The Journal of the British Flute Society

President James Galway Vice Presided Albert Cooper from 1st January 1991 Area Representatives Council Susan Milan Cha~rrrran AvonISomerset Elizahetlr Taylor Srcrelary Carole Timms, 'Marlow', Garstone Lane, Blagdon, Avon Judith Fitton Edrlor BSI8 6TG Tel: 0761 62348 Jenny M1ray Me~nberrhipSerretary Birmingham Jonathan Myall Trcasztrrr Margaret Lowe, 10 Navenby Close, Shirley, Solihull, West Adl-ian Brett Er,m/s CO-07-dininntor Midlands BN90 ILH Tel: 021 474 3549 Juliet Keeling Asossln?zl Events CO-wdznnlor Antlreur Thomson Inirnm/ionnl Flulr Socit-lier CO-ordinalor Cardiff Julie Wright Arra Reps. CO-ordinalor Iau Provis, 13 Werfa Street, Roath Park, Cardiff CF2 5EW Tel: Liz Goodwin Edrlvr of Flzrlei~tar 0222 489061 Robin Soldan Ed~rcalionalRcpreserllaltr~e Cleveland Susan Bruce Hon. Legal Adulvirrr Lee Hannah. Fardeanside. Worsall, Yarm, Cleveland Tel: Carolyn Nelson 060981 694 ,Janicc Norman Cumbria Davicl Nicholson ,]anet McCallunr, 9 Droomer Lane, Windermere Albert Cooper LA23 2LX Tel: 09662 661 1 Dennis Clarke Christopher Hyde-Smith East London Kate Cuzner. 52 Turnstone Close, Upper Road, Plaistow. Trevor Wye Arrh~rnsl London Tel: 071 51 1 5552 Guildford The British Flute Society was formed in January 1983 from the Clare Lund, 28 Tillingbourne Road, Shalford, Guildford constitution: GU4 8EY Tel: 0483 35865 'The objects of the Society shall be to advance the education of the public in the Art and Science of Music and in particular the Hertfordshire Art ancl Science of Flute playing in all aspects by the presentation Anne White, 22 Lys Hill Gardens, Bengeo, Hertford of public conrerts and recitals and by such other ways as the SG14 3EH Tel: 0992 586875 Society through its Council shall determine from time to time'. Leeds Pauline Jackson, Croft Cottage. Old Bank Top, Pool-in-Wharfe- The Editor welcomes contributions to Pan - typecl if possible and dale LS21 3BZ Tel: 0532 842457 always double spaced - by post to 116 Woodwarde Road. Dulwich, London SE22 8UT (also see Membership Secretal-y's Norfolk address). Elaine Smith. The White Homestead, Bramerton, Norwich NR14 7DP Tel: 05088 215 Views expressed by the contributors are their own and do not NorthantsIBedfordshire necessarily voice any official view of the Society. Christine Wrigley, 22 Harvey Road, Rushden, Northants NN l0 9JY Tel: 0933 3 14326 North Hampshire Individual Membel-ship (U.K.) Karen Morrison. 3 Barn Cottages, Prinsted Lane, Prinsted, Husband & Wife (I journal) Emsworth. Hants PO10 8HT Tel: 0276 600504 Student (2 1 & under) Flute Clubs North London School Membership Liz Taylor, 46 Farrer Road, London N8 8LD Tel: 081 340 Con~mercial(Worldwide) 209 1 Overseas Membership Oxford Overseas Student (2 1 & under) Carolyn Nelson, 21 Trinity Street. St Ebbes, Oxford Life Member OX I ITN Tel: 0865 250169 Husband & Wife Life Membership South Buckinghamshire Membership Secretary Jenny Wray Ann Davidson, Meadowside, Manor Crescent, Seer Green, The White House Bucks Tel: 0494 676656 Hatton Green. Hatton South Kent Warwickshire CV35 7LA John Gridley, 47 Park Avenue, Deal, Kent Tel: 0304 364806 Ad~~erlrsementRepr~senlalrz,es: Swansea Maple Media Ltd, 411 Wokingham Road, Earley, Reading Hugh Phillips, 116 Delffordd, Rhos, Pontardawe. West Glamor- RG6 2EL. Telephone: 0734 261669 Fax: 0734 66561 1 gan SA8 3EW Tel: 0792 862808 Twickenham Printed by The Lavenham Press Ltd, Lavenham, Suflblk lulie Wright, 41 Devon Avenue. Twickenham TW2 GPN Tel: All cupyngl~lsresm~ed 081 755 1584 Life Members of the British Flute Society West Sussex Lindy Thwaites, 19 Downview Road, Bamham, Bognor Regis Michie Bennett Anne Jakeman PO22 OEG Tel: 0243 553623 William Bennett Trevor ,lames Worcestershire Wissam Boustany lan McLauchlan Alison Uren, 10 Giffbrd Drive, Welland WR13 6SE Tel: 0684 Albert Cooper Susan Milan 3 10066 Philomena Cooper Christopher Paul Money Elena Duran Alexander Murray Will area representatives send all dates leading up to the BFS Michael Emmerson Barbara Noble Convention to Julie Wright Caroline M. Franklyn Stephen Robinson lames Galway Kirsten Spratt Jeanne Cinnante Galway Andy Thonrson Brian Hamilton David St. John-Weyers Cover by permission of the Department of Pauline Jackson Trevor Wye Portraits of the Royal College of Music. Editorial Contents

In life one is (I am) constantly eating one's words Editorial and doing the unthinkable, often very soon after having pronounced upon a subject - so you let the children come into your bed, you have two TVs Diary after all (one in the bedroom too), you watch appalling programmes (look forward to them), and eventually yield to a video/microwave which The Back Door? by Julian Coward you didn't want and cannot work anyway. We all bow to peerlchildren pressure, compromise and sometimes break our principles - call it what you Flute-maker - Ewen McDougall 10 will - progress perhaps? lack of prejudice? These thoughts come to me whenever I think of my college days. Some of you may find it hard to The Albert Cooper Competition 12 believe that when I was a student at the RCM, I was the only flute player there playing (by chance) a metal flute. For some time I felt disadvantaged The Royal Northern College of Music 16 because in those days most people (in England) thought that a metal flute could never possess the quality of tone or power of wood. It was unthink- The Magic Flute Day at the Barbican I able that fluteplayers in Britain would ever go over to metal (although there was a strong contingent of them at the Guildhall under the much respected Grandfather, Father and Son by Anthony I Geoffrey Gilbert). Within five years half the Walker 24 I fluteplayers in England had 'gone over' (the waves 1 from America and the Continent where they had I I been playing metal flutes almost exclusively for The NFA Annual Convention by Michael l some years were strong). Within ten years, apart Emmerson from some notable exceptions, nearly everyone, including my now eminent peers at the RCM and the RAM were playing silver, gold and platinum Letter of Marcel Moyse 32 f flutes. What next I wonder? - re-cycled cans perhaps? Happy Christmas. Reviews 36 l Letters

Editor Some Days in the Life of. . . David Butt 42 ' :

An AGM will be held in the New Year Members will be informed.

STOP PRESS LostJstolen Louis Lot flute No 1562. Open G#, open holes. Metal patch behind mechanism, tear shaped D# key. Please contact Michael Cox 0483-36272: Morganstern's Diary Service 07 1-354 27 1 1 (24 hrs) BBC Symphony Orchestra 07 1-927 42 10. i Diary

12 Dec. The Flute Orchestra 7 Feb. Clive Conway with Gerald Garcia and Jack May 8.00p.ni. York House, Twickenham 8.00p.m. Words & Music The Arts Centre. Chesterfield 3 Jan. Rachel Brown with Musical Offering 8 Feb. Clive Conway with Gerald Garcia and Brian Kay L~~nclitime BBC Studio 7, Manchester 7.30p.m. Words & Music Clive Conway and Christine Croshaw The Mediaeval Hall, The Close, Salisbury Leeds City Art Gallery 22 Feb. Clive Conway with Christine Croshaw and The I6 Jan. Clive Conway and Christine Croshaw 7.00p.m. Five Winds Lunchtime Bradford City Library for 7.30~.m. 'The Tower', Boarstall, Nr Oxford 19 Jan Associated Board Workshop with Ian Denley 22 Feb. Lucy Cartledge mock examinations and discussions on new sylla- 7.30p.m. Mozart Flute Concerto in D Major bus Billingham Technical College, Billingham, Ravel - Introduction and Allegro Cleveland. Details: Lee Hannah. Tel: 060981 694 St Cuthbert's Chnrch, Edinburgh 19 Jan. Christopher Hyde-Smith with Jane Dodd and 28 Feb. Clive Conway with Christine Croshaw and The 8.00p.m. Cummings String Trio 7.45p.m. Five Winds A Mozart Celebration Seaford Music Society, Sussex Flute quartets, piano quartets, duos for violin and viola, etc. 6 March Clive Conway and Gerald Garcia Sutton Library. Sutton, Surrey Lochaber Music Club, Fort William, Inverness- 22 Jan. Ruth Underwood and Olgica Antic shire 12.30p.m. Royal Festival Hall Foyer 7 Mar. Clive Conway and Gerald Garcia 8.00p.m. 23 Jan. Christopher Hyde-Smith and Jane Dodd Town Mill Theatre, Strathaven, Nr Glasgow 12.45p.m. Flute and piano recital 10 Mar. Christopher Hyde-Smith and Jane Dodd Leicester Museum and Art Gallery Evening Flute and piano recital 24 Jan. Rachel Brown with Musical Offering Hurlingham Club, London

I 7.30p.m. Programme '18th century Paris' 13 Mar. Rachel Brown with Musical Offering 1 Rameau, Boismortier, Telemann etc. 7.30p.m. 'Concertos and Suites'. Vivaldi Sopranino Clothworkers' Concert Hall. University of Leeds Recorder Concerto, Bach B minor Suite Rachel Brown with Musical Offering Clothworkers' Concert Hall, University of Leeds Programme '18th century Paris' 14 Mar. Clive Conway Royal Northern College of Music 2.00p.m. Masterclass and short recital for the Cheltenham 26 Jan. Rachel Brown with Musical Offering Centre of the ISM ( 7.30p.m. Programme '18th century Paris' 14 Mar. Rachel Brown with Musical Offering Midlands Art Centre, Cannon Hill Park, Birm- 7.30p.m. 'Concertos and Suites' ingham Royal Northern College of Music 15 Mar. Rachel Brown with Musical Offering 2 Feb. Ruth Underwood and Olgica Antic 7.30p.m. 'Concertos and Suites' 8.00p.m. Flute and piano recital Adrian Boult Hall, Paradise Place, Birmingham Lauderdale House. Hieheate. London N6 c. L, Coinciding with Exhibition of Paintings and 29 Mar. Leicestershire School of Music Flute ChoirIBed- Drawings by students of Elvina John (including 7.30p.m. fordshire Flute Choir combined concert, con- some by Ruth Underwood) ducted by Russell Parry and Christine Wrigly Hastingsbury Upper School, Bedford 5 Feb. Clive Conway and Gerald Garcia South Hill Park Arts Centre, Bracknell Julian Coward

So you didn't go to Music College!

I expect you have come across making music. Quite a few univer- pal of the City of London Sinfonia, advertisements written by earnest sity graduates have come to the Stina Wilson (Surrey) of ENO Americans with names like Hiram same conclusion, though not many North; Mike Hirst (principal with B. Shucklewart 111, who claim to put off for so long the point when the English Sinfonia and a busy have set out on life's journey with- they decided to knuckle down and freelance player) also sidestepped out a bean and discovered on the do the thing seriously! As a result I college. Richard McNichol, in the way to their first million the secret missed out on a postgraduate LP0 a few years back and now of turning base metals into gold -a course at music college. conductor and organiser of edu- secret they'll share with you (and All my case proves is that it is cational concerts, was at Oxford. all those other suckers) for just a possible, with a good deal of luck Nicholas McGegan, who has made few bucks. and help from a number of unsel- many records directing his own In spite of superficial resemb- fish friends; it doesn't prove that orchestras abroad, began his lances, this is no advert! I am not genteel amateurism is the answer! career after Cambridge as a stylish claiming to have discovered a fool- You may, however, be surprised baroque flautist. proof method to twit the system by the length of the list of flute Many of these didn't study and become a professional flute- players who followed a similar music, either: there are a handful player without going through the path - though most of them sen- of modern linguists and several agonies of competitive playing and sibly opted for a postgraduate year who read English; I did classics. I back-breaking practice routines at music college before attempting know of other wind-players who which are the lot of most success- to scale the heights. At least seven went for subjects as diverse as ful performers. It was in fact the are from Cambridge (in no par- Philosophy and Mediaeval Proven- Editor who suggested I might con- ticular order, with apologies to cal. Once, things may have been tribute a few words as a sort of anyone I may have forgotten): different, but in these days of stiff postscript to the very useful survey Richard Stagg (BBC SO), Ileana competition it is fair to assume that of college auditions which she put Ruhemann (Principal, BBC if you win and take up a place to together in the last issue. Concert 0), Simon Channing study the flute at music college, Why did she ask me? Well, (LPO), Daniel Pailthorpe (co-prin- you want to play the instrument Judith Fitton taught me the flute cipal at ENO), Helen Keen (LMP, for a living. No such assumption right through my school years at Endymion etc), and myself (RPO). can be made about studying a Dulwich; after university, I took Chris Yates, vice-principal of the subject like Provencal or philo- several jobs unconnected with RNCM, was well established as a sophy; people choose such subjects music before discovering to my player before becoming an ad- because they find them fascina- amazement that I could earn a ministrator. From other universi- ting, not because they've heard the meagre living more pleasantly ties, Duke Dobing (York) is princi- firm round the corner has vacan- cies for troubadours or logical unreliable and overpriced public issue only with the idea that positivists at twenty quid an hour. transport, this is clearly something nowhere but a music college And though it's true that this is a to bear in mind as you chase provides a stimulating atmosphere time when graduates in many sub- around one of our overworked for intending professional flute- jects can't find congenial employ- and underpaid leading players for players; the list above is evidence ment even if they get a good your weekly lesson. that this is codswallop. However, degree, remember that those from An occasional remark from there exists a certain type of I music colleges are finding things the symposium in the last issue person who is obsessed with the even harder! seemed to invite comment. Here flute and thinks of little else. I The players I listed chose are one or two: doubt whether such a person will 1 universities with outstanding (1) 'I would have considered have read as far as here, music departments. Many - university only if I hadn't got into though. . . perhaps the majority - also studied music college, as I feel that to get (2) 'I was offered a place at with leading teachers during their the most out of playing and learn- Jesus College, Cambridge, but 1 courses, some at the university's ing I had to be in a musical chose to go to music college expense. You can't rely on finan- environment.' because I wanted my flute playing cial help, of course, particularly - There are, of course, always a to come first, tho' now I often wish not during the recession; it's one (fortunate?) few who are quite I had a fuller musical education.' of the many things you must sort certain of what they want to do in - This is the sort of thing I have out at interview (make sure you life. I suppose one should applaud heard from quite a few people in get it in writing!). But the more the conviction of someone who the profession. Let's be brutally enlightened places know it is a places the study of a wind instru- realistic. The opportunities for a relatively inexpensive way for ment (even the flute) some way second degree with state financial them to raise the status of the above the corpus of assembled assistance once you've had three department. It is also no coinci- knowledge in all other subjects, years' grant are slim to non-exis- dence that the majority of such but that is, I suppose, their pre- tent. Perhaps if the young lady , departments are close to the main rogative, particularly at the age of who made this remark had known ) musical centres. In these days of eighteen. For now, I shall take what was possible, she might have

