VOLUME XXXIV , NO . 4 S UMMER 2009
THE LUTI ST QUARTERLY
Cassandra’s Dream Song
The Flute in Jazz: Window on World Music
Seeking François Devienne
Bright Flutes, Big City: The 37th NFA Convention in New York City
THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC
Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIV, N O. 4 S UMMER 2009 DEPARTMENTS 5 From the CEO 63 From the Chair of the Finance Comittee 7 From the Chair 65 NFA News 9 From the Editor 67 Notes from Around the World 13 High Notes 69 Passing Tones 71 2010 Convention: Anaheim 14 Flute Shots 72 New Products 42 Bright Lights, Big City: 74 Reviews The 2009 Convention 86 NFA Office, Coordinators, 57 Across the Miles Committee Chairs 18 62 Annual President’s Appeal Contributors 93 Index of Advertisers
FEATURES 18 Cassandra’s Dream Song by Lisa Cella The story of a mythical woman’s journey into mad despair is embodied in the choices— and madness-invoking struggles—pressed onto the performer by the complex, variable structures of Ferneyhough’s work. The author explores one possible map through the journey.
28 The Flute In Jazz: Window on World Music by Peter Westbrook The historical timeline of the flute in jazz is hardwon and brief, but it’s growing fast— in both time and space, as it spreads outward to embrace the music of a global community.
36 Seeking François Devienne 28 by William Montgomery Mysteries still shroud much of the life of this French Revolution-era flutist and composer, but one element is certain: the prolific output and enduring quality of Devienne’s work. A noted flutist and pedagogue describes what he discovered following his detective work throughout Europe and speculates about the questions that remain.
Cover © The De Morgan Foundation
THE NATIONAL FLUTE ASSOCIATION 26951 R UETHER AVENUE , S UITE H SANTA CLARITA , CA 91351
FOUNDED NOVEMBER 18, 1972 IN ELKHART , I NDIANA
This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the National Flute Association, Inc., which reserves the right to refuse to print any advertisement.
36 ISSN 8756-8667 2009 National Flute Association, Inc. 14
nfaonline.org Summer 2009 The Flutist Quarterly 3 OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected]
Chair of the Board Leonard Garrison Lionel Hampton School of Music Music Room #206, University of Idaho Moscow, ID 83844-4015 208-885-6709 fax: 208-885-7254 [email protected]
Vice Chair of the Board Jonathan Keeble University of Illinois 1114 West Nevada St. Urbana, IL 61801 217-333-8142 [email protected]
Secretary Shelley Collins Delta State University Dept. of Music, P.O. Box 3256 Cleveland, MS 38733 662-843-6341 [email protected]
Chair of the Finance Committee Debbie Hyde-Duby 4554 Leathers St. San Diego, CA 92117-3419 858-663-6389 fax: 513-492-4580 [email protected]
Assistant Secretary Sandra Saathoff 1515 223rd Pl. NE Sammamish, WA 98074 425-836-4758 [email protected]
BOARD OF DIRECTORS Bickford Brannen (2007–2009) 1 Lauren Ln. Southwick, MA 01077 –9385 781-910-3978 [email protected]
Robert Dick (2007–2009) 129 Waverly Ave., Apt. 1 Brooklyn, NY 11205 347-244-9373 [email protected], robertdick.net
Adrianne Greenbaum (2008–2010) 58 Ridgeview Ave. Fairfield, CT 06825 203-374-0607 [email protected] www.klezmerflute.com
Christopher Krueger (2007–2009) 38 W. Pomeroy Ln. Amherst, MA 01002 413-256-4552 [email protected]
Paul Taub (2008–2011) 1513 25th Ave. Seattle, WA 98122 206-328-5010 [email protected]
Clifford Tretick (2008–2011) PO Box 1066 Mechanicsburg, PA 17055 828-242-4489 [email protected] From the CEO
Phyllis Pemberton
ummer greetings from your very effort at present—Linda Toote, our fulfillment of our mission statement, busy NFA office, as we prepare 2009 convention program chair. Brava “Inspiring Flutists, Enriching Lives.” Sfor a blockbuster convention from all of us, Linda! Your board, staff, and Strategic together in NYC! I’m sure it won’t sur - I always enjoy the opportunity for Planning Committee members have prise you to know that each conven - face-to-face time with you, our valued been working hard to foster fresh ideas tion takes years of planning and members, and over the years I have to benefit each and every NFA mem - preparation, and the dedication of had the pleasure of meeting and get - ber, and what better way to find out NFA’s volunteers and staff to bring you ting to know so many of you at the what’s on your mind than to hear not only a great convention each year convention. But I have always wished directly from you? but a great NFA year-round is beyond for less time being tied up behind the So not only is my door, and the door compare. I’m continually amazed at scenes in business meetings and con - of each of those who serves NFA, wide our employees , considering the fact sultations, and more time to be able to open to you at the convention and all that other comparable organizations spend mingling with you and hearing year round, but I wish to remind you employ twice as many staff members your perspectives and views! how very much we value your input to get the job done. And the conven - So I want to thank the board of direc - and ideas. Please take a moment to tion is but just a portion of the staff’s tors for now creating this opportunity, by give me a call at the NFA office at 661- ongoing year-round responsibilities of their commitment to a new model of running an international, nonprofit “springing” the NFA staff from behind 713-6013, drop me an email at corporation! closed doors in back-to-back meetings, [email protected], or stop by the NFA Some organizations enjoy an enthu - research, and professional consultations booth in the exhibit hall during the siastic complement of volunteers, but during the convention week—so that “Visit the Exhibits” hour each day, few can match the number of dedicated instead we can have the privilege of where board and staff will be available individuals who step forward every seeing and talking with even more of for relaxed conversation with our year to offer their time and energy to you face-to-face. attendees and exhibitors. benefit our association and its mem - After all, this is your organization, Better yet, let’s sit down for a moment bers. It is truly remarkable. Please be and it is through hearing your per - at the convention and share a cup of sure to say a word of thanks to the spectives that we can best know the coffee together. I welcome your views! masterful centerpiece of that volunteer ways in which to grow the NFA toward —Phyllis Pemberton, CEO
nfaonline.org Summer 2009 The Flutist Quarterly 5 THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Christine Cleary, Amy Hamilton, Contributing Editors Lee Chivers, Masterclass Reporter Victoria Stehl, Art Director Steve diLauro, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies School of Music Texas Tech University Lubbock, Texas Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Patricia George Professor, Performer, Masterclass Teacher, Author Pocatello, Idaho Ruth Ann McClain Flutist and Studio Teacher Memphis, Tennessee John Wion Professor of Flute The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, Web Design Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. From the CHAIR
hings are looking up for the / Meet face to face with the NFA Leonard Garrison NFA. Thanks to your generosity, board and me, learn about how Tthe annual Chair’s appeal letter the organization works, and voice solicited an historical level of donations to your opinions. Stop by to chat the Endowment and its sub-funds. Since with us at the NFA booth in the are the most thoughtful and systematic then, the “37” campaign has generated an Exhibits Hall during designated repertoire lists anywhere, and the 2009 unprecedented number of donations of “Visit the Exhibits” hours each update combines these two into one, every size, including those from flute stu - day. (Again, check the Web site adding much new material. This guide dios across the nation. Competition regularly for updates .) is the result of years of work by our entries were the highest ever, pre-registra - energetic Pedagogy Committee and its tions for the convention are strong, and / Celebrate the remarkable career of chair, Rebecca Hovan. Bravi to them! exhibit booths are nearly sold out. Sir James Galway and contribute Many great performers and presenters Beginning in 2010, Keefe Piccolo to the NFA Endowment by atten- sent proposals to appear in New York, will underwrite prizes for the Piccolo ding the annual Gala Fundraising and, alas, there is only so much excite - Artist Competition , and beginning dinner on Saturday, August 15, at ment one can squeeze into a convention, this year, Conn-Selmer/Avanti Flutes 5:45 p .m. (be sure to pre-register). so I encourage everyone to send proposals will underwrite prizes for the High to Cynthia Ellis, program chair for the School Soloist Competition, both for As you attend our convention in New 2010 convention in Anaheim, the site of three competition cycles; we seek York, please support our exhibitors. The the very first NFA convention. Proposals other businesses and individuals to join in underwriting competition economy has not been kind to many are due October 1, 2009. prizes. All of these factors contribute flute-related business, so your purchases Speaking of the future, have we got to an improved financial condition. in the exhibit hall will allow them to a great lineup of sites for you! In 2011, The convention, thanks to program continue to provide us with great we will visit for the first time one of chair Linda Toote, promises to be instruments, music, and resources. America’s great convention cities, superlative in every way. Among the While in the exhibit hall, visit the NFA Charlotte, North Carolina. The NFA myriad offerings, I extend a personal booth to check out our publications, celebrates its 40th convention at the invitation to several: especially the brand new Selected Flute gorgeous Caesar’s Palace in Las Vegas Repertoire and Studies: A Graded Guide . in 2012 and parties in New Orleans in / Make the Guinness Book of World Not a day goes by that I don’t refer to 2013, where I hear you can get a Records™ by performing in the the 2001 edition of Selected Flute decent meal. largest flute ensemble in history (see Repertoire and its 2005 companion Happy fluting to all. Web site for updates and details). Selected Flute Studies . These booklets —Leonard Garrison, Chair
nfaonline.org Summer 2009 The Flutist Quarterly 7
From the EDITOR
A Magnificent Life
It was my privilege and honor to know Frances Blaisdell, a woman of great courage, determination , and grace. I am aware of that every day I walk in her footsteps. The singular path she took many years ago paved the way for so many of us to take our place in the world of music. What a remarkable woman ,
and what a magnificent life! Anne Welsbacher
—Jeanne Baxtresser
olks not already familiar with the It isn’t as though Blaisdell was the to perform for all those men in charge accomplishments and career of first women to balance career and for all those years. FFrances Blaisdell, who died March housework, albeit decades before the By the time, in the early 1960s, that 11 at age 97, have ample opportunity to terms “supermom” or “multitask” had Frances Blaisdell joined the New York learn about her via past (spring 1986, entered our lexicon. Or, more precisely, Philharmonic as (most likely) its first it isn’t that she was the only woman to fall 2005) and future articles in this woman wind player, most of her “firsts” magazine and a remembrance session at do so. It is rather, I think, that very prag - were behind her. Yet she still faced nearly August’s NFA convention. Rather than matic nature of her pot roast-and-pota - 60 more years as a flutist and teacher, addressing the canvass of her life in the toes routine that stained into my head space available here, then, I ask your the image I have of her. Frances including 30 at Stanford after her 1973 indulgence in a personal reflection on Blaisdell was the first woman in this “retirement.” Her pedagogical talents, the woman whom I met only viscerally country to do—extremely well—a large by all reports, were as honed as her through my work with the NFA. chunk of all things related to flute per - performance skills, acute in articulating One of the first things about Frances formance. That she did so while pairing confidence-building praise followed by Blaisdell that caught my attention was a broccoli with her pre-cooked roasts honest assessments of weaknesses. passing detail about how she cooked somehow drove the point home for me Frances Blaisdell wielded an uncanny meals for her family while working as a more succinctly than had all the facts I talent for combining finesse and prag - full-time musician. This was in the early had accrued—interesting as so many of matism, usually laced with laughter. She 1940s, in the initial heydays of her career them are: the confusion over the spelling sparkled on stage in her lamé dresses; (not that any days of her career were what of her first name perhaps getting her to she fed the souls and skills of genera - you’d describe as slackers). On her Barrère’s door for an audition— and then tions of students and teachers; and she Mondays off, she cooked a main meat nearly turned away at the discovery of dish; through the week she added a baked her gender; her status as the first female threw together supper, all with equal potato and vegetables so she could quick - woodwind player at Juilliard; perform - doses of pleasure and aplomb. She ly throw together a healthy meal for her ances with the Rockettes at Radio City indeed lived, as Jeanne Baxtresser so growing family before dashing off to play Music Hall and the Phil Spitalny All- aptly put it, a magnificent life. for the New York City Ballet. Girl Orchestra; her determined efforts —Anne Welsbacher, Editor
nfaonline.org Summer 2009 The Flutist Quarterly 9 QUALITY . SUPPORT . PROFESSIONALISM D hogotteisrmn n the and instrument the throughout “I’ Chajitpoie la and clean a provides headjoint EC la riuaini all in articulation clear h oeqaiyi exceptional is quality tone The JfryKae,Picplflute Principal Khaner, -Jeffrey Y PNSON EPENDS hildwt yYFL-874H. my with thrilled m K J hldlhaOrchestra Philadelphia AMAHA EFFREY . HANER VALUE registers YFL-874H . .”
©2009 Yamaha Corporation of America. All rights reserved • www.yamaha.com
High Notes News and activities about the accomplishments of National Flute Association members and the flute world
FA member Christina Jennings Nperformed the world premiere of Carter Pann’s “Mercury” Concerto for Flute and Chamber Orchestra April 18 with the River Oaks Chamber Orchestra at the St. John The Divine Episcopal Church in Houston. Pann’s three-movement concerto, which was commissioned by ROCO, was written for Jennings. Jennings is prin - Christina Jennings cipal flute of ROCO and assistant pro - fessor at the University of Colorado’s College of Music. She has appeared with the Utah and Houston Symphonies, Orchestra 2001, Park Avenue Chamber Orchestra, Flint Symphony, Orchestra de Camera (Mexico) and Pro Musica Peter H. Bloom and Mary Jane Rupert, second and third from left, with com - (United Kingdom), and at recent chamber music festivals posers Elizabeth Vercoe and Narong Prangcharoen in Bangkok. including Strings in the Mountains (Colorado), Cascade uring a recent concert tour in Thailand, NFA member Head (Oregone), OK Mozart (Oklahoma), Chamber Music DPeter H. Bloom and pianist/harpist Mary Jane Rupert Quad Cities (Iowa ), and the Bowdoin International Festival gave the world premiere of “Butterfly Effects, ” a 2008 com - (Maine ). Visit christinajennings.com . position by American composer Elizabeth Vercoe, written for Bloom and Rupert and featuring flute, alto flute, bass FA member Mimi Stillman flute, piccolo, and harp. They also performed the world pre - Nand Dolce Suono performed miere of “Between Heaven and Earth, ” a 2008 composition in concert with the Chamber (flute and piano) written for Bloom and Rupert by Thai Orchestra of Philadelphia February composer Narong Prangcharoen, and the Thailand premiere 13 and at the First Unitarian of Vercoe’s 2003 flute and piano duo “Kleemation ” (inspired Church in Philadelphia February by drawings of Paul Klee). Bloom and Rupert, known as the Mimi Stillman 27. Visit dolcesuono.com. duo “2 ,” performed at the Goethe Institute in Bangkok, American University Alumni Auditorium in Chiang Mai, onn-Selmer Inc., in conjunc - and Mahidol University College of Music in Salaya, Ction with master flutemakers Thailand, and gave masterclasses at several Thai universities Laura and Bickford Brannen, have with the sponsorship of the United States Embassy. Bloom’s established the Avanti Fund other projects during 2008–2009 included tours of the U.S. Scholarship program, two sets of Southeast, Midwest, Mid-Atlantic , and Northeast with scholarships provided by the Avanti Ensemble Chaconne, the Olmsted Ensemble, the Aardvark Fund, which was created by the Jazz Orchestra (36th season), the duo “2 ,” and mezzo-sopra - Brannens. Bickford Brannen is a no D’Anna Fortunato. In November 2008, Bloom gave a solo Lifetime Member of the NFA and a recital for the New York Flute Club at the Yamaha Piano recipient of the 2008 NFA Lifetime Salon in Manhattan (The Flute in 19th-Century New York), Achievement Award. The larger set Bickford Brannen featuring repertoire heard in New York from the 1820s to of scholarships, the Avanti Fund the 1890s (by American composers Lanier, Schade, Downe , Music Education Scholarships, will be offered nationally to aid L O K
G and others), performed on historical instruments by New qualified students pursuing undergraduate degrees in music N O
M York makers, including Alfred G. Badger, Edward Riley, education. The smaller set, the Avanti Fund Conn-Selmer . K :
O Allen Jollie, James Hoey, Charles Monzani, and William Employee Scholarships, is for Conn-Selmer’s Elkhart employees T O H
P Meinell. Bloom is author of the A.G. Badger entry in the and/or family members. Visit avantiflutes.com/scholarships/ , T F E
L forthcoming Lexikon der Flöte . Send an e-mail to armstrongflutes.net/scholarships/ , or conn-selmer.com, or P O
T [email protected] or visit americasmusicworks.com. contact Valerie Simosko at 574-523-0680.
nfaonline.org Summer 2009 The Flutist Quarterly 13 Flute SHOTS by Yvonne Kendall
Moceño redominantly associated poncho]” for recorder quartet and percussion by Alice Gomez with the Bolivian and gives the flavor of a moseño ensemble. Likewise , the flute choir PPeruvian Andes, the piece “Legend of Sleeping Bear” by Catherine McMichael,
moceño (also moceno, moseño, which is based on a Native America folktale , has some of the R A . M
moxeño, mohoceño) is an same depth , mood , and pitch. O C . A
unusual bass flute. Made of H C A P
cane, it has two pipes. The Y You can see or hear more about the moceño through these A K S
smaller one, which is blown online resources: O L L A
into like a recorder, sits atop B E C O
the longer one. These instru - • http://www.floeten-bau.de L A Z N
ments, which come in different • http://www.youtube.com/watch?v=cjn-8EvvIac O G Y
sizes, are typically played in • http://www.youtube.com/watch?v=DWscz-mUbBU B A H
flute choir groups. “Poncho C
• http://www.kaypacha.com.ar/instrumentos/moxeno/ A P Y A
quatro colores [Four-color moxeno.htm K
#FMM "MNB %VP -ICHELE &RISCH mUTE +ATHY +IENZLE HARP
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14 The Flutist Quarterly Summer 2009 nfaonline.org
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© THE DE MORGAN FOUNDATION Cassandra’s Dream Song TDhe story of a mrytheicalawomman’s journeySinto mad doespanir is emg bodied in the choices—and madness-invoking struggles—pressed onto the performer by the complex, variable structures of Ferneyhough’s work. The author explores one possible map through the journey.
by Lisa Cella
assandra: the most unfortunate of the daugh - see how far this…could be systematically exploited…how far Cters of Priam and Hecuba. Apollo loved her and the results could be incorporated into the very fabric of the “ promised that if she would give him her love in composition ….” ( Ferneyhough , 1995, 318) Ferneyhough’s return, he would teach her to see the future. Cassandra compositions not only consist of technically difficult writing consented but did not keep her word once the god had and complex rhythmic structures but also overlay a dense granted her the gift. In return, he took away people’s belief series of instructions for the execution of passages. The in her utterances and made her a laughingstock. Now juggling of these levels creates energy that emerges from the Cassandra was regarded as mad, and because she prophesied struggle to keep all the balls in the air; the result is a charged nothing but misfortune, people soon grew fed up with her atmosphere of risk. disruption of all their enjoyments and confined her in a Ferneyhough was also interested in the concept of freedom dungeon.” (Wolf 1984, 277) and restraint in music. Cassandra’s Dream Song presents a Cassandra’s Dream Song , composed in 1970, was Brian framework that allows the performer to choose the order in Ferneyhough’s response to what he perceived as a deluge of which the segments of the piece are to be performed. The flute literature emphasizing the characteristics of the flute piece has six linear, structured, and somewhat limited units that he believed trivial. In Cassandra’s Dream Song , his focus of music, which must progress from 1 to 6. Five units on the is “on the instrument’s ability to offer a high density of infor - second page are much more flamboyant and gestural; these mation on a certain number of levels simultaneously , while fit between the numbered units in an order determined by filtering through the highest degree of unity imaginable— the performer. Ferneyhough wanted the flutist to explore the that of a single, monodic instrument.” (Ferneyhough , 1995, interpretational possibilities. For example, with this choice, 99) This piece sought a different kind of virtuosity, employed the performer can control the amount of conflict between and experimented with forms of freedom and restraint, and the two kinds of music. (Ferneyhough, 1995, 316–17) required performer involvement in its structuring. Ferneyhough admits that he was aware of the “limited num - Ferneyhough had always been intrigued by complexity in ber of combinations of fixed and freely ordered elements ; it music. During this period , he discovered “… that there was an is precisely the vast diversity of energy-transfer situations entire dimension of potential expression buried in the atti - that the mobility of the freer elements provides” tude of the performer to the music text. I thus determined to (Ferneyhough , 1995, 377) that was his main concern.
nfaonline.org Summer 2009 The Flutist Quarterly 19 CASSANDRA ’S DREAM SONG In Cassandra’s Dream Song , one type of energy is forced The progression of the piece depends ultimately on the to “confront, blend with, or mutate into another ” performer’s choice of order. However, if focused only on the (Ferneyhough, 1995, 377). This interaction of energies, in material of page one, a general progression from simple to lieu of harmonic rhythmic pulse, is what creates the work’s complex emerges. The opening unit contains itself within a coherence . Bar lines have no importance , because they are narrow range ; the end of unit 6 utilizes the full range of the not the means of dictating the phrasing. To Ferneyhough, flute. The second-page material is more volatile and less the measures function as a space and “as the domain of a unified and , depending on the order chosen, can greatly certain energy-quotient suddenly facing the necessity of affect the dramatic outcome of the piece. moving to a sometimes quite contrasted state. It is not the The materials on the first page are centered around a drone emphasis on a down beat which counts but the feel for on A. Unit 1 methodically introduces the four main notes or what is needed to leap this experiential hurdle to the focal pitches of the first page material: A, B b, E b (D #), and F #. It immediately subsequent situation” (Ferneyhough, 1995, begins with the noise of a tongue pizzicato on an A. This sput - 378). With the alternation of the numbered material and ter is followed by a mixture of tongue pizzicati and key clicks the very different lettered material, this conflict is inherent. that produce pitches within a quarter tone above or below A. In addition, the performer must determine the differences between the fermate and the written-out pauses. This forces the performer to “calculate rests not so much by their actual written durations as by the degree of accumu - lated energetic impetus with which he approaches them, with the consequence that their clock-time duration can fluctuate wildly from performance to performance” (Ferneyhough, 1995, 378). Ex. 1 The most overwhelming aspect of this piece is its incred - ible amount of detail . Every nuance is controlled and spec - As the music progresses, more and more actual flute sound is ified. To Ferneyhough, notation is a transcription of what incorporated, alternating real pitches with tongue pizzicati was heard in his head; the written-down version must be as and key clicks. Statement 1 spans the whole step from specific as possible to accurately produce the piece he con - A-quarter- flat to B-quarter -flat. Statement 2 gradually ceived. He uses Cassandra’s Dream Song as an example of expands this interval, as it introduces the focal pitches, to b b notation that acts as an intermediary, connecting border ultimately cover E to B . areas of representation (Ferneyhough , 1995, 5). The per - former’s struggle with the notation is akin to Cassandra’s psychological strife. The notation of Cassandra’s Dream Song is presented to be a “literally ‘unplayable’ image” (Ferneyhough, 1995, 5). This is not as a result of notes beyond the range of the flute; rather, the performer must wrestle with contradictory indications like playing a crescendo on a fragile harmonic or a series of notes with Ex. 2 the breath pulsating. The result of this “unplayable image” is a free-floating impossibility. Where the tension arises For the most part, the first four numbered units and most of depends on the performer’s technical ability. the fifth on the first page remain within this interval of a 12th . In units 3, 4, and 5, there are moments when the mate - rial is pushed beyond that interval but is unable to sustain the The Units freedom of range until the end of unit 5. From the beginning, Structurally, the piece contains 11 units comprised of musical elements in the music seek to thwart the rigidity of the mate - events or gestures defined by rests or fermate. Canadian rial. Statement 1 includes multiple dynamic markings and flutist Ellen Waterman, in a written analysis, called these statement 2 adds accelerando and ritardando over a passage events “statements” (Waterman, Summer 1994, 156–57). In in which the events occur more frequently. examining the number of statements in each unit of page The second unit examines nuance of color , as each A over one, she noticed that the number of statements increases the course of the unit is manipulated in some way through and decreases in a palindrome-like progression. For exam - tone bending, rapid trilling, or adding noise components. ple, unit 1 has two statements; unit 2 has four; units 3 and The first two statements consist of fingering changes in a held 4 have five statements; unit 5 has four ; and unit 6 has two A, resulting in timbral alterations from veiled to bright , statements. The lettered material also is broken down into accompanied by a crescendo that—at maximum loudness statements: unit A has nine, unit B has 11 , unit C has four, and brightness—abruptly falls away to an A-quarter-tone- unit D has eight, and unit E has six. (Referrals here will be flat, subito pppp that shakes nervously with a timbral trill. made to each collection of statements that are either num - The third statement starts with a trill from A-quarter-flat to bered or lettered as “units ,” and to the specific statements with - Bb-quarter-flat and pushes it to a quarter-step-sharp before in these units.) coming to rest on an A-to-B b tremolo.
20 The Flutist Quarterly Summer 2009 nfaonline.org subito ppp A (statement 4) , which remains ppp as vibrato increases. The F # harmonic interrupts again but is cut off by a D #, another primary note. The abruptness of the cut-off initiates, in statement 5, the most distortion of the drone yet. To achieve this, voice is added to the tremolos, creating yet another layer of sound complexity (performer is to sing as Ex. 3 high as possible while playing a tremolo with the flute).
