Valerie Coleman Has Been Making Her Mark As a Fine Flutist in Contemporary Music, the Flute Is Not Her Only, Or Even Her Primary, Medium of Expression

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December 2008 VALERI E COLEMAN: REVITALIZING THE WOODWIND QUINTET by Peter Westbrook Reprinted with permission from the spring 2008 issue of The Flutist Quarterly.

lute performance, composing, Imani Winds, and the desire to bring great music to margin- Falized communities are among the passions that drive this determined musician. As her ensemble enters its second decade, the self-described “average flutist” is sowing rewards for her steady, hard work.

Although Valerie Coleman has been making her mark as a fine flutist in contemporary music, the flute is not her only, or even her primary, medium of expression. For the past 10 years, Coleman’s hand has been at the helm of the award-winning woodwind quintet Imani Winds, which provides an outlet for her not only as flutist but also as composer, arranger, and visionary.

In Concert The success of the group as it embarks on its second decade—thus far it has Imani Winds received a Grammy nomination, in 2006, Valerie Coleman, flute; Toyin Spellman-Diaz, oboe; and two ASCAP/Chamber Music America Mariam Adam, clarinet; Jeff Scott, French horn; Monica Ellis, bassoon awards—is a testament to that vision. For as long as Coleman can remember, Sunday, December 14, 2008, 5:30 pm flute performance and composition have Yamaha Piano Salon, 689 Fifth Avenue vied equally for her attention. When I (entrance on 54th Street between Fifth and Madison Avenues) asked her if she thought of herself as a flutist/composer or composer/flutist she Afro Blue Mongo Santamaria (1917-2003) could not make a choice; both are very arr. Valerie Coleman (cont’d on page 4) Danza de Mediodia Arturo Marquez (b. 1950) IN THIS ISSUE

Kleine Kammermusik Paul Hindemith (1895-1963) Valerie Coleman: Revitalizing the Woodwind Quintet Selections from This Christmas: Imani Winds by Peter Westbrook...... 1 From the President: The Show Must Go On Sleigh Ride Leroy Anderson (1908-1975) by Nancy Toff...... 2 arr. Jeff Scott Member Profile: Reva Youngstein...... 3 The Christmas Song Mel Torme (1925-1999) arr. John Clark Questions for Valerie Coleman by Gretchen Pusch...... 6 Jingle Bells (traditional) Anouncements Flute Happenings...... 3 Libertango Astor Piazzolla (1921-1992) Holiday Refreshments...... 3 Obituary: arr. Jeff Scott Hilda Fenyo (1915-2008)...... 7 Young Artist Competition 2009 ...... 7 2 — NYFC Newsletter The Show Must Go On by Nancy Toff

lexibility is the essence of the freelance musician and of the volunteer enterprise, and this month proves the THE NEW YORK FLUTE CLUB INC. Fpoint. I am (re)writing this column on a plane en route 2008–2009 to Texas for a conference because, unfortunately, our sched- uled artist, Bonita Boyd, had a freak accident on November Board of Directors 8, breaking both her hip and elbow. Though she very much Nancy Toff, President wanted to try to keep the mid-December date, we both rec- David Wechsler, First Vice President Ardith Bondi, Second Vice President ognized that might be pushing our luck—and it would make Jeanne Wilson, Recording Secretary From the more sense to postpone her recital until next season. Bonnie is Keith Bonner, Membership Secretary President doing well and we wish her a speedy recovery. James N. Blair Treasurer The show must go on, and fortunately, Valerie Coleman and Susan Friedlander Karla Moe the Imani Winds were able to step into the breach on very Svjetlana Kabalin Fred Marcusa short notice, for which we are grateful. The Imani are known Nneka Landrum Seth Rosenthal for putting on a good show and I hope you’ll enjoy it. Whoa! some of you will say— Susan Lurie Rie Schmidt isn’t the New York Flute Club a staid, traditional 89-year-old that presents concerts, Stefani Starin not shows? Actually, we’re not only well preserved, we’re limber and even rather Advisory Board entertaining. Another octogenarian, the pianist Jerome Rappoport, told me in an Jeanne Baxtresser Marya Martin oral history interview that our own Georges Barrère once referred to a concert they Harold Jones Michael Parloff were playing as a show. Rappaport was shocked—shocked!—at the language. But Robert Langevin Jayn Rosenfeld Gerardo Levy the older and wiser Barrère patiently explained that part of his job was to entertain. He didn’t take his music any less seriously, but he realized that communicating with Past Presidents his audiences was essential to bringing classical music, unfamiliar chamber music no Georges Barrère...... 