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Brockington House, 21 Hafod Road, HEREFORD HRI ISC (0432) 274984 thought twice before turning this strikes you as too cheeky, or This narrow approach to the down such an offer. It is possible possibly not relevant, try white lies. instrument produces players who to have your cake and eat it - In the last resort, change your seem not to respond with much though unfortunately Cambridge analyst, as it were. Bear in mind apparent interest or imagination is not typical! that several of the people in my list to the very special problems which (3) 'I was informed (at college got a first class honours degree in playing in an orchestra sets a flute audition) that one did not have their subject as well as fitting in the player. This breed is more likely to time for other studies as one odd burst of scales and arpeggios! be familiar with vapid studies would be practising for eight (4) '. . . the thing that most written by some flute nut in the hours a day. Whether this was a bothered me about all these places nineteenth century than with the joke or serious I still don't know.' [music colleges] was the tendency masterpieces of the orchestral [See Richard Davis in the RNCM. to regard the flute as the be all and repertoire: surely an odd order of Ed.]. - I will stick my neck out end all of music. University priorities. These are the jokers here. If you want to do eight seemed to be an alternative to this who assess the quality of the hours' flute practice a day, go apparent insularity.' orchestral music they play purely ahead. You will probably escape -This should really be taken with by how many flute solos it contains. physical injury, though I would 3) above. There are, of course, When attending auditions guess (hope?) you'll soon become notable and splendid exceptions to and later sitting with the successful aware that something is missing in this criticism, generally in the form triallists in the orchestra, we have your life. A suggestion: try organ- of an unusually stimulating indi- found that the most individual ising your practice better. If your vidual who succeeds in setting the auditionees often don't show up as teacher insists on X hours of work flute in the wider context it needs. well as one might expect, specially each day rather than assessing Bear in mind, however, that there when sitting 'down the line'. Tak- over a period how much each is no shortage of narrow and ing for granted a basic competence individual needs (few of them unimaginative university courses, in tone production, intonation and do!), ask them when they last read in music or any other subject. Let technique, it seems that intelli- a book or went to the theatre. If the buyer beware! gence (not necessarily the aca-

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with SUSAN MILAN

Full details from the Hindhead School of Music, Hindhead, Surrey GU26 6BA. Tel (0428) 604941 fession is in a curious state of flux heretical to say so, there is a great your CV is vital when you are at present: who knows what stage deal about playing a basically doing the rounds for your first job, the orchestral scene will have straightforward instrument like as many organizations weed out reached in twenty years' time - an the flute that is simple common- those who have had little experi- highly relevant consideration, I'd sense. Good teaching reflects this. ence before inviting players to have thought, for anyone deciding If you are born with, or have audition - an undesirable state of whether to study the flute intensi- developed, the ability to monitor affairs forced on them by pressure vely. such a fundamentally instinctive of work. How to go about getting (6) 'I feel very strongly activity so that you spot and cor- the sort of engagements that look . . . that if you have just a reason- rect faults before they have a impressive on your CV? It sounds ably academic capacity, university chance to do much damage, you suspiciously like a circular argu- is the one I favour (i.e. over music will probably go far, all other ment: to get an audition for a college) because of the tunnel things being equal: this ability prestigious band you are expected vision you develop in a college of becomes vital if you get into an to have done some work for a music.' orchestra, because coping with the prestigious band, and so it goes on. - This would be less worthy of welter of noise around you can be Is there a way to break the appar- comment had it not come from the intensely frustrating, while ent impasse? mouth of the principal of one of attempts to compromise the essen- As usual, the answer is yes and the London Colleges, Philip Jones tial nature of the instrument by no! The years immediately after - himself a leading trumpeter and trying to outplay the brass can training are critical; everyone's ex- director of the brass ensemble that have the direst effect on control perience is different and, by defi- bears his name, and consequently and finesse. nition, equally relevant. Knowing no dry academic! The truth is that the main as I do the questing mind of the What Philip is saying is that problems to be faced by any Editor, I will stake a considerable the right approach is not always a player, whether college or univer- sum of money on the subject matter of teaching. If you are a sity trained, centre around getting receiving thorough and sympath- good musician, this will come out (and maintaining!) a good repu- etic treatment in a future issue. in your playing almost in spite of tation - part hearsay, part discreet your training; and while it may be self-advertisement. The look of Julian Coward u a nzembrr v/ the RP0

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Flute-maker

Ewen McDougall

I was becoming tired of the jour- My small lathe (Milne) was set that the cost of taking a flute from ney to work across London; it was up on one end of the bench, the the outside to the inside of Lon- taking one third of the working polishing spindle opposite. A don, for instance, could cost more hours per week in addition to No. 3 flypress arrived to hold than the Registered Post, I became those actually worked. During a down the other end. Plenty of very hopeful. Today, if it is des- happy holiday in Yorkshire with room left for drilling machine, a perate, one can come to Darl- my parents, ideas started forming. rolling mill, butane gas torch and ington from London and back all My parents, reminded of the plea- tray for melting and silver solder- in the one day, including pick-up sant countryside of youth, soon ing. I could sit in the middle and from Darlington, time spent here decided that they would like to scratch away, with the comforts of and return to the station! Quite a leave the 'smoke' and return central heating and tealcoffee few have tried this out already. It north. Valerie and I also came to every half hour! works well for the 'head joint this decision; so during a Sep- The village boasted six young trying' business. tember week in Leyburn, many flautists, so their instruments were As I am not under the same miles were covered in search of soon in good going order. Instru- pressures as in town, it is nice to be suitable properties. By the follow- ments started to arrive from every- able to talk to people and discuss ing April 1983, mother and father where, and I believe at that time I problems. I keep head joints of were established in Middleham, would have been content to con- many kinds for flutes and piccolos, while Valerie and I came to tinue just making head joints and and these can be played. Ravensworth. What a golden exis- servicing flutes. I had in stock the I decided that my flutes would ! tence this proved to be! No rush- sad remains of a maltreated Rudall be made without castings. Forging ing about - just a short walk Carte cocuswood flute, also one gives tougher keys and a better 1 downstairs and through the wall silver tube. Between busy times I finish, so all these parts are cut ' (there is a door!) and into the reworked the covered hole key- from thick sheet or sections of workshop. How many times had I work into a silver flute with open silver. Making all the different said (innocently) in the past, 'this holes, in line. Shortly after, John shapes is very rewarding (if hard job will become a cottage industry'. Wiggin paids us a visit in company on the ears with all the hammer- The workshop was a good size with Joanne Boddington. John ing!). As all parts are polished with lI and had a concrete floor. The tried this flute in complete knowl- a burnisher, the results are superb bench was parked along the edge of its history, and wrote out a - no corrugated surfaces or Aero- middle of the room with plenty of cheque on the spot! John's visit C~OCfinish! i space both sides for access. The helped me to realise that this I have made two sets of tools windowsill (six feet by one and a operation was conveniently central (flute and piccolo) for forging the l half) was just right for phone, to the major musical centres: Glas- embouchure chimneys. I have diary, cassettes (flutes of course) gow, Edinburgh, Newcastle, Man- been told I am the only one to do 1 and player. chester and Liverpool. Noting also so, which seems surprising as the l world is a big place! Being forged, in stages, with a wall thickness of music stands or people about to sit the chimney is very hard and 0.45mm. If it needs to be a bit down. The common feature of dense even though the silver starts longer or thinner it goes through these sad tales is that the owner is at 0.7mm thickness. Castings will another plate. I have made three never there when it happens! be much thicker than this for piccolo head tubes l lmm ID from From time to time, a forlorn soul safety. The thinnest chimneys are a 19mm B footjoint length. lmm appears at the door fearing retri- on the old French flutes, and I wall tube for saddles can be made bution, case in one hand, flute in suspect they were fabricated from from one large stock size. Why the other (because it won't go in old scraps of body tubing. Many of bother?Just try to buy 'small quan- when it's bent). All is well however these have been carved out tities' from silver manufacturers; when I promise that it will soon , through the sides in a search for each different size costs a fortune work better than new. improvement! But not here. in working charges, and you are in If you get as far as this Tool making has always inter- trouble if you want less than 1 through the article, go to your , ested me, so I have my pile of steel kilogram in weight. This would flute case, take out the head and chunks and car half shafts for cost about £250 inclusive of VAT check that the cork is 17.5mm making up lip plate shapes, cup and delivery (and perhaps a two- from the centre of the dies and punches, head joint month wait). embouchure hole. Check the mark crown pressings and circular My flute is in a compact style; on the cleaning stick first - it could blanking dies and punches, in all long keys flapping about are of no be wrong. At the Leeds flute day in sizes. By now, I have a larger lathe help with the technique, nor in the April I was surprised by the (Harrison 9 swing) which is semiquavers. Much attractive number of flutes with corks magnificent for a bloke like me! detail is embodied in the shaping wrongly placed. If the cork moves Warning to those who would go of the keywork. Head joints hav- easily it has shrunk and needs out to buy a lathe: make sure you ing improved a lot in the recent replacing. When a flute comes to measure the access door! I years means you are probably me for attention large or small, I managed with 30mm clearance, wasting money by 'going foreign'. start with the head, as shown here. which was close! I wish I had had a flute like this I consider myself to be very Allied to tool making, during my years of playing in fortunate in doing something I hydraulic power is very useful for London! enjoy. An opened drawer pushing head tubes through steel I carry out a lot (no pun) of revealed, recently, my Apprentice- plates (the head tubes stretch servicing. Much of it is quite ship Agreement with Rudall 20mm, so they should be nice and straightforward; but due to lack of Carte, dated March 1950. Thus I hard!). The same forces enable the care or sheer accident, flutes will have had 41 years at it so far, take reduction in size of silver tubing get bent and mangled, passing away three years with the RAMC from 24mm ID down to 15mm ID within range, as they do, of flying band 1954-7. Any questions?

B.F.S. FABULOUS OXFORD CONCERT SERIES THE FLUTE ORCHESTRA Dir: Adrian Brett March 8th 1992 4 p.m. ROBERT GOODMAN with NICOLAS BOSWORTH (Concert constructed from new Associated Board Syllabus) March 15th 1992 4 p.m.

at HENRY BOX SCHOOL, WITNEY

Details from: CAROLYN NELSON, 21 TRINITY ST., ST EBBES, OXFORD. TEL: 0865 250169 The Albert Cooper Competition Held at the Elena Duran Flute Course

77IE SIiiiMI-I;Ii\!ALIS71\': front row: Stephen Foster, Marlz Tucker, Derelt McLeish, Juan Molina, Julian Sperq, Richard Peirson (accompanist); back row: Allan Rogers, Zoe Smitlt (accompanist), Miguel-Angel Villeneuve, Julieta Cedillo, Francisco Ornelas, Joanna March.