Superimposed is the movement of a loose to tight back to loose embouchure, which aids the pitch bend but also changes the color from dark to bright. Two loud grace notes, F# up a sounding 10th (octave plus a dimished 4th ) to B b, two of the focal pitches , abruptly cut off the statement. The last statement consists of a full-voiced A overlaid by key clicks. Ex. 6
This passionate scream, hindered by the flute and tremolos , creates a dramatic sense of frustration , as if trapped. Despite the aggressive sputter of the tongue pizzicati, the drone refuses to yield. It remains soft , but as the note progresses , it increases the vibrato to its maximum. The F # harmonic gets Ex. 4 the last word. While there is a barrage of elements (heavy, fast vibrato, multiphonic trills while singing, crescendi, tongue As if gaining strength with each onslaught of key clicks, the A pizzicati , among others) , the A remains powerful. The greater crescendos through the first part of the statement and then part of the material here employs the focal pitches. remains soft through the second part while the key clicks Unit 4 opens with the four primary notes and enacts a continue; when they finish, a very fast crescendo builds to f progressive deterioration of sound as it moves from pitched while glissandoing down to A-quarter-flat, the opposite of sound through a gasping section to key clicks. the previous dynamics for this gesture. The last trill is a tight timbral that crescendos and decrescendos while the clicking continues to crescendo. These last two statements introduce the idea of polyphony. The performer is already aware of the different levels being worked on simultaneously , but now the listener starts to hear them as well. Unit 3 begins with this layering securely in place. The A is played softly to give the impression of continually sounding through the many interruptions placed over it. Ex. 7 Statement 2 is an interruption of the drone and consists of a long F # harmonic that crescendos from ppp to ff . Returning Most of this passage is based on falsehoods; even the per - to the A, statement 3 is comprised of further interruptions of former is tricked. In all of the covered tongue pizzicati (pro - the drone with the focal pitches B b and E b. These notes alternate ducing pitches below middle B) , the note sounds half a step with rapidly repeating pitch class As, until just A remains. higher than written. Ferneyhough requests that the flutist They then pick up speed until they turn into a flutter- follow the fingerings rather than the notated pitches . The tongued , half-step trill. majority of the dynamics indicated cannot be produced on the flute with the given fingerings. For example, in statement
4 on the first of the low Cs (C 3) a ff is notated on one of the softest key clicks on the flute.
Ex. 5
Superimposed is the request for molto vibrato, sforzandi, and a crescendo toward the end of the statement. The loud-flutter tongued trilled A is abruptly contrasted with a non-vibrato Ex. 8
nfaonline.org Summer 2009 The Flutist Quarterly 21 CASSANDRA ’S DREAM SONG
All that Ferneyhough requires is that the performer attempt It is immediately apparent visually that the lettered material the dynamics given. The set of primary notes are the only on page 2 is much more emotional, agitated, and disjunctive pitches to be produced normally. This unit comes to a close than the numbered material; here, the previous material is with a gasping growl on a B natural. examined, negotiated with, rebelled against, or distorted. The series of trills on A connected by rapid arabesques that Unit A can be considered responsive to the majority of the comprise unit 5 results in an overall feeling of instability. page 1 material. Aggressive and fragmentary, with wild dynamic shifts, it gives the appearance of being reckless. For example, the high G harmonic in statement 2 is fragile yet pushed to a loud dynamic in a relatively short time.
Ex. 9
The longer notes tend to be primary, A to F # to B b with a few Ex. 13 exceptions. The slurred arabesques give way to tongued, agi - tated sections with accents and sforzandos that culminate on Throughout this unit, a repeated note motif (in which the A a high C. The sforzandos and accents function as a way to from page 1 is landed on only once) that references unit 3 is prevent any regular pulse , since tonguing is inherently regu - contrasted with rapid passages with wild leaps. lar. The energy moves forward as density, rate of activity, and The repeated notes are manipulated in various ways. In flute’s range increase. Despite this new display of registral statement 1, the A becomes a microtonal series, the high G in # facility, three of the focal pitches (A, F #, D #) return menac - statement 2 is alternated with a harmonic, and the low C of ingly to close the final statement. statements 5 and 6 is pushed flat.
Ex. 10 Ex. 14
Unit 6 begins with the A noticeably absent from its first Statement 9 is a rapid schizophrenic alteration of pitches that statement. are either ppp or fff . The ppp notes have the most occurrences of the focal pitches , as if they are trying to exert a subliminal influence over the loud notes.
Ex. 11
However, statement 2 returns to the four notes starting on Ex. 15 the low A, and the As become more prevalent until all three octaves of As are used, connected by only the main pitches. Unit B features two main inflective types: trill/flutter tongue b This statement ends on a low E coupled with the voice for and grace notes. It references some of unit A but is more greater emphasis. The last A is a gentle crescendo cut off by a organized and focused. The opening statement is a grace note key click that catches the resonance of the A; a sense of tri - run that manages to land on a focal pitch (D #) but is imme - umph prevails as the A relentlessly exerts its power. diately altered by a trill.
Ex. 12 Ex. 16
22 The Flutist Quarterly Summer 2009 nfaonline.org In Cassandra’s Dream Song , one type of energy is forced to “confront, blend with, or mutate into another.” This interaction of energies is what creates the work’s coherence.
The next statement is a repeated quarter-tone-note sequence step away from the focal pitches. The A # is a half step away up to the A (referencing the middle of statement 1 in unit A) from A but is also an enharmonic spelling of B b, a focal pitch. followed by a series of trills coupled with flutter-tongue. The The unit concludes with a tremolo that starts slowly and first note of the trills is A to B b from the focal pitches; the next increases speed while engaged in a glissando up, a crescendo trills, F to G, are a half step away from the focal pitch F #. The from pppp to ff down to pp , and non-vibrato to molto vibrato. final trill combines a focal pitch and a half step, B b to B, end - This trill starts a quarter step below A and B b (focal pitches) and ing in repeated low Ds. then pushes the pitches a quarter tone sharp. It culminates in a three-note gesture to be played “tutta la forza .” The three notes (E, A #, D) are half steps away from the focal pitches. The A appears more frequently but is still not prominent.
Ex. 17
The third statement is a flurry of grace notes in which the B b is the only note of the focal pitches to appear. All the other Ex. 20 notes (F, D, E, A b) are a half step away from the other focal pitches until the last note, an E b (focal pitch). Statement 4 Unit C is a collection of four small interludes, and their order begins to examine the issue of transformation as the low G is is free. The use of flutter-tongue acts as the unifying factor, held while a flutter-tongue moves from front of the mouth to and the four statements seem to shimmer. Three of the gestures the back of the throat , switches to rapid vibrato , and ends require some kind of lip glissando to occur while executing with smorzando. the runs.
Ex. 18 Ex. 21
All of these changes are accompanied by a crescendo- There is a pattern in this passage: The first run is 10 notes decrescendo. Statement 7 layers throat flutter-tongue, vibrato, long, the second 11 , the third 12, and the fourth 11 . In the and smorzando , as if trying to prevent the G from getting to order that they appear on the page, after each statement, the A. The last statement of unit A (the soft and loud alteration) length of the fermata increases. The rests are attached to the appears again in unit B but is more balanced (statement 8). gesture they follow , so depending on the order the performer chooses, the length of the rests will also change. It is as if the music is seeking to understand a glimmer of an idea that refuses to reveal itself. The D unit is the most dense, overwrought, and oppres - sive. Each statement is overlaid with directions: vibrato nuances, smorzandos, and wild dynamic shifts. It is the most melodic and compressed registrally of all the lettered Ex. 19 units. The abrupt interruptions tend to be noise. For example, in the middle of statement 1, there is a tongue pizzicato The top line is a half step higher than the bottom line. The that isn’t going to speak because of the high register in which it two issues of trilling and grace notes recur in statement 9. is written. The second half of statement 1 is a glissando down , The top note of each slurred group is for the most part a half during which a crescendo and a smorzando are required.
nfaonline.org Summer 2009 The Flutist Quarterly 23 CASSANDRA ’S DREAM SONG This makes the pitch F-quarter-sharp difficult to reach Seeking Order because the glissandoing down activities require that the flute With the basic analysis complete, the next issue is order. roll in , which is counterproductive to making a crescendo , Globally, a balance exists between fixed and free. The numbered and the pulsating air adds uncertainty to tone production . material , which must appear in the order 1– 6, creates an invariant structure. The lettered material alternates with the numbered , and the performer’s choice determines the emotional and musical trajectory. By having a structure with limited options, Ferneyhough has given a sense of predictability to his piece sometimes lacking in other mobile form pieces. For him, the interesting aspect of his Ex. 22 piece is how, based on the choices of order, the performer shapes this narrative of conflict. Statement 5 also has a pizzicato interruption, and statement When preparing this time line, certain issues need to be 7 ends with a low E b pizzicato. A series of six notes that examined. To make a coherent decision about order, one must appear in statement 5 are repeated in statement 8 . Initially first decide on the expressive and structural implications of they are accented and call for a slow throat flutter-tongue. In each unit and then craft a global emotional trajectory. statement 8, the voice is coupled in unison with smorzando, Understanding and labeling each unit’s emotional content giving the series of notes an unearthly quality. also helps in performing the chosen ordering in a committed way. This piece’s energy is raw and direct , and the emotional content is an important layer in its text . The trajectory includes decisions about the kinds of energy interactions and conflict schemata to follow . This piece has had many performances—and many orders. Discussed here are two: one performed by Pierre-Yves Artuad (its premiere) and Harrie Starreveld , and a second Ex 23 performed and analyzed by Ellen Waterman. Both of the men chose the same progression of interpo - Of all the lettered material, unit D has the most appearances of the focal pitches from the numbered section , as if all the forces lations of the lettered material. Their interpretation, with the have been gathered to formulate a thought or crystallize an number of statements of each unit as per Waterman’s analysis, idea. Yet it is unable to finish as the unit trails off into niente . is C (four statements), E (six statements), D (eight statements), Unit E is the most controlled and tense music of the lettered A (nine statements), and B ( 11 statements). What Waterman material. The opening harmonics are pushed to loud dynamics found about this order is a logical progression of statements resulting in a strained quality of sound. The primary dynamic from least to most , so the units not only get longer but also, is soft and the loud moments are just brief outbursts. Statement musically speaking, denser and more dramatic until the end 3, in addition to the smorzando and lip glissando, has a mark - of unit B , which culminates on the highest and loudest note ing on the low C asking for loose lips. This results in the only that ends a unit. Indeed, the label “tutta la forza” suggests it appearance of whistle tones in the piece. should be the strongest note in the piece. This has been called the climax model, building up to a point of crisis or release, summarizing briefly, and then ending (Waterman, 1994, 157). Waterman’s analysis is flawed , in that she has assumed that increasing the number of statements equals increasing tension , and no examination of the content of each unit was put forth. Waterman deliberately rejected this model as masculine Ex. 24 and set out to discover an explicitly feminine order. She was aided by Cassandra, a Novel and Four Essays, in which author The last grace note rip in statement 6 contains all the focal pitches except A and is desperation personified. That dra - Christa Wolf examined the myth of Cassandra through matic outburst, however, does not result in any solutions and feminist eyes. “Wolf’s Cassandra is an allegory of every the end of that unit sinks as the dynamics fade and the pitch woman’s struggle for self-knowledge and a measure of bends down slowly . autonomy,” Waterman noted (Waterman, 1994, 159). She attached aspects of this struggle to individual units of the let - tered material and put them in a logical progression. The result: A (signifying blind ambition), E (the beginnings of an individual voice), C (choice), B (madness), D (resolution, self- knowledge). For Waterman, Cassandra’s Dream Song is more about the quiet triumph of Cassandra in the face of the most Ex. 25 difficult odds, persecution by a god. Her narrative procedure
24 The Flutist Quarterly Summer 2009 nfaonline.org can be classified as purely theoretical in the sense that the narrative developed first and then was superimposed over Bibliography the music. As with Artaud’s order, creating an expressive trajectory appeared to be secondary. Artaud’s focus was structural, building musically to an exciting climax, and Ferneyhough, B. “An Interview with Philippe Albera,” Waterman’s was philosophical. in Brian Ferneyhough: Collected Writings , edited by James Boros and Richard Toop, 303–335. Amsterdam: A Third Choice Harwood Academic Publishers, 1995. When I began determining an order, I examined these two Ferneyhough, B. “Aspects of Notational and versions very carefully. For me, they worked intellectually, Compositional Practice,” in Brian Ferneyhough: but not in a way that I could confidently express musically. So Collected Writings , edited by James Boros and Richard I set out to find my own order. Toop, 2 –13. Amsterdam: Harwood Academic I examined the ends and beginnings of each unit and Publishers, 1995. tried to decide what sounded appropriate to go together. Ferneyhough, Brian. “Shattering the Vessels of After developing possibilities, I examined material within Perceived Wisdom: In Conversation with James each unit and determined connections of possibly succes - sive lines. I was classifying material as complimentary, Boros.” Collected Writings. Edited by James Boros reactive, or instigative. For example, I chose unit D to come and Richard Toop. Amsterdam: Harwood Academic first because I liked the progression from the B b harmonic Publishers, 1995. P. 369-405. ending unit 1 to the B-quarter-flat that starts unit D. The Ferneyhough, Brian. “Unity Capsule: An Instant material in unit D feels very tense and inward, as if Diary”, Brian Ferneyhough: Collected Writings , edited Cassandra were pondering the information from Apollo by James Boros and Richard Toop, 98 –106. and developing a crisis with it. Also, the material of unit 1 Amsterdam: Harwood Academic Publishers, 1995. did not seem to merit being followed with anything too violent because not enough material had been presented to Waterman, Ellen. “Cassandra’s Dream Song: A warrant a violent reaction. The majority of unit D is soft, Literary Feminist Perspective,” in Perspectives in New but the few loud spots are subverted by other instructions. Music , 32 (1994): 154–171. For example, the second statement of unit D should Wolf, Christa. Cassandra, a Novel and Four Essays . crescendo to f while increasing a heavy vibrato and a Translated by Jan van Heurck. New York: Farrar- smorzando as well as a lip glissando down , which inher - Straus-Giroux, 1984. ently weakens the note. This also happens at the end of the unit when a trill on high F # to F-quarter-sharp crescendos to culminate on a low tongue pizzicato as loud as possible. quality of the drone. Following this powerful third insistence, A considerable amount of energy is required to produce Cassandra’s violence is released. She is certain now that she this low pizzicato, but the aural result is relatively inconse - has no rights. quential. The struggle in attempting to realize the dynamic Unit A represents this violence, fighting against while at creates a different kind of energy. The hum/smorzando the same time mocking the repetitiveness of the opening section is very eerie and foreshadows the violence of the three units and always trying to avoid the pitch A. The last rest of the piece. gesture, a wild spray of disjunct intervals moving between I also like the link from the end of unit D to the beginning ppp and fff also elicits a response from the numbered materi - of unit 2—the B-quarter-sharp (again) fading out and falling al that follows (unit 4), not unlike irritated mutterings. back to the A drone emerging in unit 2. This unit also uses the The music of unit 4 seems the most threatening because tonal nuances present in D and adds violence with the sputter of how falsely it presents itself. It is coy and seductive, to the of key clicks ending with an A timbral trill that disappears as point of being sinister. The octave B b that results from the end the key clicks increase. of unit A to the beginning of unit 4 suggests that the numbered My choice to follow unit 2 is unit C. This music repre - unit is mocking the lettered unit, throwing the last thing said sents confusion and stalling with its use of four disjunct back at the speaker. The last flutter-tongued B of unit 4 gestures that seem to be testing as each one is followed by decrescendos menacingly and completely unnerves Cassandra. longer silences. Although flexibility of order is possible, the Her reaction is the material of unit B, my next choice. All the order in which they are written is the progression that material in unit B is manipulative. The gestures have a sense of makes the most sense to me. The confusion of these little coyness to them and the abruptness of the dynamic shifts sug - phrases, their searching quality, gives strength to the next gests that Cassandra is trying to retain her temper. This music numbered material, unit 3. The coherence of this unit seeks to find a way out of the predicament in which Cassandra makes it the strongest reiteration of the drone. Also, the finds herself; she desperately tries to make a deal with Apollo , pause between the transition from unit C to unit 3 directs so the material is alternately explosive and gentle. The material attention to this reiteration , like a judge waiting for silence also foreshadows unit 5 in the grace -note figures and in the to deliver his verdict. Also emphasized is the unyielding rapid trill at the end of statement 11—an excellent segue to unit
nfaonline.org Summer 2009 The Flutist Quarterly 25 CASSANDRA ’S DREAM SONG
5. Ending on the highest note (D 7), the defeat , and unit 6, the final words of unit B material ends aggressively and Apollo, wastes no time in capitalizing on elicits the most activity from the num - Cassandra’s weakness to flaunt power. bered material yet , as it moves attacca The last unit summarizes the numbered into unit 5. material , as if to gently remind Cass- The violence of the last statement is andra of the issues at hand , but then met in unit 5 with a tight, quiet A trill turns triumphant and sardonic as the that exploits the trill passage that focal pitches (A, B b, F #, and D #) become appears in unit B to the extreme. The the only material until the end. fast grace notes ultimately explode into rapid tongue passages that culminate Daring to Risk on a high B, then high C. The final Only three of many possibilities for word of unit 5 is a reiteration of the order have been presented, with focal pitches A, F #, and D # in a sarcastic, approaches ranging from structurally self-pleased way. oriented (1C2E3D4A5B6) that ignore Finally, unit E follows, picking up the narrative entirely to purely narrative # b low D as a high E harmonic and rep - (1A2E3C4B5D6), ignoring structure , Lisa Cella resenting resignation —signified to me and to a synthesis of those two in the use of short phrases , as if unable approaches (1D2C3A4B5E6). Pushing difficult music that layers excitement to muster the energy to sustain longer to take risks is crucial to developing with the flutist’s inner wrestling to pro - thoughts. The music is calm ; the loud tension—the kind that Ferneyhough duce slightly beyond reach—but stops dynamics are usually reached through deliberately seeks. The complexity of short of creating something so difficult crescendo rather than abruptly; gone is the music forces the performer to be that the performer sounds incompetent. the emotionality of previous material. ever in the moment when dealing with Ferneyhough’s music continually forces The return to the focal pitches sym - the many details of each statement. a flutist to tap ever deeper into personal bolizes her acceptance of her fate. She The notation creates a map for the per - emotional and physical realms—the has one moment of anguish; in the last former to navigate with technical skills raw, direct energy Ferneyhough seeks. statement there is a wild rush of grace and judgment during the heat of the The most successful performance of notes up and down marked ffff ! with an performance. Cassandra’s Dream Song is one that is effect like a scream. The sliding trill that Ferneyhough’s music illustrates suc - infused with Cassandra’s emotional follows, from C down to B, expresses the cessful complex writing. It provides conundrums and feelings of instability and frustration. Ferneyhough admits in his program note that it is not a clean rendition of his piece that engages him the most; rather , it is a performance that, after careful prepa - ration, is emotionally and energetically pushed to its limits—and beyond . >
Lisa Cella, DMA, is a champion of new music and has performed throughout the United States and abroad. As artistic director of San Diego New Music and founding member of its resident en- semble NOISE, she also co-produces the soundON Festival of Modern Music in San Diego. Cella is a found - ing member of the contemporary flute duo inHale and member of the flute and cello duo C2. She is an assistant professor of music at the University of Maryland-Baltimore County and founding member of its faculty contem - porary music ensemble, Ruckus. She is on the faculty of Soundscape, a festival of new music in Pavia, Italy. Her teach - ers include Robert Willoughby, John Fonville, Harvey Sollberger, and John Oberbrunner.
26 The Flutist Quarterly Summer 2009 nfaonline.org Andersen Etudes Edited by Donald Peck At the early stages of study, these etudes can feel overwhelming and perhaps beyond the grasp of a young flutist. Part of the obstacle with these etudes is that the student often fails to understand the musical, or expressive, value of these works. While the young student will approach these etudes as technical studies, a more mature flutist will return to these studies with a deeper appreciation of them as masterpieces of musical expression, and will occasionally even program Andersen Etudes as recital pieces.
Donald Peck, Principal Flutist of the Chicago Symphony Orchestra for 42 years, has edited three opus numbers of Andersen Etudes - Nos. 30, 33, and 63 - and has provided comments in the introduction which will assist the flutist in achieving a better understanding of the artistic value of the etudes as he or she is learning them for the first time. A better understanding of the music will in most cases assist in one's grasp of the technique. $12.95 each or ALL THREE for a discount Purchase online from our website at www.walfridkujala.com price of or contact your local music bookstore. $30.00 progress press
222 Main St. #504 Evanston, IL 60202 847-869-2998 James Moody Holly Hofmann Hubert Laws The Flute In Jazz: Window on World Music
by Peter Westbrook
ith interest in jazz growing at NFA meetings—look And so, for the first 50 years of jazz, there wasn’t “any need for Wfor the Jazz Flute Big Band in New York—one flutes!” They appeared occasionally during these years, but the might assume that the flute is an important instru - essence of jazz is the improvised solo and, until the 1950s, there ment within the genre. This is only partially true; jazz flutists were only two of these on the flute, at least on record. One was have had to fight for acceptance since the music emerged in by a “cross-over” from Cuban music, Alberto Socarras, in a 1927 New Orleans at the beginning of the 20th century. In the session with pianist Clarence Williams, the other a decade later, rough and tumble of early jazz, the flute struggled to be heard. by Wayman Carver with Chick Webb and his Little Chicks. It simply had too many strikes against it: it was “too soft”; it With the end of World War II, however, everything changed M O C .
was a “girl’s instrument”; it was altogether too refined. until, eventually, critic Leonard Feather could write, “In sum, the Z Z A J N
Violinist Stuff Smith sang the following lyrics on his 1937 flute today occupies a position comparable in importance to the I A T N
recording Onyx Club Spree: clarinet during the swing era.” The swing era had ended and the U O M
music had changed, both harmonically and rhythmically. Y K C O
Now first you call, call the pi-a-nist Lighter, faster, more complex, designed more for listening than R Y S E
Then you call the drummer man dancing, bebop did not lend itself readily to the clarinet, which T R U O
Boy pick up that old guitar underwent a precipitous decline. “It’s too difficult an instrument C , Y K
And swing, ’cause swing’s so grand! for these modern bopsters to learn,” declared Benny Goodman. S N I D A R D E
Then you add a little classy trumpet Reluctant Flutists N : O T
Pull out all your mutes The saxophone was the primary beneficiary of this decline, O H P
I’m sorry to disappoint you but but the flute came in a close second. Of those who took it up, Y D O There isn’t any need for flutes! however, few, if any, were flute specialists; they were primarily O M
28 The Flutist Quarterly Summer 2009 nfaonline.org Wayman Carver Ali Ryerson Eric Dolphy
The historical timeline of the flute in jazz is hardwon and brief, but it’s growing fast—in both time and space, as it spreads outward to embrace the music of a global community.
saxophonists for whom the flute was their second or even third then I made a record on it.” The result was profound. instrument. Many added the flute as big band arrangers began “Listening to Moody,” wrote Feather in 1959, “I reflected that to include flute parts for reed players. As Sam Most, dubbed the the flute, after only six years of common jazz use, has begun “father of jazz flute” by Feather, recalls, “It was necessary, to play to find its own jazz sound. It’s getting so you can tell a flutist in some of the bands, the more doubles you had—it started to from a flautist!” be necessary to play flute.” When Paul Horn enrolled at the David “Fathead” Newman, from Ray Charles’ band, had an Oberlin Conservatory, it was as a clarinet major, but he also experience similar to Moody’s. “I happened to pass by this picked up the flute. “I knew that someday I wanted to travel to pawn shop, and they had these two beautiful Haynes wood - Hollywood and do studio work,” Horn says, “so I took up the en flutes there, ebony flutes, one alto and one C. Some guy flute in my second year at Oberlin.” from the symphony had left them there and never came back There remained many prejudices to overcome, however. Bud for them. So I purchased the C flute.” Shank recounts that “the flute was always a girl’s instrument, Further happy accidents occurred. Les Spann was majoring and I wouldn’t have anything to do with it.” He changed his in guitar but his college required him to pick a second mind when he saw a flutist in a marching band. “He was a real - instrument. He chose the flute and went on to play it with ly ‘macho’ guy,” Shank recalls. “This broke the ice for me.” His Dizzy Gillespie and Duke Ellington. Leo Wright, another first instrument came from a pawn shop for 40 dollars. stalwart of the Gillespie band, studied the flute by default. James Moody, now a National Endowment for the Arts “The instrument was put upon me,” he reported. “I had a Jazz Master, acquired a flute in Chicago from a man in the flute, messed around on it, but I was devoted to the alto street. “I wasn’t particular about the instrument and it wasn’t saxophone. When I registered at San Francisco State that good a flute,” Moody says. “I would go to the hotel room College I found I couldn’t major on saxophone. I didn’t and fool around with it. I did that for about a month and have a clarinet, so I took a flute class.”
