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VOLUME 41, NO. 3 SPRING 2016

t h e LUTIST q u a r t e r l y

The Virtuosic Compelling Composers Etude Effusions The 2016 Annual NFA Convention in San Diego, California THE OFFICIAL MAGAZINE OF THE NATIONAL ASSOCIATION, INC CAROL WINCENC PLAYS BURKART

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Pearl’s Alto flute is a truly monumental instrument, The only Alto flute on the market to have our world renowned Pinless mechanism and One Piece DEPARTMENTS Core Bar construction. In addition, 13 From the President the hand position is extremely comfortable, 15 From the Editor and the headjoint is highly responsive with amazing projection. The exceptionally 16 High Notes efficient and highly dependable 45 Across the Miles mechanism is complimented by Pearl’s KEVIN WILLIAMS devotion to exact intonation, wide 48 From the 2016 Convention 20 30 40 THE REGIMENT HORNS dynamic spectrum and Program Chair tonal flexibility. FEATURES 52 From the Local Arrangements Only from Pearl. Chair 20 The Virtuosic Fife: Not Just a Simple Signal Instrument by William White, Crystal Lee, and William Parks 55 Notes from Around the World In spite of its reputation as a tool for military use, the fife in fact has a virtuosic history that goes beyond battlefield signaling. 57 NFA News

63 Passing Tones 30 A Sampling of Compelling Flute-Centered Composers 66 New Products by Francesca Arnone Six major composers writing for the flute today—Martin Amlin, 68 Reviews Daniel Dorff, Eric Ewazen, Katherine Hoover, Lowell Liebermann, and 80 Honor Roll of Donors Gary Schocker—hew to their own visions and belie easy categories. to the NFA 40 Étude Effusions 82 NFA Office, Coordinators, by Molly Barth Committee Chairs An unapologetic lover of études explores their place in today’s practice, what leading pedagogues think of them, and how they shape the 89 Index of Advertisers performances of those who use them a lot, a little—or not at all.

Cover image: U.S. Army Old Guard marching in Philadelphia. Photo by the United States Army 58 Katherine Hoover: An Artist’s Journey Old Guard Fife and Drum Corps. by Kyle Dzapo The 2016 Lifetime Achievement Award recipient has created a rich, lasting repertoire of compositions for the flute—and beyond. A celebrated composer of “our repertoire,” Katherine Hoover also creates works for other instruments, writes poems, and runs a respected music publishing company.

The National Flute Association 60 James Pellerite: The Right Place at the Right Time 70 E. Lake Street, #200 by Zart Dombourian-Eby Chicago, IL 60601 2016 NFA Lifetime Achievement Award recipient James Pellerite founded November 18, 1972, in Elkhart, Indiana has excelled as orchestral flutist, flutemaker, teacher, Native This magazine is published quarterly by the National Flute Association, American flute performer, and publisher. Insatiable curiosity Inc., a nonprofit orgvanization. The statements of writers and advertisers are not necessarily those of the National Flute Association, Inc., which plus an uncanny skill in being at the right place at the right time reserves the right to refuse to print any advertisement. contribute to his colorful resume. Alto Flutes are available with an All Sterling Tube (Model 207) Sterling Silver headjoint (Model 206) or with a ISSN 8756-8667 © 2016 NATIONAL FLUTE ASSOCIATION, INC. Silver Plated headjoint with Sterling Silver Lip Plate (Model 201). Model PFA201SU Shown Above. Available with Straight, Curved, or both headjoints SPRING 2016 THE FLUTIST QUARTERLY 5 NFAONLINE.ORG the flute ad w/burst:Layout 1 2/22/14 12:29 PM Page 1

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OFFICERS Carl Hall (2015–2018) Founder, Honorary Life President 1352 Metropolitan Ave. SE Mark Thomas Atlanta, GA 30316-1670 824 Charter Pl. 404-377-6112 Charlotte, NC 28211-5660 [email protected] phone/fax: 704-365-0369 [email protected] Matt Johnston (2014–2017) 165B 16th Ave. President of the Board Seattle, WA 98122 Zart Dombourian-Eby (2014–2016) 425-444-4646 2515 10th Ave. West [email protected] Seattle, WA 98119 206-285-0206 Virginia Broffitt Kunzer (2014–2017) [email protected] OSU Department of Music 132 Seretean Center Vice President of the Board Stillwater, OK 74078-4077 Kyle Dzapo (2014–2016) 405-744-3964 123 SW Jefferson [email protected] #154 Peoria, IL 61602 Wendy Herbener Mehne (2013–2016) 309-497-0126 611 East Miller Rd. [email protected] Ithaca, NY 14850 607-277-0540 Secretary [email protected] Rebecca Johnson (2015–2016) 1010 N. Busey Ave. Mary Stolper (2014–2017) NOW Urbana, IL 61801 310 S. Kenmore Ave • Recognized by the National 217-581-6627 Elmhurst, IL 60126 OFFERING rrjohnson2eiu.edu 630-832-1152 Flute Association and over [email protected] Concert/Performance 25 Musician's Associations and y Treasurer Penny Zent (2014–2016) Elizabeth Watson (2015–2018) Tutor Liabilit 8418 Shadow Oaks 54 Beach St. 24/7 Easy Account and Insurance • College Station, TX 77845 Woburn, MA 01801 Why Resona? Claim Internet Access 979-696-7607 781-935-9522 “Weddings, DJ’s [email protected] [email protected] and other programs available.” • Unique Coverage Not Found Assistant Secretary #ResonaFlutes Elsewhere Paul Taub (2015–2016) #ResonaPiccolos 1513 25th Ave. Seattle, WA 98122 • Difference In Value Coverage (Depreciation)* 206-660-6086 [email protected] #MakeMusic • Right to Repurchase and Keep BOARD OF DIRECTORS Undamaged Parts* Molly Barth (2015–2018) 1225 University of Oregon Eugene, OR 97403-1225 • Business Interruption Coverage* 541-346-3790 [email protected]

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Resona_3Ads_3.375x10.indd 2 11/18/15 14:36 www.miyazawa.com Blue Elegant. Fluid. Pure. THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Hunter, Copy Editor Kathy Farmer, Christine Beard, Contributing Editors Victoria Stehl, Art Director Steve Wafalosky, Advertising Sales Representative

EDITORIAL ADVISORY BOARD Francesca Arnone Assistant Professor of Flute, Baylor University Waco, Texas John Bailey Professor of Flute, University of Nebraska Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University, Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland, St. John’s Zart Dombourian-Eby Principal , Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute, University of Utah Salt Lake City, Utah Ellen Huntington Flutist, Lyrebird Ensemble Flute Instructor, Loyola University, Chicago Mount Prospect, Illinois Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus, University of Iowa Iowa City, Iowa Linda Pereksta Associate Professor of Flute University of Wisconsin Oskosh Oshkosh, Wisconsin Nina Perlove Executive Director, American Hall of Fame “Internet Flutist,” realfluteproject.com Adjunct Instructor of Flute, Northern Kentucky University Cincinnati, Ohio Rebecca Quigley Flutist and Studio Teacher Westchester, New York Eldred Spell Professor of Flute, Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies, ...because School of Music Texas Tech University, Lubbock, Texas music is your passion. Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington #ResonaFlutes Nancy Toff Music Historian New York, New York #ResonaPiccolos Michael Treister, MD Orthopaedic and Hand Surgeon and Amateur Flutist Chicago, Illinois #MakeMusic Susan Waller Flutist, Teacher, Coach San Ramon, California Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Charles Wyatt Writer, Flutist Nashville, Tennessee

NATIONAL FLUTE ASSOCIATION, INC., STAFF Kelly Jocius, Executive Director Kris Mayo, Convention Director Kate Blair, Marketing and Development Associate Victoria Pampe, Membership Manager Anne Welsbacher, Publications Director Brian Covington, IT Consultant

The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. resonaflutes.com

SPRING 2016 THE FLUTIST QUARTERLY 11 NFAONLINE.ORG

Resona_3Ads_3.375x10.indd 3 11/18/15 14:36 Jeanne Baxtresser ESSENTIAL GUIDES for SCHOOL and ORCHESTRAL AUDITIONS

PUBLICATIONS RECORDINGS (partial list) Orchestral Excerpts for Flute Orchestral Excerpts for flute(with spoken commentary) Great Flute Duos Jeanne Baxtresser—A Collection of My Favorites from the Orchestral Repertoire Chamber Music for Flute Flower Duet from Lakmé Jeanne Baxtresser Debut Solo Recording, Montreal 1977

CDs available via iTunes, CD Baby and Flute World via: www.jeannebaxtresser.com/recordings-publications

NEW! The Consummate Flutist Masterclass June 2016 Please visit my website or follow me on Facebook for details. I look forward to seeing you! www.jeannebaxtresser.com www.theconsummateflutist.comand www.facebook.com/fluteforum

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Find out more and register now at galwayflutefestival.com From the President

Zart Dombourian-Eby

A MIDWINTER DAY’S MEETINGS

We all look forward to carrying out their vision, and we welcome your input and help with these vital tasks. Among the many additional items of discussion were plans for the 50th an- niversary (2022), our new “Instrument Notices” service, commissions, review of endowment applications, nominations, the fascinating-but-never-ending bylaws review, the new “post-concerto party,” and a new app planned for San Diego! Speaking of San Diego, I can’t close without a huge thank-you to Program Chair John Bailey and Assistant Program Chair Nicaulis Alliey for their amazing

From left: Penny Zent, Zart Dombourian-Eby, Paul Taub, Rebecca Johnson, Kelly Jocius, and Kyle Dzapo. work on the gargantuan task of going through the 615-odd proposals for the ore than 20 years ago, some Next on the agenda: we reviewed the upcoming convention. wise NFA board members had a fantastic strategic plan that Jonathan They have an incredible show planned brilliant idea—that the Executive Keeble (chair of the Strategic Planning for us all, including performances by Wal- MCommittee (president, vice president, Committee) and his dream team—Hil- ter Auer of the Vienna Philharmonic and secretary, assistant secretary, and treasurer) lary Abigana, Bonita Boyd, Beth Chan- Irmela Bossler, professor of flute at the would meet with the executive director in dler, Angeleita Floyd, Aaron Goldman, Leipzig Conservatory—neither of whom January or February each year to review Kelly Jocius, Rebecca Johnson, Cathy have played at an NFA convention before. the progress and state of the organization. Miller, and Sandy Saathoff—put together One of the many San Diego concerts will These meetings are an intense, exhausting, over the course of the convention and the feature rock, bluegrass, New Age, and and invaluable tool in keeping our complex fall. This document launches us into the alternative music, and another will pres- and ever-evolving association moving next three years and envisions an NFA ent visual works that inspired music or smoothly forward. that accomplishes these four key goals: vice-versa. This year, Kyle Dzapo, Rebecca John- Chamber concerts will also be high- son, Paul Taub, Penny Zent, and I met ◆ Increase Membership and Member lighted, including everything from flute with Kelly Jocius, as well as with Con- Benefits, Ensuring Future Vitality of quartets to woodwind quintets to flute vention Director Kris Mayo and Mem- the Association and soprano, flute and guitar, and flute bership Manager Vicky Pampe, Feb- ◆ Establish a Year-Round Presence for and harp. There will be a multitude of ruary 15–16 at our national office in the NFA, Providing Innovative Re- participatory events, invaluable practical Chicago. Our task? First, to review ev- sources That Engage and Strengthen workshops, and, of course, the incredi- ery one of the 62 reports our committee our Community ble Exhibit Hall with everything “flute” chairs, competition coordinators, and ◆ Create the Most Dynamic and Com- imaginable, from all corners of the world. appointees submitted. These reports prehensive Convention Experience Don’t miss it! describe the activities of those various ◆ Plan and Manage Key Financial Mea- groups both during the convention and surements, Ensuring Future Finan- —Zart Dombourian-Eby throughout the year. cial Stability and Growth [email protected]

SPRING 2016 THE FLUTIST QUARTERLY 13 NFAONLINE.ORG Tradition, Artistry, & Innovation

bulgheroniusa.com From the Editor

Anne Welsbacher

THE FLUTE BEAT

ime marches on, and so—as we Scelba, we extend our gratitude for the learn more about this barrier-shattering learn from our cover article—do opportunity to have had them in our composer in an article about her by fifes, those diminutive keepers of lives—and our heartfelt condolences. NFA Vice President Kyle Dzapo. The Tthe beat known best for their service in What will you do for your summer companion piece, by NFA President Zart 18th- and 19th-century battle. But fifes vacation? Teacher and flutist Molly Alicia Dombourian-Eby, introduces Lifetime are much more than military tools or Barth likes to annually pull out her old Achievement Award recipient James relics of the past. études books, and her own pleasure in Pellerite, whose broad-ranging journey As explained in this article, written by these humble tools for practice is what through life and music has led him to members of the U.S. Army Old Guard seeded this article on études and their use achievements in orchestral playing, Fife and Drum Corps, fifes remain in teaching. Barth interviewed renowned pedagogical fame, and groundbreaking popular today as both reminders of our teachers to learn if, how, and how much work with music. nation’s history and significant musical they utilize études in teaching practice. Hoover and Pellerite will be featured instruments in their own right, drawing Some of their answers, as well as Barth’s along with dozens of other luminaries on new designs and enhancements personal favorites, might surprise. at the 2016 Annual National Flute from flutemakers. (Participants of the Francesca Arnone’s article profiling Association Convention, to be held this 2015 Annual NFA Convention will “compelling flute-centered composers” summer in sunny San Diego, California. have heard the lively evidence in the offers insight into the life and times of In this issue’s teaser article by Program numerous events and concerts presented six artists who have carved out their own Chair John Bailey and Assistant by members of the U.S. Army Old Guard very active roles in current flute music- Program Chair Nicaulis Alliey, get a Fife and Drum Corps.) making. Along with information about tantalizing peek at a few of the activities Time’s relentless march takes its toll in the people themselves, she provides and participants planned for August in darker ways, as well, as is evident in our digests and descriptions of their key “America’s Finest City.” Don’t forget to larger-than-usual department paying works and a short list of other outstanding check out the companion article by Local tribute to flutists recently departed. To composers working today. Arrangements Chair Cindy Ann Broz the friends and families of Robin Bruce Among the six composers profiled is about how to best enjoy all that San Diego Fellows, Barbara Helena Neal, Michael Katherine Hoover, 2016 NFA Lifetime has to offer. Colquhoun, Ed Senechal, and Frank Achievement Award recipient. You can —Anne Welsbacher

SPRING 2016 THE FLUTIST QUARTERLY 15 NFAONLINE.ORG High Notes News of the accomplishments of NFA members and the flute world

contemporary forms); jazz; traditional and contemporary genres from India, Southeast Asia, South America, and the Caribbean; and of every kind for flutes of every shape and size, transverse and end-blown. Topics include flute performance and performers, flute construction, flute music, and flute history. A video instruction archive is in production to form an ed- ucational subscription service, while current communications technology will allow multiple online workshops to take place, first in real time, then as part of the archive. E-commerce, mu- sic publishing, and live performance projects are in develop- ment, as well as a portal to flute-related websites worldwide. Advertisers will be able to reach all sectors of the flute commu- nity through all these media. Peter Westbrook (with Saïs Kamalidiin) International Flute Journal got under way in October 2015 eter Westbrook, founding chair of the NFA’s World Music in cooperation with Jonathan Myall at Just Flutes of London. PCommittee, has produced and will serve as editor-in-chief Ali Ryerson, jazz flutist and founder of the NFA’s Big of a new online publication, The International Flute Journal, Band, was invited to London to run workshops and launch a currently housed at flutejournal.com. Editors and contribu- U.K. version of the band. The ensemble will continue to meet tors are from , North and South America, India, Japan, in London, supported by a publishing effort from IFJ’s parent Australia, and New Zealand, and the journal’s editorial board company, Harmonia Books and Music, to bring out new ar- includes performers, scholars, historians, librarians, and eth- rangements for this ensemble as well as other new flute music. nomusicologists, many of them former NFA leadership and Interest is also being generated in the Jazz Flute Big Band en- Lifetime Achievement Award recipients. semble in other European cities, again through the auspices of International Flute Journal aims for worldwide coverage of the International Flute Journal. all major flute traditions in a publication of the highest qual- The journal welcomes contributions from flutists, other -mu ity, bringing together flute enthusiasts to learn, teach, and ex- sicians, woodwind doublers, critics, musicologists, journalists, plore all that the flute and its music has to offer and intended writers of all kinds, photographers, composers, arrangers, and equally for academics, teachers, students, and performance artists. To send materials or to join the mailing list, contact Peter professionals. Articles and reviews will cover all genres and Westbrook at [email protected] or via flutejournal.com

topics: European art music (including early, baroque, and or the Flute Journal Facebook page. Visit flutejournal.com. PHOTOGRAPHY ©SAVWOIR PHOTO

talian flutist Luisa Sello will per- n March 18, NFA member Iform the world premiere of com- OAmy Likar and the Oakland poser Augusta Read Thomas’s “Karu- Symphony premiered Concerto for mi” in a new version for solo alto flute Piccolo and (with move- in a recital on April 18 at Weill Hall at ments titled Proclamations, Whis- . The recital, with pia- pers, Rumors; Still We Hope; and nist Bruno Canino, is hosted by the Joy) written for her by composer Italian Institute of Culture in New Martin Rokeach. Likar has been the York. The recital also includes Amil- solo piccoloist with the Oakland care Ponchielli’s fantasy on the opera Symphony since 2005 and is an ac- Luisa Sello La Gioconda, compositions by Alfre- Amy Likar tive freelance musician and teach- do Casella and Ezio Monti (the latter an American premiere), ing artist in the San Francisco Bay Area. She also serves on highlights from the flute fantasy onCarmen by George Bizet the editorial advisory board of The Flutist Quarterly. Martin and from Carl Reinecke’s Sonata, and Sonata Concertante by Rokeach is professor of theory and composition at St. Mary’s J. S. Bach. Sello has performed throughout Europe, the Unit- College of California and is one of the founders and artistic ed States, South America, Russia, and Asia with other artists directors of Berkeley’s Contemporary Music Series, Com- and as a soloist with multiple . She teaches flute at posers, Inc. On December 11, 2015, Likar premiered Páha the Faculty of Music in Trieste and the University of Music in Sápa for solo piccolo written for her by composer Michael Vienna. She records for Stradivarius and is a Miyazawa Artist. Stephens. Stephens is professor of theory and composition at

Visit carnegiehall.org or luisasello.it. Chadron State University in Chadron, Nebraska. This pro- PAULUS JACK OF AMY LIKAR BY PHOTO

16 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG gram also included a performance of Zhou Long’s Confluence, national nonprofit founded in 1996 to which was commissioned by the Flute New Music Consor- help overcome the cultural stereotype tium, along with a performance of Asha Srinivasan’s Dviraag. of classical music and to encourage the participation of blacks and Latinos in FA member Linda Marianiello the field. Nperformed J. S. Bach’s Concerto Thomason-Redus also worked with for Flute, and Cembalo, BWV composer Shawn E. Okpebholo on his 1044, with the New Mexico Bach So- 2015 recording Steal Away and the solo ciety on February 20 in Santa Fe and flute piece Okpebholo wrote for him, Albuquerque. On April 3 and again the 12-minute On a Poem By Miho in October, she will perform Mo- Caen Thomason-Redus Nonaka: Harvard Square. zart’s Concerto in C Major for Flute Performer, teacher, and recording artist Thomason-Redus has and Harp, with harpist Lynn Gor- worked with , Gunther Schuller, and other note- man DeVelder, for Mozart festivals worthy composers and has played with the Detroit Symphony Linda Marianiello at New Mexico Highlands Universi- and other solo and ensemble venues. A former NFA committee ty in Las Vegas (New Mexico) and at the Lensic Performing chair, he is also active with Early Music Now and the Center for Arts Center in Santa Fe, respectively. Black Music Research and is a Muramatsu Artist. conductor emeritus Franz Vote is the music director for both performances. rammy-nominated album artist Marianiello performs concertos with orchestras in Europe GViviana Guzman was the featured and the U.S., presents recitals at European festivals, and ap- artist at the Gandhi Youth Forum with pears in television and radio broadcasts. Her chamber music Arun Gandhi (Gandhi’s grandson) in recordings emphasize 19th- and 20th-century works for flute Martha’s Vineyard in summer 2015. with and strings. She has founded multiple chamber Upcoming tours take Guzman to music groups and has served on the faculties of universities Barbados, Manaus, Brazil, Chile, Ar- and institutes in New York, Chicago, and other cities. She is gentina, Uruguay, China, Japan, and president of the New Mexico Performing Arts Society, the Bali. Additional upcoming recitals and umbrella organization that includes Santa Fe Flute Immersion, masterclasses include appearances at among other entities. She is a recording studio artist for Verne Viviana Guzman the Atlanta Flute Fair, Arlington Flute Q. Powell Flutes. Principal teachers are Bernard Goldberg, Fair, East Carolina University, University of Texas in Lubbock, Walfrid Kujala, Thomas Nyfenger, Peter Thalheimer, and An- Southern Florida College, University of South Florida, and dras Adorjan. Marianiello holds a B.A. from with the Hanoi Philharmonic Orchestra in Vietnam. Guzman and an M.A. from the City University of New York–Brooklyn is the founder of the San Francisco Flute Society and Flutes by College. Visit nmperformingartssociety.org. the Sea Masterclasses and co-founder of The Flute View Maga- zine. She is a graduate of the , where she stud- dward Schultz, principal flutist for the Chamber Orchestra ied with , and of Rice University, where she studied Eof Philadelphia, performed at that city’s Perelman Theater with Albert Tipton. at the Kimmel Center of the Performing Arts February 28–29 in a concert that included Malcolm Arnold’s , n February 20, the Mid-Atlantic No. 1, Op. 45, and selections ranging from folk to film. Works OFlute Convention’s Festival Flute performed included Holst St. Paul’s Suite, Op. 29, No. 2, by Choir, conducted by George Pope, Gustav Holst; “On the Nature of Daylight,” by Max Richter; premiered Daniel Dorff’s “Fireworks,” Béla Bartók’s Rumanian Folk ; Bernard Herrmann’s commissioned by the Flute Society of Suite from the filmPsycho ; Suite Modale for flute and strings Washington in celebration of its 50th by Ernest Bloch; and String Quartet No. 2 “Company,” by Phil- anniversary. Dorff’s first work for ip Glass, arranged for string orchestra. Dirk Brossé conducted. is scored for 11 indepen- Schultz is a soloist and chamber musician and principal dent parts: two , four C flutes, flutist for the Pennsylvania Ballet Orchestra, the Academy of two alto flutes, two bass flutes, and Vocal Arts Opera Orchestra, the Broadway shows at the Acad- Daniel Dorff one contrabass. Also on that date, six emy of Music, the Vox Ama Deus Ensemble, and the Philly flutists and a guest clarinetist presented “Chamber Music by Pops. He is also a member the Network for New Music. After Daniel Dorff: A 60th Birthday Retrospective,” featuring seven early studies with Herbert Medsgar, Bernard Goldberg, and of his works: “The Year of the Rabbit—A Watercolor for Flute Jim Walker, Schultz graduated from the New England Conser- Quartet”; Two Cats for flute and ; “Hustle Etude No. vatory in Boston, where he studied with James Pappoutsakis. I” for two flutes; “Tweet” for solo piccolo; Three Romances for flute and clarinet, “Zoe & Xena” for piccolo and bass clarinet; lutist Caen Thomason-Redus was a respondent at the 2016 and “It Takes Four to Tango,” for . The performers FSphinxCon: Ignite to Action! conference February 5–7. were Cynthia Rugolo, Laura Benning, Keith Hanlon, Cindy This was the fourth year of the conference, which focuses on Anne Broz, Gwyn Jones, Maria Rohde, and clarinetist Barbara

PHOTO OF LINDA MARIANIELLO BY HENRY GROSSMAN HENRY BY MARIANIELLO OF LINDA PHOTO diversity and inclusion in the arts. The Sphinx Organization is a Haney. Visit fsw.wildapricot.org.

SPRING 2016 THE FLUTIST QUARTERLY 17 NFAONLINE.ORG NEW! Bonita Boyd International Flute Masterclass August 1-4, 2016 Faculty: Bonita Boyd, Aaron Goldman, Luke Fitzpatrick, Jessica Sindell

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801a tremont st | boston, ma | 617 519 8966 | www.flutistry.com 20 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG In spite of its reputation as a tool for military use, the fife in fact has a virtuosic history that goes beyond battlefield signaling. The Virtuosic Fife: Not Just a Simple Signal Instrument by William White, Crystal Lee, and William Parks

raditionally, when music historians write about the fife, are the personal pocketbook manuscripts kept by of the they focus on it as a martial instrument with a specific 18th and 19th centuries, which give us a glimpse into the mu- Tpurpose: to relay commands from commanders to troops sical world of field musicians beyond the battlefield. in the camp and on the battlefield. This is certainly a vital part of the history of the instrument and deserves attention. The utili- tarian focus on the fife, however, relegates it to “a simple signal- ing instrument” and ignores a long virtuosic and social tradition. That history also deserves attention. Today, the fife as an instrument is mostly considered a relic of the past, but compared to the flute, it has a relatively recent history. First documented as a strategic signaling instrument in 16th-century Switzerland, the fife eventually made its way across Europe spread by Swiss mercenaries and was adopted by most of the European militaries of the 16th and 17th centuries.1 When the Spanish, French, Dutch, and English began colonizing North and South America in the 1600s, Old World traditions travelled across the Atlantic along with the people.

