute creates a calm, sonority, often evident in his writing. Freedman was introduced reflective aesthetic to the work. A lyrical character is apparent to serial techniques and contemporary styles by Weinzweig, and throughout Soliloquy; the expansive phrasing is a pleasure in a modern approach to composition is seen in his compositions which flautists should indulge. for flute. He often expands and develops basic motivic material Chamber works for the flute comprise the majority of in his works and employs elements of jazz and improvisation. Freedman’s output for the instrument. This is in part due to
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Debussy: L’après-midi d’un faune (opening solo)
Somers: Etching from the Vollard Suite (opening phrase) multiple commissions for the Lyric to the artist Picasso. Somers juxtaposes Mallarmé, exploits the flute’s colour Arts Trio, a Toronto-based chamber different styles in each of the nine palette and is written with a lyrical ensemble in which Freedman’s wife, movements with the Etching movement innocence. The flute player expresses Mary Morrison, sang soprano, Robert or “portrait” reflecting Picasso’s ‘Vollard the essence of the faun in the famous Aitken played flute and Marion Ross Suite’, named after Ambroise Vollard, opening solo. Debussy’s intent in the played piano. These works include Pan Picasso’s art dealer. Etching – The musical phrase is clear, a commonality (1972), in which he incorporates non- Vollard Suite is a frequently performed shared with the music of Somers and traditional sounds, and Toccata for Flute solo concert work for the flute. Somers’s evident in Etching. Somers’s phrases and Soprano (1968), which incorporates sensitivity to instrumental colouring on are well thought-out and are shaped scat singing in the voice line. the flute is clear throughout this short with a simple elegance. The Etching three-minute work. The short solo portrait within the Picasso Suite was Harry Somers piece is improvisatory in character with scored specifically for the flute, taking Harry Somers (1925-1999), was a extended, unmeasured scalic passages. advantage of its expressive quality and composer, pianist, radio announcer These passages meander across a wide range of tone colours. He writes the and television presenter with the range of the flute leaving the listener opening of Etching with the rich, round, Canadian Broadcasting Company with a sense of a wandering line. resonant low register of the flute. (CBC), and stands as one of the great Although broad and sweeping, such Etching stands as one of the most composers and activists of Canadian gestures provide a sense of direction frequently performed solo works in music. Weinzweig said of Somers, which is careful to not diverge from the the canon of Canadian flute repertoire. ‘He is without any doubt the most overall introspective feel of the work. Its elegant simplicity and opportunity talented creative student in the Toronto Impressionistic in context, Etching is for exploration of tone colours earn Conservatory and has all the requisites written in a style reminiscent of Claude much favour with flautists. Flautist to attain a high accomplishment in the Debussy and is referred to by many and Canadian music advocate Robert field of serious musical composition.’ flautists as the Syrinx of Canadian flute Cram is currently editing and working Somers had an eclectic career and wrote repertoire. Many similarities may be to publish a collection of Somers’ music a variety of compositions for varying observed with the lyrical expressivity for solo flute. Somers’ chamber works instrumentations across diverse styles. apparent in the standard flute repertoire highlighting the flute include:Woodwind His only current published solo work of Debussy, including Syrinx (1913), Quintet (1948), Trio (fl, vln, vlc) (1950), for the flute is Etching – The Vollard Sonata for Flute, Viola and Harp (1915) Movement for Woodwind Quintet (1957) Suite, a stand-alone work taken from and L’après-midi d’un faune (1894). The and Kuyas, a work adapted from his the Picasso Suite (1964) paying homage latter, based on a poem by Stéphane opera Louis Riel (sop, fl, perc) (1967).
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is arranged in five sections: Prelude; Movement 1; Interlude; Movement 2; Postlude. The opening prelude is written with a timbral quality that contrasts with the main sections of the work. Glick exploits the flute’s colour palette within this prelude and makes use of long, wandering phrases. This opening prelude successfully voices Glick’s optimistic feeling for the work and his tonal romantic compositional aesthetic. Glick uses modal harmonies throughout, as he believed that a modal key was ‘freer’ sounding. Lyricism pervades the first movement and a variety of tone colours is explored. Movements I and II are interrupted by a short dialogue between flute and piano in an interlude reminiscent of the opening prelude. Movement II begins with a jaunty dotted rhythm in the low register providing a new resilient character to be explored. The movement moves between compound and simple metres, adding to the anxious and edgy character which is not resolved until the postlude. Glick concludes Sonata for Flute and Piano with an optimistic Jewish chant quote for New Year’s Day, ‘God Lives Forever’. Of his chamber music, Trio for flute, viola and harp (1988) is a standard work from Glick’s oeuvre that is often performed. It has been recorded by many artists, most notably chamber Srul Irving Glick (1983) and Wedding Suite (1984). Sonata ensemble Trio Lyra (Erica Goodman, Srul Irving Glick (1934-2002) for Flute and Piano is a fine staple in the harp; Mark Childs, viola; Suzanne studied composition with John flautist’s Canadian repertoire, filled with Shulman, flute). This same group has Weinzweig at the University of Toronto lyrical and emotional appeal for both also recorded many works by Freedman. and was an active member of the player and listener. Within the work, Glick’s other chamber works include Canadian League of Composers (CLC) Glick exploits lyricism and chromatic Dance Concertante #2 (1964) for flute, in the 1960s, alongside Weinzweig, harmony illustrative of a neo-romantic clarinet, trumpet, cello, and piano and Freedman, and Somers. Glick’s works style yet creatively employs it within a Suite Hebraique No. 5 (1980) for flute, are best known for their lyrical melodic neo-classical framework. The tonal work clarinet, violin and cello. writing, tonal thematic language and alternates sections of dialogue between range of tone colour. Many of his works flute and piano with many cadenza R. Murray Schafer bear a strong association with nature; passages. Glick writes in a favourable Celebrated Canadian composer, he comments that ‘the symbolic use of range for the flute that can be played R. (Raymond) Murray Schafer (b. nature in music, through descriptive with ease. The long broad phrases, 1933) is recognized nationally and writing, is a powerful tool of expression.’ varied lyrical motives and continuous internationally for his work as a Glick has written only two solo works sense of direction throughout the work composer and teacher, and is a noted for the flute, Sonata for Flute and Piano make it appealing to both players and advocate of Canadian composition. listeners alike. The two-movement work Schafer’s approach to composition is
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eclectic, calling on many extra musical elements and his scores chamber works for the flute including Concerto for harpsichord are best understood on an individual basis. Weinzweig noted of and eight wind instruments, Buskers (1985) and Rounds (1985) his student: ‘[Schafer is] one of my best creative talents. Several for flute, violin and viola,Five Studies on Texts by Prudentius of his compositions are of professional calibre…in temperament (1962) for soprano and four flutes, Diversions for Baroque Trio he is the go-it-alone type, independent, and prefers to set up his (1963), and Enchantress (1971) for soprano, exotic flute and own curriculum of life.’ eight celli and Flew Toots for Two Flutes (2004), dedicated for Schafer has written two solo works for flute, Concerto Aitken on occasion of his retirement from the music department for Flute and Orchestra (1984) and Sonatina for Flute and in Freiburg, Germany. Harpsichord or Piano (1958). Concerto for Flute and Orchestra is both innovative and distinctive in character. It was one of Robert Aitken the first concertos to be written for the flute that extensively Robert Aitken’s contributions to Canadian flute literature are employed the use of extended techniques, going beyond a unmatched both in the compositions he has written and in the basic exploration or collage, but rather using them as a means multiple commissions and premieres of new works (both solo for expression. This work is significant in the flute concerto and chamber) that he has been involved with as a performer. repertoire as it expands our understanding of the capabilities of Born in Kentville, Nova Scotia in 1939, Aitken has enjoyed the flute as a solo instrument. Concerto is dedicated to Canadian a successful career as a teacher, performer and composer. At flautist, friend and colleague, Robert Aitken. Schafer’sSonatina the age of 19, he became the youngest principal flute in the for Flute and Harpsichord or Piano is written in a neoclassical history of Canadian symphony orchestras when he joined the three-movement format. The London premiere of the work was Vancouver Symphony. ‘As a flautist, composer, interpreter and given by William Bennett with pianist Celia Bizony in 1959. teacher, he is a distinguished innovator and continues to exert a Schafer uses many Classical and Baroque characteristics strong influence of upcoming generations’, the jury of the 2009 such as form, instrumentation, and phrase structure throughout Walter Carson Prize stated. Sonatina, while also employing flutter tonguing and extreme Aitken has made a considerable contribution to Canadian ranges of the flute tessitura. The first and third movements are flute literature, particularly in works that employ extended fairly straight-forward in structure, whilst the second movement techniques. His earliest works for solo flute include Icicle (1977) is written in a free fantasia form with many cadenza-like and Plainsong (1977). Aitken wrote Plainsong after realising sections for the flute. Schafer writes in a light and free character, that he could sound two voices at the same time on the flute. providing complexity in the flute part while juxtaposing the The piece was written for the opening of Pierre Boulez’s elegant simplicity of neoclassicism in the sustained keyboard IRCAM (Institut de Recherche et de Coordination Acoustique/ accompaniment. Sonatina achieves long and lyrical phrasing Musique) in Paris. within all three movements of the work. His phrasing is simple The concept of two voices sounded simultaneously is also in construction, often shifting metric placement to challenge applied to Icicle. This work introduces many 20th-century the listener’s expectations. Schafer employs selected turns, techniques to the student flautist, providing an early study in appoggiaturas and trills throughout all three movements in the microtonal nuances. Aitken uses new notation, providing the vein of the Baroque tradition, especially at cadential points. player with two staves of music. The flautist must perform the In addition to his solo works, Schafer has also written some line marked ‘play’ with the provided fingerings and the line
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above, marked ‘sound’, illustrates what is heard. Although in 1977 the techniques employed in the work were familiar to flautists, the notation used was progressive in Canadian flute repertoire. Both Icicle and Plainsong are frequently performed and provide a foundation of contemporary techniques for flute students. Aitken notes that the piece was commissioned by Editions Transatlantiques of Paris for flautists who had been playing for about three or four years. In Icicle, Aitken achieves an open and hollow sound effect on the instrument using lines played entirely with thumb or trill keys open. He uses a variety of timbral trills and microtonal gestures, and also employs a variety of rhythms, dynamics and the speeding and slowing of trilled passages to evoke the character title, Icicle. Aitken makes rhythmic reference to the The Pink Panthertheme in Icicle, as Lyric Arts Trio in concert on Weinzweig’s birthday he discusses in his opening program notes for the work. The suggested reference to this theme was intended as a dedication to his daughters (a flautist and a bass player) who watched and loved the show. This rhythmic theme appears frequently in the sounding line as a result of the played notes and may be observed as recurring thematic material. Aitken has also written two solo works for flute and orchestra: Berceuse (For those who sleep before us) (1992), a commission from the Espirit Orchestra, and Concerto for Flute and String Orchestra (Shadows V) (1999), Music for Flute and Electric Tape (1963), and many pieces for flute in the chamber setting. Weinzweig, Freedman, Somers, Schafer, Glick and Aitken have all played a role in the advocacy for the future of Canadian music. The scope of their individual contributions to the canon of Canadian repertoire is clear. All pieces are available to rent or own through the Canadian Music Centre, accessible online at: www.musiccentre.ca/home.cfm JENNIFER BRIMSON COOPER
Dr. Jennifer Brimson Cooper is assistant professor of flute at Morehead State University, KY. She holds degrees from the Cincinnati College-Conservatory of Music, The Royal Northern College of Music, and Wilfrid Laurier University, Ontario. She performs as flautist with Baird Winds, Quartet Laurier and the Awea duo.
