November 2011 Flutronix: Music of the Future with Classical Roots by Jayn Rosenfeld lutronix fl utistsNathalie Joachim and Allison Loggins-Hull came : 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 ’s studio in combining instrumental DUMBO , 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) 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, • , 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. 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 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 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 influence and now a dear friend) and Kathleen Nester; in HAPPENINGS graduate school: Bradley Garner and Patricia Jack Wellbaum; and Mark Sparks at the NOVEMBER ’11 Aspen Music Festival. Blackman Nov Sunday 3:00 pm Dunn High school: Pitman High School in 6 A faculty focus concert featuring Pitman, NJ. flutist TIA ROPER accompanied by Mitchell NYFC member Vines, piano, in a program of works by since 1996 Gaubert, Doppler, Schocker (Airborne), and Degree: BM in and Schubert (Trockne Blumen Variations). flute performance (Mason Gross • Bloomingdale School of Music, 323 West 108th Street, NYC. • Admission is free. • Info, Employment: Middle school band School of the Arts, Rutgers University, visit www.tiaroperpenn.com. teacher in the East Meadow (Long 2000) and MM in flute performance Island) public schools (since 2004). (Cincinnati College Conservatory of Nov Thursday 7:30 pm Music, 2002). 10 The JAMIE BAUM Septet (plus A recent recital/performance: A June special guests) in a program of original compositions influenced by the rhythms of 2011 program of music for flute and Favorite practice routines: Each session Stravinsky, harmonies of Ives, and melodies soprano at St. Luke’s Church in Forest includes Moyse’s De la Sonorité with of Qawwlli vocalist Nusrat Fateh Ali Kahn. Hills, NY, featuring Corigliano’s Three variations in dynamics and vibrato, • Leonard Nimoy Thalia, Symphony Space, Irish Folk Song Settings, Copland’s As It 2537 Broadway (at 95th Street), NYC. • double tonguing exercises, and scales. Admission: $30 general, $25 members, $15 Fell Upon A Day, and Barber’s Mélodies She rotates Taffanel and Gaubert Nos. under age 30 or NYFC member with discount Passagères (originally for voice and 1 and 4 with D.S. Wood Studies Nos. code FLUTE15. • Info, call 212-864-5400; visit www.symphonyspace.org or www. performed with both flute and voice). 3 and 4, and incorporates Andersen jamibaum.com. etudes to maintain her technique. Career highlight(s): As a performer: Nov Friday 8:00 pm years of on great orchestral Most notable and/or personally satisfying 11 Eight Strings & a Whistle, with and opera repertoire (including Verdi’s accomplishment(s): Finding an efficient SUZANNE GILCHREST, flute, Ina Litera, viola, and Matthew Goeke, cello, will Requiem with the Gateway Classical and satisfying balance between what perform music by J.S. Bach, Tom Flaherty, Players and Madama Butterfly and La she sees as her primary mission Albert Roussel, Constance Walton, and Traviata with the DiCapo Opera Com- (inspiring her students and instilling Johannes Sperger. • Tenri Cultural Institute, 43A West 13th pany); playing Doppler’s Andante and in them a lifelong love of music) and Street, NYC. • Admission: $25 general, Rondo with her former teacher, Bart her desire to maintain an active career $15 students/seniors (advance sales, visit Feller, at a Long Island Flute Club artist as a chamber and orchestral musician www.brownpapertickets.com). • Info, email [email protected] or visit www. recital in 2008; and performing Mo- in and around NYC. Trish says, “While eightstringsandawhistle.com. zart’s Andante in C on stages in Greece, it is extremely time-consuming and Bulgaria, Ukraine, Georgia, and Turkey physically and mentally challenging to Nov Sunday 7:30 pm with the Long Island Youth Orchestra keep it all going, the alternative would 13 Carnegie Room Concerts and under the direction of her husband, feel incomplete to me. I am so grateful BachWorks present “Baroque Dances: Then & Now,” a program of works by J.S. Bach Scott Dunn, in 2007. As an educator: for the life I have in music.” and Anthony Newman, with ZARA LAWLER, founding the Woodland Wind Ensemble flute, Anthony Newman, piano, and the NY for motivated and advanced instrumen- Other interests: In the summer: hiking, Baroque Dancers. • Nyack Public Library, South Broadway, talists at the Woodland Middle School in biking, kayaking and traveling; year- Nyack, NY. • Admission: $25, general; 2010 (“The time I spend working with round: running and yoga. Trish finds discounts for students/seniors. • Info, call these students and sharing music with that “these activities help to keep me 845-608-3593 or visit www.carnegieroom.org. them is some of the most fulfilling work balanced and inform my flute playing Nov