European Traditions in the New World By the mid-1600s, England was the predominant European power along the Atlantic coast of North America, and English customs, including martial practices, were firmly rooted. In 1779, the American Army received its first training manual from Prussian-born American officer General Baron Freder- ick Von Steuben, which included an entire chapter devoted to drum signals. Multiple Continental Army and State Regimental commanders remarked on the importance of well-trained field musicians and often prescribed specific practice sessions into a musician’s day. For example, The Orderly Book of Captain Robert Gamble contains instructions for the senior and drummer to gather all the regimental musicians “every afternoon Sundays and Rainy Day[s] exsepted [sic] to Practice From hours four to six o’clock.” 2 The temptation to overemphasize the signal aspect of fife history overshadows the fact that fifers were individual mu- sicians. The level of musical experience and training varied, but few military musicians would have been satisfied playing the same basic melodies. This is evident in the prolific pro- duction of popular music books for violin, flute, and fife that Left to right: Traditional Fife, maker unknown (c. 1830s); Cloos-Crosby Fife paralleled the production of martial manuals. More revealing (c. 1870s); Seaman-McDonagh Fife (c. 1994); Healy Fife (c. 2010). LEFT: UNITED STATES ARMY OLD GUARD FIFE AND DRUM CORPS MARCHING IN PHILADELPHIA. LEFT AND RIGHT PHOTOS BY THE UNITED STATES ARMY OLD GUARD FIFE AND DRUM CORPS. ARMY OLD GUARD THE UNITED STATES BY IN PHILADELPHIA. LEFT AND RIGHT PHOTOS MARCHING FIFE AND DRUM CORPS ARMY OLD GUARD UNITED STATES LEFT:

SPRING 2016 THE FLUTIST QUARTERLY 21 NFAONLINE.ORG Pocketbooks and Manuscripts Page of a manuscript entitled Instrumental Music by O. Madden (c. 1777). Madden’s music book is a newly donated manuscript to the Museum of the One of the earliest known examples of an American pocket- American Revolution in Philadelphia. book is the Greenwood Manuscript (c. 1780). Housed in the collection of the New York Historical Society, the manuscript in the Greenwood Manuscript. belonged to John Greenwood, a Revolutionary War fifer in A number of manuscripts like the Greenwood Manuscript the 12th Massachusetts Bay Regiment of Foot, and contains testify to the variety of music played by Revolutionary War fifers. 97 melodies, most in standard binary form. The music is not Recently the Museum of the American Revolution acquired particularly virtuosic, but the melodies are all more complex, a manuscript of music for the fife and German flute, titledIn - developed, and entertaining than simple duty calls. strumental Music by O. Madden (c. 1777). Researchers from the Since the transcription was by a documented fifer, it is reasonable museum have determined that this handwritten manuscript to assume that it is representative of music played by Greenwood belonged to another Revolutionary fifer, Owen Madden, who and other fifers of the Revolution. We know for certain that field served in the 3rd New York Regiment. This manuscript adds yet musicians (fifers, drummers, and buglers) provided more than just another anthology of tunes corroborating the musical capabili- duty calls. James Thatcher’s Military Journal of the American Revolu- ties and preferences of Revolutionary fifers. tion says, “The drum and fife afforded us a favorite music.”3 A more compelling anecdote, however, comes from The Di- Signaling Services ary of a Common Soldier in the American Revolution, in which The fife served as a signaling instrument in the American Army Jeremiah Greenman recounted his time as a British prisoner through the (1861–1865) and remained in of war in a Quebec prison. Greenman wrote, “We keep up our military inventories well into the 20th century. Between 1812 hearts with a puter fife that we made out of all the button that and 1881, no fewer than 50 manuals—military or civilian—were we could git off our Cloths wich made us sum mery…So we produced to instruct fifers, drummers, or buglers on the proper pased away the long teatedus time.” 4 Certainly, if such an in- execution of their duties. The last military manual containing strument was fashioned, it was conceivably of limited capabil- instructions and protocol for active-duty field musicians in the ities, but equally certain is that the prisoners were not likely collection at the United States Army Center for to be heartened by repeating the same 12 or 16 standard duty was printed by the War Department in 1940. 5 calls for days on end. Far more likely is that while in captivity, As the Army grew and became a more professional fighting Greenman and his comrades played tunes such as those collected force through the 1800s, so too did the number of skilled fifers

22 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG and drummers and the need to properly train them. A training school for Army field musicians existed at various times and Through their music, these groups in various locations during the 19th century, with some of the represent American soldiers past most important instruction manuals printed during this period. Manuals such as Colonel H. C. Hart’s Instructor for the Drum (c. and present and serve as a tangible 1862) conveyed the required duty calls but increasingly includ- ed larger supplementary sections containing more challenging link to America’s founding values. quicksteps, reels, and marches. transforms Bruce and Emmett’s guide into an eclectic cultural The Golden Era portrait of what is today considered by many to be the golden The Civil War brought about one of the most significant Amer- era of fife and drum.7 ican fife and drum publications of all time. First published in At the conclusion of the Civil War, just as the popularity and 1862 and publicized as an instruction manual for field musicians, musical variety for the instrument flourished, the fife’s predom- The Drummers’ and Fifers’ Guide was compiled by drummer inance as an Army signaling instrument diminished and eventu- George Barrett Bruce and fifer Daniel Decatur Emmett. There is ally was eclipsed by modern communication technologies. But some debate among Civil War historians about whether or not despite retirement from Army life, the popularity of both the fife The Drummers’ and Fifers’ Guide is a representative field music and the accompanying rudimental-style drumming continued manual compared to other contemporary sources. The debate on in American culture. centers around the fact that the manual extends far beyond dry, In the decades following the Civil War and into the 20th functional signaling music. century, veteran and civic fife and drum organizations kept Credited for bringing the minstrel variety show to the mu- the tradition alive and evolving in the modern world. Late sic hall stage,6 Emmett compiled—and, in some cases, com- 19th-century photographs depict both Union and Confeder- posed—fife tunes that would easily entertain a music hall audi- ate veterans playing fifes and drums, attesting to the desire for ence. Bruce and Emmett freely added virtuosic embellishments these musicians to continue their craft after their field duty ex- to challenge even the most trained musician and clearly exceed periences ended. the practical needs of the military. The introduction of various Support for the Civil War effort included field instruments

PHOTO COURTESY MUSEUM OF THE AMERICAN REVOLUTION COURTESY PHOTO folk and popular music genres into their fife and drum style made by George Cloos of New York, who brought an expert

SPRING 2016 THE FLUTIST QUARTERLY 23 NFAONLINE.ORG Seven members of the G.A.R. Drum Corps in Pasadena, California (c. 1920). level of craftsmanship to the fife. With the advent of civilian After serving his country, McDonagh returned to New York fife and drum corps in the half-century after the Civil War, and started his own group, the New York Regimental Fife and the Cloos-Crosby remained the standard fife for nearly a cen- Drum Band, which endeavored to match the style and finesse of tury due to its clear tone quality and ease of playing.8 the music of John Philip Sousa. Mostly arranged by In 1885, fife and drum corps began holding contest exhi- McDonagh, the band’s repertoire incorporated previously un- bitions in the northeast region of the United States, making conventional key signatures, four- or five-part harmonies, and fife and drum performance akin to a competitive sport. These the use of rapid double- and triple-tonguing passages. 11 contests were organized by the Fifers and Drum- The group regularly arranged and performed Baroque and mers Association and “prescribe[d] the standards of fifing and Classical works such as Telemann duos and band literature like drumming to its member groups.” 9 Julius Fucik’s “Entrance of the Gladiators”—more commonly known as “Thunder and Blazes.” 12 McDonagh was perhaps best Into the Modern Era known for his transcription of Nicholas Arban’s Theme and One of the most legend- Variations on the Carnival of Venice for solo fife, which became ary fifers was champion his standard prize-winning contest piece. fifer John McDonagh, McDonagh also worked with piccolo maker Roy Seaman to who grew up in New bring substantial developments to the instrument. The two York City during the changed the fife’s traditionally one-piece straight bore to a early 20th century and two-piece conical one, improving the tone quality and projec- played in the St. Anselm’s tion of the low register. Their most important advancement Parish Modern Corps as was adjusting the finger hole placement and adding four ad- a child. McDonagh en- ditional finger holes, which improved the intonation of the listed in the Army during instrument and enabled a fifer to play a fully chromatic scale World War II and served with ease. in Europe as a scout and The 1970s witnessed a giant step in the evolution of fifing. rifleman. A quintessen- The trio consisting of John Benoit, Skip Healey, and John Ciaglia John McDonagh tial musician at heart, he propelled significant contemporary advancements in the instru- carried his fife with him throughout the war.10 ment, its literature, its pedagogy, and the production of profes- ABOVE PHOTO COURTESY THE PASADENA MUSEUM OF HISTORY THE PASADENA COURTESY PHOTO ABOVE

24 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG John McDonagh conducting members of the New York Regimental Fife and Drum Band, c. 1960. Fast Lane, The Road to Folly, and Fife Alive! showcase a level of The United States Army Old Guard musicianship and virtuosity that defy the common perception Fife and Drum Corps and the fife of the fife as a simple signal instrument. Ciaglia’s musical innovations also further propelled the de- and drum community at large velopment of the instrument itself. Applying modern flute- making techniques to the ancient fife, Healy advanced earlier keep a valuable tradition alive— work done by Chris Abell and produced a new fife that re- turned the instrument to its standard cylindrical bore, produc- and breathe new vitality into that ing a full-bodied sound while retaining the advances of the Mc- Donagh model. Healy also introduced the bass fife specifically tradition with every note. to accommodate Ciaglia’s arrangements. The bass, pitched in E-flat (a fifth below the standard fife), provides greater -har sional-grade studio recordings. Ciaglia, especially, pushed aside monic depth and shading to an ensemble sound. any previously held boundaries to write music uninhibited by key signatures or fixed meter. His contrapuntal style is characterized A Living Tradition by the use of sudden tempo shifts, dramatic dynamic contrasts, With the founding of the United States Army Old Guard and heavily chromaticized harmonies. Fife and Drum Corps in 1960, the fife officially returned to Unlike McDonagh’s movement to emulate the modern the Army—but no longer as a signaling instrument. The Old sound of a concert band, Ciaglia’s fife arrangements thrive on Guard Fife and Drum Corps’ primary responsibility is per- the application of new settings and harmonies to traditional forming for soldiers, national leaders, visiting dignitaries, and 18th- and 19th-century fife tunes. Honoring his background American citizens across the nation representing the discipline as a flutist trained at the St. Louis Conservatory, Ciaglia scores and professionalism of today’s Army. his music accessible to both flutes and fifes and is still writing At the same time, the Old Guard is actively engaged in per- and arranging. petuating and advancing the legacy of fifing as part of a com- This trio of fifers was also involved in studio recording munity of fife and drum corps. In keeping with this tradition, projects from the 1970s to the present day either as perform- these groups perform music that ranges from simple “ancient” tunes to complex contemporary commissioned works.

PHOTO COURTESY THE TRUSTEES OF THE NEW YORK REGIMENTALS OF THE NEW YORK THE TRUSTEES COURTESY PHOTO ers, producers, or arrangers. Recordings such as Fife in the

SPRING 2016 THE FLUTIST QUARTERLY 25 NFAONLINE.ORG Since the 1970s dozens of fife and drum corps have recorded their music, documenting the varied styles applied to fife and drum music.

Through their music, these groups represent American soldiers 3. James Thatcher, A Military Journal During the American Revolutionary War (Bos- past and present and serve as a tangible link to America’s found- ton: Richardson and Lord, 1823), 99. 4. Jeremiah Greenman, Diary of a Common Soldier in the American Revolution: An ing values. The Old Guard Fife and Drum Corps and the fife and Annotated Edition of the Military Journal of Jeremiah Greenman, edited by Robert drum community at large keep a valuable tradition alive—and Bray and Paul Bushnell (DeKalb: Northern Illinois University Press, 1978), 27. breathe new vitality into that tradition with every note. 5. Technical Manual 20–250—Field Music (Washington D.C: The War Department, 1940). 6. Sue Cifaldi, “Bruce and Emmett, The Drummers’ and Fifers’ Guide (1862, 1865, Sergeant Major William White started learning the fife from his fa- 1880, and 1885),” History of the Ancients: A Connecticut Musical Tradition, Sep- ther at age 7 and later studied flute with Francile Bilyeu and Car- tember 22, 2012, https://historyoftheancients.wordpress.com/2012/09/22/1310/. ol K. Noe. Since 1994, he has served in the U.S. Army Old Guard 7. Ibid. Fife and Drum Corps as a Fifer, Section Leader, Fife Group Leader, 8. James Clark, Connecticut’s Fife and Drum Tradition (Middletown, CT: Wesleyan University Press), 59. Drum Major, and, most recently, as the Corps Sergeant Major and 9. Clark, 69. Enlisted Bandleader. His BA is from George Mason University. 10. Frank J. Keenan, John J. McDonagh in Fife and Drum (Ivoryton, CT: The Compa- ny of Fifers and Drummers, 2003), 6. 11. Clark,147. Sergeant First Class Crystal Lee won a position as a Fife Mu- 12. John J. McDonagh, Fife Instruction Manual (Ivoryton CT: The Company of Fifers sician in the U.S. Army Old Guard Fife and Drum Corps in and Drummers, 2001). 2001. Lee plays flute and piccolo in the Washington Metropol- itan Philharmonic. Her BM is from Brigham Young Universi- ty; her MM is from the University of North Texas, where she studied with Mary Karen Clardy.

Staff Sergeant William Parks is from Williamsburg, Virginia. He is a Fife Musician, Assistant Drum Major, and Librarian with the U.S. Army Old Guard Fife and Drum Corps. His BA is from James Madison University.

Endnotes 1. Henry George Farmer, The Rise and Development of Military Music (London: Wm. Reeves, 1912), 29. 2. Robert Gamble, “Orderly Book of Captain Robert Gamble of the Second Virginia Regiment, Commanded by Colonel Christian Febiger, August 21–November 16, Sergeant First Class Crystal Lee and Staff Sergeant Andrew Owen teaching the 1779,” Virginia Historical Society Collections, XI (1892), 219–272. next generation of fifers. LEFT AND ABOVE PHOTOS COURTESY THE UNITED STATES ARMY OLD GUARD FIFE AND DRUM CORPSREGIMENTALS ARMY OLD GUARD THE UNITED STATES COURTESY PHOTOS LEFT AND ABOVE

26 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG

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Crystal Records 50th anniversary — See Specials 50% off at www.crystalrecords.com Leone Buyse was principal flute of Bos- ton Symphony, now on faculty of Rice University. She has 4 solo CDs and 3 with the Webster Trio on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “a rainbow of music...solid playing, glistening recording” Fanfare. CD314: Love Letters. David Shostac, flute. Borne, ; Kosins, Love Letters; CD319: Rivier Revisited. Chamber Music for Flute by Jean Riv- plus Boehm, Dinicu, & Debussy. Shostac is principal Los Angeles Chamber Orch. ier. “brilliant recital, superb musicianship” American Rcd. Guide CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- CD715: Dedicated to Barrère. Music composed for celebrat- cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle ed flutist Georges Barrère, by Caplet, Woollett, Gaubert, Seitz, Symphony. “nothing short of amazing.” American Rcd. Guide. Lacroix, Lefort, and Damaré. “marvelous recording” Flute Talk. CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas CD716: Dedicated to Barrère, Vol. 2. Griffes, Poem; Varèse, Den- by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- sity 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, formed with rare sympathy and expertise.” Fanfare. Sonatine and Invocation. Also De Lorenzo, Kriens, Jacquet. CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Taffanel, Fantaisie; Griffes, Poem; plus Dzubay, Van Brink, & Zupko. Robertello: facul- THE WEBSTER TRIO, Leone Buyse, flute; Michael Webster, ty of Indiana University; previously: Pittsburgh & National Sym., . clarinet; Robert Moeling, piano. 3 CDs – CD717: Music by Libby Larsen, Sirota, CD714: Flute Agréable. April Clayton, flute. Sonatines by Dutilleux, Francaix, Brandt, Toensing, & Schoenfeld • CD356: Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ ” Musicweb. Fauré Dolly Suite; Saint-Saëns, Tarantella; CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, Debussy, Petite Piece, ; Bizet, Jeux High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- d’enfants • CD357: Dvorak, Slavonic Danc- ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. es; Debussy, Petite Suite; Brahms, Hungar- CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. ian Dances; Gottschalk, Four Pieces. Music by Sawai, Yamamoto, Hirai, Miyagi. “quite beautiful” Amer. Record Guide. CD710: Wind Effusions. Danilo Lozano, Flute; David Muller, CD757: Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Woodwind . Duos by Villa-Lobos, Schröder, Gabaye, Jan Bach, & Quintet. Ten Waltzes; From the Animal Kingdom; From the Plant World (all for Bozza; solos by Piazzolla & Osborne. Lozano: founding member flute and piano); Serenade and Th. & Variations (for ww quintet).“Blumer’s lush Hollywood Bowl Orch. Muller is former princ. Mexico City Phil. style reminds me of . [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. CD354: Weiss Family Woodwinds. Dawn Weiss, flute; David, CDs $16.95 each. FREE U.S. Shipping; Canada $7/order; other countries: $12/order. oboe; Abraham, bassoon. Trios by Svoboda, Worthey, and ® Vivaldi, plus Messiaen, Le Merle Noir (flute & pa.), Hindemith, [email protected] & Bourdeau. Dawn was solo flute Oregon Symphony for 25 years. 28818 NE Hancock Road, Camas, WA 98607 USA • phone 360-834-7022

A Sampling of Compelling Flute-Centered Composers

Six major composers writing for the flute today—Martin Amlin, Daniel Dorff, Eric Ewazen, Katherine Hoover, Lowell Liebermann, and Gary Schocker— hew to their own visions and belie easy categories. by Francesca Arnone LOWELL LIEBERMANN; PHOTO BY CHRISTIAN STEINER CHRISTIAN BY LIEBERMANN; PHOTO LOWELL

30 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG lute compositions range in as great a variety of styles, lengths, Although the sonata is one of Amlin’s preferred forms, his genres, and flavors as the musicians who play them. Despite first for flute was written in 1987. Almost 10 years later, he this scope, our flute community enjoys the dedication of a composed his Piccolo Sonata, premiered at the NFA’s Chicago Fnumber of mature, flute-centric contemporary composers who Convention 1997 by Zart Dombourian-Eby, with Amlin play- masterfully write for flutists, rather than for the perceived tastes ing piano. In many ways, this work continues in the param- of critics, other composers, or the cache of new trends. eters set forth by his 1987 sonata, while still demonstrating Some consider themselves (or have been christened) the piccolo’s ability to expressively sing throughout its range. neo-traditionalists; others are coined neo-romantics or new Although the Piccolo Sonata begins with a 12-tone row, the tonalists, and some admit simply to seeking balance and form. piece surprisingly transcends this organization. Most listeners Although these composers’ works feature compelling rhythms and even performers miss this serialism, just as many do when and harmonies, each present singing melodies, so valued by playing or hearing Martin’s Ballade: The content transcends flutists. While it is a formidable task to narrow a “short list” the compositional technique. of flute favorites, here’s a glance at some of our most prolific Amlin’s works are published by Presser, and although he has living composers (in alphabetical order) who so ably capture written mixed small ensembles, the following is a list of his the possibilities of our instrument. most prominent flute and piccolo compositions.

Martin Amlin • Concerto for Flute/Piccolo and Orchestra (2013) • Ephemeropterae (2008), solo piccolo Born in 1953, Martin Amlin hails from Dallas and began • Sonata No. 2 for Flute and Piano (2004) composition lessons at a very young age. He studied with Na- • Intrada for Two Flutes and Piano (2003) dia Boulanger at the Ecoles d’Art Américaines in Fontaine- • Sonatina Piccola (1999) bleau and L’Ecole Normale de Musique in Paris, earned his • Concerto for Piccolo and Orchestra (1999) undergraduate degree in piano and composition at Southern • Sonata for Piccolo and Piano (1997) Methodist University, and took his graduate composition and • Trio Sonatina for Flute, Clarinet, and Piano (1991) doctoral piano performance degrees at Eastman. Although • Morceau de Concours for Flute and Piano (1987) Boulanger was his primary influence, his other composition • Sonata for Flute and Piano (1987) teachers included Adler, Schwantner, Velluci, and Benson. Currently chair and professor of composition at Boston Uni- versity, he directs the Tanglewood Institute’s Young Artist Pro- Daniel Dorff gram. He continues to perform as a pianist, most notably with Born in 1956 in New Rochelle, New York, Daniel Dorff be- Leone Buyse and as a member of the Webster Trio with Buyse gan composing in the 11th grade. At the age of 18, he won the and clarinetist Michael Webster. Aspen Music Festival’s young composer award for his saxo- Noted for complexity of rhythm (often with a perpetual motion phone quartet. He studied composition with Siegmeister and and a “jazz” feel), a predilection for successive major and minor with Brant, Crumb, Husa, Rochberg, Shapey, and Wernick at seventh chords, and a commitment to traditional compositional Cornell and the University of Pennsylvania, and studied saxo- forms, Amlin’s music is quite challenging yet lyrical and harmon- phone with Rascher. Although his tastes are eclectic, his music ically rich. Featuring the full range of the instrument, his compo- has always been genuine and tonal. sitions often present symmetry of rhythm, line, pitch, and form. While a college student, much of his writing was dismissed Additionally, his compositional language has been described as for not reflecting serialism and the avant-garde. “Many of still retaining its French accent, creating colors and textures in- my composition teachers commented that I was surpris- voking movement and gesture that shape lines forward. ingly honest in my music,” he says. “I don’t understand

Martin Amlin. His Piccolo Sonata premiered in 1997 at the NFA convention. Daniel Dorff composes, publishes, and promotes new works.

SPRING 2016 THE FLUTIST QUARTERLY 31 NFAONLINE.ORG why they found this surprising or rare. I am expressing my- self, not expressing them. That’s why I do this as my life’s work—for my sake, not for other composers’ prejudices. I hope they’re writing honestly, not trying to impress the me- dia and their colleagues.”1 By 1985, he was a full-time editor and publisher at Theodore Presser Company and as such was “marking up” the works of some of his former teachers, interestingly reversing some of his student experiences with these Presser composers. Cur- rently vice president of Presser, Dorff shares his expertise in engraving and software notation through many lecture and advisement opportunities at universities, companies, and even Carnegie Hall. A past NFA board member, Dorff is particularly devoted to helping the organization’s community, which his composition- al output reflects. Despite his corporate career demands, he remains committed to composition: “I’ve always created what I’m attracted to as if I were inventing a new place to enjoy a Eric Ewazen composes for brass and other instruments along with the flute. vacation, a new beautiful place to spend time, a new piece to 2 enjoy playing or hearing.” tonal instrumental music. A long-established brass compos- With traditional structures and a firm sense of tonality, er—largely due to the support he garnered from the American Dorff’s music can harken back to the rich traditions of the Ro- Brass Quintet and its members—he now writes for nearly all mantic era—as demonstrated in the Sonatine de Giverny—or instruments and is much recorded. ignite an energetic but idiomatic showcase punctuated with Ewazen favors traditional forms, often writing first jazzy snaps, as delivered in FLASH! Critic Todd Gorman notes movements of multi-movement works in a type of sonata Dorff’s music as fresh and accessible, which could explain why form. Repeated arpeggios either cascade gently or swirl en- musicians enjoy performing his works. thusiastically in his compositions, while final movements Selected works by Dorff, published by Presser, are listed here. fluctuate driving, intense meters with modal melodic ma- terial. Chromaticism and descending harmonic thirds in- • Cape May Breezes (2015), crease the emotional, heightened expression. Belying the • Sonata (Three Lakes) (2014), flute and piano influence of his childhood’s family music-making, his mel- • Woodland Reverie (2011), solo flute odies can often be reminiscent of folk song, featuring a nar- • FLASH! (2008), piccolo and piano row range and invoking familiarity through repetition. The • Sonatine de Giverny (2000), piccolo and piano composer notes that his brass and wind writing is highly • The Year of the Rabbit (1999), three C flutes and alto flute influenced by his already existing vocal works. This is very • Through a Misty Arch (1986), flute ensemble evident in his song-like second movements of basic melod- • Three Romances for Flute and Clarinet (1997) ic range, without considering ornaments. • August Idyll (2006), solo flute Ewazen’s Flute Concerto was written for and premiered • Nocturne Caprice (2002), solo flute by Julius Baker in 1988 and features four movements in a • 9 Walks down 7th Avnue: Rondo Variations (2004), flute and piano colorful kaleidoscope of vignettes ranging in mood, pacing, • April Whirlwind (1997), flute and piano and gesture. One of the first significant trios for flute, horn, • Serenade To Eve, After Rodin (1999), flute and guitar and piano, the Ballade, Pastorale, and remains the mainstay in trio repertoire of this combination to which all Eric Ewazen others can be measured and features highly idiomatic writ- While Amlin remains drawn to tonality and color through ing for all instruments. Here the first movement of the trio complex organization, and Dorff is faithfully committed presents sweeping tuneful lines; the second is chorale-like, to creating inviting music landscapes, Eric Ewazen, born written over the Christmas holidays and appropriately con- in 1954, writes in an unabashedly, neo-romantic way to juring this atmosphere; and the third shifts compound tri- present tonal music in a personalized, lush language. His ple meters, supporting a jaunty, narrow modal melody, and Eastern-European heritage exposed him to diverse musical ends exuberantly. styles while young, and he studied piano with a Baldwin In a similar vein, the Sonata No. 1 for Flute, written for Wallace Conservatory teacher beginning at age 5. As a high Marya Martin in the tradition of the great Romantic sona- school junior, he began his first formal composition lessons tas, features a soaring flute melody in the first movement, and, like Amlin, attended Eastman to study with Schwant- a highly vocal second movement, and a technically exhil- ner, Benson, and Adler (but also Schuller). arating third movement. He writes that his Sonata No. 2 After graduating, Ewazen earned his MM and DMA with for Flute and Piano, composed for Sandra Lunte, also cele- Babbit at Juilliard, where he has been on the faculty since 1980. brates the 19th-century sonata structure and scheme. Upon completing his studies, his compositional style changed Ewazen’s flute works are published by Presser and Southern dramatically, abandoning atonality in favor of highly melodic, and also are self-published.

32 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG • Concerto for Flute (1988) • Ballade, Pastorale, and Dance (1992–1993), flute, horn, and piano • Ali’i Suite (1994), flute and piano • Roaring Fork Quintet for Wind Instruments (1994), woodwind quintet • Cascadian Concerto for Woodwind Quintet and Piano (2003) • Sonata No. 1 for Flute and Piano (2011) • A Night in New Orleans for Solo Flute (2015) • Harmony in Blue and Gold for Three Flutes and Alto Flute (2008) • Sonata No. 2 (2013), flute and piano • Wildflowers: A Trio for Piccolo (or Flute), Clarinet, and Piano (2011, 2013)

Katherine Hoover Flutist, composer, theorist, and poet Katherine Hoover was born in 1937 in West Virginia but primarily grew up in the suburbs of Philadelphia, beginning to play first the flute at age 10 and then Katherine Hoover plays flute in addition to composing for it. later the piano. Although not encouraged by her family to be a musician, she trained at Eastman and School of Mu- in number and quality, are highly innovative, and expertly en- sic, where she earned her undergraduate and graduate degrees in courage performers to broaden their scope of expression possi- theory. At Eastman, she also received her performance certificate ble to the instrument. She is a former NFA board member and a as a student of Mariano and during her Manhattan days traveled 2016 NFA Lifetime Achievement Award recipient. to Philadelphia to continue her flute studies with Kincaid. Throughout her career, she has been adept at rising to and Although Hoover began composing as an undergraduate, creating opportunities: She taught flute and theory at Man- she did not make this interest public. Her composition classes hattan School of Music and Columbia; founded her own at Eastman were discouraging, as she was the only woman in company, Papagena Press, to publish her music; established them, and although she later began a graduate degree in com- a festival dedicated to programming music by women com- position at Bryn Mawr, she was unable to pursue lessons with posers; and began conducting and recording her own works. the young visiting composition professor. She has remained dedicated to her personal vision and quest In 1977, a successful concert of her compositions at New to create and realize music, and she models the perennial York City’s Women’s Inter-Art Center encouraged her to ac- entrepreneurial spirit. tively dedicate herself to composition. The following year, and Selected works by Hoover, published by Papagena Press and with the support of the center, she established and directed the distributed by Presser, are listed; they are for solo flute unless first of several festivals (Festival of Women’s Music) to address noted otherwise. the clear need to showcase women composers. Her personal struggles served as the impetus to help others, bringing atten- • “Kokopeli,” op. 43 (1990) tion to 55 contemporary and historical women composers. • “Winter Spirits,” op. 51 (1997) While many of Hoover’s compositions are instrumental, • Reflections, Op. 25: Variations on a Norwegian Chant (1982) they frequently rely on extra-musical inspirations that create a • “To Greet the Sun” (2004) story line or mood instilling an amalgam of cultures and eras. • Etudes for Flute (2011) One of the first examples is her Medieval Suite for Flute and • Mountain and Mesa, (2008), flute and piano Orchestra, which references characters from Tuchmans’ book, • Masks, op. 56 (1998, commissioned by the NFA), flute A Distant Mirror. “Kokopeli,” “Winter Spirits,” and “To Greet and piano the Sun” are just three of her many flute works reflecting her • Medieval Suite op. 18 (1981), flute and piano research and interest in Native American cultures. • Mariposas (2001), four solo parts, six ensemble parts Unlike the other flute-focused composers described in this • Celebration (2001), flute ensemble article, Hoover relies on simply writing what she hears rather • Kyrie, Op. 55 (1998), flute ensemble than focusing on developing or following a particular struc- • Three for Eight, op. 50 (1996), flute ensemble ture or preconceived form when composing. At times her mu- • Concertante Dragon Court (flute ensemble) (2005) sic has no key or meter signature, yet rhythm, harmony, and • Peace Is the Way (flute ensemble) (2004) melody remain vital components in her works. She also uses • Three Sketches (2003, commissioned by the NFA), piccolo modes, clusters, jazz-influenced harmonies, and recurring or and piano developing motives to create her highly expressive personal • Summer Night, op. 34 (1985), flute, horn, and piano style. Although largely self-taught, she often found inspira- • Dances and Variations (1996), flute and harp tion through studying significant works of other 20th-century • Canyon Echoes, op. 45 (1991), flute and guitar composers such as Hindemith and Bartok. • Two Preludes: I. Uptown & II. Out of Town (2012), flute and An outstanding flutist, Hoover has performed and recorded a marimba number of her own compositions. Her flute works are significant • Homage to Bartok, op. 7 (1975), wind quintet

SPRING 2016 THE FLUTIST QUARTERLY 33 NFAONLINE.ORG The piece that started it all is Lowell Liebermann’s Sonata for Flute and Piano, Op. 23, commissioned by the Spoleto Festival Chamber Music Series for in 1987, which captured the attention of flutists around the world.