26 bfs.org.uk PUB PAN 1/2012:PUB PAN 16-02-2012 0:32 Pagina 1
Sigfrid Karg-Elert 30 Caprices op.107 for solo flute (edited by Rien de Reede) Sigfrid Karg-Elert Sonata Appassionata op.140 for solo flute (edited by Rien de Reede) Carl Frühling Fantasie op.55 for flute and piano (edited by Emily Beynon)
Nardini Dôthel Giordani Mancinelli NEW 4 duetti italiani for two flutes (edited by Rien de Reede) Viotti Gianella Mercadante 3 duetti italiani for two flutes Gaetano Donizetti (edited by Rien de Reede) Sonata for flute and piano Felix Mendelssohn-Bartholdy Songs without words (edited by Rien de Reede) (arranged by Benoît Fromanger)
www.riverberisonori.it tel/fax + 39 06 44 70 32 90 June 2013 27 Living with focal hand dystonia David Greenhalgh on his journey back to flute playing after a crippling diagnosis hen embarking on your flute have to move as far. It helped for a while. musicians as part of his role. It’s easy to playing career, you never I had an open-holed Altus flute at the forget that musicians use their bodies and consider the possibility of time, and I plugged up the holes in the associated muscles in very specific ways Wthings going wrong and at some point left hand. Again, this helped for a while. which can cause long term difficulties, not being able to perform. Eventually the killer blow fell: just and sometimes pain, if not properly I started playing in the mid-seventies as I was about to perform a solo in managed. I was therefore relieved that attending my local music centre in a concert with my flute group, Tooti I could see someone who potentially Lancashire, and soon worked my way Flooti, my left hand, and specifically my understood the physical challenges of through a variety of ensembles until index and middle fingers, finally gave playing a musical instrument and might eventually becoming principal flute in and stopped functioning correctly. I be able to provide a way forward for my of the youth orchestra. When I left, I was unable to coordinate the movement frustrating condition. took all the opportunities that came my of the fingers properly and when I did way. I played in local amateur dramatic try, it caused serious muscle tension and A new flute shows, joined a concert band, a number pain in my left hand and up towards my My first course of action was to go of amateur orchestras and took part in a neck. An A trill became impossible and to a physiotherapist whose aim was whole range of musical activities both at other notes of the left hand would split to relieve the muscle tension in my local, national, and international venues. due to the lack of pressure on the keys upper body to see if this would help. Along the way, I picked up my ARCM from the index and middle fingers. The I duly attended the physio sessions and performed many recitals, the odd odd thing was that this only occurred and although it had some benefit at concerto, and also recorded a number when I played the flute. At all other a superficial level, there was still no of CDs with the various groups I played times, I had full control of my fingers. resolution to the lack of control in my with. I enjoyed all this, and along the left hand. way forged a career as an engineer and Finding a way forward By this time two months had passed built a family life. I had a wonderful I visited my doctor to see if he since my disastrous concert and in and diverse musical life where artistic could establish the cause but he had that time I had not picked up my flute, opportunities were frequent. few suggestions as to what the problem thinking it better to rest my hand fully might be, least of all the cure. I initially whilst I looked for a solution. The problem tried a chiropractor, but after a number I returned to Dr Tamkin and we A few years ago, however, I sensed of sessions (at £35 each) I soon realised discussed the idea of Alexander lessons. that something was not quite right in the that this was not the answer for me. I had previous experience of the way my left hand was working. Initially, I did, though, come across an Alexander Technique and had always I found it tiring to participate in long advertisement for an organisation found it useful. I started lessons with an rehearsals, particularly if they were then call BAPAM (British Association of excellent local Alexander practitioner followed by a concert. I had to pace Performing Arts Medicine) and looked called Patrick Gundry White.This did myself much more in order to ensure them up on the internet. This put me in have some benefit, as it resolved some that my left hand would stand up to the touch with Dr Bill Tamkin, the Medical of the tension I was experiencing on the concert performance. I then started to Advisor to the Halle Orchestra, and I left side of my body, in particular my struggle playing C without splitting the duly made an appointment to see him. left arm and hand, and also made me note. I tried bending the C key upwards Dr Tamkin is a GP in south Manchester realise more quickly the need to relax so that my left hand index finger did not but also provides medical support to the muscles on this side of my body; but
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the real benefit was discussing other treatment options. Patrick had a wealth of experience and contacts and after a few weeks, when we realised that the sessions would not fully deal with my hand condition, he suggested I go to see a specialist hand surgeon. I discussed this with Dr Tamkin from BAPAM, and he agreed that this would be a sensible way forward. Following my appointment with the surgeon, his conclusion was that he could not specifically help, but he referred me to a consultant neurologist, Dr Sussman. At last I felt there was a medical way forward and that a conclusion in terms of a recognised Wessel flute with Araldite putty modification diagnosis was close at hand. Whilst all of this was going on, I had not been idle and had The diagnosis experimented with products that were available on the market Following a number of tests including being wired up by a which claimed to assist with flute-related hand problems. I neurophysiologist, I was eventually diagnosed with focal hand tried the Bo-pep finger saddle and the Thumbport, specifically dystonia (FHD). designed to reduce tension in the hands. Although these are FHD is a painless task-specific neural motor disorder devices that have helped many, they failed to resolve my own characterised by an involuntary loss of control of individual situation. I also looked at different flutes to see if there was an finger movements. It is a disorder associated with a sudden opportunity here. I had noticed that if I placed the middle finger deterioration of sensorimotor skills which, in most cases, only of my left hand in a slightly different position this improved my occurs in the context of instrument playing. ability to control this finger. My Altus flute had an in-line G It most often involves the digits 3, 4 and 5 (D3 to D5) of key and open holes and I started to think that that an offset G the hand and is thought to be related to intense and prolonged mechanism, along with closed holes, could provide the slight practice of rapid, alternating, and highly precise finger change in hand position that I needed in order to get back to movement patterns. The condition can be disabling enough to playing at a reasonable level. I scoured the Internet, looking at curtail a professional career. different makes of flutes which would meet my requirements. It is caused by the neural control mechanism between the I eventually narrowed my choice down and settle on the brain and the finger not functioning correctly. I was relieved beautifully crafted instruments of Stephen Wessel, whose work that I was at last able to put a name to my condition, but the featured in the last edition of PAN. My selection criteria were: problem with Dystonia is that there is no cure, and although I had reached a specific diagnosis, the challenges had only just • Offset G key begun. • Closed holes Constraint-Induced Therapy • Reduced instrument weight Dr Sussman suggested two options: further therapy on my • Light key action neck to see if that would help and, secondly, Constraint-Induced • Opportunity to redesign specific keys to help with my Therapy. Dr Sussman did not have any specific experience of hand problem Constraint-Induced Therapy, but had read a number of articles in medical journals and felt it may have some benefit. He I contacted Stephen and arranged to trial a flute he had just suggested I contact Patrice Berque, a specialist physiotherapist finished. I instantly fell in love with the instrument and placed based in Glasgow, who was the co-author of one of the articles. my order straight away. The instrument arrived on my 50th So, nearly 18 months after starting to try and remedy the birthday and at last I was able to resolve one of the difficulties of condition I travelled to Glasgow to investigate Constraint- playing the flute, namely my left hand position. Stephen raised Induced Therapy. the level of the C key by about 4mm and this helped slightly. I Patrice had originally been a professional horn player but also talked to Stephen about constructing an extended C key Dystonia forced him to leave the profession. He retrained as back towards the A key. The problem was that I did not know a physiotherapist and started to specialise in dealing with if this would work. He suggested that I construct a temporary musicians. He has worked with a number of flute players key using Araldite putty. This is like plasticine but will stick to with similar problems and achieved some degree of success. surfaces and sets hard. It is normally used by plumbers but is Following a consultation, Patrice agreed that Constraint- ideal in this type of situation. The photograph shows the end Induced Therapy would be a sensible way forward. But what is result. I was now able to experiment with the position of my Constraint-Induced Therapy, and was I a typical candidate in index and middle fingers. After some time I managed to do manifesting this condition? some playing, but it was not easy and I knew I still had to look Studies have suggested that men in their 30s and 40s are for a medical solution. more likely to be affected, typically when they are at the peak of
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their playing career, and that it is more likely to be in the hand undergoing Patrice’s physiotherapy for the 18 months. Ideally that performs the most complex movement patterns, e.g., the I need to do one hour per day, every day in addition to Slow left hand for flute players and the right hand for pianists. Down practice of half an hour per day. This is extremely Constraint-Induced Therapy involves restricting the challenging and rarely achieved. Trying to stay motivated problem finger by means of a surgical splint and then carrying has been difficult but the different elements of my approach I out regular exercise patterns on the remaining fingers. I was think have helped. Simply to look at this from one direction, therefore fitted with a splint on my left hand to restrict the would have achieved little. A combination of experimentation, professional medical guidance, and buying a customised flute have all helped me keep playing to a reasonable level. I have recently had my flute permanently altered with the C key re- designed, as shown below.
movement of my dystonic middle finger, shown below. Patrice then developed a series of finger exercises, the aim of which was to retrain the behaviour of my motor neural processes controlling my left hand. The exercises involved following a set of left hand finger patterns on the flute, each to a given metronome speed. Each exercise had to be timed. Patrice devised ten finger exercises which I then split into two therapy sessions. I varied the metronome speed of each individual Other factors which helped were utilising the Alexander exercise and, depending on time available during the day, set Technique as part of my regular physio sessions and the the time for each exercise anywhere between 3.5 minutes and support I received from musical colleagues. Having other 5 minutes. musicians who understand my limitations, and can therefore In addition to the Constraint-Induced Therapy I also had to share workload, has been vital and enables me to continue to carry out Slow Down Exercises (SDE). These involved playing, contribute. without the splint, two pieces of music to a set metronome Performing again speed. This tempo was gradually be speeded up over a period of I am back performing, albeit generally orchestral playing, time. One piece was relatively easy and the other slightly harder. but I do struggle to play a whole concert. I have to think I was videoed playing these pieces. This created a benchmark carefully about the repertoire I can manage, particularly if it which allowed for comparison some months later to see if an is likely to be exposed with solos. I have, though, had some improvement of the motor neural processes had occurred. The success, and have recently played first flute in symphonies by idea then was to establish a regular therapy routine and record Dvořak, Tchaikovsky, Bruckner, and Rachmaninov. Performing it on a daily practice chart. recitals or concertos is though – for the time – being a thing The future of the past, and I have to hope that the continuing physio will The process I have gone through has not been easy and allow me at some point to return to how things used to be. many would have given up long ago. Three years have passed The following Dystonia scale is used to monitor the since I had the first significant problem and I have now been effectiveness of treatment and is a useful guide to where I am in my rehabilitation:
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STAGE DEFINITION At the beginning of my treatment I was at Stage 1 or 2, and Stage 0 Unable to play I would estimate I am currently at about Stage 3 and moving towards Stage 4. Stage 1 Plays several notes but stops I have set myself a goal to be able to perform the Undine because of blockage or lack of Sonata by Reineke again. The opening theme is the most faculty difficult because it relies on accuracy of finger changes in the left hand. This work is a challenge at the best of times, but it Stage 2 Plays short sequences but without is worth aiming to perform something that is so beautiful. rapidity and with unsteady Hopefully, one day I will achieve this. fingering
Stage 3 Plays easy pieces but is unable to perform more technically challenging pieces Contact information Stage 4 Plays almost normally but difficult Dystonia Society: www.dystonia.org.uk passages are avoided for fear of Patrick Berque: www.musicianshealth.co.uk motor problems Alexander Technique: www.stat.org.uk
Stage 5 Returns to concert performances
June 2013 31 Albert Cooper’s Gadget Page revisited
In its anniversary year, the BFS is also honouring Albert Cooper, flute maker and innovator, whose life’s work developed and improved the flute to the standards we enjoy today. From the first edition of PAN in 1983, Albert Cooper contributed a regular ‘Gadget Page’ in which he discussed queries and issues of burning interest to flute players, such as the advantages (or otherwise) of open holes, the open G sharp, the split E mechanism, and specialised trill keys. A selection of these articles, 30 years old but of enduring interest, is republished here.
