January 2021 Meet Janet See, Baroque Flutist Interview by Mili Chang first met Janet See in 2017, on a trip to San Francisco with Juilliard’s Iperiod-instrument ensemble. We were there to perform a joint concert with the Philharmonia Baroque Orchestra & Chorale under the baton of Nicho- las McGegan, and we played music with connections to baroque France, Spain, Scotland, the Ottoman Empire, Persia, and China. I was impressed with Janet’s inspiring playing at the time, and was pleased to have the opportunity to learn more about her by doing this interview. MILI CHANG: How did you get started in music? JANET SEE: My mother loved and was a fine musician herself, but without the opportunities to pursue music as a career. I grew up in Seattle, and every so often my mother would take me to a Symphony concert—second balcony, last row. Even from there, I would catch the glint of stage lights bouncing off the silver , and I loved their sweet sound singing above the orchestra. When I asked if I could play the , my mother agreed and arranged for me to have lessons with Adele Sterry, the Symphony piccolo player. Adele was a wonderful teacher, and I practiced hard, eventually joining the Seattle Junior and then Youth Symphony under the strict and fearsome baton of Vilem Sokol. As a young teen, I clearly remember how overwhelming and glorious it was to sit in the dead center of a huge orchestra playing Respighi’s Pines of Rome, or Tchaikovsky’s Fourth Symphony. Many of my friends also played in the orchestra, so I felt I’d probably found my path. I applied to Oberlin Conservatory and was fortunate to be accepted. MC: What made you want to specialize in historically informed performance [HIP]? JS: My introduction to what would be my ca- January14 Solo Series: reer path took the form Emily Beynon on of diving into my the flute works of study of the baroque Marius Flothuis. flute, an instru- ment that I quickly Event details, p. 3; took to heart. My related article, p. 4; professor at Oberlin, works list, p. 7. Robert Willoughby, Cont’d on page 6

IN THIS ISSUE In concert

Meet Janet See, Baroque Flutist Janet See, baroque flute Interview by Mili Chang...... 1 Jillon Stoppels Dupree, From the President: A year of hope Sunday, January 24, 2021, 5:30 pm by Nancy Toff...... 2 Member Profile: Jacqueline Martelle...... 3 Visit www.nyfluteclub.org/calendar prior to the event for connection details. Introducing Marius Flothuis (1914–2001) by Emily Beynon...... 4 Program Solo Series Preview: Methodical Sonata in A Major (1728) Georg Ph. Telemann (1681–1767) Works for flute by Marius Flothuis Compiled by Emily Beynon...... 7 Suite/Sonata in F Major for harpsichord G. F. Handel (1685–1759) Announcements Le Rossignol-en-Amour François Couperin (1668–1733) 2021 Competition Deadlines Young Musicians Contest...... 2 Sonata in G Major - after BWV 525 J. S. Bach (1685-1750) NYFC Competition...... 2 Syrinx (L. 129, 1913) (1862–1918) Flute Happenings...... 3 Robert Dick Masterclass Application Deadline...... 3 Program subject to change Flute Fair Save the Date...... 3 2 — NYFC Newsletter A year of hope by Nancy Toff

very December WQXR sponsors a Classical Countdown, Ein which listener requests are played in reverse order of THE NEW YORK FLUTE CLUB INC. popularity, culminating, almost always, with the Beethoven 2020–2021 Ninth. (In fact this is not a free-form nomination process; listeners rank a pre-selected list, and as one WQXR listener, Board of Directors Michael Joseph, wrote on the station’s blog: “Always surprised Nancy Toff, President at the near absence of focused pieces (concertos, sonatas, Patricia Zuber, First Vice President suites) for individual instruments other than the piano and the Kaoru Hinata, Second Vice President : one for clarinet, one for , none for horn (despite Deirdre McArdle, Recording Secretary all of those replays of Mozart and Haydn during the year), Katherine Saenger, Membership Secretary From the none for trumpet, harp, flute, . I’d be so curious to know May Yu Whu, Treasurer President whether there are constituencies for each instrument that Amy Appleton Jenny Cline don’t quite pass the lowest threshold of popularity. If so, I Diane Couzens Fred Marcusa think those of us who favor the repertoire for a specific instrument should get Judith Mendenhall Jeff Mitchell together and pool our votes, or perhaps take annual turns voting in each other’s Linda Rappaport Jayn Rosenfeld concertos. Time to end the tyranny of the piano and the violin!” Rie Schmidt Nicole Schroeder Indeed, I can’t ever remember hearing a flute piece on that list. This is Malcolm Spector orchestral and choral warhorse territory, with the occasional piano sonata and aria. This year, there were 97 orchestral and choral pieces, and 3 keyboard Advisory Board solos (Bach, Chopin, and Debussy). The New York Flute Club long ago ended Jeanne Baxtresser Stefán Höskuldsson the tyranny of the piano and the violin, and the myth of the non-existent flute Sue Ann Kahn Robert Langevin repertory has long since been put to rest. Mr. Joseph, please come to a flute club Marya Martin Michael Parloff concert! Renée Siebert Assembling a list of the most popular flute pieces would be a mildly Past Presidents amusing parlor game—we’d get Bach, Telemann, Mozart, Chaminade, Fauré, Georges Barrère...... 1920– 1944 Hüe, Debussy, Gaubert, Griffes, Hindemith, Poulenc, Jolivet, Berio, all the usual John Wummer...... 