The Journal of the British Flute Society

Presidenl James Galway Vice President Albert Cooper

1 from 1st January 1991 Area Representatives Council 1 Sus;~nMilan Chnir~nn~r Avon/Somerset Elizabeth Taylor Srrrrtn,y Carole Timms. 'Marlow'. Carstone Lane. Blagdon. Avon / ,lutlith Fitton Ed~lor BSI8 6TG Tel: 0761 62348 I Jenny Wray iM~~nbr~:dripSrrwln~? Birmingham Jonathan Myall 7'rea.utr.rr Marg;~ret Lowe. 10 Navenby Close. Shirley, Solihull, West I Adrian Brett Ei~r~rlsCO-o~uli~rnlor Midl;~ntlsB90 ILH Tel: 021 474 3549 Juliet Keeling A,\,\isln~rlEz,r~i/r Cu-u~~(li~mlur Andre\\, Tlion~sonI~clrr~~nlinnol Fhtlr Sori(,li~*sCu-ur(1111n1o1 Cardiff ,lulie Wright Arrn RryJ. Cu-ur(li~inlor lau I'rovis. 13 Werfa Street, Roath Park. Cardil'l'CF2 5EW Tel: Liz Goodwin Editn~I,/ Flti/ru~i.w 0222 48906 l , Robin Soldan Ed~rrnlk~~alRrprr.s.\u~rlnliz,r Cleveland Susan Hruce Hun. Leg01 Adzri~rr Lee Hannah, Fardeanside. Worsall. Yarm, Cleveland Tel: / Carolyn Nelson 06098 1 694 lanice Norn1;tn Cumbria David Nicholson ,]anet McCallunl. 9 Droomer Lane. Windermere Albert Cooper LA23 2LX Tel: 09662 661 1 Dennis Cl;crkc Christopher Hyde-Smith East London Kale Cuzner, 52 Turnstone Close. Upper Road. Plaistorv. London Tel: 07 1 5 1 1 5552 Guildford The British Flute Society was tormetl in Ianuary 1983 from the Clare Lund. Down Amphrey. Rowley Drive. (:r;~nleigh. Surrey constiti~tion: GU6 8PN Tel: 0483 "3167 'The objects ol'the Society shall bc to ;idvancc the education of the public in the Art and Science ol' Music and in particuli~rthe Hertfordshire Art and Science of Flute playing in all aspects by the present;ttion Anne White. 22 Lys Hill Gardens. Bengeo. Hertford of public concerts and recit;~ls;incl by such other u8ays ;IS the SC14 3EH Tel: 0992 586875 Society through its Council shall detern~inefrom tin~eto tinle'. Leeds l'ai~line.Jackson.Croft Cotvage, Old Bank Top. Pool-in-Wharl'e- The Editor welcon~escontributions to Pan - typed if possible ;~ntl dale LS21 3BZ Tel: 0532 842457 always tlouble spaced - by post to 116 Woodwarde Road, Dulwich. London SE22 8UT (also see Membership Secretary's Norfolk address). Elaine Smith. The White Homesteatl. Bramerton. Norwich NU14 7DP Tel: 05088 215 Views expresserl by the contributors are their own ancl do not NorthantsIBedfordshire necess;~rilyvoice any official view of the Society. Christine Wrigley, 22 Harvey Road. Rushden. Northants SaLrri/)liorr ralrs 10 BFS NNIO I),JY Tel: 0933 314326 North Hampshire Individual Membership (U.K.) Raren Morrison. 3 Rarn Cottages, Prinstecl Lane. Prinsted. Husband R- Wile (I journal) Ernsworth. Hants PO10 8HT Tel: 0276 600504 Sti~tlenr(21 8c under) Flute Clubs North London School Membership 1.i~Taylor, 46 Farrer Road. London N8 8LD Tel: 081 340 (:ommercial (Worldwide) 209 l Overseas Membership Oxford i Overseas Student (21 8c under) (;arolyn Nelson. 21 Trinity Street, St Ebbes, Oxfbrd ' Life Meniher OX I ITN Tel: 0865 250169 Husband 8c Wife lile Mcn~hclrhip 1 South Buckinghamshire I Membership Secretary Jenny Wray Ann Da\'itlson. Alhrough Lodge. P;~ckhorseRoad. Cerrards The White House C:ross SL9 8,JD Tel: 0753 888121 Hatton (keen. Hatton South Kent Warwickshire CV35 7LA ,John Gridley. 47 Park Avenue. Deal. Kent Tel: 0304 364806 Swansea Maple Media Ltd. 41 1 Wokingh;~n~Ro;~d, E;irley. Reading Hugh I'hillips, 116 Delffordd. Rhos. Ponvard;rwe. West Glamor- I RG(I 2ICL. Telephone: 0734 261669 Fax: 0734 6ti56l I @in SA8 3EW Tel: 0792 A62808 Twickenham ! Printed by The Lavenha~i~Press Ltd. Lavenh;~n~.Suffolk .Julie Wright. 4 1 Devon Avenue. Twickcnhan~TW2 6PN Tel: All rupsr~glrl.~resm,rrl 081 755 1584 Life Members of the British Flute Society West Sussex Lindy Thw;tites. I9 Downview Road. Banihan~.Bognor Regis Michie Bennett Anne Jaken~an P022 OEG Tel: 0243 553623 Williarn Bennett Trevor .lames Worcestershire Wissam Boitstany 1;1n McLauchlan Alison Uren. 10 Gifford Drive. Welland WR13 6SE Tel: 0684 Albert Cooper Susan Milan 3 10066 Philomena Cooper (:hristopher R~ulMoney Elen;~I)u~.atl Alexantler Murr;~y Will ;ire;c representatives send all dates leading up to the BFS Michael Emn~crson 8arbara Noble (:onvention to Julie Wright C;~rolineM. I:lat~klyn Stephen Robinson jit~nesG,tlwav Kirsten Splatt ,leanr;e (:innante G;~lway Anrly l'ho~~~son Rri;~nH;trnilton D;t\.icl St. lohn-Weyrrs Cover - James Mathews 'A Victorian I'aillinc ,lackson l'rcvor Wye Gentleman', from the Bate Collection. Editorial Contents