The annual Albert Cooper Com- Concerto in D followed by the classes, a great emphasis was petition, held in Stratford-upon- second movement of the Nielsen placed on performance, with daily Avon as part of the Elena Duran Concerto. Stephen Foster, a stu- student lunchtime concerts as well Flute Course, was won by Julian dent at Trinity College, then as a series of Flute Band concerts Sperry, who was awarded the prize played the second movement of conducted by Colin Fleming with of an especially engraved Albert the Reinecke Concerto and the the Junior Flute Band conducted Cooper headjoint at the final Carmen Fantaisie of Borne. by Paul Lyttle. All concerts were concert of the Course in the Town Finally came Julian Sperry, a given as part of the Stratford- Hall on Saturday, 3 August. recent graduate from the Paris upon-Avon Festival. Ten students on the Course, Conservatoire, who played the Guest lecturers and tutors from Australia, Mexico, Spain and Berkeley Sonatina, Bozza Image included the oboist Neil Black, the UK, took part in the semi- and the Hue Fantaisie. The Ann Cherry, Paul Edmund finals on Friday evening and the accompanists were Zoe Smith and Davies, conductor/violinist John ' three finalists each played a twenty Richard Peirson. Georgiadis, Caroline Franklyn, minute programme of their own The unanimous decision of Ruben Islas, Patricia Lynden and choice at a concert in the historic the judges was given by Mr Andy Thomson, as well as the joint ' Guild Chapel the following after- Cooper at the Town Hall concert, winners of last year's Albert , noon. The judges were Albert and after receiving his prize from Cooper Competition, Carole Cooper, Michael Emmerson and Elena Duran, Julian reprised the Lyttle and Kirsten Spratt. Guy Woolfenden, Music Director Hue Fantaisie to much acclaim. Next year's Stratford Course of the Royal Shakespeare Theatre. This concert formed a fitting will take place between 18 July and Julieta Cedillo, the recently climax to two stimulating weeks 1 August 1992 and further details appointed principal flute of the during which almost fifty students can be obtained from The Admini- Mexican National Symphony from nine different countries had strator, Elena Duran Flute Course, Orchestra, played first and offered studied with Elena and her col- PO Box 007, Stratford-upon- the first movement of the Mozart leagues. Apart from the regular Avon, Warwickshire CV37 6WD. Elena Duran Flute Course 18 July-l August 1992

The annual Eleila Duran Flute Course was first established in 1978 and has become recognised as one of the most important and enjoyable Flute Courses in Europe, attracting students, teachers and professionals from many different countries. It will take place as usual in the historic setting of Shakespeare's School as part of the Stratford-upon-Avon Festival. Elena DurAn herself not only teaches but supervises the entire programme and personally invites the guest tutors and performers. The Course is unique in the emphasis it places on student performance. GUEST TUTORS Colin Fleming returns and will be with us for the entire Course. During the first week he will train and conduct the Flute Band, which will give a number of public concerts. Guest tutors, lecturers and coaches from previous years have included Neil Black, Ann Cherry, Albert Cooper, Paul Edmund Davies, James Dower, Caroline Franklyn, John Georgiadis, Simon Hunt, Ruben Islas, Patricia Lynden, Carole Lyttle, Paul Lyttle, Kirsten Spratt and Andy Thomson. Some of these and other guests will be coming to Stratford to coach and give classes as their schedules permit. Various flute-makers, repairers, dealers and flute music specialists will also be visiting us. PROGRAMME The Course is open to flute players and teachers of all levels from beginners to professionals and regularly attracts a wide range of British and International participants. Each day will begin with a warm-up session and an Elena Duran masterclass. Each afternoon will begin with a masterclass given by a guest teacher and will be followed by informal talks, discussion groups or rehearsals. In the first week the emphasis will be on the Flute Bands, whilst in the second week chamber music and the conlpetition will be featured. CONCERTS There will again be an emphasis on student performance in the daily Guild Chapel Concerts and in the Flute Band concerts. In addition to the lunchtime recitals there will be a number of Festival concerts given by Elena Durhn, Colin Fleming, the Flute Bands and distinguished guests. ALBERT COOPER COMPETITION A highlight of the course is the competition in which senior students are invited to compete for an engraved headjoint which is especially made and generously donated by Albert Cooper. EXCURSIONS There will be trips and excursions to the Shakespeare Properties, Elgar's Birthplace and other places of interest. S Tickets are available for the Royal Shakespeare Theatre and for Stratford Festival events. COST The cost of the f~illCourse is f250 and includes all tuition, adiriission to all concerts presented by the Course, morning coffee, lunch and afternoon tea. The cost for an individual week is f 150. Auditors only can be accommodated on a daily basis at a cost of £30 per day. ACCOMMODATION The Course is non-residential but excellent accommodation is available in nearby guest-houses. Accommo- dation in twin bedded room with en-suite facilities costs 520 per person per night, whilst accommodation in twin bedded room with shared facilities costs £ 16 per person per night. A limited number of' single rooms (without ensuite facilities) are available at £20 per night. Elena Duran King Edward V1 School Flutk Course Stratford-upon-Avon

APPLICATION FORM

Name ...... Address ...... Phone ...... Yearsofstudy ......

Grade (if applicable)...... Makeofflute ...... I would like to attend ( ) the whole course ( ) week one (18-25 July) ( ) week two (25 July-l August) ( ) one or more days as an auditor I enclose a cheque for ( ) £250 for the whole course ( ) f 150 for one week ( ) 5. .. for ...days as an auditor (£30 per day) Please make cheques payable to The Elena Durhn Flute Course Please mail to The Administrator Elena Durhn Flute Course PO Box 7 Stratford-upon-Avon Warwickshire CV37 9GB England

ACCOMMODATION If you would like accommodation in one of the local designated guest houses please write to Mr Lionel Stanway Quilt and Croissants 33 Evesham Place Stratford-upon-Avon Warwickshire CV37 6TH To be certain of accommodation, please reserve before 1 June BFS member Ruth Unde~woodwith some of /zer paintz~~gs- see Ilrrrly, 2 F~hmn~y.

SUMMER FLUTE THE EDWARD JAMES FOUNDATION ACADEMY West Dean College 1623 JULY 1991 FLUTE MASTER CLASSES TUTORS: with TREVOR WYE SUSAN MILAN CLIFFORD BENSON 12-16 April 1992 Flute Master Classes and sonata classes focusing on the repertoire for flute & piano. Excellent accommodation, food and sunoundings. Applications are invited from students of Grade V and upwards, for individual tuition and intensive study on performance and interpretation.

Accommodation and full board in a fine Edwardian country house, set in the Sussex Downs.

PARTICIPANTS: Resident from £257 Non-resident £172 OBSERVERS are also welcome, terms on request

Full details from: WYE COLLEGE, WYE, KE WEST DEAN COLLEGE, Details from the Administrator: West Dean, Nr. Chichester, West Sussex P018 OQZ ELMSTED,ASHFORD, KENT TN25 5JT Tel: Singleton (0243 63) 301 Student feature The Royal Northern College of Music

.I I The Royal Northern College of the University, where they get a Music opened its doors in 1973 in BMus. degree and do all their a splendid new building designed practical work at the College over l, 1 as both College and Arts centre. four years. Playing and perform- ( The new College was formed ante opportunities are the same through the amalgamation of the for all students. [See Susy Fogarty. Royal Manchester College and the Ed.] Northern School of Music, since The Wind and Percussion when, in its new guise, it has Department runs its own music become one of the leading con- education system on top of the servatoires in Europe. graduate courses. In the first year, The building is magnificent they study the history of the litera- and has every facility a young ture and technology of wind and musician could want: Concert hall brass instruments from the and Opera Theatre, practice Renaissance to the present day. In rooms in plenty, a refectory and the second year, all students do an coffee shop, and room to house arranging and conducting course, the activities of the wind, string, conducting their own arrange- keyboard and vocal departments. Tim Reynish Head of Wind and ments at the weekly conducting It is open seven days a week from Percussion class. (There is an advanced con- 8.00a.m. until midnight, for stu- ducting class for those who wish to dents to practise, meet and drink take it further.) In the third year coffee as well as pursue their Timothy Reynish studied horn with the students take an art of teach- studies - 'They never need to feel Aubrey Brain and Frank Probyn and ing course: they do a certain isolated in Manchester and the old was a music scholar at Cambridge, amount of psychology and learn to students keep coming back - working under Raymond Leppard and teach instruments other than the which I like,' says Tim Reynish, Sir David Willcocks. He was appointed ones they play - not necessary Head of the School of Wind and tutor in charge of the Postgraduate perhaps for the flutes, but oboes Percussion. Conducting Course at the RNCM in and clarinets learn to teach the 'Nearly all our students come 1975, and in 1977 took up the post of flute. on a graduate course and most of Head of the School of Wind and 'We try to give the students as them, the good ones anyway, take Percussion in succession to Philip broad a base as possible. Recently, the professional performance Jones. He was elected to Fellowship of for instance, we introduced a six diploma as well. Very few students the College in 1979. week music therapy course and do the performer's course only - Mr Reynish has conducted already two students have opted to we much prefer them to be on a concerts with the City of Birmingham do it for their postgraduate > graduate one.' Symphony Orchestra, the Royal Liver- degree. We take three or four of The four year graduate pool Philharmonic Orchestra, the every instrument each year. Not courses divide after a common Halle' Orchestra, BBC Regional all of them are going to play in the first year. The GMus. RNCM, for Orchestras and the London Symphony profession - some will go into which you need two 'A' levels, is of Orchestra as well as in Norway, Hol- teaching, publishing and adminis- honours degree equivalence; the land and Germany. In 1982 he was tration etc. Therefore it is of the GRNCM has less academic content awarded a Churchill Travelling utmost importance to introduce and is of pass degree equivalence. Fellowship, which enabled him to study them to a wide range of skills. Many of the brightest students the develofnnent and repertoire of the 'Students are auditioned choose to apply for the Joint American symphonic wind band move- every term for the many orches- Course, which is run in conjunc- ment. He is Chairman of the British tras and ensembles, so that first tion with Manchester University. Association of Symphonic Ban& and year students can get into the They do their academic work at Wind Ensembles. orchestras if they are good Student feature

enough. There are lots of wind so important for them to gain Susy Fogarty - 'Fresher' on the groups and chamber ensembles experience of the profession. A lot Joint Course and therefore everyone will get of orchestras do their extra work See 'Auditions to Music Colleges' in the experience of ensemble playing auditions at the College - the BBC September Pan and performance. The Wind Phil., The Royal Liverpool Phil., I'm having a great time so far. We Band is particularly strong here at the Hall6 and Opera North. In haven't been given too much work the RNCM: we play at the Barbi- effect, our students play a major but any amount is enough. During can every year, broadcast regu- part in the regional free-lance the week we usually (in our own larly, and this summer were the pool. time) have to do a couple of Bach first student wind band to play at 'It's a wonderful way of life chorales, German or French trans- , the Proms, where we received here. We have the biggest com- lations, analysis, aural, reading "rave" reviews. munity of students in Europe with and listening. Over a four week 'We run a training course for three universities - Manchester, period, we are expected to pro- - performers to teach them how to Salford and UMIST - and the duce a two thousand word essay. conduct themselves on the plat- RNCM; there are professional There are lots of opportunities at form - something singers are orchestras, theatres, art galleries the university to do solo and rather better at than wind instru- and a fantastic range of restaur- ensemble work, with coaching mentalists. There are two concerts ants. Perhaps, best of all, there is from the players of the Lindsay a week, everyone comes to listen or wonderful countryside within easy Quartet, as well as playing in the play, and if the performer drops reach. After all, one can't think of chamber and symphony orches- his or her music or forgets to music all the time!' tras. acknowledge the audience, they I have to travel to and fro get howled off the stage and have The Joint Course between college and university, to come back and start again. The Joint Course outlined earlier but it's only two minutes away by There is a system of more formal is for very bright students who can bike. I'm staying at a University concerts: everyone has to do two at cope with using for practice the Hall of Residence, which is great stage one (of about fifteen little spare time they have. It is not fun. My neighbours in my corri- minutes) and two at stage two (of unknown for students to drop one dor do subjects completely differ- about twenty minutes). These are half of the course after a year or so ent from music, so it is interesting assessed and, if successful, stu- because it is so tough (more often to hear what they do during the dents are put onto the external the university part). There are day. There are various activities on concert list. We like students to go only twenty-one students alto- site in the evenings such as sports, on the "Live Music Now" scheme gether on the course, including all films, drama and dance etc. With (started by Menuhin) where they instruments. so much going on, I feel that I play in prisons and hospitals etc. should make the most of these RNCM students are encouraged to There will be an inteiview with Christopher opportunities; but I've got to have Yafes, Vice-Principal of the RNCM - fonner do professional work and are professionalJule playrr - in the March issue of enough time to practise - anyway generally given permission as it is Pan. you're only young once! . . .'

G. Parry-Jones: A Christmas Card (carol vars for quintet) A. Challinger: Wind Chimes (wind quintet) HANDMADE CLOSED AND OPEN HOLE ALTO Tchaikovsky: op.39 no1.622 arr. for 48, 3cl + opt ob.bc1 AND BASS FLUTES R Walthew: A Miniature Quartet. All £mm:- "Eva's open hole alto and open hole bass flutes are important new instruments. They are wonderfully made to Pli~lloscopusPublications fit the hand comfmtably and produce exceptional tone. I find the musical worlds that these instruments open to be of the highest value. I am proud to own and perform on her open hole alto and bass flutes." Rachel Malloch 92. Aldciiffe Road, - Robert Dick - Lancaster, LA1 5BE Address: Eva Kingma Tei: (0524) 67498 Hoofdstraat 10-9444 PB Grolloo The Netherlands I&bTel. 05925-1659 Student feature

The Flute Department lancing with orchestras such as the and Holland as well as in this country. Philharmonia and the LSO, travelling He has also performed chamber music The curriculum for the flute stu- to most parts of the world. and solo recitals on Radio Three dents at the RNCM is innovative For the last eight years, Clare has (BBC). and comprehensive - it has, after been tutor at the RNCM and at Richard Davis has been teaching all, the legacy of Geoffrey Gilbert Chetham's School of Music. at the RNCM since I989 and is and the flutaholic Trevor Wye, 'As far as the RNCM is concerned, Principal Flute in the BBC Philhar- who left the department only last I feel that our aims are to ensure monic Orchestra. summer after twenty one years of that the students leave college with 'After twenty one years at the devotion and promotion. all the necessary skills needed to helm, Trevor Wye has left the There are six specialist tutors survive. We try to help them de- flute department of the Royal (often known as professors in velop their ideas by giving them as Northern College of Music; subse- other music colleges) in the many opportunities as possible to quently we have lost the tremen- department. Clare Southworth, hear the leading players. The stu- dous pull he gave to students Richard Davis and Linda Verrier dents appreciate these regular entering the college. teach the flute; Patricia Morris visits, which keep them lively and We have adopted a new and teaches the piccolo and alto flute; busy and which are refreshing for exciting policy of inviting as many Rachel Brown teaches the baroque the department. guest flautists as we can afford, to flute, and Roger Bostron is in Lessons are hourly each week, come and give masterclasses. Last charge of orchestral studies . . . with a class from myself or year William Bennett came and Richard Davis every fortnight. gave us three days of classes and a Roger Rostron gives orchestral concert with Clifford Benson; we classes each week; Pat Morris gives had a piccolo class with Stewart piccolo classes and lessons and McIlwham (principal piccolo with Rachel Brown gives baroque flute the RPO) and flute classes with Bas classes every month.' (Sebastian) Bell, Trevor Wye and Robert Winn (principal flute with the RPO). Classes for this year are still in the planning stages, but include Peter-Lucas Graf, for four days in mid-November, and Jonathan Snowdon (principal flute in the LPO). In addition to all these, Clare Southworth and I give reg- ular classes. As you can see, we Clare Southworth Flute Tutor have great variety in our depart- ment. Clare Southworth chose to play the My lessons consist of individ- flute at the age of eleven, mainly ual and group tuition My junior because she didn't want to play the students have extra tuition with piano. She chose well and her interest Linda Verrier and once a month I and fascination with the flute de- take a scale exam in class form. We veloped very quickly. Studen,t days have a graded system in which you followed, five years of them, nnd can (in theory) pass your yearly during that time most holidays were grade and even jump a grade. spent on flute courses where she had Richard Davis Flute Tutor These scale classes also include lessons from many peat players: Ben- technical exercises. nett, Galway, Graf, Nicolet, Gilbert Richard Davis studied at the RNCM What I expect from my flute and many more. Shortly affer leaving with Trevor Wye and inJanuary 1984 students at the RNCM: Hard intel- the RNCM, Clare won first prize in an made his Purcell Room debut with the ligent work of course - seven or international flute competition in Am- Park Lane Group. eight hours of concentrated prac- erica and was also a prize-winner in He began playing principal flute tice is possible! [See The Back Madeira. with the BBC Philharmonic in his Door? (3) by Julian Coward. Ed.] I As a member of the chamber second year at college in 1984, and has like lively personalities as well as groups Pembridge and Bamboozle, and freelanced as principal flute with many dedicated flute players - I feel that as principal Jute of Aquarius, Clare other orchestras, including the LSO, a teacher mirrors the pupil; if they Southworth has played in many of the the RLPO, the Philharrnonia and the are dull, unprepared and unins- country's music societies and festivals. RPO. As a soloist, Richard has per- piring, then that is what they get She has also had many years free- formed in America, Czechoslovakia from me. Student feature