nfaonline.org Summer 2009 The Flutist Quarterly 29 Saccaras Alberto Anne Drummond James Newton
THE FLUTE IN JAZZ : W INDOW ON WORLD MUSIC
Perhaps the most famous jazz flutist from this period, First Generation Herbie Mann—originally a saxophonist—was forced to It was an inauspicious start for the flute in jazz. Some would take up the flute to find work. With competition fierce for say that this first generation of performers were not great saxophonists in New York, he heard a bandleader was look - flutists. Perhaps, but they were great jazz players, and the ing for a flute player. “To get the gig, I lied. I told him I inventiveness and freshness of their improvisations made up could play flute. Sam Most had one song that he had made for their shortcomings in “correct” technique. It would take where he played flute and I listened to it as much as I could another generation of players to produce both. It was Jerome to see what it could do for me.” Richardson who best described the problem. “Very few have Even the first recorded flute solo of this era came about been able to combine a good, swinging beat with the correct by accident. It was the work of a talented multi-instrumen - inflection and a non-classical tone,” he told jazz writer Nat talist from California named Jerome Richardson. Referring Hentoff. “Frank Wess, I think, is the best of the jazz flutists.” to Wayman Carver from Chick Webb’s band of the 1930s as It was Wess who had obtained a thorough conservatory “the first real [jazz] flutist,” Richardson recalled that training as a flutist. (See the fall 2007 issue of this magazine “according to what I can figure, I was the first one to record for an article on Wess.) By doing so, he laid the foundation a flute solo in my era. Maybe there were other people play - for the next phase of the flute in jazz. Not only did he raise ing flute then…but I think I put out the first jazz flute solo performance standards for the flute, he also began to popu - of the era.” The piece in question, entitled “Kingfish,” was composed larize it through his work with the Count Basie orchestra, by Quincy Jones for a 1949 recording by the Lionel Hampton prompting Down Beat magazine, in 1960, to finally intro - orchestra. As Richardson recalled: duced a separate category for the flute, rather than including it as a “miscellaneous instrument,” in its critic’s poll. Wess, We were rehearsing it and I was playing the wrote critic Feather, was “the first jazz star to record exten - alto [sax] part. [Lead alto] Bobby Plater was sively and with complete success as a flute soloist.” standing and listening. About that time I got Gradually, however, the flute gained in popularity. a phone call from my wife. So I said, “Bobby, Canadian Moe Kofmann’s “Swingin’ Shepherd Blues” go ahead and play my part, I gotta answer brought the sound of jazz flute to the pop charts in 1958. the phone.” When I came back I picked up (His composition “Curried Soul ” is still used as the opening the flute…and transposed the trumpet part theme for the CBC radio show As It Happens .) Later, Charles and played that on top. And Quincy said, Lloyd’s quartet, featuring his flute and saxophone, brought “That’s it!” And he decided that I would play the sound of jazz to the rock festivals of the 1960s. Shank a flute solo on it. And for a long time, he made popular recordings with the L.A. Four. used the sound of the flute blending with But no one did more to popularize the jazz flute than the trumpet. But that’s how it came about, Herbie Mann. He incorporated world music influences into really by accident. his band, beginning with Latin, or what used to be known as
30 The Flutist Quarterly Summer 2009 nfaonline.org Frank Wess Jamie Baum Lew Tabackin
Afro-Cuban, music. “Growing up in New York I heard a lot of the composer at a meeting instigated by composer and jazz Latin bands,” he told me: historian Gunther Schuller. I had played once at Birdland with a straight- “I am shocked and horrified by how much Eric Dolphy is ahead band, but [New York DJ] Symphony Sid now forgotten and neglected,” Professor Schuller told me. suggested to my manager Monty Kay that if I “He played the flute remarkably well. Certainly he was one of added some Latin percussion it would work the early experimenters in getting into really modern and better. So I did and it did. What I learned was open free jazz flute playing. Eric, along with Ornette that with other instruments you can dictate the Coleman, was one of the absolute major innovators in jazz, and rhythmic energy, but with flute you can float his recordings are also forgotten.” According to English saxo - on top of the waves rather than row the boat. phone virtuoso Evan Parker,“The full implications of his music And so Latin, Brazilian, Jamaican…that has are still being absorbed to this day. His language is so highly been my approach all along. developed and personal that any trace of his influence is instantly identifiable.” And flutist James Newton says, “When I New Influences look at Dolphy, and the things that he was doing with pitch, timbre, color, rhythm, expression, the use of silence, he took all Mann sold many thousands of records in the course of his of those elements and he put them together. You have a very career, while contributing to the changes jazz was going sophisticated, highly literate explorer of musical terrain.” through as it began to graft other musical influences onto its So far, only two flutists have been inducted into the Down mainstream. Latin jazz was a major beneficiary, one that has Beat Hall of Fame. In 1964, Dolphy was afforded this honor produced a number of fine flutists, Mauricio Smith, Art by the magazine’s readers, a matter of weeks after his prema - Webb, Dave Valentin, Nestor Torres, Danilo Lozano, Andrea ture death. The other is Rahsaan Roland Kirk, voted in by the Brachfeld, Mark Weinstein, and the Canadian Jane Bunnett critics in 1978. Kirk established an approach to the flute that among them. But Latin music was only one of many new was as unique as everything else he did in the course of a approaches coming into jazz. The avant garde movement of remarkable, tumultuous career. A multi-instrumentalist in the 1960s that brought the music of Ornette Coleman and the most extreme sense—he played three saxophones at John Coltrane also brought two remarkable flutists to the once, among other things—Kirk developed the technique, fore, Eric Dolphy and Rahsaan Roland Kirk. introduced earlier by Most and Yusef Lateef, and copied by Best know for his stint with Coltrane’s group, Dolphy now countless others since, including Jethro Tull’s Ian Anderson
R occupies an iconic position in jazz after producing a handful and the beatbox flutist Greg Pattillo, of humming and growl - E B R
A of remarkable recordings featuring his alto saxophone, flute,
F ing into the instrument to produce a remarkable array of col - D I
N and, remarkably, bass clarinet, an instrument he is credited
E ors. While others were bringing the flute to jazz, Kirk put jazz : O
T with introducing into jazz. Writers tend to refer to the flute, into the flute! “There couldn’t possibly be another like him,” O H P wrongly in my opinion, as his third instrument. He played wrote his friend and sideman Michael Zwerin. “He is all M U A
B the flute well enough to play Edgar Varèse’s Density 21.5 for music. There is music emanating from his every pore.”
nfaonline.org Summer 2009 The Flutist Quarterly 31 Players continue to find their individual voices—the gold stan - dard for a jazz artist— by incorporating techniques from other genres of music in which the flute has a prominent role.
THE FLUTE IN JAZZ : W INDOW ON WORLD MUSIC
Meanwhile, other players emerged to follow Wess’s lead jazz, which has hardly been equaled. His path has been fol - in putting jazz flute techniques on a firm footing. Most of lowed by a growing group of flute jazz performers including them were still multi-instrumentalists, but their mastery of Jamie Baum, Holly Hofmann, Anne Drummond, Nicole the instrument improved by leaps and bounds. Among Mitchell, and NFA jazz committee chair Ali Ryerson. these was the legendary performer Joe Farrell, referred to by Brazilian percussionist Airto Moreira as “the most com - Individual Voices, Global Influences plete horn player I ever met.” Farrell was perhaps best At the same time, other players continue to find their indi - know for his work with pianist Chick Corea, who sent me vidual voice—the gold standard for a jazz artist—by incor - the following comments: porating techniques from other genres of music in which the flute has a prominent role. A prime example is Lew Tabackin, Early on, I really thought that flute was a whose remarkable solos simultaneously evoke both French great instrument to help render my music, impressionism and the music of Japan, which Tabackin visits and I started gravitating towards flute players. frequently with his wife, composer and bandleader Toshiko [Joe] had a way of playing the flute that I real - Akiyoshi. “I don’t really consider myself a jazz flute player, ly loved, because flute is very often associated Tabackin has stated, “I just have this little world, an idealistic with classical music, not so much with jazz at world. I listen to flute players, usually classical flute players, that time, and Joe had a beautiful sound, and I hear things sound wise, tonally, that excite me, and I try played very much in tune technically. But as to find a way to create some kind of musical idea or attitude an improviser he was very free with his based on sound.” improvisations, and he played the instrument A similar impulse informs the work of James Newton, who, in a really spontaneous way. He was just the inspired by Dolphy and Kirk, has discovered the remarkable consummate musician. similarities between African vocalizations and western extend - ed flute techniques. “I’ve always believed that the whole of the New Standards in Jazz Flute earth is a huge palette,” Newton writes, “and the cultures of the Farrell died in 1986, leaving a considerable vacuum. Years world are like colors. Most musicians use only a few colors. I later, when Corea needed a flutist, he turned to the man who like to use many different colors in many different ways.” represents the pinnacle of technical mastery in the realm of In a way this sums up the most essential contribution the jazz, NFA Lifetime Achievement Award winner Hubert flute has made to jazz. While its struggle to find its place in Laws. James Newton sums up Hubert’s achievement. “I the music’s mainstream is not entirely over—as recently as view Hubert as the Jackie Robinson of the flute,” he told an 1995 a best-selling reference work could still refer to the flute audience at U.C.L.A. as “a distinctly marginal jazz instrument”—the changes that jazz is going through, and which continue to keep it fresh, What distinguished Hubert’s performance was often involve importing influences from around the world, a new level of virtuosity on the instrument from Cuba, Brazil, Japan, India, West Africa, and Western derived from a combination of extensive clas - European Art Music, all traditions where the flute plays a sical training and a visionary approach to jazz major role. As this process continues into the future, the flute performance. This approach blended the will play a greater and greater role in jazz. > influences of John Coltrane’s Giant Steps peri - od with Hubert’s own flute gumbo, which A member of the NFA’s jazz committee, Peter Westbrook holds incorporated gospel, rhythm and blues, classi - a Ph.D. in musicology and has studied jazz performance with cal, and Latin flavors. Lionel Grigson, Gary Peacock, and Ali Ryerson and classical Indian flute with Pandit Hariprasad Chaurasia. Equally at home with the New York Philharmonic and Metropolitan Opera orchestras, as on recordings by such Editor’s Note: Portions of this article appeared in Flute Focus leading jazz artists as Chick Corea, McCoy Tyner, and Ron and are reprinted by permission. The article is adapted from Carter, Laws has set a standard for performance technique on excerpts of Westbrook’s new book, The Flute in Jazz: Windo w the flute, and for the application of a “legitimate” training to on World Music . Visit fluteinjazz.com.
32 The Flutist Quarterly Summer 2009 nfaonline.org
Christine Po*er’s Workshops for Flutists he Tone Development • Air Management • Performing with Con(dence • Vibrato • Intonation ABELL FLUTE Contact Chrisat cpo*er@alto)ute.net 8 D B E 6 C N to book her for your next Flute Festival Y Specializing in oehm system wooden )utes, headjoints and whi les, handmad in grenadill% and erling silve . % $ Y Grovewood Road Asheville, C8 J H 6 KD>8: ;6M www.abellflute.com Seeking François Devienne
by William Montgomery
Mysteries still shroud much of the life of this French Revolution-era flutist and composer, but one element is certain: the prolific output and enduring quality of Devienne’s work. A noted flutist and ped - agogue describes what he discovered following his detective work D I V A throughout Europe and speculates about the questions that remain. D S I U O L S E U Q C A ho was François Devienne? Most of us know that About 30 years ago, I thought it would be easy to write my J F O O he was a French flute player and teacher of the late doctoral dissertation about him, since little material seemed to I D U T S
1700s and that he wrote concertos, duets, and an exist, and he lived a very short life! Fortunately, I was quite :
W S U O
early flute method—and that’s about it. However, he had a wrong, and I became fascinated by the life I discovered in the M Y N O
rich and rewarding life and was recognized as one of the out - original sources. N A , E
standing musicians of Paris just before and after the French Many personal details about Devienne’s life were missing, N N E I V
Revolution. Little personal information has been available and I hope to provide further facts and educated guesses. E D S I O
except two short articles by Arthur Pougin in 1864 and Emile Thirty years ago there was no Internet, and most major Ç N A R
Humblot in 1909. libraries and collections had only hand-written or typed card F
36 The Flutist Quarterly Summer 2009 nfaonline.org files. My first writings about Devienne were the product of a rather detective-like search throughout Europe following the French nobility who scattered all over the world as the French Revolution erupted. Could this 15th son of a saddle maker in Joinville, France, learn music composition sufficiently well from the local church organist, Morizot, to write hundreds of pieces, including probably the most successful opera of the Revolutionary decade in Paris? Or was there someone else in the background? Who could have taught him to play the bas - soon? And where did he even get a bassoon in Joinville or Deux Ponts? Could his older brother, François Memmie (with no musical training of which we are aware), somehow have taught him to play the bassoon? And where did he learn the public relations and self-promotion skills to get his myr - iad musical works published and his operas produced and staged? Could it be the same as today? Even then, was it all about who you knew?
What We Know Devienne, born 250 years ago this year, was an outstanding bassoon player in the Parisian theaters and concert orchestras between about 1779 and 1801, and an exceptional flute and bassoon soloist with many of those same orchestras from about 1782 to 1794. He wrote a flute method book, published in 1794 and still relevant today, that served as a model for William Montgomery many who followed it throughout the 19th century. Les Visitandines , one of his four operas of 1792, is often harpsichord accompaniment; six sonatas for violin ( ad libi - referred to as one of the greatest operas of Revolutionary tum , meaning not absolutely necessary for performance) and France; it was certainly one of the most popular of the time piano; 60 duets for flute and “basse” (in my opinion, what with both the press and the public. It was first produced on Devienne means by this is a duet for just two instruments— July 7, 1792, and performed more than 200 times in Paris flute and bassoon or cello, since we had moved well into the alone in its first five years. During the Revolution’s diffficul - classic period in 1786, and the baroque performance practice ties and in the 11 years before his untimely death, it must of “basso continuo” had been going out of vogue for several have given Devienne a large degree of financial security. For decades by 1786); six duets for bassoon and “basse”; 12 duets the 14 performances in July and August alone, Devienne for flute and “basse” or for German flute and “violoncello”; received 684 livres—more than half of the yearly salary of 20 little airs, 18 duos, and six sonatas for two flutes from the 1,100 livres that he received in 1792 as an administrator and Method; 19 sets of six duets each (i.e., 102 duets) for two professor of the soon-to-be Paris Conservatory. flutes; three sets of six duets (18 duets) for flute and violin; One of the lasting tributes to Devienne is the painting one set of six duets for flute and viola; one set of six duets for made of him and for many years attributed to Jacques-Louis two bassoons; two sets of six duets for clarinet and bassoon; David (1748–1825), one of the great French portraitists of one set of six duets by Pleyel for two violins arranged by the late 1700s and early 1800s. The painting was acquired by Devienne for two flutes; nine sets of six or three trios each— the Brussels Museum in 1886. Scholarship in the mid-20th one set of six trios and one set of three trios for flute, violin, century has cast some doubt on its authenticity, and now it is and cello; one set of six trios and one set of three trios for two listed simply as being by “Anonymous: Studio of David.” clarinets and bassoon; one set of six trios for flute, viola, and cello; one set of six trios for two flutes and cello; one set of six Musical Compositions trios for flute, clarinet, and bassoon; one set of six trios for Devienne wrote a huge number of musical works (hundreds). clarinet, horn, and bassoon; one set of six trios for bassoon, Most involved either flute or bassoon, many were extended violin, and cello; one trio for flute, bassoon or cello, and multi-movement works, and most were performed soon harpsichord or piano; five sets of three or six quartets each— after publication. three sets of six quartets each and one set of three quartets for These include two single movements just for the harpsi - flute, violin, viola, and cello; one set of three quartets for bas - chord; six sonatas for flute ( obligée , meaning absolutely nec - soon, violin, viola, and cello; one quartet for flute, viola, horn essary for performance) with piano (meaning forte piano) or or cello, and harpsichord or piano; 27 arrangements of string
nfaonline.org Summer 2009 The Flutist Quarterly 37 SEEKING FRANCOIS DEVIENNE
His first two published pieces were dedicated to officers who had strong connections to Paris society.
François lived with him in Deux Ponts (I rather doubt this). It is more likely that nobles took an interest in François and provided him with instruments and proper instruction from a Parisian master. It was reported that François, at age 10, had written a Mass Among Devienne’s connections was a close friend of King Louis XVI (left, with for the Royal Cravate regiment in Deux Ponts. However, Queen Marie Antoinette). Then, as now, it was all about who you knew. since François had no contact at that time with the Deux quartets by Pleyel for flute, violin, viola, and cello; six string Ponts Royal Cravate regiment, and since there seemed to trios by Pleyel arranged for flute, violin, and cello; six string have been no professional musicians (other than eight regi - quintets by Pleyel arranged for flute, violin, two violas, and mental trumpeters and a timpani player) in Deux Ponts, this cello; five flute concertos on familiar airs; 13 flute concertos report, written years later in 1803, has been dismissed by (some also arranged as solos or trios); six bassoon concertos most authorities as a problem of faulty memory. (one also attributed to Mozart); four horn concertos; seven On September 22, 1771, when François was 12, his father sinfonies concertantes ; at least four works for wind band; died. Two years later, in 1773, his older brother and godfa - about 61 songs for voice and keyboard, usually with a flute ther, François Memmie, left Joinville and moved to Deux part; at least eight patriotic songs; and 12 operas (written and Ponts, about 250 miles east of Paris on the border with produced between 1790 and 1799). Germany (Deux Ponts is now a part of Germany and has the The Six Sonatas for Flute and “Basse,” opus 68, book 4 (in same name—Two Bridges—but in German: Zweibrücken). D, G, C, A, E Minor, and D) is probably one of the most pop - Perhaps François Memmie moved there because his father ular works he wrote for the flute, if one is to judge from the had had connections in Deux Ponts, and the older boy number of editions and transcriptions that were made. His could himself make a living creating saddles for the nobil - Concerto No. 7 in E Minor is probably the most popular con - ity and military officers quartered there. certo (with his Concerto No. 8 in G Major a close second), We know almost nothing about François during his according to the number of recordings that have been made. formative years in Joinville, from age 12 to 17, after his father died. He could have studied music with François Early Years: Joinville Memmie, as some believe, but I doubt that his brother had François Devienne was born January 31, 1759, the 15th of 16 sufficient musical skills to teach him. I speculate that children by his father’s first wife (who had eight children François was able, somehow, to study music intensively before she died) and second wife (who also had eight chil - during this five-year period, perhaps even commuting into dren, François the seventh of them). Devienne’s father was a Paris for lessons. saddle maker in Joinville, a small town just outside Paris. Given his modest vocation, how could he afford a musical Deux Ponts: Connections education for François? How could the boy find the time to In 1776, François joined his brother in Deux Ponts. While in study composition diligently and to practice the bassoon suf - Deux Ponts, François added “Le jeune” to his name, probably ficiently to win a position as bassoonist with the Paris Opera to distinguish himself from his older brother. On May 10, at the age of 20, become a professor and administrator with 1778, François’ nephew, Jean-Baptiste Devienne, also moved the developing Paris Conservatory by 31, become the feted to Deux Ponts to take a position there as a trumpeter in the composer of one of the most popular operas of the decade in Deux Ponts Royal Cravates. One year later, on May 15, 1779, Paris by 33, and learn how to interact socially with members François Devienne left Deux Ponts to take a position as a bas - of the royal court? soonist with the Paris Opera. This three-year period in Deux It is possible that François’s father made custom saddles Ponts probably served as a “finishing school” for François, a for some of the wealthy nobility of Paris and Versailles and time to display his musical talents to the officers and nobili - somehow persuaded one or more of them to be mentor ty of Deux Ponts while learning to interact with them on a and benefactor to his talented son. The highly regarded semi-courtly social level. Joinville organist, Morizot, could have done an excellent The dedications of the first two pieces that François pub - job as Devienne’s only composition teacher. Writers also lished reflect this, since the first is dedicated to an officer of speculate that his older brother, François Memmie, knew the Deux Ponts regiment and the second to its commander; enough about music to teach him during the three years both men had strong connections to Paris society, and per -
38 The Flutist Quarterly Summer 2009 nfaonline.org haps Devienne was acknowledging his debt to them. Devienne’s first published piece bore the following inscrip - tion: “Six Duos pour Deux Flutes dedié a Monsieur Le Marquis de Tourzel Colonel de Regiment Royal de Cravates Par M Devienne Le jeune Oeuvre 1…[publ.] A Paris Chez Sr. Sieber” (published in Paris in 1782, three years after François left Deux Ponts). The “Adagio…[pour] Clavecin Par M. Devienne Junior [in the] Choix de Musique, 1783, N. 2,” (published in Deux Ponts four years after Devienne left there) had the dedicatory inscription for the entire periodical displayed prominently on the title page: “dédié A.S.A.S. Monseigneur Le Duc Régnant Des Deux-Ponts.” This dedication refers to the regimental commander and potentate of the fiefdom around Deux Ponts, the Duke Phillippe William de Forach, Vicomte de Deux Ponts. The dedicatee of the first piece, Monsieur Le Marquis de Tourzel Colonel de Regiment Royal de Cravates, was a close friend of Louis XVI, King of France, and was likely very help - ful to Devienne in Paris. The Marquis served as the “manag - er” of the Palace (“prevot d’Hotel”) when the King was in Paris, and the two enjoyed hunting together. Unfortunately, the Marquis’ horse bolted on a hunting trip in1786, and the Devienne performed in private concerts under the patronage of Marie Antoinette. Marquis struck his head and was killed. In 1789, the Marquis’s widow became the governess of the children of Devienne left the Opera at the end of his first season to King Louis XVI and Queen Marie Antoinette. enter the service of the Cardinal de Rohan in fall 1780. The The dedicatee of the second piece, the Duke of Deux Ponts, cardinal was one of Paris’s most powerful political and social was the commanding officer in May 1780 when the Royal leaders, and Devienne dedicated several works to him. The Crevate Regiment set sail for North America to fight in the first was the Flute Concerto d’Airs Connus No. 5 in 1782. American War of Independence. In the famous Battle of Devienne’s last mention of the Cardinal as his employer is on Yorktown in October 1780, the Royal Cravates were one of the title page of his Three Sonatas for harpsichord or piano two strategic units to defeat the British in Redoubts Nos. 9 and flute, published by Leduc in 1785. and 10, an important victory for the United States (with the The first notice of a solo performance by Devienne in a assistance of the French) in this last major battle of the war. Parisian journal came December 1782, when he performed “a George Washington was the American Commanding new flute concerto” with the Concert Spirituel orchestra. He is General, and Washington delegated the Duke de Deux Ponts listed in the Parisian journals five additional times during that to carry the news of the victory back to Paris, to the Court season performing a “Flute Concerto of his composition.” The and King—a very high honor for the Duke. There is no following season, 1783–1784, he is listed as a flute soloist once record that François, François-Memmie, or Jean-Baptiste and three times as a bassoon soloist with the orchestra, and in Devienne fought, but it is very likely that many of their the 1784–1785 season his name appeared once as a flute soloist friends did fight in Yorktown. and seven times as a bassoon soloist. I believe that the connections Devienne made in Deux Ponts During the five years between 1780 and 1785, Devienne may have had much to do with his being appointed as last could well have been classified as a “jobbing” or “freelance” chair bassoon in the Paris Opera in fall 1779, his subse - musician in Paris, similar to musicians today in larger cities. quent appointment to the service of the Cardinal de Rohan, In this capacity, his primary job would have been that of a and the popularity of his musical works and solo performances. chamber musician in the service of the Cardinal de Rohan; he additionally performed with and in the orchestras of the Pre-Revolutionary Paris Loge Olympique and the Concerts Spirituels , and he was listed François held the position of fifth (and last) chair in the Paris as a bassoon teacher in the Tablettes du Musiciens 1785. Opera for one season (1779–1780). It was probably during Devienne joined the Freemasons, a movement popular in that year that he studied flute with J. Félix Rault, principal France during that time, and was active in the Reunion des flutist with the Paris Opera (Rault retired at the end of that Arts Masonic Lodge from 1781 to 1785. He was a member of season) and the only teacher Devienne recognized in print. the Masonic La Société Olympique in 1786, and also was Devienne also might have commuted to Paris to study with probably a member of the orchestra by the same name. These Rault during his years in Joinville. The first mention of concerts of the Loge Olympique (also called the Concerts de la Devienne’s music in the Parisian journals was on March 24, Reine ) were private subscription affairs under the patronage 1780, when the famous bassoonist Etienne Ozi performed of the Queen, with audiences limited to members of the one of Devienne’s bassoon concertos on a Concert Spirituel . Freemasons who were members of that lodge. They were not
nfaonline.org Summer 2009 The Flutist Quarterly 39 SEEKING FRANCOIS DEVIENNE
open to the public and rarely advertised or reviewed, unlike Editor’s note: This is the first of two articles on the life and those of the Concerts Spirituels , which anyone could attend. music of François Devienne. Devienne’s Sinfonie Concertante No. 1 (for horn, bassoon, and orchestra in F Major) was performed on one of these pri - Flute performer, pedagogue, and professor William vate concerts in 1785 with Devienne as the bassoon soloist. Montgomery wrote his doctoral dissertation on the life and The April 3, 1785, concert of the Concert Spirituel , on musical works of François Devienne for his PhD in historical which Devienne performed his Sinfonie Concertante No. 2 musicology in the mid 1970s—a project that eventually (for oboe or clarinet, bassoon, and orchestra in C Major, was spanned 750 pages and extensive research in Paris and the composer’s last solo appearance with the Concerts throughout Europe. While in Paris, Montgomery lived in the Spirituels for almost four years. Devienne was 26 at the time, same area where Devienne had lived. Like Devienne, and his employment with the Cardinal Rohan came to an Montgomery played in one of his country’s major military abrupt halt on August 15, 1785, with the cardinal’s arrest and imprisonment in the Bastille for his involvement with “the bands (the U. S. Marine Band), took flute lessons from major diamond necklace affair.” flutists of his time (Marcel Moyse and William Kincaid), This cloak-and-dagger affair, which 225 years later still has played in the Opera Orchestra (the Washington Opera many unsolved mysteries, involved an expensive diamond Orchestra), performed chamber music and orchestral jobs in necklace, the fraudulent use of the Queen’s name, the the capital city, and taught at a major music school (the Queen’s reputed affair with a still-today–unnamed musician University of Maryland, not the Paris Conservatory). in the Royal Band in Versailles, disguised and mistaken iden - Montgomery is a past president and past convention program tities, the final disappearance of the diamond necklace itself, chair of the National Flute Association and a past president of and a huge public trial of the Cardinal. > the Flute Society of Washington.
40 The Flutist Quarterly Summer 2009 nfaonline.org Save the Date: Upcoming NFA Conventions
Anaheim, California August 12-15, 2010 (Anaheim Marriott Hotel)
Charlotte, North Carolina August 11-14, 2011 (Charlotte Convention Center)
Las Vegas, Nevada August 9-12, 2012 (Caesar’s Palace)
New Orleans, Louisiana August 8-11, 2013 (Marriott Hotel at French Quarter) Bright Flutes, Big City 37 TH ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION Marriott Marquis Hotel in Midtown Manhattan, New York, New York August 13–16, 2009 You’ll want to be a part of this 37th annual convention in New York, New York. Hear top drawer performances of jazz, classical, and everything in-between, crawl the city’s extra-curricular offerings, join what we hope will be a record-breaking gathering of the world’s largest crowd of flutists in one spot, and peruse great flutes and accessories. Interact with Sir James Galway, the 2009 recipient of the Lifetime Achievement Award. See you in New York! —Linda Toote and Meghan Miller SCHEDULE OF EVENTS
8–10 pm Times Square Flute Orchestra rehearsal Wednesday, August 12 Broadway Ballroom See 4 pm listing for details.