1920– 1944 less, to small-town audiences across the country. Some seventy years later, the Imani John Wummer...... 1944– 1947 Milton Wittgenstein ...... 1947– 1952 Winds are doing the same thing, with an active nationwide tour schedule and a com- Mildred Hunt Wummer...... 1952– 1955 mitment to community outreach. Frederick Wilkins ...... 1955– 1957 The Imani’s appearance also reminds us of our debt to Barrère in establishing Harry H. Moskovitz...... 1957– 1960 Paige Brook...... 1960– 1963 the woodwind quintet in the United States. Barrère arrived here in May 1905 to Mildred Hunt Wummer ...... 1963– 1964 take up his post as principal flutist of the New York Symphony, and one of the first Maurice S. Rosen ...... 1964– 1967 things he and Walter Damrosch did was to found the New York Symphony Wind Harry H. Moskovitz ...... 1967– 1970 Paige Brook ...... 1970– 1973 Instruments Club, an organization modeled on Barrère’s innovative Société Mod- Eleanor Lawrence ...... 1973– 1976 erne d’Instruments à Vent in Paris. (The SMIV was, in turn, modeled on Taffanel’s Harold Jones ...... 1976– 1979 wind chamber music society.) With a repertoire both classic (Beethoven, Mozart) and Eleanor Lawrence ...... 1979– 1982 Paige Brook ...... 1982– 1983 French (Caplet, Pierné, Lefebvre, Gounod, Debussy), the club performed primarily at John Solum ...... 1983– 1986 private venues. By November 1906 the NYSWIC had been reduced from ten men to Eleanor Lawrence ...... 1986– 1989 a woodwind quintet, a more practical ensemble consisting of Barrère, oboist Cesar Sue Ann Kahn ...... 1989– 1992 Nancy Toff ...... 1992– 1995 Addimando, clarinetist Henry Léon Leroy, bassoonist Auguste Mesnard, and hornist Rie Schmidt ...... 1995– 1998 Hermann Hand. Patricia Spencer...... 1998– 2001 It was succeeded in 1910 by the unaffiliated Barrère Ensemble of Wind Instru- Jan Vinci...... 2001– 2002 Jayn Rosenfeld...... 2002– 2005 ments, which began touring the country in 1913 (first stop: Greencastle, Indiana) David Wechsler...... 2005–2008 and continued in various configurations through the 1920s. In addition to promoting Newsletter the French repertoire that its leader had inspired in France, including quintets by Katherine Saenger, Editor Deslandres, Colomer, Lefebvre, and Gouvy, the Enesco Dixtuor (for double quintet), 115 Underhill Road and the Caplet quintet for piano and winds, it gave the U.S. premieres of such works Ossining, NY 10562 as Rimsky-Korsakov’s Quintet in B-flat Major for piano and winds, the Lazzari Suite 914-762-8582 [email protected] for eight winds, and the Ibert Trois Pièces Brèves. Equally important was the group’s support of American composers, among them Charles Griffes, Nikolai Berezowsky, Lauren Zavlunov, Designer 1108 Quail Ridge Drive David Guion, Christiaan Kriens, Henry Cowell, and Daniel Gregory Mason. Barrère Plainsboro, NJ 08536 made numerous quintet arrangements, 12 of which were published by G. Schirmer 516-317-2413 under the Juilliard imprimatur. [email protected] Maintaining a woodwind quintet is at least as much of a challenge today; the Imani Winds, along with other quintets who have played for the club (the Borealis Quintet www.nyfluteclub.org and the Sylvan Winds, in recent years) do their part to continue the tradition and expand the repertoire. Let’s celebrate their efforts on December 14. Copyright © 2008 by The New York Flute Club Inc., unless otherwise noted. All rights reserved. December 2008 — 3

FLUTE Member (1991-93), to name just a few. HAPPENINGS High school: John Jay High School in Ka- Profile Free to current NYFC members, this section lists upcom- tonah, NY. ing performances by members; flute-related contests, auditions, and masterclasses organized/sponsored Reva Degrees: BM in flute performance (Man- by members; and brief descriptions of members’ new Youngstein recordings, sheet music, and books. Send submissions to hattan School of Music, 1990), MM in the Newsletter Editor. NYFC Member flute performance (Yale School of Music, since 1995 1992). DECEMBER ’08 Employment: Freelance performer; music Most notable and/or personally satisfying Thursday noon faculty member at the Brearley School for accomplishment(s): Being the mother of Dec Girls in Manhattan. twin girl toddlers, and still holding it all 4 The Music at Noon series