A few points about the ship where she was taught by Geoffiey RNCM: Ensemble opportunities at Gilbert. She has since specialized on the the college include the wind band piccolo, in the Royal Liverpool and chamber and symphony Philharmonic Orchestra and now in orchestras. Wind quintets and the BBC Symphony Orchestra. larger ensembles are also catered Patricia has pven a nu.mber of for, with ample opportunities for solo recitals and masterclasses and concert giving. The RNCM, like all freelances with all the other major music colleges, is (rightly or London orchestras. Her 'Piccolo Prac- wrongly) an elitist organization, tice' book, written with Trevor Wye, giving priority in performance was publish.ed in 1988 an.d has had opportunities etc. to the best much success abroad as well as in this players. country. The building is large, grey 'At the RNCM, students have and concrete. The people are three years of piccolo tuition as a friendly and the standard of music part of their flute studies. They is high. We have a small recital begin with half-hour lessons in room, an opera theatre and a their second year when the basic concert hall (small by major adjustments necessary for the flute concert hall standards but the player to play the piccolo are acoustics are good). In the main addressed. These are mainly con- building there are many practice cerned with breath support, rooms (cold in winter), all with embouchure, articulation and Rachel Brown Baroque Flute pianos. The flute department has evenness of finger technique. Tutor its own very large room (with a In the third and fourth years, Steinway grand piano) in an old they continue with private lessons Rachel Brown learned the flute with Victorian museum - it is used and also have a class. Here we Trevor Wye while she was a student on solely for flute lessons, flute classes discuss orchestral techniques and the Joint Course at the RNCM. Later and flute practice. the approach and discipline she studied the baroque flute with Lisa As you can see, the facilities needed to play expressively within Beznosiuk and Stephen Preston. She are good here and Manchester is a the confines of orchestral playing. peqfom with the chamber ensemble very appealing place to study in - We study the solo repertoire and Musical Offering and is principal flute if you can stand the rain!' orchestral excerpts, making sure with the Academy of Ancient Music to include those frequently used in and the Hanover Band. Recorder and auditions. The aim? - Using this baroque flute concertos are part of the material, we hope to prepare the repertoire Rach.el Brown has per- student for the outside world of formed abroad as well as in this last minute bookings, auditions, country; she has also made several and hopefully, an appointment in recordings. an orchestra. To be of interest to She is tutor of baroque flute at the freelance world, every flute both the RNCM and th.e Royal Scottish player needs to be able to play the Academy of Music and Dram. piccolo with some confidence; we 'Rachel Brown has been teaching think this is important. at the RNCM for a number of At the end of every year, years. All flute players study with there is an exam, where the stu- her for one year of their course, dent is required to play a solo not only gaining insight into ba- piece, showing good intonation, roque style but also (at first) appre- quality of sound and musical ciating the limitations of the ba- expression, and security in playing roque flute and ultimately "the little flute"; they are also realizing the expressive qualities required to play from a list of and colours of the instrument. Patricia Morris Piccolo and prepared orchestral excerpts. The Where time allows she coaches Alto Flute Tutor sum total of the separate years' baroque music on modern instru- excerpt list is a comprehensive sel- ments and also works in classes Patricia Morris began her studies with ection of pieces which are a good and coaches ensembles. her uncle William Morris, who was the basis for auditions. Over the years, At present she is teaching one piccolo player with the HalM Orches- some students have gained piccolo principal-study baroque and classi- tra. She entered the Royal Manchester positions in orchestras, so we feel it cal flute student - Felicity Bryson. College of Music on an open scholar- to be a successful venture.' She has devised a special course Student feature

which will include not only stan- wards he joined Sadlers Wells' Opera dard repertoire, but also covers a Company as second jute and three wide range of baroque/classical years later went North to the BBC studies, orchestral excerpts and Northern Orchestra as Sub-Principal studies of the important 18th Flute. century treatises. This is Felicity's In 1967, Sir John Barbirolli final year at the RNCM; she has asked Roger Rostron to be his Princi- already graduated from the pal Flute in the Hallt Orchestra, with University of Manchester since she the immortal words 'I would like you to was following the joint course. join my family.' Apart from the exact- Rachel has devised this rigorous ing work with the Hallk, he teaches at course to develop not only facility the RNCM, is a member of the Hallt on the instruments and extensive Wind Quintet, and directs the Hallt experience of the repertoire, but Wind Ensemble. He also conducts the - also to develop a reliable and well orchestra on occasions, specializing in developed tone. unzuual venues. This is part of the expanding Recently, Roger was appointed to area of Early Music Studies at the Roger Rostron Tutor in charge be one of the first employee directors of College. All baroque and classical of Orchestral Studies the Hallt Concerts Society and islook- instruments are offered as sup- ing forward to this new era for the porting studies, and there is always Roger Rostron began learning theflute orchestra. the possibility of transferring to when he was ten in Torquay, travelling 'The Royal Northern College of principal study, given the necess- to Dartington Hall on Saturday morn- Music curriculum includes the ary aptitude, interest and poten- ings for lessons. He studied at the study of orchestral excerpts and tial. Such an option has already Royal College of Music;Jirst with John this is my responsibility. First and been exercised by a number of Francis and later with Edward second year students work at the students.' Walker. His National Sewice was four volumes of Wilfred Smith, spent with the Band of HM Irish then in the third and fourth years writes David Francir, Co-ordinator of Guards and with them he toured Am- they tackle all the John Wummer Early Music Studies. erica, Canada and Australia. After- excerpts. By the end of the course

Gemeinhardt. Expanding the language of the flute for over 40 years.

For more than four decades, Gemeinhardt has offered flutists remarkably responsive instruments with a beautiful tone that distinguishes them from all others. Products with a delicate balance of sophisticated technology and human sensibilities that have contributed to expanding the potential of more flutists than any other flute in the world. As a fourth generation flutemaker, Kurt Gemeinhardt dedicated himself to continuing his family's legacy of creating outstanding instruments for flutists of all ages and abilities. He believed beginning students should have quality flutes to provide inspiration and encourage growth. He felt advanced students should have access to exceptionally fine instruments to complement and foster further achievement. And he wanted professionals to have incomparable performance and tonal versatility. Durably constructed of the finest materials, Gemeinhardt flutes include features like integrally drawn, rolled tone holes, exclusive four post foot joint construction and power coined keys. All designed to require less maintenance. Our flutes feature parabolic head joints, our own embouchure hole design, proportioned tone holes and pad cups to ensure even response and extraordinary tone throughout all registers. They also feature superior key mechanisms for fast action and outstanding playability. Known and trusted for their acoustic and mechanical excellence, Gemeinhardt flutes have become the preference of more flutists than any other flute in the world. A preference you'll understand once you play any instrument from our remarkable line of fine flutes and piccolos. FOR DETAILS OF YOUR NEAREST STOCKIST RING 071-935 6686 Student feature all students are expected to have a taught me that the excerpt books times I take full wind sectionals. working knowledge of the K.H. do not cover all the difficult We find that learning the art of Zoller, Shostakovitch, Strauss passages, either solo or tutti. orchestral playing is not easy, and books and also Patricia Morris's Wherever possible we play seems to require the sorting out of Piccolo Practice book. complete flute parts, including the many personal problems! The Twenty four years as rests! door of my room in college stands Principal Flute of the Hall6 Sometimes I coach the metaphorically open and I like to Orchestra, together with my students by sitting in with them think of the many players who previous experiences playing during rehearsals, sometimes by have passed through it into the second flute and piccolo, have listening in the hall, and at other professional world of music.' Mornzng photo c (111 jo, ~II~SSP~JL~Co~c/IP\/) (L. 1'11010: T~nie~Nrrosf,apers Lfd

The Magic Flute Day

DIARY OF THE MAGIC FLUTE basses and two bassoons, plus an Spratt, Helen Brew and Rachel DAY array of alto and bass flutes, the Holt - five girls on top form whose 10.30a.m. sound is amazing, awe-inspiring, scintillating expertise captivates At last it's arrived! Fluteplayers like twenty cathedral organs. From the ever-growing audience. Five from all corners of the country are the youngest beginners to the old trade stands open for a hectic gathering to rehearse the Over- hands, this is a thrilling experience afternoon's business high up in the ture to The Magic Flute (which which, as it unfolds, we realize is glass-covered roof area - their ' inspired this event, because unique. stalls are buzzing with activity. Mozart completed the opera exactly 200 years ago today). The 12.00 2.30p.m. players, aged from 6 to 60, are Everybody outside for the Press Performances begin with 17 flute issued with parts to suit their photo-call. It's difficult if not groups of every age and size, their standard as they assemble in the impossible to fit us all into the programmes timed to the last huge Barbican foyer. Will there be picture. The Times and Daily Mail second: they have already room? What kind of cacophony is publish photos the next day. rehearsed and tuned up in their going to emerge? The space is allotted dressing rooms before filled with excited chatter and 12.30p.m. being escorted to one of the three warming-up exercises. With some Bamboozle present their polished performing areas on Level 5, 900 flutes, 6 bass clarinets, a con- and stylish entertainment: Clare ready to play as soon as they are tra-bass clarinet, three double Southworth, Sarah Bull, Kirsten announced on the loudspeakers. Rohin Soldan with massed JZL~PSoutside the Barbican. Photo: Times Saziapc~persLtd.

Barbican Centre Sunday 29th September 199 1

The range of music is wide, from the Flute Orchestra bring this to let the massed orchestra take up Bizet to Hernstein, Quantz to Billy section to a close with a colourful position. We must start by 6.40 as Toel, Faure to Sondheim; the and impressive performance. the LSO is playing at 7.30 and the d ' audience will be arriving soon. smaller groups, quartets, sextets, 5.30p.m. and an octet of 9- and 10-year-olds There is a vast sea of players Trevor Wye presents his Afflatus are slotted in between the large stretching the length and breadth of Flutes like a conjuror with a flute orchestras - South Birm- of the foyer, some of them hidden mixture of virtuosity and hilarity, ingham, Devon, Flautissimo and behind pillars, unable to see the demonstrating 40 different flutes The Croydon Flute Harmonic conductor high on his podium. with his usual panache. By now it's (complete with a magnificently Stands, flutes and elbows get in the estimated there are about two- attired Lone Ranger and a reso- way. But suddenly there is a hush, and-a-half thousand people in the nant lavatory-pan). There is a and we are ready. The air is filled foyer, most of them sprawled on friendly non-competitive atmos- with the extraordinary sound of the floor or leaning over the galler- phere, with some groups helping this biggest-ever flute orchestra ies above Level 5. Gasps of amaze- each other out. Bedfordshire Flute celebrating that Magic Flute day ment greet the climax of Trevor's Choir borrow a bass clarinettist 200 years ago. presentation, when he sets his from Neath for The Pink Panther. flute alight. The Ancient Guild of Fifes and The Magic Flute Day was devised and organized by Peter Collis of the Barbican Drums march into the hall res- Centre and Robin Soldan, who also con- plendent in their costumes, while The entire audience has to move ducted the massed flute orchestra.

