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Harvey Sollberger The New York Flute Club N E W S L E T T E R February 2004 Harvey Sollberger at 65: A Birthday Tribute Interview by Patti Monson hen I agreed to interview Sollberger had already been “inter- Harvey Sollberger, I didn’t viewed” for the NYFC twice since the realize that I would end year 2000, by Cathy Comrie.* So, I made up rediscovering decades a choice to combine my conversation Wof New York new music history. Like with Harvey Sollberger with some most people in my generation of New words from a few of my own col- York musicians, I knew the legend leagues about this past and present that is Harvey Sollberger only figure who, as far as I can tell, is truly by reputation. a genius—a gentle giant who has Harvey Sollberger— blessed the lives of many. My offering flutist, composer, con- has turned out to be an interview with ductor—his many the very core of new music; the inspira- accomplishments are tions for the first seeds of what is now astounding! I soon the absolute essence of contemporary learned that Harvey performance in New York City; the attitudes and establishments that were encouraged to support and create In Concert alliances with the growing need for high level performances of new music; HARVEY SOLLBERGER and basically, for someone like myself, 65TH BIRTHDAY TRIBUTE the “genealogy” of several of the Sunday, February 29, 2004, 5:30 pm musical opportunities that I have had CAMI Hall, 165 West 57th Street as a contemporary flutist in New York. When I called to talk to these Duo for flute and piano (1961) ...................................Harvey Sollberger musicians one week late last December, Sue Ann Kahn, flute; Christopher Oldfather, piano all I had to say was, “I’m wondering if you would mind talking to me about New Millennium Memo #2 (2004) ...............................Harvey Sollberger Harvey Sollberger.” That was it…they Harvey Sollberger, flute were off…in some memory dreamland. Four Songs Without Words (2004) .... transcribed by Harvey Sollberger (Cont’d on page 6) Harvey Sollberger, flute; Patricia Spencer, alto flute; * See December 2000 and 2002 NYFC newsletters, David Bowlin, violin; André Emelianoff, cello; currently posted on the NYFC website. Al Cerulo, vibraphone FRANK WARD I N T H I S I S S U E Three Canons for two flutes ................................................Otto Luening Sue Ann Kahn and Katherine McClure, flutes Harvey Sollberger at 65 ............. 1 Interview by Patti Monson Sunflowers for flutes and vibraphone (1976) .............Harvey Sollberger Birthday Tributes ........................ 4 Patti Monson, flutes; Al Cerulo, vibraphone Collected by Cathy Comrie From the President ..................... 2 Riding the Wind I (1974) .............................................Harvey Sollberger Harvey Sollberger: Reflections Patricia Spencer, amplified flute; David Bowlin, violin; Meighan Stoops, clarinet; André Emelianoff, cello; Member Profile ........................... 3 Edward L. Wolf Blair McMillen, piano; Harvey Sollberger, conductor Announcements This concert is partially supported by The Alice M. Ditson Fund of Columbia University. Flute Fair Update ................................ 2 Program subject to change. Flute Happenings ............................... 3 2 — NYFC Newsletter Harvey Sollberger: Reflections by Jayn Rosenfeld THE NEW YORK FLUTE CLUB INC. ll this talk about Harvey Sollberger emphasizes to me how much time has passed in the contemporary 2003–2004 A music world, and in the world of flute playing. For more than forty years, Harvey has presided in a focused Board of Directors Jayn Rosenfeld, President way over a general raising of performance standards, setting Ardith Bondi, First Vice President the course with his own playing, composing and conduct- Katherine Fink, Second Vice President ing. I see it in a fast-forward view: first, a few people Svjetlana Kabalin, Recording Secretary working very hard on extremely difficult music and feeling George Kimmel, Membership Secretary From the like pioneers, or fanatics; later, the groups that played James Blair, Treasurer President difficult new music gradually becoming quicker at learning, Nadine Asin Rie Schmidt broader in their tastes, older in their lives and careers, and Rochelle Itzen Patricia Spencer (by example and guidance) inspiring new groups and new individual players. An Sue Ann Kahn Stefani Starin improved fundraising climate in the ’90s made us feel we were over some hump Robert Langevin Nancy Toff of acceptance and recognition, but that period is in the past; now there is a Barbara Williams competition of choices for everyone, not only what worthy causes to give money to, but which worthy concerts to go to. Advisory Board I would say the latter is definitely a good thing, but the audience for serious Jeanne Baxtresser Gerardo Levy new music has not grown proportionally. Dare I ask why? Music is so often used Harold Jones Laurence Libin as “wallpaper” sound-filler; it appears not to be designed to be “through-listened.” Marya Martin I wish, somewhat hopelessly, that people would plan on listening to a piece from beginning to end without making an assumption about what will happen. Those Past Presidents who read books are prepared to spend the time to go from beginning to end, and Georges Barrère .................. 