1944– 1947 suspects. But the greatest hits of the repertoire only hint at the riches available. Milton Wittgenstein ...... 1947– 1952 Looking at just the unaccompanied literature to plan this year’s concerts has been Mildred Hunt Wummer...... 1952– 1955 a reminder of how much good music we have to choose from. Frederick Wilkins ...... 1955– 1957 This winter and spring, we’re going to have a mix of old favorites and some Harry H. Moskovitz...... 1957– 1960 pieces that are new to many of us. Our solo series entry for January presents Paige Brook...... 1960– 1963 Emily Beynon, principal flutist of the , playing works of Marius Mildred Hunt Wummer ..... 1963– 1964 Flothuis. Most of us know his cadenzas for the Mozart concertos, but few of us Maurice S. Rosen ...... 1964– 1967 (including me) know his original flute works. It’s a Dutch treat! Harry H. Moskovitz ...... 1967– 1970 One of the things we’ve all missed most this year is the opportunity to play Paige Brook ...... 1970– 1973 with others; we also have missed the chance to listen to live chamber music. This Eleanor Lawrence ...... 1973– 1976 month, we get our first chance in a long time. Janet See, an exemplary baroque Harold Jones ...... 1976– 1979 flutist who lives on Bainbridge Island, Washington, will perform our January Eleanor Lawrence ...... 1979– 1982 recital with….a ! Our virtual format is geography-neutral, and she Paige Brook ...... 1982– 1983 now feels safe performing (sans audience) with her longtime colleague, Jillon John Solum ...... 1983– 1986 Stoppels Dupree. Her program includes Bach, Handel, and Telemann, some Eleanor Lawrence ...... 1986– 1989 Couperin for Francophiles, and…..Syrinx, on baroque flute. Prepare to stretch Sue Ann Kahn ...... 1989– 1992 your ears. Nancy Toff ...... 1992– 1995 As we begin this new year, one full of hope on so many fronts, please join us Rie Schmidt ...... 1995– 1998 Patricia Spencer...... 1998– 2001 in celebrating our favorite instrument. Perhaps in a few months our ensemble will Jan Vinci...... 2001– 2002 be able to reconvene and play an arrangement of the “Ode to Joy.” Let us hope! Jayn Rosenfeld...... 2002– 2005 David Wechsler...... 2005–2008 Nancy Toff...... 2008–2011 2021 Competition Deadlines John McMurtery...... 2011–2012 Young Musicians Contest Wendy Stern...... 2012–2015 Caroline Sonett-Assor, Coordinator Patricia Zuber...... 2015–2018 The Young Musicians Contest is open to four age groups Newsletter spanning ages 8 to 17. This year the contest will be virtual. Katherine Saenger, Editor Video entries for the Young Musicians Contest are due Sunday, 115 Underhill Road February 14, 2021. Ossining, NY 10562 914-762-8582 NYFC Competition [email protected] Kaoru Hinata, Coordinator www.nyfluteclub.org Flutists ages 18 to 27 are eligible to compete in the annual Copyright © 2021 by The New York Flute Club, Inc., NY Flute Club Competition, this year to be held virtually. unless otherwise noted. All rights reserved. Preliminary video entries due by February 5, 2021; final round Follow us on Facebook, Twitter, and Instagram video entries due by March 5, 2021. (nyfluteclub). Hit the Like button on Facebook to stay up to date on Club events. Members For details, requirements, and tips on how to make your video, please visit are invited to post and comment. www.nyfluteclub.org/concerts-events-and-more/competitions. Jessica Yang, NYFC Social Media Chair January 2021— 3

FLUTE High school: George Nelson Tremper Member Profile High School in Kenosha, Wisconsin (where she had the good fortune of be- HAPPENINGS ing in the public school music program directed by James O. Froseth, prior to JANUARY ’21 Jacqueline his distinguished career in music edu- Martelle cation at the University of Michigan). Jan. Thursday 7:30 pm Degrees: BFA (University of Wisconsin- 14 NYFC member since Milwaukee), MM (San Francisco Con- EMILY BEYNON on the flute works 1996 servatory of Music), and DM (Florida of Marius Flothuis. A NYFC 2020-21 Solo State University). Series event. Employment: Assistant program officer • Zoom webinar. • Access is free. • Info and Most notable and/or personally satisfy- connection details, visit nyfluteclub.org. and academic coordinator for the DMA ing accomplishment(s): Raising three program in music performance at the now-adult sons (“I am extremely proud CUNY Graduate Center. of them and their accomplishments A recent recital/performance: A Music as engineers, teachers, and parents.”); in Midtown concert in February 2019, finishing a doctoral degree (started performing Toru Takemitsu’s And then when her children were very young I knew ‘twas Wind trio for flute, viola, and completed several years later); and and harp and, as an orchestral musi- her recent return to orchestral perform- cian, playing concerts with the New ing as a player in several NYC-based School Community and the New York community orchestras (after a long-past Repertory Orchestras in February 2020. six-year period as principal flute in the Career highlight(s): As a performer: a Roanoke Symphony). solo flute and electronic media concert Favorite practice routines: “My warm-up in the “Interpretations” series at Merkin usually takes 20-30 minutes, depend- Virtual Masterclass Hall in April 2002; participating in Har- ing on what urgently needs my atten- with bor Symphony 2006, a multiple ship’s tion for any upcoming performances. ROBERT DICK horn event held daily at noon during I typically