presents together! a Christmastime flute and harp recital with A recent recital/performance: Perform- CARLA AULD and Merynda Adams. ing Rossini’s La Cenerentola and Lehar's Favorite practice routines: Reva says, “My • Morristown United Methodist Church, 50 Merry Widow with the New Jersey Opera best practice warmup is about 90 minutes Park Place, Morristown, NJ. • Admission is for the month of July; playing flute and in length. It includes harmonics, melodic free. • Info, call 973-538-2132. piccolo with various freelance ensembles long tones, scales, D.S. Wood's Studies including the NJ-based Colonial Sympho- for Facilitating the Executing of Upper Friday 7:30 pm ny, the Greenwich Symphony, and the or- Notes, finger exercises from T. Wye’sAd - Dec chestras of St. Ignatius Loyola Church and vanced Practice and Moyse’s Gammes 5 PATRICIA (DAVILA) LAZZARA, Princeton Pro Musica. et Arpèges, plus a variety of articulation flute, and Kimberly DeRosa, harp, will per- etudes in Andersen and Moyse books.” form a program of holiday music and more. Career highlight(s): In Reva’s words: • Don Bosco High School, 492 North Frank- “How can I pick anything out as a high- Other interests: Playing with her kids, lin Turnpike, Ramsey, NJ. • Admission: $20. light? Every performance is about do- cooking, craft projects, and biking. She • Info, call Toni Cecere at 201-327-8003 ing what I love so much, and what I’ve says, “To be totally honest, these days, x188 or visit www.donboscoprep.com/arts. trained all my life to do. There are too running after two busy toddlers, I don't many performances to name where I've have time any more for any crafting or Saturday 3:00 pm felt this kind of joy.” biking. I’m just lucky if I can get in some Dec practicing, and make dinner! One day, I 6 UPTOWN FLUTES will perform a Current flute:A silver Powell, c. 1997, with hope to return to knitting for friends and program of holiday classics. a “Philharmonic” headjoint, A 442. family, and biking 10-15 miles daily.” • New Jersey Eastern Star Homes, 111 Finderne Avenue, Bridgewater, NJ. • Admis- Influential flute teachers: Michael Parloff Advice for NYFC members: The same valu- sion is free. • Info, call Diane Baldwin at (at the Manhattan School of Music, 1985- able advice Donald Trump got from his 908-722-4140. 89), Nadine Asin (at the Aspen Music Fes- father (which the son repeated at his fa- tival, summers of 1987-90), Trevor Wye ther’s funeral and Reva heard because she Sunday 3:00 pm Dec (summers of 1995-98), and Julius Baker was playing at it): “Don’t you quit!” 7 The Antara Ensemble, with flutist and music director HAROLD JONES, will perform music by Amram (Theme and Variations on “Red River Valley”), Mozart, Hindemith, J.S. Bach, and Britten. • St. Andrew’s Episcopal Church, 2065 Fifth Avenue (at 127th Street), NYC. • Admission: $25 general, $20 students/seniors. • Info, call 212-866-2545. v HOLIDAY REFRESHMENTS v Flute Happenings Deadlines Post-concert refreshments are needed for December 14th. Issue Deadline Mail date January 2009 12/11/08 1/8/09 Please contact Jayn Rosenfeld (212-633-6260, [email protected]) if you can bring February 2009 1/8/09 2/5/09 something. Requested items include wine, soda, cheese, crackers, cookies, March 2009 1/29/09 2/26/09 grapes, and other sweets and nibbles. April 2009 3/12/09 4/9/08 May 2009 4/16/09 5/14/09 4 — NYFC Newsletter Valerie Coleman (cont’d from page 1) Great teachers and devoted applica- quintet of people of color way back tion paid off—Coleman was the two-time then. And I don’t remember any of that. close to her heart, and have been since laureate of the Young Artist Competition Maybe it was all just talk, because I am her early years. at Boston University, where she also one hell of a dreamer—I can just dream, received the Woodwind Award, was dream, dream all day. But it wasn’t until Beginnings recipient of the Aspen Music Festival I got up here to New York, to do my A young Valerie Coleman began Wombwell Kentucky Award, and was graduate work at the Mannes school, her formal music studies in her native the inaugural recipient of the Michelle that the idea of the name Imani Winds Kentucky, where, as with most school E. Sahm Memorial Award at the Tangle- popped into my head.” systems, instrumental instruction be- wood Festival. Coleman understudied for Her career goals at that time had gan in fourth grade. The usual flurry of Eugenia Zukerman at Lincoln Center and been along “the soloist/orchestral