notes that his composing process is very organic, permitting an overarching form to unfold out of the smallest kernel of an Lowell Liebermann celebrates flutists' collective zeal for new works. idea. When writing the , for example, he says the first movement unfurled to reveal a long, extended dramatic Lowell Liebermann movement, which then required just one contrasting move- Born in 1961 in New York City, Lowell Liebermann began ment to balance it. piano lessons at age 10, followed by composition lessons Since completing his studies at Juilliard, Liebermann com- at age 14. He earned his undergraduate through doctoral poses (primarily on commission), performs, and conducts, degrees from Juilliard, whose composition faculty boasted but does not teach. He notes that he frequently reviews the Carter, Babbit, Diamond, Sessions, and Persichetti. While repertoire of a given instrument when preparing to write for it, at Juilliard, in contrast to Ewazen, Liebermann resisted rather than working with the artist who has initiated the com- composing in the style of his teachers. Struggling to re- mission: “In my mind, I’m still writing for the ideal performer main true to his personal vision, he experienced pressure who can do everything and anything.”3 by his teachers and even student colleagues performing his Likewise, he writes for the ideal audience and writes what works in composition forums to write works that sounded he would like to hear rather than attempting to write what more contemporary. may please us. He celebrates how flutists not only embrace Since then, the press has heralded him as the leader of but also eagerly seek new repertoire and is puzzled why the “new tonalists,” championing a forthright observance other instrument communities do not seem to pursue this of the overtone series as being inescapable, and audiences with similar zeal. and performers alike are drawn to his accessible writing. Selected works for flute and piccolo by Liebermann, pub- While some critics find little favor with his compositional lished by Presser, are listed. style and use of traditional forms, he has earned significant commissions, residencies, and programming by some of • Air for Flute and Orchestra, op.118 (2012) the world’s greatest orchestras. • Night Music, Op. 109 (2009), flute, clarinet, and piano The piece that started it all is his Sonata for Flute and Piano, • Air for Flute and Organ, op.106 (2008) op. 23, commissioned by the Spoleto Festival Chamber Music • Five Pieces from Album for the Young, op. 79 (2002), flute Series for Paula Robison in 1987, which captured the attention and piano of flutists around the world. The success of this sonata inspired • Eight Pieces, op. 59 (1997), solo , alto flute, C flute a succession of other commissions, including or piccolo or in alternation at performer’s discretion) those by (Concerto for Flute and Orchestra, Op. • Concerto for Piccolo and Orchestra, op.50 (1996) 39), a consortium of U.S. orchestras (Concerto for Flute, Harp, • Concerto for Flute, Harp, and Orchestra, op. 48 (1995) and Orchestra, op. 48), and Jan Gippo (Concerto for Piccolo • Concerto for Flute and Orchestra, op. 39 (1992) and Orchestra, op. 50). While he observes that the flute con- • Soliloquy, op. 44 (1993), solo flute certo is perhaps one of his most tonal compositions (with the • Sonata, op. 56 (1996), flute and harp exception of the final movement), the tonality of the flute so- • Sonata, op. 23 (1987), flute and piano nata is generally more blurred at times. • Sonata, op. 25 (1988), flute and guitar While showcasing lyrical lines, Liebermann enhances his music’s appeal by using traditional voice-leading, recognized Additional Flute-centered Composers forms, and unifying motivic coherence—yet while not neces- Robert Beaser John Rutter sarily progressing to expected harmonies. He dislikes being Aaron Jay Kernis George Tsontakis labeled a neo-romantic composer but rather considers his music to be more of the classical era than any other due to Libby Larsen Yuki Uebayashi his demand for clarity and balance in his pieces. Liebermann Paul Moravec Dan Welcher

34 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Gary Schocker Born in 1959, Gary Schocker is an extremely accomplished and versatile musician who has developed his compositional craft to showcase works that are highly melodic and theatrically ap- pealing. His strong ear was evident at a very young age, and he began piano lessons at age 3 with his father, who was not only a pianist and former piccoloist and harpist in the U.S. at West Point but also the most influential music figure in their hometown of Easton, Pennsylvania. Although they per- formed together throughout the community, Schocker was not taught how to read printed music until age 11, which reinforced his already formidably strong ear. His father also gave him flute lessons until he was able to work privately with Baker; Schocker later studied with him and Baron at the Juilliard School. After experiencing great success as a soloist and in com- petitions, such as Young Concert Artists, and inspired by the success and positive response garnered by his first com- missioned and published piece, Regrets and Resolutions, Gary Schocker turned to composition after early success as a performer. Schocker decided to pursue a career in composing. The craft allowed him to express his feelings in a highly person- Following are only a few of this highly prolific composer’s al way that he felt was unmatched when performing works flute compositions, published by Presser and Falls House Press. by other composers. Although Schocker is self-taught, his sharp ear and sense Flute Solo of personal awareness have led him to compose what he • Blip, Blip, Blip (2002) loves throughout his career. His music is peppered with hu- • Eight Etudes for Solo Flute (2007) mor, mercurial mood changes, and lyricism. While the flute • Flute Forest (2002) and have influenced his composing, his tre- • Flutter and Flit (2010) mendous versatility allows him to write in a wide variety of • Mozart Flute Concerti Cadenzas (1995) styles, harkening to different eras, cultures, and countries. • Short Stories (1999; commissioned by the NFA) Many people find traces of Poulenc in his writing, which • Solosuite (1996) he considers accurate. Although he notes his overarching • Telemann Fantasies and Phantoms (2010), fantasies style as being “eclectic, romantic, melodic and sometimes with second flute part virtuosic—but never for the sake of showing off,” there is a • Ten Etudes for Solo Flute (2000) 4 persistent lyricism. Schocker finds his large-scale sonatas Flute and Piano to be introverted, complicated, and interesting with highly • Airborne (1991), also for flute and string orchestra conversational writing between flute and piano. • Ambidextranata (2005), one player “I require rubato, and heartily dislike metronomic playing,” • Arioso (2005) Schocker says of his music in general. “The rhythmic impulse • Concertino Italiano (2015) 5 should never be pushed through the body by force.” • Conversations (1993, 2006) While he writes what he feels is personally meaningful, • Dark Star (2008) Schocker has amassed an impressive and varied output for • Erev Shalom (2000), also for flute and string orchestra all orchestral instruments. Considering his long-standing re- • Figments (2006) lationship with the flute, it makes sense that music for this • Flame (2011) instrument reflects his most intimate expression: Today he • Green Places (1992), also for flute and chamber orchestra is the most prolific living composer of flute music, ranging and flute and wind ensemble from solo to chamber music. Of his pedagogical pieces, he • Jazzbird! (2004) “has been instrumental in expanding and refining the liter- • Oomp! A Demented -Fantasy (2010), flute and piano ature of contemporary flute music for players of various lev- • Prelude, Theme and Free Associations (2003) 6 e l s .” Recently he has experienced new vigor in playing and • Quirks (2015) writing for the harp, which his father also played but Schock- • Regrets and Resolutions (1986), also for flute and chamber er never learned while young. orchestra and flute and wind ensemble • Sonata for a Lost Planet (2010), alto flute Today, Gary Schocker is the • Sonata No. 1 (1991) through Sonata No. 8 (2013) most prolific living composer • Sonatine (2000) of flute music, ranging from Compelling Composers While the term “neo-traditionalist” may seem the most appropri- solo to chamber music. ate category for these composers and their shared compositional

SPRING 2016 THE FLUTIST QUARTERLY 35 NFAONLINE.ORG traits, this term tends to be most closely associated with the Loewy, Andrea. “ Flute Pieces with Piano,” by Gary Schocker.” Flutist Quarter- reinventing of a country’s traditional music, art, or customs in ly 36, no. 4 (Summer 2011): 87. order to serve a contemporary social function. Mitchell, Emily. “Somewhat Introspective: An Interview with Gary Schock- While that is appropriate when considering the music of er, Flutist, Composer/Pianist, Harpist.” The American Harp Journal 24, no. 1 these six writers, perhaps the most significant common bond (Summer 2013): 50–54. is that they each strive to serve their musical visions, creating Sealy-Miller, Kristi. “An Annotated Guide to Gary Schocker’s Music for what they simply must create. Challenging the need to orga- Flute and Piccolo,” DM diss, The Florida State University, 2013, ProQuest nize or label any individual, flutists and piccoloists can con- (3564932). tinue to embrace these composers and their contributions to Yarrison, Eileen Anne. “The ‘Medieval Suite’ for Flute and Piano by Katherine our community. Hoover: An Examination, Analysis and Performance Guide” DMA diss, the University of Nebraska-Lincoln, 1996, ProQuest (9712535).

ENDNOTES 1. Burwasser, 142. 2. Burwasser, 141. 3. Garner, 16. 4. Sealy-Miller, 13. 5. Mitchell, 50-54. 6. Lowey, 87.

Floot3-5 day flute workshopsFire Francesca Arnone has been an NFA member since her undergrad- uate days at Oberlin. She is on the editorial advisory board of The Flutist Quarterly and currently chairs the organization’s Archives Austin, TX July 11-15 and Oral History Committee. See francescaarnone.com. Boston, MA July 18-22 Brownsville, TX June 20-22 BIBLIOGRAPHY CJFS Competition June 11 Burwasser, Peter. “An Interview with Daniel Dorff.”Fanfare - the Magazine for Serious Record Collectors 36, no. 6 (July 2013). Dallas, TX June 13-18 Evansville, IN June 6-10 Chang, Haw. “The Semi-Final Requirements of the National Flute Association Houston, TX June 20-24 Piccolo Artist Competitions in 1993, 1995, 1996, 1998, and 2000” DMA diss, University of Maryland, College Park, 2001, ProQuest (3037357). New York City, NY July 8-10 Oklahoma City, OK July 5-7 Duffie, Bruce. “Composer Lowell Liebermann: A Conversation with Bruce -Duff ie,” 1998. http://www.bruceduffie.com/liebermann2.html www.flootfire.com Garner, Lisa Michelle. “Lowell Liebermann: A Stylistic Analysis and Discussion of the Sonata for Flute and Piano, Op. 23, Sonata for Flute and Guitar, Op. 25, and “Soliloquy” for Flute Solo, Op. 44” DMA diss, Rice University, 1997, ProQuest (9727555).

Gorman, Todd. “DORFF: Flute, Clarinet, & Piano.” American Record Guide 76, No. 4 (July, 2013). FLUTE SOLOS with Hicks, Kathy Hancock. “Soloistic Flute Music of Katherine Hoover” DMA diss, University of Georgia, 2004. ORCHESTRAL ACCOMPANIMENT

Jelle, Lisa A. “The Flute and Piccolo Music of Martivn Amlin: An Introduction, change the tempo, record yourself Discussion, and Analyses of the Sonata for Flute and Piano; “Trio Sonatina” with the accompaniment, and more for Flute, Clarinet, and Piano; and Sonata for Piccolo and Piano” DMA diss, Rice University, 2000, ProQuest (9969274). Bach, Danzi, Devienne, Kevles, Barbara. “Lowell Liebermann: A New ‘Tonalist’ Thrives on Old Harmo- Donizetti, Fauré, Gluck, Massenet, nies.” American Record Guide 66, no. 2 ( March 2003): 26–27, 33. Mozart, Telemann, Vivaldi Kosack, Alicia Joyelle. “American Women Composers: Selected Published Works for Flute and Piano and for Unaccompanied Flute Composed between for more information, 1930 and 2008” DMA diss, University of Maryland, College Park, 2010, Pro- please visit our web site Quest (3534282).

Lam, Kai Yin Crystal. “Eric Ewazen’s Trio for Clarinet, Viola, and Piano: A Perform- ClassicalCollectionInc.Com er’s Perspective” DMA diss, University of Kansas, 2014, ProQuest (3630617).

36 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG

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Flutes • Piccolos • Headjoints Sheet Music • Accessories Authorized Repair Center Straubinger Certified www.flute4u.com 972-985-2662 Étude Effusions An unapologetic lover of études explores their place in today’s practice, what leading pedagogues think of them, and how they shape the performances of those who use them a lot, a little—or not at all.

by Molly Barth

ach summer, free from the restraints placed on me by the rigors Overwhelmingly, the teachers surveyed find études to be an of academia, I blissfully pore over a set of étude books of my integral component of their teaching regimen. Paula Robison choice, often inflicting those very books on my students the fol- aptly articulates the general consensus: “Just think of the word Elowing autumn. Even during my many years as a student, I voluntarily ‘essential’ and you have the reason: they distill larger ideas and practiced my études throughout the summer, assigning myself one or challenges into smaller ‘modules’ of work so that the player can two per week and recording a final étude “performance” on a given find specific ways to improve and learn.” day of the week. It therefore seemed fitting that during my sabbatical Heidi Pintner-Alvarez, with whom I attended the Oberlin in Europe, I would focus my energy on this topic. College-Conservatory of Music under the tutelage of Michel De- My infatuation with études led me to inquire: Do other people bost and Kathy Chastain, states, “Scales and etudes are the core enjoy subjecting themselves to the same rigorous diet of études? in one’s development. In fact, they are still the main focus in my I surveyed dozens of prominent flute teachers living in the Unit- own practicing after 33 years of playing flute.” ed States and Europe with several questions (see sidebar) and About two dozen étude composers are most often cited by the received a wide range of responses. What they said about these teachers surveyed. (See box.) Robert Cavally’s three Melodious humble servants of performance development revealed insights and Progressive Studies books influence many teachers as well, as into how we use, think of, and even define études. do various compilations of J.S. Bach’s melodies.

Survey Questions Popular Étude Composers

During your formative years as a flute student, were you • Joseph-Henry Altes • Gergely Ittzes required by your teachers to study études? If so, can you • Joachim Andersen • Paul Jeanjean name étude books of note that you studied, as well as the teacher(s) who assigned them to you? • Antoine Benoit Tranquille • Sigfrid Karg-Elert Berbiguier Do you require your current students to pursue the study of • Ernesto Köhler flute études? If so, how rigorous is your requirement (number • Theobald Böhm • Vincenzo de Michelis • Eugène Bozza of études assigned per week, for example), and what étude • books do you find most helpful and inspiring? • Jacques Casterede • Wil Offermans Do you find the study of études to be essential in the devel- • • Niccolo Paganini opment of a student? If you find études to be essential, can • Johannès Donjon you articulate the specific area of growth for the student as • Louis Drouet • Astor Piazzolla it relates to his or her commitment to études? • Anton Bernhard Fürstenau • From your observation, are études assigned with as much • Giuseppe Gariboldi • Heiner Reitz rigor now as they were a generation or two ago? Are the • William Schade teachers who you have observed trending away from • Harald Genzmer assigning études to their students, or is the tradition enduring? • Luigi Hugues • Henryk Wieniawsky

40 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Walfrid Kujala remembers: “As a high schooler, I was assigned the Berbiguer études, which I disliked because I thought they were too much like ‘exercises’ rather than musically interesting ‘études.’ Then I was told to get the24 Bach Studies. Wow, what a revela- tion—Bach sure knew how to write great ‘etudes’! Before long, though, after having by chance heard the Bach-Gounod ‘Ave Ma- ria’ on a radio concert, I realized how naïve I had been about Bach’s ‘études.’ Gounod had transformed the Bach C Major Prelude into an accompaniment for his own beautiful song! It was then that I realized that the 24 Bach Studies were actually famous pieces!” Dearly Departed Eugène Bozza Jules Demersseman In France alone, where I wrote this article, three of my favorite composers of contemporary étude books have died within the past five years. Jacques Casterede, who was born in 1926 and died in Dijon in 2014, wrote a set of 12 rhythmically enticing etudes, ti- tled Douze Études, which contain material deserving of the concert stage. Another favorite étude book is that of of Marcel Bitsch, who was born in 1921 and died in 2011 in Toulouse. Each of the études in his book, Douze Études pour Flûte, contains a targeted goal relat- ing to the development of one’s musicianship, such as connection of disparate registers or fluency of embellishments.

The most prolific composer, and my personal favorite, is Sigfrid Karg-Elert Louis Drouet Jean-Michel Damase, who died in 2013 in Bordeaux. Curiously, no respondents of my questionnaire cite Damase as an influence in their teaching or training. Damase wrote seven books of flute études, each containing 20 to 25 gems of finger-twisting goodness. Six of the seven books belong to a graded series designed as a me- thodical progression. The stand-alone publication, simply titled24 Études, is the one book that I faithfully assign to my graduate stu- dents at the University of Oregon. They are all subjected to this set of quirky and oddly-satisfying études, which invariably begin and end in a solid tonal center but convolutedly weave through some of the most creative and obscure cadences that I have played. Among other inspirational 20th-century French composers is Marcel Moyse Eugène Bozza. His 14 Études Arabesques is my go-to undergradu- ate book, as the piece contained within articulate issues inherent in many of the staples of our late Romantic and early 20th-centu- ry . No mention of 20th-century French étude books would be complete without a huge nod to Marcel Moyse and his son Lou- is Moyse, who have forever affected the flute-playing world like no other composers in recent history. For example, I constantly return to Marcel’s book, 24 Petites Études Melodiques avec Varia- tions (facile) pour Flûte. You say these are facile, Marcel? Not for me! I learn each time I play through these “easy” pieces that I always have room for growth. Niccolo Paganini Philippe Gaubert These six composers—Casterede, Bitsch, Damase, Bozza, and Marcel and Louis Moyse—follow a notable tradition of étude composition in France. Older French composers of the 19th and early 20th centuries who are a constant presence in my life are Paul Jeanjean, Jules Demersseman, Johannes Donjon, and, of course, and Philippe Gaubert. An Étude by Any Other Name Noted in the survey, a “grey area” exists: What exactly constitutes an étude? For instance, Matheus André Reichert, Marcel Moyse, Kujala, Taffanel, and Gaubert certainly wrote seminal books, whether or not respondents considered them to be “études.” Either Robert Dick Gergely Ittzés way, they deserve a mention in this context.

SPRING 2016 THE FLUTIST QUARTERLY 41 NFAONLINE.ORG Leonard Garrison Paula Robison Jim Walker Bonita Boyd

A limitation of many of our étude books also exists, as Kuja- he or she can immediately recognize how an étude being studied la notes: “One drawback in the traditional etudes of Andersen, applies to an orchestral work or solo piece also under preparation. et al, and many of the exercises of Moyse, et al, is their limited Jean-Jean’s Études Modernes were written to help with the ‘new’ range, rarely going above a high B flat or lower than a low D. music of Debussy and Ravel, for instance. Anderson helps us to play Transposing some of them a minor third higher or a major sec- fluidly and to recognize a hidden melody. Bozza helps us to be able ond lower would be a good project for filling those gaps. Even to navigate twists and turns with a wink of the eye. Moyse helps with the Karg-Elert Caprices, purportedly written to exploit the ‘new’ everything! Furstenau gets us into the world of the French Salon. musical style of R. Strauss, etc., avoid the high C sharp and D. A bit of gratitude is needed, here, for all the many hours these fine So one of my goals in writing my Vade Mecum of Scales and Ar- composers took to help us be better players and musicians!” peggios (especially in the second edition) was to include a healthy diet of high C sharps and Ds as well as lots of low Bs.” When and Whether In my teachings at the University of Oregon, I often assign my Beginning the study of études in formative years—during mid- set of variations on Anderson’s Op. 30 and Op. 33. These varia- dle or high school—is crucial, according to many. “I question tions include transposing to various keys and up an octave, as prospective students carefully about what they have studied with well as altering articulations and rhythms. A list of these varia- their former teachers, specifically what exercises and études they tions can be found at the end of my flute handbook, accessible at have been assigned, and am almost always surprised at the gaps, mollybarth.com/flute-studio-resources/. as I see it, in their education,” says Damian Bursill-Hall. Teachers surveyed offer a comprehensive listing of the skills Bonita Boyd notes, “I have found that students who skipped mastered in part from étude study. (See box.) études before college years are usually much poorer sight-read- ers and have many holes in their technique and problems with Skills Gained from Etude Study endurance, physical and mental.” Critical listening, concentration, speed, endurance, technical Jim Walker, who assigns “one étude played as close to perfec- facility (finger dexterity), confidence, quality of sound, tion as possible (metronome required—makes them less musi- sensitive structural phrasing, balancing the flute, preparing cal, but promotes serious technical growth),” says he “unfortu- music in a short period of time, will power, tempo memory, nately inherits a lot of students who haven’t had much education tempo consistency, identifying musical form and tonalities, in that area.” ability to read ahead, division of melodic line into two voices Are études “fun”? Bursill-Hall thinks so: “I think an étude (noting which carries the melody), utilizing alternate fingerings, provides a player with musical and or technical challenges in a simplifying fingerings, spotting transitions and learning how well thought-out, compact form. And they can be enormous fun, to handle them, breathing efficiently, enhancing character/ which can inspire and incite a student to practice.” mood/feeling, rhythmic vitality, tone colors, articulation, Robert Dick expresses a strong opinion regarding the study extended techniques, dynamic variation and accuracy, fluency, of études: “Do we each really need to learn over 100 Anderson the art of approximation, long-range “marathonesque” études, as I did? I think and hope not! When chosen selective- focus, and vocabulary in various languages. ly with an eye to musical quality (playing bad music numbs us) and chosen thoughtfully to address specific problems students Leonard Garrison says that “some students are frustrated that have, then études can be quite useful. My teachers used études they don’t have time to ‘perfect’ each étude, but I insist on mov- as slightly more developed daily studies—and I’m of the opinion ing on because the point is learning how to learn quickly.” Jed that when practicing flute technique, we ought to practice flute Wentz notes, “For traverso players, air speed, use of the tongue, technique and not pretend it’s music. Cranking through book and the proper movement of the lips require careful training. after book of études is one of the main reasons that instrumen- Once these have been mastered, the student can study the études talists often have atrophied musical taste.” at greater speed in order to train the fingers.” Despite this view, Dick uses études to a degree in his teaching: Paula Robison aptly qualifies the skills mastered through certain “I use the Karg-Elert Caprices because they are good music and staples in the étude repertoire: “If a student is a good musician, bring to the fore issues that most grad students really need to

42 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Walfrid Kujala Mary Stolper Paul Taub Aldo Baerton work on, particularly learning to perceive and play the details in texts for the arias. Harley says, “They are required to memorize the notation. I use my études because (if I may say so) they also the melodies, and I play the piano with them in lessons to prac- are good music (they are meant to be performed in concert) and tice intonation. Occasionally, I ask them to do the transposed they address issues that also are very needed.” versions of the arias.” Even with a high degree of consensus regarding the effective- In my flute studio, I work to vary the style and technical demands ness of étude work, an often-repeated sentiment is that though of étude books covered during the students’ period of study. Con- teachers require weekly études in lessons, they get caught up in temporary étude books—for example those of Dick, Wil Offermans, students’ individual deadlines—concerts, competitions, audi- and Gergely Ittzes—are useful aids to ensure the comprehensive de- tions—so it is difficult to maintain the discipline of continued velopment of a student. Without previous or concurrent study of preparation in this realm. the more mainstream études, however, the study of extended tech- Robison states: “I need to be realistic about what they will be niques potentially can be confusing to a student. able to do with their overloaded schedules.” According to Paul Taub, “the huge proliferation of new and varied repertoire in the Looking Ahead past 30 to 40 years—plus the development of so many ‘side’ in- Is the tradition enduring? Are composers writing as many flute terests ranging from jazz to traverso, composition to live elec- études now as they did one or two hundred years ago? Opinions tronics, and the fact that most of my college students are very of those surveyed vary. engaged in chamber music—often de-prioritizes assignment and “I am a little shocked by some colleagues who do not teach follow-through with études.” études at all, but on the other hand, I question others who Dick goes one step further: “I’ve often wished 95 percent of spend an inordinate amount of time on études to the detri- the time I spent practicing études had been spent learning about ment of learning from our vast and beautiful solo repertoire,” music. Flute technique can be more effectively and efficiently- de says Garrison. veloped through pure technical practice.” Taub sums up one viewpoint: “I believe that the the tradition is ‘dissipating’…. Today’s flute students—at least many I’ve taught Teaching Creatively and observed—have a much wider palette of interests than flut- Several teachers, myself included, believe that some students are ists in the past. ‘Classical’ études are seen as addressing only more suited to the study of études than others. One teacher con- some of those areas, so students—and their teachers—look be- fesses to being a student lacking confidence (“I always felt that yond études that they see as pedagogical tools in a limited num- études were ahead of me, and that I was struggling to keep up, ber of musical styles.” left panting in the dust”) and finds that études actually hindered Mary Stolper says, “I do not find that they are used as much. progress in terms of technical development. The tradition endures from some teachers. But in the society (in A compelling teaching strategy, suggested by Tim Munro, is which) we live today—‘let us be great by next week’—études are to “match the program to the student, and certainly not simply part of mental focus that is not strong.” default to using études with all students. One frustration I have Parker-Harley has an opposing view: “I assign études in much with études is that they are purely solo works, and so are more the same way and with a similar frequency as my own teachers likely to allow for poor intonation/rhythm—I could imagine us- did. I’m not really sure what other teachers do now. My guess, ing them against a drone, or a simple piano accompaniment, or based on the very high level of technical playing that exists now, relating them to a rhythmic exercise.” Munro aids the develop- is that études are a regular part of most flutists’ training.” Aldo ment of a student in an expanded manner, utilizing clapping and Baerton goes one step farther: “There is a tendency to slide away singing exercises, extended technique tone development, poly- from it, but some of us maintain the tradition...those are often rhythmic etudes, and storytelling and drama-enhancing etudes. the ones with the best students!” Jennifer Parker Harley, who assigns her students three études Robison says, “I think the trend is towards using études more per week, offers them a creative project. She assigns the Sonia these days. I don’t sense the rigor of earlier days…but I am so Giles edition of Marcel Moyse’s book Tone Development Through happy to see my colleagues putting together étude collections Interpretation, which includes a piano part, opera synopses, and and publishing them, adding parts for the teacher to play along;

SPRING 2016 THE FLUTIST QUARTERLY 43 NFAONLINE.ORG I am full of admiration for their work! Damiana and the Beta Collide New Music Our challenge is that we do not live in Project. Barth studied at the Oberlin Col- the world of the Paris Conservatoire any lege-Conservatory, Cincinnati Conserva- All Things more. We have to create our own personal tory of Music, and Northwestern Universi- versions of it as we prepare our students ty School of Music. Visit mollybarth.com. to enter a musical world where they must Flute be prepared to play almost anything!” The author gives a heartfelt thank you to the following flutists, all of whom at the The Final Say presented insightful and inspirational Is there a conclusion to be made after commentary: Robert Dick, Stephanie National Flute compiling the responses to my survey? Jutt, Tim Munro, Bonita Boyd, Damian Even though a rather broad range of re- Bursill-Hall, Heidi Alvarez, Jim Walker, Association sponses are expressed, a general tenden- Aldo Baerton, Jed Wentz, Paula Robi- cy to assign études exists. Development son, Jennifer Parker-Harley, Mary Stolp- of a well-versed flutist requires a healthy er, Paul Taub, Marianne Gedigian, Wal- Find useable items mixture of musical goals, and teachers frid Kujala, and Leonard Garrison. at the NFA Store. surveyed largely agree that études satis- fy a concise, targeted weekly goal. Personally, I ended my research look- ing forward to getting back to my practice room and studying the étude books cited by my colleagues that I have not yet pe- LITTLE rused, like a kid in a candy shop. Happy practicing to all! PIPER Gramy-Award winning flutist Molly Alicia FL UTE MUSIC Barth is the associate professor of flute at the University of Oregon. A contemporary great music • great prices music specialist, Barth was a founding member of the new music sextet eighth www.little-piper.com blackbird and is a co-founder of the Duo

NFA tote bag, water bottle, pens and pencils Visit nfaonline.org or call 312-332-6682

44 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG by Kathy Farmer Across the Miles News about flute club and flute choir activities throughout the United States

Paula Robison Ali Ryerson The Florida Flute Association celebrated its 40th annual con- vention at Orlando’s Airport Marriott Hotel January 29–31. Classical and jazz flutists and exhibitors from Florida and throughout the U.S. came to the convention. The convention, one of the largest regional flute gatherings in the U.S., featured headliner Paula Robison. Friday evening soloists were Kim Fairbanks Flutists McCormick (University of South Florida) and Kristen Stoner Fairbanks Flutists celebrated its 35th anniversary in May 2015 (University of Florida). Professional and student musicians with a concert entitled “Made in America” featuring works by were in concerts, competitions, workshops, and masterclass- American composers and arrangers. In addition to pieces by es, performing classical, jazz, and world flute music. There well-known flutist/composers Phyllis Avidan Louke and Judy were numerous opportunities to play in open flute choir read- Nishimura, the ensemble reprised a piece written for them by ings, open masterclasses, small ensemble readings, warm-up former Fairbanksan John Luther Adams, who won the Pulitzer sessions, and workshops. Jazz flutists present included Ali Ry- Prize for Music in 2014. erson in the Jazz Flute Big Band Open Reading Session, Jim Walker and Jose Valentino-Ruiz in a jazz workshop and cab- Chamber Ensemble presented its spring concert on aret, Chris Kuhns in Intro to Beatboxing, and Cuban flutist March 19 in Lexington, Kentucky, featuring a program of Irish Ernesto Fernandez in a workshop on Cuban Improvisation. and Celtic pieces. The group consisted of more than 40 flutists Visit floridaflute.org/FFA/. performing on instruments ranging from piccolos to subcontra- bass—and 10 sizes in between. Also performed were three solo The Flute Society of Washington pre- Celtic pieces with flute choir accompaniment, featuring the win- sented its 30th annual two-day flute ners of the 6th annual Fred Moore Solo Competition in the cat- event, now called the Mid-Atlantic egories of middle school and high school flute and piccolo. Visit Flute Convention (formerly Mid-At- firebirdsongs.com or the ensemble’s Facebook page to learn more. lantic Flute Fair), in Reston, Virginia on February 20–21. The change in Flutissimo! Flute Choir finished its 2015 Christmas season with name comes about as FSW celebrates a performance during a service at a local church featuring hand- 50 years of existence, and this year’s bells from the church joining the flute choir on “Ding Dong Mer- Peter Sheridan event was the biggest yet. The guest rily on High” and “Carol of the Bell,” both by Catherine Pearce. artist was low flutes expert Peter Sheridan, who presented Preparations for the spring series are in progress with “Food for a recital featuring works written for the low flute, taught a Thought,” featuring music all about food! The group also hopes masterclass, and was the featured speaker at the Guest Art- to win Outstanding Amateur Ensemble for the 10th year in a row ist Breakfast. Composer Daniel Dorff was commissioned to at the Texas Flute Festival in May. write his first work for flute choir, “Fireworks,” in celebration of the society’s 50th anniversary. The work was premiered on On May 28, the Atlanta Flute Club will February 20 by the Festival Flute Choir, conducted by George host University of Georgia Professor Pope. New this year was the Jazz Cabaret and Buffet Dinner, of Flute Angela Jones-Reus in a day of showcasing jazz flutist Ali Ryerson backed by a jazz trio. Oth- listening and learning in the Fine Arts er events included competitions (Young Artist, Collegiate Auditorium of Greater Atlanta Chris- Soloist, Student Honors, Adult Amateur, High School Flute tian School. Jones-Reus will present a Choir, and Masterclass), lectures, workshops, a flute choir recital, a masterclass and a Q&A session. showcase, and performances. The exhibit hall showcased Visit Atlantafluteclub.org. more than 30 vendors. Angela Jones-Reus