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For answers, see p. 35
June 2013 33 Albert Cooper
34 bfs.org.uk Albert Cooper
NOT-SO-QUICK QUIZ ANSWERS (from page 33) 1. Samuel Pepys 2. To practice daily, and make his wife do the same 3. David Copperfield 4. Elizabeth I 5. Thomas Wragg: Improved Flute Preceptor 6. The Hotteterre family 7. So that his hand could be heard to be properly occupied 8. Aaron’s rod 9. Frederick the Great 10. I shudder to think. A labourer earned about £1 annually.
June 2013 35 Better late than never Tony Corney on his Rudall Carte flute and how he learned to play it – with the help of the BFS he first flute I ever tried to get a took it in my army kit-bag to Palestine. McLauchlan was the clear choice from note from belonged to my science About ten years later, a South African William Bennett’s quite short short-list. teacher, Mr Reid. He lent it to me doctor friend brought a colleague around I rang him, and by the beginning of the Tfor most of 1944. I was about bottom of to see me. “Max tells me you play the following year my flute was transformed. the Fifth Form in his subject, but he bore flute,” said this complete stranger. “Well, More enquiries led to phone numbers, no malice. He it was who arranged my yes,” I lied. “I’d like you to have my flute,” names, and an enrolment form for the few disastrous lessons, given by a young he replied. “I don’t play it.” I made the British Flute Society, of which I had man with repellent cold sores on his lip, usual English noises one makes before never heard. Soon my first copy of who showed me where to put my fingers accepting this extraordinary gift. But PAN dropped through the letterbox. In and how to blow, breathily. He used you have to understand that, in 1955, this excellent journal I read an article military band flute, fife, and piccolo Rudall Carte meant nothing more to by Tricia Clelland and noted that she parts to teach simple music reading. me than an engraved copperplate name was my nearest Area Representative. Rather too soon, I was persuaded on an old metal flute, badly in need of “Could she teach me to, er…”. Well, not to sit in the under-manned woodwind repadding. It was not until years later, at present, but her husband, Lamond section of the school orchestra. Not in 1984, that I heard of an ex-employee Clelland, might perhaps be able to fit me far away sat the school soccer captain, of Rudall Carte who would ‘do the job in… trumpet player (and now trumpet cheaply.’ He did, showing just why they Trowbridge is about 34 miles away legend) Jimmy Hill, who could do had to let him go. but it was a beautiful drive in late enviable competent arpeggios in the In my fifties, I was still tootling in February sunshine. Mr Clelland, very Toytown theme. I would site dreading a desultory way on a B&H Emperor soon Lamond, was intrigued to find his the moment of my solo entry in To a bought from Rachel’s mum for £150 (‘she ‘late false beginner’ brandishing a Rudall Wild Rose. Invariably, I would miss it just won’t practice’). By this time, I was Carte from the same stable as his own and reliably, Mr. Reid would play it for trying to play the easier Handel sonatas, finer example. ‘Have you insured it?’ he me. and even some Bach, all unrecognisable, asked. ‘I didn’t realise it was valuable,’ From an Elephant and Castle junk at a uniform, breathy adagio. was my naïve reply. shop I bought a flute of my own. It was So there I was in Winscombe, This exchange led eventually to an ancient, high-pitched, simple system, an idle OAP, scanning the ads in the my meeting Robert Bigio, who is wooden flute, badly split, and cheap. I showcase outside the baker’s shop. From particularly interested in Rudall Carte tried heel-ball, candle grease, sealing the photocopied hand-written notice flutes and their history. The original wax, dunking the whole flute in water, announcing a concert of flute music at stock record Robert Bigio has confirms but that split barrel defeated me. My the Quaker School, Sidcot, the name that my flute was made on 3 June 1870, friend, Peter, another 15-year-old raw William Bennett leapt out at me. He and sold a week later for just under recruit in the orchestra, had acquired a was holding his International Summer £30. Suddenly its cheap modern case high-pitched E flat clarinet. We found School there that year, and performing seemed incongruous. Robert agreed, that if he ignored the key signature and that evening. His concert was wonderful, and gave me the phone number of read the bass clef as if it were treble, we it was free, and there was even a glass Stephen Wessel, who makes flutes in his could happily duet our way through of wine afterwards. I was enraptured beautiful home near Shepton Mallet. the hymn book. Neither of us was very and inspired, and asked the great man Stephen was soon fitting my flute for the discriminating. whom he would recommend to restore bespoke walnut case it deserves. After this, when my father spent £18 a neglected old Rudall Carte flute, badly Its making will take time, and on my first Boehm system flute, from repadded. perhaps the same could be said of the Boosey & Hawkes in Regent Street no As Just Flutes in Coulsdon present author and would-be flute less, it seemed a wildly generous action. happened to be just round the corner player. Does my flute have the owner it I made a heavy wooden case for it and from my daughter in leafy Kenley, Ian deserves? Lamond Clelland is a kind-
36 bfs.org.uk Late starter
hearted and tactful teacher, but by lesson three we were both aware of some implacable facts. The way I was standing and How times have changed... holding the instrument was wrong; the way I was breathing and unconsciously making a strangled laryngeal accompaniment Wilfred Smith, writing in PAN 30 years ago, discussed the was wrong; I was using the wrong F sharp fingering, and what metals from which flutes were being made. The first few was worse, I’d been doing all these things wrong for about 54 might not surprise you, but look at his head(joint) count untutored years. Initially a bit daunted, I wondered whether at numbers 5 and 6! it wasn’t perhaps too late to remedy all this. Certainly not, maintained my teacher confidently. Over the next few months he proceeded to convince me. My thumb has, at last, learned to go automatically to its pivotal position though my third finger is still trying to shirk its F sharp responsibilities. I now know I own a diaphragm, and try to use it. My larynx has learned to relax into a silent ‘aah’, and those lower notes have begun to have a tone and a volume never known before. Even my own family have said kind and encouraging things. Best of all, at an age when you can too easily feel that everything is getting steadily worse, is that wonderful feeling from time to time that your flute-playing is getting better and better. But supposing that generous doctor reads this? What would you do?
19/07 – 28/07/13
UESAWA Musik-Atelier
June 2013 37 A historic predecessor to the BFS The Birmingham Flute Society and its music by Roz Trübger
he members of the Birmingham took over the role), a Vice President unforeseen circumstances, it is agreed by Flute Society celebrated their (James Mathews), an Honorary the existing members that the valuable thirtieth anniversary in 1886. Secretary (W. R. Hughes, until 1867 collection of music – the result of many TTo mark the occasion they played flute when he was succeeded by A. H. years acquisition – shall be offered to the quartets at the home of the society’s Hughes), and an Honorary Treasurer Birmingham and Midland Institute, if it founder in the village of Clent, followed (successively Thomas Parrott, Walter continues to hold Flute Classes and, if by dinner and speeches at a local Allcock, G. C. Draper and William not, to the Royal Academy of Music.’ hostelry, The Lyttleton Arms. Johnson). From 1857, accounts were From a letter written by a member in The society had been founded by a kept carefully in a little ledger. They February 1928, it is clear that the value local flautist, James Mathews, whose show frequent payments of a few guineas of the collection was not lost on the Chrysoston flute featured inPAN , March to the conductors Benjamin Tilley and proposed recipient as a section states that 2013, to ‘…encourage and develop the William Langston. Payments were also ‘The Birmingham and Midland Institute performance of classical flute music, and made for insurance premiums and in is concerned as regards the latter section for the improvement of its members.’ It August 1871 the great sum of £5 13s 2d of our rule no 10 [the dissolution of was originally named the Birmingham was paid to Chapell for sheet music. the society] which suggested that the Flute Trio and Quartet Society, but Over the years the society amassed members be free to gift the music to any the title was simplified and shortened a vast library of sheet music that was public school of their choosing or the in 1871. Requiring all members to be bound into leather-backed volumes Midland institute by default’ amateur, to attend weekly rehearsals, coded by colour and meticulously The society managed to keep going and to pay an annual subscription of catalogued. According to the rules of the through both World Wars, although £1, the society attracted to its ranks the society any member was free to borrow the library was divided up for safe- principal amateurs of the district and this music. keeping and in 1945 there were just five included at least one woman, Miss G. That the society was both proud and members remaining. By 1949 numbers Digby (niece of the well known flautist, conscious of the value of its collection had increased again, although meetings Edith Penville). is demonstrated by the publication were no longer held weekly, and on June J. Sutcliffe Smith’s book The Story in 1894 of a catalogue with a lengthy 1, 1949 their performance was broadcast of Music in Birmingham (1945) has a prologue stating that ‘it is believed by the BBC for the In Britain Now series. brief entry about the Flute Society and that this is the first time a local society Unfortunately, no known copy of this states that this unique body ‘talked has published a practically exhaustive broadcast remains. The BBC paid the flute, played flutes, collected flute music catalogue of concert music specially society a fee of five guineas [£5 5s] and gave concerts…before overflowing written or published for the flute. The and also recorded an interview with audiences’. Music by Kuhlau, Walckiers, only exceptions to this class of music representatives of the society by John and Furstenau featured frequently in in the catalogue are the Grand Solos of Francis. Sadly, the interview was not their programmes and all money raised Kuhlau, the Beethoven of the flute, who broadcast, due to the poor quality of at concerts was donated to local good was a contemporary and friend of the the recording, for which the producer causes. great maestro. [Also] included in the David Gretton apologized. However a The Society had rules, and a catalogue are many numbers of a lighter transcript is still in existence and reveals committee which consisted of a character which have been specially that there were eight to 12 members President (Joseph Richardson until his arranged for the society. In the event at that time, plus the rather delightful death in 1862, when Henry Nicholson of the society being dissolved from any information that ‘flutes were handed
38 bfs.org.uk Forgotten composers
down to younger players by their grandfathers for 16 shillings Helen Mills-Cross told me ‘I can remember as a student returnable on proof of proficiency.’ here back in the 70’s playing through Beethoven symphonies It is not known when or why the Birmingham Flute Society for 4 flutes from big tomes in old fashioned notation engravings was finally disbanded. Margaret Lowe puts the date as 1954. A (which we thought very quaint), which I think were a legacy of letter from a member, Norman Slade, to The Principal of the this and housed at the Conservatoire library.’ Birmingham School of Music, dated 7 Sept 1983 says, Margaret Lowe said ‘..in 1966-7 the librarian Muriel Wiley, Dear Sir, allowed me to take several volumes of trios to play with Anthony When the Midland Institute of Paradise closed I was Moroney and Michael Hirst, then principal flute and 3rd flute apparently the sole remaining member and in accordance respectively in the CBSO. I remember that they sometimes with arrangements the music etc was handed over to the arrived at my home after playing a CBSO concert, and at Tony’s Midland Institute through their secretary Mr Eric Knight and insistence we played trios until the small hours of the morning. I understood that it was handed on to the Birmingham School I was afraid that we might wake my baby son, but we never did’ of Music which had then been formed. The music consisted During the years of The Birmingham Flute Society most of of sheet music and a number of specially bound volumes of the eminent professional flautists of England were enrolled on Duets, Trios, Quartets etc together with some Table Music the list of Honorary Members. One of them, Antoni Minasi, Stands, Catalogues etc all contained in a long high cupboard. dedicated his Grand Quartet in A to the society. Himself a player Sadly, this exceptional collection now rests unused, of exceptional ability, Minasi (c. 1815 – 1870) was reputed to gathering dust in the library of the Birmingham Conservatoire. have been performing on the flute in public at the age of just When I visited the collection a few weeks ago, Music Librarian four years. However, the Grand Quartet also demonstrates Francis Firth made me very welcome but told me that to his the apparent skill of the Birmingham Flute Society since it knowledge, I was the first person to have requested to see the demands such difficulties as asking the second flute to hold a collection during his time there. The collection covers four top A pianissimo in the final chord. shelves but most of it is too brittle to be used by players now. A sample of the new edition of the Grand Quartet by Trübcher Some players, however, still remember using it towards the end Publishing is included overleaf, and can also be heard on of the 20th century: www.soundcloud.com at http://snd.sc/13bOuzV.
