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 ; 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 ...... 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 . 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 Telemann duet at a NYFC Ensemble physicist and educator: (i) his election Izotov, oboe, and Warren Jones, piano. concert at the Kaplan Space at Carnegie as a Fellow of the American Physical • Tarrytown Music Hall, 13 Main Street, Tarry- Hall on May 11, 2003; the flute solo in Society in 1982 (based on his research town, NY • Admission: $20 general, seniors/ in superconductivity), (ii) his ten years students $15/$5 • Info, call 914-631-3390 or Beethoven’s Choral Fantasy at the Old visit www.chambermusicwestchester.org. First Reformed Church in Brooklyn on as head of the physics department at June 22, 2003, with a group organized by Polytechnic University, and (iii) his Wiley- O C TMARCH O B E R ’04 2 0 0 2 the Brooklyn Conservatory of Music. VCH book manuscript Nanophysics and Nanotechnology (completed in Septem- Saturday 4:00 pm MAR Career highlights: As a teenager, under ber 2003), based on two courses he 6 “The Scandinavian Flute,” a program auspices of the Eastman School of Music, introduced at Polytech. A minor windfall: of music by Roman, Sveinsson, performing in Kilbourn Hall and the the success (on NASDAQ) of a small Kuhlau, Saariaho, and Grieg featuring the Sylvan Winds with SVJETLANA KABALIN, George Eastman House in Rochester, NY. company whose product was based on flute. Since coming to NYC in 1986, the high- the exotic phenomenon of superconduc- • Victor Borge Hall, Scandinavia House, 58 light of his musical year has always been tivity (his academic specialty). When Park Avenue, NYC • Admission: $20 • Info, the NYFC Ensemble Concert—perfor- Wall Street realized that superconductiv- call 212-222-3569 or visit [email protected]. mances with Ann Bordley of accompanied ity could benefit cellular telephony, the Monday 8:00 pm flute duets by Berlioz, Doppler, Fauré, stock went up enough to allow him to MAR Gaubert, and Kuhlau, and accompanied buy his “superconducting” flute (above). 8 The New York New Music En- flute trios by Moyse (joined by flutist semble with JAYN ROSENFELD, flute, in a program of “House Music, Nina Attar). Other highlights include his Favorite practice routines: Taffanel and Gaubert’s Daily Exercises, with modifica- Chamber Music with Flute” including works three summers at Kammermusik of Santa by Leo Kraft, Elizabeth Brown, George Perle, Fe (a woodwind quintet workshop), a tions suggested by David Wechsler (e.g., and Arnold Schoenberg (arr. Anton Webern). performance of Messiaen’s Le Merle Noir play No. 2 with exaggerated crescendo • Merkin Hall 129 West 67th Street, NYC at the Lucy Moses School in 2001, and a and diminuendo, or every second line • Admission: $15 • Info, call 718-605-1856 or visit www.nynme.org. very early performance of Enric Andrew in flutter-tonguing), and Reichert’s Op. 5. Zappa’s suite for flute and piano, On Other interests: Regular jogging and Wendling Farm, at the Southampton Saturday 5:30 pm bicycling; skiing and summer hiking and MAR Chamber Music Festival in 1996. 13 Flute Cocktail: A Flute Quartet with mountain-biking in the mountains of members AMY ZIEGELBAUM, Current flute: A Brannen-Cooper 14k gold Colorado (elevation 9,000 feet) with his Lauren Ausubel, Jordan Vogel, and HELEN wife, Carol, and, on occasion, sons Doug RICHMAN, will perform as winners of the open-hole B-foot (his “superconducting” Artists International Chamber Music Competi- flute, purchased in 2000, see below). and David and their wives. Last May he tion. Program to include works by Debussy, completed an organized bike ride (Five Massenet, Boismortier, Dubois, and Rimsky- Influential flute teachers: Walfrid Kujala Borough Bike Club) from NYC to Korsakov plus world premiere of Steven (during his high school years, through Montauk Point. Ed says, “Bike riding is Rosenhaus’s In the Cave of Aeolus. good for your wind, which is helpful for • Weill Recital Hall, 154 West 57th Street (at the Preparatory Department at the Eastman 7th Avenue), NYC • Admission $22. Info, School of Music); Mary Peterson, Susan flute playing!” 212-247-7800. Lurie and David Wechsler. Advice for NYFC members: High school: Fairport High School, in Encourage musically inclined young Flute Happenings Deadlines people to play the oboe or the bassoon! Fairport, NY (a suburb of Rochester). Issue Deadline Mail date March 2004 02/05/04 02/26/04 April 2004 03/11/04 04/01/04 May 2004 04/01/04 04/22/04 4 — NYFC Newsletter