2 3 Grandfather, Father and Son

by A.E.G. Walker

On 21 January 1885 a son was very musical environment. As his was the only instrument for him. born to Thomas Henry Walker two older brothers learnt the vio- Lessons were arranged with a and his wife in the Yorkshire city lin, Cordon was introduced to the local flautist, but after only four of Bradford. The son of an ama- instrument at the age of nine, but weeks the teacher moved away 1 teur violinist, Thomas Henry was a gave up after only six months, from the area, so Cordon decided well known musical director and much to his father's disgust! On to teach himself. He never had any I leader in various theatres in the leaving school at fourteen, he further lessons so it was a quite North of England. His many con- was apprenticed to a plumber. remarkable achievement to ducting posts included the Alham- Thomas Henry obviously con- become one of London's leading bra and Star theatres in Bradford, sidered that a trade was the best flute-players in later years. the Blackpool Empire, Black- thing for his recalcitrant offspring. Cordon's first professional job burn's Palace Theatre, the Grand However, not long after that, Cor- was at the Grand Theatre, Hanley, at Stockton and the Central Pier at don heard Eli Hudson, one of in the Potteries. Other theatre Morecambe. England's finest flautists at the engagements followed, with sea- William Edward Cordon, as turn of the century, and he sons in Edinburgh, Newcastle-on- the baby was named, grew up in a insisted to his father that the flute Tyne and Blackpool. In 1910 and the following year, he was a The solo was played a healthy ordinary man, who was self- member of the North Pier Orches- mezzo forte at the concert! taught, but who reached the very tra in Blackpool. His fellow flautist Despite the rigours of life in a top of his profession. was Vincent Needham, an ex- top symphony orchestra, Gordon My father, Thomas Edward Hall6 player; they frequently per- was a member of the London Flute Gordon, was born in Stoke-on- formed the piccolo duets The Two Quartet, with Robert Murchie, Trent in 1909. Eddie, as he was Little Finches and The Two Night- Frank Almgill and Charles Stainer affectionately known all his life, ingales. Admission for these on the alto-flute. They made some showed no early musical leanings concerts was 2d! Another player in memorable recordings, and were either; but the family moved to that orchestra destined to make his in great demand at music clubs London, and he began to take mark in the professional world was and on the radio. He also found some interest in the flute during the bassoonist Archie Camden. time to form the Cellini Trio his education at Emmanuel School Herman Finck, a composer (flute, cello and piano), and the in Wandsworth. and conductor, heard Gordon Lyra Quartet (flute, violin, viola His first tuition was naturally playing in 19 11 and invited him to and harp). These two ensembles from his father, at the age of London. It was not long before he were involved in many broadcasts thirteen. In 1924, Gordon sent was asked ta play in a newly for the old Third Programme. him to the Royal Academy of formed opera company, con- Between the wars, Gordon Music, to study with Daniel Wood, ducted by the young and enter- did seasons as Principal Flute with principal flute of the LSO. Eddie prising Mr Thomas Beecham. In the Royal Opera Orchestra Covent flourished under the strict disci- 1914, at the age of 29, Cordon Garden, and also with the Royal pline of his professor and won the made his first appearance with the Philharmonic Orchestra, the J and J Brough Prize in 1926 and London Symphony Orchestra. British National Opera and the 1927. During those student years This was the beginning of an BBC Symphony Orchestra. In at the RAM, invaluable orchestral association which was to last forty 193 1, the LSO assembled to make training was experienced under years. He became a full member in a gramophone recording of Sir the baton of another Wood - Sir 192 1. During the First World War, Edward Elgar's new work 'The Henry. he enlisted with the Welsh Guards Nursery Suite' dedicated to the Eddie next spent a year in the Band and was sent to France then young princesses, Elizabeth Scottish Orchestra, but his first several times, often performing our present Queen, and Margaret. major post came in 1930, when he piccolo solos with aerial dog-fights Elgar arrived at the studio with became one of the founder taking place overhead. Soon after sheaves of manuscript parts under members of the newly formed ' the war Gordon made some each arm, and whilst the librarian BBC Symphony Orchestra under remarkable piccolo recordings, was detailed to distribute the Sir Adrian Boult, as the piccolo which included: The Deep Blue music to the players Elgar walked player. Soon after that he was Sea, Scherzo Sylvia and Stump through the orchestra. On reach- invited to join the Modern Wind Piccolo Rag. ing Cordon he said: Quintet with four superb wind In 1926, Daniel Wood retired as 'Mr Walker, I have written a players: Terence McDonagh, Principal Flute of the LSO and flute solo in one movement with Reginald Kell, Gwydion Hol- Cordon took his place, a position you in mind. I hope you like it.' brooke and Alan Hyde. This he occupied for the next twenty He referred, of course, to The ensemble was later renamed the years. With him in those days were Serious Doll. Virtuoso Wind Quintet. After Gilbert Barton and Arthur Gleg- After the Second World War seven years with the BBC, Eddie horn. During the next decade the Cordon, then Chairman of the moved to his father's section in the orchestra was conducted by men LSO, stepped down to piccolo and LSO, again as piccolo. of great stature who commanded his son Edward succeeded him. In The Second World War inter- enormous respect: Bruno Walter, 1954 they both left the LSO and vened, and he became a member Felix Weingartner, Sir Edward formed a highly successful film of the RAF Central band at Elgar, Sir Henry Wood and Bee- recording orchestra called Sin- Uxbridge. This often became cham - by now, Sir Thomas. fonia of London. Under the enlarged during the war, into the Gordon once told me of the expert direction of Muir Mathie- RAF Symphony Orchestra, and occasion when he was playing first son, recordings of background contained many gifted musicians: flute in Ravel's Bolero, with the music to numerous films were Leonard Hirsch, Harry Blech, composer conducting. He began made including many Carry On Dennis Brain, Norman Del Mar, the opening solo pianissimo as pictures, Ealing comedies and Gareth Morris and many others marked, but Ravel stopped the larger epics such as Exodus and (See Gareth Morris Interview and rehearsal and said the Guns of Navarone. Gordon Illustration in September Pan. 'Non Monsieur, it is the first continued managing the Sinfonia Ed.) One incident at Uxbridge is time the people hear my tune - right up to his death in 1965. So worth recounting. At one morning you must play more!' ended the career of an extra- roll-call all the band were at atten- SY'APPOIMTUEIIT TO lTHL'LATE QVL~~vI~~~~~~ No reoeipt is valid which is not given on one of Rudall, Carte & Co.'s adhesive Receipt Forms. I,SO, 1946. From left: EO7oa7 d Wnlkrr, WN~/BI.Scotf ~n(1(;o) dot^ W(~lkr1.

tion on the parade ground minus invitation from Gareth Morris led was christened Anthony Edward LAC Walker. Just before the Ser- to Eddie working with the Philhar- Gordon - Anthony after my God- geant got to his name, Eddie monia Orchestra, and he con- father Anthony Collins, the con- rounded the huts at high speed on tinued to lead a very busy life, with ductor. his bicycle, flute strapped to his film music, symphonic work and Like my Father and Grand- back, no cap on, and passed chamber music. father, I showed no inclination through the ranks shouting. Eddie was a Professor of the towards music for some time. 'Here Sir!' flute at the Royal College of Music University College School in and disappeared from sight! He from 1949 to 1980, and many Hampstead provided the lever was hauled up before the Director professionals emerged from his however, as it had a very active of Music, Wing-Commander 0'- years of skilful teaching, including music department. Just as Eddie Donnell, on so many charges that Robert Dawes, Judith Fitton, some thirty years previously had O'Donnell did not know what to Christopher Hyde-Smith, Peter done, I too went to study the flute do with him. Eventually the Wing- Lloyd, Pat Lynden and Roger Ros- at the Royal Academy. Gareth Commander sighed and said: tron; to name but a few. Morris was a splendid teacher and 'Walker, never do that again!' 1937 was an eventful year for a remarkable pianist as well. His and he was spared any punish- the Walker family: Gordon played playing of the accompaniments to ment! in the orchestra at Westminster the Poulenc, Hindemith and After the war, in 1947, Eddie Abbey for the Coronation of King Ernesco's Cantabile and Presto re-joined the LSO, but this time as George V1 and Queen Elizabeth, were faultless. There were a principal, with Gordon stepping Eddie left the BBC and took his number of contemporary flute stu- down to the piccolo seat. In 1954 place in the LSO, and I arrived on dents at the RAM, who went on to Eddie left the LSO with his father, the scene! To keep the family various important orchestral jobs: to form the Sinfonia orchestra. An tradition of Christian names, I Atarah Ben-Tovim, Sebastian Bell, David Butt, Colin Chambers, stand out in my memory. The first I was also involved by then David Haslam and Alan Lock- was a magnificent performance of with the Sinfonia. On one occasion wood. the St John Passion, with Casals Leon Goossens was the oboist at a One term, the First Orchestra conducting, and playing the obbli- Sinfonia session. He came across a had a visit by Sir Thomas Bee- gato. The second was on a night low 'A' written in his part. cham, who took us for a rehearsal. when Prades was completely 'Muir', he called, 'I have a We were all rather nervous of the blacked out due to an electrical note here which takes me off the great man, but he was in a jovial storm. Casals and Isaac Stern oboe.' mood. After a short time rehears- played Bach for nearly an hour in Before Muir could investi- ing Brigg Fair he stopped, put the darkness of the church. gate, a voice from the back cried down his baton and looked very Gordon, Eddie and I used to out: slowly round the orchestra. We sat perform flute trios at the Savage 'You should have been taken silently wondering what was com- Club in London and we appeared off the oboe years ago!' ing. on ITV together, playing a com- Leon and the entire studio 'Ladies and Gentlemen', he position by Dr Gordon Jacob for were so convulsed that work was boomed suddenly, 'most of you three flutes and strings. I did the not resumed for quite a few cannot play together very well yet, late Max Jaffa's first season at minutes! but some of you are very pretty!' Scarborough in 1960 and later A spell of extra work with the That broke the ice and we all that year toured several times with old BBC Northern Symphony had a memorable afternoon. the Royal Ballet. Theatre work Orchestra in 1967 led to a perma- In 1959 I left the RAM and followed - a world that my Great- nent position the following $ear as later that year went to the Casals Grandfather knew so well - and principal piccolo. The piccolo I Festival at Prades with the London engagements with most of the used then, and still do, is the Bach Orchestra. Two concerts major London orchestras. wooden Rudall-Carte that my

T/lr Lonrlor~Flute Quartet. Hutlz ro70 from left: Robprt Murc/~w,Frank Alvig~ll,Cordon Wallzer. l?ont: Challer Stainer. Grandfather bought in 1910 for who drew the best out of the have always played on wooden his first season in Blackpool. It has players. I left the orchestra (now Rudall-Carte instruments, and I certainly had a lot of hard use the BBC Philharmonic) in 1984, am indeed fortunate to possess since then. and currently lead a busy life some of their flutes and piccolos, The BBC Northern Sym- teaching, lecturing and giving including the flute used for the phony Orchestra had many fine recitals with my wife - a harpist. first recording of the The Nursery visiting soloists and conductors. Sir We have two flute-playing Suite. I hope that Thomas Henry Adrian Boult, Sir John Pritchard, daughters and one grand-child (a would have been well satisfied with Sir Charles Groves and Kurt San- fifth generation of flautists?). his descendants' music-making derling were just a few of the men Gordon, Eddie and myself over the past 90 years.

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New Music wo:;w& for Junior Menr6ers of the E KROMMER: Parthi (Harmonic-Music) op71 in Eb 2ob.2c1.2hn2bn R d-bn (oplional) This work har been well -known for many years from FLUProrrds", broadcartr &recordings, but until now there 11% been no easily available performing edition. Sdpts il4.40 W.A.MOZART Adagio (K.580a)reconslrucled by Phlp Wilby. Any young flautist would be delighted to receive Chrinet(Bb)& 3basset-horns(or3clls & bass-clt) Flutewise membership for Christmas - why not send This piece wa morded many years ago by Terence for an application form today? Or why not tell all McDonagli in a version for cor anglais and suing uia This your pupils to make a New Year's resolution to join molistn~ctialrotom what. is belinsd IO be the original Flutewise - they will be missing so much if they don't. scoring.I'hilip Wilby'sMazutmonsvuctiorawifl be familia~ 1.0 Channel 4 viearers,and 1.0anyonewho~tched"DluePeter" Events connected with Flutewise this year have on the bicentenary of Mounb dcath! Sc/puL4.95 (Pleae included raising money for Comic Relief, flute- specify clarinet version as this arork is also available for cor playing picnics all over the country, members andais.) appearing on Channel 4 and many competitions, including one to win a silver-headed flute. Advice PAUL ORTON Schuberl & the Saints': Two Marches arr. fa Wnxl Quintet. from professionals on subjects such as flute care, coping with exams and wearing a brace, and "Mache militaim" and "When the Saints" (with hints at learning to count difficult rhythms is always a feature the Hdlelujah Chorus dongthe any!)- and M orhilarnting of the magazine as well as less serious articles and dixielmd clarinet break at dieend! I'aul Orton was a fountler stories. member of the Northern Sax.Quartxt,and darina.tist. in die Le& Wind Quintet, before taking up a solo post in an Please support and encourage your Junior Society American onham. Sc/pts L4.95 by making good use of some application forms A-LIADOV: Eim1 Russian Folk Songs Op.58 arr. for Double NOW!! Wind Ounlel(2 Fl.-znd doublingpicc., 2 0b.-2nd doublingenghn., 2 Clt.-2nd doubling bass clt(optiond), Write to: 2 horns, aid 2 bassoons. Sdplsf13.50 Flutewise Membenhip Secretary, Anilable from: 19. Denton Avenue, Leeds. Wkst Yorkshire. LS8 1LE PO Box 1050, Portslade UK PBtP free CWO,plcax Brighton BN41 lWP National Flute Association Annual Convention Washington, DC by 22-25 August 1991 Michael Emmerson