track,” instrument choices and permission slips was featured soloist in the Mannes 2000 she says. “But I knew that being an found her in possession of a flute. Bach Festival. She recently was show- instrumentalist means wearing so many But her earliest musical activities had cased on the New York classical radio hats; you can’t just be one thing. And I not begun her performance career; she station WQXR. was getting a little bit into jazz as well. I already had taken her first steps into In 2004, Coleman made her flute/ wasn’t very good at it.” She laughs. “I’m composition, writing down the music composer debut at Carnegie Hall. She still not very good at it. And being in the that she heard in her head. “I was invent- had received the Edward and Sally Van jazz clubs, the idea of bringing charts to ing my own notation using a portable Lier Memorial Award, an award affiliated the table became a standard part of my organ we had in our house,” she recalls. with the Meet the Composer program being. So when the name Imani Winds “I would just spend hours and hours that included a performance—to a full popped up in my head [Imani means “I started calling people and saying we could really do something special, we could be role models, we could really use our heritage to interpret music differently...” —Valerie Coleman

writing down these melodies.” house—in Carnegie’s Weill Recital Hall. “faith” in Swahili], I started calling people By the age of 14, she had written “The program was basically all of my and saying we could really do something three symphonies and won several local works written that year, both chamber special, we could be role models, we and state competitions. But developing and solo,” Coleman says. “Very exciting could really use our heritage to interpret performance skills demanded more and and stressful, but the concert went very music differently. We can go out into more of her time for the next few years, well.” the communities and show people that and composition had to take a back seat. African-American and Latino musicians It would remain there only temporarily, Enter the quintet are not aliens.” however. After winning a full scholarship Everything came into focus for Cole- When I ask, “So it was your baby?” at the University of Kentucky, Coleman man when she conceived a way to she laughs and says, “Oh yes, it’s my learned that the school offered programs combine her skills in performance and baby all right!” only in performance, not composition. composition; she decided to form a Coleman quickly found like-minded This would not satisfy her, and after one woodwind quintet. She had not per- people who shared her vision. She had year she walked away from the security formed with a wind quintet in college. met clarinetist Miriam Adam years earlier, of U.K. and transferred to Boston Uni- “It wasn’t until I attended music festivals and Adams, along with oboist Toyin versity, where she could take a double like Aspen that I got a chance to be in Spellman-Diaz and bassoonist Monica major in flute and composition. Later she a wind quintet, and I dug it so much, I Ellis, happened to arrive in New York at moved to New York for graduate work thought it was so great,” she says. “What the same time to attend the Manhattan at the Mannes School of Music. I didn’t know was that this would be a School of Music. Horn player Jeff Scott, Whatever her focus, Coleman worked spark of things to come.” who had just finished at Manhattan and extremely hard; she describes herself The somewhat curious woodwind- was working a Broadway show, was as an average flutist, but one who has plus-French horn combination has recommended to Coleman. always been highly motivated: “I was al- always been an important outlet for “One by one each person led me to ways so excited to learn something new flutists, but Coleman had something the next,” Coleman says. “I called each that I was ready to leap ahead.” Among special in mind. As an African-American, of them and invited them to get together her teachers have been Alan Weiss at she wanted to form a group that would and read through some material. I wasn’t Boston University, Doriot Dwyer and feature the work of other minority musi- looking just for a venue for my music, Leone Buyse during summer programs cians, both performers and composers. although I realized that I could bring in at the Tanglewood Institute, Mark Sparks “It’s so funny,” she remembers. “A charts too. It was more the idea that we in Aspen, and private studies for several friend of mine told me once that I had could all bring in something and create years with Julius Baker. been talking about forming a woodwind different sonorities out of what is the December 2008 — 5 standard wind quintet. We were still stu- started to build, the group began to head I was thinking ‘this is only a step- dents, so we were just getting together, expand repertoire, including Coleman’s ping stone; I want a Grammy!’ Everyone doing some recitals and learning new own compositions, such as Umoja, thought I was absolutely insane thinking music.” which was central to the group’s first re- a woodwind quintet could get a Gram- They began with traditional wind cording and which is listed by Chamber my.” But when the nomination came—in quintet repertoire; their recitals continue Music America as one of the 101 Great 2006, for their third CD, The Classical to feature works by Mendelssohn, Ravel, American Works. Underground—two quintets were nomi- Elliott Carter, Heitor Villa-Lobos, and Imani Winds development was slow nated, Imani Winds in the Best Classi- César Franck, among others. “There’s but steady; Coleman’s propensity for cal Crossover Album category, and the some great stuff,” observes Coleman, hard work stood them in good stead, Borealis Quintet for Best Chamber Music “but it is so limited that you end up as did the chemistry within the group. Performance. Coleman marvels: “It was doing it over and over again. So, even “There were concert series, competitions, the year of the wind quintet for Grammy though there are many nominations!” professional quintets that have been around Repertoire for years and years, The ensemble’s the stigma in college direction can be seen with the wind quintet from the material on is that you only stay The Classical Under- together while you ground recording. are a student—half a Coleman’s Concerto semester or a whole for Wind Quintet and semester. There are Scott’s Homage to also faculty groups, but Duke share the stage they only get together with works by two maybe once or twice a Argentineans, Lalo year for concerts. Now Schifrin’s La Nouvelle there are some quintets Orléans and New that stay together lon- Tango composer As- ger by commissioning tor Piazzolla’s Liber- works. The Quintet of tango. Cuban expatri- the Americas has been ate Paquito D’Rivera’s doing that for sev- Aires Tropicales is eral decades, and they one example of work have a huge legacy of of a jazz musician commissioning. The who has turned to Dorian Quintet does writing for classi- as well.” Neglecting to cal ensembles, as is mention the work that the case with two she and Jeff Scott have other saxophonists, already contributed, Coleman continues: and many hours in the practice room; ‘10 Steve Coleman (no relation) and Wayne “For Imani Winds, we have been lucky to 1, 2 to 5’ was our motto,” she remem- Shorter, who have both appeared with enough to work with various compos- bers. “And it is only one aspect of our Imani Winds. ers, of different heritages and in differ- lives as musicians. We also had to make Imani’s earlier recording also features ent genres of music, who have brought a living. There were other commitments, works by Piazzolla, Coleman, and Scott, things to us. But now we are starting to orchestra auditions, all of that. But over plus the Mexican Mario Lavista and Latin take matters into our own hands and this period, one by one, each person jazz percussionist Mongo Santamaria. begin to commission.” arrived at the point where they could say Maurice Ravel’s Le Tombeau De Couperin ‘Hey! This could really yield something is a nod to the standard repertoire. Hard Work very interesting and very gratifying.’” Characteristic of all the group’s reper- It has taken 10 years of hard work to A breakthrough moment was an toire is an emphasis on tonal music, full arrive at this point. Coleman remembers audition for the Concert Artists Guild, of all the color and movement derived their first recital, in a small room in a in the late 1990s. “We did not win that from jazz and world music sources, small church in uptown Manhattan, with competition, but they saw a potential in including Latin American, Asian, and Af- an audience of around eight people. us for going out into the community in rican composers. It is music that strikes a Undeterred, the group began to organize an outreach program, and we became difficult balance; it is both innovative and more concert series, often using their their first education residency ensemble,” attractive, challenging and yet accessible. own money to rent spaces—the Good Coleman says. “With them as our man- Members of the group take the trouble Shepherd Church on 66th Street in New agement, we were able to start to travel, to talk to the audience about the music, York was a frequent venue. Acquiring a and we realized, ‘Hey this is fun, going computer allowed Coleman to produce to all these different places. We could flyers and press releases. As attendance do more.’ Meanwhile, in the back of my (cont’d on page 7) 6 — NYFC Newsletter