Saturday 8:00 pm I do.”). on a physical and spiritual level. In 19 MINDY KAUFMAN performs the addition, as a hugely social person, I Nielsen and the Vivaldi piccolo Current flute: A silver Brannen-Cooper love spending as much time as possible concerto with the St. Thomas Orchestra. (No. 3462) with a B foot and C# trill with family and friends.” • White Plains High School, 550 North Street, White Plains, NY. • Info, visit www. key, played with a gold Burkart head- storchestra.org. joint; a Powell piccolo made of king- Advice for NYFC members: Be an wood with gold keys. advocate for the arts in any way that Nov Monday 7:30 pm you can. As musicians we must do all 28 The New York New Music Influential flute teachers:In high that we can do to ensure there will Ensemble, with JAYN ROSENFELD, flute, will perform Joan Tower’s quintet for flute school: Ronna Ayscue (who taught her be audiences for future generations and strings, Rising. that a career in music meant a life in of musicians and great music for our • Center for Jewish History, 15 West 16th music, not simply a job with music as future audiences. Streeet, NYC. • Admission: $20 general, $10 the focus); as an undergraduate: Bart students. • Info, call 212-633-6260 or visit www.nynme.org. 4 — NYFC Newsletter

Flutronix (Cont’d from page 1) nuance of all of the electronic artists In her own words: I could find. I actually remember the I’ve always been a lover of many genres I found it fascinating how thoroughly day that I was watching MTV (back of music. I grew up in a household where these two musicians acknowledge the when they still played predominantly music was constantly playing and ranged influence of the popular culture of their music videos) and I saw an Aphex Twin from Weather Report to Michael Jackson younger years; they are really “products video—it was a strange sight, but the to Talking Heads to Beethoven, etc. And of their times.” Their fusion of the music completely fascinated me. From it would be playing loudly. I always external musical culture with their inner there, one artist led to another, and I intensity and dedication has made them found myself researching them at the a unique entity today. Tower Records listening stations. I used to save my allowance up to buy albums It was also important to me Background: Nathalie Joachim by Roni Size, Underworld, Aphex Twin, that my music making had Bjork, and Radiohead (a group that Nathalie attended started off as a traditional rock band and the ability to draw a diverse Juilliard for the eventually began heavily experimenting audience. Young, old, male, Music Advancement with electronics). This was pretty Program (where atypical for most kids growing up female, black, white—this I taught her), in suburban New Jersey, where Top pre- college (with 40 radio dominates the scene, but I is what I want to see when Brad Garner), and honestly couldn’t get enough of it. It I look from the stage. I undergraduate was such an outward passion of mine in studies (with Carol fact, that my 11th grade physics teacher definitely had the “bigger Wincenc). She then (who was always very supportive of my left for a year in musical endeavors) bought me a limited picture” mentality and was Paris, where she found like-minded edition Underworld CD as a graduation dreaming big. young fusion musicians and began to gift. It was funny to me then that he compose. Sensing that electronic music had picked up on my love of electronic would become her métier, she returned music, but to this day it is one of the wanted to create music and begged to New York to pursue a graduate degree most thoughtful and cherished gifts in sound studies at the New School. my mom to let me play an instrument. that anyone’s ever given me. Thinking When I started playing the flute, at age on it now, it may have been the sheer ten, I felt right at home and practiced In her own words: mystery of how electronic music was When I first started experimenting whatever I wanted, and often. I taught even created that kept me so intrigued. myself many things and got so much joy with electronics as a composer, I was Unlike today, electronic music was surprised by the deep compulsion I had out of it. One day, like a ton of bricks, not something that anyone could have it hit me—I wanted to be a professional to work within that style. But when I access to and create in their homes, and took a closer look at my life and the musician, playing the flute, and creating that fascinated me. Once the technology music. I was 15 years old when I had evolved and I eventually could purchase this epiphany, and I started insisting on and experiment with it, I jumped at private lessons. I quickly realized I had Unlike today, electronic the chance. That is what I spent much a lot of work and catching up to do, but of my time in Paris researching, and I was so pumped to be working with