begin with the first two Sound Symposium, a summer new mu- routines found in the Daniel S. Wood February 25, 2021 sic festival in St. John’s, Newfoundland upper note exercise book, extended to 7:30 - 9:30 pm (“I did not play flute, but activated an include high D, followed by Taffanel NYFC members of any age ocean-going ship’s horn while reading & Gaubert’s Nos. 1 and 2. I also like to are eligible to participate. To a specially notated score!”); performing work through both the seventh chord apply, send a recording of a Paquito D’Rivera’s Invitación al Dan- and triad exercises used by Charlie zón for flute and piano with pianist Delaney in his studio class teaching Robert Dick composition that Pablo Zinger at Weill Hall in December and am fond of my own variation of you would like to play, along 2007 (“This concert honored D’Rivera Kincaid’s Praeludium exercise (the with a brief bio, to masterclass with the Medalla Ignacio Cervantes original version, transcribed by Patri- coordinator Jessica Taskov from the Cuban Cultural Center of New cia George, can be found on the Flute (JessicaAuraTaskov@gmail. York.”); and presenting a solo flute Talk website). I always try to achieve com) by February 5th, 2021. concert at the Sound Symposium music the sound ideal I carry in my mind’s Participants will be notified by festival (on land this time!) in 2016. ear and to incorporate that with fluid February 8th. As an educator: her work guiding the finger movement, and have found CUNY Graduate Center DMA perform- that I generally accomplish more if I ers on their own paths to academic break up practice sessions and work in success, using skills she learned during 20-25-minute intervals during the day.” NY FLUTE FAIR 2021: her own doctoral studies. Other interests: Cooking and dining A Virtual Toolbox Current flutes: A custom Haynes (5% with friends, reading historical fiction, Save the date: gold alloy body used with a 14K gold exploring the avant-garde/experimental April 10-11, 2021 lip plate headjoint) and a Hammig music world of her composer-husband piccolo (grenadilla body used with a Tom Hamilton, and watching her For additional details, visit Mancke cocus headjoint). She also has 12-year-old geranium and other plants www.nyfluteclub.org/ two Powells, including No. 947 (made grow on their Manhattan balcony. concerts-events-and-more/flute-fair. in 1950), on which she performed the Advice for NYFC members: Some typical Questions? Contact Flute Fair April 2002 premiere of Alvin Lucier’s Midwestern advice from her brother program chair Deirdre McArdle at 947, a work he wrote for her. Joe: The best way to eat an elephant [email protected]. Influential flute teachers: Israel Borouchoff is one bite at a time! My sons (and the (undergraduate), Charles Delaney DMA students at the CUNY Graduate Flute Happenings Deadlines (graduate), and Samuel Baron (during Center) have laughed at this image, but two undergraduate summers when the it’s a good approach when tackling a Issue Deadline Mail Date February 2021 1/15/2021 2/16/2021 NY Woodwind Quintet was in residence seemingly overwhelming, unwieldy, March 2021 2/4/2021 3/8/2021 at the University Wisconsin-Milwaukee). and daunting project or obstacle. April 2021 2/24/2021A 3/28/2021 May 2021 TBA TBA 4 — NYFC Newsletter An Introduction to Marius Flothuis (1914–2001) by Emily Beynon FLOT! As a 20-year-old searching for the piano transcription of Marius Flothuis was a Dutch composer, musicologist, Kurt Weill’s Threepenny Opera, he was told that it was critic, writer and… if I’d joined the Concertgebouw Orches- no longer available and would not be reprinted. Being a tra some 21 years before I did, he would have been my prominent and popular Jewish composer, Weill was offi- boss! As the director of the Concertgebouw Orchestra, a cially denounced for his populist views and sympathies, respected writer, critic, and later, professor at the University and he had become a target of the Nazi authorities. In 1937 of Utrecht, Flothuis was a hugely influential figure in the Flothuis became assistant to the artistic director of the Con- postwar Dutch music scene. certgebouw, but once the Germans occupied the Nether- lands in 1941, Flothuis’ own career was in jeopardy too: in MOZART 1942 he refused to follow the anti-Semitic regulations of the I first came into contact with Flothuis via his cadenzas occupying force and join the Kultuurkamer (the chamber of for the Mozart G major concerto way back in 1985, which culture that issued the licenses artists had to have in order my teacher had recommended. Although I now play my to be allowed to work in the occupied Netherlands), and own cadenzas for both flute concertos (mostly because it’s was therefore summarily fired by the Concertgebouw. expected of me!), I still play his wonderful cadenzas for the flute and harp concerto. Because Flothuis was, after all, a ARREST world-renowned Mozart expert; he wrote his first book on Flothuis had already been active in the resistance. Mozart in 1940, and the following year, his reconstruction* of In addition to distributing pamphlets and hiding Jews in Süssmeyer’s completion of Mozart’s Requiem was performed their house on the Stadhouderskade, he and Leentje also on the occasion of the 150th anniversary of Mozart’s death. hosted illegal concerts in their home to raise funds for the Much later, the subject of his [1969] doctoral thesis was resistance. Flothuis