without him the career I have enjoyed as a performer and teacher would not have been 65th Birthday possible. Wherever Harvey has been he has touched countless musicians with his gener- osity, his enthusiasm, his creativity, his pen- etrating insights, and his uncompromising craftsmanship. I speak for many who have had the great fortune to work with him when I say that he has profoundly influenced our toributes Harvey Sollberger lives, and molded our futures. T Harvey, I am deeply grateful for what you have given me. Thank you for being you, Betty Bang Mather, professor of flute at the University of (now retired): and for helping me to become me. Happy Birthday! first met Harvey Sollberger in the 1950s, and Joel Krosnick. Their first baby (then when I audited a concert and master- called Anna) taught me uvular flutter tongu- class given by the New York Woodwind ing, at which she was quite professional as a Laird Addis, professor of philosophy at IQuintet at his high school in Marion, Iowa. babe in arms. the University of Iowa, double bass player, There Sam Baron and colleagues coached a In 1978 Harvey wrote his unaccompanied and former clarinetist: student woodwind quintet with Harvey as alto flute piece, Hara, for me. The dedica- its flutist. I was impressed with the remark- tion reads: “Hara is dedicated to Betty Bang arvey and I met in able energy, intensity, and intelligence of Mather—my teacher; it celebrates her 25th the fall of 1956, both Harvey and Sam. year as Professor of Flute at The University his freshman When Harvey subsequently began his un- of Iowa.” I was very honored. I later per- Hyear and my sopho- dergraduate work at the University of Iowa, formed it at a convention of the National more year in music at he studied flute with me. He also studied Flute Association. I was happy that Harvey the University of composition and conducting. He practiced told me then that I had made it my own. Iowa. We were both more than any student I’d ever had, adopt- Perry Goldstein’s introduction to Harvey’s reluctant members ing one particular classroom as his practice piece explains the Japanese meaning of of the marching room whenever not in use for classes (day “hara.” Harvey’s associates will recognize the band, as required and night). concept of hara as central to Harvey’s own by our music Harvey’s lessons were exciting! Once he life, composition, and performance: scholarships, and gestured so dramatically with his flute that “The Japanese concept of ‘hara’ has both soon found that we the foot joint flew across the room. Perhaps a physical and spiritual meaning. The literal had many interests, the most exciting was Luciano Berio’s lec- definition of ‘hara’ is ‘belly,’ or more specifi- beliefs, and values in ture at our school. He played a tape of one cally, the region of the body which lies just common including of his recent pieces, the Sequenza for solo below the navel. Spiritually, ‘hara’…represents something that, alas, flute performed by one Severino Gazzelloni. the…primal life force…[and a] state of self- was rare among music Harvey and I were totally astounded! Never mastery and inner calm…[from] which per- students—a love of good had we heard such flute music, nor such flute fection of thought, action, and art can be music and, even rarer, an in- playing. They changed our lives. achieved.” terest in new music. During his college years Harvey wrote Harvey and I were honored together at We took courses together in his- his flute duet [Two Pieces for Two Flutes, 1958; the 1996 Iowa Flute Festival—I because I was tory and philosophy but, more important for revised 1960, 1962] to play with me on one retiring that year, and he because he was Harvey’s future, we became the first two of my recitals. Since I would be busy learn- arguably my most notable student. In a mas- undergraduate students to study composi- ing the other pieces on the program I asked terclass he coached a group of my current tion in the School. We enjoyed our life and him to put all the hard places in his part. He students playing his Grand Quartet. It was work immensely in those three years together did. the first time I’d seen him as a teacher. He at Iowa. After Harvey moved to New York City to was extremely kind, sensitive, and articulate. The summer of 1960, following Harvey’s attend Columbia University, I continued see- Everyone loved him. I felt privileged to have graduation, we spent together in Europe. We ing him when I visited my parents in mid- had the chance to work with him. lived on a shoestring but did manage to at- town Manhattan. One evening he and his tend performances of Wozzeck in Holland then wife Sophie (a top flutist in her own and Die Meistersinger in Germany. The only extended time I have been with Harvey since right) invited Sam Baron and me for dinner. Rachel Rudich, flutist and faculty Harvey had studied flute with Sam and once member at the California Institute of the Arts that memorable summer was later in the 1960s when he was a visiting professor at filled