music was not something is precisely what led me to the New a teacher [early teachers were Melissa that anyone could have School in pursuit of a sound production- Sweet and Mary Barto], I couldn’t wait centric graduate degree. to get better. It was at this point that access to and create in their I started my tenure as a conservatory Background: Allison Loggins-Hull student. Once I finished undergrad I homes, and that fascinated remembered that I didn’t become a me. Once the technology Allison spent her musician to focus almost exclusively on undergraduate one type of music—don’t get me wrong, I evolved and I eventually years at SUNY love classical music and can’t imagine life Purchase, where without my training. But, I also had some could purchase and she studied with serious love for many other kinds. I knew experiment with it, I jumped Tara O’Connor. then that I needed to remove myself from She decided not such musical conservativeness and dive at the chance. to go directly to into other arenas. graduate school in performance, Composing was something I somewhat music I grew up listening to, it really did as she was still trying to understand explored as a teenager, but never truly make sense that I ended up becoming a why she loved the flute. She was drawn worked on. Honestly, I think I had some flutist working with electronics. Starting to NYU and the study of composition, fear that the music sounded ridiculous, when I was nine years old, the flute and found the composer/performer/ so I never had the guts to really and electronic music blended to create soundartist Joan LaBarbara, who challenge myself. Once I was in my 20s the soundtrack of my adolescence. I became a major influence. and gigging around NYC in various types spent the bulk of those years falling in of shows, I started composing. You love with the flute and studying every (Cont’d on page 6) November 2011 — 5

Pattillo (Cont’d from page 1) they have produced three full length albums, a live DVD, and elementary school, and by high school knew that he wanted a large library of music for their ensemble, including three to be a professional musician. He enrolled at the works for trio and orchestra. Writing and recording music is a Institute of Music, where he studied with Joshua Smith and huge part of what they do and they feel privileged to be able diligently practiced with dedication.Working with Smith, Greg to share it with the world. was on the path to becoming an orchestral musician, and he completed both his undergraduate and graduate studies While Greg is often labeled as the beat-boxing flutist, he at CIM with this as his focus. After graduating, he spent time hopes to broaden the terminology to what he describes as in Ohio teaching, and eventu- “rhythm-flute.” While acknowl- ally made his way to China as edging that beat-boxing is deeply the acting principal flutist of the rooted in hip-hop (it was most Guangzhou Symphony Orches- popular in the 1980s and served tra. After a summer with the as an attempt to emulate a drum orchestra, he decided to return machine), Greg sees this tech- to the USA (Ohio specifically) nique as a means to musically and work the audition circuit. communicate in other mediums. Not having won any auditions, “Rhythm-flute” creates an entire Greg relocated to San Francisco world of sonic possibilities and for a change of scenery and it enables the performer to not was there that he met his wife. only perform as a soloist, but to do their own percussion accom- Having always embraced a wide paniments. This is not limited to scope of musical genres, Greg one genre and for that reason found himself playing a variety should not exclusively be associ- of styles with musicians of differ- ated with hip-hop. One could ent backgrounds. It was a dive into bluegrass that launched say that Greg is on a pedagogical mission to broaden the his experimentation with percussive sounds. Over time, he language of the flute on a more worldly level. built an arsenal of effects that would eventually lead to his beat-boxing fame. After some years in the Bay area, Greg But this technique is not easy. Just like anything else, it takes left for and brought his growing portfolio of a lot of practice and cultivating. Greg gave us a brief tutorial extended techniques with him. and introduction to rhythm-flute and to say the very least, it was a challenge. Even though we weren’t experts right away, Greg found himself in a very expensive town with little to no it was clear that Greg has worked hard on learning to teach work as a musician. “No one cared that I went to the Cleve- this style and explain it in a way that is easy to grasp. He re- land Institute of Music or that I had a master’s or even that I cently began composing works that utilize his signature style could play... no one was trying to give me a break.” Like so and has had to