was betrayed and, on a Saturday after- Mozart’s arrangements—of both his own works and those by noon, the 18th of September 1943, was arrested along with other composers—and from 1980 until 1994 he was chairman five others. For the next two months he was held in the of the Central Institute for Mozart Research in Salzburg. Amstelveenseweg prison, where he composed the Sonata COMPOSER da camera for flute and piano, as he himself said, “without As a composer in his own right, Flothuis was largely pencil, paper or instrument—it was all in my head.” self-taught. As a teenager, he had been enormously encour- CAMP aged by Hans Brandts Buys (whose family name may be On the 26th of November he was transported to the familiar to flute players from the beautiful Christmas Quin- prison-camp Vught (Brabant, The Netherlands). The flutist tet in D major for flute and string quartet by his uncle, Jan Everard van Royen had already been deported to Kamp Brandts Buys). Although Brandts Buys taught him music Vught earlier that year and somehow managed to arrange theory and piano, he nurtured Flothuis’ musical talents in a for Flothuis to work at the Philips-commando, the factory broader sense too, encouraging him as an arranger, com- within the camp, making razors, torches, radios, and so poser, and even conductor. His breakthrough as a composer on. Unlike the dreadful conditions in the rest of the camp, came at the age of just 24 when, in May 1939, his Vier workers there could keep relatively warm and were served Liederen [Four songs] for soprano and orchestra were pre- a warm meal at lunchtime. Flothuis was also able to miered by the Concertgebouw orchestra, conducted by Edu- compose in secret and give chamber concerts with, amongst ard van Beinum. others, van Royen, to whom he dedicated the Aubade as His early musical style was influenced by the likes of a birthday present. Everard van Royen performed it on the Hindemith and Milhaud. Broadly speaking, we could clas- 14th April 1944 using the flute left behind by Piet van den sify his music as neoclassical, but he is also known to have Hurk, who had, in the meantime, been deported to Dachau experimented with 12-tone serial composition techniques. (Van den Hurk became the leader of the camp “band” in Although later in life he moved towards writing in a freer Dachau and managed to survive the war; the beautiful idiom, such as we see in Debussy (Flothuis always felt Pastoral d’été by Jurriaan Andriessen was dedicated to him.) drawn to the French spirit!), he once said of himself, “I’m actually a terrible traditionalist.” He wrote many solo and AUBADE chamber works for flute, and his lyrical lines, with transpar- After the concert, in answer to van Royen’s performance ent, often sparse textures, were beautifully described by the of the Aubade from the men’s camp over the camp loud- great Dutch conductor Bernard Haitink as being “without a speakers, “Ave Maria” was heard, sung by the so-called single superfluous note.” Nightingale of Vught [De nachtegaal van Vught]. From the diary of former prisoner at Kamp Vught, T. Wibaut- POLITICS As a teenager, encouraged by his history teacher, Guilonard: “Today is Everard’s birthday. He played for his Flothuis become more and more politically aware and, fellow prisoners the Aubade composed by his friend Marius together with his brother, Joop, even joined the left-wing Flothuis in honour of this birthday… After the last notes, it Independent Socialist Party (OSP). This led to some pretty was quiet, very quiet. Then, from the women’s camp the fierce discussions around the dinner table at home since his ‘Ave Maria’ sounded, sung by the clear girl voice of Louise father, a German teacher, had in 1931 become a “secret” van de Montel. It is one of those moments when we prison- member of the NSB (National Socialist Movement), a quasi- ers of Camp Vught forgot reality.”** Nazi party. You can imagine then his father’s fury when Despite these unbearable conditions, somehow Flothuis Flothuis began dating Helena (Leentje) Sternheim, a young managed to keep composing, and one major work from woman of half-Jewish descent. When they married in 1937, this period was the Flute Concerto. On “Dolle Dinsdag” his father even refused to attend their wedding. [Mad Tuesday] 5th September 1944, the fake news reached the prison-camp that Breda, not 50 kilometers from Vught, MUSIC UNDER THE NAZIS had been liberated by Allied forces. The camp officers, The first inkling that Flothuis had that the reach of probably in panic, randomly picked out several hundred Nazi claws would penetrate his musical life came in 1934. prisoners during the roll call and immediately executed January 2021— 5 them. The next day, Flothuis 1953 he was finally reinstated at was deported to the concentra- the Concertgebouw orchestra, ini- tion camp Sachsenhausen, north tially as program editor and, two of Berlin. It is said that by mid- years later, as artistic director—a January 1945 there were more post he held until 1974. From that than 65,000 prisoners in the hor- point until his retirement in 1982, rendous Sachsenhausen camp he was professor of musicology at complex. the University of Utrecht. END IN SIGHT FINAL MEETING On the night of the 20th of I met Flothuis just once; in April 1945, with defeat clearly November 1999, just after coming on the horizon, the camp’s SS off stage having played the Mozart staff ordered the 