On 20 August a small British One of the aspects which are small quibbles, however, in a contingent of flute enthusiasts makes the whole thing work is that programme which truly had some- made its annual pilgrimage to the the trade side of the association thing for everyone. United States. This year the desti- contributes more than $44,000 to A number of people were nation was Washington DC, site of the cost of the event in exhibition honoured, including the Associ- the nineteenth annual convention fees, and this supplements the ation's long time and greatly of the National Flute Association. registration fees of the delegates missed secretary Myrna Brown In the Washington Hilton we and makes it possible to present a and flautist Thomas Nyfenger, found ourselves to be amongst programme which, this year, both of whom had died within the almost three thousand flute encompassed more than one past year. The other two honour- players from all over America, hundred and twenty items in four ees were both very much alive and with a sprinkling from various days. present at moving tributes to their parts of Europe, Scandinavia, The programme director was work: Jean Pierre Rampal was Central and South America and Penny Fischer, who was deser- given a life achievement award the Far East. vedly voted next year's Vice Presi- and Julius Baker was honoured as The benefit of a convention dent and therefore President-Elect 'The Dean of American Flute Play- on this scale is that it brings of the NFA. The programme she ing'. together flute players, flute enthu- brought together was a miracle of I found the standard of the siasts, manufacturers and dealers diversity with concerts, compe- Young Artists' Competition to be a all in one place for four days of titions, discussions, lectures and little disappointing, and I suppose wall-to-wall flute. While it is not classes for sixteen hours a day. Of one often disagrees with the possible for us to stage an event of course it is not possible to go to verdict of competition judges! such a scale in Britain, discussions everything, but having such a However, the winner, Catherine are currently taking place to see if range of events makes one Ransom, went on to give a worthy it might not be possible to present choose which events one is going performance of the Mozart G a European Flute Convention of to try to fit in between meeting old Major Concerto in the final similar size. friends and catching up on flute concert. There is another major differ- news from around the world. This leads me to a personal ence betweeen the NFA and the I have very few real criticisms hobby-horse. Rightly, in my view, BFS, in that the work-load is of the Convention, but one was all Young Artists were made to shared amongst an enormous that many of the concerts lasted play their final round Mozart Con- number of people who give their too long, which often prevented certo from memory. However, time voluntarily to organize the one from getting onto another amongst seven distinguished flau- many different aspects of the con- event on time. It is understand- tists in the final concert not one - vention and of the NFA's various able, though, and came from an apart from the Young Artist - other activities. Here in Britain too enthusiasm which wanted to offer played from memory. A shocking much work is shouldered by a few so many interesting items in each indictment of professional flute- devoted officers of the Society, concert. A similar over-enthusiasm playing. Even if one forgives those who are expected to do every- gave us discussion groups that had who were playing new works, that thing. When there is a large volun- too many panellists and not still leaves those who were playing teer pool it makes it possible to enough discussion. I was disap- concertos by Vivaldi and Mozart. widen the scope of activities and to pointed that a complete list of For those who are seriously achieve more. One simple way of delegates was not available since in interested in playing or compo- increasing the scope of the society, some cases one didn't find old sition it is important to know just of course, is to increase the friends until near the end of the how many competitions are pre- membership, and this is something Convention: it's amazing how dif- sented by the NFA, including the each one of us could do with a little ficult it can be to find someone in a Young Artist, the High School effort. crowd of three thousand! These Soloist, the Chamber Music, the Masterclass Performers as well as Young Artist and the High School Los Angeles between 20 and 23 the newly published music compe- competitions, which made it all the August 1992. See you there! tition. This year there was also a more disappointing that we were [Britain was represented profes- Mozart Cadenza Competition not represented this year. I hope sionally however by our Chairman which produced some interesting that a closer collaboration between Susan Milan, who shared a recital results, the best of which were the two societies will mean that with Michel Debost. They played played in a concert. BFS members have ready access to music by Gaubert to commemor- Traditionally young British details of the various competitions ate the fiftieth anniversary of his flautists have done well in both the from next year's programme in death. Ed.]

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The Jupiterflute range is extensive, and provides superb instruments for students and professionals alike. The quick response and rich sound of the Jupiterflute will bring out the very best in the player. For details of the Jupiterflutes, please write to the address shown. Letter of Marcel Moyse

Dated 20 May 1942

St Amour, Jura 20 May 1942

Dear Sir,

Thank you for your letter of 5 May. There was no need to apolo- Trio Moyse, Louis Moyse, Blanche Honegger- gize. I am always delighted to Moyse, Marcel Moyse. receive letters from people inter- ested in music and the flute, and I shall try to answer your questions. Firstly, I don't know of a An embouchure hole with a one that copes best with those second-hand silver instrument, receding chimney facilitates slur- problem areas where you experi- nor for that matter a silver-plated ring. ence the most difficulty, working one, not even a Couesnon. It is An embouchure hole with a simultaneously to compensate for possible, however, that in a few deep, straight chimney gives a any drawbacks you encounter, days' time I may have details of a good low register. because it plays so freely . . . it silver-plated Couesnon flute, An embouchure hole with a goes without saying that any new Moyse system. shallow, receding chimney gives a drawbacks should be minor com- Secondly, it is very difficult supple high register. pared with the old ones that giving you any precise information The size of the embouchure needed improving. on the points you raise concerning hole plays its part in turn. As a rule In point of fact, after trying embouchure holes. In principle an a large hole gives a fuller tone, but out a great number of embouchure hole should be 'good' the sound becomes woolly if the embouchure holes, many of which for an 'average mouth' if the chim- chimney is shallow (plays freely) or I made myself in all shapes and ney is 'quite deep, straight and a solid if the chimney is deep (a sizes, I have made hardly any little on the large side' . . . but there, struggle to play). progress towards a solution. One already, I am touching on a deli- And here in turn, the lips play has to face the truth . . . I abhor cate point . . . a little on the large their part, which explains why people who make assertions . . . As side! always providing one has manufacturers are producing I myself possess a pair of supple excellent little muscles that are average sized embouchure holes. lips, able to cope easily with the already firm by nature and essen- The question of knowing high register, but not getting tially developed and made supple whether a young beginner should much resistance in the low regis- by practising slurred passages, start with an average sized ter, I chose an embouchure that leaps and long notes. embouchure hole and afterwards was very good in the low register, An embouchure hole with a decide whether to keep or change and practised some special high deep chimney holds back the it when he is more experienced, or note exercises to overcome the sound. whether his teacher should study embouchure hole's resistance in An embouchure hole with a his lips closely and at once select a the high register. shallow chimney allows the sound suitable embouchure hole, To summarize: with an to escape. remains unanswered . . . and just embouchure hole giving easy low An embouchure hole with a as you will never find an register notes, I did a lot of work straight chimney holds back the embouchure hole combining all and appropriate exercises in the sound. the qualities you want . . . choose low register, and as my embouchure hole made the top nothing is finally resolved. Even if shortened. Even the manufac- register more difficult, I did exer- you played a metal 'Invar' flute, turers themselves are making their cises to improve my lips, which you could not prevent the column headjoints a little shorter, but were already supple by nature. My of air from warming up. So here nobody has yet thought of moving headjoint has quite a big again books and practice have the tone-holes. The result is that embouchure hole and a deep their part to play. the more they shorten the head- chimney, but then I have a solid But there is a much more joint, the sharper the notes are jaw . . . is it because I've worked at serious question, namely, accurate near the embouchure hole, and it?? More likely than not. intonation, and no present-day the flatter those near the footjoint. As to the question of which flautists who play a metal or silver I noticed all this a long time metal? A silver flute cools down instrument modelled on the old ago; I found a firm which was very less quickly. Silver conducts heat Boehm system 'Lots' or the old keen to take an interest in the better and allows the player to be Lebrets or Bonneville (by which I question and that is why I play a almost at once acceptably in tune, refer to the position of the tone 'Couesnon'. The Couesnon-Moyse but its disadvantage for a player of holes) can play them in tune any flute currently on sale in Paris is limited ability is its readiness to let longer. All players will come to much better in tune. him play too sharp. realize the need to adopt a new I can demonstrate this scien- Likewise a metal flute will flute zuilh the position of its lone-holes tifically, and besides, I have since maintain a steady temperature, modijied, because tuning has had the joy of discovering a but take care not to overblow it. changed from what it was one memorandum signed by Boehm When you play in an orchestra and hundred years ago - all flautists stating that if the scale subse- are 'tacet' for two or three are playing sharp in the high quently changed, it would be minutes, a metal flute will very register. Moreover, all flautists play necessary to build flutes according quickly resume its cold tempera- their C#s too sharp, their CS to new data - it then set out some ture. Wooden flutes stay better in somewhat less so, their Bs . . . etc. calculations which filled me with tune, but as they are awkward to In short, the nearer the notes joy as they confirmed what I had warm up, especially in a cold, sounded are to the embouchure suspected all along. damp hall . . . yet another hole, the sharper they are. These notes are in England . . problem. For some years past, flute- but can I find them? As you can see from this, players have had their headjoints Currently my new flute is sell-

KIRSTEN SPRATT & LIZ MUCHA Michael White present A RECORDING OF 20TH CENTURY MUSIC INCLUDING WORKS BY HINDEMITH, BERKELEY BURTON, MUZCYNSKI, CAPLET, RICHARDSON, Musical Instruments MARTlNU AND A NEW VIRTUOSO JAZZ FLUTE WORK WR17TEN ESPECIALLY FOR THlS ALBUM BY Flute Specialists MIKE MOWER All leading makes at discount [OF ITCHY FINGERS FAME] prices FLUTE & PIANO Repairs Available from all good record shops including Top Wind, Sheehans, Just Flutes, All Flutes, Credit terms Presto Music, Time & Tune, and many more. 11 Queen's Parade, Queen's Drive, Alternatively you could contact: Ealing, London W5 3HU David Barron Associates, 59, Medora Road, Telephone 081 - 997 4088 London SW2 2LW Opp. North Ealing (Picc.) Station Fax: 081 674 1034 FOR FURTHER INFORMATION, STOCKISTS, OR BOOKING AVAILABILITY. r ing well, with great success among keys giving technical facility - (Printed by kind permission of M. the Germans, and would you 4,300 to 4,500 francs. Aim6 Roumegukre of Foix, believe that they can buy them, Well, Ihave largely lost touch France.) while I am having untold difficulty with these kinds of question finding one at present. I have during the past year, but hope placed an order for some for the very soon to resume my activities. [This letter was kindly sent to me Swiss market and have been I shall finish here. Please for- (translated) by Jonathan Lacey. He unable to get them delivered to me give my long delay and the fact tells me that his friend Monsieur yet. They keep responding with that I have not helped you much Aime Roumegukre, now aged 'Come to Paris, we must have a further on with your question. seventy-seven, was a fine player in word . . .': it's been like that for a Best wishes, and rest assured I will his day, and is the author of year. always answer your letters with various works, including some And as for the prices of these pleasure. Daily Exercises in the Billaudot flutes - Couesnon-Moyse model 'French Flutists Propose' series. with modified tone-holes and new M. Moyse Ed.] FLUTE SERVICING with 1 year Guarantee from $48.00 Proper servicing returns a flute to its correct playing condition, making it easier to play. It also prolongs the life of the instrument, and adds to its value. From E48.00 for student models (except TaiwaneseKhinese), and $82.00 for professional, my unique one day Service Scheme offers a full 1 year guarantee on all pads, corks, springs and regulation. Pads, Cork joints and Springs replaced at G1 .S0 each during servicing. So a Flute can be repadded for E72.00 For appointment phone TIM DAVIES (0483) 21 1385. 23 Send Barns Lane, Send. Woking, Surrey GU23 7BS

end fortissimo. Illness, old age or plain misfortune Fund in your will, so that your love of muslc can can all cause financial distress. live on and benefit other;. That is where the Musicians Benevolent Fund Please send a donation, large or small. to: MUSICIANS BENEVOLENT FUND For nearly 70 years we've been helping needy ~-L~~~~p~~DON musicians and their families. If you enjoy music (REGISTEREDCHARIW228089) Hindhead School of Music HINDHEAD FLUTE WEEK OXFORD with FLUTE ADRIAN BRETT SUNDAY SUSAN MILAN TREVOR WYE ALL FLUTES PLUS in association with JANET WAY and CLIVE CONWAY present Sunday 26th - Thursday 30th July WILLIAM BENNETT flute 1992 CLIFFORD BENSON piano Open to flautists of all ages and abilities, with special classes on for adult learners. The limit of 40 places on this course SUNDAY 26 APRIL 1992 guarantees personal attention for every participant, as well as Holywell Music Room, Holywell Street, Oxford an intimate, friendly holiday atmosphere in our comfortable Masterclasses old country house, with six acres of private grounds and a 11.00 - 1.00 & 2.30 - 4.30 heated pool. Early booking is advised since the 1991 course Flute Choir was over-subscribed. Directed by Janet Way 5.00 - 6.00 Course organiser and resident tutor: Recital 7.30 William Bennett and Clifford Benson JULIE WRIGHT Details (available early January) from Resident accompanist: ROY STRATFORD Wendy Langdon, Administrator 12 Lakeside. Oxford. OX2 8JG

Masterclass applications must be accompanied by upe and letter of recommendation from teacher. Full details from Hindhead School of Music, Hindhead, Surrey GU26 6BA. Tel (0428) 604941