Questions for Valerie Coleman

An e-mail mini-interview by Gretchen Pusch

GRETCHEN PUSCH: Tell us about what individual careers have become more de- reading, and then, based on the com- you will be playing for the upcoming manding, our rehearsal time is less. We ments, take them right back to the Flute Club concert. diligently plan how much time we spend woodshed for perfecting. VALERIE COLEMAN: The program will on each piece, and make sure we cover feature selections from our new holi- as much as we can. GP: Do you have any formal training for day album [This Christmas with Imani this? Winds, see www.imaniwinds.com for GP: How do you divide the labor among VC: Jeff studied orchestration at Manhat- details], a favorite of ours by Piazzolla, the group members? tan School, and I have a degree in com- an original work by our hornist, Jeff VC: By our interests and abilities—I position from Boston University, and we Scott, and a standard in the quintet know that sounds harsh, but it’s true! are constantly learning new techniques literature, Hindemith’s Kleine Kam- Jeff and I are the musician dreamers of of orchestration. mermusik. the group, Toyin [Spellman-Diaz, oboe] is fantastic with education development, GP: Were any of you trained in improvi- GP: How did the Imani Winds get its Mariam [Adam, clarinet] is really good sation? name? when it comes to communicating with VC: We are self-taught pseudo-impro- VC: Imani means “faith” in Kiswahili. people and developing relationships, visers who are always open to a new The name popped into my head even and Monica [Ellis, bassoon] handles the challenge. Our openness has led us to before the group was formed, and it reality of it all—the administrative work, great collaborations and commissioned was actually the catalyst for starting the financial books, etc. works. One of our works is by an icon, the group. Wayne Shorter. The essence of his work GP: How do you perceive your “mission”? for us erases the boundaries of reading GP: What is your schedule like? Has this changed over time? the music down, from left to right, begin- VC: We do residencies all over the VC: Our mission has evolved over time ning to end. Every measure is a partition country, typically staying in a particu- due to everything from getting older, our unto itself and can be rearranged based lar area for three to five days, doing collaborative work with artists who have on how we’re feeling at the time. As a an average of two to three perfor- unique voices, and our need to artisti- result, no two performances are alike. mances/masterclasses daily plus a cally keep things moving. We hope that substantial recital. We’re probably on Imani Winds is no longer perceived as GP: How do audiences and your present- the road almost 200 days in a year. “that multiethnic group” but rather as ers respond to nontraditional program- artists who constantly evolve and set a ming? GP: Do you have professional manage- new pace. VC: Since the wind quintet is not such ment? a well known configuration, we often VC: We are currently with Alliance GP: How do you choose repertoire? get responses like, “Wow! I didn’t know Artists Management, a relatively new VC: This is one of the most difficult tasks what to expect but I am absolutely company that was started up by two we face as a quintet. We all have dif- delighted.” And people will say, refer- associates from Herbert Barrett Man- ferent tastes and in order for us to play ring to the bassoon, “What was that big agement. something, it has to be liked unani- instrument called? I’ve seen it before. Is mously. We bring in music from every it an oboe?” Because of this, we are at an GP: How do you structure your re- source we can find—from composers advantage, as we have the opportunity hearsals? who mail in