concisely explain the execution in a score. many artists in New York, he had to find a day job that paid This past year, Greg was presented with the opportunity to the bills, and he started working at Trader Joe’s. Working have his music played by young flutists all over the country full time, he found it hard to get practice in, especially after when he was commissioned by the National Flute Association a nine-hour shift of heavy lifting. He realized the only way to write a piece for its 2011 high school soloist competition. he could get time in with his flute was if he used his lunch He was incredibly moved to see so many young teenagers hour. During these times, he wandered into the subways and work to bring his music to life. This presented a great chal- played through traditional repertoire for humble tips. Besides lenge and experience that inspired Greg to continue to work using this time to maintain his classical chops, Greg also as a composer. practiced the percussive techniques from his bluegrass days that eventually developed into full blown beat-boxing. He At the core of Greg’s story is his passion for collaborating found himself generating more attention and more tips. He through music. “Amateur music making is the best,” says realized he was tapping into something unique and decided Greg. “The root word is to love, you know? It’s something to make YouTube videos of his beat-boxing. These videos that you love to do. Love being musical.” His sincere dedica- went viral almost instantly. tion to his craft and artistry is palpable, genuine, and inspir- ing. Moreover, it’s refreshing to learn that his success is not With great online success and growing recognition, Greg was driven by YouTube hits, but rather a deeply rooted desire to able to leave his job at Trader Joe’s and work exclusively as a create and share. musician. One of his most treasured endeavors, and one that still flourishes today, is the PROJECT Trio. Along with college We look forward to sharing our New York Flute Club perfor- friends bassist Peter Seymour and cellist Eric Stephenson, the mance with Greg and the PROJECT Trio on November 20th, Project Trio embodies the exploration of popular and classi- and hope to see you all there! cal tunes with hints of hip-hop and improvisation with a jam r band flare. PROJECT Trio also has a strong online presence Nathalie Joachim and Allison Loggins-Hull are Flutronix, and has presented concerts as well as educational seminars a critically acclaimed pair of fresh and eclectic flutists who are throughout the country. This upcoming season includes a trip paving the way from their classical roots to the future of music. to Austria and collaborations with large ensembles including the Los Angeles Chamber Orchestra and many more. In 2008, This article was derived from footage for “Real Flutists,” an online the PROJECT Trio launched Harmonyville Records, their very webseries hosted by Flutronix featuring interviews of renowned flut- ists (view at www.flutronix.com/webisodes). own record label and publishing company. Since inception, 6 — NYFC Newsletter

Flutronix (Cont’d from page 4) So, after a few years music-hopping in It was everything I wanted at that time could say that this resurgence of musical NYC, I decided to go back to school in my life. variety, and also improvisation, had a and get a degree in composition. I lot to do with me getting serious about chose NYU because I could not only How they met and got started composition. I was finding it incredibly get solid training as a composer, but Nathalie found Allison’s MySpace page artistically satisfying. I also began I also had access to music business on the Internet; she reached out and exploring working with electronics classes, music technology classes, discovered they had been living parallel and technology and that’s when the faculty members who shared the harsh lives with the flute and with music wheels really started spinning. I made realities of the music world with brutal and the larger existential questions. a personal goal to focus on creating a honesty, and serious research classes Both had decided that the traditional successful marriage between me being a that allowed me to better understand classical music career path was not for classical flutist, a composer, and staying things like the psychology of music them and that they wanted to explore true to my diverse musical tastes. It was and how to get an audience at a show. other options. In colloquial terms, they also important to me that my music viewed their relationship with the flute making had the ability to draw a diverse as “on the rocks” and the question was audience. Young, old, male, female, “How can we save this relationship?” black, white—this is what I want to see when I look from the stage. I The answer lay in the definitely had the “bigger picture” kind of work