I often think back on the irritation I felt when, as a Editorial student attending a lecture at the RCM, we were told that 'Half an hour of Chaucer is worth two of Czerny'. All very well in principle I thought, but Diary what was the use of being a cultivated well rounded person ('it will be reflected in your playing'), if you could not play. First and foremost if you are going Flute-maker - Robert Bigio to be a performer, you must become the master (or mistress?) of your instrument, and some people A Late Starter by Judith Hall need to be more exclusive than others in their pursuit of this. It is true, however, that the best musicians usually have other interests which they BFS Northern Flute Day are passionate about and are good at - not easy for British musicians, whose insecure and hectic life- style is not conducive to the development of Interview - Christopher Yates anything else (whatever it may be!). However, their other interests are often what makes them interest- ing, and I find these fascinating. Did you know, for Tromlitz - 'The Virtuoso Flute Player' - instance, that Richard Adeney is a professional- Reviewed by Lisa Beznosiuk plus standard photographer (hopefully he may be recording the BFS Flute Convention on his camera, in July); that Trevor Wye (amongst many Summer Masterclass Listing other things) and Eddie Beckett are sensational gardeners; that Susan Milan is a marvellous cook and is fast becoming a computer buff and that A Victorian Gentleman and his Flutes by Sebastian Bell repairs and makes head joints for Margaret Lowe flutes. Elmer Cole also quietly experiments with the mechanics and tuning of flutes, and many of It's Doctor Atarah now his innovative ideas have been incorporated into the flutes played today. Some have taken their interests a stage further; Meinhart Niedermayr by Kimberly Shippey Simon Hunt, for instance, has graduated from dabbling in books to becoming a successful pub- lisher and Judith Hall has done it all in reverse Reviews order (page 8). A pretty lively lot really, the flute players of this world, and who knows what we shall see next; from the word processor which is the Obituary constant travelling companion of Julian Coward (The Back Door, Pan September 1991), the lens of Richard Adeney's camera, or whatever? Letters 43

Next copydate 15 April (15 July115 October). Editor

The AGM will be on Sunday Morning 26 July - 8.45 am at the Royal College of Music, London SW7. I

l Remember to send application andlor competition forms in for the London Flute Convention on 24, 25 and 26 July 1992. Diary

March 11 Susan Milan and Ian Brown. Live broadcast1 Clive Conway and Gerald Garcia (flute and guitar) 1.05p.m. recital 8.00p.m. Holywell Music Room, Oxford BBC Broadcasting House, kangha& Place 8-10 Christopher Hyde-Smith, Jane Dodd Michael Kofler playing standard repertoire Flute Course- Little Benslow Hills, Hitchin, Herts Bad Homburg v.d. Hehe, Frankfurt am Main, 9 Trevor Wye and Robert Scott Germany (for information contact the Deutsche Afternoon Masterclass and 'Afflatus of Flutes' Gesellschaft fiir Flote e.V., Tel: Germany 069 596 Hertford Flute Society 24 43) 16 Clive Conway with 'Zig-Zag' April 7.00p.m. for (flute, guitar, accordion and bassoon) I Clive Conway and David Watkins (flute and harp) 7.30p.m. 'The Tower', Boarstall, near Oxford Ashton Memorial, Williamson Park, Lancaster 17 Horseforth Flute Day The Heath Flute Quartet and Friends Contact Pauline Jackson 0532 842457 'The British-French Flute Connection', music for 4-6 flutes, piano and guitar 23 Clive Conway, David Watkins and Jean Marsh 7.30p.m. Hambleden Parish Church, near Henley, Oxon Harlequin Wincl Quintet Purcell Room 24 Susan Milan, World premiere of Robert Simpson British Music Information Centre, 10 Stratford concerto plus Nielson concerto Place, London W1 Malvern Festival City of London Sinfonia. Richard Hickox Clive Conway and David Watkins Doncaster Museum June Clive Conway and David Watkins Susan Milan 6 Maison Franqaise, Oxford West Dean Master Class Co~~rse 8 Susan Milan, City of London Sinfonia, cond. Carl Susan Milan and Debussy Trio Davis Richmond Concert Society, St Matthias Church, Carl Davis concerto and Mozart D maj concerto Richmond Wycombe Festival Susan Milan, MartinIChaminade with Orchestra 9 Flute Festival, Asti, Italy 7.30p.m. The Heath Flute Quartet with Ray Lewis and Susan Milan, John Heley cello, Ian Watson, piano Brian Tewson St George's College, Weybridge Music of all kinds for all kinds of flutes Trinity Church, Southend Crescent, London SE9