8 am–1 pm Young Artists Preliminary Round Duffy/Columbia Thursday, August 13
3–6 pm Registration for preregistered attendees 8 am–5 pm Registration for all attendees 5th Floor 5th Floor Registration Area Registration Area
4–5 pm Times Square Flute Orchestra Rehearsal 8:30–9 am NFA Annual Meeting Broadway Ballroom Directed by Darlene Dugan, coordinated Broadway Ballroom President Leonard Garrison presiding. by Kathy Farmer. All are welcome; how- Meet NFA officers and candidates for ever, participants must be pre-registered. office. Concert featuring the Times Bring your flute and a music stand. The Square Flute Orchestra immediately Times Square Flute Orchestra kicks off follows. the convention festivities with a per- formance Thursday morning. 9–9:30 am Gems from the NFA Library Empire Complex Sandy Schwoebel introduces unique 6–7 pm Volunteer Welcome Meeting repertoire from the NFA Library. O’Neil Room Hosted by program chair Linda Toote Presentation includes an interactive and assistant program chair Meghan segment on how to access and utilize Miller. Meet and greet for convention this valuable resource. volunteers—all are welcome to join the team! Drop in if you would like to help 9–9:45 am Six Weeks to Finals! out. Assignments and important infor- Soho Join Detroit Symphony Orchestra flutist Sharon Sparrow as she takes you on a mation for all volunteers will be given. step-by-step guide to six weeks of preparation for your next orchestral 7–8 pm First-time Attendees Orientation audition. This unique and proven method Duffy/ Columbia Hosted by Cindy Ellis, 2010 NFA con- will set you on a whole new track to vention program chair. A great chance making the final round at any audition! to get hints and advice to make the most of your first convention experience. 9–10 am Opening Concert: Times Square Flute Broadway Ballroom Orchestra Concert 7–9 pm Registration for all attendees Director: Darlene Dugan. Kick off the 5th Floor convention with the annual flute Registration Area orchestra event! Participation is open
42 The Flutist Quarterly Summer 2009 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Davide Formisano Kate Clark Shigenori Kudo
to all NFA members, as long as there is 10–10:45 am Concerti Redux space available. Pre-registration for Marquis Ballroom Brad Garner performs a new concerto by the entire convention is required of all Glen Cortese and Tadeu Coelho performs participants. Mark Engebretson ’s Deliriade-Flute Concerto with Saxophone Quartet with 9–10 am American Composers Concert the Red Clay Saxophone Quartet. O’Neil Flutists John Bailey, Virginia Broffitt, April Clayton, Yvonne Chavez Hans- 10–11 am Bright Lights of the Piccolo brough , and Lisamarie McGrath perform Soho Complex Nicola Mazzanti and Peter Verhoyen per- works of Howard Buss, Katherine Hoover, form works for piccolo and piano. Jennifer Higdon, Randall Snyder, Eric 10–11:30 am Flute Choir Reading Session Sessler , and Keith Gates. Empire Complex This session explores the baroque styles of French, English, German, and Italian 9–10:15 am Low Flutes: Lecture-Performance of composers. Ziegfeld Literature and New Repertoire Chris Potter, Peter Sheridan , and Marion Garver Frederickson discuss and perform 10 am– 12:30 pm Baroque Flute Artist Competition works for the low flute family. Cantor/Jolson Semi-Final Round
9 am–noon High School Soloists Competition— 10:30–11:15 am Life in the Orchestra: The Flutists of Astor Ballroom Final Round Ziegfeld the New York Philharmonic and New York Symphony 9:15 –9:40 am Exhibitor Showcase: Important Features A lecture by historian Nancy Toff, illus- Duffy/Columbia and Services to Consider Before Buying trated by archival photographs and a Headjoint “family trees, ” with historic recordings Sanford Drelinger, presenter. Drelinger of Georges Barrère, Carl Wehner, John Headjoint Co. Amans, Meredith Willson, John Wummer, Julius Baker, and others. 10 am –5 pm Exhibits Open Exhibit Hall 10:30–11:30 am To Accept or Not To Accept, THAT is O’Neil the Question! 10 –10:25 am Exhibitor Showcase: Orchestra Duffy/Columbia Accompanied Flute Concerti Minus Moderated by John Wion, panelists Mary or with Soloist Barto, Leone Buyse, Sue Ann Kahn, Introducing new, revisited, orchestrated, Jonathan Keeble, Walfrid Kujala, transcribed concerti with the Ukranian Fenwick Smith, Jim Walker, and Carol National Symphony. Works by Ibert, Wincenc will explain their criteria for Nielsen, Francaix, Prokofief, Bozza, and acceptance to music schools and offer more. Recording sessions booked. Judith suggestions on how to maximize results von Hopf, presenter. The Flute Soloist. for yourself or your students.
PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2009 The Flutist Quarterly 43 National Flute Association 37th Annual Convention, Marriot Marquis Hotel New York City, New York, August 13–16, 2009
Fenwick Smith Linda Chesis Michael Parloff
10:45 –11:15 am Exhibitor Showcase: Innovation Noon Lobby Concert: Flutatious! Duffy/Columbia for Imagination 5th Floor and Howlin’ Winds Unique features of Nagahara Flutes: 20k alloy, Galway locking crown, wearless Noon– 1 pm United States Military Academy Band mechanism, and wooden headjoints. O’Neil at West Point See the change, hear the difference, This lecture-recital will feature flutists experience the excellence. Alberto from the U .S. Military Academy Band Almarza, presenter. Nagahara Flutes at West Point as they perform and discuss career opportunities in the military. 11 am–noon Workshop with Matthais Ziegler Broadway Ballroom Swiss flutist and low flute specialist 12:30–4 pm Young Artist Competition Semi-Final Matthias Ziegler discusses contemporary Astor Ballroom Round techniques through improvisation . 1–1:25 pm Exhibitor Showcase: 11 am– 12:30 pm Piccolo Masterclass with Duffy/Columbia Smooth As a Rolling Stone Marquis Ballroom Geralyn Coticone Jazz flutist Anne Drummond and Winners of the Piccolo Masterclass president of Powell Flutes Steven Competition perform the Vivaldi C Wasser discuss the new Powell Conser- Major Piccolo Concerto plus orchestral vatory flute pinless mechanism. Steven excerpts for Geralyn Coticone, former Wasser, presenter. Powell Flutes. piccoloist of the Boston Symphony Orchestra. 1–1:45 pm Rudall, Rose and Carte: Ziegfeld The Art of the Flute in Britain 11:30–11:55 am Exhibitor Showcase: Rudall, Rose & Carte were the leading Duffy/Columbia Schocker by Schocker flute makers in Britain for a century A vibrant presentation of the music, and a half. Robert Bigio shares the new and well-known, of Gary Schocker, story of their beautiful and innovative Haynes Artist. Gary Schocker, presenter. instruments. Wm. S. Haynes Company. 1–1:45 pm Top Twelve Teaching Tips 11:30 am– 12:30 pm Flute and Harp Recital Soho Complex Share your favorite teaching tips with Soho Complex Duos Jonathan Keeble/Ann Yeung and others in this roundtable discussion. Brian Luce/Carrol McLaughlin per- Audience participation necessary! Spon- form both traditional and new works sored by the Pedagogy Committee. for flute and harp. 1–2 pm Flute Choir Showcase: Pittsburgh Flute 11:45 am– 12:40 pm Taffanel: Founder of the Modern Empire Complex Club and Flute Academy and Icelandic Ziegfeld French Flute School Flute Choir in concert Based on a lecture of Edward Blake- Featuring Stefán Ragnar Höskuldsson, man, author of Taffanel, Genius of the acting principal flute of the Metropol- Flute , with musical illustrations. itan Opera Orchestra, in a premiere by Performed by William Bennett, Angeleita composer Hugi Guðmundsson. Floyd, Denis Bouriakov, Unji Chung, Zsuzsa Vamosi-Nagy, Alena Lugovkina, 1–2 pm Workshop with Ian Clarke and Mako Itoh; narrated by Mitchie Marquis Ballroom Zig Zag Zoo by Ian Clarke . A new zany Bennett and Angeleita Floyd. flute ensemble for mixed abilities (C
44 The Flutist Quarterly Summer 2009 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change
Carl Hall Linda Chatterton Martin Amlin
flutes)—something for everyone (except 2:30–2:55 pm Exhibitor Showcase: Kate Clark early beginners). Bring your flute and Duffy/Columbia and Jed Wentz, Small Concert have a go! Kate Clark and Jed Wentz give a small concert on flutes crafted by Simon 1–2:30 pm Lecture-Recital with Rachel Brown, Polak. Clark and Wentz, presenters. Cantor/Jolson Traverso Flute Simon Polak. Hear Brown perform on instruments built to the specifications of Quantz ’s 2:30–3:30 pm Celebrating Carol Wincenc’s Ruby Anni- own flute in works that may have not Marquis Ballroom versary: Gems from NewYork Composers seen the light of day since the time of Carol Wincenc in recital performing Quantz himself. Partake in the horrible works of Leonard Bernstein, Paul gossip and brutal stories of the 18th Schoenfield, David Del Tredici, Joan century, as Brown brings to life the era Tower, Edgard Varese, Jonathan Berger, of Frederick the Great and J.J. Quantz. Henry Cowell, Arnold Black, Lukas Foss , and Andrew Thomas. 1:30–2:45 pm Born in the NFA: O’Neil Commissions That Live On 3–3:30 pm It Sounded Better at Home Members of the New Music Advisory Cantor/Jolson Linda Chatterton teaches “self-talk” Committee perform music commissioned strategies, relaxation exercises ,and creative for previous NFA High School and visualization techniques to make playing Young Artist Competitions. in front of people more fun, rewarding , and enjoyable. 1:45–2:10 Exhibitor Showcase 3–3:30 pm Dalcroze Eurythmics with Peter Schultz Duffy/Columbia MusicReader & Airturn. Ziegfeld Room Walk your way into good rhythm.
2–2:45 pm From (Julius) Baker ’s Rack: 3–4 pm PhD/DMA Dissertation Competition Ziegfeld Julius Baker ’s Notes on Kincaid ’s Lessons O’Neil Hae Won Shin presents a newly uncovered notebook of Julius Baker, documenting 3:15–3:40 pm Exhibitor Showcase: his lessons with William Kincaid. This Duffy/Columbia A Stress-Free approach to Teaching presentation will include Daily Exercises, the Rhythmically Challenged recordings, and the notebook that he Join presenter Rebecca Hovan for this wrote during his lessons. Blocki Flute Method event. Rebecca Hovan, presenter. Blocki Flute Method. 2:15–3:30 pm Gotham Gathering: Soho Complex Chamber Music for Mixed Ensembles 3:30–4:30 pm Visit the Exhibits Performances by The Indånde Duo, Exhibit Hall Don Bailey with the Attacca String Quartet, Montpelier Wind Quintet, 4:30–5:30 pm Remembering Frances Blaisdell, Barbara Hopkins , and Judith Handler Cantor/Jolson First Lady of the Flute as well as a performance of Jindrich Friends and students celebrate the life Feld ’s newly transcribed Trio for flute, of Frances Blaisdell (1912 –2009), pio- clarinet , and bassoon by Dennette neering flutist and inspirational teacher, McDermott, Malena McLaren , and with stories, recordings, and video of her Douglas Bakenus. historic career.
PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2009 The Flutist Quarterly 45 National Flute Association 37th Annual Convention, Marriot Marquis Hotel New York City, New York, August 13–16, 2009
Ian Clarke Nancy Toff Ransom Wilson
4:30–5:30 pm Billy Kerr in Concert 7–7:45 pm Yoga with Kelly Covert Marquis Ballroom Jazz flutist Billy Kerr plays original Ziegfeld tunes plus jazz favorites. 7–7:45 pm Historical Flutes Town Meeting 4:30–5:45 pm Headliner Concert Cantor/Jolson Astor Ballroom Carlo Jans, Marya Martin , and Gergely Ittzés in recital. This concert includes 7 pm Long Island Flute Club Professional the NFA-commissioned premiere of a Broadway Flute Choir Concert work for piccolo and piano by Paul Ballroom Lobby Schoenfeld, performed by Carl Hall. 8–10 pm Opening Night Gala Concert Broadway Ballroom Flutist and kinesthetic artist Zara Lawler 5–5:45 pm Alexander Technique with Lisa Lutton performs music of David Loeb; New Ziegfeld York contemporary specialist Patricia Spencer in the world premiere of 5–6 pm Tips for Amateurs with Jayn Rosenfeld Shirish Korde ’s Lalit for flute and tabla; Soho Complex New York ’s Flute Force plays music of Joseph Schwantner; Jeffrey Khaner, 5:45 –8 pm Myrna Brown Society Dinner and principal flute of the Philadelphia Meet in Amateur Mixer Orchestra, provides a sneak-peak Marriott Marquis The Myrna Brown Society was established performance of Jonathan Leshnoff ’s Hotel Lobby to carry on the friendliness of the NFA Flute Concerto ; British flutist Paul at 5:45 for during its growing years under the Edmund-Davies jazzes up the evening 6 pm dinner direction of Myrna Brown. New and with the music of Mike Mower; Davide returning members are invited to meet Formisano, principal flute of La Scala, for dinner before the evening concert. performs Sarasate’s Carmen Fantasy Individuals pay for their own meals. and the Ballade by Frank Martin; and Groups of no larger than eight will be led Denis Bouriakov, principal flute of the by an active society member . This is an Metropolitan Opera , performs his tran- opportunity for newcomers and amateur scription of the Sibelius Violin Concerto . flutists to meet like-minded individuals in a relaxed social setting. 10:30 –11:20 pm Thomas Tallis ’ Motet in 40 Parts Astor Ballroom for 58 Flutes Hear one of the greatest master- 6–6:45 pm Irish Music Concert pieces of polyphony arranged by Trevor O’Neil Andra Bohnet, Brian McCoy , and Nicole Wye for 58 flutists. Soloists include Rabata in concert. headliner and gala performers appearing throughout the convention. A 40- 6–7 pm 50 Variations on the Carnival of Venice minute rehearsal will take place, followed Broadway Ballroom for 60 Flutes and Piano by the 10-minute performance. Come for Trevor Wye plays magic flutes, piccolo, an inside look at assembling this work. bass, Scandinavian flute, Indian flute, Cindy Flute, several electronic flutes, 11 pm–midnight In Celebration: double and triple flageolets, Carrot Broadway Ballroom The Music of Paquito d’Rivera flute, and many more in his entertaining You’ve heard him on recordings; now rendition of the Carnival of Venice. hear him live. Having more than 30
46 The Flutist Quarterly Summer 2009 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change
Lowell Liebermann Carol Wincenc Steve Gorn
solo albums under his belt, multiple- they get older and how to maximize Grammy–winning artist Paquito d ’Rivera performance in spite of them. makes his first NFA appearance with his unmistakable brand of Cuban- 8–9 am Pedagogy Potpourri infused jazz! Assisted by the Imani Astor Ballroom Eleanor Duncan Armstrong, Kristi Winds, Marco Granados , and Martha Ballif , and Mary C.J. Byrne present Councell. sessions titled Learning Links with Tandem Teaching of Etudes, Exercises, Repertoire and Resources; Simple Ways Friday, August 14 to Introduce Music Theory into Private Lessons; and The Flutist ’s Face as a Faucet.
8 am–5 pm Registration for all attendees 8–9 am Downward Dog with the Upward Flute 5th Floor Ziegfeld Yoga with Julie Olbert
8–8:30 am Just Go with the Flow: 8–9 am United Nations: Compositions Cantor/Jolson Getting Motivated from the Inside Out O’Neil from Around the World Sophia Gibbs Kim discusses anxiety, Francesca Arnone, Laura Falzon, Sophia boredom, self-confidence, concentration , Gibbs Kim, Maria D. Harman, Jan and goals in relation to Csikszentmih- Vinci, and Lisamarie McGrath perform alyi ’s flow theory. Learn how the flow works of Gubaidulina, Scelsi, Kornakov, theory can help you and your students Bonis, Fukushima, and Ibert. enjoy the intrinsic rewards of music- making. 8:30 –9:30 am Commercial Members Meeting Duffy/Columbia 8–8:45 am So , you want to get it published… Duffy/Columbia A roundtable discussion with noted book 9–10 am Marcel Moyse Meeting and magazine editors on how to get Harlem Visit the Marcel Moyse booth and join your good ideas published. Panelists the group at the Moyse Society events. include John Bailey, University of Nebraska-Lincoln; Suzanne Ryan, Oxford University Press ; and Anne Welsbacher, 9–10:15 am World Record-Breaking Attempt for The Flutist Quarterly . Broadway Ballroom Largest Flute Ensemble with Sir James Galway 8–8:45 am The Music and Flutes of Make history by being part of the Marquis John Clinton (1809 –1864) world’s largest flute ensemble. Open to Andra Bohnet introduces this Irishman, all flutists, but pre-registration is composer, performer, pedagogue , and required. Music for the event may be designer/builder of fascinating flutes. otained from Jeanne Galway’s Web site: Hear the music, see the flutes, and discover jeannegalway.com/ljstudio.html . See his amazing history. sidebar (“Make history!”) for more information. 8–9 am The Maturing Flutist Soho Complex Dr. Stephen A. Mitchell discusses the 10:30 am –5 pm Exhibits Open medical issues musicians often face as Exhibit Hall
PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2009 The Flutist Quarterly 47 National Flute Association 37th Annual Convention, Marriot Marquis Hotel New York City, New York, August 13–16, 2009
Adrianne Greenbaum Jeffrey Khaner Viviana Guzm án
10:30–11 am In Concert: Alexa Still and Ransom Wilson Make history! O’Neil Alexa Still in recital as well as a performance of Steve Reich ’s Vermont oin Sir James Galway and the NFA in an attempt to Counterpoint with Ransom Wilson and Jbreak the Guinness World Record ™ for World’s flutists from Yale University. Largest Flute Ensemble! Let’s shatter the world record of 1,701 participants, set in Tuebingen, Germany, on 10:30–11:30 am The Renaissance Flute December 22, 2007. In commemoration of his 70th Cantor/Jolson Kate Clark Lecture on the Renaissance birthday this year, Sir James commissioned a medley of flute and the flute in the Renaissance his favorite works, including “Danny Boy,” to be per - Consort. formed at the event. Copies of the piece, arranged in four-part harmony by David Overton, are available 10:30–11:30 am The Flutist ’s Best Friends: from jeannegalway.com/ljstudio.html. If your last name Marquis Ballroom Persistence and Resilience begins with letters A–E, choose Flute I; F–J, choose Helen Spielman gives advice on how to Flute II; K–O, choose Flute III; P–Z choose Flute IV. endure discouraging times, defeats , and Please download and bring the music to the event criticism in order to follow your dreams. along with your own music stand. The event will be held on Friday, August 14, in the 10:30 –noon Flute Choir Showcase Broadway Ballroom. Everyone needs to be registered and Empire Complex Metropolitan Flute Orchestra, Florida in the Ballroom by 9:00 am for rehearsal and coaching by Flute Orchestra , and Flutes Ad Libitum. Sir James and performance at 10:00 am. To get an accu - rate count, Guinness requires that all participants pre- 10:45–11:10 pm Exhibitor Showcase: Mary Karen register for the event by submitting a registration form Duffy/Columbia Clardy’s New Publications from Schott available online after June 1 at nfa.org/convention. New in the award-winning series of Flutists under age 18 must have a parent’s or guardian’s books from Mary Karen Clardy, this signature on the registration form. To avoid long lines on showcase will introduce Flute Fund- the day of the event, we strongly recommend that the amentals II: The Art of the Phrase and form be mailed by August 1 to: Etudes Book II , released in 2008. Mary Karen Clardy, presenter. Hal Leonard Madeline Neumann, Convention Director Corporation. National Flute Association Inc. 26951 Ruether Ave., Suite H 10:45–11:30 am Body Mapping: Sitting and Standing Santa Clarita, CA 91351 Ziegfeld Comfortably in Rehearsals and World Record Registration Forms may also be hand- Practice Sessions delivered at the Information Booth, near registration on Liisa Ruoho demonstrates how to sit and the 5th floor of the hotel, before 9 am on Friday, August stand with support and comfort, includ- 14. There is no fee for participation in the World Record- ing large flutes, to enhance tone and Breaking event—just bring your flute, music, and stand, technique as well as to prevent injury. and be ready to make history as a part of the World’s Largest Flute Ensemble! 11 am–noon Ian Clarke in Concert Broadway Ballroom
48 The Flutist Quarterly Summer 2009 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change
Jean Ferrandis Sharon Sparrow Gergely Ittzes
11 am –12:30 pm Composers on Composers 1–1:25 pm Exhibitor Showcase: Astor Ballroom A new spin on the traditional NFA con- Duffy/Columbia Innovative Instruction = Terrific Tone vention masterclass. John Heiss, Katherine (Even in a Beginner’s First Lesson!) Hoover , and Gary Schocker each coach Through observing a first lesson with a their own pieces with winners of the new student, participants will see how NFA Masterclass Competition. amazing a student can sound, even after playing for only 25 minutes. Kathy Blocki, 11:30–11:55 pm Exhibitor Showcase: presenter. Blocki Flute Method LLC. Duffy/Columbia Knuckle Buster Workout A fun way to work out those technical 1–2 pm John Heiss: Retrospective at 70 demons while stretching into improvi- O’Neil The music of John Heiss performed by sation. Demo and masterclass. Bring a Andrea Kapell Loewy, Jacqueline DeVoe, passage to volunteer. Applicable for all Ona Jonaityte , and Fenwick Smith. levels. Ellen Burr, owner and Yamaha Performing Artist, presenter. Artisan 1–2 pm Flute Choir Showcase : Willow Flute Flute Jewelry and more. Empire Complex Ensemble and Columbia Flute Choir
11:30 am– 12:30 pm A Fear-Free Approach to Improvisation 1–2:30 pm East Side, West Side: Chamber Groups O’Neil for the Classically Trained Flutist Astor Ballroom from NYC and California in Concert Jazz flutist Jamie Baum teaches techniques New York ensembles The Azure Ensemble and concepts for learning improvisation and Da Capo Chamber players plus and applying it to any instrument or California ’s Areon Flutes with Robert style of music. Dick, soloist , in concert. 11:30 am– 1 pm Flute Lover ’s Lunch with Sir James Galway Soho Complex 1:15–2 pm Early American Flute: Songs and Ziegfeld Dances for Flute and Guitar Noon– 12:45 pm Irish Music on the Böhm Flute Barbara Hopkins presents a lecture- Ziegfeld Brian McCoy presents a workshop on recital on American music and flutes how to incorporate the techniques of popular in the Northeast from 1800 – Irish music into your flute playing. 1865, played on flutes made by Asa Hopkins in Litchfield, Connecticut, c. 1830. Noon– 1 pm Newly Published Music Concert Marquis Ballroom 1:30–2:30 pm Paul Edmund-Davies and Marquis Ballroom Gergely Ittzés in Recital Noon– 1 pm Stephen Preston in Concert Cantor/Jolson A wonderfully contrasted program in 1:45–2:10 pm Exhibitor Showcase: which Stephen Preston’s lyrical tone Duffy/Columbia The Burkart Family Grows and exceptional phrasing present the Micro–Link Advantages. Unique baroque flute as it has never been heard Materials of Burkart Flutes. Meet our before. newest member, the Resona flute, fea- turing a new durable pad that you will Noon– 1 pm Lobby Concert: Dana Flute Ensemble love. Door prizes. Lillian Burkart, pres- 5th Floor and West Virginia University Flute Choir ident, presenter. Burkart Flutes & Piccolos.
PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2009 The Flutist Quarterly 49 National Flute Association 37th Annual Convention, Marriot Marquis Hotel New York City, New York, August 13–16, 2009
Sandy Schwoebel John Wion Ali Ryerson
2:30–2:55 pm Exhibitor Showcase: 3:30–4:30 pm Committee Chairs Meeting Duffy/Columbia The Mechanics of Muramatsu Harlem Understanding the structure and mech- anical design of the Muramatsu flute. 4–5 pm Visit the Exhibits Hiroshi Aoki, presenter. Muramatsu. Exhibit Hall
2:30–4 pm Duos in Concert 5–6 pm Headliner Concert Ziegfeld Chamber ensembles Bell ’Alma Duo and Astor Ballroom Shigenori Kudo, Bulent Evcil, Matej The Flute O ’Clock Duo and flutist Zupan , and Jean Ferrandis. Includes Sharon Winton with narrator Karl the premiere of Nina Senk ’s “Bright Kraber in concert. Flutes, Big City .”
3–4 pm Denis Bouriakov in Recital 6–7:15 pm Exhibitor Concert Astor Ballroom Denis Bouriakov gives a preview to Marquis what we might be hearing from the newly appointed principal flute of the 7 pm Nashua Flute Choir in concert Metropolitan Opera Orchestra. Broadway Ballroom Lobby 3–4 pm Jazz Flutist Holly Hofmann in Concert 8–10 pm Gala Concert with Sir James Galway Marquis Ballroom Broadway Ballroom Lifetime Achievement Award recipient James Galway, Jeanne Galway , and 3–4 pm Transcriptions Phillip Moll in recital. Featuring works Soho Complex Paul Dunkel and Jean Ferrandis play by Taffanel and a premiere of a piece new transcriptions for flute and piano for two flutes and string quintet by New of Debussy ’s Cello Sonata, Shostakovich York composer Mark Adamo. Cello Sonata, and Beethoven ’s Spring Sonata. 10: 30 pm Midnight Irish Jam Session Astor Ballroom Ever wanted to give improvisation a whirl 3–4 pm New York, Wired in an Irish pub? Now you can, without O’Neil Room Sarah Brady, Kathleen Trahan and the smoke. chamber ensemble janus play works for flute and electronics. 10:30 pm–midnight Cabaret with Anne Drummond Marquis Ballroom New York jazz great Anne Drummond 3–4:30 pm Flute Choir Reading Session makes her first NFA appearance. Empire Complex
3:15–4 pm Delaney ’s Daily Dilemmas Saturday, August 15 Duffy/Columbia Eva Amsler presents the newly edited etudes of Charles DeLaney’s Andersen op 33 and Daily Dozen. Bring your flute and learn Charlie’s Legendary Magic 8 am–5 pm Registration for all attendees Circle. 5th Floor
50 The Flutist Quarterly Summer 2009 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change
Jonathan Keeble Virginia Broffit Billy Kerr
8:30–9:30 am Ellis Island: 10–10:50 am Thomas Nyfenger Remembered Soho Complex Music from Around the Globe Soho Complex In this panel, former students and Flutists Beth Chandler, Michelle Cheramy, colleagues of Thomas Nyfenger discuss Nancy Stagnitta , and Jan Vinci perform his pedagogy and playing and demonstrate works by Bela Bartok, Heintz Benker, Nyfenger ’s famous bass-line accompa- Chan Ka Nin , and Elizabeth Vercoe. niments to well-known solo works.
8:30–9:30 am Posture and Playing: 10–10:45 am Professional Strategies: Grant Writing Ziegfeld How the Alexander Technique Ziegfeld for Flute Clubs and Success Principles Can Enhance Your Technique for the Freelance Flutist Ann Rodiger gives strategies for better A panel of flute club members discusses use of whole body posture, balance, fundraising strategies. Karen Lonsdale and breathing through the Alexander and Christine Cleary encourage you to Technique to improve playing and think outside the box and find your niche performance. as a freelance musician .