they do mentality and was dreaming big. now. They decided “ to explore all the options,” In addition to being strongly not stay in a narrow musically inclined, I also have a world. They wanted a head for business and get a kick diverse audience. Not out of getting big things done. If denying their classical you ask anyone who’s close to background, they me, they can confirm that this began to “cross is a compulsion of mine. I love over”; they added coming up with ideas, making improvisation, ambitious goals, and setting electronic sound, deadlines. While actually talk; they designed figuring out how to do every concerts that were monotonous detail of a large “ interactive, light task can be daunting, I love and playful.” it once I know how to get Rhonda Larson them done. Maybe it comes is one of their from being an only child inspirations; and wanting/needing to be she has also independent and self-reliant, I constructed an don’t know, but it’s definitely individual path, and found a huge part of who I am. This her own sound and music. kind of mentality has been a Allison wants to “enchant crucial part in my career goals, classical music lovers” to other so I guess although it’s a little possibilities. And vice versa. cuckoo at times, it’s been key to my successes. Nathalie says she could never understand why the rules said you couldn’t clap between movements, you couldn’t demonstratively enjoy. Both women desire connection and engagement with the audience and they want to “talk about how they feel about the music.” They are trying to create a shared community and common experience to be felt by all. Small venues, halls, clubs contribute to the intimate world they prefer. November 2011 — 7 Now they can do what comes really and gumption, a message they try to audience and perform in their usual naturally, and act on some of their wild deliver in their seminars. Now they are interactive and enthusiastic way. I ideas. “We’re publishing our own music, more fearless than ever before—perhaps encourage readers to bring friends, we’re touring, doing interviews online the true secret of their success. students, and even non-concert-goers with a huge visibility on the internet, we who have been hedging their bets, as I compose, perform. We’re giving back to Allison described their webseries, “Real predict they will all have a good time! the artistic community by helping young Flutists,” a joint venture between them people find their own path.” As Nathalie and their Flute Center of New York r says, “It [now] feels good to feel good sponsor Phil Unger. They all thought it playing the flute.” would be a great idea to have “get to Active as a chamber music coach and know your fav flutists” type of content performer, Jayn Rosenfeld teaches Most important accomplishment: on the Internet. It looked like the perfect at Princeton University, gives a Both flutists felt that their achievement situation—Flutronix was interested workshop for adult amateur flutists at is to have constructed their creative in producing the content and Phil’s Greenwich House Music School, and identity! They explained they have known website was a venue with a heavy traffic is flutist and executive director of the each other for only three years, but when of flutists and central location. So far New York New Music Ensemble. they met they synched right away on they’ve interviewed Carol Wincenc, Gary questions of values, goals, means. They Schocker, , , spent a year doing pre-performance Claire Chase, Eric Lamb, Paula Robison, planning and practicing, and on and Greg Pattillo. They’ve even enabled branding and marketing, and then it so fans can send requests or questions started performing together as Flutronix. via their website (www.flutronix.com), Facebook, and Twitter. Allison says it’s Activities: seminars and “Real been a really fun project and readers Flutist” videos should stay tuned, as they have many Nathalie told me that they do education more exciting plans for it. seminars, mostly at the university level, Flute Happenings Deadlines covering issues relating to “the business About the November concert of music.” She needed this when she was Flutronix will play their own original Issue Deadline Mail date in college, but there was little mentoring compositions and music by their December 2011 11/03/2011 12/01/2011 on career development back then. Her peers. The pieces will incorporate January 2012 12/08/2011 01/05/2012 favorite thing about teaching is that amplification, electronic sounds, “studio February 2012 01/12/2012 02/09/2012 “you have to articulate the things you composition” samples, pre-made and March 2012 01/28/2012 02/25/2012 take for granted.” Allison knew early on found sounds, MIDI creations, even April 2012 03/08/2012 04/05/2012 that there were no guarantees of support recordings of people speaking on the May 2012 03/29/2012 04/26/2012 and that success would require bravery subway. They will reach out to the