in for him on Varèse’s Density 21.5. School of Music: After dinner the four of us played Friedrich Iowa (where I was by then on the philoso- Kuhlau’s Grand Quartet—which inspired here is no one who has been more phy faculty). But we have seen each other Harvey’s own Grand Quartet. inspirational to me or had a greater for a few days at a time on numerous occa- After my parents retired to Florida I of- influence on me than Harvey sions over the years since—in his places of ten stayed with Harvey and Sophie in their Sollberger. I have known Harvey as a teacher, abode in New York, Indiana, and California; T and in Iowa to which he still returns to see Morningside Drive apartment. They intro- mentor, performer, conductor, composer, col- duced me to their many friends, including league and friend for more than half my life. his mother and visit old friends. Josef Marx, Pat Spencer, , He is the reason I became a musician, and February 2004 — 5

Patricia Spencer, flutist with Da Capo Arthur Kreiger, composer and faculty sole disadvantage of our proximity is that I Chamber Players and former NYFC president: member at Connecticut College: no longer receive those singular written-out communications, inscribed with a hand that he historic role played by Harvey or a young composer arriving in New endows each individual letter with unex- Sollberger in the pioneering years York City in the early 1970s, the most pected facets, concatenates words in ways of new music performance has made interesting and most compelling new that can spin the mind. himT a legend in his own time. With Charles musicF concerts were those presented by the I value his letters—the subtle and soar- Wuorinen as co-director and oboist Josef Group for Contemporary Music. Attending ing phrases of his playing or the thread of Marx as manager, he founded the Group for these “Group” concerts, one quickly learned an argument I have heard him make—be- Contemporary Music. One of only two (yes, (if one hadn’t already known it) that Harvey cause they have had such impact in my life. two) new music ensembles in existence at Sollberger was a man of many fine musical Many years ago, for example, I received a the time, the Group inspired the formation abilities. He was a composer held in high multipage letter from him regarding of many distinguished younger groups, esteem, a conductor who brought clarity and Ambages, a work I wrote for Karen, my flut- who in turn inspired still more, generating beauty to the most difficult of scores and a ist wife. Harvey was preparing to perform it; the rich array of new music activity that sur- flutist possessing infinite agility and great in- and here were page after page after page of rounds us today. The electricity of Harvey’s terpretative sensitivity. These initial impres- detailed queries on all aspects of the nota- compositions and flute playing were a key sions of Harvey still hold true after these tion and the musical intent. Excepting Karen, element of the early forces behind the many years. It is altogether fitting and proper no one had ever paid this level of attention present explosion. that the New York Flute Club now honor to my music. At first I was incredulous. Only What did it mean, for him on his birthday. Simply put, Harvey later did I realize that this letter epitomized Da Capo, when Harvey Sollberger is one of those flutists who “rede- the kind of musician and human being he wrote Riding the Wind fine” the instrument for the contemporary was and remains. What he does matters. I for us? We had just concertgoer. One leaves a Sollberger perfor- won the Naumburg mance with an expanded notion of musical Chamber Music gesture, a fresh sense of musical possibility. Award, and had Joan Tower, composer and former asked him (along percussionist with the Group for New Music: with Milton Bab- , composer and mostly knew Harvey in the ’60s when bitt, who gave us Charles Wuorinen professor of composition at Rutgers University: he was living in NY. He was a fantastic Arie Da Capo) flutist, always tackling the most challeng- to write one of the arvey Sollberger has been my ing music. And I played under him a few