9–10:15 am Flute Choir Reading Session 10–11:30 am New York, Electrified O’Neil Flutists Leone Buyse, Jonathan Keeble, Empire Complex Paige Dashner Long, conductor. Carla Rees, Diane Boyd Schultz, David Weiss , and flute duo In Sterio (Shivhan 9–10 am Uptown, Downtown: Chamber Music Dohse and Erica Peel) perform works Marquis Ballroom for Flute and Percussion for flute and electronics. The Conor and Ayano Duo and Due East perform contemporary works for 10:30– Noon Orchestral Masterclass flute and percussion. Astor Ballroom Winners of the orchestral competition perform in a masterclass for former 9 am–noon Masterclass with Sir James Galway Metropolitan Opera principal flutist Broadway Ballroom An introduction to the art of flute playing, Michael Parloff. as seen by Sir James Galway. 10:30 am–Noon Baroque Competition Finals Cantor/Jolson 9:30–10:30 am Orchestral Audition Competition Astor Ballroom 10:30 –noon In Recital: Unji Chung, Julie Stewart Marquis Ballroom and Zsuzsa Vamosi-Nagy 10–10:25 am Exhibitor Showcase: Chris Potter: Duffy/Columbia Transform your teaching of techniques 10:45–11:10 am Exhibitor Showcase: Sonaré Flutes— to younger students Duffy/Columbia Just Kinda Different Learn about a new approach to teaching Hear first-hand the attributes of Sonaré scales and arpeggios to 1st–3rd year Flutes from 9-year-old artist Emma students, based on Potter’s book, Resmini and renowned jazz flutist Technique Standards for Flute, Levels Anne Drummond. Q&A follows. A, B, and C . Chris Potter, presenter. Resmini and Drummond, presenters. Falls House Press, LLC. Sonaré Flutes.
PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2009 The Flutist Quarterly 51 National Flute Association 37th Annual Convention, Marriot Marquis Hotel New York City, New York, August 13–16, 2009
11 am–Noon Behind the Scenes on Broadway 12:30–2 pm A Bite of the Big Apple: In Recital Soho Complex New York’s multi-tasking musicians Astor Ballroom Flutists Aldo Baerten, Zart Dombourian - discuss the history of contemporary Eby, Sharon Sparrow , and Patricia woodwind doubling and give us a glimpse Spencer perform lesser-known, new, into the behind-the-scenes work of and challenging works by Pierre Boulez, flutists on Broadway. Lawrence Feldman, Levente Gyongyosi, Joseph Jongen , and Larry Foster, Ed Joffe, Les Scott , and Beryl Rubinstein. David Weiss. 12:30–2 pm Lew Tabackin Masterclass 11:15 am–Noon Doctor ’s Diagnostic Debate: A Panel Marquis Ballroom Jazz great Lew Tabackin shares his Ziegfeld Discussion and Debate on the Latest wisdom and artistry. Physical and Flute Fitness Concerns John Barcellona, Marilyn First, Ralph 1–1:45 pm Wii Practice with Alexandra Aguirre Manchester, Stephen Mitchell, Hal Ott , O’Neil And you thought Wii was only for your and Michael Weinstein. kids? Come and see how the Nintendo Wii Fit can be used as an innovative 11:30-11:55 Exhibitor Showcase: Introduction of Duffy/Columbia the New Kingma/Brannen Alto Flute practice tool to improve your posture The Kingma/Brannen Alto Flute is a and breathing. result of a collaboration between Laura and Bickford Brannen and Eva Kingma. 1:30–3 pm On the Town: Chamber Music Concert Presentation of the Kingma-system, Soho Complex Join the Ithaca Quintet, Eva Amsler and altos, basses, contras, and subcontras. Alberto Almarza, Mindy Kaufman and Matthias Ziegler, presenter. Kingma Flutes. Sandra Church , and Mimi Stillman for an afternoon of chamber music. Noon– 12:30 pm In Recital: Ivana Zahirovic O’Neil 2008 Myrna Brown International 2:00–2:25 pm Exhibitor Showcase: Scholarship recipient is featured in Duffy/Columbia Caliendo World Music recital. Caliendo’s 5th Flute Sonata premiered by flutist John Barcellona. New Method Noon– 1 pm Lobby Concert: Stanford Flute Books, reviewed by Christopher Caliendo 5th Floor Ensemble and Texas Woman ’s and Barcellona. Sheet music raffle and University/Brookhaven Flute Choir gifts for all! Barcellona and Caliendo, presenters. Caliendo World Music Pub- 12:30–1 pm George Barrere ’s In the Vegetable Garden lishing, Inc. Soho Complex Join Rick Heckman, Ed Joffe , and David Weiss as they give the second 2–3 pm Lew Tabackin in Concert performance of George Barrere’s little- Marquis Ballroom known In the Vegetable Garden , a trio for nine instruments played by three 2–3 pm Kate Clark in Concert performers. Cantor/Jolson Performs with British lutenist Nigel North. A marvellous program of chan- 12:30–1:30 pm 30+ Open Amateur Masterclass with sons, lieder, English love songs, and Duffy/Columbia Linda Chesis highly virtuosic solo diminutions, 12:30–1:30 pm Open Baroque Masterclass with entitled “Madame d’amours.” Cantor/Jolson Michael Lynn and Kim Pineda A drop-in , open intermediate-level 2–3 pm Exercise Programs for Flutists masterclass on baroque flute. Ziegfeld Karen Lonsdale and Ellen Shapiro discuss benefits and limitations of health 12:30–1:30 pm Body Mapping: Teaching Breathing— treatments and exercise programs and Ziegfeld Room A Natural Way to Create Sound how principles of exercise training Struggle no more. Lea Pearson discusses apply to flutists ’musculoskeletal problems. the movement of internal breathing structures to help flutists gain more 2–3 pm Flute Choir Showcase: Fisenden Flute freedom, capacity , and support. Empire Complex Ensemble and UpTown Flutes
52 The Flutist Quarterly Summer 2009 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change
2:30–3 pm Jean-Louis Beaumadier in Concert improve concentration, and cultivate Astor Ballro om French piccoloist Jean-Louis Beaumadier inner calm. Wear comfortable clothes performs works for piccolo from the and bring a yoga mat. early 20th century. 5:45–7:45 pm Lifetime Achievement Awards 2:30–3 pm Steve Gorn Astor Ballroom Reception and Dinner O’Neil Step into a different world. Indian Ragas Sir James Galway is honored. performed by Steve Gorn, bansuri flute , and Narendra Budhakar, tabla. 6–7:30 pm Zara Lawler—The Flute on its Feet Soho Complex Kinesthetic artist Zara Lawler, featured 2:45–3:10 pm Exhibitor Showcase: Brazilian Choro on Thursday ’s Gala recital, gives a per- Duffy/Columbia and American Ragtime: History, formance workshop on incorporating Similarity, and Influences dance and story-telling into your playing. History, similarities, and influences of the Brazilian Choro and the American 7 pm Venezuelan National Flute Orchestra Ragtime, two musical expressions Broadway in Concert Ballroom Lobby resulting from European and African styling and rhythmic influences. Daniel 8–10 pm Concerto Gala Dalarossa, president and founder, pre- Broadway Ballroom A newly reconstructed concerto of CPE senter. Global Choro Music Corporation. Bach and the concerto by Eric Ewazen, commissioned for Julius Baker, never 3:30 –3:55 pm Exhibitor Showcase: The Fife as a before heard at an NFA convention. Duffy/Columbia Contemporary Alternative Instrument Nola , a concerto for flute, contrabass for World Music Studies flute , and membrane flutes by Come experience the remarkable ver- Benjamin Yusupov, a piccolo nugget by satility of the fife, as demonstrated in Joachim Andersen , and a world premiere this short program of chamber wind by Martin Bresnick commissioned by the music accompanied by a brief history NFA. Featured performers are William of American melody. Jason Malli, pre- Bennett, Elizabeth Rowe, Matthias Ziegler, senter. Cooperman Company. Jean-Louis Beaumadier ,and Robert Dick.
4–5:15 pm Headliner Concert—Prolific Premieres 10:30 pm–midnight Cabaret Concert—Flute Big Band Marquis Ballroom Alexa Still, Mimi Stillman , Raffaele Marquis Ballroom Winners of NFA Jazz Flute Big Band Trevisani , and Fenwick Smith in concert. Competition perform. Ali Ryerson Included are world premieres by Kath- leads 30 jazz flutists with rhythm sec- erine Hoover and Joseph Schwantner and tion. Special guest appearance by Lew an NFA premiere by Lee Hyla. Tabackin and Holly Hofmann. 5:15–5:45 pm Cocktail Hour, Lifetime Achievement Astor Ballroom Awards Dinner Lobby Viviana Guzmán provides an energetic Sunday, August 16 musical backdrop with music for flute and guitar. 8 am–4 pm Registration for all attendees 5:30–6:30 pm Music Therapy Panel Discussion Registration Area, O’Neil Maria Schimpf and Jennifer Townsend 5th Floor discuss careers in this field. Flutists turned health-care professionals 8–8:45 am Everything You Always Wanted to discuss the use of music to address Astor Ballroom Know About Warming Up, physical, emotional, cognitive , and But Were Afraid to Ask social needs from numerous music A morning warm-up class with Paul therapy approaches and models. Edmund-Davies
5:30–6:30 pm Yoga and the Breath with Laura Barron 8–9 am Targeted Strategies for Amateurs Duffy/ Columbia This workshop will help flutists Soho Complex Lisa Fahlstrom, chair of Amateur increase breath awareness, develop Resources, will focus on specific muscle strength and agility for facile approaches to playing and practicing technique and resilience against injury, the flute.
PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2009 The Flutist Quarterly 53 National Flute Association 37th Annual Convention, Marriot Marquis Hotel New York City, New York, August 13–16, 2009
8:00 am–2 pm TELEMANN-athon 10–11 am Music for Flute and Piccolo Times Square Room A marathon program consisting of all O’Neil by Martin Amlin of Telemann ’s 34 flute duets. Performed Boston University composer Martin in its entirety for the first time anywhere Amlin ’s challenging works performed by 11 pairs of flutists, the entire ouevre by Leone Buyse, Mary Stolper, Zart takes five hours and 40 minutes. Dombourian-Eby , and Carl Hall.
8:30–9 am Vocal Pedagogy and the Flute 10–11 am Professional Flute Choir Concert Du ffy/Columbia Sasha Garver explores commonalities Empire Complex Works by Luc Grethen, Ivan Boumans, between pedagogies for flute and voice Stephen Lias, Til MacIvor Meyn, and the similarities in the physical Johannes Brahms/arr. Shaul Ben-Meir , process. and Pavel Tschesnokoff/arr. Behrens.
8:30–9 am Profitable Teaching in the Private Studio 10 am– 11:30 am Composers in Masterclass Ziegfeld Dan Parasky discusses how to keep Astor Ballroom Ever wondered what the composer truly your flute studio in the black through intended in their composition? In this creative lesson planning and smart innovative masterclass format, winners business practice. of the Masterclass Performers Comp- etition are coached by the composers 8:30–9:30 am Peak Performance through and play the works of Elizabeth Brown, O’Neil Biofeedback and SEMG Ian Clarke , and Robert Dick. Physical therapist Johannes van Burren and flutist Marilyn R. First will demon- 10:30 –11:30 am Baroque Concert: Two American strate SEMG and discuss how biofeedback Cantor/Jolson Traverso Greats—Sandra Miller can help players improve posture, and Jed Wentz in concert breathing, technique, speed , and endurance. 11–11:45 am Techniques of Jazz Ziegfeld Bill McBirnie leads a clinic on jazz and 9–10 am Bébé Baroque—Le Reprise Latin-jazz techniques and improvisation. Cantor/Jolson Enjoy your first baroque flute lesson in a relaxed group workshop. Flutes will 11 am–noon Efficient Practice with Trevor Wye be provided. Presented by Linda Pereksta, Soho Complex Assisted by Tomomi Matsuo, Mime Jan Boland, Michael Lynn, and Wendy Rolfe, and assisted by Christopher Nakagawa, and Marta Šomodi. A Krueger and Sandra Miller. refreshing and entertaining look into ways to improve our practice time, 9–10:30 am High School Masterclass with both for students and busy teachers. Marquis Ballroom Jeanne Galway Three students perform the Chaminade 11 am– 12:30 pm Liebermann Premiere Concertino, Bourne’s Carmen Fantasy, Marquis Ballroom Performers Concert and the concerto of Reinecke. Hear the compositions of Lowell Liebermann in performance by those 9:30–10:30 am Mini Flute Spa with Patricia George who commissioned them. Performers Soho Complex No time to practice? This participatory include David Fedele, James Galway, masterclass will explore several exercises Jeanne Galway, Katherine Kemler, Joan to keep you playing well. Suitable for all Sparks, Claire and Anna Temin , and ages and playing abilities. Lowell Liebermann, piano. This concert includes the premiere of a new work for 9:30–10:30 am The Music of Louis Moyse: flute, clarinet , and piano. Duffy/Columbia A Memorial Concert 11 am– 12:30 pm In Concert: Linda Chatterton, 9:30–10:30 am Shakuhachi Workshop Duffy/Columbia Don Hulbert , and Christina Jennings Ziegfeld James Nyoraku Shlefer leads a hands-on performing hidden gems by Roberto workshop and group lesson on shakuhachi, Sierra, Andre Jolivet , and Paul Schoenfeld. the Japanese bamboo flute. Learn notation, teaching method, and techniques. 11:30 am– 12:30 pm Collegiate Flute Choir Concert Instru ments provided. Empire Complex
54 The Flutist Quarterly Summer 2009 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change
11:30–1 pm The Melting Pot: Works from Slovenia, 3–4 pm Flute Force and Quintessenz in Concert O’Neil France, England , and the U .S Astor Ballroom New York ’s renowned flute quartet, Andy Findon, Myriam Graulus, Gary Flute Force, play works of Elizabeth Schocker, Revelia Duo, Wolfgang Wendel , Brown, Anthony Newman , and Igor and Matej Zupan in recital. Stravinsky and are joined by Germany ’s flute quintet, Quintessenz. 12:15–12:45 pm Brain Function, Improvisation , Ziegfield and the Interpretive Arts 3–4 pm Lecture/Recital: Peter Westbrook discusses brain function O’Neil George Crumb ’s Vox Balanae during improvisation vs. during inter- A lecture by Julie Hobbs followed by a pretive performance. performance by Wendy Herbener Mehne, 12:30–1:30 pm Lobby Concert: Northern Westchester Heidi Hoffman , and Diane Birr of this 5th Floor Flutes and Chesapeake Flute Consort now classic work.
12:30–2 pm Young Artist Competition Finals 3–4 pm Dancing with the Flute: A Pedagogy Astor Ballroom Soho Complex Committee Sampler Concert Young flutists from around the country 12:30–2 pm Up and Coming Flutists perform works featured in the 2009 Soho Complex 2008 NFA Young Artist Winner, Daniel Selected Flute Repertoire and Studies: A Velasco, Alena Lugovkina , and 9-year Graded Guide. old flutist Emma Resmini in recital. 3–4 pm Kings of the Hill, Top of the Heap: 12:30–2 pm From Urtext to Your Text Marquis Piccolos in Concert Cantor/Jolson Using a Telemann Fantasy in the Baren- Christine Beard, Cynthia Meyers, Nan reiter Urtext edition, Fenwick Smith Raphael , and Kate Prestia-Schaub in will guide you through the options of concert performing new and old works dynamics, articulation, tempo, phrasing, for piccolo and piano, including a and style to come up with a viable and world premiere piece by Daniel Dorff. stylish “edition” of your own.
1–2 pm Remembrance and Healing Concert 3–4 pm Arnold Jacobs ’ Song and Wind Duffy/Columbia Featuring performances by Brad Garner, Cantor/Jolson Breathing Pedagogy Jill Heyboer, Sarah Swersey , and Margaret What can the tuba can tell us about the Swinchoski. Includes a new work written flute? Alexa Still, Kimberlee Goodman, by New York composer Glen Cortese Victoria Jicha , and Alex Ogle present a and compositions written in remem- workshop on the teachings of legendary brance of 9/ 11. long-time tubist of the Chicago Symphony Arnold Jacobs and his re- 1–2 pm Jamie Baum in Concert markable work with breathing strategies. Marquis Ballroom Jazz flutist Jamie Baum performing her This workshop includes practical original compositions with George “how to ” advice, Q & A, and video Colligan (piano), Johannes Weidenmuller footage of Jacobs. (bass) , and Jeffrey Hirshfield (drums). 4:30–6:30 pm Closing Ceremonies 1:15–2 pm Body Mapping: Reducing Tension in Astor Ballroom Close the convention and open this Ziegfeld Arms and Hands concert with an appearance by the John Amy Likar explores how the structure Marshall Fife and Drum Corps, led by of your arms affects whole body usage, Wendell Dobbs. Additional performances tone , and technique. Prevent and reduce hand injury with thoughtful by Andrea Griminelli, Adrienne Green- practice and self-care strategies. baum, Mark Sparks, Susan Hoeppner, Quintessenz, and French flute legend 2–3 pm High School Flute Choir Concert Maxence Larrieu, with a premiere by Empire Complex Robert Aitken for the Professional Flute Choir. Bring your flutes. The concert 2–3 pm Visit the Exhibits closes with the traditional group per- Exhibit Hall formance of Air on the G string.
PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2009 The Flutist Quarterly 55 Walfrid Kujala’s new book: The “sequel” to the Vade Mecum
NEW: From Progress Press The Flutist's Vade Mecum The Articulate Flutist: of Scales, Arpeggios, Trills Rhythms, Groupings, Turns and Trills and Fingering Technique by Walfrid Kujala by Walfrid Kujala $18.95 $22.95 Walfrid Kujala's newest publication The Flutist’s Vade Mecum is an all- features 60 pages of comprehensive encompassing approach to the study articulation, rhythm and trill exercises, and and perfection of scale, arpeggio, and trill 15 pages devoted exclusively to the study technique. This book is intended not just of Bach and Mozart examples. for the initial learning of scales and Five cantatas illustrating Bach's authentic arpeggios but for permanent and ongoing articulations are excerpted, and a wide improvement of this material through range of exercises for improving your diligent review. Think of this Vade Mecum technique, articulations, trills, and applica- ("Go with me” in Latin) as a steady tion of alternate fingerings for the Mozart D companion, always available for Major Concerto are also included. review and renewal.
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222 Main St. #504 Evanston, IL 60202 847-869-2998 Across by Christine Cleary the Miles
News about flute club and flute choir activities throughout the United States
The Alla Breve Flute Choir, anxiety. Camp concluded with the Campers and Members conducted by Elizabeth Buck, Recital. A masterclass and recital will be held in fall 2009 performed in concert February with Viviana Cumplido, principal flute for the Phoenix 15 at the Beatitudes Campus of Symphony. A flute choir masterclass and recital to be held Care Life Center in Phoenix, in March 2010 will feature composer and performer Gary Arizona. Nearly 60 flutes, Shocker. Contact Karen Kontos at [email protected] or including two contrabass, per - visit azflutes.org. formed works by Brahms, Via, Lombardo, and Nishimura. The performance was the largest flute choir to have performed in Arizona, with combined choirs from the Phoenix and Tucson areas. (For more information, Elizabeth Buck see Tucson Flute Club below.)
The Arizona Flute Society spon- sored a free event featuring Helen Spielman presenting the workshop, “Performance Anxiety from Inside Out,” March 7 at Arizona State University’s Gammage facility. The Arizona
Flute Society and Muramatsu Camellia City Flute Choir America presented the flute choir masterclass and recital Last December, in addition to their annual California State with guest artist Ervin Monroe Capitol Rotunda appearance, members of the Camellia City on March 28 at Scottsdale Bible Flute Choir were invited to be guests of the Flute Ensemble at Church. Masterclass selections California State University, Sacramento , in a joint concert. were from Monroe’s own arran- Each group performed and then combined to play Martha gements and included ensembles Rearick’s “How Lovely Is Thy Dwelling Place” and a medley of Helen Spielman ranging from quartets to flute Christmas carols. A reception followed, hosted by the Sac State choirs. Monroe performed in flutists. Martin Melicharek conducts the Camellia City Flutes, recital after lunch for the well-attended event. The Arizona and the Sac State Flutes are mentored by Laurel Zucker and Flute Society Flute Camp for all ages was held May 27–30 at conducted by Bill Damian. The two choirs combined again for Tempe Church of the Nazarene. Campers included flutists of an April concert. Camellia City Flutes also presented a concert all abilities in grades K–12, college, and adults. Featured at Heritage Park Community Ballroom in Sacramento. guest artists were Jim Walker, Brian Gordon, and Emily Camellia City Flute Choir has now expanded to 15 members, McKay. Among the topics presented were flute maintenance and includes two contrabass flutes. Each concert features at and repair, breathing, extended techniques, intonation, jazz least one piece arranged for a “heavy metal” choir of altos, improvisation, Native American flute , and performance basses , and contrabasses.
nfaonline.org Summer 2009 The Flutist Quarterly 57 ACROSS THE MILES
The Golden Gate Flute Quartet performed at the outdoor Piccolo Pavilion, Magnolia Street , Corte Madera, California, May 24 . The quartet performed music by Grieg, Bizet, Bach , and Yasinitsy (Jazz Suite), entertaining the mountain bikers headed for Mt. Tamalpais. Judy Phillips conducted. Contact [email protected] .
Hampton Roads Flute Faire was held February 14 at the Diehn Fine and Performing Arts Center on the campus of Old Dominion University in Norfolk, Virginia. Guest artist Shelley Binder, flute professor from the University of Tennessee, taught a masterclass and performed a recital with pianist Ruth Winters featuring American composers Aaron Copeland, David Del Tredici, John Anthony Lennon , and William Bennett Mathieu Dufour Lucas Foss. The flute choirs who performed were Flute Frenzy (Williamsburg) under the direction of Margaret Carlson; The Chicago Flute Club just completed a full year of Teachers’ Hampton Roads/Hampton University Flute Choir under the Workshops that focused on a different aspect of flute peda - direction of Lori Shipley; and the Governor’s School for the gogy every month. Teachers from around the country, united Arts Flute Choir (Norfolk) under the direction of Patti by the universal goal of improving flute teaching, joined Watters. Stephanie Sanders, Norfolk State University Flute instructors in Chicago to discuss common problems and dis - professor, taught a large group of beginning jazz flutists and cover new approaches to age-old questions. Recitals during the Wayne Hedrick (U .S. Air Force, retired) presented a class on concert season celebrated the variety of talent in Chicago, fea - flute intonation with demonstrations from his woodwind turing Mathieu Dufour of the Chicago Symphony Orchestra quintet. Hampton Roads Flute Faire was co-sponsored by The on flute, Jennifer Gunn of the Chicago Symphony Orchestra Governor’s School for the Arts and Old Dominion University. on piccolo, and the Cavatina Duo (flute and guitar duo). The final round of the first biannual Walfrid Kujala Piccolo Artist The Hot Springs (Arkansas) Competition took place in June. The competition featured Flute Ensemble and Ouachita four finalists who traveled to Chicago after being selected Baptist University (Arkadelphia, based on preliminary round recordings from across the coun - Arkansas) will co-sponsor an try. The approaching season will include a two-day festival event featuring Tadeu Coelho that celebrates the lifetime accomplishments of William October 3–4. The event includes Bennett, features an adult solo competition, and offers semi - a recital, masterclass, “Three nars, masterclasses, and recitals by Mathias Ziegler, Marco Steps to Glory” workshop, Granados, Denis Bouriakov , and William Bennett. and flute choir sessions. Send an e-mail to [email protected] or visit obuflutes.com or Tadeu Coelho hotspringsflutes.com .
The Nashua Flute Choir 2008– 2009 concert season opened in fall 2008 with a musical program for the Kristallnacht Remembrance sponsored by the Jewish Federation of New Hampshire. This event marked the 70th anniversary of Kristallnacht. Musical selections and accom - panying readings were chosen to capture the emotions of the years spanning the Holocaust —joy, fear, sadness, resolve. The spring program included winners of the fourth annual Youth Soloist Competition. Additionally, the choir
Flutissimo! City Flute Choir explored a new musical combination —harmonica soloist Norm Dobson accompanied by the Nashua Flute Choir Flutissimo! Flute Choir presented its spring concerts with a performing old-time favorites. The choir will perform in theme of “Creepy Crawlers” conducted by its third and final the 2009 NFA convention . candidate for conductor of the group, Marco Jérez. The per - formances included Phyllis Louke’s “Suite Butterfly,” “Balcony” The International Flute Orchestra toured Poland in May 2009, by Kathleen Mayne , “ The Frog Song ,” “ La Cucaracha,” and “The giving concerts in Krakow, Zakopane, Warsaw , and Gdansk. Caterpillar .” The choir donned antennas for this piece, and Jérez For information on future tours, contact IFO director Nancy wore a large fuzzy caterpillar in his hip pocket. C. Clew at [email protected] .
58 The Flutist Quarterly Summer 2009 nfaonline.org provides an opportunity for the flutists to share their love of music with the community. The Flute Choir gave two per - formances during spring 2009. The first was a children’s program at First Presbyterian Church, Nashville, which included “Little Red Monkey,” “Helen’s Backyard ,” “ My Dog Pooh,” and “Peter and the Wolf .” The second was at the First Center for the Visual Arts in Nashville. Included in this pro - gram were pieces by Bach, Pachelbel, and Vivaldi. The Nashville Flute Choir is directed by Karen Mitchell. Visit nashvilleflutechoir.com.