SPRING 2016 THE FLUTIST QUARTERLY 45 NFAONLINE.ORG SPOTLIGHT New York Flute Club The Houston Flute Club’s 34th annu- al Flute Fest will be held at Tallowood The New York Flute Club, founded in Baptist Church in Houston, Texas, on 1920 by Georges Barrère, is the world’s April 23 and will feature international oldest continuously operating musical flutist Jean Ferrandis, professor of flute instrument organization. Its season at Ecole Normale Supérieure in Paris opened in October with a program and at California State University–Ful- honoring the centennial of the birth of lerton. The festival will include master- Julius Baker (1915–2003), performed Jean Ferrandis classes; performances by the guest art- by two of his former students at Cur- ist, the Houston Flute Club Flute Choir, and other area flutists; tis: , artistic director of the Denise Jennings Solo and Ensemble Competition; and the Pat Zuber, current president the Dolce Suono Ensemble of Philadel- final rounds for our Byron Hester Artist and Young Artist Stu- phia, and Bart Feller, principal flutist of the New Jersey Symphony. dent competitions. On February 28, the club hosted a teacher The concert celebrated Baker’s legacy through the works of J.S. Bach, workshop presented by Francesca Arnone, professor of flute at whose pieces were central to Julius Baker’s playing and teaching, and Baylor University. In September 2015, Marianne Gedigian, pro- premiere performances of eight short new “Inventions” reflecting on fessor of flute from the University of Texas at Austin, taught the Bach and Baker. Stillman solicited the works from composers Andrea annual Fall Masterclass, hosted by the Houston Flute Club and Clearfield, James Primosch, Robert Maggio, Jan Krzywicki, Richard Rice University’s Shepherd School of Music. The class featured Danielpour, Daniel Dorff, Jeremy Gill, and Heidi Jacob. performances by Houston-area high school flutists and students The November concert featured Alberto Almarza, flute profes- from the studio of Leone Buyse, who is the university’s Mullen sor at Carnegie Mellon University and former principal flutist of Professor of Flute. the Philharmonic Orchestra of Santiago. He presented an hour- long demonstration of flutes from around the world, among them a , a Norwegian , an , and an ancient South American clay flute, one of the oldest flutes in a private collection. He then performed unusual repertoire that fea- tured the New York premiere of Sortilège written by his father, Alberto Almarza Sr., the founding principal flutist of the Nation- al Philharmonic. The program also included Ernst von Dohnanyi’s Aria, op. 48, dedicated to longtime NYFC President Eleanor Law- rence, and works by Reza Vali, Efrain Amaya, and Wil Offermans. Christina Smith, principal flutist of the Atlanta Symphony, gave the December recital, saluting the club’s history with Eldin Bur- ton’s Sonatine, winner of the NYFC’s first composition competition in 1948 and dedicated to Samuel Baron. Her program ranged from C.P.E. Bach to Gaubert to Carl Vine, with a cameo appearance by Keith Underwood in a Doppler duo. In January the Club honored Harold Jones (1934–2015), who Pikes Peak Flute Choir served as the club’s president from 1976 to 1979. A student of In September 2015, the Pikes Peak Flute Choir began its 32nd Baker and Lois Schaefer in his native Chicago, Jones continued season. Treese Kjeldsen took over as conductor after the pro- his studies with Baker at Juilliard and with Marcel Moyse. Jones motion of the group’s leader of 24 years, Karen Morsch, to the performed as a soloist with numerous orchestras, including the role of Director Emeritus. The first event of the season was a American Symphony Orchestra, Brooklyn Phiharmonia, and Na- Halloween concert on October 25 at Broadmoor Community tional Orchestral Association. In 1969, he was a founder and prin- Church in Colorado Springs. Highlights for this season include cipal flutist of the Symphony of the New World, the first integrated the performance in May of a newly commissioned piece by professional symphony orchestra in the United States. He taught Phyllis Avidan Louke, which will celebrate the culture and ge- at several New York-area colleges and universities. ography of the Pikes Peak region. The ensemble includes more Jones was renowned for his generosity as a teacher, his well- than 35 members and has instrumentation from piccolo down honed business sense, and his inimitable sense of style. Organized to subcontrabass flute. Visit thepikespeakflutechoir.com, or by Hal Archer, Ardith Bondi, and Sue Ann Kahn, the concert featured find it on Facebook. his students and colleagues Hal Archer, Mindy Kaufman, Margaret Lancaster, Linda Chesis, Pamela Vliek Martchek, and . Quad City Flutes Unlimited performed its fall concert, Mozart Yoobin Son gave her first New York Flute Club solo recital since being to Manilow, November 10 at the Butterworth Center in Mo- appointed second flutist at the in 2012. line, Illinois. Robin Gravert and Laura Paarmann directed the The season continues with a French-themed New York Flute Fair 18-member flute choir. The concert included Mozart’s Magic in April featuring guest artist Philippe Bernold of the Paris Con- Flute Overture arranged by Nancy Nourse; works by Grieg servatory. Later in April, the winners of the New York Flute Club and Bizet; contemporary arrangements by Trevor Wye using Competition will be showcased. The season’s finale is an ensemble drums, bass, and piano; “Autumn Vespers” by Molanar-Suha- concert in May. Visit nyfluteclub.org. jda; and “I Write the Songs,” popularized by Barry Manilow. — Nancy Toff Visit qcflutesunlimited.yolasite.com/. 46 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG al-level ensemble of music educators, church musicians, and flutists with lifelong formal training led by Eileen Yarrison. The ensemble is auditioning new members. Founded in 1985, Indi- an Hill Music is a nonprofit music education and performance center in Littleton, Massachusetts, offering private and group in- struction in a variety of styles ranging from classical and jazz to pop, rock, Broadway, and folk. It is also home to the professional Orchestra of Indian Hill, led by conductor Bruce Hangen. Visit indianhillmusic.org.

The Flute Club at Virginia Common- wealth University hosted its sixth an- nual Richmond Flute Fest featuring From left: Rosene Rohrer, Jennifer M. Gosack (third place), Matthew Ross (first guest artist Eva Amsler on November place), Lindsay Leach-Sparks (second place), and Catherine LeGrand. 7, 2015. Sponsored by Brannen Broth- The Raleigh Area Flute Association (RAFA) announces the win- ers Flutemakers Inc., the festival drew ners of its inaugural Artist Competition, held during the organiza- flutists from Virginia, North Carolina, tion’s annual Flute Fair in Raleigh, North Carolina, on November Washington, D.C., and Maryland and 14, 2015. First place winner Matthew Ross, a master’s student at Eva Amsler included a concert by the Annapo- Cincinnati Conservatory of Music, received $1,000 and will be in- lis-based Chesapeake Flute Consort under the direction of Gail vited to perform a full recital in RAFA’s 2016–2017 season. The Vehslage. Clinicians and judges included Rachel Ordaz, picco- second place prize of $500 was awarded to Lindsay Leach-Sparks loist of the Virginia Symphony, and Jennifer Debiec Lawson, of Chapel Hill, while third place honors and $250 went to Jennifer associate principal flutist in the Richmond Symphony, as well M. Gosack, a DMA student at Cincinnati Conservatory of Music. as professors from the University of Virginia, George Mason University, Longwood, and Virginia Commonwealth University. The Middle Tennessee State University hosted its annual flute In her masterclasses, Amsler stressed the importance of mental festival on February 20. Altus Artist Francesca Arnone was the and physical health as a key component to success as a musi- guest artist. The day included a guest artist recital and Q&A ses- cian. She worked with three high school competition division sion, a college masterclass, workshops (including Stand Up and winners: Maggie Charlotte Archer and Donna Kim, of Charlot- Shout It—Projecting Your Own Voice on Stage by Mara Miller tesville, Virginia, and Allison King from the Virginia Beach area. and Deanne Little), a high school solo competition, a junior solo The three collegiate division winners were Krista Pack (George competition, a beginner masterclass, a flute choir performance, Mason University), Hyorim Kim (Christopher Newport Univer- and exhibits. Visit mtsuflute.weebly.com. sity), and Kayla Hanvey (Virginia Commonwealth University). The adult division winners were Anamarie Diaz (Richmond), The Upper Midwest Flute Association Susan Levy (Williamsburg), and Jerry Deily (Charlottesville). held its annual Flute Choir Showcase on November 7, 2015. The day began with MagicFlutes Flute Orchestra held its annual winter concert in flute choir reading sessions and culmi- December 2015. The program included selections fromThe Nut- nated with a gala concert comprised of cracker, “O Come, O Come Emmanuel,” “Deck the Halls” (in 7/8 performances by four area flute choirs. time), “Sleigh Ride,” and “We Need a Little Christmas.” Magic- On April 9, the association will present Flutes will perform its annual spring concert in May; the pro- its annual Flute Fest, with guest art- gram will include the Overture to The Barber of Seville, “Claire de Jonathan Keeble ist Jonathan Keeble presenting both a Lune,” and other works. MagicFlutes Flute Orchestra is directed solo recital and a masterclass. The day will also include the final by Pamela Ravenelle. rounds of the Laudie Porter Memorial Competition, the Young Artist Competition, the Rising Stars Non-Competitive Competi- The Greater Portland Flute Society’s tion for school-age students, the Midwest Flutists Recital, a flute fall 2015 guest artist was Mark Sparks, choir reading session open to all flutists, Yoga for Flutists, a Body principal flutist of the St. Louis Sym- Mapping session, and lots of exhibitors displaying all things phony. Sparks performed a recital in flute. Visit umfaflutes.org. early November featuring works by Bruch, Gubaidulina, Hoover, Debussy, Indian Hill Music has announced that and Brahms. Following the recital, the New England Flute Orchestra, based Sparks taught a masterclass. The Second in Nashua, New Hampshire, has joined Mark Sparks Annual Collegiate Showcase, hosted by the community music center as its new- Portland State University on February 16, featured performances est performing ensemble under the by collegiate flutists from Oregon universities. name the New England Flute Orchestra of Indian Hill Music. Now in its 32nd Send information about flute club activities, and high-resolution year, the 20-member orchestra, formerly images if available, to Kathy Farmer, Flute Clubs Coordinator, Eileen Yarrison the Nashua Flute Choir, is a profession- [email protected]. SPRING 2016 THE FLUTIST QUARTERLY 47 NFAONLINE.ORG Join us at the 44th Annual National Flute Association Convention in SanSan Diego,Diego, CACA August 11–14, 2016

by John Bailey, Program Chair, and Nicaulis Alliey, Assistant Program Chair

Join us in the pristine oceanside environment of “America’s Finest City” for the organization’s 44th convention, this year featuring the sounds of California composers and flutists, Pacific Rim music and artists, and a feast of chamber music shared among colleagues and friends.

48 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG ore than 600 proposals were sub- mitted to present and perform at Mthe 44th Annual NFA Convention in San Diego, to be held August 11–14! The Town and Country Resort Hotel will be a terrific venue, with renovated rooms, a wonderful new exhibition hall, and delightful outdoor spaces to enjoy the San Diego climate.

Ransom Wilson will conduct the Gala Saturday evening concert, with soloists Walter Auer, principal flutist with the Vienna Philharmonic, performing the Reinecke Concerto; Swedish flutist Göran Marcusson performing Mozart’s G Ma- jor Concerto, K. 313; and American flutist Trudy Kane with Ellen Taaffe Zwillich’s hauntingConcerto Elegia for flute and strings. Jennifer Gunn, piccoloist of the Chicago Sympho- ny, will premiere Ken Benshoof’s Piccolo Concerto, an NFA commission. And just for fun, Adrianne Greenbaum will con- tribute a short klezmer selection with orchestra. Friday’s gala recital concert will feature Denis Bouriakov, the new principal flutist with the Los Angeles Philharmonic; Hungarian virtuo- so flutist Gergely Ittzés; Bonita Boyd, professor of flute at the ; and Canadian flutist Robert Aitken. Masterclass teachers for the Performers Masterclass Compe- tition will be the terrificCarol Wincenc and Linda Chesis. The Orchestral Audition Masterclass clinician will be Bouriakov. This year’s convention features lots of bonus master- classes. Tadeu Coelho will teach a masterclass for high school students, and the Moyse Society will host a Moyse Tone Development masterclass taught by Aitken. Also featured are multiple open masterclasses focused on tra- verso, taught by Kathie Stewart; piccolo—two of them!— featuring teachers Linda Toote and Nicola Mazzanti; and amateurs, with teacher Brad Garner. Youth Flute Day open masterclasses, open only to youth participants but available for all to observe, will be taught by Peter Carol Wincenc Verhoyen (piccolo) and with Project Trio. And speaking of terrific flutists:Marcusson will be the speaker for the Flute Lovers’ Lunch and Boyd will be the speaker for the Teachers’ Breakfast. Of course there will be competitions: Young Artist, Piccolo Artist, Jazz Artist, High School Soloist, and Arts Venture, as well as the annual ones for collegiate, high school, and professional flute choirs; convention, mas- terclass, and orchestral audition performers; graduate research; flute choir composition; and newly published music. (Please visit nfaonline.org/Annual-Convention for details.) Last year’s Young Artist Competition win- ner, Ramakrishnan Kumaran, will be featured in recital. Youth Flute Day on Sunday will have events specifically geared to younger students, including two masterclasses as noted above, performances, a workshop on flute quartets, and a flute choir reading session. These activities will be open to any and all NFA members. And there will be spe- cial events for those interested in university jobs, with tips for resume writing, conducting a masterclass, and surviving the interview. Denis Bouriakov

SPRING 2016 THE FLUTIST QUARTERLY 49 NFAONLINE.ORG This year’s convention features lots Choir. Flute choir reading sessions will be conducted by Martin Melicharek, Peter Senchuk, and Eileen Yarrison. of bonus masterclasses—for high Lifetime Achievement Award recipients will be well repre- sented! Renowned pedagogue James Pellerite will demon- school students, for tone develop- strate his ingenuity on the Native American flute, and his ment à la the Moyse method, for former students will perform a tribute concert. Works by eminent composer Katherine Hoover will be featured, in- amateurs, and for piccolo. cluding the premiere of a new piece for low flutes, and she will appear in a “meet the composer” session. Other featured performers will include Amy Porter, Paul The flute sections of both the San Diego Symphony and Fried, Irmela Bossler (Leipzig Conservatory), Alexa Still, the Los Angeles Philharmonic will perform in concert. and Zawa! (Jill Felber and Claudia Anderson). Carol Wincenc and composer Jake Heggie will present a The Pacific Coast Flute Orchestra, conducted by Peter masterclass on Heggie’s works for flute and piano. Jazz flut- Sheridan, will perform before the opening ceremonies. All ists Jim Walker and José Valentino Ruiz will feature works are welcome! Please contact Kathy Farmer at kathyfarmer@ from their new CD, John Wubbenhorst will explore the in- mindspring.com. Other flute choir conductors are Darrin tersection of flute and jazz, and jazz flutist Thaves, High School Flute Choir; Kristen Stoner, Colle- Nestor Torres will wow with his infectious rhythms. giate Flute Choir; and Clyde Mitchell, Professional Flute Come play with us in sunny San Diego!

Gergely Ittzés Jennifer Gunn

Bonita Boyd Göran Marcusson Trudy Kane

50 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG All convention activities will take place at the Town and Country Resort & Convention Center 500 Circle Drive North San Diego, California 92108 USA 619-291-7131

HOTEL Special room rates are available on a first-come, first-served basis until the room block is full or until July 17, 2016 (whichever comes first). Reserve your room online or by calling 800-772-8527. (Be sure to request the NFA room rate.) NFA room rates: $165/night Single/Double/Triple/Quad Project Trio Staying at the convention hotel helps the NFA with meeting space expenses and helps keep future convention fees as low as possible. Please help us control costs and book your stay at the Town and Country Resort & Convention Center.

TRAVEL The NFA has negotiated cost-saving discounts with Delta and United Airlines for air travel to and from San Diego International Airport (SAN). For more information regarding air and ground transportation options, visit the Hotel & Travel section at nfaonline.org/Annual-Convention.

REGISTRATION Advance Registration Badge Pickup and On-Site Registration will both be open as listed below. Wednesday, August 10: 3–9 p.m. Linda Chesis Thursday–Saturday, August 11–13: 8 a.m.–6 p.m. Sunday, August 16: 8 a.m.–3 p.m.

Complimentary secure instrument storage will be available from 3 p.m.* Wednesday, August 10, until 11 p.m., Sunday, August 14. *please note this time change from previous years

The exhibit hall will be open August 11–14, 10 a.m.–5:30 p.m. and August 14, 10 a.m.– 3 p.m.

QUESTIONS? Contact Convention Director Kris Mayo at 312-332-6682 or [email protected].

Visit nfaonline.org/annual-convention for updates and details. Jim Walker

SPRING 2016 THE FLUTIST QUARTERLY 51 NFAONLINE.ORG From the Local Arrangements Chair

Cindy Anne Broz Welcome to America’s Finest City!

or flutists and families, the perfect opportunity to com- temperatures, and you can enjoy the surf and sand almost any Fbine a delightful summer vacation with your 2016 NFA day of the year. With expansive sandy beaches, rocky cliffs, convention experience awaits! San Diego is among the na- reefs, tide pools, and everything in between, the beaches in tion’s top tourist destinations: Its wonderful climate joins San Diego are as varied as the California beach towns built museums, historic sites, theme parks (including the world-fa- around them. mous San Diego Zoo), miles of sand and sea, beautiful moun- San Diego offers hiking destiations for all skill levels and tains—plus the eclectic day-to-night action and activities of terrains. Torrey Pines Natural Reserve is a breathtaking place the Gas Lamp Quarter, Harbor Island, Hillcrest, Old Town, to hike while watching silent gliders above and enjoying beau- Downtown, Little Italy, Coronado Island, and Coastal North tiful ocean views. Mt. Woodson features Potato Chip Rock; County. The ease of getting to outlying regions (by rail or car) Cowles Mountain offers a 360-degree panorama of San Diego makes San Diego the place to design a vacation. County; and Sunset Cliffs Natural Park incorporates natural The missions of California began in San Diego. To kick off caves, tide pools, and scenic ocean views. a tour, head a few miles inland to the Presidio Park to visit the A great day trip for families is San Diego’s East County Junipero Serra Museum, which showcases California’s first community of Julian. Founded as a gold town and stagecoach mission, the Presidio (fort), and the story of the Kumeyaay stop, several real mines are available for touring and panning Indians, the area’s original inhabitants. Further north is the for gold. The town is also well known for its sweet apples and Mission Basilica San Diego de Alcala, considered the mother homemade apple pie. of the 21 missions lining the California coast. In Oceanside at If you plan to explore a large area of the region, a rental the tip of San Diego’s North County, you’ll find the Mission car might be your best option. If you plan to explore the city San Luis Rey de Francia, established in 1798. center or just relax along the coast, then public transportation The 125-year-old Hotel Del Coronado is the vacation might be the call. San Diego visitors can also use the San Di- hotspot historically frequented by celebrities (and the site for ego Trolley and Coaster trains to explore by rail. The Santa Fe the filming of the iconic movie, Some Like It Hot). Depot, located downtown on Kettner Boulevard and Broad- Downtown San Diego has historic ship exhibits belonging way, is the main hub for Amtrak, providing various coastal to the San Diego Maritime Museum, headlined by the Star of train services. The Pacific Surfliner Train (Amtrak) offers a India and including the San Diego Aircraft Carier Museum. beautiful vantage on the Southern California seascape and Ships from the U.S. Pacific Fleet, often in port, are beautiful will take you from downtown San Diego to the North Coun- to see up close from the beaches and boardwalks near the bay. ty beach towns, including Del Mar, Solana Beach, Encinitas, Balboa Park is the largest urban cultural park in the United Oceanside, and through Los Angeles and Santa Barbara. States. The San Diego Museum of Art, San Diego Natural His- If you want to learn about the golden age of California’s surf tory Museum, San Diego Museum of Man, Museum of Pho- culture, stop by the California Surf Museum in Ocean­side to tographic Arts, and the San Diego Air & Space Museum are discover how the sport transformed the Southern California located there, as is the zoo. lifestyle and continues to shape and influence the region’s cul- The Town and Country Resort and Convention Center is ture today. conveniently located in Mission Valley with a San Diego Trol- Come and enjoy the best of both worlds—the Annual NFA ley stop on the edge of the resort’s property. A few stops south Convention and America’s Finest City! on the Trolley line is Old Town State Park, which features 17 museums and historical sites where visitors can learn about Cindy Anne Broz is a freelance flutist, piccoloist, and ped- the first settlements in California and explore original struc- agogue residing in Temecula, California. She performs with tures built in the 1800s. Quaint boutiques, mouth-watering Flûtes de Salon and The WindSong Consort. She has pub- restaurants (Mexican cuisine is the specialty), and colorful art lished articles on pedagogy and performance, has been an ac- galleries make it a not-to-be-missed hotspot. tive member of the NFA for more than 15 years, and serves on If you’re looking to spend time outdoors, you’ll find 70 the boards of the San Diego Flute Guild and the Flute Society miles of pristine beach areas, year-round sunshine, and mild of Greater Philadelphia.

52 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Join us at the 44th Annual National Flute Association Convention in SanSan Diego,Diego, CACA August 11–14, 2016

Plan to participate: Opening flute orchestra concert (The Pacific Coast Flute Orchestra), conducted by Peter Sheridan

Masterclasses by: Robert Aitken, Denis Bouriakov, Linda Chesis, Tadeu Coelho, Brad Garner, Nicola Mazzanti, Greg Pattillo and PROJECT Trio, Kathie Stewart, Linda Toote, Peter Verhoyen, and Carol Wincenc

Celebrate and Congratulate: Lifetime Achievement Award recipients Katherine Hoover and James Pellerite

Gala Concerto Concert: Ransom Wilson, conductor; Walter Auer, Jennifer Gunn, Adrianne Greenbaum, Göran Marcusson, and Trudy Kane, soloists

Friday Gala performers: Robert Aitken, Denis Bouriakov, Bonita Boyd, and Gergely Ittzés

Flute Lovers’ Lunch with Göran Marcusson Teachers’ Breakfast with Bonita Boyd 24 Flute choirs from Japan, Taiwan, Mexico, California, Texas, Oklahoma, Utah, Arizona, and more

Youth Flute Day: Sunday, August 14, designed for ages 12 and up More than 70 exhibiting companies Performances by: The flute sections of the Los Angeles Philharmonic and the San Diego Symphony Chamber Music: Combinations of all kinds, including woodwind quintet, flute/cello/piano, flute and percussion, flute and harp, flute and guitar, flute and voice, and flute quartet

Performances by: Eva Amsler, Jamie Baum, Irmela Bossler, Leela Breithaupt, Virginia Broffitt, Catherine Bull, Linda Chesis, Philip Dikeman, Paul Fried, Marco Granados, Holly Hofmann, Dionne Jackson, Karl Kraber, Damjan Krajacic, Nicola Mazzanti, Hal Ott, Linda Pereksta, Amy Porter, Christine Potter, Ali Ryerson, Alexa Still, Jim Walker and José Valentino Ruiz, Kathie Stewart, Nestor Torres, Peter Verhoyen, Ransom Wilson, Carol Wincenc, John Wubbenhorst, Zawa (Jill Felber and Claudia Anderson), Jeffery Zook

Find out more at nfaonline.org/Annual-Convention Convention program subject to change. SPRING 2016 THE FLUTIST QUARTERLY 53 NFAONLINE.ORG 54 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Notes from Around the World by Christine Erlander Beard Conventions, festivals, competitions, and other global flute activities

sessions will include audition training, piccolo, warming up, and a teachers conference. Course pianists will be Stefan De Schep- per and Pieter-Jan Verhoyen. Visit ifsb.be.

Emily Beynon Matthias Ziegler Paul Edmund-Davies The 11th Adams Flute Festival will take place in Ittervoort, The Netherlands, April 15–17. Guest artists include Abigail Bur- rows, Aldo Baerten, Berdien Stenberg, Christine Erlander Beard, Egbert Jan Louwerse, Elisabeth Hobbs, Els van Zundert, Emily Beynon, Eugenie van der Grinten, Gareth McLearnon, Helga Henckens, Irene Hulst, Juliette Hurel, Martine van der Loo, Mat- thias Ziegler, Nandin Kathleen Baker, Niall O’Riordan, Nicole Esposito, Paul Edmund-Davies, Wissam Boustany, 6Sense, Ne- William Bennett flac Ensemble, and Petra Music. Visit adams-music.com/festival. The British Flute Society announces the Flutastique! BFS Lon- don Flute Festival, scheduled for August 19–21 at St. John The Associación de Flautistas de Espagña (AFE) announces Smith’s Square, London. The festival—including recitals, gala its 4a Convención de la Asociación de Flautistas de España concerts, and workshops—will take place in the main hall, sur- (Fourth International Flute Convention), scheduled for April rounded by showcase tables of flutes, music, and other flute-re- 29–May 1 in Bilbao, Spain. Guest artists are Juliette Hurel, An- lated items for sale. drea Oliva, Peter-Lukas Graf, Jacques Zoon, and Amalia Torta- This year’s biennial event celebrates the United Kingdom’s jada. Visit http://afeflauta.org or the AFE’s page on Facebook at dual flute heritage fusing British and French influences by pre- www.facebook.com/1686583894893412/. senting French and British flute music side by side. The festival also marks the 80th birthday of flutist and BFS president William The XXXI Festivales Internacionales de Flautistas (Interna- Bennett. tional Festival of Flutes) will be held at the Conservatorio Na- During Bennett’s lifetime, the art of flute playing in the U.K. cional de Música in Lima, Peru, May 23–27. Contact Christine has been completely transformed, notably by influences from Beard at [email protected] (English) or Cesar Vivanco at France. It was Bennett’s teacher, Geoffrey Gilbert, who opened [email protected] (Spanish). British ears to the flexibility and color of the French style of playing. Since then, many players have inherited this tradition The Festival de Flûte de Montreal will take place over two days in through their teachers. Festival presenters will juxtapose French summer 2016 (exact dates TBA). Visit montrealflutefestival.com. and British music in their recitals and tell participants what the pieces mean to each of them. Presenters include Bennett, Lisa Beznosiuk, Emily Beynon, Denis Bouriakov, Rachel Brown, Katherine Bryan, Sam Coles, Michael Cox, Philippa Davies, Lorna McGhee, Stewart McIl- wham, Sarah Newbold, Janet Richardson, Clare Southworth, Atarah Ben Tovim (directing the festival’s flute choir), and Adam Walker. Also performing will be the winners of the BFS Flute Competition. Among workshop topics will be Baroque performance on a modern flute, contemporary techniques, piccolo playing, and Peter Verhoyen with fellow participants of the 2015 seminar at Bruges. more. The final gala concert will feature principal flutists from British orchestras in concert together. Visit bfs.org.uk. The International Flute Seminar Bruges will take place July 18–23 in Bruges, Belgium, with teachers Aldo Baerten, Peter The VIII Festival Flautistas del Mundo (World Flutes Festival) Verhoyen, Robert Pot, Blaz Snoj, and Annemie Verhoyen (junior is scheduled for September 21–25 in Mendoza, Argentina. Visit day). Helga Henckens will teach Alexander technique, and other http://worldflutesfestival.org. SPRING 2016 THE FLUTIST QUARTERLY 55 NFAONLINE.ORG Michel Ballavance, Wissam Boustany, Silvia Careddu, pi- anist Tim Carey, the Dorian Consort, Patrick Gallois, the Vega Ensemble, Denis Verroust, and a host of others. For more information, visit flutefestival.ch.