33,000 inmates flute and harp concerto with the on a forced march northwest. Concertgebouw orchestra. I was Most of the prisoners were introduced to a smartly-dressed, physically exhausted and thou- rather bent-over, elderly man, sands did not survive this death with clear eyes and a long nose. march; those who collapsed en Before I could introduce myself route were shot. It was during and shake his hand, he raised his this horrific march that Flothuis’ right forefinger and wagged it in bag containing the manuscript my direction, “You didn’t play of the flute concerto was stolen. the trill I wrote at the end of the Flothuis made it back to Amster- cadenza in the first movement!” I dam on 29th May 1945 only to hear that MARIUS FLOTHUIS (1914–2001) apologized profusely, but I must admit his mother had committed suicide the Education: in the remaining three performances I week before. Just over a week later, • Vossius Gymnasium continued to play the trill as Mozart had miraculously, he performed a premiere • University written it, rather than change it to the of a new work in the Concertgebouw! • Utrecht University one Flothuis had written to conclude his However, he was understandably in cadenza. With hindsight I just wish that very poor health and suffered a severe Career Highlights I had been brave enough to ask him bout of pleurisy from which he recuper- • 1937–1942: Assistant to the WHY he changed the trill, but now, of ated in a care home in Doorn. artistic director of the Concert- course, it’s too late. SURVIVAL gebouw Emily Beynon is principal flute of the The sheer physical resilience of • 1946–1950: Librarian at Done- Royal Concertgebouw Orchestra, Amster- this man is astonishing, and those who mus Amsterdam dam. An enthusiastic proponent of new knew him said that, despite the hor- • 1945–1953: Music critic of the music, she is also active as a teacher and rors that he endured during the war newspaper Het Vrije Volk chamber musician. emilybeynon.com years, he remained quite unchanged. • 1953–1955: Program editor, In later life, whenever a conflict arose, Concertgebouw Orchestra he would always choose calm, peace- • 1955–1974: Artistic director, • s ful negotiations over aggression. What Concertgebouw Orchestra The help of Eleonore Pameijer and Joyce I find almost more amazing is that he • 1974–1982: Professor of musi- Kiliaan is gratefully acknowledged. knew who had betrayed him back in cology at the Utrecht Univer- 1943, but never told anyone who it was. sity • 1980–1994: Chairman, Zentra- • s How he was physically able to compose Emily Beynon’s list of works for flute by whilst in the camps is of itself aston- linstitut für Mozart-Forschung, Salzburg Marius Flothuis may be found on p. 7. ishing, but that his music during this —Ed. extremely harrowing period remained so relatively cheerful comes from his belief that his music was SOURCES: a “counterbalance against all the horrors around him.” • NPO Radio 4 podcast series, “Flot!” by Margriet Vroomans & Benjamin de Bruijn https://www. PROJECT PALOMA (projectpaloma.com) nporadio4.nl/75jaarbevrijding/artikelen/6470-flot- This counterbalancing is precisely the hypothesis of hoe-componist-marius-flothuis-de-oorlog- my Project Paloma series: during the horrendous years overleefde-door-muziek of the Second World War, composers were consciously • Vervolgde Componisten in Nederland, Carine Alders & or subconsciously searching for a form of musical peace. Eleonore Pameijer. Chapter: “Marius Flothuis - Com- Therefore it is perhaps not such a coincidence that so ponist, wetenschapper en humanist,” Joyce Kiliaan, many flute and piano masterpieces were written during Amsterdam University Press, 2015 this period. • https://leosmitfoundation.org/marius-flothuis-english • http://donemus.nl/marius-flothuis/ (Dutch) CAREER • http://www.musiques-regenerees.fr/Pays-Bas/Flothuis- Unfortunately, after the war it took some time for Marius/FlothuisMarius.html (French) Flothuis to be invited back to his prewar position at the • *Mozart Requiem (1997): https://www.nrc.nl/ Concertgebouw. In the intervening years, he worked as a nieuws/1997/01/16/flothuis-adaptatie-van-requiem-uit- librarian for the music publishing house Donemus and as 1941-eindelijk-7338880-a630371 a music critic for the daily newspaper Het Vrije Volk [The • **https://www.nmkampvught.nl/dagboekfragmenten/14- Free People], and, of course, he continued composing. In april-1944/ 6 — NYFC Newsletter

(Interview, cont’d from page 1) hard, and after years of preparation had competition. Audiences have increased introduced the one-keyed flute into his landed in the right place at the right time. as they can more readily access skilled studio after returning from a sabbatical and convincing performances of beauti- year in Europe. I often think about Mr. MC: What was it like working with John ful repertoire on period instruments. Willoughby’s influence on the trajectory Eliot Gardiner during your years in the And there is more work, including more of my life. He was a prominent modern UK? opportunities to teach. I sometimes worry flutist, teaching at Oberlin after having JS: My six years playing principal flute in that we may be circling back around to played with the Cleveland Orchestra Gardiner’s two orchestras was thrilling the 19th and early 20th century—the era and Cincinnati Symphony. He remained and challenging. Gardiner had heard me of the maestro, the