submissions, whether they to build new interest from regular and VC: In our early years, we met twice a know us or not, to shopping online, not-so-regular concertgoers, by talking week or so, but as time went on and and visiting music stores and resources about the work and what makes it great. each person began to invest more in in other countries. The few resources the group and become more moti- that we have exhausted are the libraries GP: How has your commitment to vated, our rehearsal schedule became at Juilliard, the Manhattan School, and educational outreach evolved? almost full-time whenever we were Mannes. When we like a work, and it fits VC: When we first got started, Concert not on the road. Ten to five, four days into a particular program, we will tour Artists Guild saw something in us (our a week, was our mantra for a very it and wear it down as if it was a pair of silliness? our ethnicity? the way we com- long time. It was necessary for us to old comfy shoes. municate onstage?) and they created an establish a group sound and we set education residency place for us on their goals for the smallest details, from GP: Who in the group takes care of doing roster. Over years and years of testing starting and stopping together to play- the transcriptions and arrangements? education programs through organiza- ing a major chord in tune. Now that VC: Those tasks mostly fall to me and tions like Fischoff, Carnegie Hall Neigh- we have a good stack of repertoire Jeff. We bring our works in progress— borhood Concerts, and Young Artists, we under our collective fingers and our original compositions too—for a group learned how to communicate and create December 2008 — 7 comprehensive programs for all age groups. YOUNG ARTIST COMPETITION GP: Do you see yourselves as “role 2009 models” for young African-Ameri- cans? The preliminary auditions will be held the day VC: Absolutely. We are role models of the Flute Fair in March with the final round in through our perseverance, and in the afternoon. Three winners will perform at the how we strive for excellence as a Yamaha Piano Salon on April 26, 2009. Eligible group and as individuals. age is 18-27; applications must be postmarked by GP: What are the group’s greatest February 7, 2009. joys/rewards? VC: Getting the Grammy nomina- For more information, visit www.nyfluteclub.org tion [for The Classical Underground or contact competition coordinator, Patricia Zuber, (for best classical crossover album)] at [email protected]. was pretty hot. But the greatest joy so far, speaking for myself, has 2008 winners: (clockwise from top) Ya-Hsin Angel Hsiao (1st place), been working with Wayne Shorter. Seung Yeon Tae (3rd place), Benjamin Smolen (2nd place). His music is all about elevation and you can feel it from the first note. It is very, very gratifying. Valerie Coleman (cont’d from page 5) GP: What are the group’s greatest Hilda Fenyo (1915–2008) challenges? in an entirely unpretentious and engag- VC: Learning how to communicate ing manner. with one another, how to be ef- Is this the future of chamber music? Hilda Fenyo, the NYFC’s record- ficient in rehearsals, and how to run I would like to think so—at least one ing secretary for much of the 1960s a business. dimension of it. In many ways, con- and '70s, died on November 4 at a temporary music has lost touch with its hospice in Albany at the age of 93. GP: What advice would you give to audience. “Some of this music which is She was a 1943 graduate of the a young ensemble wishing to estab- written by the head is not touching the Juilliard School, where she was a lish itself and pursue chamber music people,” writes Sir James Galway, “be- piano student of James Friskin, and as a career? cause they don’t bring their heads to the appeared regularly at the Club as concert, they bring their hearts, and they VC: Two major things—have pa- an accompanist to John Wummer. tience and dream big; these will want to be touched.” By rhythmically re- keep you working hard and staying vitalizing tonal music, jazz and its world The family has requested that me- motivated. And the little things—do music derivatives have risen to this need, morial contributions be made to the competitions, perform regularly, extending the life of tonal forms. Imani Juilliard School or the New York and keep goals on the table (like a Winds has led the way in this effort. recording, a website, anything!). For Coleman, the group has another Flute