The 4th Flavtistra International Festival for Young Flutists, open to flutists up to age 25, will be held November 25–27 in Koper, Slovenia. The event will include competitions for flute soloists and for ensembles with flute and also will present mas- Eva Amsler Jean-Louis Beaumadier Barthold Kuijken terclasses, concerts, and exhibitions. For more information, visit The 2nd La Côte Flûte Festival will take place in the La Côte flute-festival.com. region of Switzerland (between Geneva and Lusanne) October 6–9. Among many featured artists will be flutists Eva Amsler, Send information about international flute events and high-res- Jean-Louis Beaumadier, Patrick Gallois, Barthold Kuijken, Carla olution images, if available, to Christine Erlander Beard, Notes Rees, and Trevor Wye. Also participating in the festival will be from Around the World editor, [email protected].

from Victoria to St. John’s, who gathered to share new mu- Update from Canada sic, great performances, and new research in pedagogy. Many by Amy Hamilton international flutemakers were on hand to visit in the Flute Market, and flute choirs and student competitions rounded out the event. We will look forward to the next Canadian flute Canadian flutists held our second biennial Canadian Flute extravaganza in 2017! Convention, otherwise known as Flutestock No. 2, on June 18– 21, 2015. The convention was sponsored by the Canadian Flute Association and held at St. Michael’s College on the University of Toronto campus in downtown Toronto. New Music The expanded facilities allowed for an ambitious program that saw more than 100 performers and 100 separate events in a four-day time frame. Pedagogy topics included classes for , Scottish flute music, piccolo, low flutes, electroacoustic flute, and historic flutes. Body awareness and mindfulness were also popular topics and included Alexander technique and Feldenkrais presentations. Flutists from around the world—including Wissam Bousta- ny (Royal Northern College of Music, Manchester), Michel Bellavance (Geneva Conservatory), Sarah Jackson (piccoloist, Los Angeles Philharmonic), and soloist and composer Gary Schocker—were joined by Canadian flutists across the country

Robert Aitken will direct a performance of his works at Flutes Galore. The opening concert for the Vancouver Symphony Orches- tra New Music Festival in January 2015 featured the Standing Wave ensemble with Vancouver Symphony Orchestra principal flutist Christie Reside performing ’sDouble Sextet; Reside also performed the flute concerto Omithomancy written by the Vancouver Symphony’s composer-in-residence Jocelyn Michel Bellavance Sarah Jackson Morlock with the orchestra during the festival. In Toronto, the final New Music Concert of the season, Flutes Galore, will be held April 24. Music Director Robert Aitken has amassed a 24-member flute orchestra to perform an all-Cana- dian program including his works Tsunami, Solesmes, and Ca- racas, a world premiere; a commission and world premiere by Alex Pauk; Bruce Mather’s Hors Piste – OFF Track, and Chris- topher Butterfield’s Bosquet.

Contact Amy Hamilton at Wilfrid Laurier University with Wissam Boustany Gary Schocker Canadian flute news at [email protected].

56 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG NFA News Updates on committee activities and other news of interest from the national office

NEW! AT THE 2016 ANNUAL •Please note: The following announcement represents a model vacancy notice created for National Flute Association competition purposes only. This is not an official vacancy. NFA CONVENTION Assistant Professor: Applied Flute

National Flute Association University’s Department of Music invites applications for the position of Assistant Professor: Applied Flute, beginning August, Masterclass Skills 101: The Art of Giving a 2016.

Masterclass for the College Interview Process Required Qualifications: • Earned Doctorate, Flute Emphasis, ABD considered. A completed Would you like to sharpen your masterclass presentation skills doctorate is necessary for tenure-track appointment. • A record of successful teaching and recruiting at the collegiate level. before taking the next college job interview? The NFA Pedagogy • A record of successful, professional performing experience.

Committee is excited to announce a first-of-its-kind event at the Preferred Qualifications: 2016 Annual NFA Convention in San Diego—Masterclass Skills • Secondary area of musical expertise.

101: The Art of Giving a Masterclass for the College Interview Responsibilities: Process. We are looking for three potential job “candidates” to • Serve as teacher of applied flute, undergraduate and graduate levels. • Teach assigned courses which may include, but are not limited to: applied give a 15–20-minute mini-masterclass to young college-age stu- flute, Music Appreciation or chamber music. dents. A distinguished panel of flute professors will provide feed- • Recruit students at the undergraduate and graduate levels. • Maintain a public profile as a performer and teacher. back on how to connect with the audience and performer, dis- • Advise students and serve on committees. cuss effective communication skills, and review the candidates’ Application Procedures: presentation of concepts. Application review begins April 15, 2016 and will continue until the position has been filled. Send application letter, vita, and name/addresses/phone Please refer to the model job vacancy announcement at right. numbers of a minimum of three references to the Assistant Professor of Flute Qualified individuals should send a cover letter, CV, philoso- Search Committee at: (X). Only electronic applications and application materials will be accepted. Do not send additional materials until requested. phy-of-teaching statement, and reference contact information Candidates under consideration may be asked to submit performance files, electronically, within one week of request. No materials will be returned. by May 15, 2016, to Holly Clemans, NFA Pedagogy Committee The successful candidate will be required to submit to a background check Chair, at [email protected]. prior to hire. National Flute Association University is an EOE. To enrich education through diversity, candidates from under-represented groups are Application review begins April 16, 2016, and will continue encouraged to apply. www.nfa.org until the positions have been filled.

Find or Submit Flute Competitions,

Masterclasses, and Events Online NFA Elections NFA elections are approaching. The following are The NFA website offers a convenient resource for listing and candidates for next year’s officers of the National finding flute competitions, masterclasses, and events (concerts, recitals, festivals, etc.). To submit or find events, visit nfaonline. Flute Association. org and select “Competition Announcements,” “Masterclasses,” (Visit nfaonline.org for information about these candidates.) or “Flute Events” under the Resources tab. Competitions and Flute Events are listed by location. Master- Vice President/President-Elect: classes can be searched by title, teacher, location, or date. Sub- (one is elected for a two-year term) missions are accepted at any time with no deadlines, and each Joanna Bassett page is regularly updated with the latest listings. Linda Toote To submit an event, visit the links at the following pages: Assistant Secretary/Secretary: (one is elected for a two-year term) • Competition Announcements: nfaonline.org/Resources/ Competition-Announcements/Submit-A-Competition.aspx Tabatha Easley Ellen Johnson Mosley • Masterclasses: nfaonline.org/Resources/Masterclasses/ Submit-A-Masterclass.aspx Board of Directors: (three are ratified for a three-year term) • Flute Events: nfaonline.org/Resources/Flute-Events/ Cristina Ballatori Submit-an-Event.aspx Mary Kay Fink • Contact Jeanie Pierce, Flute Events Reporter at jeanie@ Mimi Stillman jeaniepierce.com or [email protected].

SPRING 2016 THE FLUTIST QUARTERLY 57 NFAONLINE.ORG Lifetime Achievement Award 2016 Katherine Hoover: An Artist’s Journey

The 2016 Lifetime Achievement Award recipient has created a rich, lasting repertoire of compositions for the flute—and beyond. A celebrated composer of “our repertoire,” Katherine Hoover also creates works for other instruments, writes poems, and runs a respected music publishing company. by Kyle Dzapo

atherine Hoover once said that she thinks of most of her compositions as “journeys, or narratives of some kind.” Her own story is the journey of a flutist, teacher, Katherine Hoover Kentrepreneur, poet, and, most notably, a distinguished com- poser. Each facet of her career is impressive, and together they Hoover continues, “And I was the only female in class, with six are the story of a unique and successful artist. guys, all grad students. I was an undergrad, and I just sat there, Early on, Hoover studied with Joseph Mariano at the and they never bothered to look at my work, and that’s the way Eastman School of Music, where she earned a bachelor of it was.” It may have been that way when she was in school, but music degree in music theory and a performer’s certificate when Hoover began composing in her 30s, people took notice in flute. After two years of additional studies with Wil- of her work, and she has enjoyed a string of successes since. liam Kincaid in Philadelphia, where she had grown up, she Inspirations for Hoover’s compositions come from a wide moved to New York, joining the flute faculty of Juilliard’s variety of sources. “I’ll read something, I’ll go to a gallery, I’ll Preparatory Division. During subsequent years, she per- see all kinds of things, and then something will start giving formed ballet, opera, and concerto performances at leading me sound ideas, ideas in sound,” she says. “I love to do this, halls in New York. because then the sounds it gives me are usually pretty different In 1969, Hoover began teaching theory at the Manhattan from other things. Somehow it triggers a kind of originality, School of Music, where she also earned a master’s degree. At and I don’t want to sound the same all the time. I have - that time she studied a wide variety of scores and investigated dreds of years of sound sources in my head, and I want some how people perceive sounds. While different sounds if I can find them.” continuing to perform, she began to arrange and then to compose. She “Found” Works had been interested in composition And so it was for an early work, The Medieval Suite for flute since her undergraduate days and and piano, which was inspired by the characters and events had written some works earlier, but that Hoover discovered while reading Barbara Tuchman’s “I went to school in the ’50s, I mean, A Distant Mirror. “Each of the five movements reflects dif- come on! For boys and even more ferent facets of 14th-century France, from the tragedies of so for girls, in music school, there the Black Plague and arranged marriages at childhood, to was a sense of ‘What are you doing, the iconic and humorous drunkenness of a friar who served writing? Who do you think you are, under warring Popes within the Catholic Church,” writes Beethoven?’ It was really not a good Jan Vinci, one of six flutists to have recorded the piece. She Kyle Dzapo attitude. ‘All the good music has declares that in composing the piece, Hoover “gave birth to been written’ was basically it.” one of the most exciting programmatic chamber works in

58 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG all of flute literature.” The piece won the NFA’s 1987 Newly piece, Hoover displays her deep knowledge of American In- Published Music Competition. dian music and her ability to evoke the nature and landscapes While flutists think of Katherine Hoover as “ours” and cel- of the American Southwest. “She also included movements ebrate her contributions to our repertoire, she is also an im- inspired by Hungarian gypsy music and Chinese folk mu- portant composer of orchestral, vocal, and chamber works for sic, demonstrating her wide range of stylistic influences and other instruments, including the tone poem Eleni: A Greek bridging of different cultures and popular idioms.” Tragedy, Op. 36; Two Sketches, commissioned by the Bay Area Women’s Philharmonic and premiered under the direction of Awards and Recognitions Joann Falletta; a Clarinet Concerto for Eddie Daniels; a Dou- Hoover’s work has garnered commissions, awards, and ac- ble Concerto for two solo and orchestra; the Lyric Trio colades including a 1994 American Academy of Arts and for flute, cello, and piano; and a host of other works. All of Letters Award in Composition. In 1996, the composition of these were created before she turned to what would become Dances and Variations and the piece’s premiere at the Ken- her best-known piece, Kokopeli. nedy Center was chronicled in the PBS documentary New This work, for solo flute, was composed on a trip to the Music. Five of her pieces have won the NFA Newly Published Southwest in 1990. Hoover’s close friend, Don Bailey, relates, Music Competition. “Much of Katherine’s music [including Kokopeli] is inspired by Along the way, she has earned the respect of renowned art- Native American legends, poems (including her own), paint- ists. Composer Laura Kaminsky praises her as “a strong, com- ings (she particularly likes the work of J. M. W. Turner), books, mitted composer who knows what she wants to say and has the spirits, jazz, night skies, even spiders. Both Katherine and [her craft to say it. Kitty Hoover has been a steady and present force husband] Richard share the Native American respect for na- on the new music scene for a long time, and has been a valu- ture and life.” able member of our community.” Jan Vinci writes, “During the Kokopeli has sold more than 8,000 copies and, in 1990, process of learning Medieval Suite, I started to become aware launched a third facet of her career: the creation of Papagena of her vast and provocative creativity, her amazing respect for Press, her publishing company. To this day, Hoover carefully and knowledge of the instruments for which she composes, designs the cover for each of her compositions and especially and her passion to understand and artfully reflect on woman- enjoys two benefits of owning the company: “I really do have and man-kind.” a say in where the page turns are, what it looks like, all of this. Just last summer, Hoover’s The Four Winds for flute and or- And the other one? It’s a big one: I can put out whatever the chestra, with Mark Sparks as soloist, received a highly success- heck I please.” The success of Papagena Press led the Theodore Presser ful premiere at the annual National Flute Association Conven- Company to approach her with an enticing offer to become tion’s Saturday evening Gala Concerto Concert. The end of the an affiliated publisher. Presser now distributes Papagena year brought the publication of her first collection of poetry, Press publications. This Way About. The poems explore love, loss, and other deep questions and intersect with her musical career. These poems Winter Spirits and Mountain & Mesa with musical connections include “Music, My Love”; “Master Teacher” (William Kincaid); “Studying Syrinx”; and “Bach: Hoover’s Three for Eight, a joint commission of the New York Prelude in C.” and Long Island flute clubs, and Canyon Echoes for flute and In an interview with WOSU Public Media announcer and guitar were followed, in 1997, by Winter Spirits for solo flute. producer Jennifer Hambrick, Hoover relates: “Just like a piece Mimi Stillman gave the work’s Philadelphia premiere. “This captivating work has always been special for me, and of music, (poems) have to fit from beginning to end. And I’ve performed it countless times since then, throughout the that’s a little mysterious, and I think that’s really very much United States, Latin America, and Europe,” says Stillman. like when I write music. It has to fit from beginning to end. A “This piece, like so much of Katherine’s music, is at once per- piece of music has to tell its own story also.” fectly idiomatic for the flute and transcends the instrument Katherine Hoover has made important contributions to to communicate directly and intimately with the listener. I’ve the flute repertoire and has personally offered knowledge noticed through performing Katherine’s music for diverse au- and insights to help others. As flutist Mary-Ann Tu states, diences that it reaches people in a personal, emotional way, as “Throughout the years, Katherine’s kindness and friendship all good music should.” have made a positive impact on my life. She’s been there. Stillman performed the world premiere of a more recent Here’s to Katherine!” Hoover work. “I was deeply honored when Katherine invit- Please join us August 13th in San Diego when the NFA gath- ed me to give the world premiere of her Mountain & Mesa, a ers to celebrate the remarkable journey of Katherine Hoover major work for flute and piano, at the 2009 NFA convention and honors her with a Lifetime Achievement Award in recog- in New York,” says Stillman. “I fell in love with the piece and nition of her exceptional musical accomplishments. made the premiere recording on my CD Odyssey: 11 American Premieres for Flute and Piano. Kyle Dzapo, Vice President of the NFA, is the Caterpillar Inc. Hoover also asked Stillman to perform Mountain & Mesa at Professor of Music at Bradley University. She is the author of the New York Flute Club’s 75th birthday tribute concert in her numerous publications about flutist, composer, and conductor honor in 2013. “I was delighted to present the piece in Kath- Joachim Andersen, including Etudes and Salon Music, a solo erine’s New York home base,” Stillman says, noting that in this CD of his music on the Naxos label.

SPRING 2016 THE FLUTIST QUARTERLY 59 NFAONLINE.ORG Lifetime Achievement Award 2016 James Pellerite: The Right Place at the Right Time 2016 NFA Lifetime Achievement Award recipient James Pellerite has excelled as orchestral flutist, flutemaker, teacher, Native American flute performer, and publisher. Insatiable curiosity plus an uncanny skill in being at the right place at the right time contribute to his colorful resume. by Zart Dombourian-Eby

ames Pellerite’s contributions go far beyond his 30 cele- James Pellerite began playing at 7. He’s embraced “something new” ever since. brated years of teaching at Indiana University—they en- compass an inspiring array of creative and innovative transition to a Conn one-piece flute—the body and footjoint Jideas pursued with passion and dedication. We have all been as a single tube! It was not until 1946 that I had my first touched by his role in the world of the flute. professional teacher, Frederick Wilkins at the Juilliard School. I parted with my Conn flute, and he helped me secure my How did you come to choose the flute? first French model Powell. His influence as a flutist, teacher, I never chose it! We lived with my Italian grandparents in mentor, and friend was invaluable. After three years of study, Clearfield, Pennsylvania, during the Depression; throughout he insisted I needed to move on and personally arranged for my my childhood, they kept me busy after school to avoid audition with William Kincaid. Both my lessons with Kincaid influence from a rather rough neighborhood. My opera-loving and my preparations for them were highly concentrated. family decided that I would study music. The local music store Because of Kincaid’s schedule, lessons had a piccolo for sale, and since there were no flute players were spaced with some irregularity, but his huge assignments in town, this instrument seemed the best choice—especially kept me quite busy. At that time, he required that Andersen since I was only 7 years old and had small hands. etudes be memorized. In addition, I prepared many orchestral passages by memory, which held me in good stead for what lay Who were your most influential ahead—orchestral auditions. teachers, and why? Even if there had been a flute Who were your fellow classmates? teacher available, we could not afford The flute enrollment at Juilliard my first year was huge; after lessons. My uncle, an excellent clar- the war, returning students had to be accommodated. Such inetist, offered me a short lesson fine flutists as Samuel Baron, Charles Ehrenburg, and Byron five nights each week, which con- Hester were enrolled. Wilkins taught a class at the Manhattan veniently became a disciplined School of Music that included other great talents: Paul Horn, practice session. Eventually, I was Herbie Mann, and Murray Panitz. invited to play in the community band and, as the only piccolo player What happened after you were finished with school? in town, enjoyed what seemed a I was fortunate to win an audition for principal in Indianapolis, Zart Dombourian-Eby solo career at age 10. My uncle’s so was unable to complete my degree at Juilliard. After two lessons continued as he helped me seasons with Indianapolis, I auditioned and won the position

60 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG of principal with the Detroit Symphony. The first season was a period of reorganization with guest conductors only: Bruno Walter, Victor de Sabata, William Steinberg, Leopold Stokowski, Dimitri Mitropolis, and others, including Paul Paray, who eventually became the permanent conductor. This was an exciting season, as each presented his most impressive program. After five years, I thought it was time to learn something outside of music and began to work toward a business degree. I became particularly interested in finance and investments, and applied as a trainee with a local brokerage office. The day I completed my course work to become a stock broker, I became known as the finest flutist on Wall Street. My day job now permitted me to be available for freelancing in Detroit; I enjoyed musical performances from Broadway shows to commercials for Chevy trucks! But, after two years of enduring sleepless nights as I worried about the volatility of stock portfolios, I yearned for the peacefulness of a job playing my flute. Once again, I was blessed—my devoted teacher Fred Wilkins, who had been invited to join the faculty at Indiana University but was not going to accept, asked if I would be interested in applying. I had never considered teaching, particularly at the university level, without a music degree. However, my previous experiences in exploring new avenues again encouraged my pursuit of the unknown. As for the incomplete music degree, the dean of the school of music said, “We don’t require degrees, we grant them!”

Your teaching at Indiana was legendary, particularly of James Pellerite studied with William Kincaid (pictured at top right). orchestra excerpts. I am reminded of Kincaid’s remark, “I am not necessarily a salaries couldn’t compete with those of the university ; Indiana great teacher, but I have great students.” The instrumental University was very generous to me, so I had to refuse the program included four full orchestras, so I decided to focus three-year contract offered by Philadelphia. Returning to more on orchestral literature. To teach the repertoire more teaching was not a difficult decision, although I did miss the thoroughly, I divided my flute class into groups of four sound of that great orchestra. I was grateful for the leave of to six players. This enabled them to act as a flute section absence but was anxious to get back to my students. of the orchestra, permitting further study of ensemble performance and making them responsible for learning the Your ground-breaking books—the Handbook of Literature entire composition. With rotation, each student had the for the Flute and A Modern Guide to Fingerings for the Flute— opportunity to play not only the solo part but the others were must-haves when they came out, and I still refer to as well. Memorization of the prominent solo excerpts was them. How did you come to create them? required, and at the end of each semester the excerpts were Teaching offered many opportunities to explore my field in a performed before peers or in a mock audition. This method multifaceted manner, which encouraged creativity. A constant of presenting orchestral literature was offered from the need for teaching materials spurred my interest in writing, freshman year into the graduate level. hence publishing. One day, while in our music library, I noticed a reference Why did you decide to leave your orchestral career? manual of literature for the piano. I suddenly thought of Admittedly, by my third year of teaching, I missed orchestral how convenient it would be to have such a handbook in the playing. About the same time, Kincaid announced his studio. Compiling the handbook became a sabbatical leave retirement. At first I dismissed the idea of auditioning again, project. Computers had yet to be invented, so, using 3 x 5 but since I had such a secure position with Indiana University cards, I worked what seemed 24/7 to complete it. I contacted it was decided that I would be granted a leave of absence if, the publisher of the piano book and proposed they publish in fact, I won the audition. The position of principal flute in my catalogue. They refused, saying not enough flute players that wind section represented the apex of my orchestral career; would be interested! So I decided to self-publish, and Zalo the thrill of making music with such outstanding players, the Publications was born. (The Italian word “zelo” phonetically many recordings we made, the great conductors under whom rhymes with “halo” and means zeal and enthusiasm.) I performed, and the glorious sound of that string section will The fingerings guide began as a collection of special remain with me forever. Unfortunately, at that time, orchestra fingerings handed down to me by Wilkins, Kincaid, and other

SPRING 2016 THE FLUTIST QUARTERLY 61 NFAONLINE.ORG prominent players over the years. During the pleasure of meeting Albert Cooper, sounds of this instrument. Was this lessons, I often turned to my collection, whose research efforts were impacting another case of “being the right place at and students copied them appropriately. the world of flutemaking. Although his the right time?” Perhaps. To experience It occurred to me that other flute work on the scale of the flute eventually something new, one must embrace players might enjoy learning some of overshadowed his headjoint design, I inspiration and be willing to take these “tricks of the trade,” so I decided learned much about headjoints from him risks, sustain a passion, apply energy to compile and publish them by Zalo. and from Jack Moore and collaboratively with determination, and avoid being introduced the Zalo/Cooper headjoint concerned about failure. I was receptive You have also experimented with the and the JP/Zalo head. Concurrently, my to something new in my life. The instrument and headjoint. additional research in headjoints resulted instrument I heard was inspirational—a My interest in the acoustics of the flute in a patent for a new headjoint stopper, clear, clean sound, magical and had its genesis with Wilkins’ appointment the O-Ring, consisting of a neoprene modestly spacious, elements of as vice president of the Artley Flute material attached to a silver concave disc sadness to sweet melancholy, at times Company. He invited me to join him in that replaced the cork. energetic and impressively positioned work toward making their instruments within the environment in the land more competitive in the marketplace. Could you briefly touch on your career of enchantment. (Editor’s note: See My interest in flute manufacturing with the Native American flute? the winter 2003 issue of The Flutist intensified as I began collaborating with It was our move to Albuquerque that Quarterly and the NFA’s The Flutist’s other flutemakers. In the early ’70s, I had caused my discovery of the exquisite Handbook: A Pedagogy Anthology, Vol. 2, for more about Pellerite’s work with this instrument.)

You were there at the very beginnings of the NFA. The NFA has become a giant force in the flute world. The seeds we all sowed in those formative years have continued to University of Michigan grow. I remember well how impossible it was for me, as a student in a small town, Summer Flute Programs to have been without a flute teacher, and being deprived of hearing the instrument as it should be played. These thoughts Anatomy of Sound: a workshop for flutists remained in my memory, even up to June 4-7, 2016 the early days of the organization. I was A supportive, holistic approach to the flute convinced that we should attempt to bring all flutists together not only for the Directors: Amy Porter, flute; Jerald Schwiebert, movement; Tim Carey, piano; Laura Dwyer, flute & yoga comradeship but to garner the basics: Special Guest: Mark Sparks, Principal Flute, St. Louis Symphony, hear internationally famous performers, Faculty Aspen Music Festival, DePaul University. attend pedagogy presentations for teachers and students at every level, enjoy new friendships, draw the membership closer together with flutemakers and music publishers, and experience the state of the art in all areas. MPulse Flute Institute July 3-9, 2016 Zart Dombourian-Eby is president of One week young artist flute intensive the National Flute Association. Join us in U-M Faculty Director Amy Porter San Diego August 11–14, 2016 music.umich.edu/youthandadult

62 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Passing Tones In memorium

Robin Bruce Fellows: 1949–2015 December 1986. Fellows recalled writing his dissertation and practicing as Vickie toddled around their living room in her walker. His dissertation was a study of articulation in the works of J.S. Bach; he received his doctorate of music in 1988. Fellows was offered a teaching position at the University of Wisconsin–Whitewater, which he held, ultimately as a profes- sor of music, for 26 years. Son Matthew was a few months old when the family relocated to Whitewater in 1989. Fellows quickly won principal flutist positions with the Wisconsin Chamber Orchestra and the Summer Woodstock Mozart Festival and played second flute/piccolo with the Mil- waukee Ballet Orchestra for 15 years. In 2002 he released 20th Century Music for Flute on the Stoic label, and he also can be heard on three recordings as principal flutist with the WCO. In 2009 Fellows was awarded a sabbatical to study the Paris Conservatory collection housed at the Research Bibliothèque Nationale de France and published Celebrated Works for Flute by French Composers through Progress Press. He also ap- Robin Bruce Fellows with a student. peared as “flutist” in the 2012 film No God, No Master. Robin’s greatest legacy was his 26-year tenure as professor Robin Bruce Fellows, 66, of Whitewater, Wisconsin, died Octo- of flute at the University of Wisconsin–Whitewater. Former ber 20, 2015, at his home after battling multiple myeloma cancer. department chair Michael Allsen lauds his “fierce devotion” Robin Bruce Fellows was a gentle man who left a powerful to his students. “There’s a reason why the flute studio has al- legacy. Born on June 21, 1949, he grew up 18 miles north of ways been one of the largest and most successful in our de- Niagara Falls in Lockport, New York. In 1960 he decided to be- partment,” he said of Fellows. gin playing the flute. While attending Lockport Senior High, Robin Fellows inspired hundreds of flutists as director of he began flute lessons with Robert W. Mols at SUNY–Buffalo the annual Flute Camp. He loved the flute—older Powell and received his bachelor’s of music degree from SUNY–Pots- flutes in particular—but what made him a great teacher was dam and a performer’s certificate from that institution’s Crane his unwavering belief that anyone can succeed through incre- School of Music in 1972. He served as principal flutist of the mental, diligent practice. His ability to methodically and pa- Official U.S. Coast Guard Band from 1972 to 1975 and was tiently teach fundamentals is legendary, but his students will noted for rising from his seat each time the Wisconsin Cham- most remember how genuinely he cared about them. ber Orchestra played Semper Paratus on Independence Day. Fellows was exceedingly social and quick to laugh, and he Fellows was one of the last students of Joseph Mariano. He cherished his relationships. His daily routine always includ- received his master’s of music degree from the Cleveland In- ed flute practice, exercise, healthy food, and time with loved stitute of Music in 1978 with Maurice (“Mo”) Sharp. In the ones. He strived to perform every task with his full attention last weeks of his life, he fondly recalled this time in Cleveland: and commitment. His strength came from his openness and it was in a counterpoint class at CIM that he met pianist Kath- his immense courage from his love and gratitude for life. He erine Howard. They married August 25, 1979, in her home- chose to face adversity without bitterness or negativity, and he town of West Haven, Connecticut. kept his sweet smile through to the end. Less than 48 hours The couple relocated to Cookeville, Tennessee, when Fel- after Fellows entered hospice, his dear friend and colleague lows became assistant professor at Tennessee Technological Christian Ellenwood had collected more than 300 letters of University and flutist with the Cumberland Wind Quintet gratitude from his teachers, students, colleagues, and friends. as well as a regular member of the Knoxville Symphony, 100 In 1985, Fellows said, “When you’re around a great person you miles east of Cookeville. Fellows was granted a leave of ab- learn things, and Mariano is a great person.” Robin Fellows was sence from Tennessee Tech from 1981to 1983 to be a gradu- truly a great person who taught us all. He is greatly missed. ate assistant at Northwestern University with Walfrid Kujala, Fellows is survived by his wife, Katherine; his two children, who stated, “Mr. Fellows’ final doctoral recital was a model Victoria Fellows of Carlsbad, California, and Matthew Fel- of persuasive music making, one of the finest performances I lows of Whitewater; and a sister, Judith (Doug Chatwin) Fel- have heard in a long time at Northwestern.” lows of Williamsville, New York. Memorials may be made to After completing his coursework, Robin and Katherine the American Heart Association. returned to Tennessee; their daughter Victoria was born in —Elizabeth Marshall

SPRING 2016 THE FLUTIST QUARTERLY 63 NFAONLINE.ORG Barbara Helena Neal: 1953–2015 Born May 16, 1953, Neal worked in the Washington, D.C., metro area as a senior managing scientist/toxicologist for the Ex- Barbara Helena (Barb) Neal, an active member of the NFA, the ponent consulting group. In 1987, she married Andy Green, who Woodbridge Flute Choir, the Flute Society of Washington, and later provided the narration on the Woodbridge Flute Choir’s the society’s flute choir, DCFlutes, died October 19, 2015, after a most recent CD, Butterfly. She loved animals and had a special long battle with heart illness. Neal was active in the Woodbridge fondness for exotic birds. Flute Choir for 15 of its 20 years and seldom missed playing or Both Neal and Green were great supporters of the Woodbridge hearing performances despite her ongoing health issues. Flute Choir. Members of the Woodbridge Flute Choir and DC- Passionate about her music, Neal was a lifelong student of the Flutes performed at a celebration of Neal’s life held November flute, attending festivals, workshops, clinics, conventions, and 14, 2015, at St. Patrick’s Episcopal Church in Washington, D.C. other flute-related gatherings, where she not only learned but Memorial contributions may be directed to the D.C .Youth Or- enjoyed the fellowship of flute friends. Neal had attended a recit- chestra Program, 1700 E. Capitol St. NE, Washington, DC 20003 al given by members of the National Symphony the night before or to the Fauquier SPCA, 9350 Rogues Rd., Midland, VA 22728. she died. —Teresa Harris and Debbie Gilbert

Michael W. Colquhoun: 1953–2016 Colquhoun earned his doctoral degree from the Univer- sity of Buffalo, where he studied with Robert Dick, Morton Feldman, Lejaren Hiller, and Leo Smit. His works, which draw upon both classical and jazz elements and often incor- porate improvisation, have been performed throughout the U.S., Canada, and Europe and are published by McGinnis and Marx Music Publishers and ZenDog Publications. His best- known work is “Charanga,” commissioned for the NFA’s 1993 High School Soloist Competition, one of many commissions assigned to him. Colquhoun also was an active soloist and clinician and led the Buffalo salsa group Los Caribes. His CD Jar of Stones was released in 2008. He taught at Canisius College and Hilbert College in western New York. Colquhoun was preceded in death by husband Victor A. Lama, Jr. He is survived by daughter Sara (Kevin) Cooke; grandchildren Brendan, Abigail, Bethany, and Caitlin; sib- Michael W. Colquhoun lings M. Patricia (William) Squire, Kathleen A. Colquhoun, Composer, flutist, and NFA member Michael Colquhoun Donald G. (Karen) Colquhoun, Jeanne (Robert) Spampata, died January 8, 2016, in Buffalo, New York, following a battle and Joan T. Colquhoun; and many loving nieces, nephews, with cancer. and great and great-great nieces and nephews.