Oxford Flute Day with Williani Bennett, Clifford 11 Julian Sperry and Pamela Lidiard Benson, Janet Way and Clive Conway 2.30p.m. Recital at the Lichfield Festival Holywell Music Room, Oxford William Bennett and Clifford Benson 14 Julian Sperry and Pamela Lidiard Recital at the Oxford Flute Day l.OOp.m. Recital St Martin-in-the-Fields Trevor Wye and John Wilson Masterclass 19 Trevor Wye and Clifford Benson 'Afflatus of Flutes' Recital Worksop Wye College Susan Milan, John Heley, Ian Watson 28 Trevor Wye and John Wilson St John's Smith Square 'Afflatus of Flutes' Rydale Festival Julian Sperry and Pamela Lidiard 'Prizewinners' Recital 29 Trevor Wye Turner Sims Concert Hall, Southampton Univer- Masterclass sity Rydale Festival Would That You A1

Flute-maker

Robert Bigio

Flute players these days are very make a sort of a tent out of plastic I want to hear. My ideal flute lucky. We have available to us a sheeting in order to keep warm; produces a sound that is warm and wide variety of well-made instru- and I suffered frequent power fruity rather than bright. It over- ments that will produce whatever cuts, usually after dark and always, blows perfect octaves, has a wide type of sound we want. I specialize it seemed, while operating ma- dynamic range and prod~icesthe in wooden flutes and piccolos. I chinery. Finally, when the drains same tone colour throughout that also make silver headjoints, which froze, I decided I had had enough. dynamic range. The sort ofinstru- I am pleased to say are finding At this time my wife returned to ment I do not like makes a bright favour in the profession. work after time off to have a baby sound verging on the harsh, plays I have been based in New- (she is headteacher of a primary wide octaves and sounds quite castle-upon-Tyne for two years. In school); I decided to stay at home different when played softly. As to addition to making instruments I and look after the baby, and my scales, my view is that there is a still find work as a flute player and musical and manufacturing activi- way to blow a note to produce the teacher. ties ceased temporarily. Working best sound and a way to blow a I lived in London until five as a house husband was agreeable note to produce the best inton- years ago when my wife and I for a while, but after eighteen ation; these two should be the decided, on a mad whim, to move months of changing nappies I same. The player should not have to Hexham in Northumberland. I began to miss my work. I per- to compromise sound to pitch or set up my workshop ten miles suaded my wife that the country- pitch to sound. The best scale is from home on a small industrial side is over-rated as a place to live one that will allow the player to estate in a converted Land Army and we moved to the peace and play in tune without having to lose hostel, at the top of a treeless, quiet of central Newcastle. We the sound he or she wishes to windswept hill off the A68 road, hired a nanny and I an1 now, as make. near the Scottish border. I will they say, back in business. In my quest for the perfect admit to never having been much My workshop is in the base- instrument I have measured of a lover of the countryside, but ment of my home, which is in a dozens of flutes, both good ones to my experiences in this place would large old house near the centre of see what makes them good and have driven anyone back to the the city. This is much more con- bad ones to see what makes them security of a city: I was burgled venient for me and for my cus- bad. more times than I can remember; tomers. It is also warm, free of I do not feel bound by tra- I was frequently deafened by RAF low-flying jets and of quarry- dition and I have no time for jets on ultra-low-level exercises fly- blasting and should I feel any armchair theorizing; if I want to ing a few feet above my roof on longing for the countryside I can know if something works I try it. their way to bomb practice targets look out of my window at the cattle My workshop is littered with at Otterburn, just over the next grazing on the town moor. experimental instruments. As an hill; the foundations of my work- My approach to instrument example I once made a series of shop were regularly shaken by making is based on a simple musi- six headjoints, all identical except blasting at the local quarry; in cal principle: I want a flute that for the depth of the embouchure, winter it was so cold that I had to makes it easy to produce the sound which I altered in 0.1 mm steps. I consulted a flautist whose playing I as modern metal flutes built to the this as much as anyone; I make admire to decide which headjoint same scale. This led me to alter the pointed keys to please my cus- made the best sound. The result of scale to suit the different material. tomers, but I do wish some of this laborious process is that I now I did this with David's tireless and them were not quite so conserva- make my embouchures deeper methodical help. We realized that tive. To make keys like that today than most. I have also experi- there were too many factors affect- seems as anachronistic as wearing mented with, amongst other ing the intonation of a wooden hoop skirts and bustles. I particu- things, making headjoint tubes flute to permit anything other than larly admire a flute made by Webb with both seanlless ancl seamed an experimental approach. We and Wessel, who seem to have tubing to see if anyone can hear therefore set out to measure how decided to ignore what the flute is the difference (I am not convinced far each hole would have to be supposed to look like and have anyone can), with drawing tubes moved in order to make it easier to made one of radically different both by the traditional method play in tune. This method took design. Quite apart from its inno- through lead and by the modern into account all possible factors, vations, or perhaps because of 1 method through sheet steel to see including the depth of the holes them, it is probably the best metal if this affects the sound (again, I (which vary according to their flute I have played. am not convinced) and with differ- size), the height of the keys, the My workshop contains a mix- ent types of head-stoppers and thickness of the walls and every- ture of modern and ancient tools ' crowns (which do make a differ- thing else. I then made a flute to and machinery. I have the usual ence). 1 have experimented with this improved scale, we repeated range of modern, electrically pow- different types of wood, different the process and repeated it again ered machine tools: a couple of methods of working it and differ- until we were satisfied. lathes, a milling machine, a band ent methods of finishing it and I My wooden flutes are not saw and the like. I also own a continue to do so. reproductions of earlier instru- splendid treadle-operated orna- I have a lot of experience with ments. I think the maih, reason mental turning lathe dating from wood; as a maker of reproductions wooden flutes fell from pobuIarity 1880, along with a collection of of baroque flutes and recorders I is that makers did nothing $0 keep eighteenth and nineteenth century J