SUSAN DEAVER commissioned friend and colleague for more than I times as conductor, which was very exciting works that were forty years. Over the time during since he always knew the music well and part of the award. which we collaborated on the Group for Con- H was a good “listener” to what was actually Shortly before that, temporary Music we presented and per- coming out. I had heard Harvey formed and conducted not only our own play a solo flute ver- music but that of dozens of other compos- sion of Riding the Wind ers. Of course, Harvey’s magnificent flute (this version later became playing was always at the center of our ef- Susan Elizabeth Deaver, Riding the Wind II, III, IV)— forts. And in all this activity, Harvey was the NY-based freelance flutist and conductor: an incredible, dramatic piece that model and example of wonderful musician- stretched the capacity of the flute and ship, artistic idealism, and compositional ac- first met Harvey Sollberger in 1972 when seemed to make a whole new musical state- complishment. he was the director of Manhattan School ment possible on the instrument. It was over- Lives diverge, and ours did too. Now of Music’s Contemporary Ensemble and whelming; everyone who heard it was talk- separated by thousands of miles, we no I was an undergraduate flutist studying at ing about it for months. When we heard that longer collaborate as actively as we once did. MSM. Harvey’s rehearsals were inspirational. he planned to expand that piece into an en- But I have still been the lucky recipient of His way of approaching music and bringing semble piece for us, still featuring the flute, Harvey’s skills as conductor. His musician- it to life—whether the music was his own or my excitement was extreme, and heightened ship is fungible: the prodigious talent that that of Stefan Wolpe, Elliott Carter, Milton with the hugeness of the responsibility. (I still has served him so beautifully as a player now Babbitt, Igor Stravinsky, or Charles feel this hugeness of excitement/responsibility!) extends to the guidance of an orchestra. Wuorinen—greatly influenced me as a flut- Preparing the premiere of Riding the ist, teacher and conductor. In 1993 I wrote Wind I, with Harvey conducting, was a ma- my DMA thesis at MSM on the Group for Contemporary Music, founded by Harvey and jor milestone in my life—an unbelievable gift , composer and of profound insights and expertise. Harvey’s Charles Wuorinen in 1962. The Group was professor of composition at the University of one of the most influential contemporary en- legendary passion for detail, his concept of California at San Diego: the flute as the ultimate expressive tool for sembles in New York for the 30 years of its every possible dramatic feeling (embodied arvey has been a dear friend and existence, in no small part due to Harvey’s in the dramatic language of extended tech- deeply admired colleague for de- energy, focus, and creativity. niques, at that time very new), the intensity cades. A sensitive, probing, fanci- [Editors’s note: Interested readers can find of his conducting—all these became part of ful, knowing, and unpredictable mind shapes the complete text of Susan’s thesis at H www.stokar.com/Deaver.htm.] my own musical goals. For this and many his ways and our encounters. He and I have other wonderful musical experiences with been coworkers at the University of Califor- him, I will be forever grateful! nia, San Diego, for some time now, and the (Cont’d on next page) 6 — NYFC Newsletter

TRIBUTES (cont’d from pervious page) expressive conductors I’ve worked with—both at the same time! He conducted Ionisation on a Group Cathy Comrie, Chicago-based flutist and teacher, and curator of the NYFC’s Sollberger 65th for Contemporary Music concert and Birthday Concert: remarked that he loved it when the ometime during the fall of 1992 I was felt prepared (as my performance was only sirens played in thirds and could the in a used record shop in New Jersey a few short days away) but eager to hear his players get that every time. Of course it’s when I came upon a old CRI LP of thoughts. However, there was no way I could hard enough to control the dynamic and Harvey Sollberger’s Riding the Wind I fea- have been prepared for how many thoughts envelope, but Harvey always went that S he would have! turing Pat Spencer and the DaCapo Cham- extra step. ber Players conducted by the composer. That I played through all three movements and When I think of Harvey, I always recording changed my life. After only one we covered every single note, detail and picture him conducting Deserts, or hearing, I just knew that I had to study flute nuance of the piece—he pulled no punches. Syringa; elbows flying, hair flying, eyes with Pat Spencer and I absolutely had to play We wrapped up with the final movement 2-1/2 blazing. Every piece firmly in place, yet hours later! I was exhausted and exhilarated. Riding the Wind! imploring his players to go further, to My first meeting with Harvey Sollberger Since that time we have become good reach deeper into the score for more was a few days before a performance of friends. I’ve performed his music on many meaning, more musical phrasing, to Riding the Wind II, III, IV, in November of occasions and he’s always generously offered 1994. He was visiting New York, and Pat his valuable insights and kind encourage- make the listener hear what HE heard Spencer set up a lesson for me with him. I ment. ❑ in the music he loved.”