diva, and orchestral open-minded and curious, and his sab- play a few times in the US and Canada minions. We need to guard now against batical year led him to Europe to study a when he came over to conduct, so he this, and against virtuosity at the expense new instrument. In doing so, he opened knew of me when I moved to the UK. of soul and expressivity. up many eyes and ears, including mine, When he hired me to play principal flute, to the beauties of the baroque flute. there was a wave of indignation amongst the players of the orchestra. I was a for- Make sure that your The more I studied baroque flute at eigner (an American!), and was replacing Oberlin, the more I came to love the their friend and colleague. The outrage knowledge, interests, and instrument, its repertoire, and how its was justifiable, but I didn’t turn down skill base is wide and deep. very particular and unusual characteris- the offer. It was a rough few years, and tics steered one directly towards a very the pressure was immense. Gardiner is a Quantz himself advised expressive style of playing—a style that fantastic and also supremely demanding resonated with me. I discovered that the conductor. In spite of the pressures, my students against being mere instrument used air in a manner more experiences of touring the world, and of comparable to speaking. As with speech, performing and recording great orchestral “instrumentalists.” the notes of a phrase were either founda- and operatic repertoire, were extremely tional (stressed) or were unstressed, the satisfying and left me with a lasting MC: In today’s competitive climate, what latter being the ornaments to the founda- strength of experience—and eventually I would you suggest to current or newly tion. The endlessly varied, unweighted was accepted and welcomed to the point graduated students interested in a career ornamental notes gave a phrase, a move- where I made some very good and last- in early music? ment, an entire piece, its particular spirit ing friendships within the orchestras. JS: Those musicians I see today who are or affect. These ornamental gestures and These were extremely rich and busy most successful in sustaining a career, nuances were all possible precisely be- years in both my personal and profes- especially at the moment, are musicians cause of the way in which the flute used sional life, as it was also during this time with a deep and thorough knowledge of air. In addition, there was a multitude of that I trained to become a teacher of the what they do. They are often musicians colors built into the scale of the instru- FM Alexander Technique, and also met with complementary interests and talents. ment. Willoughby steered me to Quantz, my husband and had a baby! Make sure that your knowledge, interests, Hotteterre, and other 18th-century tutors, and skill base is wide and deep. Quantz which I read and re-read. It was an excit- MC: How is the early music movement dif- himself advised students against being ing unveiling and period of discovery ferent now from when you started? mere “instrumentalists.” for me. My graduate studies with Frans JS: When I first started playing profes- Vester in The Hague confirmed my desire sionally in the US, a concert played on a MC: I am guessing you have more than to focus on baroque flute and 18th-cen- period instrument was unquestionably a one baroque flute. Can you tell me about tury repertoire. Vester was an inspiring fringe event. Early musicians lived some- yours? teacher, who possessed a wry humor and where out on the margins of a profes- JS: Even with the abundance of excellent great humility. sional musical life. On the West Coast, we models of baroque flute to choose from, were jokingly referred to as the tofu and I have never been (and never have been So, I think I can say that my introduction Birkenstock crowd, and we were indeed able to afford to be) a serial flute col- to HIP was a “from the ground up” expe- a grass roots movement. As time passed, lector. I usually have about two or three rience based upon working to master the however, audiences grew in numbers flutes that I alternate playing, largely instrument, realizing what it did best and and in enthusiasm as music lovers dis- depending upon repertoire, but also most naturally, and understanding and covered how immediate, how genuinely upon the circumstances of a concert, i.e., appreciating the music from this perspec- expressive and moving, and how exciting my colleagues—including what and how tive. concerts on original instruments could they play, the hall, and even the weather! be. Orchestras and chamber ensembles At the moment, I choose between two MC: Was there a turning point when you were formed and often flourished. Palanca model flutes (boxwood and realized you had what it took to be a pro- blackwood) by Martin Wenner, and fessional musician? Now, of course, HIP programs are nu- a Bressan model in boxwood by Rod JS: Not really. The satisfaction and enjoy- merous, and many more orchestras, as Cameron. In general, one strives to play ment I felt in playing baroque flute and well as professional chamber ensembles, an instrument that supports the music in getting more and more accomplished are flourishing—or at least were until the one is playing. An instrument will give on it built upon itself, and I don’t recall COVID-19 pandemic struck. Performance you clues and support you in playing questioning what