Ed Senechal: 1961–2015 Senechal took up a new career in computer engineering, living in various locations worldwide. During his time in Flutist Ed Senechal died October 16, 2015, at home and surrounded Madison, he was active in the formation of the Verona Area by family, following a struggle against cancer. He was 54. Concert Band, a group of enthusiastic amateur players, which Senechal was born in Green Bay, Wisconsin, February 18, 1961, he played with and supported. More recently he was active to Martha Meily Senechal and Edward C. Senechal. He graduated on the Northwestern University campus as a volunteer and from high school with highest honors, was a National Merit Schol- enthusiastic alumnus. ar, and showed an early aptitude for flute, studying with Professor Senechal is survived by his mother, Martha; his sister, Mar- Robert Bauer at the University of Wisconsin–Green Bay through- tha Ann LeComte; her husband, David; their two children, Ben out grade school and high school. While in school, he received and Katie; his brother, Andy Senechal; his wife, Molly; their two the Mildred Havlick Young Musicians’ Award, won the first Young children, Anders and Moira; favorite aunts Helen Levinson (and Artist Concerto Competition with the Green Bay Symphony Or- her family) and Sally Hayden (and her family). He is further sur- chestra, and performed with the Milwaukee Symphony Orchestra. vived by his stepmother, Deborah Senechal, and several aunts, Senechal graduated from Northwestern University, where he uncles, and cousins. He was preceded in death by his father, Ed- studied with Walfrid Kujala, in 1983. Soon following, he won the ward; his maternal grandparents, David and Esther Meily; and position of principal piccolo player with the Hong Kong Philhar- his paternal grandparents, August and Isabelle Senechal. monic Orchestra and lived in Hong Kong for seven years before At Senechal’s request, no formal services were held. Memorial moving to , where he performed with many groups, funds have been established for the Madison Scouts, 2935 S. Fish concluding with the Monchengladbach Opera. During sum- Hatchery Rd, #401, Madison WI 53711; and for the Verona Area mers, he toured with a small chamber orchestra group. Concert Band, [email protected].

64 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Frank Scelba: 1928–2015 that I studied with him, I went from being an alternate in the high school concert band my sophomore year to making Region Frank Scelba, former principal flutist with the New Jersey and All State Bands in my senior year. I was exposed to much of Symphony, died November 20, 2015 after a long battle with the standard etude, solo, and orchestral repertoire as well as hav- heart disease. ing been challenged to hone my sight-reading skills. That alone is A well-known musician and educator in the Millington, New testament to the quality of instruction I received from Frank. I’ll Jersey, metropolitan area, Scelba worked with the Belleville pub- be eternally grateful for the foundation he gave me.” lic school system for 42 years, retiring as the director of fine arts. Scelba considered his greatest accomplishments to be his In addition to his post as principal flutist for the New Jersey family, which spans four generations. He was the husband of Symphony, he was first flutist for the North Jersey Philharmonic, 61 years to Irma Scelba and father of Dave Scelba and his wife, solo accompanist for opera singer Roberta Peters, director of the Jody; Paul Scelba and his wife, Cindy; and Carol Rizzi and her Wallace and Tiernan Choir, and adjunct professor at New Jersey husband, John. His grandchildren are Kristofer Scelba and his City University. He had also served as a master sergeant in the wife, Susan; Jessica Curran and her husband, Michael; Jenna Rizzi; West Point Band during the Korean War. and John “JC” Rizzi. His great-grandchildren are Nicholas, Joseph, Piccoloist and NFA member Nan Raphael studied with Scel- and Giavanna Scelba and Sofia, Sienna, and Michael Curran; and ba from September 1970 until June 1973. “Before starting study his siblings are Nancy Minchello, Steve Scelba, Andrew Scelba, with him, I had heard about how strict he was from a former stu- and the late Anthony and Vincent Scelba. Donations may be dent of his,” she said in an online post. “I was both apprehensive made to the Long Hill First Aid Squad, 949 Valley Road, Gillette, and excited about becoming a student of his. In the three years N.J. 07833.

The Levit Professional Flute For The Piccolo Specialist Levit Kingma System Flute and for andFlutes of the absolute Those Who Need finest precision, sound to Sound Like One and beauty; built to be KEEFE an extension of you. 54 Church Street PICCOLOS Winchester, Massachusetts 01890 USA BOSTON Phone: 781-369-1626 E-mail: [email protected] LEVIT www.keefepiccolo.com

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Suzuki Association of the Americas

2016 Conference May 26-30, 2016 Minneapolis, MN

Suzuki Teacher Training Teacher training is available at summer institutes, universities, and studios throughout North America and in some locations in Latin America. View our website for a complete listing of institutes and festivals providing training. Visit www.suzukiassociation.org or call 1-888-378-9854 for more information.

SPRING 2016 THE FLUTIST QUARTERLY 65 NFAONLINE.ORG Recordings, music, and other products by New Products and for NFA members Falls House Press Joins Theodore Presser

The grassroots company features flute music -ex clusively and fits well with the mission and reach of the larger music publisher.

Theodore Presser Company is the oldest continuing music publisher in the United States, dating back to 1883 with the publication of a music magazine by its founder and growing to be a full-range music publisher with worldwide distribution and a catalog of more than 70 publishers. Falls House Press publishes flute music exclusively. The Douglas Worthen and Linda True company was created in 1992 when its co-owner, Linda True, was studying with co-owner Douglas Worthen and he 200 publications for flute choir, and Presser isn’t active in that brought her original embossed woodblock-print editions of medium. Presser and Falls House will continue to publish works possibly dating to the early 1800s that he had discov- separately from each other, each continuing the editorial and ered at a yard sale. The two discussed starting a business to acquisitions focus that we’re each known for. The new owner- republish out-of-print works. ship by Presser guarantees the permanence of the Falls House The company soon grew to include newly written works catalog.” Visit presser.com. and new transcriptions. It has released works by David Bailey, Jan Boland, Jonathan Cohen, Gergely Ittzés, Phyllis Louke, Sergio Roberto de Oliveira, Trygve Peterson, Rick Pierce, Christine Potter, Robert Raines, Gary Schocker, Da- vid Evan Thomas, John Wion, Douglas Worthen, and Trevor Wye, among many others. “Falls House has always been a maverick gem, the passion- ate mission of Linda True and her teacher Douglas Worthen, two flutists without previous publishing experience who were determined to get more music out there,” said Daniel Dorff, vice president of publishing at Theodore Presser Company. “I’d had my eyes on them as an inspiring model of grass roots publishing, and in 2006 we offered to become their distributor so they could put all their time and effort into growing their catalog and delegate the warehousing and sales functions to Presser. That became the win-win we all expected, and when Linda decided in 2015 that she was ready to sell Falls House and retire, we were eager to take the next step by acquiring this wonderful catalog.” Given the long association of the two companies, chang- es for consumers will be minimal. Falls House Press pub- lications are located at Presser, available through Presser’s website, and sold to sheet music retailers through the Carl Fischer/Presser sales team. Presser will take over maintain- ance of the Falls House Press website, but Falls House Press publications will maintain their own logo and identity under the Presser umbrella. “Falls House is the perfect complement to Presser’s flute catalog,” said Dorff. “We have half of Gary Schocker’s music, and Falls House has the other half; Falls House has nearly

66 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Albany Records has reer dedicated to exploring the instrument’s potential and released Mystic Voic- seeking new ways to incorporate it into the contemporary es Soaring: Chamber musical repertoire. To this end, he has commissioned doz- Music for the Native ens of works by some of today’s leading composers and they, American Flute, fea- in turn, have challenged him to develop new techniques to turing Native Ameri- perform these pieces. This is the third Albany Records CD can flute-player James to feature music commissioned and performed by Pellerite. Pellerite, 2016 NFA His previous recordings are Visions, Dreams, and Memories Lifetime Achieve- and Embrace the Wind. ment Award recipi- James Pellerite first established himself as a performer and ent. The CD’s reper- teacher of the modern flute. He served as principal flutist with toire includes Don the Philadelphia Orchestra and the symphony orchestras of Freund’s “Medicine Detroit and Indianapolis and has also performed with the Ra- Wheel”; John Heins’ “Nature Story and Pastorale”; Justin Ru- dio City Music Hall Orchestra, L’Orquestra Sinfonica de Puer- bin’s “Breath of Life”; Marilyn Bliss’ “Wind Songs”; William to Rico, and the San Francisco and Dallas symphonies. He was Hill’s “Mystic Cadenzas”; and James Aikman’s “Great Spirit.” professor of flute at Indiana University and held numerous Also featured are Arwen Myer, soprano; Laura Beckel Thoren- summer residencies throughout his career. He has performed son, mezzo soprano; Amanda Russo, mezzo soprano; Logan in venues around the world and has toured throughout the Shawn, viola; Cole Tutino, cello; Karen Evans Moratz, flute; United States, Australia, Japan, China, and Hong Kong. Since and George Shirley, narrator. his retirement, Pellerite has devoted himself to the perfor- After a chance encounter with the Native American flute, mance and promotion of the Native American flute and gives acclaimed flutist James Pellerite embarked on a second ca- regular recitals and classes. Visit albanyrecords.com.

NFA member Paul Hofmeister Publishing has Fried, former prin- released Flute Song for flute cipal flutist with the and piano, by Wolfgang Boston Pops and Wollschläger, and Sonata for Boston Symphony, solo flute, by Altug Ünlü.Flute has released W.A. Song contains five cheerful, Mozart Flute Concerti lilting movements suitable for in G, D, and C Ma- beginning or advanced flut- jor. The CD features ists, with a light piano accom- Fried and harpist paniment suitable for begin- Maria Casale. Signed ner-level students. Sonata is copies, along with in three movements in quick- music to the caden- slow-quick order. The work zas for the G major and D major concerti, may be purchased was premiered by composer online; digital downloads are also available at cdbaby.com and György Ligeti and used for iTunes. Also available is Fried’s exercise book, 25 Warm Ups & study in his class at the Ham- Caprices, intermediate to advanced.Visit paulfriedflute.com. burg Academy of Music. Visit hofmeister-musikverlag.com.

Theodore Presser Company has re- leased a piano reduction of Behzad 44th Annual National Flute Ranjbaran’s Concerto for Flute, a com- mission by the Philadelphia Orches- Association Convention tra. (See the summer 2015 issue of this magazine for more about this com- missioned work and its collaborators.) Inspired by the human-like sound San Diego of the (a Persian bamboo flute), August 11–14, 2016 Ranjbaran aimed not only to highlight the modern flutist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the ney, particularly in extended solo passages. The Concerto, a work of three movements and 27 minutes in length, was premiered in November 2013 by principal flutist Jeffrey Khaner and the Phil- adelphia Orchestra. Ranjbaran has also crafted the piano reduc- tion with live performances in mind. Visit presser.com.

SPRING 2016 THE FLUTIST QUARTERLY 67 NFAONLINE.ORG Reviews of flute-related recordings, Reviews books, and other items of interest

Book

The Savvy Music Teacher: preneurial skills that are a necessity for working musicians today. Blueprint for Maximiz- Writing in an enthusiastic tone about the important work mu- ing Income and Impact sicians do for society, Cutler offers practical and realistic advice about making a living in the field. Above and beyond that, he David Cutler offers valuable examples of how others have done it. He includes ©2015 Oxford University Press incredibly practical chapters on time/life management, money management, and how to plan for retirement, vacations, and In 2010, Helius Press released living a good life on a decent annual income teaching music as David Cutler’s The Savvy a freelance musician and independent teacher. In addition, his Musician, which remains an bibliography is a gold mine of resources that are incredibly use- outstanding resource for all ful to musicians—both those working and those just starting out musicians. In 2015, Cutler— in the profession. who is now Director of Music A companion website offers links to financial planning work- Entrepreneurship at the Uni- sheets referenced in the book. (See oup/us/thesavvymusicteacher.) versity of South Carolina—fol- Many music schools now include business and entrepreneur- lowed up with The $avvy Music ial training in their programs. For those who attended school Teacher: Blueprint for Max- before such classes were required, Cutler’s books provide out- imizing Income and Impact, standing advice and insight into having a savvy business sense published this time by Oxford University Press. The book is a while maintaining one’s integrity as a performing and teaching must read for musicians seeking advice on financial planning, musician. diversity of income streams, marketing, and other general entre- —Amy Likar CDs

Romantic Flute Concertos: alternating between charming light melodies and seemingly Dupuy & Büchner endless passages of arpeggios, scales, and trills when musical Ginevra Petrucci inspiration falters. Acrobatics may have a place in some repertoire, but not as a ©2015 Brilliant Classics substitute for a scarcity of content. One pines for greater melod- ic substance with which the flute can soar above the orchestra Given the dearth of recordings in spirit, if not in decibels. In its best moments, especially in the featuring flute concertos of the second movement, this work seems derivative of the scoring of 19th century, it is always tan- Mozart and the flute writing found in such staples as Mercadante’s talizing to discover new CDs Concerto in E Minor. The most noteworthy characteristic of this devoted to expanding this of- concerto is its rather un-noteworthy content. ten-overlooked oeuvre. This recording was made in Milan, Italy, Concerto No. 1 in F Minor, op. 38, by Ferdinand Büchner in September 2014. The orchestra, conducted by Maurizio Cia- (1825–1912) was the first of his eight flute concerti and reflects mpi, is I Pomeriggi Musicali, an ensemble that debuted 70 years his own enormous success as a flute virtuoso and orchestral mu- ago. The wonderfully gifted Italian flutist Ginevra Petrucci is the sician, especially during his 62-year career in St. Petersburg and featured soloist. Moscow; he was the first professor of flute at the Moscow Con- It is not known when Edouard Dupuy (1770?–1822) com- servatory. His first concerto is considerably more satisfying in posed his Concerto in D Minor, but the piece reflects an emerg- all respects than Dupuy’s effort. It benefits by the grace of time, ing interest in writing large works for flute and full orchestra. being written many years later, and is filled with wonderfully ex- Its inspiration is clearly the operatic traditions of Mozart and pressive writing. Büchner created a work worthy of widespread his contemporaries. After an overly lengthy and rather pomp- attention by flutists intrigued by repertoire of this genre. It would ous grand introduction that is nearly three-and-a-half minutes be very interesting to hear the remaining seven of his flute con- long, the flute finally enters with numerous thematic elements certi in an equally satisfying recording.

68 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG CDs The real “discovery” in this CD is the young Italian flutist less than ideally present and maybe a bit muffled, perhaps by -ex Ginevra Petrucci. Her playing is warm and elegant without being cessive EQ filtering. self-conscious, and she adds a welcomed luster to both concerti. Both concerti are approximately 29 minutes long and were She seems more artistically comfortable in the Büchner setting. revised by Maurizio Ciampi, the conductor on this recording. The musical content in this concerto allows her radiance as an They are published by Athenaeum Editions 2014. The Büch- emerging young artist to glisten. Throughout, her technique is ner concerto was first published in 1896 and can be previewed clean and clear, intonation is impeccable—especially in the ex- through IMSLP. treme high register—and she has an easy and uncomplicated way This CD provides something new and intriguing for all flut- of tossing off the technical demands. ists—a rewarding Romantic concerto by Büchner and an intro- If there is anything lacking in the recording from a sonic point duction to many listeners of flutist Ginevra Petrucci. Two for of view, it is that the orchestral sound, especially in the forte pas- three ain’t bad! sages, is nearly overwhelming in its power, while the flute seems —Brooks de Wetter-Smith

The Telemann Files ated for the purpose of fundraising has been viewed approximately Jasmine Choi 10,000 times, which is nothing compared to the impressive 600,000 ©2015 Austrian Gramophone hits she has on YouTube for her Paganini Caprice No. 24. Colleagues of mine who are involved in the HIP (Historical- Jasmine Choi is a powerhouse of ly-Informed Performance) movement likely would not approve sound and vivacity on the flute. of all of the ornaments and colors that Choi’s recording employs. Her bold interpretation of the Yet Choi addresses this in her liner notes, writing, “it is about 12 Telemann Fantasies for solo speaking through music with your own color and own convic- flute are quite enjoyable to hear. tion.” Her sound is full and rich; on this recording, she rarely ex- In the liner notes of this CD, plores the softer, delicate side of the flute spectrum, yet musical Choi cites this project as way to ideas are quite varied. It is lovely to hear these Telemann pieces, thank the many individuals who have influenced her life; each fan- which contain limitless possibilities for freedom of musical ges- tasy lists a specific dedication. She also funded the project in part ture, performed so strikingly by Jasmine Choi. through an effective online campaign; a YouTube video that she cre- —Molly Barth

BCMF Premieres: of calm and resolution beautifully rendered by the transparent Kevin Puts, Seascapes colors and liquid technical movement of the performers. Marya Martin/ Four Airs features four different solo instruments with piano: flute, cello, clarinet, and violin, respectively. The flute segues Bridgehampton from jazz-inspired rhythms to an almost Baroque style, which Chamber Music Festival leads to the second movement, the cello’s Ravel-tinged ballad. ©2015, Bridgehampton The clarinet takes over in the third movement with great ath- Chamber Music Festival leticism that is then stretched and pulled into a soaring melody for violin. Rounds for Robin, written for Martin, is another piece Bridgehampton Chamber for flute and piano and is the composer’s tribute to the late actor Music Festival, founded in Robin Williams in all of his capricious characters, from brooding 1984 by Marya Martin, per- to rhapsodic to light-hearted and playful. forms concerts every summer in Long Island, New York, and cham- Traveler for flute, violin, viola, cello, and piano is a seven-min- pions living composers’ works. This recording features works by ute theme-and-variations that imagines the original theme on American composer Kevin Puts including Seven Seascapes, Rounds for Robin (both written for BCMF), Four Airs, and Traveler. a journey, evolving harmonically and texturally as it adjusts to Kevin Puts is a Pulitzer Prize-winning composer who current- each new “environment” Puts creates. ly serves on the faculty of the Peabody Institute and as director The pieces on this album are creative and illuminating, with of the Composer’s Institute. He works in a none less interesting than the others. Seven Seascapes is positive- familiar enough, mostly tonal language with an often Romantic ly arresting and Traveler is a fascinating compositional study. sense of breadth and structure, but the result in the music fea- Martin and her colleagues shine throughout, not only as tured by this recording is fresh and inventive. note-perfect and physically accomplished on their instruments Seven Seascapes is truly cinematic in scope; Puts manages to but as musical guides of the highest order. Every note seems per- paint arresting images in each of his movements, inspired by ma- fectly conceived, shaded with just the right color and given the rine quotations from seven different authors. The first, inspired most appropriate sense of direction, for a set of performances by Emily Dickinson, casts a bleak, formidable sky over tumultu- that is deeply satisfying from start to finish. ous waters. The fifth, inspired by Virginia Woolf, creates a sense —Nicole Riner

SPRING 2016 THE FLUTIST QUARTERLY 69 NFAONLINE.ORG CDs Bach (re)inventions, The ensemble playing is excellent throughout, and the intona- Vol. 1 tion is impeccable. Lamb and Rummel play with just the right Ensemble Paladino balance of vibrato, and one could be forgiven for forgetting that these pieces weren’t originally written for flute and cello. ©2013 Paladino Music I suspect many listeners of this CD will have their own par- ticular favorites, perhaps based on learning some of these piec- This recording, featuring Eric es on the piano as a child. I particularly loved the charm of Lamb and cellist Martin Rum- mel, celebrates Bach’s two-part certain movements: for example, the Allemande from the sixth keyboard writing, heard here French Suite, the joyful energy of the F major invention, and in convincing new transcrip- the fabulous atmosphere created in the G minor Minuet from tions for flute and cello. The 15 the Anna Magdalena notebook. Playing fast and loud on the two-part inventions are presented in key order, interspersed with flute is often celebrated (and of course it takes a lot of time and other aspects of the keyboard repertoire, including extracts from commitment to build up a dazzling technique), but the abili- the Anna Magdalena notebook, as well as movements from the ty to play a very simple line with exquisite expression, subtle French and English suites. changes of timbre, and a communicated understanding of the The first thing that struck me as the music began was the phrase are signs of true musicianship; these performers have it level of care in the performance. From the most simple mel- in abundance. ody and bass-textured Menuet to the more complex moments The recording quality, too, is excellent, with a clear sound and of imitation, these performers give the feeling that every sin- a good balance between the instruments. Clearly as much care gle note is important and play with an attention to detail that has gone into the production of this CD as has its performance. serves the music with a sense of respect. Then there is the joy; This CD is a fine example of how baroque music can be one has a feeling that Lamb and Rummel are enjoying every played on modern instruments, with a fine sensitivity of in- single moment of this recording session. The fast moments terpretation and a vivaciousness that makes this music entirely are light and playful, and the expressive cantabile of the slow relevant to our times. Unmissable. movements never becomes self-indulgent or heavy. —Carla Rees

Solo Flutes album contains 17 tracks of contemporary compositions and Mark Alban Lotz improvisations and featuring piccolo, concert flute, alto flute, ©2014 LopLop Records bass flute, PVC contra bass flute, prepared flute, and voice. “The compositions and improvisations are played in one go, live,” Lotz Dutch flutist Mark Alban writes. “No use of overdubs, loops, sound processing, etc. It was Lotz is typically labeled as a fun to record. Enjoy.” jazz performer, but—as with I did enjoy. It is, in its way, a tour-de-force. Lotz is not only a growing number of artists— an artist with a broad vision, he is also a flutist with the tech- such labels are becoming less nique to match his musical imagination on the broadest range of and less useful. Lotz cannot be flutes. The result is a remarkably varied musical journey, includ- easily tied down to any genre, ing abstractions of what he calls the bass flute sequenzas, six of even jazz itself. His output of them—including “Adam and Eva” (Kingma, I assume)—which albums—at least 16 of his own and more than 40 with other he describes as “sound excesses, exploring the pipe of the bass artists—has covered a host of different genres over multiple flute.” He explores whole tones in “Whole Steps” via the depic- world music traditions, from jazz to contemporary European tion of sunrise in “Eastern Desert,” PVC rumblings on the con- music to African, Afro-Cuban, Balkan, and Indian classical trabass instrument, chromatic flutterings on “Dear Moth,” the forms, among others. great American Song Book—sort of—on “Why Not Take All (Of This is perhaps not surprising given Lotz’s background. Raised Me, that is),” African overtones on “Piccolo for Makeba,” tonality in Thailand, Uganda, and Germany, Lotz settled in The Neth- in “Major Circles,” and flute singing in “For Rahsaan.” In a stroke erlands, where, having taken up the flute at 17, he studied jazz of brilliance, “A Fine Winter” brings a conclusion of tonal clarity at the Hilversum Conservatory, classical/contemporary music direct from the jazz mainstream. at the Amsterdam School of Arts, and north Indian bansuri at Many jazz flutists dare to include avant-garde abstractions in Codarts, Rotterdam; he also studied privately in the U.S. Rein- their improvisations these days; few avant-garde artists have the forced by extensive touring all over the globe, these influences courage to embrace the simple and the concrete cheek by jowl have created an artist with few stylistic boundaries. with extended techniques. Pure genius! All of this is very evident on Solo Flutes. Composed during —Peter Westbrook a 10-day sabbatical visit to Berlin and recorded—with just the composer, flutes, and a computer—in an empty room at the This review first appeared in flutejournal.com and is used with Alphen aan den Rijn School of Music in The Netherlands, the permission. 70 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG CDs Grain of Sand Subsequently, however, as McBirnie writes, “Our musical Bill McBirnie paths diverged,” until recently when Jones asked him for help ©2015 Bill McBirnie on a recording. “This went really well and I learned that Bruce had a lot of material in various stages of completion on his hard Bill McBirnie has established drive. Once again, I suggested to him, ‘Maybe we should extend himself internationally as a ourselves and do another flute-oriented project.’ ” jazz and Latin jazz flutisteven Jones’s major role in the partnership is to lay down a variety though he does very little trav- of settings for McBirnie’s flute, shifting moods and soundscapes eling outside of his home town through which McBirnie swoops and soars with his trademark mix of Toronto, Canada. His work of bebop and Latin jazz phrasing. The settings range from sambas within Canada has won him and bossa novas (reflecting Jones’s Brazilian upbringing—he grew domestic awards, while his position as resident jazz flute spe- up near Sao Paul, where he studied at the Academia Paulista de cialist at Sir James Galway’s official website has extended his Musica) to rock, hip-hop, fado, and other folkloric elements that reputation beyond his home shores. He also has performed at he has integrated into his very personal mode of expression. NFA conventions as soloist, masterclass leader, and Jazz Flute It seems redundant to discuss the overall feeling of a CD these Big Band member. days, when most consumers sample and purchase music tune- I have always admired his great technical facility, melodic clarity, by-tune at $.99 a track, and this recording seems especially set and seemingly effortless inventiveness, which has included an effort up for such an approach. There is no particular program sug- to keep changing the musical contexts for his improvisations: piano gested in the sequence of tunes, and I enjoyed sampling the piec- duos and trios, quartets (flute, piano, bass, drums), and, most re- es alternating with cuts from other jazz flutists, including other cently, an organ trio (flute, Hammond organ, drums). For Grain of McBirnie albums. The work holds up in all contexts, although Sand, his seventh recording, McBirnie returns to a format he used I admit to a preference to hearing him in a straight-ahead set- on his debut album, Desvio, in 1998, partnering with singer-song- ting with a jazz rhythm section. But the common denominator writer Bruce Jones, who contributes not only vocal and instrumen- is McBirnie’s flute and alto flute work, and I can certainly under- tal work but also his composition and production skills. This initial stand its appeal in this setting. It will be intriguing to see what he recording project came about as a consequence of McBirnie’s work- comes up with next. ing regularly with Jones’s Brazilian rock band. —Peter Westbrook