June 2013 39 dedicated to the Birmingham Flute Society Grand Quartet II Minasi Moderato (bars 1 - 30 /359 ) œ ˙ œ œ ˙ œ ˙ œ œ œ ˙. ˙ ˙ œ 1 # # 6 ˙ œ œ œœ œ# œ & # 4 ˙ œ œœœœ œ p ˙. œ. œ ˙. 2 # # ˙ ˙ œ œ œ œ œ ˙. & # 46 Œ œ ˙ œ ŒŒÓ. Œ p . 3 # # w. . œ . & # 46 Œ Ó. Ó œ ŒŒÓ. Œ œ œ œ œ œ ˙ ˙ œ p 4 # # 6 œ. & # 4 Œ w. w. ŒŒÓ. Œ œ œ œ œ œ w. p 6 ˙. > >œ. œ ### ˙ œ ˙ œœ œ# œ œn ˙ ˙ ˙ œ œœœ œ# œœœ & œ œœ œœœœ . Œ œ œ p œ œ ˘ ˘œ # # ˙ ˘ ˘œ œ ˙. . . & # ˙ œ ŒŒÓ. Œ œ œ ˙# ˙n œ ŒŒ f fl p S S œ. # # œ. ˘ ˘ ˘œ & # ˙. ˙ ŒŒÓ. Œ œ œ œ œ ˙. ˙n . ˙. œ ŒŒ fl fl pS S # # . # œ ŒŒÓ. Œ & w. œ œ œ œ œ ˙. ˙. ˙. œ ŒŒ fl fl fl fl fl pS 11 S ˙. > >œ.œ # # œœ œ# œ œn ˙ ˙ ˙ œ œœœ œ# œœœ œœ œ# œ œn & # œœ œœœœ . Œ œ œœ œœœœ œ p œ ˘ ˘œ # # œ > > ˘ ˘œ œ . . œ > > & # ŒŒœ œ œ Œ œ œ ˙. ˙# ˙n œ ŒŒ ŒŒœ œ œ > fl > f p S S # # œ ˘ ˘ ˘œ ˙. œ & # ŒŒŒœ œ Œ œ œ œ œ ˙n . ˙. œ ŒŒ ŒŒŒœ œ > > fl fl > > p S S # # # Œ & œ ŒŒœ œ œ œ œ œ œ œ ˙. ˙. ˙. œ ŒŒ œ ŒŒœ œ œ > > > fl fl fl fl fl pS S > > > ©Trübcher 2013 DLD-0-979-708082-82-S 2 II 16 p œ ˙ œ ˙ ˙ œ ˙ ˙ œ ### œ ˙ œ ˙ œ ˙ œn & ˙. ˙ œ ˙ œ ˙ œ f # ˘ ˘œ ˘œ ˙. ˙. ## ˘ œ ˙. ˙ ˙ œ ˙ œn ˙ & Œ œ œ œ ˙ œ Ó. ˙ œ Œ f fl p f # # ˘ ˘ ˘œ ˙. ˙ & # Œ œ œ œ œ ˙. Ó. ∑ Œ ∑ ˙ œ ˙ Œ fl fl p f # ## œ ˙ œ œ & Œ œ œ œ œ œ ˙ œ ˙ ∑ ˙ œ ∑ ˙n œ ˙ fl fl fl fl fl p f A 22 ˙ ˙ œ # ˘ œ ˙ ˙ œ ## ˙ œ œ ˙ œ ˙ œ ˙ œœœ œ# œœ & ˙ œn ˙ œ œ œœœœœœ fl fl p ˘ ˙. # # ˘œn ˘˙ œ ˙. ˙ >œ & # Ó Ó. ∑ œ ˙. Ó. ŒŒÓ. p f # # ˘ ˘ ˘ w. > & # Ó œ ˙ œ ˙. ˙Œ ∑ ∑ œ ŒŒÓ. p ˘ ˘ f # ˘œ ˙ œ ## ˙n . & ˙. ˙ Œ ∑ w. ˙. ˙ Œ œ ŒŒÓ p f>
28 ˙ œ œœ œ œ œn œ# ˙ œ œœ œ œ œn œ# ### œœœ œ# œœ ˙ œ ˙ œœ œ# œœ œœœ œ# œœ & œ œœ œœœœ p œ ˙. # # > > > > > > ˙ >œ > > > > > > & # œ œ œ œ œ œ œ ˙. Ó. ŒŒÓ. œ œ œ œ œ œ p f # # w. > & # œ œ œ œ œ œ ∑ œ ŒŒÓ. œ œ œ œ œ œ > > > > > > > > > > > > p f # # > # Œ ŒŒÓ. & œ œ œ œ œ œ w. ˙. ˙ œ œ œ œ œ œ œ > > > > > > p f > > > > > > ©Trübcher 2013 Thirty years of historical performance on flute Elizabeth Walker looks at how things have changed
n 1985, I won a woodwind prize at the RCM Junior Decca had a recording contract with the New London Consort, Department and spent my voucher in the local record directed by my then recorder teacher, so on recorder and shop in my hometown of Chichester, West Sussex. Mr renaissance flute we made recordings of Monteverdi, Praetorius, IBastow, the shop owner, guided me through his small but Purcell, Blow, and many others. In 1987, I was involved in the carefully selected collection of recordings and handed me BBC Proms, performing Praetorius’s Dances of Terpsichore; a CD recording by Barthold Kuijken (recorded on vinyl in I even got to play a renaissance flute solo in the Albert Hall! Oct 1978) of the Telemann Twelve Fantasias. Did Mr Bastow It all felt very new. The audiences seemed to love it, but were know how prophetic this choice would be? No. I don’t think perhaps amused by those racketts and crumhorns. To this day, so. He was simply excited by the sheer quality of this recording the BBC has continued its commitment to early music with the – the wonderful variety and tonal colour in each movement, Early Music Show every Saturday and Sunday, and recently we the brilliant technique and use of articulation, and Kuijken’s were treated to a month of ‘Baroque Spring’ on BBC Radio 3. breathtaking boldness in performing this early solo repertoire How important these broadcasts are. Consciously or not, the on an original wooden flute (G.A.Rottenburgh, from mid sound world of the baroque or early flutes is being heard and 1700s), exploding years of unheard research into a sound absorbed. recording. When I was student at music college, the field of early music was already an area of intense research. ‘New’ early music was being discovered all the time and pioneering baroque and renaissance flautists experimented with fingering charts on original instruments, whilst copies of flutes were being made by makers eager to enhance some of the features such as tuning and resonance, without changing the essence of the instrument. At this time, there was a tangible sense of experimentation. I had no idea where this might lead me, but there was absolutely no doubt in my mind that this research was bringing to life music that I had struggled to enjoy on a modern flute. The masterful repertoire of Bach, Handel and Telemann was now finding shape and the music was dancing off the page once I had mastered how to play it on my wooden, conical bored, small embouchure Roderick Cameron copy of a C.A.Grenser flute. After my graduate study in London, I went to Holland. There I had found a flute department containing ten or more baroque flautists (I was one of two in GSMD at that time). The Kuijken brothers, along with the Dutch flautist, Wilbert Hazelzet, had blazed a trail, and pupils from as far away as America and Australia were studying baroque flute there. I just had to join in, too. So in Holland I experimented with eight keys and studied Fürstenau and Dothel, prepared programmes Thirty years ago was a very exciting time for me to be a with theorbo, lutes and classical guitar and started to perform flute student at the Guildhall School of Music and Drama in in orchestras on my baroque and classical flute. London. Stephen Preston introduced me to the baroque flute. Now, roll forward the years and there are apprentice schemes His research was fresh, immediate, and inspiring, as was that of with the Orchestra of the Age of Enlightenment, which has a Nancy Hadden, who gave me a few Renaissance flute lessons. regular annual slot at Glyndebourne, and there cannot be a
42 bfs.org.uk Baroque
day that goes past without at least one Early Music concert in London. The BFS includes baroque masterclasses and recitals in the convention and baroque makers are in the trade stands, selling a variety of baroque and classical flutes. Jane Booth, who was my contemporary at GSMD, and who is now Head of Historical Performance at the Guildhall School of Music and Drama, talked to me about the course today. She told me, “The big difference to 30 years ago is the centrality of historically informed performance within the music profession at large. The early music movement has had an unprecedented impact on the performance of classical western music that this generation is fully alert to. The challenge for them isnot to make this into another tradition, but to keep the spirit of the movement alive by questioning and researching everything for themselves – our teachers encourage students not to believe what they say but always to question it. This way, students’ performances can be authentic in the sense of created through their own artistic conviction (not a desire to be like someone else, even someone from the past), and new. The early music movement has produced performances of the most modern sounds around.” I also asked current students at music college what drew them to study baroque flute, and I thank Yu-Wei Hu and Marta Gonçalves for their responses. Elizabeth Walker EW: What attracted you to the baroque flute?
Y-WH: “The range of tone colours and unevenness among notes. It’s a very sensitive instrument as there Baroque is nothing to Flute Study Book hide behind vibrato! I love the repertoire too.”Tone Through Thanks to the research Interpretation of many, the editions of baroque music have improved greatly, with notes, articulations and basso MG: “The fact that each key has a different colour continuo realizations being added. Whether as a flautist you and creates a different ‘affekt’ is something absolutely choose to study the baroque flute, experiment with a wooden wonderful. I always felt that the homogeneity or evenness flute or headpiece or just immerse yourself in excellent period of sound so much sought after in the ‘modern world’ didn’t recordings, there can be no doubt that the performance of early feel right to me at all.” music in a historically informed way has released a wealth of repertoire and the ability to perform this wonderful repertoire EW: What benefits are there for you, personally, in having with brilliance and style. I am thrilled to have enjoyed the studied the baroque flute? journey so far and look forward to the next thirty years. Y-WH: “Technically-speaking, I have learned to relax my jaw and tongue more, as baroque flute requires much less Elizabeth Walker’s Baroque flute study book, Tone Through tension and lighter articulation. Trills are also useful training Interpretation, will be published later this year by Wonderful for flexibility and control as they are so uneven on baroque. Winds. Look out for a review of this and other new baroque Musically I have learned to read between lines of the scores, tutor books in the next edition of PAN. searching and creating more personalities and characters in the music.”
MG: “The skills I’ve learnt by playing the baroque flute are extremely useful for my modern flute playing. Every time I play the modern flute now I always try different approaches to phrasing, dynamics, and so on. I feel it adds spontaneity and freedom to my modern flute playing.”