DON & EDDlE ASHTON

ind

Run by Musicians woodwind for Musicians

208 LIVERPOOL ROAD, CADISHEAD. I. MANCHESTER M30 5DB Rlephone: 061 -474 71 18. Telephone: 061 -775 1842 I210 Shaw Heath, Stockport SK2 6QZ. Flute and Piano right corny: this book is not. ask for? This edition, a favourite Famous Melodies (Neapolitan) Although the piano parts are evergreen, is most welcome. arr. Colin Cowles. Flute ('middle rhythmically 'not so easy', they are to upper range') and Piano. well written and effective. An eye JeanJean, F. Ski Symphonie. Bil- Ricordi £5.25. catching cover. laudot (via UMP) £6.90. James Galway used to remind A one movement, 4% minute pupils how much he learned from Edward German. Romance and work of brilliance and much indi- listening to the great singers and Intermezzo. Boosey & Hawkes vidual interest. A score and parts string-players. Here is your oppor- £3.95. are included in the usual Billaudot tunity to get level with Pavarotti, poorly printed manner - but the while developing your weak mid- The Romance is lovely - a little music is excellent, entertaining dle to upper register to match that gem; the Intermezzo is quite plea- and well worth the price asked. of the King of the High CS. The sant too. German's style is Grieg- six melodies which appear here like and rather fetching. The pre- are all well-known and will give a face doesn't give the source. Could Trio Sonatas great deal of enjoyment on the the Romance have originally been Quantz. Sonata in C. Recorder, appropriate occasion (suggestions for Clarinet and Piano? Robert Flute, and BC. Amadeus (via on a postcard please), though I pointed out a couple of inconsis- Schott) £7.95. tencies in dynamic markings must take issue with the writer of A great classic this, and in the the Foreword, who claims that between piano and flute . . . that perfection of Amadeus' printing 'Neapolitan music has an immedi- apart, it's a bargain. and presentation, should prove to ate appeal but bears any amount be the edition. of repetition'. Well - yes and Beethoven. Sonata, Op. 24 No. 5 no . . . I was at first puzzled by the Corelli. 6 Trio Sonatas. 2 violins 'middle to upper range' flute part; Le Printemps (transcr. P. Pau- (flute and violin) and BC in 2 restricting everything to one area bon). Lemoine (via UMP) £9.10. volumes. Amadeus (via Schott) might be invaluable in studies, but Delightful - until you arrive at the £9.55 each. I can't honestly see anyone buying Alberti-bass accompaniment to the this to share a practice stand with piano tune; although it's what I think some of these would work the Andersen Virtuosos. However, Beethoven wrote, and was normal for 2 flutes as well as for violin and research in the Foreword revealed for this period, it doesn't lie well flute. They are in the usual Corelli the existence of a version for on the flute (low CS etc.). Those mode, easy, pleasant works with Lower Register Flute, which will passages aside, it's a nice transcrip- plenty of suspensions and in 3, 4 suit those of you fortunate enough tion, and for performance the or 5 short movements. Volume to possess this rare and beautiful grovelling bits can be incorporated one was the better of the 2 instrument. into the piano part. A smart cover volumes for 2 flutes and BC. I Lapmar and clear print. wonder when Amadeus will run T.W. out of attractive pictures for the covers? Steve Pogson. The Way to Rock. Boosey & Hawkes 55.95. Chamber Music Trios and duos 14 pieces in rock style including Quartets of Flutes Giordani T. Trio in G. Flute, blues, reggae and ballad. I'm not Furstenau Quartet. Op. 88. Br. viola, cello. Amadeus (via Schott) precisely sure what all those things Van Poppel (via Kalmus) £ 12.20. £5.85. are, but Robert and I enjoyed playing them through very much. 4 parts and a score, clearly printed A lightweight, short trio first pub- Some 'jazz' books on the market on durable paper with a preface in lished around 1778. Giordini was are either 'written down', or down- English . . . what more could we employed in London and Dublin for most of his life and his music has given us at least one minor Mozart. Twelve Duets from The was enjoyed for its melodic inven- masterpiece (Saint-Saens' 'Une Magic Flute. Amadeus (via Schott) tiveness and for its 'style galant'. Flfite Invisible'). The primitive wit 5 7.60. of the voice part calls for an No score. Two separate flute parts and unselfconscious delivery and a real another reprint of an early 19th sense of style; while the flute part Fuchs, G.F. 3 Duos. Flute and century edition. The first flute has is well handled, the overall feel of clarinet. Amadeus (via Schott) most of the tunes, the second flute it half way between John Rutter 59.55. being content to pom-pom, pom- and the Malcolm Arnold of the last pom most of the way. An attractive 1 was unable to do more than play movement of the flute Sonatina, if edition. through the flute part and 'read more restrained - farmyard through' the clarinet part. Each sounds excepted, of course. The Serge Lancen. Andante et Tyro- movement is fairly substantial and only problem - when would you lienne. Ed. Robert Martin (via is effective, entrancing and, some- play it? A bit flip for an encore at a UMP) 54.35. times, witty. These appear for the trio recital. The parlour, after the A very nice duo this, and around first time since the first edition in Christmas Day port and nuts, 4% minutes in duration. The the late 18th century. No score, perhaps? Andante takes some working out but beautifully printed and with a Lapmar beguiling cover. but the score helps here. A couple of Grade 8 flautists could play it. Bozza, E. Trois Pieces. Flute & Sadly, the print is that spidery and Oboe. Leduc (via UMP) 51 1.25. Two Flutes sometimes intermittent print often found in some French pub- Two double parts, clearly printed, Gebaur. 3 Duos, Op. 24. UE f 8.95. lishers(!), though it is still entirely and about 12 minutes in length. readable. Bozza has, for many, meant chro- Flute duettists can't complain matic triplets - diddly-diddly-did- about lack of material: there seems Vanhall, J.P. The Imperial & dly - but not this one. Very attract- to be an endless stream of new Royal Residence of Vienna Be- ive and nice for flute/oboe/piano publications (or re-publications) of laguered and Liberated. 2 flutes. trios, or indeed wind quintets, in duets. These are agreeable - inter- UE 56.95. order to give the other players a esting and varied enough to be This looks like a battle for 2 flutes rest. Not too difficult: a couple of amusing and not difficult - they - but on the same side! It has Grade 8s could manage it well. even avoid the dreaded Alberti- comments about the 'battle' bass. A nice edition. throughout, and, in its naive and gentle way, would provide some Flute, Voice and Piano hilarity at a flute and wine evening. Rossini. Favourite Pieces from Carol of the Beasts, for medium T.W. voice, flute and piano; music by Rossini Operas. UE 56.95. Betty Roe. Thames Publishing 'Freischiitz' Impressionen by If played up to the speed of the 52.95. Weber, heavily arranged by Kurt actual arias, these could be tricky. Walther. Zimmermann, Frank- This pleasant barcarolle with jazz This is a reprint of 18 19 edition - a furt; Novel10 f6.95. overtones, complete with spoken period when every popular opera farmyard sounds in the voice part, was transcribed for 2 or 3 flutes. Now here's one strictly for con- is scored for a combination which Fun to play. senting flautists in private. Der-

EWEN McDOUGALL New Releases from Seaview Music Omnibusk The Classic Buskers My flutes are meticulously crafted by hand, no with Michael Copley (formerly of castings are used, all parts are forged. I offer several The Cambridge Buskers) and Ian headjoint options. You are unlikely to find a better Moore made, or better playing, flute. You are invited to The Ocarina is No Michael Copley & Friends visit my workshop and see the detail and skills for Trombone play Virtuoso Ocarina Music yourself. A standard flute is available for appraisal. J.S. Bach Evelyn Nallen - recorder Four Sonatas Transcribed David Gordon - harpischord Headjoints of several types are available, priced for Recorder and competitively, to improve your own flute or piccolo. Harpsichord CD price f 12.00 A Cassette Price f8.00 C* Postage and Packing Holme Cottage, Ravensworth, f 1.00 per item nr. Richmond, N. Yorkshire DLll 7EZ Available from: Tel: Darlington (0325) 718368 Seaview Music, 19 Norwich Street. Cambridge CB2 1ND. Tel: 0223 312266 Freischiitz has of course a special Music Received many, from 6 March to 7 April significance for German Handel. Sonata in D. Op. 5. No. 2. and in Munich from 14 April to 5 musicians. The odd thing is that Flute and guitar. Billaudot (via May 1991 and assembled from the instrumental colour of the UMP) £3.80. various collections including the opera is anything but fluty. Horns, Mozart. Sonata in C. Flute and ethnic flutes of Charles Tripp and clarinets, violas, certainly; thigh- guitar. Billaudot (via UMP) £5.10. organised by the German Flute slapping and slurping for the Bourdon A. Menuet (flute and Society (DGF). Huntsmen's chorus and the Trink- piano) Prep. 2. Leduc (via UMP) I didn't particularly like the lied. The selection opens with the 54.10. print or the paper; that apart, one introduction to the overture; if Mozart. 15 Pieces Faciles. 2 flutes. can only be grateful to everyone, you are familiar with the original it Lemoine (via UMP) £5.95. including the DGF, for under- sounds bizarre. Fortunately, this is Handel. 12 duets for 2 flutes. UE taking such a project. The photo- a work of great genius, and much 54.95. graphs are good enough to be able of it survives this treatment; some Handel. Sonata in A Minor Flute to see most of the keywork details of the more lyrical moments work and BC - UE £5.95. (there are more detailed close-ups) well. By the way, don't confuse this and the text briefly describes each with any of the flashy Fantasies on of the 126 entries. Freischiitz; it is straightforward Because ofthe large number of reviews sent in, it The catalogue also contains has not been possible to print them all in this stuff technically. Recommended ZSSW. much other useful information on with reservations, perhaps accom- silver marks, pitch, French panied by the odd foaming stein makers' marks etc. while you wait for the Schwein- BOOKS For the price this is a bargain. haxe mit Knodeln to heat up in the Just browsing through it can give microwave. (I can scarcely wait for Flute Exhibition Catalogue. Peter the general reader a very good subsequent volumes in this series Spohr. Available from Tony idea of the development of our of inappropriate flute duet Bingham and Jonathan Myall. In modern Bute. Its scope may be arrangements - a selection from German, English and French. limited, but it is very useful for Parsifal, maybe, or Pfitzner's Pales- £1 2.50 plus postage. what it contains. trina?) This is the catalogue of the Lapmar exhibition held in Frankfurt, Ger- T.W.

KENNETH SMITH plays BRITISH WORKS FOR FLUTE with Paul Rhodes, piano

Vol. 1 SUMMER MUSIC Vol. 2 FOLK & FANTASY Arnold Bennett Delius Dunhill * Elgar * Lamb * Bax Berkeley * Elgar * Ranish * Scott Grainger Harty Head * Lamb McLeod * Vaughan Williams Compact Disc: CD DCA 739 For a FREE Cassette: ZC DCA 739 contact: THE ASV GROUP Compact Disc: CD DCA 768 179-181 North End Road Cassette: ZC DCA 768 London W14 9NL. "Fine, sensitive and imaginative playing Telephone: 071 381 8747 from Ken Smith; this recording supplies a Fax: 071 385 2653 long standing gap. Do go and buy it." Distributed by Koch International Telephone: 081 749 7177 CONCERTS

J.S. Bach - ConcertiISuite No. 2. Cheneour Concert, Purcell Room James Dower, flute - London Friday 6 Sept '9 1 Bach Orchestra. I MP Masters 'A NIGHT NOT TO BE MCC 28lMCD 28. MISSED!' The first performance of Chen- James Dower's recent recording of eour's Night Mist at the Purcell transcriptions of works by J.S. Room was a rare treat for fans of Bach, and the B minor Suite, jazz fusion. This entirely new should find its place in every flute work, composed by Paul Chen- lover's collection. The clarity of his eour and John Gowers, is largely articulation and his ravishing tone autobiographical in source and re- serve the music throughout this flects the wide range of musical immaculate performance of fairly styles embraced by this unique successful transcriptions (and band. Suite). It should be said, for the Paul Cheneour leads the band 'purists', that the three transcrip- on flute and alto flute, with the tions played here (the D minor is incomparable Steve Lodder on perhaps the least successful) had keyboards, Les Booth on six string been transcribed already in Bach's than simply to listen to, and bass guitar, and Peter Buchan on lifetime from earlier works, the Liefer's playing on the North drums. The band has been playing harpischord concerti by Bach him- Indian bamboo flute is delightful; together for eight years and this self, as was common practice in he talks to us, in this live perform- shows in the weaving together and those 'copyright-free' days. ance, with both fingers and breath interplay of individual styles which Valid or not, James Dower in a spine-tingling way. There is produces such a wholeness of plays these works with a conviction also a lesson here; the intonation sound. and maturity that would be hard isn't only scrupulously correct - it Cheneour is a band at the to match. Unlike so many record- is beautiful. What more can one forefront of British jazz and yet it ings of works from this period, say? has a sound which is as accessible James Dower plays them in an T.W. to the general public as it is appre- authentic yet highly individual ciated by other musicians. They style, always allowing Bach's music deserve to be snapped up by an to speak undisturbed for itself. His Gaubert. Complete Works for enterprising recording company structural awareness is evident Flute and Piano. Susan Milan, throughout in his tidy but stylish flute - Ian Brown, piano. Chandos and to reach a larger audience. phrasing. Chan 898112. The orchestra, directed by All these works could scarcely find Malcolm Layfield, provides a more engaging champions than beautifully clear accompaniment the present interpreters. The Fan- to Dower's playing. They play with taG-ie and the Nocturne et Allegro the kind of awareness and finesse scherzando are reissues, and anyone that any chamber orchestra would who has heard those perform- be proud of: under Malcolm Lay- ances will have no hesitation in field's direction they achieve the welcoming this whole programme. perfect balance between soloist It would be hard to resist Susan and orchestra. Milan's beauty of tone, range of T.J.H. dynamics and sparklingly clean and deft virtuosity, and in Ian Two Ragas of the Afternoon, Brown she has the unfailingly Lyon Liefer, Bansuri [an Indian acute support of one of our most flute] and Siddhartha Roychoud- musicianly chamber-group pian- hury, Tabla. Rasa Music Co., PO CURVED HEAD, LES EGGS LIP PLATE. ists (his delicacy in the Allegro EXCELLENT CONDITION. E 1,600. Box 597950, Chicago, IL 60659, sch.erzando and rippling passage- Tel: 0297 445088 (Afternoons & Evenings) USA, $9.95 $4.00 post. + work in the 1908 Romance are a Those who remember Lyon delight). Aided by one of the most EDWARD D. KETTLEWELL Liefer's appearance at the BFS faithful recordings I have yet M.I.M.I.T. Woodwind Instrument Repairer Convention will welcome the heard, this is a very pleasurable 56 Leabrooks Road, Somercotes, chance to obtain this cassette. This set. Derby. music is more to be involved in L.S. 1Phone 0773 603276 (4 min? Junction 28 MI) The British Flute Society presents The First International LONDON FLUTE CONVENTION

24-26 July 1992 Royal College of Music, London

Artists include: James Galway Robert Dick, William Bennett, Susan Milan, Marzio Conti, Marlaena Kessick, Marc Grauwels, Mary Karen Clardy, Stephen Preston, Colin Fleming, Lisa Beznosiuk, Rachel Brown

Lectures and workshops by: Robert Dick, Edward Blakeman, Christopher H yde-Smith, Rudiger Jacobson, Mary Karen Clardy, Trevor Wye, Brian Warren

Choirs directed and conducted by: Adrian Brett, Robin Soldan and Julie Wright

Con ven tion Pianists: Ian Brown, Katherine Rockhill

Please send for more information about the 1992 London Flute Convention to The British Flute Society PO Box 252, Oxford IXG and enclose a stamped self addressed envelope