Daniel Carr: of these are found in the second movement, which is generally Works, Vol. 2 more complex—tonally, technically, and emotionally—than the François Minaux other three. ©2015 Daniel Carr Listening to his shorter, more programmatic character pieces re- veals Carr’s love for song, particularly in the piece “Song,” which was Aside from a few undergrad- originally written for piano solo and only later rewritten for flute, uate theory and counterpoint voice, and piano. The haunting vocal melisma, used sparingly near classes, Daniel Carr, whose the end of the piece, left me craving more. The other character piec- compositions are featured on es on the album—“Foliage,” “Still,” and “Wedding Song”—as well this recording, never had any as the slow selections of his multi-movement works, Sonatina for formal compositional training. Yumi, Sonata for Flute and Piano, and Three Nocturnes for Flute With a degree in finance, Carr works as an IT professional and and Piano, achieve a similar effect: beautiful flute melodies floating writes music recreationally in the evening and on weekends. In over an undulating bed of suggestive, often pentatonic harmonies. view of this, his recently released album, Works: Flute and Piano, The flutist on the album, Carr’s brother-in-law François Mi- Volume 2, which represents his entire published output for flute, naux, in collaboration with pianist Mayumi Tayake, does a su- is all the more impressive. perb job with these pieces. His pure tone and command of less Perhaps because of his independence from the profession, traditional flute techniques allow him to make music with even Carr has arrived at a style grounded in the 21st century yet clear- the simplest of melodies. On occasion, a less refined note in the ly distinct from the avant-garde. He decidedly rejects what was third or fourth octave reveals itself, but these are foibles of the once a modernist staple, folding himself firmly in the arms of work and quickly forgotten in lieu of Minaux’s exquisite tonal tonality and the realm of melody. He has described his writing as control in piano dynamics. “pop-influenced,” and his references to artists such as Radiohead This album is the second released by Carr. The more he pushes and Sarah Kirkland Snider suggest a fusion of classical forms and the envelope of traditional tonality and rhythmic stability, the alternative/indie popular music. more captivating his music becomes. His future projects aim to The standout piece on this CD is clearly the full-scale Sonata explore other instrumental combinations. With what we’ve seen for Flute and Piano, op. 6, a substantive—if slightly edgy—work in his writing for the flute, however, we must hope this is not the of intensity and power that employs extended techniques such as last time the flute community hears from composer Daniel Carr. flutter-tonguing, spit tones, pitch bends, and multiphonics. Most —Jennifer Slaughter SPRING 2016 THE FLUTIST QUARTERLY 71 NFAONLINE.ORG CDs Fields of Pannonia logical cousin to Messaien’s Le Merle Noir, but here the bird Christian Artmann flies funky, with Artmann’s improvisation thematically punctu- ©2014 Christian Artmann ated with flutter tonguing. Two tracks, “Sunya” and “Atacama,” both free improvisations, Pannonia, a frontier of the show the depth of listening that this group possesses and are Roman Empire that now lies among the most successful pieces on the album. “Vortex” is un- at the geographical center of conventional and surprising in its construction and showcas- modern Hungary, evokes a es Artmann’s full technical command of the flute, especially in historied landscape that flutist the piece’s punchy chromatic climax. Finally, “August” features Christian Artmann’s Fields of one of Artmann’s best solos on the album. The rhythm section Pannonia paints through jazz. You may not find yourself in ac- of Gregg Kallor, piano, Johannes Weidenmueller, bass, and Jeff customed jazz territory during this almost 60-minute mythical Hirshfield, drums, shines brightest on this feel-good track. journey in sound, but there are references to familiar composers Hirshfield’s drums add color and texture to this album, along the way, including Wayne Shorter, J.S. Bach, and Messaien. whimsically painting rhythms while simultaneously support- The opening title track is full of unexpected turns and modu- ing the band’s cool textures and strong sense of swing. Kallor’s lations. It provides the album’s most memorable, almost folklor- playing is always surprising—he never settles for typical pia- ic melody, the kind you might hum to yourself walking down a nistic devices, and Weidenmueller’s creativity and confidence long stretch of road as the day’s heat gave way to evening. Wayne demonstrate why he is such an in-demand bassist in today’s Shorter’s “Fum-Fo-Fi” is the closest to a straight-up blowing ses- international jazz scene. sion, with inventive bop-styled solos throughout. If you are a fan of the lush sounds of the alto flute, buy this The reworking of J.S. Bach’s “Sarabande” from the Partita album—the instrument is featured throughout alongside the in A Minor nests the famed melody quite dissonantly. It may C flute. Artmann’s tone conveys unusual warmth and mystery, charm some listeners with its lyricism and familiarity, but this and his improvisations are as fertile as the fields of Pannonia reviewer found it somewhat out of place given the ambience of themselves. the album as a whole. “Garuda’s Song” sounds like an ornitho- —John Savage

Ghost Icebreaker Sky” opens with timbral trills and ghost tones along with fin- Helen Bledsoe ger drumming on the body of the piano to create a magical flut- ©2014 Leo Records tering sound. “Settlement” sounds fleeting at first but plants its feet firmly with strong, thick sounds as it develops into a tune. It’s hard to believe that in all “Ghost Icebreaker” is spooky, with plucked tones and scratches her years serving as an unoffi- made inside the piano and breathy spoken sounds played into cial guide through the world of the flute. The entire program is a fascinating study in how sounds avant-garde flute performance, become meaningful—and just how many kinds of sounds can be this is actually Helen Bledsoe’s created with the flute. first solo CD. Together with pi- Each tune is wonderfully evocative, transporting the listen- anist Alexey Lapin, she shares er to a new state of mind with each new track. Bledsoe’s use of this collection of wonderfully dense, widely varied improvisations extended techniques is integrated so thoroughly with the music on simple themes: “Snow,” “White Oranges,” etc., as well as the that nothing ever sounds like a parlor trick or a cheap stunt; ev- eponymous “Ghost Icebreaker.” Each piece is so tight between ery color and texture is necessary and meaningful. And she uses players, and so organic in development, that I actually had no a broad pallet, as one would expect from a flutist whose illus- idea these were improvisations until I read about the album on trious career has focused with such dedication on new music. her blog. (No liner notes are include in the CD, which is a shame.) Ghost Icebreaker displays Helen Bledsoe’s full range as a sound “Snow” starts with tentative little sounds that gradually ac- artist—and it is an impressive range indeed. cumulate in length and density. “The Rising Star of the Falling —Nicole Riner

Save the Date: NFA Annual Convention

San Diego, Minneapolis, Orlando, California Minnesota Florida August 11–14, 2016 August 10–13, 2017 August 9–12, 2018 Town and Country Resort Minneapolis Convention Center Hyatt Regency

72 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG CDs Freedom The other two pieces were commissioned by Stillman’s group, Mimi Stillman Dolce Suono Ensemble. David Finko’s Sonata for Flute and Piano ©2015 Innova (2012) depicts the flutist as lonely survivor wandering a desolate landscape, expressing fear, sorrow, humor, and, finally, peace. Mimi Stillman’s latest CD, Stillman and Abramovic are joined by their colleague, cellist Freedom, with pianist Charles Yumi Kendall, on Richard Danielpour’s Remembering Neda: Trio Abramovic, celebrates Jewish for Flute, Cello, and Piano, written for the group in 2009. Daniel- composers of varying back- pour is a Persian Jew who grew up in both the United States and grounds who have experienced Iran, and he draws upon his experiences of both places in this persecution and triumphed homage to a young woman shot during the protests in Tehran in over tragedy. It is a collection the summer of 2009. Its three movements (Lamentation, Dese- of pieces at once ponderous, defiant, and joyful, and Stillman cration, Benediction) trace an emotional arc that is expressed in performs each mood with just the right shade of light or dark- a decidedly Middle Eastern-sounding flavor. ness to suit the composer’s needs. Each composition in this collection is tonal and in some state The first work on the album, Five Pieces for Flute and Piano, of post-Romanticism, making for immediate accessibility to a was composed by Mieczyslaw Weinberg in 1947 after he had wide variety of audiences. The music is played lovingly and survived the Holocaust and before his inevitable imprisonment with great passion by all of the performers, and if you believe in the Soviet Union for his supposed Formalist tendencies. The in an intersection between art and politics, it is an important movements—Landscape, First Dance, Second Dance, Melody, collection of pieces to know, as well. Freedom is inspiring and and Third Dance—range from poetic quotations of Debussy to truly beautiful. operatic lyricism to playful, flamboyant dance. —Nicole Riner

Vāyu: Multi-cultural practices that go beyond the conventional playing techniques Flute Solos from the of the instrument [that are] known within the field as ‘extend- 21st Century ed techniques.’ ” Assimakopoulos’s vision has led her to an ongoing research Nina Assimakopoulos project, of which this recording is but one component, albe- ©2015 AMP Recordings it an essential one. In an almost breathtakingly bold stroke, she has undertaken to record 11 pieces for solo Western flute Currently flute professor at written between the years 1960 and 2004, running the en- West Virginia University, Nina tire gamut of modern composition, and exemplifying her Assimakopoulos has built a multicultural influences and resulting interest in the full reputation for technical mas- range of extended techniques. She selects works by Robert tery, expressive flair, and imag- Dick, Shirish Korde, Robert Aitken, Kazuo Fukushima, Ann inative repertoire choices. Following the thread that runs through La Berge, Maggi Payne, Katherine Hoover, Margaret Car- the programming of her previous four recordings leads her to the lie-Kennedy, Will Offermans, and Ian Clarke—five Amer- vision manifest in her most recent project, named simply Vāyu. icans, the others from Canada, England, India, Japan, and The reference here is to Vāyu, a Vedic deity known as Lord the Netherlands. of the Winds but also to the Sanskrit root referring to a blower “I chose these compositions,” she writes, “because of the di- or more generally the breath of life. Under this rubric, Assi- versity of the musical traditions they embrace and the challenges makopoulos has assembled a selection that, as the CD’s subti- they pose for the performer.” Indeed, these compositions reflect tle suggests, reflects a variety of influences—cultural, histori- the diverse timbres capable on the modern Western flute, show- cal, and technical. casing its ability to mimic sounds as ancient as those created by She writes of the tendency of American musical culture “to indigenous instruments and as modern as those associated with respond with increasing intensity to the influence of musical beat-boxing and electric guitar. cultures from elsewhere in the world” resulting in a tendency So comprehensive is this project, and so varied, that it is almost in her career to be “engaged with compositions that blend el- beyond the scope of a simple record review. The notes by Chris- ements from diverse traditions situated within modernist art topher Wilkinson, professor emeritus at West Virginia University, music.” This has led her increasingly to focus on research that provide much needed background for the composers. “concerns the discovery and preparation of performances of As for the performances themselves, suffice to say that As- a new repertoire for unaccompanied flute that draws upon a simakopoulos, drawing upon her prodigious skills of execu- diversity of musical cultures from around the world, result- tion and imagination, has pulled off a tour-de-force that is ing in compositions that are hybrids of diverse musical styles required listening for any flutist with an interest in this reper- and the practices associated with western art music.” These toire and/or in the techniques required to perform it. practices and this repertoire require “mastery of performance —Peter Westbrook

SPRING 2016 THE FLUTIST QUARTERLY 73 NFAONLINE.ORG CDs Parisian Impressions yet not well-known, works by Charles-Édouard Lefebvre, Gérard Leonard Garrison Meaner, Claude Arrieu, Victor Durvernoy, Louis Auber, Henri ©2015 Albany Records Gagnebin, Georges Brun, , Armand Bournon- ville, Henri Büsser, and Johannes Donjon. Many of these works Leonard Garrison and pianist are accessible to aspiring young performers. They would be a great Roger McVey have recorded a alternative to the more challenging contest pieces commissioned delightful collection of French by the Paris Conservatory during its heyday. pieces that ought to be learned Garrison has a beautiful tone and lovely choices of timbers and and performed by the current vibrato. McVey has a light and lively sound throughout the deli- generation of flutists. The CD cate accompaniment required by the selected works. features recordings of wonderful, —Danilo Mezzadri Music Allegro con fuoco from the texture. As the dedication suggests, this is an arrangement New World Symphony meant for advanced (adult) players, and it can be finessed over Dvorak, arr. Paige many rehearsals to make it sound truly great. There are a few minor flaws in the parts themselves. Some Dashner Long marks escaped an editor’s attention: a flattened-out slur line ©2015 Falls House Press here, a series of misplaced harmonic signs there. There are two instances in which parts are marked “solo,” but they are split, so In another of her arrangements the term “soli” would be more appropriate. for flute choir dedicated to the Page turns don’t always work very well, but I suppose that’s what New England Conservatory stand partners are for. And the switches between flute and piccolo Summer Metropolitan Flute Fes- in the top part are often far too short in duration, so it might be tival orchestra, Paige Dashner helpful to reevaluate that part and make cuts to accommodate this. Long has a hit on her hands with None of these are egregious errors that will wreck a performance, the popular fourth movement of but they are all easily corrected by the publisher and worth the Dvorak’s New World Symphony. None of the original music is clarification to facilitate smooth-running rehearsals. cut, and Long does an admirable job of creating all the colors The Allegro con fuoco is a great choice for a flute choir—it’s of the original orchestral arrangement with just a piccolo, flutes, the most recognized part of Dvorak’s most beloved composition. and one each of the low flutes: alto, bass, and contrabass. Long recreates it lovingly in this version and treats each and ev- The difficulty level of parts is quite even, and the bass parts get ery ensemble member with a part that is challenging and fun a good workout—particularly alto, which carries quite a bit of to play. This arrangement will stretch its players and reward its melodic material in a wide range besides supporting the “back audience every time and is therefore a wonderful addition to an line.” Balance is well managed if flute assignments are even in advanced flute choir library. number; all truly can play their dynamics and still contribute to —Nicole Riner

6 Concerti for 2 Treble other instruments, all without bass. The editor states also that this Recorders, op. 38 new edition is closely based on that original publication with just a few printing errors corrected. Any details added, such as artic- Joseph Bodin de ulation not found in the original edition, are indicated by the use Boismortier of dotted lines. ©2015 Schott This last point should be very useful to the intermediate per- former, who often takes editing marks for granted in the nu- This scholarly edition of 6 Con- merous editions of 18th-century works. During the Baroque certi for 2 Treble Recorders, op. period, much was left to the discretion of the performer, and it 38, by Joseph Bodin de Bois- is extremely useful to see exactly what the composer originally mortier (1789–1755), is edited wrote rather than to see a highly edited score. Of course the largo by Elisabeth Kretschmann, who movements may be ornamented even more with figuration and states in the preface that the trills as appropriate for the particular performer or student. parts have been transposed up a This edition is carefully edited and clearly printed. Trills of minor third so that the pieces also may be played easily on alto the composer are indicated by the common t sign. The works recorders. In the style of the time, these melodious concerti could are suitable for intermediate students through advanced college have been played on any number of treble instruments, including players and professionals. This is a very useful addition to the flutes, recorders, violins, and oboes. Indeed, Boismortier states in flute repertoire. his original 1732 edition that they could be played on two flutes or — Andrea Kapell Loewy

74 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Music Carmen-Suite lighter segment within a recital program of varied repertoire by for Two Flutes an advanced or professional player. Indeed, the custom of the Bizet, ed. Kurt Walther 1800s, when this work was first performed, was to play transcrip- tions of operatic arias and dances in the home. ©2013 Zimmerman Music This new Zimmerman edition is extremely well published, with thought given to page turns along with clear articulation Bizet’s Carmen-Suite fur zwei and dynamic markings. The editor also suggests areas for per- Floten, edited by Kurt Walther, formance by piccolos instead of flutes as occurs in the opera is a charming arrangement of score. A superb contents page gives a detailed description of each many of the famous arias of the movement. For example, in the famous Gypsy Dance (Act 2, No. wonderful opera, including sev- 12), the editor states, “The two flutes open the dance in the rather en movements of varying tem- shady inn…Carmen, who is joined by her companions Frasquita pi. These duets are suitable for and Mercedes during the refrain, sings of the beauty and sen- advanced intermediate students suous charm of the young gypsy girl. Her song grows more and through collegiate and even pro- more violent and ends with a frenzied whirl.” By reading these fessional performers. Flutists could choose individual dances notes and learning the duets, intermediate players will gain a ru- (movements) from the entire Suite for a delightful concert per- dimentary knowledge of the music of this famous opera. I highly formance. Audiences always enjoy hearing melodies that they recommend this work to the general flute-playing world. have heard before, and these duets could serve as a refreshing, — Andrea Kapell Loewy

Trail of Tears work takes its name from one of America’s historical tragedies: Michael Daugherty the forced removal of 15,000 members of the Cherokee Tribe of ©2015 Boosey & Hawkes Native Americans living east of the and their reloca- tion 800 miles away, in Oklahoma, between November 1838 and In 2010, the flute community March 1839. Nearly 4,000 Cherokee died during the five-month was treated to Michael Daugh- march due to exposure to the elements, disease, and starvation. erty’s Trail of Tears concerto for Their journey was known as the “Trail of Tears.” flute and orchestra, premiered Because of the variety of colors an orchestra can provide for by Amy Porter and the Omaha this powerful and poignant music, the concerto is most effective Symphony. In addition to per- with orchestra accompaniment. However, Daugherty’s piano re- forming the concerto at the 2012 duction creates a more accessible vehicle for flutists to learn the NFA Convention in Las Vegas, concerto, present the work, and tell the story of the Cherokee to Porter also has given numerous a broader audience. performances of this powerful The flute part includes what are now considered fairly stan- work. This past summer, Hendon Music, Inc., a Boosey and dard extended flute techniques such as breath tone, finger bends, Hawkes company, published a piano reduction by the concerto’s fingered glissandos, flutter-tonguing, key slaps, lip bends, wide composer, making it accessible to all flutists for performance. vibrato, and use of wind tone. Those familiar with Daugherty’s Trail of Tears is described by Daugherty as “a musical journey musical language will notice traits consistent with other works of into how the human spirit discovers ways to deal with upheaval, his, such as chromatic flourishes and articulated wide intervals. adversity, and adapting to a new environment.” The title of the —Amy Likar

Forest Devil Waltzes of these various melodies, connected by little or no transitional Dan Welcher material. Recognizable tunes are all firmly rooted in common ©2015 Theodore Presser practice tonality and charmingly (perhaps even humorously!) set to feature the top flute part. Two piccolos add flourishes to the Forest Devil Waltzes is a collec- melody line, and other C flutes, alto, and bass accompany the tion of waltz tunes by 19th-cen- first flute part as a team with the piano (where it is present). Parts tury French conductor, pianist, are playable by college students—easily, except for the solo flute and composer Emil Waldteufel, part, which will take a bit of practice for a college student. whose name translates as “For- Forest Devil Waltzes is frivolous in the most enjoyable way pos- est Devil.” It is dedicated to Fritz sible—it sparkles and giggles throughout, and somehow manages Kraber, retired professor of flute to sound like exactly what it is: a loving tribute to a dear friend. As at University of Texas–Austin, in an encore or an amuse-bouche within a program, it is thoroughly honor of his 80th birthday. enjoyable for everyone, both on stage and in the audience. The piece is a kind of medley —Nicole Riner

SPRING 2016 THE FLUTIST QUARTERLY 75 NFAONLINE.ORG Music Walking Unscathed Out toward the middle of the page. Part 3 is written in 6/8 but has of a Plane Crash a breezy waltz feel to it and is pleasantly repetitive. And Part 4 Colin Tommis evokes a jaunty Irish folk tune in ABA form, the B section turn- ing to minor mode but the return of A ending cheerfully and, ©2015 Friedrich Hofmeister perhaps, a little triumphantly. Musikverla Even the slow movement is not particularly dark, giving the impression that either Tommis or the subject of this solo, his Colin Tommis is a composer ex-girlfriend, is inexhaustibly chipper at most times in life. Tem- and guitarist based in the Unit- pi are moderately fast (specific metronome markings are only ed Kingdom. Walking Unscathed given for the last two parts), and patterns are entirely tonal. Each Out of a Plane Crash is his ode movement is a charming vignette with just enough repetition to to a lost love in four brief move- make the technique easy to grasp; in terms of difficulty, this piece ments for unaccompanied flute. would be challenging to an early to mid-level collegiate player. The four movements are un- There is not much breadth here; motives are spun out quickly titled, and each comprises a but not developed very much. And there is not much depth of minute or so of music. Part 1 emotion, either. But as a palette cleanser, Walking Unscathed Out is playful, but set in a relaxed mood by long, steady streams of of a Plane Crash is certainly enjoyable to listen to and relatively 16th notes that seem to unfurl easily and in no great rush. Part easy to play, and with the back story, it may prove to be useful to 2 uses the same opening motif as Part 1, but slower, in a soulful, program, as well. contemplative tune that starts and stops, faltering in its growth —Nicole Riner

Morceau de Concours merse themselves in a composer’s work. Buyse and Webster Martin Amlin have championed Amlin’s works for decades, and the flute ©2015 Theodore Presser community has been the lucky recipient of that support. Am- lin’s compositional style is described in the CD’s program notes The virtuosic and stunningly as being very rhythmically fluid and complex, with a rich har- brilliant “Morceau de Concours” monic sound comprised of sevenths and non-strict use of serial for flute and piano by eminent technique, and a sense of thematic cohesiveness and form. American composer Martin This gem of a piece is approximately three minutes long—the Amlin was written in 1986 for same length as Fauré’s piece of the same name—and is appropri- the James Pappoutsakis Memo- ate for advanced players. It would be a wonderful addition to a rial Flute Competition. Upon the flute recital, and I could see it working equally well as the open- 2015 publication by Albany of an ing or closing work of a program. The beginning and ending of all-Amlin CD featuring Leone Morceau de Concours is slow at a soft dynamic level, with flutter Buyse, Michael Webster (clar- tonguing and tremolos employed. There is a sense of wistfulness inet), and Martin Amlin (pia- to my ears in the opening and closing material. The middle sec- no)—aptly titled Delightful Music for Flute, Clarinet, and Piano tion gets increasingly more complex and virtuosic. by Boston Composer Martin Amlin—the composer re-released I highly recommend this work as a wonderful addition to the this ’86 composition for publication by Presser. flute repertoire. I am looking forward to working on it myself! It is wonderful when respected performers completely im- — Andrea Kapell Loewy

Sakura-Kura The individual parts are relatively easy, mostly using quarter Melanie Thorne and eighth notes, with only a few 16th notes appearing occasion- ©2014 Sempre Music ally. The pitch range does not exceed third octave A in the first flute part and is generally concentrated around the middle and “Sakura-Kura” is a simple but lower registers. effective flute quartet setting of The piece begins with the statement of the theme for solo flute; the traditional Japanese melody, the second part enters with parallel harmony for a six-measure “Sakura,” a folk song that tells repeat of the theme. Once all the parts have joined, this simple of the cherry blossoms in the melody is explored in a set of variations, which show some imag- spring. The melody is familiar ination while maintaining a sense of overall simplicity. to many, and, as such, this ver- This is an effective setting of the melody, aimed at beginners. sion for four C flutes is ideal for It is an ideal vehicle for introducing folk music from a different a range of concert situations for part of the world to young American flutists. young or inexperienced players. —Carla Rees

76 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Music A Night in New Orleans sinuous, swirling line thanks to short running 16th-note passag- Eric Ewazen es heavily marked with rubato. This swirling line is interrupt- ©2015 Theodore Presser ed by a soaring Romantic melody that sounds at times full of longing, at times merely wistful. In this way, the flutist alternates A Night in New Orleans, the lat- between two musical roles, creating ambience as well as singing est offering by prolific American an aria. composer Eric Ewazen, is a solo Movement III—2:00am, Café du Monde Laissez Les Bon flute piece written in three short Temps Rouler (de sacre en poudre!)—brings us back to an Al- movements dedicated to Cindy legro giocoso that is impetuous, raucous, and celebratory. The Anne Broz, who commissioned effect is achieved by an opening fanfare that is simple but strong- and premiered the piece at the ly rhythmic, followed by quite a bit of double-tongued 16th- 2015 NFA convention in Wash- note connective material and slurred sequences based on major ington, D.C. It reflects, in fact, scales that break down into a charming syncopated dance akin an NFA convention double-dip: to a 1920s soft-shoe number. Then the dance builds back into the The piece was inspired by the virtuosic connective material and ends finally where it began, in composer’s stay in New Orleans during the 2013 NFA conven- that simple, catchy fanfare. tion. Its writing attempts to capture the array of sounds, moods, The work is written in Ewazen’s recognizable tonal, neo-Ro- and scenery experienced that week in the French Quarter. The mantic style. It is accessible for both listener and performer and full length of the piece is approximately 12 minutes. well written for the instrument, and the texture is active enough Movement I—10:00pm, Bourbon Street (and the party be- gins!)—is an energetic allegro that employs the harmonic lan- not to miss the backing chords of a piano without being overly guage of 12-bar blues, swinging triplet rhythms, and syncopation busy or dense. to evoke the musical revelry streaming out of the bars up and A Night in New Orleans is a pleasant addition to the unaccom- down the street. Passagework lies easily under the fingers and is panied repertoire and would serve as a moderately challenging largely linear or arpeggiated within a blues scale. The melody is piece—both musically and technically—for a serious undergrad- repetitive and infectious. uate player. For a professional flutist, it could add a bit of levity to Movement II—12:00am, Jackson Square (midnight memories, a program without being particularly taxing to the performer. sweet and sad)—has a slow and nostalgic feel to it but evokes a — Nicole Riner

Autour de Victor Hugo French text is narrated by different members of the quartet as Christel Rayneau the piece unfolds. All performers play from the very well-pre- ©2013 Gérard Billaudot sented score for ease of coordination, and an English transla- Éditeur tion of the text is also provided. The first movement, A propos d’Horace, features a high- As part of a series of repertoire ly enjoyable text that begins with the line, “I was forced to proposed by Philippe Bernold, study mathematics, then,” and goes on to describe a struggle this work for intermediate flute with learning, which many students could perhaps relate to! quartet is refreshingly differ- The music begins simply, with clusters developing in repeated ent and worthy of exploration. quarter notes, decorated by the sounds of birds. New melod- Christel Rayneau is a French ic material appears to correspond with the mood of the text, flute player and composer with giving a delightful sense of drama to the overall structure of a busy career as chamber mu- the work. sician and orchestral player. Her understanding of the flute The second movement tells the story of Jeanne, who is only is clear in this composition, and she succeeds in creating a allowed to eat dry bread as a result of a punishment; there is a distinctive contemporary voice in a work suited for less-expe- gentle humor in the poem, and the music is based on a strong rienced players. This is an ideal piece for introducing students opening motif that is developed and subjected to variation as to contemporary repertoire and to the execution of basic ex- the movement progresses. tended techniques. This is a piece that school-age students are likely to enjoy, The piece is in two contrasting movements and has a du- and it makes an excellent contrast in any ensemble concert ration of just under eight minutes. As the title suggests, the program. Highly recommended. music is based around two delightful Victor Hugo poems; the —Carla Rees

Send items for review consideration to Attn: Reviews, National Flute Association, 70 E. Lake St., #200, Chicago, IL 60601. Errata: The byline of a review in the fall 2015 issue of this magazine is incorrect. The review of Neil Fisenden’s CDThe Iridescent Flute was written by Craig Johnson. We apologize for this error.

SPRING 2016 THE FLUTIST QUARTERLY 77 NFAONLINE.ORG Music

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Songs and Dances ALL of Early America Chamber Ensemble YOU NEED ©2015 Rosewood Chamber Ensemble For several years, the Rosewood Chamber Ensemble—Barbara Hopkins and guitarist TO KNOW ABOUT Judy Handler—has delighted audiences with its highly researched and well-crafted perfor- mances of early music of the United States. The duo’s debut CD,Songs and Dances of Early FLUTE INSURANCE America, demonstrates the musicians’ knowl- edge and passion for popular music from the first half of the 19th century. Included are songs and dance tunes that www.fluteinsurance.com would have been performed by rural folks in their homes, churches, dance halls, or even saloons. Songs by Stephen Foster were staples in many homes of this era. It was also a time when many European immigrants were com- ing to the United States and bringing popular music from their homelands—or even original compositions, as was the case for Edward Ri- ley, whose flute melodies are included. Some tracks, including arias by Weber, represent melodies and pieces that might have been in- cluded in lesson books that folks would use when learning how to play an instrument. This CD also shares some of the pieces that were recorded in early Americans’ “tune books,” such as those John Quincy Adams kept when he took up the hobby of playing the flute—“Swiss Guards March” and “Handel’s Clarinett,” to name a couple. Thirty-six tracks are performed on period or descendants of period instruments. The sounds these instruments produce give us an authentic glimpse into what music in this country before radio and recordings would have sounded like. The historical background 1570 Lakeview Drive, Suite 2A, Sebring, FL (USA) 33870-7959 [email protected] provided in the liner notes covers where this music was performed, what purpose it served, FL License # L054951 • IL License # 100690222 • CA License# 0I36013 and who would have been learning and shar- ing these beautiful melodies. —Tess Miller SPRING 2016 THE FLUTIST QUARTERLY 79 NFAONLINE.ORG Honor Roll of Donors to the National Flute Association

The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings, and flute choir), and endowments. The list reflects donations received from February 1, 2015, to February 1, 2016.