Flute by Rob~rtBigio.

made about one hundred and up with the times, while makers of tools. I am fascinated by old manu- twenty instruments. I first worked metal fli~tes, notably Albert facturing methods, many of which on a Boehm system wooden flute Cooper, were improving them and are at least as efficient as their ten years ago when I was asked to making them easier to play. modern counterparts but which make a new body for a Rudall Although I am a great admirer of have the added benefit of being Carte thinned-wood flute whose the craftsmanship of wooden flute more economical. I pick and original body had split and was not makers such as Rudall Carte I feel choose my methods; I will do some repairable. I made a new body that their instruments are unac- jobs with techniques that would with a good modern scale and ceptably difficult to play in tune. have been familiar to a worker two transplanted the keys. This flute Standards have changed; one has hundred years ago and others with was seen by David Haslam. David only to listen to recordings from the very latest methods. My keys, at that time was playing on a metal the twenties and thirties to hear for example, are forged by hand, flute, although he had always pre- the poor intonation that was con- while my silver headjoint tubes are ferred wooden flutes and had only sidered acceptable then. It needs drawn through sheet steel on a ' given them up because they were to be said, too, that old metal flutes new hydraulic press that pulls so difficult to play in tune. David are just as difficult to play in tune rather than pushes, to reduce dis- was impressed enough to order a as old wooden ones. (Those flau- tortion. (My first hydraulic press, wooden flute himself. tists today who use old French which pushes only, was sold to my I consider it a privilege to metal flutes have all had them good friend Ewen McDougall.) have had David's support. He is altered and modernized.) Some of my cutting tools are of without question one of the great I am interested in new designs traditional form, whereas I now flute players of our time. David's of keywork. Why is it that so many produce the bore in my wooden experience with my first wooden flutes today are made with keys flute bodies with modern hollow flutes was that, while they were that imitate those of a century ago? drills that are connected to a com- much, niuch easier to play in tune There is no structural advantage, pressor that blows air through the than an old Rudall Carte, they for example, in pointed and drill to clear the wood shavings. were still not as easy to play in tune bevelled key arms. I am guilty of These drills would alarm a tradi- tionalist but they are quick, they beginning to return to favour now metal ones, they permit a greater leave an excellent finish and they that flautists realise that it was the dynamic range and they blend cause less distress to the wood. I method of making them, rather better with other woodwinds in the use a drafting program on my than the material, that made the orchestra. computer to prepare my drawings, old ones so difficult to play. It is In a letter to Pan recently which puts me in the odd position interesting that many of the (Vol. 8 No 1 March 1990) the of having instruments that are players of the older generation bassoonist Meyrick Alexander designed on a computer and made thought metal flutes had too thin a asked why flautists have been so on a treadle lathe. sound. My experience is that reluctant to return to the wooden Wooden flutes are slowly wooden flutes are louder than flute. Why, indeed?

HARLEQUIN Robert Bigio " , ,,,, L,,, ,,. ,. , Mark Underwood: Hure; Rryonv Lakr: FLUTE MAKER oboe; C;r;~erneVin;~ll: clarinet; Glyn Williams: h;~ssoon:Sinion de So~lz;~: horn PURCELL ROOM, LONDON SE1 Sunday, 5th April, 1992, 3.15pm progranilne includes music by Rerio 14 Belle Grove Terrace (Opus Number 200). Cershwin, Holsr. Newcastle-upon-Tyne NE2 Ibert. Ligeti. Vinall. 4LL Tirlrr/.\: N.50,f6.50, f7.50 England Telephone 071-928 8800 Telephone: (091) 222 1155

L.

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6 Elena Duran Flute Course for lunior Members oft

King Edward School, Stratford-upon-Avon FLUPier,deot mC-hai

18 July - 1 August Do you enjoy reading PAN and attending BFS events? If so, you owe it to your pupils and young flute playing friends to introduce them to Flute Orchestra conducted by Colin Fleming FLUTEWISE, their very own JUNIOR BRITISH FLUTE Guest tutors, lecturers and performers SOCIETY. Albert Cooper Competition FLUTEWISE members receive a quarterly maga- Daily student concerts zine which is lively enough to keep the most Celebrity concerts reluctant practiser interested! There is always a mixture of 'fun' articles, competitions, advice Students, teachers and professionals from the experts and information about flute of all levels are welcome playing events all over the country. FLUTEWISE gives young flautists a new perspective on their playing and helps them to grow into better Further information from informed and enthusiastic adult players. and applications to So when you next reach for your PAN, think of someone who would enjoy FLUTEWISE and Elena Duran Flute Course reach for an application form! P.O. Box 007 Application forms are available from: Stratford-upon-Avon FLUTEWISE CV37 9GB PO Box 1050 Portslade BRIGHTON BN41 1WP

@ BFS London Flute Convention 24, 25, 26, July 1992 -:

Royal College of Music, London

For further information and applications for competition, write to 1992 London Flute Convention, The British Flute Society PI0 Box 252, Oxford 1XG and enclose a stamped addressed envelope. A Late Starter by Judith Hall (via the 'Back Door')