June 2013 43 Improve your playing by finding comfort in your jaw Niall O’Riordan explores the Feldenkrais® approach
ost of us have been told at one point or another in thing with the lips and one thing with the tongue, resulting in a lesson to relax our jaw or to create more space a set of actions that are very different to the patterns that seem in our mouth. Without knowing how to relax natural to us. This can be a tremendous source of discomfort Mthe jaw, instructions like this have limited value unless our and tension. nervous system learns alternatives to our habitual reactions. Certain movements of the lips and jaw are needed to If we don’t take the time to become aware of these habits and facilitate changes in colour, dynamics and to enable flexibility learn alternatives, we will continue to do what we are used to. between registers. There are many varied opinions in flute Tension in the jaw can have negative effects on tone production, teaching regarding how the jaw moves, with some advocating resonance, dynamic control, articulation and breathing – in quite a lot of movement and others discouraging it. I have found short: everything. Many of us hold tension in the jaw without it very useful to think of the jaw as being passive and allowing even being aware of it. Clenching and holding the jaw muscles it to be guided by the movements of the lips. If somebody has a is a common stress response, and it is also a reaction that many very a fixed embouchure that does not have much flexibility or of us habitually engage in when doing a task that requires effort control, then it is likely that effort in the jaw will be employed to or concentration. For example, what are you doing right now compensate for this. In De La Sonorité, Moyse described certain with your jaw? Are you exerting any unnecessary effort? The jaw movements, particularly for notes in the low register. first step is to become aware of our habits before we can change This must not be misunderstood. It is my opinion that many them. I occasionally check with myself to see if I’m using of the movements described were to facilitate improvement unnecessary effort there. I confess most of the time I find that I of intonation problems inherent in the instrument and that am, but I also notice that it is not as much as I used to, which is these movements are, therefore, far less applicable with the encouraging. We can all change our habits. advancement of flute scales and intonation since then. The jaw has a dynamic relationship with how the head and neck are organised. Tension in the jaw can be the cause The TMJ Joint of neck pain and even shoulder pain. Easing unnecessary jaw The temporomandibular joint connects the jaw to the skull tension can also be beneficial to these areas. Jaw tension can and is frequently referred to as the TMJ. It can be found by also have significant impact on our breathing. You can explore placing your fingers in front of your ears and gently opening this by inhaling through your nose while you your teeth are and closing your mouth, you will feel movement there. There clenched; notice the quality of breath, especially the availability are two TMJs, one on each side, working in unison. The name of movement in the ribs. Do the same with the jaw relaxed and is derived from the two bones which form the joint: the upper notice the difference. Of course this is an extreme comparison, temporal bone which is part of the cranium (skull), and the but it will prompt you to think about how this activity may lower jaw bone called the mandible. impact on your breathing. Jaw discomfort in its extreme can result in TMJD To explore how the jaw can impact the neck and its range of (temporomandibular joint disorder) which has a variety of movement, clench your jaw and turn your head a little bit to the symptoms including difficulty or discomfort with biting or right then a little bit to the left. Notice the equality of movement chewing, clicking, popping, or grating sound when opening in your neck, and now try it again, but with your jaw soft or closing the mouth, dull aching pain in the face, earache The jaw, tongue and lips have a close neurological (particularly in the morning), headache (particularly in the relationship and exert a strong influence over each other. These morning), hearing loss, migraine (particularly in the morning), relationships develop as we begin to speak and feed. Difficulties jaw pain or tenderness of the jaw, reduced ability to open or close in flute playing can arise when these relationships are prevented the mouth, tinnitus, neck and shoulder pain, and dizziness. from working harmoniously together. This can especially Because of the repetitive nature of what we do, it is important happen if we begin to follow verbal instructions by teachers too that we take care of our jaw. When I first explored the Feldenkrais literally; we can end up trying to do one thing with the jaw, one lesson I discuss in this article, I was really impressed by the
44 bfs.org.uk Well-being
instant improvement in my playing, particularly my tone and flexibility. It immediately made me think of the many flute players around the world who spend a lot of time trying to improve their tone, and how easily addressing this area could set them on the right track. Practising tone exercises mindlessly is pointless. By developing sensitivity and learning how to make distinctions in the movements of the jaw, lips, and tongue, away from the flute, you will reap great rewards in your daily tone practice. Further resources I highly recommend the following Feldenkrais recorded lessons which address areas that are of great interest to flute players.
• Feldenkrais TMJ Pain Relief by Ryan Nagy (available on Spotify) • TMJ Heath by David Zemach-Bersin and Mark Reese, www.feldenkraisresources.com
See overleaf for a short Feldenkrais® Awareness Through Movement® lesson on the jaw that you can try for yourself.
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June 2013 45 AMI 4534 s.i.o.h 184.6x123.3.indd 1 18/10/2011 10:15 Well-being
A short Feldenkrais® Awareness Through Movement® Lesson
Guidelines: Make the movements easy and use as little muscular effort as possible. If anything is uncomfortable make the movement smaller or stop. Go slowly so that you can pay attention and become aware of any unnecessary effort you are making. By reducing effort, you make it possible for your brain to make the sensory distinctions needed to improve your neuromuscular organisation. Stretching should be completely avoided, the Feldenkrais method is a process of sensory motor learning which is very different to exercise or stretching. The rest periods are very important to the process, so please take time to rest between each movement and between sections. Depending on how long you have, this lesson should take around 15 to 20 min. When you become familiar with the movements of the lesson it is a very good idea to incorporate some of the movements into your flute practice during times of rests. A good time to do this lesson is before you go to bed at night, when your nervous system can process new information while you sleep.
1. Lie on your back on the floor. Notice how you make contact with the floor and how your body rests. a) Direct your attention to how you are breathing and where you sense the movement of the breath. b) Become aware of how your head rests on the floor. Gently turn your head to look left and right and notice the range of movement that feels easy c) Notice the space between your teeth and how your tongue rests in your mouth and what parts of your mouth your tongue touches. Does it make contact with your front teeth?
2. Bend your knees so that your feet are flat on the floor and your knees are pointing towards the ceiling. a) Begin to slowly open and close your mouth. Become aware of the range that feels easy and stay within this range. Do not stretch. Rest between movements so that each time you open your mouth you are beginning a new movement rather than opening and closing your mouth continuously. b) Rest
3. Again go back to opening and closing your mouth. This time notice if the back of your head moves on the floor as you open and close your mouth. If it does it may indicate that you are engaging muscles of the neck unnecessarily a) Explore this movement of the head in a very small, gentle way by opening your mouth by moving the top of your head back and forward again as if very gently nodding ‘yes’. It may help to direct your gaze upwards along the ceiling. b) Now open and close your mouth using your jaw, this time allowing your neck to be relaxed c) Rest and notice any changes
4. Open your mouth a comfortable amount and slowly begin to bring your jaw a little bit to the right and back to centre again. Rest between movements and only stay within the range that feels comfortable and easy a) It may help to place your right index finger on your chin to feel the movement b) Rest and notice the difference in sensation between both sides of your face and neck
5. Repeat step 4 . This time move your jaw to the left, moving it slowly and with attention.
6. Go back to opening and closing your mouth. How does it feel now? Easier? a) Notice if the space between your teeth has it changed since the beginning of the lesson b) How is your tongue resting in your mouth now? Where is it making contact in your mouth? Has this changed? c) Turn your head to look left and right; has the movement of your jaw affected the ease with which you turn your head? d) How has your breathing changed since the beginning of the lesson?
7. Take time and slowly make your way into a standing position. Notice if the work on your jaw has affected how you are standing and your balance.
More from Niall at www.niallflute.com and @Niall_ORiordan
46 bfs.org.uk
New repertoire for by Elisabeth Hobbs flute choir with Caroline Hobbs-Smith
ack in 1983, Marlaena Kessick Sorrentino, INNO FOR JOUEURS the piccolo writing is very idiomatic. wrote in PAN about her efforts Forton Music An excellent addition to the repertoire, to establish a ‘flute orchestra’ and The response of our players to his suited to Grade 6 and above. Blamented the limited material available newly-composed work was polarised: Hilary Taggart for such an ensemble, particularly by a few strongly disliked it, though the MERSEY BEAUCOUP British composers. Thirty years later, majority were loved it. The intricate Spartan Press flute choirs have become an integral plays on rhythm can be difficult to bring This work, written as a 70th birthday part of the landscape, with professional off, but the interplay between parts is offering for Atarah Ben-Tovim, is a and amateur ensembles making music delicately done, resulting in a kind of lot of fun and was greatly enjoyed in every part of the country. This aural filigree. The piece is very pleasing by the players. The piece needs some growth has been reflected in an ever- to listen to and, once mastered, fun to determined work to master it, and its increasing repertoire for mixed-voice play, with excellent idiomatic writing numerous accidentals mean it is not flute groups, both of arrangements and for the instrument and some technique an easy read; it is, however, well worth newly composed music. The choice is challenges. There are two separate alto the effort. Many well-known tunes now huge, and conductors can tailor parts. Suitable for Grade 5+. their selection to cater for mixed ability are humorously referenced, and even groupings and every kind of musical Geoffrey Walker young players seem to ‘get’ the musical taste. DISTANT STARS jokes. The melody is shared generously With the help of the Oxfordshire Emerson Editions between all the parts, making it County Flute Choir and the This piece is well written for flute appealing in rehearsal as well as in Oxfordshire Adult Flute Ensemble, choir and evokes its title well, revelling performance. Recommended. my colleague, Caroline Hobbs- a somewhat filmic style. The alto part is Bernstein, arr. Orris Smith, and I have recently explored a centre stage and provides an excellent OVERTURE TO CANDIDE range of newly published repertoire. opportunity for a good player to shine; Wonderful Winds Publishers whose offerings particularly it is, however, a pity that there is no This Bernstein arrangement impressed included Wonderful Winds, bass flute part. Our groups enjoyed this is skilfully done, sophisticated, Alry, Trübcher, and Forton Music. piece, and it would make a pleasingly and enjoyable. To be exciting in A selection of the pieces our groups different short interlude in a concert of performance, it needs to be played fast enjoyed is reviewed here. larger scale works. and with panache, and the demanding Von Suppé, arr. Trübcher, arr. Judy Nishimura range, trills, accents, and glissandi PIQUE DAME PAT-A-CAROL AND CAROL OF mean that some dedicated rehearsal is Trübcher Publishing THE BIRDS, required. Nonetheless, this work repays This arrangement by Roz Alry Publications the effort fully, though I would have Trübcher was hugely enjoyable. A Ideal for a Christmas concert, this liked to see a bass part included. Suited very approachable work in typical piece was highly successful on many to players of at least Grade 7 standard. light operetta style, it nonetheless has levels, both as a performance piece and arr. Peter McGarr numerous challenges, particularly in as a learning challenge. Intertwining POPULAR CLASSICS FOR FLUTE the tempo changes. There is a lot of themes from Die Moldau by Smetana CHOIR (volumes 1-4) scope for working with dynamics and with the traditional tune Pat-a-pan, Spartan Press articulation, and the alto and bass parts there are numerous ensemble challenges This excellent series of books is are particularly well characterised. for the group. The writing for alto ideal for mixed ability groups of around This arrangement, suitable for groups is perfectly placed, with the players Grades 3-6 standard (although more working at around Grade 6 level, is an revelling in Smetana’s rich melody, and advanced players can still enjoy the ideal concert piece.