PARTNER Eva Amsler Rolf Meyersohn* Leone Buyse Marjorie Bollinger Hogan* ($10,000–$19,999) Rebecca Tryon Andres* Catherine Miller Kathi Byam Camilla Hoitenga Wm. S. Haynes Flute Co. Jan H. Angus Nancy L. Mulholland Christopher Caliendo Priscilla Ochran Holt* Anonymous* Mark OMalley Gerald V. Carey Judith von Hopf ADVOCATE Deborah Rebeck Ash* September Payne* Jeanine Cariri Carolyn Krysl Hutchinson* ($2,500–$4,999) Ginny Atherton* Amy Porter* Jimmy Carmenate Olivia Iverson Brannen Brothers Flutemakers, Inc Frances Lapp Averitt Judith A. Ranheim* Marcela DeFaria Casaubon Margaret Foote Jamner Angeleita S. Floyd Laura Benning Doris Underwood Reinhardt Joanne K. Chadima Krista Jobson* Gemeinhardt Musical Judith Bentley* Kim Richeson Mili Chang Lisa Field Johansson* Instruments, LLC Kay K. Borkowski* Paula Robison Camille Churchfield* Deborah S. Johnson Patti & Paul Smith Deborah and Brian Borthwick Wendy H. Rolfe Cathleen Clare Gwyn E. Jones Straubinger Flutes, Inc. Joanne Ennis Bourquin Ginger (Virginia) Sharon Clark* Lucie F. Jones Yamaha Corporation Of America Claudia H. Brill Rombach-Adams Jeannette Lamy Clemons Phydariel Jones Jacob Bruner* Sue Rudholm Michelle Clover Cynthia Jones PATRON Kirsten Carlson Heidi Schuller Deborah Coble Suzanne Bunker Jordheim ($1,000–$2,499) Julie Carter Peter Sheridan David Cocks Cynthia Kaiser The Abell Flute Co.* Beth Chandler & Jim Cahill* Angela Allen Sherzer* Sheryl Cohen Trudy Kane Anderson Shelley Collins* Sign of the Silver Birch Music -Page Ellen Kaner Insurance Solutions, LLC* David Cramer Lucille Snell* Stephanie Collins Robin Kani Anonymous* Moira Craw Corydon S. Sperry Laura Conwesser Jay V. Kast-Tuttle Eleanor D. and Dan C. Armstrong* Linda Crisafulli* Sydnee Stein Ola Cook Tomomi Katz Sue Blessing Richard L. Dalton* Alexa Still* Harriet Coppoc Keefe Piccolo Company Zart Dombourian-Eby* Karen B. Demsey* Mimi Stillman Terry Crowl Melissa Keeling Flute Specialists, Inc. Judy Diez d’Aux Mary T. Stolper* Stephanie Cruz Amalie C. Kempton* Katherine Borst Jones* Thomas Donio* Sue Swilley* Joseph Cunliffe Bryan Kennard Marjorie Koharski* Colleen Dougherty Catherine W. Tetreault Maria Luisa De La Cerda Rohde* Janice S. King Nagahara Flutes NNI Inc. Darlene Dugan Leslie Timmons* Marilyn Deavers Kingma Flutes Lisa & Rich Owens Erica Dumond Peggy Vagts Jerry Deily Rochelle Kline-Casey George S. Pope* Paul Lustig Dunkel Julia K. Vasquez Alison Denis Elyse Knobloch Claire Durand-Racamato Ann S. Vinod* Robert Dick Emily Knowles CONTRIBUTOR Tabatha Ann Easley Susan Waller* Lisa DiTiberio Ann Konopinski ($500–$999) Eastman Community Elizabeth Watson Karen Fuller Dixon Karl F. (Fritz) Kraber Patti Adams* Music School Alice Kogan Weinreb* Wendell Dobbs Abbe Krieger Joanna Bassett William J. Egnatoff* Anne Welsbacher* Sandra Dorsey* Stephen R. Kujala Roberta Brokaw* Arthur J. Ephross Robert Willoughby Mia M. Dreese Anne M. Laboda Jenny Smith Cline* Ann Fairbanks Ann Droste* Judi Lampert Kyle Dzapo Jill Felber* FRIEND Sophie Dufeutrelle Esther Landau* Alexandra Hawley Flutistry Boston* ($1–$99) Suzanne Duffy Laura Larson Kelly Jocius* The Flutist’s Faire* Anonymous* Bruce A. Erskine* Jennifer Lee Marie Jureit-Beamish Noreen B. Friedman Lori Akins Christine Ertell* Harvey Leikind McDaniel College Leonard L. Garrison* Cheryl Albright* Bart Feller* Harold Leinbach* Wendy Mehne* Marianne Gedigian* ALRY Publications, LLC Sara Ferril James P. Leiter Lois E. Schaefer* Patricia George* Francesca Anderson Cynthia J. Folio Amy Letavay Nancy E. Toff* Susan S. Goodfellow Sara Andon Ronda Benson Ford Amy Likar Penny Griffy Slater Anton Lynne Bowen Fournier John Herrick Littlefield SUPPORTER Blanche D. Grube Francesca Arnone* Jillian Francis* Louisa H. Loe ($250–$499) Christine Gustafson Barbara M. Austin* Julie Darling Frederick Michael Lynn Teresa Beaman* Courtenay Hardy Alice D. Avouris Hans Friese Lisa Funston Mahoney* Andrew D. Callimahos* Will & Pat Wilson, Carl & Deb Lydia Ayers G.B. Gabba LLC* Myra Malamut Steven Della Rocca Wilson & Family, Brenda & Art Laurie Baefsky Virginia Gannon Carlen Mandas Penelope Fischer Holbein & Family Lisbeth Bagnold Edward Gibson Jon Mandeville Carl D. Hall* Ellen Huntington* John R. Bailey Alvin Gibson Lynne Markus Jerry Jenkin Rebecca R. Johnson* Molly Alicia Barth* Bernard Z. Goldberg Robin Matathias Robert Katayama* Yeva Johnson Karl Barton* Ai Goldsmith Kris Mayo* Sherry & Walfrid Kujala* Sue Ann Kahn* Carole Bean* Diane Gold-Toulson Lisa McCarthy* Betty Bang Mather* John C. Kasza Janet Becker Sheryl Goodnight Lorna McGhee Richard A. McPherson* Peter Katz Madeline Beery Adrianne Greenbaum* Stephanie McNab* Mary Margaret Miller* Mindy Kaufman Beth Behning Gaile Griffore Corinne McVee* Edith K. Nishimura Jonathan Keeble Vicki Bell Robert Groberg Kathy Melago* Deborah L. Ragsdale Janet D. Kinmonth Sandra Benke Eileen Grycky Emma Mellinger Sue A. Rupp Linda Kirkpatrick Jan Boland Vanessa Gwynne* Christopher B. Merritt* Paul Taub Gay Landstrom* Mary Boodell* Patricia Harper Linda Mintener Nancy M. Vinson* Joanne Lazzaro Lisa Bost-Sandberg Linda Hartig* Nicole Molumby Richard Welsbacher Levit Flute Company, LLC Alan Braun* Fiona He William Montgomery Carol Wincenc* David Love* Morgan M. Bresett-Brown Nichole Heid Miriam Duell Moore Richard E. Winslow Leslie Maaser Virginia Broffitt Annette Heim William K. Morris Janet Maestre Cindy Anne Strong Broz* Matthew Heinrich Ellen C. Johnson Mosley DONOR Rebecca Malone Andrew Burden Wilda M. Heiss* Muramatsu America ($100–$249) Karen Matthews Bobbee Burkhard* Delia Helpingstine Alexander Murray Robert Aitken Thomas Mease* Regan Burnham Katherine Herbison* Barbara Neal

80 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG DEDICATIONS Shelley Collins in memory of Becky Smith Owens Eleanor Ofiesh in honor of Eleanor Armstrong Eva Amsler in honor of Nancy Clew Zart Dombourian-Eby in honor of Walfrid Kujala Mark OMalley in memory of Becky Owens Francesca Anderson in memory of Marsha Williams Miller Zart Dombourian-Eby in memory of Becky Owens Lisa & Rich Owens in memory of Becky Owens Jan H. Angus for Youth Flute Day Colleen Dougherty in honor of Jean Arnold Laura Paarmann in memory of Ralph Paarmann Slater Anton in honor of Suzanne Teng Suzanne Duffy in honor of Mary Louise Poor September Payne in memory of Louis Moyse Eleanor D. and Dan C. Armstrong in honor of Feodora Paul Lustig Dunkel in memory of Robert DiDomenico Mary Peterson in memory of Roger Mather DeGrasse Steward Eastman Community Music School for Youth Flute Day George S. Pope in memory of Todd Evan Fulmer Deborah Rebeck Ash in honor of Penny Fischer Christine Ertell in honor of Linda Cassel, Lynne Bujak, Doris Underwood Reinhardt in honor of Ginny Atherton in honor of Jean Harling Donelda Hunter, Jeanne Baxtresser Robert Willoughby Joanna Bassett for Youth Flute Day Julie Darling Frederick in honor of John Oberbrunner Kim Richeson in memory of Becky Owens Teresa Beaman in memory of Samuel Baron Virginia Gannon in memory of Becky Owens Denise Riemenschneider in memory of Mary Beth Gnagey Janet Becker in memory of Maurice Sharp Patricia George in honor of Joseph Mariano Geri Rizzo in memory of Claude Monteux Madeline Beery in honor of Zart Dombourian-Eby Edward Gibson in honor of Erma Hodge Jan Roberts-Haydon in memory of Daniel Hiestand Sandra Benke in memory of my mom Adrianne Greenbaum in honor of Robert Willoughby Susan Royal in memory of Douglas Royal Mary Boodell in honor of Alexander Murray Eileen Grycky in honor of Robert Willoughby Heidi Schuller for Youth Flute Day Kay K. Borkowski in honor of James Pellerite Christine Gustafson in honor of Margaret H. Gustafson Janet See in honor of Robert Willoughby Deborah and Brian Borthwick in memory of Becky Owens Carl D. Hall in memory of Martha Rearick Peter Sheridan in memory of Pauline J. Sheridan Virginia Broffitt in honor of Irna Priore Fiona He in honor of My Mommy and Daddy Diana Sipes in memory of Dr. Constance G. Lane Cindy Anne Strong Broz in memory of Nancy Aline Strong Annette Heim in honor of Jan Boland Patti & Paul Smith in memory of Becky Owens and Richard Dorff Marjorie Bollinger Hogan in memory of Martha Rearick Lucille Snell in memory of Frank Bowen Regan Burnham in honor of Katherine Price Will & Pat Wilson, Carl & Deb Wilson & Family, Brenda & John Solum in honor of Phyllis Pemberton Kathi Byam in memory of Harold Crumrine Art Holbein & Family in memory of Becky Owens Sue Swilley in honor of Betty Bang Mather Andrew D. Callimahos in honor of CYSO Junior & Senior Priscilla Ochran Holt in honor of Bernard Goldberg Jane M. Tankersley in honor of Zart Dombourian-Eby Flute Ensembles Yeva Johnson in honor of Yaada Weber Lisa Targonski-Cisneros in memory of Joanne Andrew D. Callimahos in honor of the Chesapeake Katherine Borst Jones in memory of Becky Smith Owens Rubin-Galler Flute Consort Sue Ann Kahn in memory of Eleanor Lawrence Leslie Timmons in honor of Alexander Murray Andrew D. Callimahos in honor of the Chesapeake Youth Mindy Kaufman in honor of Walfrid Kujala Cornelia W. Watts in memory of Sara Lee & Frank Wingate Symphony Orchestra Elyse Knobloch in memory of Thomas Nyfenger Kristin Webb in memory of Myrna Brown Andrew D. Callimahos in memory of Lambros Demetrios Esther Landau in honor of Robert Willoughby Alice Kogan Weinreb in honor of Lois Schaefer’s Callimahos & Helen Callimahos Hurry Gay Landstrom in honor of Darlene Dugan 90th Birthday Julie Carter in memory of Geoffrey Gilbert Carlen Mandas in memory of Jack Wellbaum Richard Welsbacher in memory of Betty Welsbacher Marcela DeFaria Casaubon in memory of Becky Owens Robin Matathias in memory of Frances Blaisdell Anne Welsbacher in memory of Eunice Boardman Sharon Clark in honor of Bonnie Lake Lisa McCarthy in honor of Rae Terpenning Carol Wincenc in memory of my parents, Jenny Smith Cline in honor of Zart Dombourian-Eby McDaniel College for Youth Flute Day Dr. and Mrs. Joseph Wincenc Jenny Smith Cline in memory of Carl Hall Catherine Miller in memory of Margaret Linnan Kegel Eileen Yarrison in memory of John Fuggetta Stephanie Collins in memory of Becky Owens Merryl D. Newler in memory of Harold Jones Leslie Zieren in memory of Jack Wellbaum

Merryl D. Newler Susan Royal Albert Vreeland Wendy H. Rolfe Nancy E. Toff Mary Beth Norris Rachel Rudich Therese Wacker* Anne Welsbacher Judith von Hopf Lisa Norton* Kathleen Rundell Elizabeth Walker* Stephanie A. Wheeler Patti Rogers Watters Nancy Nourse Katherine Saenger James R. Walker Robert Willoughby Richard Welsbacher Joyce Oakes Virginia Schulze-Johnson* Lenora Warkentin Arnie Wernick Eleanor Ofiesh* Janet See* Mihoko Watanabe FRANCES BLAISDELL Alan Zaring Donna Rofe Olkowski Ken Sherman Patti Rogers Watters FUND Teresa Orozco* Mary DeLano Sholkovitz Cornelia W. Watts Anonymous MYRNA BROWN Zack Osinski Margo Simmons Kristin Webb Deborah and Brian Borthwick FUND Laura Paarmann* Diana Sipes Anna Welton-Arndt Joanne Ennis Bourquin Eva Amsler Victoria Pampe* Phil Smallwood Arnie Wernick Marcela DeFaria Casaubon Joanne Ennis Bourquin William L Parker Ann D. Smith Stephanie A. Wheeler Stephanie Collins Cathleen Clare Ann C. Pearce* John Solum* Frederic Work Moira Craw Marilyn Deavers Paloma Pedraza Cecilia Sparacio Danielle Wrobleski* Zart Dombourian-Eby Leonard L. Garrison Ellen Peirce Patricia Spencer Ruth M. Yanagi Tabatha Ann Easley Susan S. Goodfellow Cynthia Jones Cathy Pescevich Kreplin Abigail Sperling Eileen Yarrison* Virginia Gannon Robert Katayama Mary Peterson Susan D. Spevak Sherry Young Leonard L. Garrison Linda Kirkpatrick Margaret Peterson Ionut Bogdan Stefanescu Alan Zaring Bernard Z. Goldberg Joanne Lazzaro Rolfe Pitts Madison Steinman Penny Zent Ai Goldsmith Harvey Leikind Elizabeth Pogue* Cheryl D. Stewart Leslie Zieren Alexandra Hawley Miriam Duell Moore Ruth Polcari* Mary Stojak Will & Pat Wilson, Carl & Deb Alexander Murray Cynthia C. Stokes* *Donors to the NFA Endowment Amanda Pond Wilson & Family, Brenda & Art Edith K. Nishimura Christine E. Potter Debra Stombres Wm. S Haynes Co. Challenge Holbein & Family Margaret Peterson John Potter* Julie Stone Marie Jureit-Beamish Deborah L. Ragsdale Ronald Prechel* David A. Styer* The NFA ENDOWMENT Robert Katayama Cheryl D. Stewart Bruce P. Price Natalie Syring FUND is supported by the Janet Maestre Kristin Webb Katherine Menefee Price* Janet Szilagyi David Hart Fund, the Frances Robin Matathias Linda M. Prior* Jane M. Tankersley Blaisdell Fund, the Myrna Brown Merryl D. Newler LEGACY CIRCLE/ Irene Pruzan Lisa Targonski-Cisneros* Fund, and the Wm. S. Haynes Edith K. Nishimura PLANNED GIFTS Anne Pustlauk Rae P. Terpenning Co. Challenge, among additional Mark OMalley The NFA Legacy Circle honors Anita Randolfi Kevin Thomas sources. As of February 26, 2016, Lisa & Rich Owens individuals who help to ensure Mary C. Reed* Michael George Titt* the NFA Endowment stands at Linda M. Prior the future of the NFA through Denise Riemenschneider* Susan Todenhoft $1,489,955.07. Thank you! Kim Richeson planned gifts. It is with deep Geri Rizzo* Michael Treister* Jan Roberts-Haydon appreciation that we recognize Jan Roberts-Haydon Isita Tripathi DAVID HART FUND Ginger (Virginia) these members: Rosene Rohrer Arianna Tullis* Colleen Dougherty Rombach-Adams Linda and Harry Fegley Patricia Prince Rose* Sarah VanSkike* Leonard L. Garrison Sue Rudholm Leonard Garrison Wendy Ellison Rosenkilde James Lee Vatter* Margaret Foote Jamner Mary DeLano Sholkovitz Katherine Borst Jones Toby Rotman Verne Q. Powell Flutes, Inc. Michael Lynn Patti & Paul Smith Carol Kniebusch Noe

SPRING 2016 THE FLUTIST QUARTERLY 81 NFAONLINE.ORG NFA Office, Coordinators, Committee Chairs Please check the NFA website for any changes and updates to addresses, phone numbers, and e-mail addresses: nfaonline.org

NFA OFFICE Frances Blaisdell Convention Endowment Special Publications Newly Published Music 70 E. Lake St., #200 Scholarship Coordinator Jim Keefe (2016) Michael Stoune (2016) Danilo Mezzadri (2017) Chicago, IL 60601 Marie G. Jureit-Beamish 781-369-1626 806-745-6477 601-296-7865 312-332-6682 (2016) [email protected] [email protected] [email protected] fax: 312-332-6684 618-374-5006 [email protected] 50th Anniversary Committee Strategic Planning Orchestral Audition Executive Director Catherine Miller Jonathan Keeble Gala Awards Dinner Chair 319-430-3603 Masterclass Kelly Jocius 217-390-6957 Patti Adams (2017) [email protected] Erinn Frechette (2018) [email protected] [email protected] 504-895-5908 704-531-1632 Finance [email protected] World Music [email protected] Convention Director Penny Zent (2017) Kris Mayo Local Arrangements Chair 979-696-7607 Jessica Valiente (2018) Piccolo Artist/Masterclass [email protected] Cindy Anne Broz [email protected] 646-597-2667 951-240-0448 [email protected] Zachariah Galatis (2019) Marketing and [email protected] Historical Flutes 845-416-8096 Development Associate Nancy Schneeloch-Bingham COMPETITION [email protected] Kate Blair Myrna Brown Dine-Around (2017) COORDINATORS [email protected] Coordinator 828-262-6447 General Coordinator Professional Flute Choir [email protected] Karen McLaughlin Large Pamela Youngblood (2019) Shauna Thompson (2019) Membership Manager (2017) 940-898-2495 832-525-6464 850-345-1446 International Liaison Victoria Pampe [email protected] [email protected] [email protected] [email protected] Carla Rees (2019) 07961 131565 Baroque Flute Artist Myrna Brown International [email protected] Young Artist Publications Director Sarah Paysnick (2017) Jeremy Benson (2018) Anne Welsbacher Scholarship Coordinator Jazz 413-654-8462 256-452-2371 661-313-8274 Nicole Molumby (2017) 208-571-5782 John Reid (2019) [email protected] [email protected] [email protected] [email protected] 403-288-5794 [email protected] Collegiate Flute Choir Publications and Online Program Book Bios Editor Tabatha Easley (2016) ARCHIVES AND LIBRARY Advertising Representative Lisa Van Dusen Low Flutes 804-828-6120 Archivist/Historian Steve Wafalosky 315-651-0324 Ali Ryerson (2019) [email protected] Nancy Toff LaRich & Associates, Inc. [email protected] 203-740-2044 [email protected] 440-247-1060 [email protected] Convention Performers fax: 440-247-1068 Stage Manager Whitney Farris O’Neal (2018) NFA Librarian Membership [email protected] Paula Gudmundson 205-344-0282 Michelle Monroe-Menjugas [email protected] Katherine Isbill Emeneth [email protected] NFA Music Library Information Technology 651-485-1186 (2019) 404-663-4082 520-621-7010 Consultant Flute Choir Composition [email protected] [email protected] Brian Covington Volunteer Coordinator Debbie Gilbert (2019) Townes Osborn Miller [email protected] 540-347-5761 816-803-2433 New Music Advisory NFA Library Liaison [email protected] [email protected] Lisa Bost-Sandberg (2019) Christine Harper (2018) CONVENTION 718-541-8746 [email protected] Convention Program Chair COMMITTEE CHAIRS [email protected] Graduate Research John Bailey Amateur Resources Jessica Raposo (2017) [email protected] Ann Konopinski (2016) Nominating 765-973-8632 OTHER 248-669-9037 Kyle Dzapo (2016) [email protected] APPOINTMENTS Assistant Convention [email protected] 309-497-0126 Flute Clubs Coordinator Program Chair [email protected] High School Flute Choir Kathy Farmer (2019) Nicaulis Alliey Archives and Oral History Dan Parasky (2019) 770-888-7248 [email protected] Francesca Arnone (2018) Past President’s Council 412-823-1902 George Pope [email protected] 254-710-6524 [email protected] Convention Opening Flute [email protected] 330-869-9113 [email protected] Flute Events Reporter Orchestra Coordinator High School Soloist Kathy Farmer Career and Artistic Jeanie Pierce (2018) Pedagogy John Lane (2019) 770-888-7248 Development 602-793-3833 Holly O. Clemans (2018) 609-213-8160 [email protected] Ellen Johnson Mosley (2016) [email protected] 316-210-0222 734-459-1080 [email protected] [email protected] Equipment Chair [email protected] Jobs Editor Jazz Flute Big Band Kimberlee Goodman Patricia Surman (2018) Commercial Members Performance Health Care Billy Kerr (2018) 614-805-5261 940-595-6384 Kyle Dzapo (2016) Cynthia Rugolo (2019) 626-791-6267 [email protected] [email protected] 309-497-0126 443-994-0296 [email protected] [email protected] [email protected] Exhibitors Concert and Jazz Artist/Masterclass Legal Advisor to the Board Showcase Coordinator Cultural Outreach Piccolo Linda Mintener Kathy Melago (2018) Ernesto Fernandez (2019) Jennifer Grim (2019) Jeffery Zook (2019) 608-231-1680 724-432-3663 305-281-1944 702-895-5849 248-701-8868 [email protected] [email protected] [email protected] [email protected] [email protected]

Flute Choirs Coordinator Development Research Masterclass Performers Public Relations Coordinator Joan da Silva Heit (2017) Marcela DeFaria Casaubon Jessica Raposo (2017) Rebecca Hovan (2017) Viviana Guzman (2018) 410-655-6849 305-401-3014 765-973-8632 574-875-5447 650-560-0135 [email protected] [email protected] [email protected] [email protected] [email protected]

82 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG

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SPRING 2016 THE FLUTIST QUARTERLY 85 NFAONLINE.ORG SUBSCRIPTIONS Receipt of The Flutist Quarterly is a benefit of membership in the National Flute Asso- ciation, Inc. Subscriptions are available to libraries and institutions at a charge of $75 per year. Personal subscriptions are not available.

ADDRESS CORRECTIONS Bulk-rate mail is not forwarded. Send address corrections to Membership Services, 70 E. Lake St., #200, Chicago, IL 60601; 312-332-6682; 312-332-6684 (fax); [email protected]. The NFA will be responsible for one missed magazine in the event an address change crosses in the mail. Missed issues due to bad addresses are available at the rate of $10 per copy through the membership manager.

BACK ISSUES Members and nonmembers may purchase back issues of The Flutist Quarterly at the rate of $10 each through the NFA Store at nfaonline.org/NFA-store.

EDITORIAL GUIDELINES Please visit nfaonline.org to find complete writers guidelines in the Flutist Quar- terly section under the Publications tab. If unable to go online, please contact the editor. Queries via e-mail or phone prior to submission are encouraged and welcome at any time. The Flutist Quarterly retains all copyright on articles published in the magazine; however, upon request, authors may retain copyright. By submitting work, author agrees to allow the work to be included in the print and online versions of The Flutist Quarterly in perpetuity. For review consideration:E-submissions of sheet music PDFs and audio files are encouraged; send files or queries to [email protected]. Mail physical CDs, sheet music, and books to the NFA office Attention: Reviews, National Flute Association, 70 E. Lake St., #200, Chicago, IL, 60601. Posted quarterly deadlines (see below) pertain only to time-sensitive department submissions, not feature articles, which are reviewed throughout the year. Accepted manuscripts will, when appropriate, go through a review process. Authors might be asked to revise manuscripts during this procedure. The editor reserves the right to edit all articles for style, content, or space requirements.The Flutist Quarterly bud- get does not include honorariums for authors. Editorial deadlines for The Flutist Quarterly apply to time-sensitive departments providing news of interest about flutist activities and products. Unsolicited feature articles (see above) and news about member achievements are encouraged and may be sent at any time for consideration. Submissions to Across the Miles and Notes from Around the World should be sent to those departments’ editors at least one week prior to deadline dates to be considered for inclusion. Send materials to time-sensitive departments for the fall issue by June 1; the winter issue by Septem- ber 1; the spring issue by December 1; and the summer issue by March 1.

Please send all editorial submissions except Across the Miles and Notes from Around the World (see these departments for contact information) to: Anne Welsbacher 661-313-8274 [email protected]

Please send all physical items for review consideration to: Attention: Reviews National Flute Association 70 E. Lake St. #200 Chicago, IL 60601

No submissions will be returned.

ADVERTISING GUIDELINES Guidelines, deadlines, and fees are available at nfaonline.org/Publications/Advertising. aspx, or contact Steve Wafalosky at the address below. The following dates are dead- lines for The Flutist Quarterly: fall issue, August 1; winter issue, November 1; spring issue, February 1; summer issue, May 1.

Please send advertising submissions and queries to: Steve Wafalosky LaRich & Associates, Inc. 512 East Washington St. Chagrin Falls, OH 44022 440-247-1060 fax: 440-247-1068 [email protected]

86 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Indulge yourself

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VERNE Q. POWELL® FLUTES i N c. One Clock Tower Place, Maynard, MA 01754 USA 978.461.6111 www.PowellFlutes.com SPRING 2016 THE FLUTIST QUARTERLY 87 NFAONLINE.ORG 88 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG Index of Advertisers Abell Flutes...... 38 Keefe Piccolos ...... 65 Anderson Musical Instrument Insurance Solutions...... 78 Landell Flutes ...... 38 Baxtresser, Jeanne ...... 12 Levit Flute Co., LLC...... 65 Brannen Brothers Flutemakers, Inc...... 92 Little Piper (see also Dean Yang Flutes/Piper Piccolos)...... 44 Bulgheroni USA...... 14 Miyazawa Flutes, Ltd (3) ...... 10, 79, 90 Burkart Flutes and Piccolos (4) ...... 2, 7, 9, 11 Muramatsu America...... 85 Carolyn Nussbaum Music...... 39 Nagahara Flutes...... 88 Chopsaver...... 18 NFA ...... 44 Clarion Associates, Inc...... 6 Classical Collection, Inc...... 36 North Bridge...... 3 Crystal Records ...... 28 Oberlin Conservatory of Music...... 9 Curtis Institute...... 37 Ogura Flute Works...... 44 Dean Yang Flutes (see also Little Piper/ Piper Piccolos)...... 38 Packard Humanities Institute, The...... 84 Drelinger Headjoint Co...... 28 Pearl Flutes...... 4 Eastman School of Music...... 18 Piper Piccolos (see also Dean Yang Flutes/Little Piper)...... 66 Erich Graf...... 38 Sankyo (see also Miyazawa)...... 79 First Flute with James Galway...... 12 Sherry Lee...... 65 Floot Fire...... 36 Suzuki Association of the Americas...... 65 Flute Center of New York...... 29 Tai Hei Shakuhachi...... 28 Flute Specialists, Inc...... 83 Trevor James (see also Miyazawa) ...... 90 Flute World Company, Inc...... 84 University of Michigan School of Music...... 62 Flutistry Boston...... 19 Garner Headjoint...... 83 Verne Q. Powell...... 87 Gemeinhardt...... 86 William S. Haynes...... 27 Hammig Piccolos (see also Miyazawa) ...... 90 World Flute Society...... 8 Katherine Kemler...... 89 Yamaha Corporation of America ...... 91 Katherine Kemler Lipstick Sonatina Free downloads of live performances available at kkemler.com.

Including works by Including works by ter Veldhuis, Higdon Dutilleux, Sancan, Works available by and Ian Clarke and Gieseking Damase, Fauré,

Virtuoso American Feld, Franck, Sky Loom Flute Works Gaubert, Ginastera, Goddard, Genin, Ferneyhough, Jolivet, Schubert, Takemitsu, and Widor Including works by Including works by Liebermann, Liebermann, Lutosławski, Ibert, Muczynski, and Bartók and Hayden kkemler.com

SPRING 2016 THE FLUTIST QUARTERLY 89 NFAONLINE.ORG www.tjflutes.com

[email protected]

(877) 88 FLUTE

90 THE FLUTIST QUARTERLY SPRING 2016 NFAONLINE.ORG WIND9788 Intermediate Flutes FQM.qxp_Layout 1 2/19/16 9:04 AM Page 1

NEW Yamaha Intermediate Flutes

The Yamaha line of Intermediate flutes has been updated to surpass the evolving needs of student flutists. Featuring an industry-leading pointed key arm design and a complete review and update to many aspects of the production process, the 300 and 400 series Intermediate flutes emphasize the Yamaha consistency and quality that keeps these flutes strong and singing for youn g flutists.

• The keys of the new Intermediate flutes have been redesigned with the pointed key arm style which is vertically integrated from Professional and Handmade flutes

• Mechanical redesigns and material changes result in increased resistance to corrosion and longer playing life for the instrument

• Pad cup structures now feature the same style and thickness as the Professional and Handmade line , for a more precise seal and increased durability

• The 300 series flute body is nickel-silver with a sterling silver headjoint, while the 400 series is completely sterling silver. Both styles help retain a clean polished look and a rich singing sound.

• All intermediate flutes now come with a French-style case and a durable, E-style case cover SDF_8.5x11_FQ_Final.pdf 1 2/17/16 9:04 PM

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