Musicians should practise inten- learn to play properly when I was Julian Coward, in his interest- sively when young, and the in my late twenties, but was told by ing article, 'The Back Door', younger the better; they need people in the business that I was argues that acceptance for music music qualifications for a success- too old to acquire a technique. I college is not the be-all and end-all ful career; they can rely on their believed them, but pressed on of a career in music, and also that talent to find them a place in the regardless just for the sake of it. university can provide a stimulat- music scene. Within a year I'd made more ing environment for the aspiring These misconceptions are progress than in all the previous musician. As I wasn't one, I took commonly held by the world at years put together, and within an Arts degree and dropped in to large, and mostly by musicians three years was ready to play the Music Department for oc- themselves. I an1 always keen to professionally. The reason I left it casional lessons. Working later as a dispel the first two, as conformity so long was sheer lack of interest management consultant, I had not can be such a negative influence on earlier. I had had endless opportu- time or energy left for even casual potential. My qualification for this nities, and much cajoling and practice, so I let it lapse. When at task is that I am, in the words of pushing, but it took Jean-Pierre last I did want to study music, I Pan's editor, 'a late starter who also Rampal's words 'Why don't you was advised to go to the Guildhall, came into the profession by the take it up professionally?' to make but in the end I turned down my back door', i.e. not via music me realize it was silly to resist any place as I thought I could achieve college. As for the third, I am just longer. (Not that I really believed I what I wanted (to learn to play the an interested observer. could, as at that stage I couldn't flute properly) without being away Of all the arts, music seems to double-tongue or cope with any- from my baby daughter so much. be the most hidebound by conven- thing fast - on the basis of hearing It seemed unrealistic to spend a lot tions of age. Painters, novelists, 'Syrinx' he wasn't to know that.) of time catching up on the piano playwrights, potters, producers, Motivation at any age is the (for second study) when I had film-makers, etc. can all suddenly important thing. originally been a much better emerge later in life and have their There are advantages in not pianist than flautist. I had studied work accepted on its own merits, devoting your youth to practising. the history of music already, and but this is very difficult for Obviously there is more time for could have harmony lessons priva- musicians. With other art forms it other interests which could help tely. is taken for granted that artists your musical career later, or at All in all, I don't regret by- need time to mature, and nobody least give you a more balanced passing music college. For a start, hopes for great things of them view. Furthermore, bad habits where there are so many players in while they are still practically chil- caused by too much work while close proximity, competition and dren, but in music there is a 'child- physically immature can be rivalry are unavoidable, and that prodigy' fixation, with the belief avoided. For example, struggling can be a positive deterrent to that youth is enough in itself. As a for long phrases with small lungs, learning. Also, if you are not part result it is assumed that noses are and being unable to handle the of a system, you can decide which best held to the grindstone from instrument properly through teacher you need for certain an early age. This must be more smallness, often build up lasting aspects of playing, and when you important for the piano and for tensions. One benefit of concen- need lessons. Being independent string instruments, but with the trated study at a later stage is that encourages self-criticism, and flute and probably all wind instru- you can cut down on long hours of allows you to create in your mind ments, a basic acquaintance with practice by spending more time 'ideal' standards of playing, rather the instrument in childhood is all thinking about the music and what than standards based on what that's needed initially. I decided to you are doing instead. other players are doing. Greater freedom may make it easier to hatched players emerge without although rewarded at college, may develop your own style, too. much idea of what is needed to prove to be far less important in Music colleges can be very make a successf~~lcareer. The the world outside than other more inward-looking, with the result right credentials are not necessar- easily recognizable aspects of a that many students are so involved ily music qualifications, and talent, musician. Although it may not be in activities going on there that possible to change oneself, it can they ignore what is happening be useful at least to be aware of outside. If unattached, you have to them. look around you, and in a musical Briefly, the most important centre like London, there are seem to be good appearance, wonderful resources. There are so appropriate behaviour, a good list many excellent concerts, where of contacts to draw on, self- the world's best soloists are con- confidence, and determination. stantly circulating, so many good Determination is the most valuable teachers, summer schools and asset of all, and is the most easily / courses, while books, records and acquired. music are instantly available. Doing everything in the con- 1 There are also many amateur ventional way at the 'right' age is r orchestras in which to play. When probably the easiest way to I took up the CO-Principal Flute prepare for a musical career, and position at Covent Garden, I only may well be the best way if the had amateur orchestral experi- training is not too arduous and ence to draw on, so it is obviously horizons do not become too Jndillz Hrrll bego~r Iter crrrrer ru CO-Pri?rci/)crl useful, even if the standard isn't Fhrtr in lhu 01-rkrslro of ll~eRoyal Opera HOUSF. limited. But if you don't want to go high. Co7'rnl Grtrdrn. and IS no70 o lending soloi.cl, about it that way, my experience Musical excellence is, and Broo(lrrrsting rrgl~la~l?(lnd doing rrcilnls and shows that all is not lost. In music, ronco-10,s boA in lhis cortn/)y ond obrod. Slrr should be, the prime consideration lro>t 111nde ..rr~trrolCDs. incl~rrling.rrcrnlly 111r as in all the arts, the best thing is to of music colleges, but many newly- Vi~jnl(lico?zcrrli. do what you feel driven to do.