Author Query Update: Participants sought for research Jean Cras Suite now on CD on flute teaching Mindy Kaufman’s December 2009 concert at the NYFC by Carol Holhauser included a rarely heard piece for flute and harp, the Suite en duo (1927) by Jean Cras (1879–1931). Cras, a French naval Thanks to all who participated in the online study officer who also had a second full-time career as a composer, [described in the May 2011 NYFC Newsletter] that I wrote the piece aboard the battleship Provence, where, as have been conducting on the strategies teachers use to Nancy Toff tells us, his address internal aspects of flute technique. Particularly stateroom was large enough interesting to me were some newer strategies that to accommodate an upright I had not found described in the literature: spectral piano. Mindy’s recording analysis, pneumo-pro, buzzing, body positions, the use of the Suite with June of recording devices, finger breaths, and intuitive (non- Han, the same harpist who methodological) teaching. Since survey participants performed at the concert, so far have been mostly professional flutists, I am can be heard on French still seeking survey participants who are student flute Flute Music, a recently performance majors. I am also seeking to interview released CD (available and observe teachers and students who are actively on iTunes, Amazon.com, using the teaching strategies that received exceptional cdbaby.com, Fluteworld, mention or were nominated by participants as most and Carolyn Nussbaum), effective. Observations will be during regular teaching along with other solo and situations such as lessons or flute classes and would be chamber works for flute preceded by a short preliminary interview. by Debussy, Ibert, and Thank you for your input into this research. The Jolivet, performed with NY survey is available at: Philharmonic colleagues. https://sites.google.com/site/carolhohauser/ The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

November 20, 2011 concert

Sunday, 5:30 pm • Engelman Recital Hall, 55 Lexington Avenue (at 25th Street) Flutronix with special guest Greg Pattillo

nd Greetings! Our November concert will feature Flutronix 92 Season (Nathalie Joachim and Allison Loggins-Hull, ) and guest 2011 - 2012 Concerts artist rhythm flutist Greg Pattillo with his PROJECT Trio. Jayn Rosenfeld (a former teacher of Nathalie’s) talked with the October 16, 2011 • Sunday, 5:30 pm Flutronix flutists about their individual backgrounds, their Carol Wincenc, flute, & Kenneth Cooper, beginnings as a group, and their evolving feelings about the harpsichord flute. Expert interviewers themselves, Nathalie and Allison November 20, 2011 • Sunday, 5:30 pm caught up with Greg Pattillo for a post-rehearsal video interview, Flutronix! with special guest Greg Pattillo From the which they condensed into a short article for the newsletter. December 18, 2011 • Sunday, 5:30 pm What a confluence of dynamic, convention-busting talent! Wish Demarre McGill, Seattle Symphony Editor I could have been there to see Nathalie and Allison get their first January 22, 2012 • Sunday, 5:30 pm beat-boxing lesson.... Chris Norman, Celtic flute John McMurtery’s “From the President” highlights some of the work our November February 26, 2012 • Sunday, 5:30 pm artists have done in reaching out to new audiences in new venues. And he brings up Maron Khoury, Metropolitan Opera Orchestra the question of how our reactions to a given performance or performer are affected by the venue and by the reactions of our fellow listeners. I was fascinated by his March 25, 2012 • Sunday, all day Flute Fair, guest artist TBA description of the “Joshua Bell in the subway” experiment run by the Washington Post, and I am happy to report that more details are readily available on the Web. April 22, 2012 • Sunday, 5:30 pm NYFC Competition Winners Concert Patricia Blackman Dunn, a middle school band director who is also active as a May 2012 • Sunday, 4:30 pm freelance orchestral and chamber flutist, is this month’s profile subject. As a teacher, Annual Meeting & Ensemble Concert Trish is on the front lines of audience development, and it seems clear that she is an (Bloomingdale School of Music) energetic and dedicated proponent of her own advice (“do all we can to generate All regular concerts will take place at Engelman audiences for future musicians and great music for our future audiences”). Recital Hall, Baruch Performing Arts Center, 55 Anyway, all for now. See you soon. Lexington Avenue (entrance on 25th Street), on Sundays at 5:30 pm. All dates and programs subject to change. Tickets $20, students and seniors $10, only at Best regards, the door; free to members. For more information, visit Katherine Saenger ([email protected]) the NYFC website at www.nyfluteclub.org.