FRED SHERRY first worked with Harvey as a 17-year-old cellist. “Harvey was the first person to inform me that I could not count! After a bit, I realized he was right. SOLLBERGER (cont’d from page 1) CLAIRE HELDRICH, percussionist, and He was a very powerful player—such successor to Harvey as director of the command of his tone—his sound could Manhattan School of Music Contempo- be broad and beautiful or cut like a I was drowned in stories that included rary Ensemble (a post I now hold and knife—a sharp focus I had never heard phrases like, “He was the clearest, most thoroughly cherish): Claire recalled a before…and such imagination with inspiring conductor I’ve ever known,” recording session with Harvey at vibrato. One of the first to make an or “The world just seemed perfect when McMillin Theater at Columbia Univer- overblown sound, and have it sound he was around,” or “He is such a sity. “We had started at 10 pm, because good. We always trusted Harvey im- wonderful person….” there was less subway noise at that mensely—if we were ever in doubt, It is clear to me that Harvey hour. The energy in the room was very we followed Harvey!” Sollberger set standards for the perfor- intense and felt by the entire ensemble. mance of new music with his incredible Harvey was such a wonderfully de- JACKIE LECLAIR, oboist in two of my passion in presentation, his extremely manding soul, a perfectionist in the own groups (Sequitur and the Curiously talented set of ears, his renowned most musically thrilling sense…and he Strong Wind Quintet), says: “In early intensity of style, and (most dear to had brought the level of the recording 1996, you could have knocked me over me!) his requirement that new music be to such a high level that we were not with a feather when I learned I was extremely well rehearsed and absorbed. for ANY moment concentrating on slated to collaborate with Harvey Everyone I spoke to talked about the anything else that evening.” Then she Sollberger at the June in Buffalo festival Group for Contemporary Music. Co- started to laugh. Why? “Because when that summer. The prospect floored founded by Harvey Sollberger and it was over, everyone stepped out onto me…to work with THE Harvey Charles Wuorinen, the group consid- Broadway and it was daylight. We Sollberger. Wow. Eventually I managed ered Varèse as their “godfather,” and hadn’t realized we had been there to wrap my head around the concept, was associated with many firsts in NYC: all night.” and went up to play the world premiere one of the first electronic music con- of Roger Reynolds’ On the Balance of certs in the US, the first group orga- WILLIAM TRIGG, percussionist: “I Things for solo oboe, chamber ensemble nized and run by composers, etc. Since played under him many times. Perhaps and tape, which Harvey conducted. so many of the contemporary music the most memorable was a perfor He was inspiring and exciting to groups currently performing in New mance of his Flutes & Drums, scored work with, and we had an exhilarating York have been directly or indirectly for eight flutes, ten percussionists, and outing with the Reynolds. Shortly influenced by Harvey, I found the four string basses. Harvey has the finest afterwards, Harvey sent me a very nice stories that my colleagues had to share ears I’ve ever experienced! His tech- and supportive handwritten letter. It was very inspiring. nique would drive a conducting teacher a kind gesture that meant a lot to me. Below are some snapshots of crazy! All elbows, and a different hand A few months later, I was on the moments during the week’s many position for each beat. He was, how- phone with him, gossiping about new “interviews”: ever, one of the clearest and most music, and what was going on in New February 2004 — 7