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DON & EDDlE ASHTON leg & Re&#&

Th2bindSpe 4 ists DEREK HOSSLE %<*. -& U4*'~strun2pnts OS D Run by Musicians woodwind ,, for Musicians

208 LIVERPOOL ROAD, CADISHEAD MANCHESTER M30 5DB 5'kLqh.m~:061 474 7118. Telephone 061 775 1842 210 Shaw Heath, Stockport SK2 6QZ. BFS Northern Flute Day held at the Royal

Northern Colleqec of Music, Manchester, on 3 November 1991

The day began with an improvis- way of catching up on what's new by Celia Chambers, Principal Flute ation which was entertaining and in music and flutes. Perhaps we with the London Philharmonic 1 instructive both for the competi- cannot afford to make Inany pur- Orchestra. She was accompanied tors (aged 16 and under) and the chases on the day, but we save up by John Wilson. audience. The winners were: memories of nlusic seen and head- The first piece was a Handel Rachel Hubball, First Prize (230); joints tried. We were not stinted as sonata, which she played in a Teresa Griffiths Clarke, Second far as flute shops were concerned, rather romantic style. Then came i Prize (2 10); and Adam Stringer, and there was plenty of time to pieces by Mozart, Elgar, Widor, l Third Prize (£10). browse. Hiie and a beautiful performance Susan Thomas, who won the The Leicester School of Music of the Morceau de Concours by senior improvisation competition Flute Choir achieved a real orches- Faure. Enesco's Cantabile et Presto in the 1990 BFS Flute Convention, tral tone quality and sense of and Reichert's Fantasie Melancoli- and members of the audience, ensemble in their short but most que followed, the latter requiring a were the judges. A special prize en-joyable appearance under their virtuoso display from the per- was given for Lisa Wright, aged conductor and trainer, Russell former; this was effortlessly 10, who showed great promise. Parry. achieved. Although the pro- At 11.15 we were given a At lunch we were entertained gramme could have been more recital of interesting new pieces by a first-time appearance of varied, it was pleasant to listen to played by Susan Thomas and John Quicksilver, an ensemble of five after the events of the day. I i Wilson. Susan is studying at the flutes, bass and drums from Birm- particularly admired the beautiful RAM with William Bennett after ingham, who provided a varied tone of Celia Chambers's upper four years at the RNCM. She is a programme of pop and jazz items, register. wonderful player and a good skilfully played. In his closing remarks, includ- musician. We listened to the first Flute Days are never complete ing thanks to Amelia Gomez and performance of the Sonata Con- for most people unless they have staff for organizing the day, cise, by Colin Hand; Sonate, by the the chance to have a go them- Trevor Wye concluded, 'Most of ' Canadian composer Denis Bedard selves. Russell Parry coached the you will have seen advertisements (the favourite with the audience) mammoth flute choir into very in Pan giving advance notice of and finally, Caprice Opus 1 No. 15 good shape in such a short time, what is called 'The First Inter- ( by Paganini, transcribed by Robert and the massed flutes played national Flute Convention in Lon- Dick; this was for flute only. I felt, remarkably well together. don'! - as many of you here know, in this work, that the interpret- At Question Time, the the first Convention was held in ation was not absolutely convinc- experts were quizzed by the this College last August; but then, ing; sometimes it sounded hesit- audience on many topics, though as the old saying goes, 'What Man- ant, and we were never sure the majority of questions seemed chester does today - the rest of the whether the 'effects' were real or to be about flutes, headjoints and world does tomorrow.' I were mistakes - this apart, it was a associated matters, largely dir- . Well (as they say), what goes up ~ remarkable recital by a flutist of ected at Ian McLauchlan who (north) must come down! - so we all whom we are sure to hear more in fielded them knowledgeably and look fonuard to the 'First International the future. helpfully. London Flute Convention' in Ju.ly, Flute Days are such a useful The day ended with a recital as adverhed. DAILY PRACT1C.E-

(:II~C~JLA~(SCAI.E F;XI:~~CISI,:. .MA JORE .MODE.

Clinton's Instructions. From lhe Tre-r~orWye Collection

11 Interview

Christopher Yates

talks to Judith Fitton

Christopher Yates has changed of the Northern Sinfonia; and for and tried the cello at boarding very little since I met him nearly ten years, until 1990, was the Dean school when I was seven - that was thirty years ago in the Sadler's of Postgraduate Studies at the a total disaster; then I took up the Royal Northern College of Music - flute at another boarding school in Wells Opera Company. He is the 1 same shape, that is, large, and his he is now the Vice-Principal. Reading. I had one brother who hair, which he has retained in We decided to conduct our played the oboe, and one the , plenty, is in the same Schubertian conversation in Chris's official bassoon, so it seemed a good idea i style; most important of all, he still room at the RNCM; we stood less at the time - interestingly the flute has the power to paralyse those chance (we thought) of deviating teacher there was F.B. Chapman, around him with an acute, dry, from the printable conversation I who wrote the OUP tutor . . . you ; sometimes self deprecating wit, wished to record for the readers of know that thing isn't going round!' which he delivers with just the this magazine. We settled our- Christopher picked up the slightest trace of a stammer. selves into comfortable chairs, and recorder; we spent a good five He was a music student I produced my (fairly) new toy, a minutes trying it out, checking (studying the flute) twice; before micro-recorder; I switched it on that the batteries had been put in and after becoming an undergra- and suggested that Christopher properly etc; we couldn't under- duate at Cambridge, where he should 'fire away' and tell me stand why it kept stopping and # took a degree in history (but spent something I didn't know, which wondered whether it was perhaps most of his time playing the flute). was how and when he started an optical illusion . . . 'You've got He has been the Orchestral playing the flute and generally it on a voice operated switch!' Manager of the Philharmonia showing an interest in music. announced Chris, solving the Orchestra; the General Manager 'Well, I played the piano first, problem. Interview