I was doing, or that I on period instruments is mainstream in a particular style. French flutes of the could make this my life’s work. After fin- now, with even the highest profile mod- early 18th century have a wider bore, ishing my studies at Oberlin and in The ern musicians giving a nod to informed which helps make the sound warmer and Hague, I returned to the west coast of performance practice. more maneuverable. Later flutes provide the US. It became clear fairly quickly that a brighter sound for more virtuosic play- I was stepping into an energetic, new There is much good—and some not so ing. And there are any number of models movement to perform 18th-century rep- good—to come out of the expansion of in between for composers such as Bach, ertoire on original instruments, and that early music into a more mainstream mu- Telemann, Handel, Blavet, etc. I was on the forefront of this movement. sical arena. The good is that the general This was a great boost in support of skill level has risen enormously; there are MC: Baroque flutes generally tend to be my chosen field in music. I had worked now more players, more jobs, and more softer in volume than the modern metal January 2021 — 7

Emily Beynon on the Flute Music of Marius Flothuis (Background for the January 14, 2021 Solo Series event; see p. 3 Flute Happenings listing for details and p. 4 for Emily’s biographical article on the composer.) This Solo Series event will focus on • 1944 Concerto, for flute & orches- cello & harp, op. Marius Flothuis’ best-known works tra, op. 19, Donemus 1947 47a, Donemus for flute: his cadenzas for the Mozart • 1944 Aubade, for flute, op. 19a 1995 • 1960 Seizoenen, a Photo: Mathilde Maria Nai concertos (published by Broekmans Broekmans 1946 & 1981 (Two Emily Beynon & van Poppel) and two works for pieces) cycle for four-part flute alone: Aubade (an excerpt from • 1944 Bicinia, for two-part female female choir and flute, op. 61, his 1944 flute concerto) and Piccola choir with or without accompani- Donemus 1961 Fantasia (1971). Here is a more com- ment (2 , and viola, • 1964 Canti e giuochi [Songs & plete list of his other works for flute, 2 flutes, 2 cor anglais, 2 clarinets Games] for flute, oboe, clarinet, not including the cadenzas. or other combinations), op. 20, , horn & string orchestra, Donemus 1947 op. 66, Donemus 1964 FLUTE WORKS • 1945 Ronde champêtre, for flute • 1965-66 Quatter miniaturas • 1939-40 Concertino, for flute, and harpsichord, op. 19b, Done- rumantschas per üna vusch ed oboe, clarinet, saxophone, trum- mus 1949 üna flöta, op. 68, Donemus 1966 pet, timbales, piano & strings, • 1946 Cantata Silesiana, for three- • 1971 Per sonare ed ascoltare, op. 8 part female choir, flute, string cinque canzoni per flauto ed • 1939 Muziek bij Het drijvende quartet, and harpsichord, op. 29, orchestra, op. 73, Donemus 1971 eiland [Music by the Floating [text: ] Donemus • 1975 Sonata, for flute and alto Island], for flute, two clarinets, 1948 flute (in G), op. 76 nr. 2, Done- trumpet, percussion, violin, dou- • 1948-1949 Love and Strife, a seri- mus 1975 ble bass, and piano, op. 5 ous cantata for contralto, flute, • 1978 Hommage à Mallarmé, for • 1941 Nocturne, for flute, oboe and oboe d’amore (also oboe), viola, voice (mezzo/baritone), flute, clarinet in A, op. 11, J & W Ches- and ’cello, op. 34 [text: K. Raine] cello and piano, op. 80 [text: S. ter, London 1952 Donemus 1949 Mallarmé] Donemus 1981 • 1941-42 Quintet, for flute, oboe, • 1951 Een Amsterdamsch lied, can- • 1979 Piccola fantasia, for flute, clarinet, bassoon and bass clari- tata for soprano and baritone op. 76 nr. 7, Broekmans 1981 net, op. 13, Donemus 1953 solo, flute, clarinet, two violins, (Two pieces) • 1943 2 Liederen Rondel, Lied, viola, violoncello, , • 1983 Vrijheid [Freedom], for mixed op. 15a, (revised 1969) mezzo- and piano, op. 40, [text: J. Camp- choir, 2 reciters, mezzo-soprano, soprano, flute, oboe d’amore, ert] Donemus 1951 flute, and string orchestra, op. 83, clarinet, bassoon, horn and dou- • 1951 Sonata da camera, for flute Donemus 1984 ble bass, Donemus 1969 and harp, op. 42, Donemus 1951 • 1994-1995 Quintette, for flute, vio- • 1943 Sonata da camera, for flute • 1952/1995 Kleine suite (vocalises), lin, viola, cello, and harp, op. 97, & piano, op. 17, Donemus 1951 for soprano, flute, violin, viola, Donemus 1996 flute. How do you deal with playing the ercise the embouchure. I play harmonics play pieces each day. But playing pieces baroque flute in a big concert hall? also to exercise and define the flexibility will be so much more satisfying if you JS: I rarely have problems with not hav- requirements of the embouchure. I play spend time securing the foundations of ing enough volume when performing. scales in all keys—scales in thirds, triplet your technique, as these are your tools Volume on baroque flute is achieved by scales, etc. I practice trills—slow to fast, for making music! having a good instrument, and by re- and trills with a smooth and naturally maining true to playing with a clear and flowing turn and termination. These are There is a story about a monk who, focused tone. More volume on baroque just a few of my favorite warm-ups. when asked how he achieved enlighten- flute can never be achieved by blowing ment, answered: “Chopped wood, carried harder. The tone, and especially the in- MS: Any advice for aspiring flutists? water.” And what did he do now that strument’s