48 bfs.org.uk Flute choirs
very pleasing arrangements of well-know classical hits). All and ornamentation with an assured command of appropriate arranged for piccolo, four flutes, alto, and bass, this is a very gesture. This care makes the arrangement an excellent tool for good foundation set for any flute choir: you will always have conveying an introduction to baroque style. Recommended for something playable and popular on hand for an impromptu around Grades 4-8. concert. One quirk of these arrangements is that the C flute Trad., arr. Lowe by Elisabeth Hobbs parts are arranged into 1a and 1b on one part, and 2a and 2b SIMPLE SONGS FOR SIMPLE SWAINS on the other part; a future edition would be much improved by splitting these into four separate parts, as less experienced Margaret Lowe with Caroline Hobbs-Smith This delightful medley of traditional English folk songs for players can be confused by the divisi layout. Amusingly, one flute ensemble is self-published by Margaret Lowe, a long-time of the volumes has a part for ‘base’ flute (a peril of letting the flute choir advocate and enthusiast. The simple melodies are spellchecker do the sub-editing). charmingly and idiomatically arranged, and flow seamlessly Grieg, arr. Rainford from one to the next. The piece is suitable for a mixed ability FOUR NORWEGIAN DANCES choir (there is one solo cadenza moment for first flute and Forton Music piccolo), with plenty of interest at a very approachable level of This is another very successful arrangement of some difficulty for the lower parts. This arrangement is a pleasure to well-known melodies. Very idiomatically written across all play and much appreciated by audiences. It is to be hoped that the parts, these pieces were much enjoyed by the ensemble. it might find wider distribution. The optional parts for treble flutes, contr’alto, contrabass, and subcontrabass flutes mean that there is wide scope for using PUBLISHERS this arrangement in a large and varied ensemble. It does also www.trucher.com www.alrypublications.com mean, however, that the score is very crowded with a number www.wonderfulwinds.co.uk of redundant lines if you are performing with a standard flute www.spartanpress.co.uk choir line-up, and is therefore quite busy to read. www.juneemerson.co.uk Margaret Lowe, 10 Navenby Close, Shirley, B90 1LH Respigh, arr. Jicha ANCIENT AIRS AND DANCES, SUITE NO. 1 Alry Publications Another excellent Alry offering, these dances are delightful both to rehearse and perform. The melodic interest is evenly spread through the parts, and there is plenty to work on in terms of articulation, phrasing, and dynamics. Suitable for around Grades 4-7. Warren, arr. Orris CHATTANOOGA CHOO CHOO Wonderful Winds This is a real hoot and was enthusiastically enjoyed by a mixed ability ensemble. Written for four flutes, it means putting the high and low end instruments aside, but there are fun percussion opportunities (acme siren/train whistle) and eight bars in which the whole group can experiment with easy extended techniques to create ‘train effects’. A popular and catchy tune in a brilliant arrangement, this is a perfect encore piece. Vivaldi, arr. Orris/Walker CONCERTO FOR FLUTE IN G MINOR (‘La Notte’) Wonderful Winds This very pleasing version of one of Vivaldi’s best-known flute concertos is arranged for three flutes, alto, and bass, and is ideal for a mixed ability choir which has some experienced players who are up to the challenges of the solo line. Liz Walker’s expertise in historical performance practice is evident in the careful editing, which marks up articulation, phrasing,
June 2013 49 In 1983...
50 bfs.org.uk Teachers’ Portfolio and 30 years on by Malcolm Pollock
ooking back on this article 30 years educational needs or come from extrinsic power of music (music makes on, it is interesting to note that the economically or socially deprived us better people and it’s good for the fundamental issues haven’t really backgrounds). However, there seem to brain too!) to potential “purchasers”: Lchanged that much. Let’s have a look at be a number of fundamental problems. parents, head teachers and governing the overall picture regarding peripatetic Quality: there is a real tension bodies. If we want the government to music teaching in state schools with between generalist and specialist continue to fund this work in the future, particular reference to flute teaching. teaching in this context and a need we have to make the case to them too. Instrumental provision in this sector for effective training and support for To inspire and encourage the next is now in the main coordinated directly, those delivering the sessions. We all generation of flute players, whether or or influenced indirectly, by Music know how difficult it is to encourage not they have emerged through whole Hubs, partly funded by the government one or two pupils at a time to form the class tuition, we have to communicate through Arts Council England. These correct embouchure, breathe, hold the effectively with Music Hubs. However Hubs are often, but not always, run by instrument properly, etc. How is this to teachers are employed, the Hub still has music services. The issues today as in be managed in a class of 30? How much a responsibility to ensure that suitable 1983 can be summed up in a few words, are we seeking to develop pupils from progression routes are available for all, namely access and entitlement, quality, the start as players, and how much are that young people can access suitable and affordability. Overarching all of these these sessions ‘tasters’? ensemble playing opportunities in and issues are the effective use of resources Of course, teaching in large groups out of school, that the music teaching (financial, human and physical) and the can give the teacher a chance to spot workforce is supported by accessible sustainability of programmes beyond hidden talent. But how many hubs are training and development, that large the life of the present funding. really making the transition from large scale performance opportunities are In recent years, the Wider group to small group tuition, developing available locally, working with top Opportunities programme has sought professionals, and that instruments are to ensure that each child has at least a “There is tension between available for hire at a reasonable cost. term, and preferably a year’s, free whole generalist and specialist The BFS is developing a programme class tuition on a musical instrument. teaching in the context of of support for English music hubs (of Obviously some instruments are more the Wider Opportunities which more to follow). In the meantime, suited to this approach than others. please contact me if you wish to discuss Strings and brass can work well, but the programme” this further (malcolm.pollock@hotmail. flute is tricky to teach properly in this technique and understanding effectively, co.uk). way. and producing well-rounded players? Of course, these sessions are The challenges of providing or Malcolm Pollock has just retired intended to provide an experience from coordinating whole class tuition in as the Head of Gloucestershire which pupils could make their own schools throughout a Local Authority Music and leader of Make Music decisions (“I really enjoyed this, and I area can put a real strain on the system, Gloucestershire, the local Music Hub want to continue”, or “I sort of enjoyed to the extent that “too much” time may (www.gloucestershiremusic.co.uk). this, but what I really want to play is….”) be given to ensure access, and “too little” He has over 35 years’ experience as Even if pupils decide not to continue time given to support quality. a music educator, flute player and learning an instrument, who knows One of the biggest tensions in the teacher. From 2008-2011 he was how much the experience will benefit current system is “affordability”, a South West regional coordinator their overall learning, or whether they concept linked to “value for money” and for the Federation of Music Services will choose to take up an instrument in socially based value-systems. Tuition (now Music Mark: www.musicmark. the future? can’t remain free to pupils forever. At org.uk.) At its best, this approach is inclusive some point someone other than the Further information: by definition: it reaches pupils who Government has to pay for it, and the www.artscouncil.org.uk/funding/ might never have considered learning sooner sustainable models are set up our-investment/funding- an instrument in school previously the better. Music professionals also programmes/music-education- (for instance because they have special have a duty to explain the intrinsic and hubs/.
June 2013 51 Serious fun A look at Flutewise, past and future by Liz Goodwin
his April was the tenth year that produced 127 publications that have A year ago I decided to open Flutewise has held a residential reached over 100,000 people. up our course at Abbotsholme to course at Abbotsholme School I really enjoy organising and running other woodwind players to help with Tin Staffordshire. I’m into numbers at the events. It is such a privilege to work with numbers. This is working really well and moment as I recently did an analysis of our top professional players and all of we have an excellent and growing bunch what Flutewise has been up to over the the superb children and young people. of oboists, clarinettists, saxophonists, last 25 years. It took me a very long time My favourite events are definitely the and even a bassoonist, who seem to fit to prepare the figures, but it was well residential courses. Currently we have in well with our flute players. worth it. I had been feeling a bit low two a year, one at Easter and the other The team of staff I have are absolutely about how things looked for Flutewise in the summer at the Purcell School superb and share my commitment to after having been turned down for some in Bushey. I remember the days when developing the best in the youngsters major funding. We had worked really the residential courses were so popular who come along. The most important hard at the funding application and, and busy I had to run two in the same thing about our courses is that we have having reached the final stage, thought month so everyone who was interested fun, but it’s serious fun. Parents have it was a certainty – but it’s hard out could have a place. Life has changed often said that one Flutewise course is there at the moment, and no-one can be somewhat, and with the continued equal to six months worth of lessons. complacent. Still, when I looked at the economic situation and the rapid Most teachers would be amazed to figures, they really cheered me up and decline in young people playing wind witness the intensity of work that goes on made me feel extremely proud of this instruments, it is getting harder and – with the children begging to continue very small organisation. harder to find enough people to make a playing their scales way past bedtime! This is how things stood for course viable. That’s thanks to Abbie Burrows’s Scale Flutewise in February 2013 – and the numbers have only increased since then: • Flutewise has delivered over 425 events and 51 residential courses that have been enjoyed by over 37,000 people. These events have included: • 149 flute days • 25 major events • 110 performances/concerts • 49 pre-concert events • 12 summer schools in Croatia Many volunteers have assisted and over 230 professional players and teachers have been involved with delivering Flutewise events. Events have been held all over the UK, and internationally, there have been events held in Ireland, Slovenia, Croatia, Sweden, Belgium, Holland, Norway, Austria, many states of America, Bermuda, Australia, Tokyo, Taiwan and Taipei. Flutewise has also
The Abbotsholme Easter Course 2013 - a very cold one! 52 bfs.org.uk Flutewise
That’s not right! Game. We aim to develop the confidence in each course into the event in a number of different ways. member, and it doesn’t matter whether they are beginners or at As this event is aimed at young players, aged eight to 18, diploma level, everyone is catered for, challenged and made to any adult coming must be accompanied by a flute playing child feel very happy. – so hurry and find some co-operative young players, and come As well as the teaching staff, I usually have at least three and have a great, fun-filled and exciting day. Flutewise Apprentices on each course. They have contributed Details and booking forms can be found on our website at enormously, and on our last course we had a panpipe making www.flutewise.com. session, a Baroque music and dance session, and a folk workshop which featured Irish dance, thanks to Lorna Brown, Cathy Hare and Martha Lloyd. I am determined the Flutewise residential courses should continue for as long as possible, and I’m doing all I can to keep them financially viable. For our summer course, we are running a parallel amateur adult course led by Chris Hankin (this is in a completely separate building so the adults will be protected from the children!). If you are interested in our courses, there is more information on our website and lots of YouTube videos. My next project is our main event of 2013, Flutewise: London Calling, which is being held at LSO St Luke’s, London, on Sunday 21 July. Gareth Davies, our Flutewise Artist of the Year, is headlining a wonderful team including John Alley (piano), Abbie Burrows, Rachel Leach, Louise Matthew and Gareth McLearnon, as well as the Flutewise Apprentices. There will be workshops, playalongs, a flute choir (including two brand new pieces) and ‘The Wrong Exam’ – a musical pantomime – plus an evening concert. The new ABRSM grade exam flute syllabus will have just been published and people attending will be able to hear lots of the new repertoire, as we will be incorporating it
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MUSIC REVIEWS
pro toto (combining the parts of the flute in different ways, such as head joint MUSIC and footjoint or headjoint only), and using a cigarette ALICIA HART especially tied notes and encouraging and supportive, paper to create a membrane syncopation, and these providing ideas and Scatadoodledoo effect. Perhaps one of the pieces address this difficulty suggesting ways to develop Camden Music most useful aspects of this in an approachable way. general playing skills There is a lack of jazz book is the explanation and They have very catchy through taking risks and repertoire for younger musical examples for flute names, like Scatastrophy, trying new things. players, so Scatadoodledo, beatboxing (fluteboxing). Scatterbrain and Scat walker. Throughout the a collection of eight graded This provides an excellent Students of all ages will enjoy workbook, this approachable jazz pieces for solo flute is a opportunity to explore the these pieces and they would tone is maintained; the very welcome addition. The technique in a way which also be useful for teachers to text is instructional, pieces range from Grade is easy to understand and keep at hand for those times encouraging, and clearly 1 through to Grade 8 and clearly explained. when they fancy setting a explained. The material is are featured on the Trinity The DVD contains spontaneous sight-reading well presented, with clear jazz syllabus. The story examples of all of the challenge during exam fingering diagrams. A range behind this publication is techniques, as well as preparation. My favourite of exercises is included that composer Alicia Hart, recordings of Dehnhard study was Swaying Scat which will be suitable for flautist and jazz singer, performing his own works, which is set for Grades 2; it intermediate players. The began searching out ways which also appear in the is amazing how much joy level of these exercises of finding the same freedom workbook. can be found in a simple D means that this book is and flow in her jazz flute Dehnhard’s music is major scale. ideal for everyone except playing as she did while light-hearted, and the for complete beginners, singing ‘scat’ songs. She says NIALL O’RIORDAN inclusion of these pieces and provides an excellent in the preface, “That’s when I provides an enjoyable starting point for anyone had the idea to sing and play context for students to who wants to explore the on my flute at the same time. practice the techniques. For extended possibilities of the I started out simply at first me, the highlight of the DVD flute, from children to adult but the more I practiced, the TILMANN was the piece Staring Steve, amateurs. more I found my voice and DEHNHARD performed on contrabass Techniques covered fingers working together flute, which was entertaining The New Flute include all of the more until it literally felt like they and well executed. Also Universal Edition mainstream extended were one and I was ‘singing included on the DVD are This new release from sounds, such as singing my flute’.” instructional details for Universal Edition is a and playing, timbral trills, I really enjoyed playing some of the techniques, workbook and DVD of whistle tones, air sounds, these easy and progressive including extended and extended techniques by the percussive sounds, glissandi, pieces. They provide great particularly useful sections German jazz flute player harmonics, circular teaching material and there on fluteboxing and circular Tilmann Dehnhard. breathing, quartertones is lot to be learnt in them. breathing. The workbook is a and multiphonics. Unlike The first five studies do This is an invaluable useful addition to the Robert Dick’s The Other not require any extended addition to the range growing number of Flute, and other similar techniques, though the of extended techniques resources for the study of resources, Dehnhard does last three, of Grades 6 to resources, and serves as an extended techniques now not provide comprehensive 8 standard, call for some ideal introduction to the available. The well-written, fingering charts for these singing and playing, flutter wide range of sounds that approachable preface sets techniques, but does give tonguing and tongue slaps. can be achieved on the flute. the tone of the book, giving a enough for a starting point, The tunes are catchy and I The book is ideal as teaching playful approach to modern and also explains the basics immediately felt the singing material, as well as for those techniques and providing a of the acoustics behind the ‘do-be-do’ quality that who want to explore on their palette of colours than can be sounds where appropriate. inspired them. own. Highly recommended. explored at will. Dehnhard’s In addition, extra sounds Many students have approach to improvisation is are explained, such as pars CARLA REES problems reading rhythm,