1920–1944 John Wummer ...................... 1944–1947 this is the way one should listen to music, or at least music which doesn’t fully Milton Wittgenstein ............ 1947–1952 explain itself the first time round. My personal guidance to neophytes is to Mildred Hunt Wummer ...... 1952–1955 concentrate very carefully on the first seconds of a new piece. You often get, right Frederick Wilkins ................. 1955–1957 away, the sound world, the motifs, the rate of change, the intensity, the “way to Harry H. Moskovitz ............. 1957–1960 listen” to that particular piece. If your mind wanders at the beginning, you have Paige Brook ........................... 1960–1963 Mildred Hunt Wummer ...... 1963–1964 no frame of reference when you finally start listening. Maurice S. Rosen ................ 1964–1967 The first new music group I played in was a group called Tone Roads, named Harry H. Moskovitz ............. 1967–1970 after a piece by Carl Ruggles. We played for free, and we rehearsed incessantly. I Paige Brook ........................... 1970–1973 think I remember that I was scared most of the time, everyone else seemed to count Eleanor Lawrence ............... 1973–1976 better than I, and the conductor, James Tenney, seemed a priest-guru in his involve- Harold Jones ........................ 1976–1979 Eleanor Lawrence ............... 1979–1982 ment and simplicity. I loved the challenge, and the distance traveled from first Paige Brook ........................... 1982–1983 rehearsal to concert. No one was married, had a family, had any serious financial John Solum ........................... 1983–1986 responsibilities…or am I totally idealizing the past? Probably. I’ll ask Harvey. Eleanor Lawrence ............... 1986–1989 One final note, a sartorial one. No one mentioned what a spiffy dresser Harvey Sue Ann Kahn ...................... 1989–1992 is, white linen suits, that sort of thing. I want to give him full credit. Nancy Toff ............................. 1992–1995 ❑ Rie Schmidt ........................... 1995–1998 See you at the concert on the 29th. Patricia Spencer ................... 1998–2001 Jan Vinci ................................. 2001–2002 Newsletter Mark SUNDAY, MARCH 14, on your calendars with three big stars Katherine Saenger, Editor 115 Underhill Road for NYFC Flute Fair 2004, which will be held at the LaGuardia Ossining, NY 10562 High School of Music and Art and Performing Arts. Check our (914) 762-8582 website, www.nyfluteclub.org, for detailed information and updates. [email protected] Alice Barmore, Layout/Production Opera Masterclass—The application deadline is February 21 for 125 Christopher St., #4H those interested in participating in one of the four masterclasses. New York, NY 10014 See our website or contact Patricia Spencer at [email protected] (212) 675-9706 (phone and fax) for more details. [email protected] Update NYFC Table—Members may sell up to 10 flute-related items at the NYFC Table. www.nyfluteclub.org Contact coordinator Rie Schmidt at [email protected]. ❑ Copyright © 2004 by The New York Flute Club Inc. unless otherwise noted. All rights reserved. February 2004 — 3 FLUTE HAPPENINGS Degrees: A.B. in physics (Swarthmore Member Profile FREE to current NYFC members, this section lists College, 1958); Ph.D. in experimental upcoming performances by members; flute-related contests, auditions, and masterclasses organized/ Edward L. Wolf physics (Cornell, 1964). sponsored by members; and brief descriptions of members’ new recordings, sheet music, and NYFC member since 1994 Most notable and/or personally satisfying books. Send submissions to the Newsletter Editor. accomplishments: As a flutist: his per- Employment: Professor O CFEBRUARY T O B E R 2’04 0 0 2 formances (as mentioned above) of the of physics at Poly- flute duet from L’Enfance du Christ (at Sunday 3:00 pm technic University in Brooklyn, NY. FEB the NYFC, with Ann Bordley) and Le 29 MICHAEL PARLOFF, principal Merle Noir (at the Lucy Moses School, flutist, Metropolitan Opera Orches- Most recent recital/performances: Louis tra, will perform a program of opera-inspired Moyse’s Four Pieces for Three Flutes with pianist Marilyn Mendelson). As a chamber music with colleagues Eugene and a
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