The first event of the newly formed Quad City Flute Long Island Professional Flute Choir Association took place at West Music in Moline, Illinois, January 18. Twenty-five flute members and guests were in The Long Island Flute Club Professional Flute Choir is proud attendance for a recital and masterclass by Virginia Broffitt , to announce the winners of its 25th annual Flute assistant professor of music in flute at Western Illinois Competition, held February 7 –8 at Nassau Community University. Performing with her on piano was Tammie College. In the high school division, first prize: Ashley Ockner; Walker, professor of piano at WIU. Her varied program second prize: Kieran McCarthy Fell; third prize: Matt Ross; included a baroque piece by J.S. Bach and works of con - fourth prize: Frances Flancbaum; and finalists Jennifer Huang, temporary composers Jindrich Feld, Jennifer Higdon , and Mia Rienzo, and Lauren Scheuing. In the college division, first Vladimir Tsybin. For the masterclass , two area students per - prize : Cheryl Mittler; second prize : Kristin Allocco. All finalists formed for Broffitt. Grace Drenth, a senior at Bettendorf and prize winners performed in recital March 8 at the High School and a student of Karen McClintock, per - Centerport Methodist Church. The LIFC thanks chairperson formed Polonaise and Badinerie from Suite in B Minor by Joyce Reardon for her tireless work in organizing this yearly J.S. Bach. Becky Weiler, a junior at Augustana College Rock event. The club is proud to announce two special events: The Island and a student of Janet Stodd , performed the first and LIFC Professional Flute Choir, under the direction of Debra C. third movements of the Sonata in A Minor by C.P.E. Bach. Schild, will perform a Lobby Concert at the NFA Convention The Membership Showcase Concert was held February 20 August 13. On the program will be the world premiere of at First Presbyterian Church in Moline . The concert fea - “Energico!,” by Howard Buss , commissioned by the LIFC with tured 17 performers and had 55 in attendance. Performers support from the Brannen Cooper Fund at Brannen Brothers included Christina Ehlers (Bozza), Erin Kleiber (Kuhlau), Flutemakers, Inc., in celebration of the club’s 25th Laura Everts (Gaubert), Karen McClintock (Stephen Lias), Anniversary. The LIFC will also host a flute choir reading ses - Janet Stodd with Sue Schwaegler (Dorff), Audra Bailey and sion at the convention August 14, which will feature both new Cheryl Jordan (Doppler duet), and Lynne Stukart works and tried-and-true favorites. (DeMars). The concert ended with the QCFA Ensemble performing Arioso by Bach, conducted by Janet Stodd. A reception followed. Visit qcfluteassociation.com .
Quad City Flutes Unlimited gave its spring concert April 18 at Butterworth Center, Moline. The program included works by J.S. Bach, McMichael, Farmer, Delibes, Louke , and Leech. Rich Stodd was guest conductor and Janet Stodd artistic director. Performing in the concert this year was the winner of a high school student scholarship competition sponsored by Quad City Flutes Unlimited.
The Raleigh Area Flute Asso- ciation will open its 2009–2010 season with guest artist Erinn Frechette, who will present a concert and piccolo class Sep- tember 27. The organization’s The Nashville Flute Choir annual Flute Fair on November 14 will feature guest flutist The Nashville Flute Choir is a group of professional and amateur Amy Porter in a concert, work - musicians in the Nashville, Tennessee , and surrounding areas. shop , and masterclass. Visit The ensemble performs for various events in the city and Erinn Frechette raleighflutes.org .
nfaonline.org Summer 2009 The Flutist Quarterly 59 ACROSS THE MILES
The Raleigh Flute Choir completed its 23rd spring season with three major concerts —an outreach for a retirement community, a fundraiser for Habitat for Humanity, and a performance in a historic auditorium that recently has been renovated into an exceptional venue. The ensemble of eight players performed a “Rainbow of Music” theme featuring “Pavane, ” Celtic Suite , “ Bumblebee Fantasy, ” James Towne Trilogy , “ Floris,” and Madrigali di Monteverdi .
Elizabeth Buck conducts the combined Tucson Flute Club and the Arizona Flute Society at a joint concert February 15, 2009.
This past spring the Tucson Flute Club (TFC) traveled to Phoenix to join with the Arizona Flute Society’s Alla Breve Jeanne Baxtresser Carl Hall flute choir to fill the stage of the Beatitudes Campus of Care The South Carolina Flute Society hosted Jeanne Baxtresser retirement center. The Phoenix group of about 40 per - and Carl Hall at its Spring Flute Festival March 20–21 at formed five pieces under the baton of Arizona State Northside Christian School (North Charleston). Baxtresser, University associate professor of flute Elizabeth Buck. The whose appearance was co-sponsored by the Brannen-Cooper TFC’s contingent of 17, conducted by Sandy Schwoebel, Fund, presented classes on audition preparation, flute solo played three pieces. The two groups joined forces on three repertoire, orchestral excerpts, and lyricism and melodic line. pieces: a canzona by Gabrieli (conducted by Schwoebel), Hall, piccoloist with the Atlanta Symphony, performed a Brahms’ “How Lovely Is Thy Dwelling Place ,” and piccolo recital and presented a masterclass. Cynthia Hopkins, Lombardo’s “Traffic Jam” (conducted by Buck). Also includ - flute professor at Furman University, presented a clinic ed on TFC’s spring calendar was a repeat performance at addressing body awareness and warm-up techniques. Teachers Tucson International Airport. The club received two finan - and professionals from South Carolina were featured in a cial grants this spring. An $860 community grant from the members recital , and talented young flutists participated in IBM Corporation allowed the group to buy stand lights and the finals for three levels of live competition. The event also a large selection of new music, and a $4,000 grant from featured an exhibit hall with displays provided by corporate board of directors of Tucson’s PRIME School supported the sponsors and music vendors. Visit scflute.org. purchase of a vertical bass flute.
The Texas Flute Society presented UpTown Flutes launches a new CD in June 2009. A New an orchestral excerpts master - Road showcases “Nonet and Serenade ” by Peter Bacchus, class for area flutists April 4 “Within ” by Ian Clarke, Sonata for 8 Flutes by Andrew featuring Judy Dines, flutist Downes , and the quartets “Legends of the Greenwood ” and with the Houston Symphony. “Children of the Wind ” by Katherine McMichael. UTF is a On May 21–23, the 32nd professional ensemble of eight players that traditionally per - Annual Texas Flute Festival was forms one player to a part. Members are Carla Auld, Jeanne held at the University of North Fessenden, Karen Demsey, Elise Carter, Patricia (Davila) Texas in Denton. Participants Lazzara, Virginia Schulze-Johnson (director) , and Rebecca attended masterclasses, work - Vega. Guest performers are Peter Bacchus and Mary Berk. shops, and concerts presented UpTown Flutes will perform “Nonet ” and “Within” at the by guest artists Marianne New York convention August 15. Visit uptownflutes.com . Gedigian, Nan Raphael, Horace Pethrus Gardborn Alexander Young, and Pethrus Please send information about flute club activities, and high- Gärdborn. For more information about upcoming events, the resolution images if available, to Christine Cleary, Flute Clubs 25th Annual Myrna W. Brown Young Artist Competition, and Coordinator, 2022 Wedgewood Dr., Grapevine, TX 76051; the 2010 Texas Flute Festival , visit texasflutesociety.org. [email protected].
60 The Flutist Quarterly Summer 2009 nfaonline.org
National Flute Association Contributors To the Annual President’s Appeal Updated as of April 15, 2009
GENERAL ENDOWMENT FUND Wilda M. Heiss Christine E. Potter The Abell Flute Co. Ina Mae Holt Gwen C. Powell Patti Adams Debbie Hyde-Duby Margaret Jane Radin Robert Aitken Jerry Jenkin Anne Reynolds Lori Akins Victoria Jicha Nancy Schneeloch-Bingham Clarissa Andersen Katherine Borst Jones Mary DeLano Sholkovitz Sara Andon Ellen Kaner Renee Siebert Rebecca Tryon Andres Robert Katayama Fenwick Smith Eleanor Duncan Armstrong Peter Katz John Solum Francesca Arnone Jonathan Keeble Kathleen J. Spurgeon Kim T. Ashwell Elizabeth Koch Kate Haemmel Steinbeck Carla Auld Marjorie Koharski Maria Stibelman Joanna Bassett Marnie Kraft Cynthia C. Stokes Mary Berk Walfrid Kujala Patricia Stortz Justin Berrie Amy Likar Cynthia C. Stokes Frances Blaisdell Elie Litov Cynthia R. Tate Amy Rice Blumenthal Leslie Maaser Paul Taub Joanne Ennis Bourquin Richard A. Mc Pherson Judith Thomas Shannon Chierichella Katherine H. McClure Mark S. Thomas Linda Crisafulli Mary Minsk Clifford Tretick Linda Cykert Linda Mintener Peggy Vagts Polly Monson Karen B. Demsey Julia K. Vasquez Darlene Dugan William Montgomery Nancy M. Vinson Greer Ellison Nancy L. Mulholland Anne Welsbacher Lewis T. Fitch Madeline Neumann Brooks de Wetter-Smith Angeleita S. Floyd Edith K. Nishimura Melinda Wharton Cynthia J. Folio Joyce Oakes Rev. Thomas R. Forsgren, D.D. Ann C. Pearce Rosemary Wood Leonard L. Garrison Phyllis T. Pemberton Richard Wyton Christine Gustafson Mary Peterson Patricia Harper George S. Pope MYRNA BROWN Clarissa Andersen Diane Barton-Brown Mary Berk Melanie Delcid Claire Durand-Racamato Leonard L. Garrison Susan S. Goodfellow Betty Austin Hensley Jerry Jenkin Robert Katayama Joanne Lazzaro Linda Mintener Edith K. Nishimura Margaret A. Peterson Mary Peterson Deborah L. Ragsdale Nancy Urbscheit Kristin Webb John Wion
DAVID HART Mary Berk Susan Fain Leonard L. Garrison Margaret Foote Jamner T. Richard Nichols Edith K. Nishimura Mary Peterson Stephanie A. Wheeler Robert Willoughby Eileen Yarrison
62 The Flutist Quarterly Summer 2009 nfaonline.org From the Chair of the FINANCE COMMITTEE
Fiscal Year 2008 (November 1, 2007–October 31, 2008)
or the period November 1, our membership is comprised of life 2007–October 31, 2008, total members, flute clubs and flute choirs, Fincome was $778,773 and expenses and libraries. were $837,047, for a loss of $58,274. At the close of the fiscal year ending Starting with the 2007–2008 fiscal year, October 31, 2008, the endowment tracking of income from the investment fund closed at $719,738 after accounting funds was changed to be done inde - for adjustments, including two pay - Debbie Hyde-Duby pendently of the operating budget. ments for music commissions and out - Additionally, starting in 2007–2008, the reach scholarships totaling $34,000 paid Endowment (Fidelity) account was in mid-November 2008, but allocated to tapped for the first time and was used budget for the NFA 2008 fiscal year. The laddered corporate and government as intended for special commissions, $719,738 balance represents a decline of bonds, with the remainder of 4 percent cultural outreach scholarships, and the $181,138, or 20 percent, from the closing in cash equivalents. Our investment financial advisor’s fee. balance of $900,516 as of the close of advisor, Bob Lane, has now managed Convention income supports the the fiscal year ended October 31, the portfolio for more than 10 educational mission of the NFA year- 2007, an all-time high for the portfolio. years. During the end of the first quar - round. The Kansas City convention In contrast, the Dow Jones Industrial, ter of 2009, he made the decision to income was $323,824 and exceeded S & P 500, and NASDAQ 100 averages increase the equity exposure by about convention expenses of $269,981 fell 32 percent, 36 percent, and 39 per - 10 percent to over 20 percent, as he by $53,843. Attendance at the Kansas cent, respectively. During this troubled believes that the stock market is bot - City convention was 2 ,213, as compared stock market and devastating economic toming out, and gains will be realized to 2 ,406 in Albuquerque, 2 ,592 in time, our financial advisor’s decision soon. Pittsburgh, 2 ,490 in San Diego, and during the fiscal year to reduce the Your contributions for the continuing 2,556 in Nashville. equity portion of the portfolio and add growth of our Endowment, Myrna For the 2007 membership year to government and corporate bond Brown , and David Hart funds are greatly (August 1, 2007–July 31, 2008), we had exposure led to a better performance. appreciated. a total of 6 ,023 members, as compared After making a net downward adjust - Phyllis Pemberton, CEO, has done a to 6 ,002 members in 2006. Membership ment of about $43,000 (withdrawals great job ensuring the implementation dues accounted for $312,376 of our and fees offset by deposits), the portfo - of any recommendations of the indep- income. lio rose about $5,000 from October 31, endent auditors, as is standard procedure. Our active members comprise 20 08, to $680,970 at March 31, It is a great honor to start my term as 65 percent of the total members, and 2009. For the first quarter of 2009, the chair of the Finance Committee for the of those, 33 percent are e-members; portfolio fell less than 1 percent while NFA with the 2009 fiscal year. I sincerely students a re 20 percent of the total the Dow Jones Industrial, the S &P 500, thank Teresa Beaman, the outgoing membership, and of those, 27 percent are and NASDAQ 100 each fell 13.3 percent chair of the Finance Committee, for her e-members. We have 127 c ommercial (the worst in 70 years), 3.1 percent, and time and dedication to ensuring a members, making up two percent of the 11.7 percent, respectively. As of March smooth transition. total membership, and 43 percent of 31, 20 09, the portfolio was composed of —Debbie Hyde-Duby them are e-members. The remainder of 22 percent in equities and 74 percent in Chair of the Finance Committee
nfaonline.org Summer 2009 The Flutist Quarterly 63
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Erich Graf A Flute Recital: Bach (c minor suite) Roussel (Joueurs de Flute) Berio (Sequenza) Gaubert (Sonata #3) Flute Masterworks: Poulenc (Sonata) Debussy (Syrinx) Varése (Density 21.5) Bourne (Carmen Fantasie) Nobis (from western mountains) Prokofiev (Sonata)
Classical Musings: A VHS music video setting of excerpts from A Flute Recital to the beauty of Utah’s National Parks and their environs. Erich Graf . Aeolus Recordings www.erichgraf.com
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The Pedagogy Committee, which collectively created the new publication, includes, top from left: Mary Byrne, project leader, Rebecca Dunnell, Cindy Ellis, Holly Clemens, and, bottom from left, Rebecca Hovan, chair, Deb Johnson, Chris Potter, and Stacy Steele. New Pedagogy Offerings he NFA Pedagogy Committee is pleased to announce its that have emerged from rigorous studio trials, some by less - Tnew Selected Flute Repertoire and Studies: a graded guide . er-known composers, are included to offer you exciting This publication, available for purchase at the NFA store and alternatives to consider for your next performance. Each at the 2009 convention, combines and updates the separate level is scrutinized for an overall balance of style periods. volumes of Selected Flute Repertoire (2004) and Selected Flute With more than 400 pieces graded into 11 difficulty levels and Studies (2005). Visit nfaonline/store. more than 200 methods, etudes , and daily studies books, this In this new edition, a level K joins the previous levels ranged book will answer most repertoire questions you will ever have. A-J, to more accurately place such works as the All pieces are carefully selected by experienced teachers and Boulez Sonatine and the Prokofieff Sonata. New listings have screened via a “love it, use it” guideline established by been added to several levels. The editors have updated publisher Canadian NFA member Mary Byrne. When Pedagogy information and removed out-of-print pieces . The “level” Committee members suggest pieces to the group that they placement of works has been re-evaluated and the criteria have discovered through work in their studios, other members chart reorganized. Pedagogy Committee members have procure those pieces and try them in their studios. The com - subjected every entry to the “best of the best” test and are mittee confers several times a year about new music and pleased to offer this newest book to NFA members. reads through pieces at the annual meeting at the convention. The new Selected Flute Repertoire and Studies: a graded Selected Flute Repertoire and Studies: a graded guide is a guide provides answers to your questions about what is consid - reference book you will use constantly for your repertoire ered to be standard repertoire, who publishes it , and how it choices and for new works for your students. If you have a relates in difficulty to other major works. High-quality works student who loves slow, melodic, contemporary tonal pieces,
nfaonline.org Summer 2009 The Flutist Quarterly 65 NFA N EWS
“The NFA Repertoire and Studies Guide is a studio essential! This awesome book…allows you to sidestep the problem of hearing the same pieces over and over: you can explore other repertoire with confidence!” —Alexa Still, past president, NFA
look in the book under his or her ability level and find the Barber Canzone . Perfect. You need a daily exercises book for an adult student whose scales are very rusty ; at your fingertips is Technique Standards Levels A, B , and C . You need to know what Andersen etude book is the next level up from the one your student is currently using. If your goal is to play a Mozart Concerto, you will be able to find easier pieces by other classical composers that will teach you the skills you will need for Mozart. It is the committee’s goal to recommend only the best pieces and to think responsibly about the artistic demands of the book - let’s repertoire and rank them accordingly. It is our hope that you will find pieces here that are stimulating and exciting for you and your students. We thank you for the opportunity to learn about the rich and ever-evolving repertoire of the flute.
The NFA Pedagogy Committee includes Rebecca Hovan, chair; Mary Byrne, project leader; Holly Clemens, Cindy Ellis, Rebecca Dunnell, Deb Johnson, Chris Potter, and Stacey Steele .
Orchestral Techniques for Flute and Piccolo: An Audition Guide by Walfrid Kujala
Orchestral Techniques is the first publication to include comprehensive instructional material that focuses on the technical and stylistic aspects of the main solo and ensemble excerpts from 28 orchestral masterworks.
Some of the topics covered in this 92-page treatise are: tempo choices, rhythmic pitfalls, dynamic adjustments, ensemble considerations, breathing advice, tone qualities, special fingerings, "insider" strategies, articulation style and performance traditions. There are special rhythmic and technical exercises for Beethoven Leonore No.3 and Eroica Symphony, Dvorák 8th Symphony, Shostakovich 15th Symphony, Strauss Till Eulenspiegel, Stravinsky Firebird and Petrouchka, and Tchaikovsky 4th Symphony. $24.95
Purchase online from our website at www.walfridkujala.com or contact your local music bookstore. progress press
222 Main St. #504 Evanston, IL 60202 PH: 847-869-2998
66 The Flutist Quarterly Summer 2009 nfaonline.org Notes from Around Conventions, festivals, competitions, and other global flute activities the World
Denis Bouriakov Nicola Mazzanti Matthias Ziegler
NFA member Denis Bouriakov placed third in the Kobe The fourth International International Flute Competition. Started in 1985 and Flauta Fest will be held in held every four years, Kobe is the only regular interna - Belgrade September 18–20 . tional competition for flute players. Bouriakov also won The event includes master - the Audience Choice award for his performance. classes, concerts, lectures, In December 2008 , Bouriakov won the position of and exhibitions. Guest artists principal flute with New York’s Metropolitan Opera, and include Andrea Oliva, Nicola will begin performances there in fall 2009 . He has also Mazzanti, Matjaz Debeljak, been principal flutist for the Barcelona Symphony Dejan Gavric, Ittzés Gergely, Orchestra in Spain and with the Tampere Philharmonic Matthias Ziegler, Matej Orchestra in Finland. His first solo CD was released on Zupan , and many more. Beep Records and includes the world’s premiere record - Visit flauta.org.rs . Ittzés Gergely ing of the Sibelius Violin Concerto on the flute. Visit NFA member Viviana Guzman per - bouriakov.com or kobe-bunka.jp/flute/en/. formed February 20–27 in Aruba and Costa Rica; March 11–March The 21st International Summer- 18 in Hong Kong, Vietnam, and courses for flute and piano Singapore; and April 2–12 in Diekirch will be held late July Valparaiso, Chile, Lima, Peru, and through early August in Luxem- Viviana Guzman Costa Rica. Visit viviana.org. bourg. Carlo Jans is artistic director and featured flutist; The ensemble rarescale performed works by contemporary other flutist presenters include and traditional composers, including several world pre - Wally Hase, Natalia Gerakis, mieres, at venues throughout England and Scotland in Marianne Henkel, Konrad March. Works by Lotti, Vittoria, Donizetti, Beethoven, Ian Hünteler, and Gunhild Ott. Clarke, Mike Mower, Michael Oliva, Takemitsu, Karen Send e-mail to forum.inter- Gourlay, and premieres of pieces by Daniel Kessner, Claes nationa [email protected] or visit car - Biehl, Elizabeth Winters, Brendan Colbert, and Ian Wilson Carlo Jans lojans.com/eng/teaching_3.php . were in the repertoire. Visit rarescale.org.
nfaonline.org Summer 2009 The Flutist Quarterly 67 CORRECTION In the article, “Cross-Cultural Music: Japanese Flutes and Their Influence on Western Flute Music” (winter 2009), the pictures on page 28 show mouthpieces made by Tai Hei Shakuhachi and placed on flutes that are not themselves shakuhachi flutes. Also in this article, the name of the author of the book New Sounds for Woodwind was misspelled; the author is Bruno Bartolozzi. PPaassssiinngg Information about absent friends TToonneess ichard W. Jerome, 86, of East Thetford, Vermont, died February 27, R2009, at home. A musician, flutemaker, and longtime partner with Verne Q. Powell Flutes, Inc., Jerome was born in Montpelier, Vermont, son of Richard W. Jerome, Sr., and Kathleen J. Jerome. As a member of the Vermont Symphony Orchestra from 1939 to1952, he performed at the New York World’s Fair in 1939. He was a member of Arthur Fiedler’s National Youth Administration Orchestra and was also a jazz musician. He attended Vermont Junior College and Boston University. Enlisting in the U. S. Army Air Corps at the start of World War II, he served as a B-17 gunner in the Air Force. His plane was shot down over Germany after nine missions, but he escaped to Sweden. Upon returning to the U.S., he became a musician with the 659 th Army Air Force Band in Plattsburgh, New York. Jerome performed with the Composers’ Conference and Chamber Music Center (Middlebury, Vermont) and was principal flutist of the Vermont Symphony Orchestra, where he met his future wife, Nancy F. Cawley. He was a flute instructor privately and at the Vermont Conservatory of Music. He was also a member of the Springfield (Massachusetts) Symphony Orchestra, de Cordova Orchestra, Cambridge Festival Orchestra, orchestras of the Opera Company of Boston and Boston Ballet, and Cambridge Woodwind Quintet. He performed with the Boston Pops, on PBS television and WGBH radio programs, and for various choral groups. From 1952 to 1984, he was a flutemaker with Verne Q. Powell Flutes, Inc., of Boston, and from 1961, as a partner with the company, served as its treasurer, clerk, and chairman of the board. His roles with Richard W. Jerome Powell included flute headjoint maker, piccolo craftsman, quality control, and customer relations. A fine craftsman of precious metal jewelry as well as decorative and utilitarian wooden objects, Jerome helped build the family log cabin in New Hampshire and a lapstrake canoe. In his younger years he was an excellent downhill skier and enjoyed the outdoors throughout his life. Flutist Alice Kogan Weinreb of the National Symphony Orchestra said of Dick Jerome: “Arriving in the Boston area in the 1960s as an eager freshman, I received a very important bit of advice at my first flute lesson with James Pappoutsakis: Order a Powell flute today! Four years later, just before my senior recital, my new Powell flute was ready. My guide and mentor through the four-year process was Dick Jerome. Dick was a soft-spoken, keenly intelligent New England gentleman. He treat - ed everyone who entered the shop (quaking student or renowned professional) with courtesy and respect. Dick was not only a master flutemaker but a fine flutist. He and his wonderful wife Nancy were active freelancers in the Boston area. They not only welcomed me into their home but got me my first gigs and taught me what was expected in preparation and deportment on the job. The Jeromes’s loving household, including three great kids and a large rambunctious dog, was a home away from home during my college years. We have maintained our friendship for decades, and in recent years my husband and I enjoyed visits to their home in idyllic Vermont. Dick continued to use his wood- and metal-working skills and always had great flute stories to recount. There was only one Dick Jerome. I will always remember him with admiration and affection.” Survivors include his wife of 56 years, Nancy C. Jerome; son Ted of W. Lebanon, New Hampshire, and his wife Lynn Sudlow; daughter Jenny Menn of Medford, Massachusetts, and her husband Eric; daughter Kitty of Northampton, Massachusetts, and her partner Maggie; and three granddaughters. At his request, his body was donated to the Dartmouth Medical School. In lieu of flowers, donations may be made to the Vermont Symphony Orchestra, 2 Church St., Burlington, VT, 05401, or VNA and Hospice of Vermont and New Hampshire, 66 Benning St., Suite 6, W. Lebanon, NH, 03784.
nfaonline.org Summer 2009 The Flutist Quarterly 69 PASSING TONES
lutist and alto saxophonist Bud Shank, whose career spanned more than a half century, died April 2 at his home in Tucson, FArizona . He was 82. Born May 27, 1926 , in Dayton, Ohio, Clifford Everett “Bud” Shank attended college in North Carolina and worked with saxophonist Charlie Barnet before moving to California in the late 1940s, where he played with trumpeter Shorty Rogers and pianist Stan Kenton. Shank was among the first of jazz musicians to explore Brazilian music, performing with gui - tarist Laurindo Almeida. Shank recorded for the Pacific Jazz label in the 1950s . He also performed with Maynard Ferguson, Bob Brookmeyer, Bob Cooper , and Indian sitarist Ravi Shankar in 1962 on Shankar’s album Improvisations . Also in the 1960s, Shank performed with such artists as Sergio Mendes, the Mamas and the Papas (including the song “California Dreamin ’ ”) and Chet Baker, who played with Shank on his 1966 album Michelle , which reached the Billboard charts. Shank later performed with bands L.A. Four and the Bud Shank Big Band and recorded for Concord, Contemporary , Candid, and Mosaic labels. He was in San Diego at work on a new album at the time of his death.
ritish composer Edward Harper, best known for his opera Fanny Robin , based on Thomas Hardy’s Far from the Madding BCrowd , died of cancer April 12. He was 68. Harper was born March 17, 1941, in Taunton, Somerset. He studied music at Oxford and was a pupil of Gordon Jacob and Franco Donatoni before settling in Scotland in the 1960s. While a lecturer at Edinburgh University, he composed his orchestral work Bartok Games in 1972. Harper founded and directed the New Music Group of Scotland and was a guest conductor with the Scottish Chamber Orchestra and the Reid Orchestra . Harper is survived by his first and third wives, Penny and Louise, and by his children, Edward and Alice, by his second wife, Dorothy .
FA Life Member and pioneering flutist Frances Blaisdell died March 11; she was 97. Blaisdell, the first woman wind player Nto play in the New York Philharmonic, was featured in the fall 2005 and spring 1986 issues of The Flutist Quarterly . She will be memorialized at a presentation at the 2009 convention in New York in August and in a future article in this magazine.