Club. purpose, however. “One of the reasons GP: Have you been invited to play at Imani came together,” she told me, “was the Inauguration? to show the African-American commu- VC: No, but it’s our dream and so nities that there is a place in classical while it is very much a group undertak- many have suggested this idea. music for them. Imani’s touring has led ing, it is not hard to see Valerie Cole- We’re still waiting for our call from us to perform over 250 concerts yearly to man’s musical intelligence, sensitivity, Barack (laughter!). children within the public school systems and vision providing a guiding hand. r and lower income communities across Coleman continues to grow as a flutist; America. ‘Paying it forward’ is very im- the demands of Imani Winds, as well as Gretchen Pusch, the flutist of portant to all of us.” of her faculty positions at the Juilliard the Dorian Quintet, is on the flute It looks as though they will be doing School of Music Advancement Program faculty of the Music Advancement this for some time to come; both Cole- and the Interschool Orchestras of New Program at Juilliard and a teaching man and the quintet are going from York, mean she will always be more artist for The Academy (a program strength to strength. The recent premiere than an average flutist. Ultimately, how- of Carnegie Hall, the Juilliard of Coleman’s Afro-Cuban Concerto for ever, Imani Winds is “her baby.” And School, and the Weill Music Insti- Wind Quintet and Orchestra at Carnegie the growth of the woodwind quintet can tute). Hall (and in Philadelphia with Orchestra only benefit all flutists. 2001) received glowing reviews. A new r project to commission 10 major works for the quintet from minority composers Peter Westbrook (www.fluteinjazz. will unfold over the next decade. And com) is the author of The Flute in Jazz. The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

December 14, 2008 concert Sunday, 5:30 pm • Yamaha Piano Salon, 689 Fifth Avenue (at 54th Street) Imani Winds with Valerie Coleman, flute

th 89 Season Greetings! This month we welcome the Imani Winds to the 2008 -2009 Concerts Flute Club as a last-minute replacement for the indisposed Bonita Boyd. In place of a full-length interview with the Imani’s flutist, October 12, 2008 • Sunday, 5:30 pm Valerie Coleman, we have a mini-interview conducted by Gretch- ALEXA STILL (Masterclass Oct. 11) en Pusch, flutist of the Dorian Quintet (p. 6) and an article about November 23, 2008 • Sunday, 5:30 pm Valerie and the Imani Winds by Peter Westbrook, reprinted from PETER H. BLOOM, The Flute in 19th Century the spring 2008 issue of The Flutist Quarterly. The article touches New York on Valerie’s beginnings as a flutist and composer, as well as the December 14, 2008 • Sunday, 5:30 pm 1997 beginnings of the Imani Winds, which Valerie founded, in Imani Winds with Valerie Coleman, flute From the part, to show African-American communities that there is a place January 25, 2009 • Sunday, 5:30 pm Editor in classical music for them. Gretchen’s questions cover their De- JEAN-LOUIS BEAUMADIER, piccolo cember 14 program, their just-released CD, This Christmas with February 22, 2009 • Sunday, 5:30 pm Imani Winds, and how the quintet works together as a group. JIM WALKER, jazz and classical artist For Nancy Toff, the thought of a woodwind quintet brings to mind... who else but March 2009 • All day Georges Barrère and his woodwind ensembles. Her “From the President” reminds us of the FLUTE FAIR 2009 challenges and satisfactions the quintets of today share with their predecessors. MATHIEU DUFOUR, guest artist This month’s profile subject is Reva Youngstein, a freelance flutist and teacher at the Date and venue to be confirmed Brearley School. Being a mother of toddler twins surely presents quite a different set of April 26, 2009 • Sunday, 5:30 pm challenges and satisfactions; for now, Reva feels happy and successful just hanging in there 2009 NYFC COMPETITION WINNERS and being able to get dinner on the table. May 31, 2009 • Sunday, 5:00 pm Anyway, all for now. See you soon. ANNUAL MEETING & ENSEMBLE CONCERT All concerts and events (except as noted) at Yamaha Best regards, Piano Salon, 689 Fifth Avenue (entrance between Fifth and Madison on 54th Street). All dates and programs subject to change. Tickets $10, only at the door; Katherine Saenger ([email protected]) free to members. For more information, visit the NYFC website at www.nyfluteclub.org or call 732-257-9082.