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GEOFF EALES beginning with a 13th triplets heard against a displayed by young players The 11th commandment century Cathar melody. simple but well-defined when it comes to practising for solo flute Heath’s music is popular melody. The exhilarating scales in a traditional way. and well constructed, and fast movement provides The book is organised Astute Music this piece is no exception. some technical challenges so that duets using the This enjoyable five and a Doublings on piccolo and while maintaining a sense relative minors, both half minute piece for solo alto flute add to the range of lyricism throughout. harmonic and melodic, are flute was written for Andy of colour, and the music The music is inspired by placed immediately after Findon and appears on his moves from simple and the Poulenc Sonata, and duets based on the related CD Density 21.5. The title effective melodic writing as such combines calm major scale. Each of these refers to what Eales calls to cascading scaling figures sentimentality with lively sections has a variety of the 11th commandment, and imaginative textures. energy. The musical style tuneful duet material which ‘thou shall not be caught’, The underlying spirituality is modern but based in explores different moods and the piece, written in of the piece is reflected in the tonality, and has much and styles through well- 11/8, captures the essence of calm, expressive moments, to offer. I found the fast chosen titles. There is an this with good humour and while the dramatic story movement, in particular, admirable thoroughness in boundless energy. As one of the Cathars presents to be highly enjoyable, the way it introduces a great would perhaps expect from opportunities for exciting both as a performer and a variety of rhythmic patterns a piece written for a player rhythmic material. The listener. This is a talented and expressive markings. such as Findon, the music harmonic language fuses composer who should not The tunes themselves are is not without its challenges; Heath’s jazz-inflectedbe overlooked, and I am effective and enjoyable, the fast tempo provides modern style with 13th grateful for the opportunity often consisting of an eight technical gymnastics, and century influences to create to get to know her music. bar melody, which allows the rhythmic patterns, with an effective and convincing understanding of the simple their need for strictness all by CARLA REES sound. The piano provides building blocks of music. of pulse, are excellent a resonant addition to the Care has been taken for developing a sense of ensemble, helping to create to maximise both the discipline. Calmer sections the various moods the enjoyment and educational provide contrast, and allow music passes through. This aspects of the material. It for expressive playing ANN WIGGINS AND is a piece that, like Heath’s is an attractive publication through the lyrical melodic PAUL COZENS other flute works, is likely using well-chosen fonts and lines. This is a well-crafted to become an indelible Keys to Success clear layouts and will appeal piece which is an appealing part of the repertoire, and Fun Duets in all keys to to adults and children alike. addition to the repertoire. deservedly so. Ideal for Warm-ups are included to Definitely worth a look. Grade 3 standard advanced students, adult Wiggins Publishing focus attention on difficult amateurs and professional Most teachers enjoy playing fingerings before playing the players alike, the piece duets with their pupils tunes and the ‘helpful hints would be a good addition to and, of course, hope the for students’ page gives clear DAVID HEATH any flute duet performance. pupil does, too. It’s a time, and succinct advice on how to use the book. There are Return to Avalon maybe at the end of a lesson, to have a bit of fun even manuscript pages at the Two flutes and piano back to encourage students Camden and relaxation together. Of course the teacher may also to write their own tunes. First performed at the last MARTA WALKUSZ have the ulterior motive This really is a book which BFS convention, this piece I Fantazja of improving the student’s offers a great deal in terms of for two flutes and piano Flute and piano sight-reading or of helping both fun and resources and was commissioned by a Eufonium Edition them to practise playing in is a very welcome addition consortium of players, led Marta Walkusz is a Polish an appropriate key. Keys to to the woodwind teacher’s by Sam Coles, to whom it composer, born in 1979. Success meets both these library. is dedicated. Based on the This challenging work needs. The book was written story of the Cathar, and their RACHEL MISSON has two parts, beginning by experienced woodwind belief in reincarnation, the with a slow movement teachers who are all too piece has three movements, which features tumbling familiar with the reluctance
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CD REVIEWS
Encouraged in his early musical study by Antonin Dvořak, he later studied CDS in Cologne with Claude Debussy and became one DEEP BLUE know, as a flute player, that Ian expresses vocal timbre of the first composers to be Ian Clarke (flute) with Tim he is playing quarter-tones, through his wonderful influenced by the rhythms Carey (piano) multiphonics and scale alterations of the open and of jazz music. It is a great IC Music IC02 patterns with great dexterity. closed keys on the same tragedy that he died in a There is so much intricacy in note, leading listeners into concentration camp in 1942. each composition, and yet the sense of longing. Any qualms one may Ian still manages to find the This disc is one of the have about the practicality lyrical element in all of it. most innovative released in of a double concerto for The spiritual nature of recent years, and not just flute and piano are soon Curves takes the listener in a flute context. It is an dispelled upon listening; gradually to realms beyond incredible journey, and takes the combination works earthly domains. The delicate the listener to distant realms. marvelously here. The and complicated fingerings I highly recommend it for writing ensures that the sound effortless between any collection. piano never overpowers the three flute parts. To hear After a very long gap since LISA NELSEN the flute in projecting the release of his stunning this in a live performance musical ideas, helped by and ground-breaking first would be magical, taking Ulrike Anton and Russel CD, Within…, Ian Clarke in the textures in a spacial Ryan’s sensitive partnership. finally gives the world Deep environment. The ears LOST GENERATION: Anton’s strikingly rich, Blue. What a revelation this pulse in the reaction to the WORKS BY SCHULHOFF, singing tone is evident in is! The cover grabs the eye chords; maybe this is the ULLMANN AND TAUSKY the slow movement, and immediately with its intense magic that stirs the listener Ulrike Anton (flute), Russel this also comes across in colour: a cool, profound momentarily into another Ryan (piano,) the Sonata, a beguiling blue. From the first piece world. English Chamber Orchestra work which brings to mind Touching the Ether is to the last, Ian reveals so Exil.arte Debussy and Hindemith. much soulfulness in his even more of a personal Let it inspire you to buy music and in the grace of his statement of Ian’s. The time the sheet music and help presentation, letting us all in and space taken between preserve the art of these very to his world of colour, verse, gestures make this a very worthy composers. intimate piece, giving and journey. This disc is at DANIEL SHAO once intimate and playful, the listener moments of loving and threatening, reflection as Ian takes new demonstrating exceptional breaths and turns corners, as technique that you at once one would do in life. And then there is CHRISTOPHER ignore for the interest This CD aims to rediscover Hatching Aliens, an amazing of textures, colours, and composers who, during GUNNING journey through bizarre emotion. the time of the Third Reich Craig Ogden (guitar), twists and soundscapes Like the waves of the were branded as ‘degenerate’, Michael Whight (clarinet), that create and question ocean, the first track,Deep and forced to suppress their Catherine Handley (flute), the possibility of aliens Blue, transports the listener creative endeavors. In spite Royal Philharmonic – in us, out there, or just to a place of meditation. of this painful background, Orchestra in our imaginations? I The effect is instantly the music brims with flair Discovery DMV104 wouldn’t listen to this in soothing and hypnotic. and originality, making This new release features the dark, alone. These three Within this piece there is intriguing listening. three concertos by movements are fun! a sense of soul that reaches The Czech composer, Christopher Gunning, who Beverley for solo flute out to the listener intimately. Erwin Schulhoff, whose is perhaps best known for his is a song which embraces Ian evokes a feeling of Double Concerto for Flute TV music and film scores. the colour, soulfulness, and calm throughout the whole and Piano appears on this The featured instruments words of love. In this piece, album, even though you disc, was born in 1894. are guitar (Craig Ogden),
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CD REVIEWS
The clarinet concerto in between moments of in that era, forging a career continues the warmth of lyricism and an overall as a chamber musician and sound developed in the sparkling wit taking centre soloist instead. guitar concerto. Written stage. The disc spans the 60- in 2005, the playing in This is a disc with high year performing career of this recording by Michael quality production standards Frances Blaisdell and was Whight is beautifully even- and some enjoyable playing released in 2012 on the toned and smooth, and throughout. Gunning’s 100th anniversary of her extremely well suited to the compositional style is birth. Selections include lyrical style of the work’s engaging and accessible, performances of solo, clarinet (Michael Whight) opening movement. The and this disc is likely to have ensemble, and contemporary and flute (Catherine slow movement is solemn a wide appeal. scores and give evidence of and expansive, while the artistry and musicianship Handley). The RPO is CARLA REES conducted by the composer. jazz influence of the final at the highest levels during As one would expect movement provides a more a time when women were from prior knowledge light-hearted contrast. not acknowledged as of Gunning’s award- The Concertino for professional flute players. winning work, such as Flute and Small Orchestra FRANCES BLAISDELL This recording introduces the incidental music for was written for Catherine (1912-2009) Blaisdell, known to many Poirot, Middlemarch, and Handley, who performs it The National Flute as an exceptional teacher, as La Vie en Rose, the music is here. The balance of the Association Of America’s the outstanding performer approachable and sonorous, recording is slightly less Historic Recordings Series: she was. with a well-crafted control convincing than in the Volume 5 The CD is full of delights, of orchestration and other two concertos, with and despite some recordings atmosphere. the orchestra dominating dating back to 1938 they The guitar concerto, slightly. sound remarkably vibrant. written for Ogden after The three movements Her perfect intonation several years of working with have titles. The first, Time (which many historic Gunning on his television you enjoy wasting is not recordings famously lack) music, is first on the disc. wasted has a light-hearted and expressive tone is The clarity of sound is and sparkling mood. laudable in Benedict’s La immediately appealing, and The more serious second Capinera, and she responds some enjoyable moments of movement, entitled And seamlessly to the gestures of orchestration stand out, for time stood still… describes Blaisdell was one of the soprano Lily Pons. Also of example, the duo of piccolo the Welsh landscape, and leading figures in twentieth- note is the 1940 performance and solo guitar, and some has a convincing sense century American flute with Schoenberg conducting lovely bassoon writing. of expansiveness and playing, establishing a secure his Pierrot Lunaire for The repeated passacaglia- peace. The harmonies place for herself in New York vocalist and mixed style backdrop of the slow are expressive here, with musical circles despite the ensemble, in which Blaisdell movement provides an unexpected twists and lyrical impediment of gender in an navigates the demands of enchanting atmosphere over lines. Solos for the orchestral era inhospitable to female the work with ease in both which the solo guitar is heard instruments, especially wind players. In 1928, a now ensemble and solo moments. with melodic inventions the horn, intertwine with legendary mix-up in which She was reportedly rewarded and developments. The the flute’s melodic phrases. her name was mistakenly by praise from Schoenberg final movement has a The final movement begins listed with the male spelling, himself describing his “great Spanish influence, and with a contrasting sense Francis, enabled her to get preference” for her playing. more languid sections are of busyness, as is perhaps an audition at the Institute of This disc is a worthwhile flanked by energetic dance- implied by the title, Time Musical Art. She won a full addition to any collection like material. This is a first flies… This is a movement scholarship to study with and justly commemorates rate performance, with which is full of energy and Georges Barrère but, despite the work of a fine performer. perhaps even a charming beautiful guitar playing and excellent training, she found DANIEL SHAO a highly polished orchestral sense of organised chaos, that an orchestral career was accompaniment. with scales flying around not a possibility for a woman
June 2013 57 Moyse: a last word on scales
58 bfs.org.uk Last word
Last word
June 2013 59 OA_Adam_Walker_PAN_Ad_Layout 1 15/04/2013 18:12 Page 1
VOCALISE ADAM WALKER FLUTE JAMES BAILLIEU PIANO
Principal flautist of the London Symphony Orchestra, Adam Walker presents a recital of alternately lyric and dynamic music for flute and piano. A lovelorn song from Die schöne Müllerin forms the basis of a set of variations by Schubert, and reflective songs without words by Poulenc and Barber offer mellifluous contrast with the dancing energy of Bartók, Messiaen and Poulenc’s sonata. OUT NOW ON CD Also available on
60 bfs.org.uk www.opusarte.com FOLLOW US TWITTER · FACEBOOK · YOUTUBE OA_Adam_Walker_PAN_Ad_Layout 1 15/04/2013 18:12 Page 1
Flute School London 6th - 7th July 2013 VOCALISE With Ian Clarke Inspirational, exciting ■ Master Classes FLUTE non-residential Flute choir ADAM WALKER weekend course held ■ ■ Workshops JAMES BAILLIEU PIANO in London and lead Technique by a team of ■ Ensembles international ■ Improvisation professional flautists. ■ “...I really think the entire And much more! course was awesome. Great world class Book for the whole musicians in an intimate weekend or any setting!” individual day. 3 parallel courses for flautists of all Any single day: £52 standards and ages. Both days: £95
www.fluteschoollondon.co.uk Email: admin@fluteschoollondon.co.uk
with
2nd - 5th August 2013
Principal flautist of the London Symphony Orchestra, Adam Walker presents a recital of alternately lyric and dynamic music for flute and piano. A lovelorn song from Die schöne Müllerin forms the basis of a set of variations by Schubert, and reflective songs without words by Poulenc and Barber offer mellifluous contrast with the dancing energy o f Bartók, Messiaen and Poulenc’s sonata.