G een rou MO IN e betw nd an R T enc d s E N fer qu V E dif are E V e to N E th The Lopatin n T e e I R r h N O lo o p le G M x s E Flute Company ! Leonard E. Lopatin invites you to experience the tonal qualities and superior venting which can be achieved when you don’t cut corners. Discover why many flute professionals and serious hobbyists consider square tone holes to be a viable and desirable option, worthy Nederlands Fluit Genootschap of consideration. Dutch Flute Society Handcrafted flutesand headjointsin precious metals and stainless steel. QUARTERLY FLUIT 100% Made in America! Worldwide shipping! Leonard E. Lopatin & his SquareONE #1 M O 122 Riverside Drive, Studio C G Wordt lid en ontvang de R IN E Asheville, NC 28801 T nieuwe NFG-cd gratis! V Phone/Fax: 828-350-7762 N E E N V T w E [email protected] IN ww s.com R G .lopatinflute MO www.nfg-fluit.nl
70 The Flutist Quarterly Summer 2009 nfaonline.org 38 TH ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION
ANAHEIM , CALIFORNIA AUGUST 12–15, 2010
California, here we come, Right back where we started from…
he National Flute Association through advanced, re-entry students and held its very first convention in lifelong students of music. We welcome TAnaheim, California, August 12–15, all submissions and are particularly inter - 1973. The program booklet was only four ested in including: pages long, but the topics featured that / Yesterday –Today –Tomorrow: How year are very familiar: Sessions included reflections from the past are defining Cynthia Ellis Avant Garde Techniques and Literature, our musical tomorrows—works that Tone Production and Intonation, The honor the great traditions in our litera - Piccolo (a short title befitting a short ture as soloists and chamber players Performance submissions must also instrument), and The Flute in Chamber from any era, past to present ; include an audio recording with exact Music. There was a Concert Finale featur - / Pedagogy’s Gift to Our Craft: how timings, a list of personnel require - ing music for flute ensembles of various great teaching ensures great music- ments of suggested works, and a brief sizes, from trios to groups with percus - making at all levels ; prose bio for each performer. (Each sion, quartets , and mixed flute ensembles. / Music and Technology: Boundaries accepted presenter will be asked to Now, 38 years later, August 12– 15, stretched, new territory discovered ; submit a short bio via an online form / 2010 , we will return to Anaheim, Innovations: New ideas for the 21st- later in the year.) All proposal materi - California, the site of our very first con - century flutist from every angle: musical, als must be postmarked no later than vention . Please join me here in my physical, spiritual. October 1, 2009. home state: I wish for you an oasis of All individuals current in their asso - enrichment, stimulating concerts and ciation dues are welcome to apply. All Send materials to: lectures, and plenty of time set aside proposals must be submitted in hard Cynthia Ellis just for you and your flute! copy. Please fill out and attach a copy The program committee is now acc- of the proposal form, found on the Program Chair, NFA 2010 epting proposals. We invite all flutists to NFA Web site at nfaonline.org. California State University, Fullerton consider their potential contributions Presentations and workshop proposals Department of Music to the organization as we celebrate should include a detailed description PO Box 6850 pedagogy and performance at each and of proposed content and a complete Fullerton, CA 92834-6850 every level of musicianship, beginner list of AV equipment requirements. [email protected]
nfaonline.org Summer 2009 The Flutist Quarterly 71 NEW PRODUCTS Recordings, music, and other products by and for NFA members
Albany Records is proud to announce MSR Classics announces the the release of Asako Arai: Without American debut recording release of Borders . Repertoire includes Roberto Consolations: Romantic Music for Sierra’s Sonata, Joquín Gutiérrez Flute and Piano I , with Linda Heras’s Sonata Simple, Carlos Sánchez Marianiello, flute. Marianiello’s Gutiérrez’s “Twittering Machines,” credits include international con - Lita Grier’s Sonata for Flute and certo, chamber, and festival appear - Piano, Mario Lavista’s Elegia (a la ances. She has been a guest artist at muerte de Nacho) , and Armando Luna’s Seis Fantasias . The Yale, Cornell, Northwestern, Rhodes College, Miami music is performed by Asako Arai, flute, with Cristina Valdes, University of Ohio, SUNY Fredonia, University of Wisconsin- piano, and Ana María Tradetti, piano. After receiving a grant Madison, University of Illinois, Xinghai Conservatory of from the Mexico-USA Fund for Culture, Arai conceived the Music , and others. For this recording, she plays her 1930 idea of creating a recording that presents a wide panorama of Powell flute and is accompanied by Robert Morrison on an music for flute from both sides of the border. Arai lives and 1873 Steingraeber grand piano created in collaboration with works in Mexico City, where she is a professor of flute and Liszt and Wagner. The recording was made in Bayreuth. Visit chamber music at Escuela Superior de Música and a member of msrcd.com. several chamber ensembles, including the Mexico City Woodwind Quintet and La Camerata. She has appeared as a soloist with the Hong Kong Philharmonic Orchestra, the Emerson String Quartet, and the “Carlos Chavez” MSR Classics announces the release Symphony Orchestra, among others. She has premiered of a world premiere recording of numerous works and has commissioned new works with the Robert Raines , performing “The help of grants from Mexico’s Fondo Nacional para la Return of Odysseus ,” “ Echoes of Cultura y Las Artes and the Mexico/US Fund for Culture. Sarah,” and “Menage .” Robert Raines , who has been immersed in music, theater , and the visual arts all MSR Classics announces Live in his life , attended the High School of Concert , featuring works by Caplet, Art and Design in New York City and received degrees from Hummel, Kohler, Milhaud, Rhein- the Berklee College of Music, Shenandoah Conservatory , and berger, Taffanel et al., performed Florida State University. Parallel careers in music and visual by John Solum, flute, and Irma arts followed his education. He worked as a guitarist and Vallecillo , piano . A highly respected composer in New York, producing and performing on many mainstay of the concert hall and recordings and performances of jazz, blues , and popular recording studio for nearly 40 music. Raines has also composed a sizeable body of art and years, American flutist John electronic music, much of which has been performed and Solum is heard here in a never-before released live recording recorded throughout the United States, Europe , and Japan. of a recital he gave at Vassar College in September 1985. Visit msrcd.com. Solum’s program offers music composed from a span of more than 150 years (1814–1972). The early works are performed in keeping with the stylistic practices of their Noteworthy Duo’s debut CD, day , while the more contemporary works are performed Between Flute and Guitar , features according to today’s trends. Visit msrcd.com. flutist Lisa Schroeder and guitarist Michael Nigro on a program of music by Latin American com - CORRECTION posers. This collection showcases many prominent and lesser-known In the article, “Bright Flutes, Big City” composers of the flute and guitar (spring 2009), member names of the quartet repertoire. The music ranges from Flute Force were incorrectly listed. folkloric dances to sophisticated impressionism. Schroeder and Current members are Nigro are members of the music faculty at Vanguard University Elizabeth Brown, Sheryl Henze, of Southern California, and they maintain an active tour Rie Schmidt, and Wendy Stern. schedule throughout the year. Visit noteworthyduo.com.
72 The Flutist Quarterly Summer 2009 nfaonline.org MSR Classics announces release of Theodore Presser Company ann- the solo debut recording Scree: ounces a new partnership with Contemporary Works for Flute & flute pedagogue Amy Porter, with Piano with Elena Yarritu, flute, and the exclusive worldwide distribution Gabriel Sanchez, piano. Yarritu has of two instructional DVDs. Porter appeared as recitalist and chamber has created a new DVD using musician across the U .S. and in Telemann’s 12 Fantasias for Flute Europe, Scandinavia, The Nether- to demonstrate performance tech- lands , and Moldova, where she was the featured soloist with niques. Also available is Porter’s the National Philharmonic in Mozart’s Flute Concerto in D. DVD employing Karg-Elert’s 30 Yarritu is also a regular lecturer and performer at colleges and Caprices in a similar fashion as universities throughout the U .S. In New York, she premiered teaching tools for improving per - Mike Mower’s Flute Sonata No. 3 at Weill Recital Hall and formance on the instrument. Amy Porter is a three-time Samuel Zyman’s Flute Sonata at Merkin Hall; both works are international prize-winning flutist, notably the Third Kobe featured on this recording. Her performance of Moyse’s tran - International Flute Competition in Japan. A native of scription of Debussy’s Claire de Lune , Martin’s Sallade , and Wilmington, Delaware, Porter has appeared as soloist with Amirov’s Six Pieces round out the repertoire on this solo the Atlanta, Houston, New Hampshire, Kansas City, and debut. Visit msrcd.com. Ann Arbor orchestras. She has performed at major music centers including Carnegie Hall, the Kennedy Center, Suntory Hall , and the National Theater Concert Hall in Flutist Samantha Chang has released Taipei, Taiwan. Visit presser.com . her debut album, Flute Sketches , a mosaic of flute favorites. The CD features familiar and previously The new CD from Harmos Late undiscovered gems in flute solo and Romantic explores the repertoire of ensemble repertoire. Two Canadian works for flute and piano of the late premieres are also included in this Romantic period, assembled, tran - recording, Mizi Tan’s “A Caged scribed , and performed by Portuguese Partridge’s Longing” and Tod Paul flutist Luis Meireles. Included is an Dorozio’s “The Exodus Partita.” Pianist Ellen Meyer joins original suite for flute and piano by Chang to perform classics by Woodall, Taffanel, Schulhoff, Charles-Marie Widor and transcrip - and Reinecke. Cellist Amy Laing and violinist Khai Nguyen tions of violin sonatas by Gabriel Pierné and Richard Strauss. perform with Chang in “Oblivion” by Astor Piazzolla and Meireles partners with pianist Maria Jose Souza Guedes to per - “Four Sketches” by Eugene Goossens. Chang toured form on a modern wooden flute that combines the technical throughout Canada in March and will tour Asia in late capabilities of contemporary instruments with the tone quality 2009. Visit samanthaflute.com. of the wood. Visit harmosrecords.com .
Rhonda Larson and Wood Nymph Blocki Flute Method presents Music are pleased to announce the Pneumo Pro Wind Director the release of new play-along CDs (patent pending), with a new for flute players, Music-PLUS- design. With the Pneumo Pro You! There are three complete inserted into the body of the titles per CD set, which come with flute, the student can play while additional tracks for each piece in the teacher checks the flexibility, various forms. These two sets of direction, and speed of the air CD play-along backing tracks column. A student having difficulty with intonation on an include solo flute parts in sheet exercise can replace the headjoint with the Pneumo Pro to music form, with some pieces “see” that the air column is spinning the lowest wheel containing special annotations to quickly during the fortes, and gradually change to a slow help you lead the tracks more precisely. Set 1 titles include spinning upper wheel for the pianissimos. Advanced flutists Larson’s compositions “Sweet Simplicity ”; “ The Gift; ” and will find the new Pneumo Pro beneficial for refining tone “Whispering Hope.” Set 2 contains “The Way of the River ”; production, double and triple tonguing, flexibility between “The Boatman (Larson/Trad. Celtic) ”; and “Slow Tears ” (for octaves, and advanced techniques such as multiphonics. alto or C flute). Visit rhondalarson.com. Visit blockiflute.com.
nfaonline.org Summer 2009 The Flutist Quarterly 73 RREEVVIIEEWWSS Reviews of flute-related recordings, books, and other items of interest
Flute music by Alessandro Rolla (1757–1841) Reviewed by John Wion
Scores
Concerto in D Major for Flute and Orchestra [“Dubrovnik”] (score) © 2007 Sugarmusic S.p.A. Milano Concerto in D Major for Flute and Orchestra [“Verona”] (score and parts) © 2006 Rugginenti Editore RE50891
Divertimento for Flute, Violin, Two Violas, and Cello BI 427 bis © 2008 Sugarmusic S.p.A. Milano Divertimento or Sestetto for Flute, Violin, Two Violas, and Cello and Piano BI 433 © 2008 Sugarmusic S.p.A. Milano
— From Rolla Critical Edition under the supervision of Mariateresa Dellaborra Edizioni Suvini Zerboni, S.13056 Z (2007), S.13194 Z (2008), S. 13192 Z (2008)
lessandro Rolla, violinist, violist, composer, teacher, CDs (Mario Carbotta, flutist) Aand a leading figure in Milan’s musical life for almost 40 years, was a contemporary of Mozart, being born just a Flute Chamber Music year later. He was the concertmaster at La Scala and taught (two divertimentos and two quartets) at the Milan conservatory from its founding in 1808. He © 2008 Dynamic CDS 594 was also a prolific composer of a variety of types of music. At a time when the primary interest of Italian audiences was Concerto for Flute and Orchestra the opera, he was active in supporting and creating instru - mental music. This was played in the homes of wealthy [“Verona”] amateurs by those who had developed virtuoso skills, along © 2003 Dynamic CDS 429 with soloists from the opera orchestra. One such amateur was Giovanni Ballabio, a private student of La Scala’s flutist, Six Duets for Flute and Violin Giuseppe Rabboni, and it was for him that the two diverti - © 2001 Dynamic CDS 371 menti noted here were written .
74 The Flutist Quarterly Summer 2009 nfaonline.org Quartets for flute and string trio were a very popular form written for a Milan Conservatory graduation perform - of composition for use by amateurs (and Rolla’s two ance, possibly by Rabboni, who was there until 1817. The described below are typical), but the addition of a second piece is well crafted in three traditional movements, of viola seems to have been an indication of a more serious which the first is the most substantial. A brief Larghetto in goal, and such a composition was quite often written in a G Major is followed by a bright Rondo. In a nice touch, minor key. These quintets were most often written by the publisher includes a Web site where the solo flute part German composers, such as the Romberg cousins, can be downloaded. Kuhlau, Spohr, and Molique, but both Berbiguier and While the Dubrovnik concerto could make a nice Cambini wrote for the combination too. choice for a talented high school flutist, the Verona one is Rolla’s quintet (BI 427 bis) is in three movements. The a gem, and clearly written for a virtuoso performer. A first, a strong Allegro spiritoso in G minor, shows, with its brief, slow introduction leads into an extended Allegro powerful opening and syncopated string accompaniment exposition. Once the flute makes its solo entrance, it com - to the lyrical flute, just how skillful a composer he could mands the rest of the movement with charming melody be; and the treble-clef solo for cello shows the level of his and impressive filigree. There follow a lovely Adagio of intended performers. The second movement is a set of expressive sensitivity as if it were an operatic aria, and a virtuosic variations, mostly for the flute, on Paisiello’s brilliant Rondo variato. There is barely a cloud in the aria, Nel Cor Piu, known to flutists everywhere from sky—just Italian sunshine in this concerto. Böhm’s treatment of the same theme. The third move - ment is a charming Rondo, again featuring the flute. The talian flutist Mario Carbotta, who helped with editing the preparation of this first edition from the manuscript Iabove flute parts and provided cadenzas for the concertos, owned by Northwestern University is impeccable, and I is an active performer in Europe and the Americas. He is an hope that flutists will hasten to add it to their libraries and excellent flutist who shows sensitivity and elegant phrasing their repertoire. in lyrical music and has no trouble where virtuosity is The sextet (BI 433), on the other hand, appears to be demanded. In addition to his contribution to the three unique for this combination of instruments. It was writ - Rolla CDs, he has recorded music of Viotti, Mercadante, ten for the same Ballabio around the same 1820–30 time, Pilati, Sammartini, Fürstenau, and Rota. His solo per - and one presumes it was written specifically for an occa - formance makes a particularly good case for the “Verona” sion when these particular instruments would be avail - concerto, which is contained on a CD with Rolla’s basset able. Again the informative first edition has been impec - horn concerto and two symphonies. cably prepared from the composer’s manuscript, held in As indicated above, the two divertimentos are the meat this case by Stanford University. The piece, in three C of the chamber music CD and are played with style and major movements, is shorter and less substantial than the elegance. The two quartets that fill out the CD, published quintet. The opening Andante shares its melodic material as opus 2 in Rolla’s lifetime, are each in three move - between the flute, violin, and piano. The central move - ments—Allegro, Largo, and Rondo. The first is in E minor ment is a Minuetto whose trio section features a high- and the second in C major. Both, if not inspired, are pleas - voiced cello line. The finale consists of a theme with vari - ant, well written, and well played. ations for the violin, flute, cello, and piano, and a coda in The six duets with violin form two sets. The first set of 6/8 led by the flute. One can imagine the pleasure given to three was published about 1828. Its first two duets are in both performers and audience when this divertimento two movements—slow, fast—while the third, a bit more was first heard, and it will surely bring similar pleasure substantial, adds a central theme and variations. The writ - nearly 200 years later. ing is virtuosic for both instruments, and the perform - Rolla’s chamber music, while generally unknown to ances are terrific—well balanced and with impeccable modern audiences, was at least catalogued—not so his intonation. The second set was published a few years later. two flute concertos, both in D major. One has recently The duets are each in two movements, but here the violin come to light in the form of a manuscript in the archives plays a more accompanying role to the flute. Again, the of the Samostan Male Brace in Dubrovik; the other is in music is charming and excellently performed. Separating the manuscript collection of the Accademia Filarmonica the two sets on this CD are three fantasies for viola. The di Verona. Both are scored for strings and pairs of oboes recorded quality of all three CDs is excellent. We are and horns. indebted to Mario Carbotta and his fine colleagues for In neither case is the date or the circumstances of com - introducing us to Rolla’s music and suggesting him as a position known. However, the editor of both, Mariateresa composer worthy of new consideration. Dellaborra, supposes that the first could well have been —John Wion
nfaonline.org Summer 2009 The Flutist Quarterly 75 Books
Improvisation beneficial and raises the ability to play a score, Games for Classical but it is still reading from a score in the mind and Musicians does not require the depth of knowledge that an Jeffrey Agrell improviser needs to make instant informed choices from one note to the next. © 2008 GIA Publications Chicago These claims notwithstanding, Agrell fills his text with the wisdom that comes only from years of experience as both a here is hardly a “how classical musician and improviser. Tto” book available that purports to serve There is little doubt that classical musicians can grow virtually all readers, re- enormously by feeling part of the creative process. The gardless of background. author provides an exhaustive set of games for getting from Agrell attempts to strad - here to there. These games are designed to develop listening, dle this gap. Despite the melodic, technical, and motivic chops. They are created for title’s seeming focus on nearly any number of players to work on simultaneously. “classical” musicians, Some games merely encourage spontaneity; others much of his content is designed for young players, profession - require pitch/interval memory or sharpen harmonic skills, als, jazz players, teachers, music therapists, orchestras, choirs , and explore a structural basis for improvisation. Many exer - and even conductors. He writes, “…for performers, educators cises are attractive to young players, while others require and everyone else!” The author does his best to make the point more sophistication. that all who consider themselves complete musicians should Especially interesting is a comprehensive musicianship sharpen their improvisational skills. chart outlining the pluses and minuses of literate (note- Improvisation Games evolved from Agrell’s long experi - reading) vs. aural traditions. Agrell looks at each approach ence as a classical horn player. He teaches an improvisation from the perspective of technique/practice, music theory, course for classical players at the School of Music, tone/timbre, rhythm, style, aural ability, process, motivation, University of Iowa. The techniques described in this massive composition, and the role of the player within a group. tome have been drawn from his number of years teaching this His games based on non-traditional scores provide maximum course. The author states, “I didn’t improvise on the French freedom within the grip of graphic notation assembled by the horn for 41 years…”; however, he enthusiastically embraces players themselves. Conducting games introduce “sound - his improvisational background as a guitarist in folk and painting,” a rather unfamiliar approach to improvisation in jazz styles since the age of 15, and also his theatre improv the U.S. that’s more familiar to European audiences. experience during his college years. This past history serves Soundpainting was invented by Walter Thompson in New him well, as he provides more than 500 exercises, or York more than two decades ago. Agrell states that there are “games,” leading players of various disciplines into the several professional soundpainting orchestras, located in world of improvisation. Europe, Chicago , and New York, plus amateur groups at colleges Agrell presents the dichotomy between the paths of skill and universities in this country. Professional ensembles may acquisition typical of most classical musicians and those have nearly two hundred “gestures” in this style. A number of belonging to the improvising player. Such skills acquired by conductors have even brought audiences into the soundpainting the latter are not separate from what classical music demands, event. (More information on soundpainting can be found at but rather lead to a greater sense of freedom to get inside the soundpainting.com .) music, and are a process that allows the performer to become An extensive section near the end provides sources more “creative” rather than “re-creative.” His arguments are including online articles, books, and links to workshops, well-grounded. concerts , and lectures. In the process of driving this point home, he occasionally Improvisation Games is not meant to be read cover to engages in hyperbolic oversimplification of the classical cover. It is a broad resource for all musicians interested in experience. diving into the improvisation pool, whether entering head- first or perhaps only after a tentative testing of the waters Although our vision gives immediate access to with the toes. It is for the faint-at-heart and for those with a the music, in the end, it slows us down because bold streak who wish to energize their musical life. Let the we can only play as fast as we can read. games begin! …Classical players often memorize…which is —Brooks de Wetter-Smith
76 The Flutist Quarterly Summer 2009 nfaonline.org Books
The Expression This interesting book is the latest in Southworth’s range of of Colour exercises. Well presented, the text is simple and easy to follow, Clare Southworth while the musical examples are taken mostly from well-known Just Flutes Edition repertoire, so the ideas can be immediately applied to “real life” situations. Southworth states that expressive playing is created through a combination of color, dynamics, vibrato , lare Southworth, pro - and emotion, and the book falls into these four sections, fessor of flute at the C encouraging the player to explore aspects of the music beyond Royal Academy of Music, the technical demands of the fingerwork. The cleaer explana - has written course work for tions are explained in a functional, friendly, and unpatronizing teacher development pro - way, making this book suitable for players of different ages, grams and directed a sum - and the level of the musical examples makes them ideal for mer school for more than 15 players of intermediate standard. The concepts presented in years. Her previous books this book are things that no musician should overlook, and include Flute Aerobics, Light this particular volume is a good place to start exploring them. Aerobics, and Sequentials. —Carla Rees CDs Places in the Spirit: Kim Sopata, whose passion is Arabic music, guided me to The Holy Land. the composer Avi Eilam Amzallag. His “Mawal” is at the cen - Music and Images ter of this collection of songs. It is a meditation in the clas - inspired by Israel sic improvised Arabic style. I am so grateful to both of these wonderful people.” Paula Robison, music; “Yadin’s Song” is a tribute to Yadin, subject of Leonard Jim Schantz, images Bernstein’s Halil for flute and orchestra . Robison has taken a love - © 2008 Pucker Art ly melody by Ariel Silber that Yadin himself recorded, and, with Publications Frederic Hand, arranged it in his memory for inclusion in this collection. Also included are Massenet’s “Meditation from his exquisite little 8x8 gift-quality volume with accompa - Thais” [“a response to our moments of contemplation”] and nying CD begs to be purchased, shared, and treasured. I T “Ave Maria,” Charles Gounod’s homage to a prelude by J.S. Bach. only wish I could reproduce all of Paula Robison’s two-page “There were constant reminders of the fragility of life,” story of her travels with Jim Schantz and Bernard Pucker to writes Robison, “especially in a part of the world where ordi - the Holy Land and her description of her searches for the per - fect music to express the solemnity, loveliness, and intensity of nary life ambles forward one moment and is shattered and this land where three of the world’s major faith traditions destroyed the next.” Recognizing this, she has chosen for inclu - come together to express the Jerusalem of hope for the future. sion “Blue,” by Bruce Stark, originally written as a requiem Her choices include various traditional hymns (“Shall We after the attacks of September 11, 2001. Stark himself has ded - Gather at the River,” “The King of Love My Shepherd Is,” “We icated this piece for this recording: “To the people of all are Climbing Jacob’s Ladder,” “Wondrous Love,” “Let All nations whose lives are lost in terrorism or war, and to their Mortal Flesh Keep Silence”), traditional Jewish meditations loved ones.” and prayers (“Raisins and Almonds,” “A Prayer at the Western All of these instrumentalists—Frederic Hand (guitar), Wall”), and some of Robison’s favorite compositions from her Nancy Allen (harp), Steven Beck (piano), and Adam years as a young flutist (perhaps those years when our emo - Abeshouse (violin)—have done fine, sensitive work. The tional/spiritual sensitivities lie closest to the surface), includ - arrangements of the traditional melodies showcase a modern ing “Night Soliloquy” (Kennan) and “Serenade” (Hanson). sensibility, some beautifully appropriate jazz licks (Hand’s Searching for appropriate Arabic music set some particular arrangement of “Jacob’s Ladder” is especially memorable), challenges for Robison: “I searched for music from Arabic tra - and lovely collaborations. ditions, and found immense beauty and often immense pain The collection concludes with the “simple beauty of ‘I Wonder when I listened to Palestinian songs...The music is so complex, as I Wander’ by the American composer John Jacob Niles” in many-hued, and virtuosic both in mind and spirit. I was dis - tribute to, as Robison writes, our “one human fami ly.” couraged and then suddenly, a smiling gift arrived. The flutist —Cynthia Stevens
nfaonline.org Summer 2009 The Flutist Quarterly 77 CDs A Silver Christmas The opening jazz rendition of “God rest ye merry gentlemen” Rebecca Hovan is well put together and convincingly played. Other tracks have © 2008 Rebecca Hovan similar variety, heard in Hovan’s own arrangements for differ - Enterprises ent instrumental combinations, such as multiple flute versions of “Away in a Manger” and “Carol of the Bells” and the hyp - would be the first to notic “O Come, O Come Emmanuel.” The “Old St. Nick Rag” Iadmit that I am not a big adds a wonderfully humorous element to the proceedings, fan of holiday CDs, but while the jazz version of “Silent Night” is smooth and atmos - every now and then I am pheric. With a CD of such variety, it is quite likely that listen - very pleasantly surprised. ers will have some favorite tracks and some with which they This is one such occasion. are less taken, but the arrangements are handled well and per - Rebecca Hovan’s CD contains well-known and popular carols, formed with style. each performed with a new twist that keeps the music fresh. —Carla Rees
Take The L Train, they do have is some interesting material which they execute Forbidden Flutes with great aplomb. Indeed, their flawless execution leaves the Laura Barron, Liesa material itself as the only issue. Norman On that issue I am ambivalent. These are, in many ways, © 2008 Forbidden Flutes attractive compositions: “Purple Phobia,” described as “a Prokofiev -inspired jazz original,” and “Foxtrot Fantasy,” “a eja vu ! I wrote in an theme and variations on classic jazz standards composed in earlier review in this D the Doppleresque -style popularized by two flute and piano magazine: “The first thing musicologists do when they ensembles of the 19th century,” gives a sense of both the nature hear any performance of the material and the sense of fun, perhaps whimsy, with which (especially if they have to review it!) is to determine to what it is approached. Taken in that spirit, this is a highly enjoyable set, genre it might belong.” I could have written exactly the same and I am sure that, if published, these arrangements will be wel - thing about this recording. Forbidden Flutes (with Laura comed by flutists who like to hunt in pairs. Barron and Liesa Norman, flutes; Jeff Scharf, guitar; Jeffrey There is one caveat here for me, however. “Purple Phobia” is Sykes, piano; William Fawcett, bass; and Laurie Lyster, percus - an attractive piece, but jazz it is not. On the other hand, Chick sion) describes itself as “an eclectic ensemble which pushes the Corea’s “Addendum” sounds beautiful in Forbidden Flutes’ boundaries of classical music.” The plot thickened when I treatment. Many jazz performers, including Corea, Paquito loaded the recording into iTunes, en route to my iPod, and the D’Rivera, Wayne Shorter, and others are having success in cre - program classified it as unclassifiable. In fact, the music occupies an area between jazz, classical, ating contemporary compositions. It seems to be harder for and popular genres, from which, over the past five years, the musicians trying to go in the other direction. There are quite ensemble has assembled a repertoire that ranges from Astor a few quasi-jazz works available for flute, from the Piazzolla to Radiohead. Its members claim to be following the Rampal/Bolling work to some of Ian Clarke’s pieces. They are less beaten track followed by such artists as the Kronos all interesting, often enjoyable, as on this fine recording. But Quartet and Keith Jarrett. They don’t have the intensity or please, also explore the real thing! range of Kronos or the improvisatory flair of Jarrett. What —Peter Westbrook
Michael Nyman, his esteem amongst colleagues will further increase upon Yamamoto Perpetuo hearing this CD. The flute player in the Michael Nyman Band for Solo Flute for several years, Findon has transcribed this 37-minute solo flute work from an earlier version for violin. The piece is in Andy Findon 11 varied movements that range from expressive lines to ©2008 feats of virtuoso brilliance. The compositional style is char - acteristic of Nyman, with syncopations and minimalist ges - ndy Findon is the tures clearly influenced by earlier musical styles. This is an Aundisputed king of epic work, which Findon performs here with obvious musi - session playing in the U .K., cality and impressive technical control. Unmissable. and I have no doubt that —Carla Rees
78 The Flutist Quarterly Summer 2009 nfaonline.org CDs American Much of the same praise can also be sung with respect to Reflections the performance of Lukas Foss’s Three American Pieces for Leonard flute and piano (1944–1945, rev. 1993) . Although some of the brilliant third register work in “Early Song” moves dan - Garrison gerously close to problematic pitch (some sharpness), the © 2008 dynamic control is impressive, and Garrison nicely avoids Albany Records the overuse of vibrato, touching the melodic line only sparingly and always appropriately, especially noticeable in his CD features two “Dedication.” The energy and excitement of “Composer’s TRobert Beaser compo - Holiday” (always an audience favorite!) is palpable. sitions . Souvenirs for pic - Garrison’s playing here dances with exuberance; the colo and piano (2002) singing/playing sections are nicely tuned. contains six miniatures , of which the longest, “Spain ,” is The Variations on a Swedish Folktune for solo flute (1945) just under six minutes, while the shortest, “Happy Face,” is by Ingolf Dahl runs the flutist all through the register about two minutes. Garrison and pianist Jonathan Sokasits render these evocative little pieces with the lyrical sensitiv - ranges, bouncing with apparent unconcern as to the ity and joyfulness that each requires; the piccolo playing is pyrotechnics required of the embouchure, for which reason sophisticated and even elegant. “Y2K” evokes all the ques - it has always been a pedagogical favorite of mine. While few tioning and uncertainty of mood we remember from that young students can manage the leaps and bounds of these millennial turning. Variations for flute and piano (1982) variations, their studied attempts invariably strengthen the may perhaps be more familiar to listeners. Garrison exe - lips and lead to the development of their necessary flexibility. cutes each of the variations with appropriate technical Garrison demonstrates an enviable tonal consistency I know virtuosity, but what I most enjoyed, as in the piccolo and I’ll play for them as a model to be emulated. Again, his careful piano composition, was the sensitivity with which pianist avoidance of unconscious vibrato adds to the melodic sophis - and flutist seemed attuned to each other’s music-making. tication. All in all, a CD I am pleased to have added to my There is no unnecessary haste here, no apparent anxiety, to personal library. conclude the musical conversation. —Cynthia Stevens
Nino Rota: well-matched players. The second movement is simple and Improvviso mournful, and expressively performed. The piece ends with a Albatros Ensemble highly enjoyable florid waltz . The Cinque pezzi facile per Flauto e Pianoforte were written a little before the duets, and are a set © 2008 Stradivarius of five simple melodies, each with its own individual charac - ters. The Allegro veloce for flute and piano is, as the title sug - his disc of works by gests, a virtuoso display with charm and energy. With a dura - Nino Rota is recorded T tion of under two minutes, this wonderful miniature would by the Albatross Ensemble, featuring flutist Stefano make an excellent encore piece for a recital. The final track is Parrino, with Alessandro the Rotafantasy , a trio arrangement by Rocco Abate that brings Marangoni on piano, Alessia Luise on harp, and Giovanni together many of the film soundtrack themes that Rota is Crola on flute. The opening track is the arresting Trio for known for, including La dolce vita and I Clowns . The disc also flute, violin , and piano, a dramatic piece of writing with its features two wonderful performances of works for violin and turbulent first movement, passionate central movement , and piano, the Improvviso and the Sonata for violin and piano . dazzling finale. The Sonata for flute and harp is an expressive This is a highly enjoyable disc of repertoire not previously and characterful three-movement work and a gem in the known to me. The Albatros Ensemble perform with flair and repertoire. Tre Pezzi per due Flauti (three pieces for two flutes) serve as excellent ambassadors for Nino Rota’s excellent music. begins with an imitative movement performed here by two —Carla Rees
Many thanks to our team of reviewers: Robert Bigio, Mia Dreese, Pat George, Susan Goodfellow, Erich Graf, Amy Hamilton, Kimberlee Goodman, Julie Koidin, Walfrid Kujala, Brian Luce, Ruth Ann McClain, Tess Miller, Susan Nelson, Keith Pettway, Jerry Pritchard, Carla Rees, Cynthia Stevens, Peter Westbrook, Brooks de Wetter-Smith, John Wion, and the members of the Newly Published Music Competition Committee.