York, his old stomping ground. At some Ideally, it’s best to have a small en- minutes long or so…you get to live point Harvey mentioned a new compo- semble to play with all the time, with in the music more, and by the time you sition by Heinz Holliger on a double musicians who are willing to work to get to the middle you’re heavily trans- CD he’d recently been gorging himself get to that core and to be very detailed. ported to another world. However, in on. He said he’d been listening to it for That is the most satisfying. the contemporary music world, many of days and was almost feverishly elated I think, today, we underestimate our pieces are 10–12 minute works and about its irresistible intoxication. Two how far performance has evolved. Now you must be transported immediately— days later, I opened my mailbox to find people are better and faster at learning before the piece is over! So I also enjoy a package of CDs from California, from new pieces. There are more models, many of the extended works of Morton Harvey. A brand-new copy of more standards…there are also so many Feldman. Scardanelli Zyklus. On a postcard more musicians willing to spend the I would program works by Roger enclosed with the CDs he wrote, “It’s time working on some of the really Reynolds…one of America’s greats, catatonic/anorexic much of the time— hard repertoire. There are so many and little recognized…also, Chinary and so expressive being so—” Over the more groups—in every generation there Ung, Toru Takemitsu, , next few days, I listened to it over and seem to be at least five new groups— Webern. I also like the music of Boulez, over, and I too was transported and and they can be very different, some Berio, Jacob Druckman, Luigi Nono, strangely intoxicated. Harvey is ordi- specializing in a certain style, and Davidovsky, Rand Steiger, and of narily extraordinary, and that inspires others playing a more comprehensive course Charles Wuorinen. David Lang the hell out of me.” repertoire. is someone who is very interesting to In the 1950s, the state of perfor- me, and has a developed sense of JAYN ROSENFELD, president of the mance was very low…abysmal, really. process in his music. Also, Donald New York Flute Club and flutist of the For example, it took 15 years for Milton Martino—one of the hardest composers New York New Music Ensemble, talks Babbitt’s piece Composition for Four to please! He has such a precise idea of about commissions such as The Ad- Instruments [1948] to get performed everything! But, oftentimes, repertoire is vancing Moment (1993) written for her in the way the composer intended a collective decision [involving] boards ensemble, and her many times working (evidently previous performances were and faculty colleagues…I don’t think with Harvey at the June in Buffalo a disaster). But that was one of the everyone is completely satisfied this Festival. Jayn says “He’s the ‘Gazzelloni reasons we started the Group for way, but you learn a lot about other of America,’ and one of the best Contemporary Music—the composers people’s tastes. conductors we’ve worked with.” deserved better We wanted to spend a lot of time practicing and absorbing this   music, and in doing so, raise the level of new music performance. I was glad to have been asked to And, now some words from the write this article, as it gave me an man of the hour. My questions to What sort of repertoire do you like to opportunity to learn much more about Harvey turned out to be a wonderful program these days? And do you feel someone I wish I had known years ago. conversation. that you favor certain styles of new ELIZABETH MCNUTT, a former student music over others? of Harvey’s sums it up in this story. “I PATTI MONSON: Could you talk about I am interested in works that take me house-sat for him while he was out of the importance of giving new music its on a voyage to a place I have never town. Harvey had an enormous due rehearsal time? been. This is usually music that is more espresso machine imported from Italy. HARVEY SOLLBERGER: Personally, as a complex and ambiguous; music that As I made morning coffee, I found I flutist, I have always loved the world of presents many possibilities to dis- had to hang my entire weight on the solo flute music, [because] you can take cover—perhaps even perils and dan- plunger arm just to extract one shot of as much [rehearsal] time as you want. gers. Certainly the music of one’s youth espresso. It occurred to me that a man For example, Milton Babbitt’s None But doesn’t completely dictate your adult who easily performed a near-impossible The Lonely Flute and Charles tastes, but it does