Niall O’Riordan Flute Performance Coaching Flute Player, Teacher OUT NOW ON CD Writer & Researcher Also available on
June 2013 61 www.opusarte.com FOLLOW US TWITTER · FACEBOOK · YOUTUBE Trevor James Flutes
Performers Series ‘step-up’ flutes
TJ Privilege Silver-plated throughout with 925 lip and riser TJ Cantabile 925 head with silver-plated body and mechanism TJ Virtuoso 925 head and body tube with silver-plated mechanism
TJ Cantabile and Virtuoso flutes have option of wooden lip and riser headjoint upgrade
www.trevorjames.com
Untitled-2 1 16/04/2012 16:03:53 Trevor James Flutes NOTICE
Performers Series ‘step-up’ flutes The British Flute Society
TJ Privilege Silver-plated throughout with 925 lip and riser TJ Cantabile 925 head with silver-plated body and mechanism Annual General Meeting 2013 TJ Virtuoso 925 head and body tube with silver-plated mechanism The Annual General Meeting of The British Flute Society will be held TJ Cantabile and Virtuoso flutes have option of wooden lip and riser headjoint upgrade at 2.00 pm on Sunday 23 June 2013 at the Royal Academy of Music, Marylebone Road, London (Room to be confirmed)
AGENDA 1. Apologies for absence 2. Minutes of the AGM held on 18 August 2012 to be approved 3. Matters arising from the above minute 4. Election and re-election of officers and council members 5. Reports 6. Future projects 7. Announcement of new officers and council members 8. Questions and comments from the floor
Join the BFS Council Election of New Officers and Council Members Council Nominations are required for the following posts: • Chairperson to serve for 2 years • Treasurer to serve for 2 years • Legal Representative to serve for 2 years • Council Members to serve for three years The BFS is looking for enthusiastic flute players who would be able to contribute to the running of the Society by becoming a member of the Council. Council meetings are generally held in London four times per year. Input between meetings can be chosen to fit around your schedule and availability. If you feel you have ideas or experience to offer, please contact Anna Munks, the Society’s Secretary, for further information and a nomination form. Nomination forms are also available to download from the BFS website (www.bfs.org.uk).
In the event that there are more nominations than vacancies, voting will take place at the AGM. Members of the BFS who will not be able to attend the AGM may obtain a postal voting form (which will include details of all nominations received) by application to the Secretary. The nomination form should be returned before 31 May 2013 and postal voting slips by 21 June 2013. Proxy voting is allowed (by appointment in writing).
Nominations should be sent to arrive no later than 31 May 2013 to: Anna Munks, BFS Secretary, 27 Eskdale Gardens, Purley, Surrey CR8 1ET. Tel and fax: 020 8668 3360 email: [email protected]
www.bfs.org.uk The British Flute Society is a registered charity no: 326473
June 2013 63 www.trevorjames.com
Untitled-2 1 16/04/2012 16:03:53 The Association of Flute Traders
Abell Flutes 111 Grovewood Road, Ashville, NC 28804, USA +1 828 254 1004 www.abellflute.com Academy Wind Instruments 25 Bramblys Close, Basingstoke, Hants, RG21 9UP 01256 350282 www.academywind.com Alfred Verhoef Kennermerstraatwag 116, 1851LD Alkmaar, Netherlands +31 725 110879 www.verhoef-flutes.com All Flutes Plus 60-61 Warren Street, London W1T 5NZ 020 7388 8438 www.allflutesplus.co.uk Alry Publications LLC PO Box 3249, Seattle WA 98114, USA 98122 +1 2062748204 www.alrypublications.com Arista Flutes 10 Railroad Avenue, Bedford, MA 01730, United States +1 781 275-8821 www.aristaflutes.com Bärenreiter Burnt Mill, Elizabeth Way, Harlow, Essex, CM20 2HX 01279 828930 www.baerenreiter.com Barry Jackson Flutes PO Box 87, Tyldesley, Manchester, M29 7GJ 07834 805314 www.barryjackson.wordpress.com Bill Lewington Unit 8, Hornsby Square, Southfields Industrial Park, Laindon, 01268 413366 www.bill-lewington.com Essex, SS15 6SD Bulgheroni F.LLI SNC Via Primo Maggio 1, 22020 Parè (COMO), ITALIA +39 031 440053 www.bulgheroni.it Carl Fischer/Theodore Presser 65 Bleecker Street, New York, NY 10012 +1 212 7770900 www.carlfischer.com De Haske Hal Leonard Ltd 17/18 Henrietta Street, London, WC2E 8QH 020 7395 0382 www.dehaske.com Early Flutes - Simon Polak Biezendijk 32, 5465LD Veghel, The Netherlands +31 653323203 www.earlyflute.com Edition Svitzer Refshalevej 110, 208, 1432 Copenhagen K, Denmark +45 2579 7371 www.editionsvitzer.com Eloy Flutes BV Hoevenstraat 8, 5712 GW Someren, The Netherlands 5712 GW +31 493 471290 www.EloyFlutes.com Eva Kingma Flutes Hoofdstraat 12, 9444 PB Grolloo, The Netherlands +31 592 501 659 www.kingmaflutes.com EXATON Records & Editions 9 Avenue Foch, 56400 Auray, FRANCE +33 297 240 816 Faber Music Ltd Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX 01279 828989 www.fabermusic.com Flute Fix UK Reed Farm, Fen Lane, Thelnetham, Suffolk, IP22 1JX 01379 890162 www.flutefix.co.uk Flutemotion Menuetstraat 22, 7534 GE Enschede, The Netherlands +31 53 4614257 www.flutemotion.nl Forton Music 6 Lakeland Close, Forton, Preston, Lancashire, PR3 0AY www.fortonmusic.co.uk Ian McLauchlan 46 South End, Croydon, CR0 1DP 020 8662 8420 www.headjoints.co.uk Jonathan Myall Music/Just Flutes 46 South End, Croydon CR0 1DP 020 8662 8400 www.justflutes.com Kevin Mayhew Ltd Buxhall, Stowmarket, IP14 3BW 0845 3881634 www.kevinmayhew.com Mancke Flutes Eulnerstr. 41, D-54662 Speicher, Germany +49 6562 974311 www.mancke.com Murumatsu Inc 8-11-1 Nishi-Shinjuku, Shinjuku-ku, Tokyo 160-0023 www.muramatsuflute.com Music Sales Ltd Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB 01284 702600 www.musicsales.com Must Music Publishers 33 Quernmore Road, London N4 4QT, UK 020 8341 4088 www.music-trading.co.uk Ormiston Flutes 82 Crosswood Terrace, Tarbrax, West Calder EH55 8XE 01501 785416 www.ormistonflutes.co.uk Oxford University Press Music Great Clarendon Street, Oxford OX2 6DP 01865 556767 www.oup.com/uk/music Pearl Flutes Europe BV Craenakker 28, NL-5951 CC Belfeld, The Netherlands 07771 880462 www.pearleurope.com Phoenix Music Bryn Golau, Saron, Denbighshire, LL16 4TH www.phoenix-music.com Schott Music Ltd 48 Great Marlborough Street, London, W1F 7BB www.schott-music.com The Tutor Pages Kemp House, 152-160 City Road, London EC1V 2NX 020 8248 2208 www.thetutorpages.com
Top Wind 2 Lower Marsh , London, SE1 7RJ 020 7401 8787 www.topwind.com Trinity Guildhall 89 Albert Embankment, London, SE1 7TP 020 7820 4745 www. trinitycollege.co.uk Trübcher Publishing 6 Merley Lane, Dorset BH21 1RX 01202 884196 www.trubcher.com United Music Publishers Ltd 3 Abbey Point, Cartersfield Road, Waltham Abbey, EN9 1FE 01992 703110 www.ump.co.uk Verne Q. Powell Flutes, Inc 1 Clock Tower Place, Maynard, MA 01754 USA +1 978 4616111 www.powellflutes.com Viento Flutes Mittelweg 15, 35647 Waldsolms, Germany +49 6085 9888378 www.viento-flutes.com Wenner Flöten Aluminiumstrasse 8, Singen, GERMANY D78224 +49 7731 64085 www. wennerfloeten.de William S Haynes Company 68 Nonset Path, Acton, MA 01720, USA +1 978 268 0600 www.wmshaynes.com Windstruments 3 Croft Avenue, Crossflatts, Bingley, West Yorks, BD16 2DX 01274 510050 www.windstruments.co.uk Wood, Wind & Reed 106 Russell Street, Cambridge, CB2 1HU 01223 500442 www.wwr.co.uk Wonderful Winds 44 Exeter Road, Okehampton, Devon EX20 1NH 01837 658745 www. wonderfulwinds.com Worldwind Music Ltd Worldwind House, Ashmill Park, Ashford Road, Lenham, Kent, ME17 2GQ 01622 859590 www.worldwind.co.uk Yamaha Music Europe GmbH UK Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL 01908 366700 www.uk.yamaha.com
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