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November 2011 Flutronix: Music of the Future with Classical Roots by Jayn Rosenfeld lutronix fl utistsNathalie Joachim and Allison Loggins-Hull came Greg Pattillo: Fto my house early in September. the man behind Nathalie had taken fl ute lessons with me there 17 years earlier, and she the YouTube sensation still remembered the street address. by Nathalie Joachim and The two handsome young musicians, Allison Loggins-Hull (Flutronix) both in their late 20s, are fl utists, ith millions of hits on You- entrepreneurs, and innovative, WTube, a recent appearance self-made women of the on “The Tonight Show” with Jay highest order. What follows is Leno and an upcoming interna- a summary of what I learned tional tour with the PROJECT from our wide-ranging Trio, Greg Pattillo is at the top conversation and follow-ups of his game. To many it seems by email. that he achieved instant, over- night success, but as we sat and Flutronix aims to make chatted with Greg, we found that music and concert-going his story is one of persistence, brand new. They perform hard work, and the courage to the works of pioneers of think outside of the box. We new music alongside met with Greg after a rehearsal their own creations, at the Project Trio’s studio in combining instrumental DUMBO Brooklyn, before he fl ute playing and mixed left for home to be with his new media elements. Their baby girl. original compositions navigate daring forms of Greg started off like many of us popular, experimental, fl utists do—he began playing in and contemporary (Cont’d on page 5) classical music in Flutronix fl utists Allison a visionary mix, Loggins-Hull (left) while implementing Nathalie Joachim electronics and digital effects. (Cont’d on page 4) In Concert IN THIS ISSUE FLUTRONIX Flutronix: Music of the Future with Classical Roots Nathalie Joachim and Allison Loggins-Hull by Jayn Rosenfeld..........................................1 (fl utes and mixed media) Greg Pattillo: the Man Behind the YouTube Sensation with special guest artist by Flutronix fl utists Nathalie Joachim and Greg Pattillo, fl ute, and PROJECT Trio Allison Loggins-Hull.....................................1 Eric Stephenson, cello • Peter Seymour, bass From the President: Reaching New Audiences by John McMurtery..................................2 Sunday, November 20, 2011, 5:30 pm Member Profi le: Patricia Blackman Dunn...........3 Author Query: Participants sought for Engelman Recital Hall, Baruch Performing Arts Center, 55 Lexington Avenue research on fl ute teaching (entrance on East 25th Street between Lexington and Third Avenues) by Carol Holhauser....................................7 Anouncements Program to be announced from the stage. Flute Happenings...................................................3 Jean Cras Suite now on CD...................................7 2 — NYFC Newsletter Reaching New Audiences by John McMurtery s music lovers, we are used to concert protocols and of- ten take them for granted. However, many people who Amight enjoy recorded music at home complain about THE NEW YORK FLUTE CLUB INC. the seemingly outmoded performance traditions of so-called classical music—the stifling formal wear, the unwritten “rules” 2010–2011 (discouraging applause between movements of a work, for ex- ample), and expensive ticket prices. Musicians have responded Board of Directors by asking pertinent questions: how can we bring something John McMurtery, President new to the concert setting? Can we increase our relevance in Nancy Toff, First Vice President the modern age, instead of existing merely as a monument to David Wechsler, Second Vice President music of a bygone era? How do we advance the art form, while Jeanne Wilson, Recording Secretary acknowledging our musical heritage and striving to connect Lucille Goeres, Membership Secretary From the with a wider public? How can we reach new audiences by Nneka Landrum, Treasurer President keeping our ticket prices low, while compensating our per- Ardith Bondi Keith Bonner formers fairly for their hard work? Susan Friedlander Zara Lawler Many look to nontraditional performance spaces as a way to address these Susan Lurie Fred Marcusa issues. Giving concerts in bars, gymnasiums, art galleries, and parks is a way to Karla Moe Stefani Starin transcend the barriers between artists and their audiences. The overhead costs are Wendy Stern often much lower than at traditional venues, and the more intimate settings often Advisory Board afford musicians greater opportunities to interact with their listeners. Jeanne Baxtresser Gerardo Levy But how far away from the concert hall can we get before our beloved art Harold Jones Marya Martin ceases to garner the appreciation it deserves? In 2007, a Washington Post experiment Robert Langevin Michael Parloff involving renowned violinist Joshua Bell sought to answer the question. Bell, Jayn Rosenfeld incognito on a Washington, D.C. subway platform during morning rush hour, took out his 1713 Stradivarius violin and performed 45 minutes of unaccompanied Bach Past Presidents works. The experiment was captured on video. While Bell played, over a thousand Georges Barrère .................... 