have an influence. feat every morning just to make coffee Wuorinen’s Flute Variations are very I think my own orientation is more would naturally expect miracles from demanding pieces. [You can] live with traditional; compared to some people, those around him—and inspire us to ❑ them for a long time—the more you my tastes are [relatively] narrow…. achieve them.” penetrate them, the more you discover Although I am occasionally influenced their large and small worlds. I like to by jazz or rock music, my own music  have that feeling when I play music. It is not going to sound that way. comes from a desire to be productive— In the orchestra I conduct—which Patti Monson performs as flutist with the new to get to the heart of the matter. is a combination of the school [UCSD] music ensemble Sequitur, Flute Force, and the Sometimes we’re under pressure, there orchestra and the town community Curiously Strong Wind Quintet. She is on are time limitations, the other players orchestra (a very interesting mix)— the faculty at the Manhattan School of Music come from different mindsets…but you I am challenged by time elements… as director of the Contemporary Ensemble, just have to do the best you can. symphony movements that are 40 TACTUS. The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

February 29, 2004 concert

Sunday 5:30 pm • CAMI Hall, 165 W. 57th (across from Carnegie Hall) HARVEY SOLLBERGER 65TH BIRTHDAY TRIBUTE

84th Season 2003–2004 Concerts From the Greetings! On February 29th the NYFC will cel- ebrate the 65th birthday of flutist-composer Harvey Sollberger October 19, 2003 • Sunday 5:30 pm Editor: FLUTISTS OF THE NY PHILHARMONIC with a concert featuring his musical compositions. Cathy Comrie, the ever-cheerful “curator” of this event, collected the November 23, 2003 • Sunday 5:30 pm FULA FLUTE ENSEMBLE from West Africa composer and performer tributes in this newsletter issue. News to me (and maybe to you): Harvey played flute in his December 21, 2003 • Sunday 5:30 pm college marching band, and his Two Duets for Two Flutes was CHRISTOPHER KRUEGER, Baroque Flute Saint Peter’s Church, 346 W. 20th at 8th Ave. From the written (and performed with his teacher Betty Bang Mather) while he was still an undergraduate at the University of Iowa. January 18, 2004 • Sunday 5:30 pm Editor ARIFE GÜLSEN TATU, Turkish National Artist Patti Monson (interview, p. 1) recently spoke with Harvey and some of the many colleagues who enjoyed working with February 29, 2004 • Sunday 5:30 pm him over the years, an experience that she describes as a weeklong rediscovery of HARVEY SOLLBERGER 65TH BIRTHDAY TRIBUTE with Harvey Sollberger and assisting artists several decades of New York new music history. Readers who like to keep track of musical genealogy should note that Patti and Harvey have a peculiar connection: she March 14, 2004 • Sunday, All Day FLUTE FAIR 2004 — A DAY AT THE OPERA now directs the Manhattan School of Music Contemporary Ensemble (TACTUS) that LaGuardia High School of Music and Art and he directed for the ten year period 1971–81. Those of you interested in a more Performing Arts detailed history of this era should check out Susan Deaver’s Ph.D. thesis (at the April 18, 2004 • Sunday 5:30 pm website listed on p. 5). 2004 NYFC COMPETITION WINNERS Physicist Ed Wolf, a regular performer at the NYFC’s May ensembles concerts, is May 9, 2004 • Sunday, TBA this month’s member profile subject. I got to know Ed soon (very soon!) after my 2004 NYFC ANNUAL ENSEMBLE PROGRAM debut as Newsletter editor in October 1999, when he informed me (as kindly as Kaplan Space at Carnegie Hall possible) that a photo caption in our first issue mistakenly identified him as another Concerts are at CAMI Hall, 165 West 57th Street NYFC member. Those of you who missed the correction (and the last several years (across from Carnegie Hall), unless otherwise noted. of May concerts) will now finally get to meet the real Ed Wolf. All programs are subject to change. Tickets $10, only All for now. See you soon. ❑ at the door; free to members. For more information, visit the NYFC website at www.nyfluteclub.org or call Best regards, (212)799-0448. Katherine Saenger ([email protected])