nfaonline.org Summer 2009 The Flutist Quarterly 79 CDs Air: Debussy and the program and sets the standard very high. Two other Takemitsu Debussy pieces are featured here —Syrinx and the Sonata for Joshua Smith flute, viola, and harp . Smith’s rendition of Syrinx is refresh - ingly rhythmic and does not indulge in over-stylized © 2008 Yolanda romanticism. As such, this is one of the most enjoyable Kondonassis and Oberlin recordings of this piece I have heard recently. The Sonata is Conservatory; Telarc equally impressive, played with wide-ranging expression and International true sensitivity. Takemitsu is represented with three works, And then I Knew ‘Twas Wind for flute , viola , and harp; his is a delightful CD of Toward the Sea II for alto flute, harp , and strings ; and Air for Tworks for flute, harp , and viola by Debussy and solo flute. And Then I Knew ‘Twas Wind takes its title from Takemitsu. (In addition to Joshua Smith on flute, Yolanda an Emily Dickinson poem, and is a 12-minute impressionis - Kondonassis is on harp and Cynthia Phelps viola, with tic work clearly demonstrating Debussy’s influence. Toward Bridget-Michaele Reischl conducting the Oberlin 21.) The the Sea is perhaps one of Takemitsu’s best known and most pairing of these two composers works well, with Takemitsu well-loved flute works, composed originally for alto flute citing Debussy as a major influence on his compositional and guitar as a response to Greenpeace’s Save the Whale style. The recordings here are polished and extremely enjoy - campaign. This performance is again excellent and demonstrates able; Kondonassis’s ravishing performance of Debussy’s a real affinity with the music. Air is given an equally convincing Danses Sacrée et profane with the sumptuous accompaniment and enjoyable performance. Highly recommended. of the newly formed and truly excellent Oberlin 21 opens —Carla Rees
Flute Chamber Music sense of ensemble , and the music has a strong sense of iden - by Michael Kallstrom tity. “Dreams and the Shore ” has a more ethereal ambience, Heidi Pintner with a strong eastern influence, conjured up by exotic per - cussion and hauntingly muted vocal effects. The rhythmic ©2007 Centaur Records, energy returns in “Bright Names, Burning Lights ” for flute Inc. and piano. This is a three-movement sonata, with the first movement featuring syncopations and toccata-like repeat - ichael Kallstrom is ed patterns. It is a dazzling movement, full of life and ener - Ma prolific composer whose works cover a range gy, and given an excellent performance here. Souls and of genres from chamber Sounds is a substantial work in six movements for flute, music to choral music and bass voice , and piano, with a combined duration of nearly electronic music. This CD half an hour. The vocal line is once again quiet in the bal - features some of his flute works, performed by Heidi ance, and I would have liked it to be more present to allow Pintner (with Michelle Fiala, oboe; John Cipolla, clarinet; the text to come through. The movements each take on Kallstrom, bass voice; Donald Speer, piano; and Mark Berry, individual characters, and the vocal movements contrast percussion) . “ It Had to Be ” is a quartet for flute, oboe, clarinet, well with the rest of the piece. and piano performed with energy, precision, and an excellent —Carla Rees Music
Eau Calme, eau vives for rhythms forming an atmospheric sense of the water suggested three flutes in the title. A simple melody line passes between the parts, as the music gradually builds up in pitch, dynamic, and speed Caroline Charrière toward a central section made up entirely of trills. The open - © 2008 Editions Bim ing material then returns before the ending, which is once again calm. This effective piece provides excellent rhythmic his three-minute piece for training, switching as it does among eighth notes, triplets , and Tflute trio is an interesting syncopations. The trills also provide a rhythmic and technical addition to the repertoire, with challenge for intermediate players. repeated note patterns and —Carla Rees
80 The Flutist Quarterly Summer 2009 nfaonline.org Music Joseph Fahrbach the melody lines are heard in the first part. The edition is Prima Fantasia extremely well presented, although the page turns could have been better thought out and the preface, containing useful for three flutes information about the work’s background , is printed only in © 2008 Edizioni Riverberi Italian. There is less technical display in this work than I had Sonori anticipated (I had in mind the fantasias of Andersen or Böhm, or Borne’s Carmen Fantaisie ); in fact, apart from a few pas - his is a substantial work for sages (mostly in the third part) , the piece is technically quite Tthree flutes, in the form of a straightforward and would be easily performed by advanced fantasia on themes from Verdi’s students. Potentially an enjoyable piece for performers and Aida . The parts are quite equal audience, this contains expressive moments, fanfares, and big in terms of technical demands tunes —ideal for opera fans! and interest, although most of —Carla Rees
Italian Vocal Classics and the Intermezzo from Mascagni’s Cavalleria Rusticana . Judith Katz, arr. Arranged with young players in mind, the individual parts are uncomplicated, with the first part staying mostly within the © 2008 Imagine Music second octave and going no higher than an E. The rhythms in Publishing the accompanying parts are straightforward and allow for the development of tone and intonation within an ensemble con - he two Italian vocal classics text. The edition is well presented and provides informative Tarranged here for flute trio background information to the works. are the Mattinata by Leoncavallo —Carla Rees
Vuelvo al sur: 10 tangos excellent teaching material for students venturing into the and other pieces (with CD) high register for the first time. The well-produced accompani - ment tracks help to give the flute player a sense of the tango Astor Piazzolla style and interpretative ideas about how to approach the © 2006 Lime Green Music Ltd./ pieces. Subtle rubato is built in to the backing tracks at times , Boosey & Hawkes too, allowing space for musical playing. The CD also contains PDF files of printable piano accompaniments, simple but he arrangements in this vol - effective , and a welcome addition. This enjoyable volume Tume of tangos and other serves as a good introduction to Piazzolla’s works. pieces by Piazzolla are of moder - Recommended. ate difficulty and would serve as —Carla Rees
Intermezzo for and is a well-composed miniature of moderate difficulty. The flute and piano melodic lines are fluid and lyrical, giving much space for expression and rich sonorities. The simple piano part under - Richard Lane pins the solo flute line with some interesting harmonic ideas. © 2006 Editions Bim This would make a lovely inclusion into a recital program or would work well as teaching material for intermediate stu - his simple, three-minute dents in developing tone colors and expressions. Twork was composed in 1987, —Carla Rees
nfaonline.org Summer 2009 The Flutist Quarterly 81 Items Received March 1, 2008 , to March 1, 2009
Books A Falls House Christmas (25th anniversary) Lipstick The Expression of Colour Nashua Flute Choir, dir Eileen Yarrison Katherine Kemler Clare Southworth © 2007 Falls House Press © 2008 Centaur Records Inc. © Just Flutes Flute Chamber Music Lua e Sol Fundamentals of Musical Performance Alessandro Rolla Mark Weinstein Zdenek Bruderhans © 2008 Dynamic © 2008 Jazzheads, Inc. © Zdenek Bruderhans Flute Chamber Music by Michael Kallstrom Michael Nyman, Yamamoto Perpetuo Improvisation Games for Classical Musicians Heidi Pintner for Solo Flute Jeffrey Agrell © 2007 Centaur Records, Inc. Andy Findon © 2008 GIA Publications Chicago © 2008 Chester Music Ltd. Flute Flavors Paul Fried Vivaldo’s Music for Flute and Recorder Mosaic © 1993 Golden Tone Records Federico Maria Sardelli, trans. Michael Cristina Ledford, Piccolo Talbot Ashgate, in association with Istituto © 2008 Emeritus Recordings Flute, Naturally Italiano Antonio Vivaldo Mary Jo White © 2007 Federico Maria Sardelli Mozart © 2008 Mary Jo White Paul Fried © 1995 Golden Tone Records CDs Flute Salad Air: Debussy and Takemitsu Jesse Barish Music of the Superpowers Joshua Smith © 2008 Void Echo Records Brian Luce © 2008 Yolanda Kondonassis and Oberlin © 2008 Albany Records Conservatory; Telarc International Flute Sketches Samantha Chang The New Lyric Flute American Reflections © 2009 Imagine Sound Studios Susan Royal Leonard Garrison © 2007 Centaur Records, Inc. © 2008 Albany Records Flutronics Marianne Leth Nino Rota: Improvviso Anton Reicha Woodwind Quintete © 2006 Royal Academy of Music, Albatros Ensemble Vol. 11: Op. 100, Nos. 3 & 4 Arhus/DIEM Studio © 2008 Stradivarius Westwood Wind Quintet (CD/DVD) © 2008 Crystal Records O Holy Night Heavy Flute Robb Hunt Karen Smith Boismortier Concertos for Five Flutes © 2008 Sunday Morning Music Stephen Schultz © 2009 RMHA © 2008 Dorian Recordings Johann Nepomuk Hummel, O’Reilly Street Chamber music at Schönbrunn James Galway, Tiempo Libre Carl Vine: Sonata for Flute (and others) © 2008 Sony BMG Music Entertainment Alexa Still Red Cedar Chamber Music (Jan Boland) © 2007 Fleur de Son Classics, Ltd. © 2008 Koch International Classics Piccolo et Flûte à l’Opéra Johann Sebastian Bach Sonatas for Flute, Jean-Louis Beaumadier, picc, Chamsin: A Music of Reconciliation Harpsichord and Cello Continuo Shigenori Kudo, flute Yochanan Sebastian Winston & Paul Fried © 2008 Skarbo Carl Hammond © 1993 Golden Tone Records Places of the Spirit: The Holy Land Classified Konichiwa Paula Robison Brubeck Bros and Imani Winds Laurel Ann Maurer © 2008 Pucker Art Publications © 2008 Koch International Classics © 2008 Maurer and Huckett Revelations Consolations La Flûte Française Robert Willoughby Linda Marianiello Paul Fried © Boston Records (no year provided) © 2008 MSR Classics © 2005 Golden Tone Records Revolution Dois no Choro, Asa Branca Late Romantic: Widor, Pierné, Strauss Marianne Gedigian Julie Koidin Luis Meireles © 2006 Longhorn Music, © 2008 Laughing Buddha Music © 2008 Hermos Records University of Texas at Austin
82 The Flutist Quarterly Summer 2009 nfaonline.org Robert Fruehwald: Cinco Piezas Kol Nikrei, Max Bruch Music for Flutes and Guitar Astore Piazzolla ed., James Galway Leslie Marrs © 2008 Bèrben © 2004 Theodore Presser No date, Friends of Drake Arts and SE Missouri State University Classic Solos for Flute Le Grand Tango Mary Karen Clardy Astore Piazzolla Robert Raines—The Return of Odysseus; © 2008 Universal Edition © 2008 Bèrben Echoes of Sarah; Menage Robert Raines Dialogue for flute and piano Parting Gallery Nite-Walk © 2008 MSR Classics Richard Lane Meyer Kupferman © 2006 Editions Bim © 2008 Soundspells Productions Scree: Contemporary Works for Flute and Piano Elena Yárrito Dissimilitudes , flute septet Rondo alla Turka © 2008 MSR Classics Joe Miserendino W.A. Mozart, arr. David Overton, ed., © 2007 Wehr’s Music House James Galway Septet Solace © 2006 Theodore Presser Jamie Baum Divertimento for flute, violin, two violas, © 2008 Sunnyside Communications, Inc. cello, piano , Alessandro Rolla Swinging Romantic Play-Along: 12 Pieces Braithwaite & Katz © 2008 Sugarmusic S.p.A. Milano from the Romantic Era Mark Armstrong A Silver Christmas Divertimento Ossia Sestetto for flute, violin, © 2008 Schott Music Rebecca Hovan two violas, cello © 2008 Rebecca Hovan Enterprises Alessandro Rolla Tchaikovsky’s Greatest Melodies © 2008 Sugarmusic S.p.A. Milano arr. Dan Fox , ed., James Galway The Solo Flute: Past to Present © 2007 Theodore Presser Mary Karen Clardy Eau Calme, au vives for three flutes © 2007 Encore Performance Recordings Caroline Charrière Three Miniatures for Flute and Piano © 2008 Editions Bim Anthony Plog Squarely in the Holiday Spirit! © 2007 Editions Bim Leonard Lopatin Flute Etudes Book 2 © 2008 Leonard Lopatin Mary Karen Clardy Three Pieces for Flute Choir Take the L Train © 2008 Schott Music Corp. by Clifford Benson Forbidden Flutes arr., Trevor Wye (Laura Barron, Liesa Norman) Flute Prep Test © 2008 Falls House Press © 2008 Forbidden Flutes Associated Board of the Royal Schools of Music 12 Easy Exercises, op. 33, book 1 Two Sextets for Piano and Winds, Ludwig © 2008 ABRSM Publishing Ernst Koehler, ed. James Galway Thwille and Joseph Rheinberger © 2006 Theodore Presser Baird Winds Giulio Briccialdi © 2008 Ballpark Records 24 Studies for Solo Flute 12 Grand Studies, op. 15 © 2008 Edizioni Riverberi Sonori Theobald Böhm, ed. James Galway W.A. Mozart Quartets © 2006 Theodore Presser Paul Fried Intermezzo for flute and piano © 1994 Golden Tone Records Richard Lane Two Preludes for December © 2006 Editions Bim for double flute choir Music arr. Claudia Bissett Antonio Vivaldi The Four Seasons Italian Vocal Classics, © 2008 Falls House Press Paul Fried arr. Judith Katz © 2008 Music Minus One © 2008 Imagine Music Publishing, Ric Jones Viotti Gianella Mercadante: Three Italian (music with CDs) Duets for Two Flutes Badagry Johann Joachim Quantz: Six Sonatas and © 2006 Edizioni Riverberi Sonori Godwin Sadoh Duets for Flute and Violin © 2008 Wehr’s Music House © 2007 Edizioni Riverberi Sonori Vuelvo al sur: 10 tangos and other pieces (with CD) Benedetto Marcello: 12 Sonatas Joseph Fahrbach: Prima Fantasia Astor Piazzolla for Flute and Continuo for three flutes © 2006 Lime Green Music Ltd./ Boosey & © 2008 Edizioni Riverberi Sonori © 2008 Edizioni Riverberi Sonori Hawkes
nfaonline.org Summer 2009 The Flutist Quarterly 83 SPECIAL PUBLICATIONS AND NFA PRODUCTS
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Add $1.00 s&h for each additional item in order: $ TOTAL ORDER: $ Drelinger’s New Headjoints Drelinger Headjoint Company is constantly involved in the research and development of headjoints. Our ongoing work is never ending and when it reaches a significant step forward in improvement of an existing design or the creation of an entirely new concept we introduce it as part of our ever expanding variety of headjoints.
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B e r D 9 0 0 2 © Visit our booths 145-146 at the NFA Convention and also attend our Showcase Headjoint talk NFA Office, Coordinators, Committee Chairs Please check the NFA Web site for any changes and updates for addresses, phone numbers, and e-mail addresses: nfaonline.org
NFA OFFICE Program Book Bio Editor Performance Health Care Piccolo Artist Lisa Van Dusen (2007) Stephen A. Mitchell (2008) Rebecca Arrensen (2004) Chief Executive Officer 26629 N 45th Pl 4820 Redcastle Ridge 1429 Stoney Creek Cir. Phyllis T. Pemberton Cave Creek, AZ 85331 Nashville, TN 37211 Carmel, IN 46032 The National Flute Association, Inc. 480-473-4877 615-386-9089 317-818-0004 26951 Ruether Ave., Ste. H [email protected] fax: 615 -832-7888 [email protected] Santa Clarita, CA 91351 [email protected] 661-713-6013 Gala Fundraising Dinner Chair Professional Flute Choir fax: 661-299-6681 Piccolo Diane Boyd Schultz (2006) [email protected] Angeleita Floyd (2008) Mary Kay Ferguson (2004) University of Alabama 3743 Beaver Ridge Cir. 3420 East Fairfax School of Music, Box 870366 Convention Director Cedar Falls, IA 50613 Cleveland Heights, OH 44118 Tuscaloosa, AL 35487 Madeline Neumann ph/fax: 319-268-1001 216-321-2713 205-348-7110 26951 Ruether Ave., Ste. 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BACK ISSUES Members and nonmembers may purchase back issues of The Flutist Quarterly at the rate of $10 each through the membership services manager at the address listed above.
EDITORIAL GUIDELINES Please submit manuscripts electronically as Word files attached to an e-mail message that clearly states what you are submitting. (Unidentified attach - ments might be deleted as a virus security precaution.) If you are unable to submit via e-mail, please send submissions as Word files on a CD. Please include a single-spaced, printed copy of your submission. Submissions should also be accompanied by a signed letter stating that the material contained in your submission (1) is entirely original; (2) has not been previously published; and (3) is not currently under consideration for publication elsewhere. (Electronic submissions need not be signed but should include these three statements.) Manuscripts under copyright need to include permission to duplicate 10 copies for review purposes only. You will be notified that your manuscript has been received by the editor. Authors of manuscripts accepted for publication will be sent a permission- to-print form. Accepted manuscripts will, when appro - priate, go through a review process. Authors might be asked to revise manuscripts during this procedure. The editor reserves the right to edit all articles for style, content, or space requirements. The Flutist Quarterly budget does not include honorariums for authors. Editorial deadlines for The Flutist Quarterly apply to departments providing news of interest about flutist activities and products. Unsolicited feature articles, items for review, and news about member achievements may be sent at any time for consideration; submissions to Across the Miles and Notes from Around the World departments should be sent to their editors at least one week prior to deadline dates to be con - sidered for inclusion. Queries via e-mail or phone about feature article topics prior to submission are welcome at any time. Send editorial materials for the fall issue by June 1; the winter issue by September 1; the spring issue by December 1; and the summer issue by March 1.
Please send submissions (except Across the Miles and Notes from Around the World—see those departments for contact information) to: Anne Welsbacher 7213 E. Chelsea St. Wichita, KS 67206 316-440-2800 fax: 316-440-2801 [email protected]
No submissions will be returned unless accompanied by a stamped, self-addressed envelope.
ADVERTISING GUIDELINES Guidelines, deadlines, and fees are available at nfaonline.org/ fqadvertising.asp, or contact Steve diLauro. The following dates are deadlines for The Flutist Quarterly : fall issue, August 1; winter issue, November 1; spring issue, February 1; summer issue, May 1.
Please send advertising submissions and queries to: Steve diLauro, NFA Advertising Sales Representative LaRich & Associates, Inc. 153000 Pearl Rd., Ste. 112 Strongsville, OH 44136-5036 440-238-5577 fax: 440-572-2976 [email protected]
Index of ADVERTISERS Abell Flutes ...... 35 Peter Westbrook ...... 40 Syrinx Flute Repair ...... 40 Ali Ryerson ...... 40 Polak, Simon ...... 68 Tai Hei Shakuhachi Flutes ...... 33 BG Frank Bichon ...... 11 Potter, Christine ...... 35 Wacha, Sandra Moore ...... 64 Bell’ Alma Duo ...... 14 Progress Press (3) ...... 27, 56, 66 William S. Haynes Flute Co...... 16 Bradley Leighton ...... 40 Pro Winds ...... 8 Williams Flutes ...... 95 Brannen Brothers Flutemakers, Inc...... 92 San Diego Flute Guild ...... 40 Winzer Press ...... 34 Burkart Flutes and Piccolos (2) ...... 12, 90 Sheridan Flute Company ...... 33 Yamaha Corporation of America ...... 10 Cantilena Records ...... 94 Cardinal Classics ...... 64 Chopsaver ...... 4 Clarion Insurance ...... 61 Classical Collection, Inc ...... 64 Conn-Selmer (Emerson Flute) ...... 88 Crystal Records ...... 33 Drelinger Headjoint Co. (2) ...... 85 Emanuel Flutes Boston ...... 26 Fluit ...... 70 Flute Specialists, Inc...... 35 Flute World ...... 41 Graf, Erich ...... 64 Jeanne Baxtresser ...... 15 John Lunn ...... 6 Karen Smith ...... 93 Keefe Piccolos ...... 64 Kemler, Katherine (2) ...... 27, 56 Kingma Flutes ...... 66 Landell Flutes ...... 27 Lisamarie Magrath ...... 91 Little Piper/Dean Yang Flutes ...... 87 Lopatin Flute Company ...... 70 Lyric Flutes/Hammig Piccolos (see also Miyazawa) ...... 89 Mancke-Flutes ...... 64 Marcel Moyse Society ...... 62 Miyazawa Flutes, Ltd (2) ...... 17, 89 Muramatsu America ...... 96 National Flute Association (3) ...... 41, 84, 87 New England Flute Shop, The ...... 56 Noteworthy Duo ...... 40 Ogura Flute Works ...... 41 Pan ...... 68 Pearl Corporation ...... 2
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