1920– 1944 people passed by, mostly in a hurry to get to work. Twenty people gave him money, John Wummer ........................ 1944– 1947 totaling about $32. Six people stopped to listen; of those, only one recognized him. Milton Wittgenstein ............. 1947– 1952 Mildred Hunt Wummer ........ 1952– 1955 Interestingly, most of the children strolling by wanted to stop and listen, but were Frederick Wilkins .................. 1955– 1957 quickly ushered along by their harried parents. When Bell finished playing, there was Harry H. Moskovitz ............... 1957– 1960 no applause and no recognition. Paige Brook ............................ 1960– 1963 The experiment raises several other questions. How much of our enjoyment of Mildred Hunt Wummer ...... 1963– 1964 music is about context? Does location influence our perception of musical quality? Maurice S. Rosen ................ 1964– 1967 Would we appreciate viewing a Rembrandt in a storage closet? Would a five-star meal Harry H. Moskovitz .............. 1967– 1970 Paige Brook ........................... 1970– 1973 seem as appetizing if presented on a train platform during rush hour? Eleanor Lawrence ................ 1973– 1976 Musicians like Nathalie Joachim and Allison Loggins-Hull of Flutronix, and Harold Jones ......................... 1976– 1979 Greg Pattillo of PROJECT Trio, are confronting these issues head on. They are true Eleanor Lawrence ................ 1979– 1982 entrepreneurs, creating a body of work and finding interesting and appropriate Paige Brook ........................... 1982– 1983 venues to match. They write, perform, and direct their own compositions, creating John Solum ............................ 1983– 1986 Eleanor Lawrence ................ 1986– 1989 their own performance opportunities instead of waiting for the phone to ring. They Sue Ann Kahn ....................... 1989– 1992 self-produce their music or start their own record labels. Nancy Toff ............................. 1992– 1995 In addition, they take advantage of the newest technology, often turning to Rie Schmidt ........................... 1995– 1998 electronic music for inspiration. In the “old days” of the 1960s through the ’90s, Patricia Spencer ..................... 1998– 2001 many composers wrote works for flute and tape. Performers had limited freedom Jan Vinci................................... 2001– 2002 Jayn Rosenfeld ....................... 2002– 2005 of interpretation because they were bound by the requirements of synchronizing David Wechsler...................... 2005–2008 their part with that of the tape. With the advent of the personal computer and some Nancy Toff..................... .......... 2008–2011 ingenious software, performers have regained some of their liberty. The software can be programmed to respond to certain cues in the performer’s part, allowing for a truly Newsletter interactive experience between performer and electronic medium. The term “electronic Katherine Saenger, Editor 115 Underhill Road music” has largely lost its associations with the experimental music of the 1960s and Ossining, NY 10562 ’70s and has been recontextualized into the mainstream world of popular music. 914-762-8582 Flutronix and PROJECT Trio are dedicated to educating the next generation [email protected] of musicians and listeners. Flutronix launched the online video series Real Flutists, comprising interviews with leading players. They founded a youth arts workshop Naomi Ichikawa Healy, Designer called Creative Collaboration for students in grades K-5. Pattillo has embraced 230 East 71st Street, Apt. 4D New York, NY 10021 YouTube as a medium for reaching millions of people worldwide, leading to 646-417-3789 appearances on MTV and Nickelodeon. In the wake of public funding cuts for arts [email protected] education, these performers are taking the initiative in spearheading dynamic and engaging presentations for students. www.nyfluteclub.org The programs are having a positive effect. Some children are signing up for flute lessons specifically because they are captivated by these new sounds and want Copyright © 2011 by The New York Flute Club Inc., to learn how to make them. Other students take away the knowledge that music can unless otherwise noted. All rights reserved. thrive in a variety of settings, not just in the concert hall. November 2011 — 3 FLUTE Member Profile Feller (a major