weaker notes, will simply dis- JC: Stay conscious of how you are “us- he had achieved enlightenment? “Chop integrate if pushed. If I am having trouble ing” yourself as you play—especially as wood, carry water.” being heard in an ensemble, honestly it is you warm up. You can warm up and most likely due to the violinist or oboist practice for hours, but if posture is com- MC: Have you explored anything more forgetting that they are now playing with promised, if there is excess tension in modern than the conventional baroque a flute—not another violin or oboe! your shoulders, arms, and hands, if your and classical repertoire on the baroque breathing is high and you are sucking flute? MS: What are your typical daily exercises? air in through a tight throat, you will be JS: Yes! At the moment I am working on Would you be willing to recommend a working against yourself and progress Debussy’s Syrinx, and will in fact play few that you do regularly? will be at a cost. I highly recommend this for you on my Flute Club recital. JC: I spend most days practicing flex- lessons in the Alexander Technique to ibility of the embouchure, so that I can help achieve more ease and enjoyment in MC: Thanks so much, I am looking for- continue to achieve resonant low notes, playing. ward to hearing you! followed by sweet and weightless high notes that are not overblown or forced. Never stop working on the foundations Mili Chang, a baroque flutist and edu- I start at the bottom of the flute, moving of playing—good posture, breathing, cator, is on the faculty of New Jersey up by half steps, and play slow octaves articulation, flexibility of embouchure, Performing Arts Center. She performs with with a fifth in the middle—up and then control of the airstream. It’s tempting to the Sebastian and the St. Peter’s Lutheran back down—all slurred to thoroughly ex- rush into playing pieces, and one should Church early music ensembles. The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

Sunday, January 24, 2021

A virtual concert (connection details at www.nyfluteclub.org) Janet See, baroque flute

st 101 Season Greetings! January brings us two Club events, a Solo Se- ries installment and a concert. Baroque flutist Janet See is our 2020- 2021 Events concert performer in a program that features (with one very October 22, 2020 (SS) • Thursday, 7:30 pm interesting exception!) with harpsichord. Mili Patricia Spencer plays Noel Da Costa Chang’s interview touches on Janet’s beginnings as a flutist, October 25, 2020 (C) • Sunday, 5:30 pm McGill & Wincenc play Gabriela Lena Frank her recollections of the early days of the historically informed November 5, 2020 (SS) • Thursday, 7:30 pm performance (HIP) movement, and her thoughts on the chal- Density 21.5 with Molly Barth lenges of being heard over other instruments (“It’s rarely a November 12, 2020 (E) • Thursday, 7:30 pm problem if you have a good instrument and colleagues who Leone Buyse, Tereasa Payne & Ransom Wilson From the remember that they are not playing with a violin or oboe...”). on virtual teaching. Chaired by Jeff Mitchell. Editor November 15, 2020 (C) • Sunday, 5:30 pm Emily Beynon, principal flutist of the Royal Concertge- Claire Chase and the Density 2036 Project bouw Orchestra, is the presenter of this month’s Solo Series, December 3, 2020 (SS)• Thursday, 7:30 pm devoted to the flute music of Dutch composer Marius Flothuis, a WW II-era con- John Heiss interviewed by Meg Griffith centration camp survivor. Her fascinating article about his life (1914–2001) starts December 13, 2020 (C)• Sunday, 5:30 pm Winners of the 2020 NYFC Competition on p. 4; curious readers should know that Flot was the composer’s nickname and January 14, 2021 (SS)• Thursday, 7:30 pm that it sounds like vlot, Dutch for smooth. Emily’s list of Flothuis’ compositions Emily Beynon on Marius Flothuis for flute can be found on p. 7; she will play his two works for solo flute (still eas- January 24, 2021 (SS)• Sunday, 5:30 pm ily available in print, as I happily discovered a few weeks ago) for her Solo Series Janet See, baroque flute (with harpsichord) February 25, 2021 (E)• Thursday, 7:30 pm event. Robert Dick masterclass In this month’s “From the President,” Nancy Toff comments on the lack of February 28, 2021 (C) • Sunday, 5:30 pm solo instrument repertoire on WQXR’s annual holiday-time list of classical music Solo Flute Spectacular favorites and tries to imagine what might be found on a list of essential favorites March 11, 2021 (SS)• Thursday, 7:30 pm for flute.... Mary Oleskiewicz on the Bach Partita March 21, 2021 (C)• Sunday, 5:30 pm Jacqueline Martelle, a staff member with the DMA program in music perfor- Adam Sadberry of the Memphis Symphony mance at the CUNY Graduate Center, is this month’s member profile subject. I April 10-11, 2021• Saturday-Sunday, all day was intrigued by two of her performances (one featuring a ship’s horn and the Flute Fair: A Virtual Toolbox other a premiere of a piece written for her No. 947 Powell flute); her practice May 2021 • TBA routine description motivated me to find and download a free copy of Kincaid’s All events will be virtual; SS = Solo Series, C = concert, Praeludium exercise—well worth checking out if you don’t have it already. E = Education and Enrichment. Visit the NYFC website Anyway, all for now. at www.nyfluteclub.org for additional information and connection details. Katherine Saenger ([email protected])