Supported by YAMAHA and other major flute companies Letters

Dear Editor, Dear Editor, I am writing to tell you how much First of all, as a new member, may silver HEAD-JOINT for sale I enjoyed your interview with Gar- I congratulate you on an absolu- No reasonable offer refused. eth Morris. I found it so very tely superb journal. I find it rivet- Telephone: 0562 730461 interesting, he sounds such an ing reading and am delighted with entertaining person. I remember the high quality of the articles. As I solid silver lip plate. No. 2936. Recently first hearing him play in the early was reading it today, it occurred to overhauled and repadded. days of the Philharmonia Orches- me how nice it would be to be able Offers around f2.500. tra - what wonderful playing it was to buy very good quality sweat- too. It seems to me that flautists shirts with 'The British Flute had more individuality twenty and Society' logo displayed. Perhaps condition for wooden thirty years ago. Nowadays, they this idea has been suggested and Rudal Carte flute. all sound the same - nearly all discarded; however it is obviously Tel: 051-625 1865. anyway. in everyone's interest to encourage new members, and this would be a Yours sincerely, LES EGGS FLUTE way of advertising in a tactful way. Ashley Anderson Solid silver, closed hole, C foot, with I would buy one anyway. Hammig keywork, split E. Modern Cheshire scale, full rich tone, excellent With good wishes condition. £2750. Rosemary Lewis Tel: 0372 722527 Dear Editor, Flute-maniac and teacher I was sorry to see that Trevor Wye W. Sussex O/H B-foot. Five years old. had taken offence (letters Sep- Beautiful tone. Excellent condition. tember), where absolutely none Dear Editor, £800 o.n.0. was intended, over parts of my I really enjoyed your article on Tel: (0244) 547492 article 'How to survive summer auditions and feel it will be a great schools' published in the June help to me next year when I leave FOR SALE school. I want to take up music issue of PAN. SANKYO SILVERSONIC FLUTE, SOLID May I, through your columns, (the flute of course) but still SILVER CLOSED HOLES, C'FOOT wish him every success with his haven't decided whether to go to EXCELLENT CONDITION £1200 o.n.0 university or music college - I am also new summer school in Deal next IAN McLAUCHLAN HEADJOINT year? going to try both, perhaps I won't SOLID SILVER E375 May I also take the oppor- get in either. I will carry on with Telephone: 081-660 1086 tunity to wish you well as editor of the flute whatever happens (Evenings & Weekends) the new-look PAN? The article on though. entering Music Schools has I hope you will have some FOR SALE Rudall Carte Crown Sterling silver already been welcomed by several more articles for budding flute- flute, No. 8734. Rebuilt to Cooper of my pupils. players. scale, open hole keywork (offset G) and E ring, Jack Frazer phospher Yours sincerely, Yours sincerely bronze headjoint. Used Janet Way Anne-Marie Evian professionally and in excellent condition. f 1,250 o.n.0. Reading Eastbourne Telephone 081-427 6141

BRlAN CLOVER FLUTEMAKER Oxley Hand-made Silver Flute, Est. 1959 Open-hole, Split E, G Mech, ALTERATIONS - SERVICING - OVERHAULS B1A Trill, Low B 54 Buckhunt Way, Buckhurst Hill. Essex IG9 6HP E3300 ono Tel: 08 1-505 0557 Tel: 081-209 1164 Some Days in the Life of

David Butt

David Butt lives in a Victorian house which has a sign on it saying 1893. It is attractive and detached, and lies back in a quiet shady road in Epsom not far from the Downs, yet only ten minutes' walk from the station. The garden is sen- sational. The front garden has a large urn of geraniums and helichrysum, in front of a bed of viburnum, New Zealand flax and euphorbias. A brick path leads round the side of Canada after leaving the C the house to a patio in the back RNCM, and Edmund, a violi- I do about three and a half days a week overall with the BBC Sym- garden, also in brick, where a nist, is in his last year at the phony Orchestra, and usually each magnificent fuchsia and a fig RCM. day is different. Next week how- tree stand in front of french Inside, the house is spa- ever we have three days all the windows. As you look up, cious, yet comfortable and same - 10.30-5.30, recording. We undulating beds of colourful welcoming. There are some have just had ten days off follow- shrubs and flowers weave their lovely pieces of Victorian fur- ing the end of the Prom season, way in and out of the magnifi- niture, and a small collection but our main holiday is for a cent lawn. This is the work of of fascinating (and noisy) old month in June before the Proms. Valerie, David's wife, who clocks, which I'm sure David's It is a varied life, and we go abroad teaches the flute in Surrey. old teacher, Gareth Morris (see every year with a biggish trip in When David was doing his Pan, September issue), would May; this year it was Spain, last National Service Valerie learnt admire. There is a minimum year Japan and Hong Kong, and next year Germany, Austria and the flute with him; later they of modern gadgetry around, Switzerland. It's always enjoyable, both studied at the RAM. They and the house is immaculate but the highlights for me this year have three children, Catherine 'now the boys are away', were in London when I did the (27) who is married and works though there is a bike in Ed's Mozart G Major Flute Concerto at for ICI, and twin boys (23); room, and there are umpteen the RFH as part of the orchestra's William, a cellist, has just pairs of shoes lining a side sixtieth birthday celebration returned from a year's study in corridor. concert, and when we did Daphnis in September at the Proms. When I relax I do various which I enjoyed very much. I One day a week, and it varies things: decorate the house, watch framed some of the prints I to fit in with the orchestral sched- TV, try to do the crossword, read, brought back from Japan. ule, I teach at the RCM for about and walk. Valerie is a serious I cannot tell you about specific five hours. I have had some walker, and we walk together days, because my schedule in the talented pupils; one has just got whenever we can. There's my orchestra and for my outside dates the piccolo job in Hong Kong, and motor bike too; I am passionate is different each week. Our life- another is in the BBC Welsh about that, and I go to work on it style in the orchestra is civilized Orchestra. I coach the flute section as often as weather permits. We though, with about three and a in the National Youth Orchestra, try to get to Ed's concerts; we half days a week for the wind and enjoy it very much. I also do haven't been able to go to Bill's principals, as I said, and five for some chamber music and solo recently because he has been so far the strings. Compare that with the work outside the orchestra. One away. I would like to develop an schedule of some of the other particular date I remember was a absorbing interest for when I leave orchestras! It has suited me very B Minor Suite last winter, when it the orchestra in about four years' well, which is why I have stayed was so cold you could see my time. I feel it will be such a 'cut off these last thirty-one years. I still breath, quite a contrast to the when it happens, but I am pretty love playing in the orchestra; it is temperature at the last night of the busy while I am there. I went on a both demanding and satisfying, Proms - you have to be pretty picture-framing weekend course with quite enough solos to play adaptable in this business. at West Dean a few months ago from a huge repertoire.'

PRESS RELEASE

Master Flute-Maker and erstwhile Man-about-Town Trevor James finally tied the knot on Saturday 12th October when he married his lovely PA Elizabeth Montague-Mason. The wedding took place at Ightham, deep in the heart of rural Kent and not far from the home of the Trevor J James & Company premises in Maidstone. Best man was Trevor's brother and partner, Nigel James, himself well-known to many in the flute world. Guests arrived from all parts of the world, including America, Japan, Australia and throughout Europe, and a great day was had by everyone!

NE W IN THE UNIVERSAL FLUTE EDITION 11 ,-"F BERBIGUIER 21 Easy Duets for two flutes \\ (ed. Gerlof) HANDEL The Water Music for flute and cembalo (violoncello ad lib) Vol. I1 Suite 11, I11 (arr. and ed. Petrenz) £9.95 PHILIDOR Suite No. 3 in C major for two flutes (oboes, violins) and basso continuo (ed. Thierne) £9.75 TELEMANN Trio Sonata in D major for two flutes and basso continuo (ed. Lliew) £7.95 UNIVERSAL EDITION SHOWROOM: TRADE DEPT: 2-3 Fareham Street. Dean Street. London W1V ADU 38 Eldon Way. Paddock Wood. Tonbr~dge.Kent TN12 6BE Telephone: 071-437 5203 Telephone: 0892 833422 + TEACHERS 6 SO* BRITISH FLUTE SOCIETY ..P+ 7th Annual Teachers' Course College of Ripon and York St John, YORK 21-23 April 1992 This course is open to all members of BFS who are interested in any aspect of flute teaching. The cost is £90 Residential, including meals. Non-residents are welcome on a daily basis (£10 per session excl. meals. Lunch £6.36, Dinner £7.99). As well as the usual topics (tone production, technique, breathing etc), the course will focus on the following areas: Masterclasses with William Bennett Suzuki flute teaching Contemporary techniques of playing, teaching and arranging for groups Masterclasses for course participants Latest repertoire and flutes Belinda Yourn will be resident and leading demonstrations and classes in Suzuki flute. Simon Desorgher will hold sessions on contemporary teaching techniques. Teachers themselves will get a chance to participate in informal masterclasses led by the resident tutors, and there will be group discussions, ensemble playing and an Open Forum. The course will be held at Heworth Croft, close to the city centre, with single rooms, a bar, comfortable surroundings and a relaxing atmosphere in which to meet colleagues and exchange teaching ideas. There will be time off to see York on Wednesday afternoon. King's Cross to York is only 1 hour 45 mins on a 225 train! Please book in good time. £25 deposit will secure a place. Balance by March 31st please. Cheques should be made payable to The British Flute Society. Please detach form and return to: Robin Soldan, 19 Orchard Street, Chichester, West Sussex P019 1DD (tel 0243 531527). ------K-

APPLICATION FORM - BFS Teachers' Course 1992 Name Address

Tel Tick as appropriate I enclose £90 for a Residential place I enclsoe £25 Deposit for a Residential place I wish to book a Non-residential place (pay on arrival) Dietary needs Signed Date s is the fi ment lice, deliv~ . .t tem- Poraq range :red, and th traditil scales

Unitec1 States, e is a remarkably .-"*..... 111SU U1 IIlCllL.. . L1 51'3- piece Iof conten: ute craftsrnanship. \ Hayn new tlideo ent~ttled.. . "The Haynes :Story. "

Telep1 Fax: f The West Sussex Area of

Residential Weekend FEB21 st - 23rd 1992 at Lodge Hill Residential Centre Pulborough West Sussex

Organisers would like to thank the following for their generous sponsorship:

PROPRIETORS: BERNARD SMITH & LYNNE BURCHFIELD PRINTED MUSIC AND MUSICAL INSTRUMENT SPECIALISTS St. Peter's Shopping Arcade, West Street, Chichester, West Sussex P019 1QU Telephone/Fax: Chichester (0243) 781 844 Mike's Music Mike Bosley . Brass and Woodwind Specialist . Repairs, Sales, Service 81 ESSEX ROAD. BOGNOR REGIS . WEST SUSSEX Tel. Bognor Regis (0243) 821 434

For further details send an S.A.E to Lindy Thwaites at 19 Downview Road, Barnham, West Sussex, P022 OEG. THE MOST RESPECTED NAME IN FLUTES From Piccolo to Bass Flute, the Armstrong Flute family incorporates all modern technological improvements, without sacrificing the essential tone quality which gives the Flute its devoted following. Armstrong Flutes have a limpid tone which draws a delighted response from both player and listener.

Appointed Sole Agent

144 Shaftesbury Avenue London WC2H 8HN 071-240 0584 . Fax 071-240 2919 47 William Bennett International Flute Summer School '92 in Wiltshire

10-l6Aug Part I Part 11 17-24 Aug .....:.:.:... .,.. . :..:.2::.. NEW HEADJOINTS..: .. .:..E.:..>..:.:.- only 25 people for each course 1 4~~.~lojg;pqjgj&;;wbpcfia~~ WoodS articlein ,, ,,.& :,.,.:.,.::,e*:.$.:~<:.~*:.:.'.~.'~ g+....&dnw:aatatque 9...... < :p:.:...:... for further details of Mike Alien's <$<,.""',' . for more details please write to: . "Yuperb range of handmade flutes and headjoints. W.Bennett Flute Summer School Michie Bennett UL~MATE,?<, ST~~;~;~~~ :..: :.A9;2:y: 45 Church Road ...... <. .,,<.*: ...... , Herb Blayrnan..:,p. $3.z3 h,~,~~Cf~~ds:f~aIto.... flute, flute Hanwell <..> ..${.!.. <...<..?.....C....'. ..". and,p~gloi:jm4.E1~:tWeUSA.These are widely London W13BD ,:,,.... ):>:.:.:.;( ...:.:.. .::.:.:.:W<. .w3:$i$:$ggy$!letfged in thestates as the ultirnatestandsl England :*:<:$:t!:...... Fax: 08 1 561 4892 COLOURFUL COVERS.... :,:::...,...,.4< .....: ...A<.:.:. p. Tenorman case coven no~~~~~l~~.jqy~WrnY'~ blue and black, ,*;:K*wi~.~~~l~~istrap. :;<:.;S:...~~.~.r..::,..:.:,. Desiqg.$:?,iZQjf-@HmW~21:~1"2ind...... ,,:::::::,::::,X.?...... 3 l l flutes. .,,.: &.$;$pzdf$bhe.-wth Fjiccolo pouch. ,:.:...... 'A:...... :,;.:....,, ..

1] FLUTE ...... SECONDHAND ...... <.*.v...... ,...... :...... !.:.- :.:.<..?., :p!2f SUMMER We currently stock about !00:~;~:9.@~@g:nuf*'~

including:- Powell.~p~~j~~f~;]'~w~~~~95,,,,,va::::3,5.ic: ...... X...C...... Sankyo SCHOOL lip plate E 1 925, Artist.8~.~~~f~il~W~,~forrn...... :,;_...... ,..,::v($&:ffiirwE 1 4 00 E.:...... :...... The Queen's ...... :.:.:.:.:.:.:.....,. . College Please phone for our free winter catalogueand un- Oxford biased advice on your choice of flute or headjoint. 16-22 August 1992 Course Directors and tutors: JANET WAY and CLIVE CONWAY with visiting tutors ALEXANDER MURRAY, KATHERINE KEMLER, JONATHAN SNOWDEN, 57 NIGHTINGALE ROAD HITCHIN HERTS SG5 1 R0 SIMON HUNT TELEPHONE: 0462 420057 FAX: 0462 435464 andpianists CHRISTINE CROSHAW, GARY BRANCH Alexander Technique JOAN MURRAY *Play your flute all day *Distinguished teachers *Individual attention *Elegant Oxford College *Single rooms and fine food *Evening concerts in beautiful Chapel

Send for brochure from: Wendy Langdon, Administrator OFSS, 12 Lakeside, Oxford, OX2 8JG