'7'0 continue, I became a Simon Preston and Philip Ledger, 'I was with Sadler's Wells for music student at very short notice to name but a few. Tim Reynish about five and a half years, from - it was at the time of compulsory (Head of Wind and Percussion at March 1961 until the end of the National Service, and I left school the RNCM - see Pan, September season in 1965.' expecting to do my two years, but 1991), was at the same college; we We agreed that it was a very was turned down - spurned by were in a quintet together. I was interesting time for the Opera Her Majesty! I was overweight and very busy doing music during my Company and of course us as well. they probably thought I was psy- three years at Cambridge, We sat in the same section - I was chologically deranged; I had a although I took my history degree principal flute, Christopher, co- terminal stammer at the time at the end.' principal, and for most of the which I'd had for some years, so a I commented that Christo- time, Sebastian Bell, also in his decision had to be made quickly pher had probably acquired more first job, was second flute - it was and I went to the Royal Manches- experience of playing than many five and a half years of fairly ter College of Music for a year. It students at music colleges. continuous conversation (perhaps was when Bernard Hermann 'Yes I remember that Justin two for Bas) for the three of us. taught the flute there; he had been Connolly, who was then a post- 'It was a good vintage really - principal flute in the Yorkshire graduate student at the RCM, we had Colin Davis and Charles Symphony Orchestra, I seem to couldn't even find flute players for Mackerras; and the repertoire was remember, and was then the Con- the contemporary music group he interesting - Rake's Progress, in ductor/Director of the Northern ran, so I used to come up from Glen Byam Shaw's production, Dance Orchestra. He was so busy I Cambridge for that.' Peter Grimes, and Rita Hunter don't think I had any lessons from We diverted from our task singing the witch in Hansel and him, so the College engaged Peter again to talk about the various Gretel before she was a big Lloyd, who had newly arrived, music groups that were springing name.' . . . 'And Mahagonny and fresh from studying in Paris with up in those days, and which of our Comte Ory' I added. We were Caratge, and had just been colleagues were playing in them. reminded of many exchanges appointed Principal Flute with the 'What did you do immediately between stage and pit. (We very BBC Northern Orchestra, as it was after Cambridge then - you didn't often had a good view of the stage known in those days. I was one of go straight to the Wells did you?' if, for instance, we were sitting on his first pupils; I suppose he's only 'When I left, with my history the outside position in the pit at three or four years older than me.' degree and music experience, I the Wells, and on tour in provin- We paused to update ourselves on wasn't quite sure what to do, so I cial theatres we were sometimes the career of Peter, who is now did an audition for the Guildhall seated in the stalls). living in America, and is teaching and was offered a Merchant Tay- 'After the five years I had at the University of Indiana. When lor scholarship to study with Geof- given myself to decide whether I we returned to the subject of frey Gilbert. I didn't spend very was any good and whether or not Chris's career, which seemed to long there - just over a term - to continue in the profession, I become more multi-directional as Geoffrey gave me some freelance decided against it.' we went on, I asked him when he work with the RPO, and then I got 'But you were good.' had fitted Cambridge in. a job, two in fact. Now whether 'Well, I made a decent sound 'During my year in Manches- this was a good idea 01. not is not so and had a fast tongue, but I hadn't ter I decided that it would be quite sure - I think that in the long done half enough technical regime nice to go to Cambridge, so I took term, if I had wanted to be a flute to sustain a long term career. A lot a choral scholarship - I was a fake player, it would have been better of people said I was a better flute ' tenor really - and I was fortunate to have stayed at the Guildhall and player than I thought I was - that's enough to be offered a choral learnt to play the flute - however, I as may be, but I just knew I hadn't exhibition at Gonville and Caius did two auditions, one for the done the work, and I suppose I ' College; I opted to read history, Wind Band in Stratford, and one wasn't interested enough in the but in fact, as a lot of people do, for the Sadler's Wells Opera Com- instrument as an instrument to spent most of the time there doing pany. I was offered the Stratford sustain a long term career and music - playing in the orchestra job by Brian Priestman, the Music that's the honest truth; I would and doing chamber music. In my Director, but turned it down in have needed to have done or to do first term I sang in the chorus of favour of Sadler's Wells, which I the background work, and by that an opera. In my last couple of was also offered - mainly because time, it was a bit late anyway. I years there I ran the wind section the Stratford job would have suspect I am more interested in for David Willcocks and did the meant I would have had to learn to music than the flute! auditions for the orchestra with play the recorder properly, having 'To move on; if you remem- him. I had some very dis- assured them that I already could, ber, I was brow-beaten into tinguished fellow students by the so it was lucky for Stratford that I becoming Union Steward at a way - Bob Tear, David Frost, did not take it! point when there were such diffi- culties in relations between the 197 1, only because Maazel had EM1 recording, and various peo- orchestra and the management - forgotten to engage anyone else. ple their first professional con- there was a lack of "bonhomorous- 'I suppose you could say that ducting opportunities in this ness" I think they said. It was my those days were the last bastion of country. There was Pommier, first taste of what could loosely be the wooden flute - there was Gar- Myung Hun Chung and Eschen- called "administration" - it was eth, Eddie Walker and George bach and others I can think of - very good because in those days Crozier in the section, and Brian Christopher Seaman, Tomas Vas- you got commission on the union Chadwick and Norman (Ginger) ary and Ivan Fischer were princi- subscriptions, which kept Cynthia Knight came in to dep.: at that pal conductors. We went on many and myself in sherry.' (Cynthia time Brian had already started the tours including a big one of Scan- Savage, a cellist and now an hotel he runs. There were many dinavia, and Cynthia and I enter- Associated Board examiner, was highlights of course, working with tained a great deal - most of the already in the orchestra when people like Stravinsky, Shostako- visiting artists in fact. It was very Christopher joined; they married vitch and Gilels; and amusing enjoyable, but there was a tremen- a year later in 1962 and have two times (more in retrospect) . . . for dous amount of hassle raising i daughters: Clare, who read instance when we could not find money for everything - you find , modern languages at Cambridge the pianist before one of the yourself saying the same things and is now studying fi)r her Law Mozart piano concertos at the year after year.' I, Society finals at York; and Cather- Festival Hall - there was a con- We decided to have a mini- , ine, a violinist in the Sorrel1 Quar- siderable delay before he was break in the proceedings so that I tet, the Quartet-in-Residence at found, accidentally locked in the could collect some information for York University. At the same time, lavatory! the article I was preparing on the although she only left the RNCM 'Eventually, I decided it was RNCM (Pan, December). As we as a student last year, she is doing a time to move on and I told the wandered through the college, we year's fellowship there.) Philharmonia - they actually kept passed several students; each one 'During my last months at the me there ~~ntilI had another job, had something to say, to which I Wells, I wrote around for advice there was so much to do. One Christopher responded with quick about jobs in music admin. and week in February 1971, I had repartee. He gave me a short 'run had several helpful replies -one in three interviews - there had been down' on them afterwards; it particular from the Philharmonia, nothing on the horizon fbr ages; appears that there is not a student who were looking for an orchestral one was for the Director of the in the RNCM who is not known by manager. I applied, was given an first Chichester 900 Festivals, one him - he is immensely popular interview and got the job. I was for the Manager of the BBC there, dealing with their various with them for nine years - I took Concert Orchestra, and the North- problems, advising them on their over eighteen months after Walter ern Sinfonia wanted a General courses and careers, and a thou- Legge had ditched them, so really Manager. I was ofTered all three sand and one other things besides. it was in the early days of its self- jobs, but for various reasons, When we were settled again in , management. We worked with thought the Sinfonia would give his room, I told Chris how people like Klemperer, Giulini me the most scope. I had six years impressed we all were when we Munch, Barenboim, Dorati, there, and there was a lot to do at saw it announced in the news- l Osawa and Mutti etc - it was fairly first, with a building to supervise papers, that he was the Dean of fraught from start to finish, I was amongst other things - it was a flat Postgraduate Studies at the 1 never off the phone. The most concrete slab at the time, and the RNCM, 'You were in fact until pressurizing time of all was in plans needed amending; we had to quite recently, weren't you?' 1968-69, when we did 119 days raise money for it as well. We also 'Yes, I have only been Vice- I without a break, except for one had a six week tour of South Principal here for a year. I applied day off before we went on tour. It America - we went to Brazil, for the post of Dean of Postgradu- was hard but 1 learned a lot about Argentina, Chile, Peru, Nicar- ate Studies with the idea of' estab- 7 the business.' agua, Mexico, Jamaica and Trini- lishing a professional training I wondered whether Chris dad, it was a pretty hectic initiation orchestra. We ran it, the RNCM had kept his playing up, I did hear for me.' Sinfonia as it was called, for five rumours at the time that he had I mentioned that the Sinfonia years, with external funding, but stepped in for instance, when Gar- had become very 'high profile' we didn't continue with it because eth was mugged in New York. around that time. 'Well yes, my we decided that it wasn't needed - , 'I more or less gave it up in predecessor, Keith Statham, did a the fact is, we realized that you 1965, but did the occasional free- lot of good work. It was certainly cannot replicate a professional lance date on the fringe - scud- interesting; we gave Simon Rattle situation, which was what we were ding around places like Hounslow. his first concert outside Bourne- trying to do; so we disbanded it. It Yes, I did stand in once when mouth after he had won the John was tremendously hard work, but Gareth Morris was mugged in Player competition, also his first very enjoyable. One positive legacy Interview

of the Sinfonia is that I still take many more students than when I Manchester Midday Concerts as the Chamber Orchestra on tour to came - we also have a wider range you mentioned. Recently, I tourecl France every year for three weeks, of activities, but what I really enjoy Chile for a month and wrote a based principally in Aix-en Pro- rnost of all is seeing the students comprehensive report on all of vence.' I was reminded then that develop.' their music education and train- Cynthia had told me that Christo- 'What about your extra-mural ing. At the moment, I'm chairman plier had been awarded a medal activities - do you still run the of the Manchester International by the town, only the third Eng- Manchester Midclay concerts?' Festival of Expressionism 1992, - lishman to have been given one. 'Oh yes, since I left London, 1 surprising perhaps for someone 'Yes, the other two were Winston have always been involved in other with a history degree - but I might Churchill and Christopher things - when I was in Newcastle, I have made history there!' Soames. was on the Regional Touring I wonder what awaits Christo- 'The College is a lively place to Theatre Committee, and here I sit pher Yates next, in his unique and be - committed staff, and we have on juries, and I'm chairman ot'the interesting career. FLUTE SERVICING with 1 year Guarantee from $48.00 Proper servicing returns a flute to its correct playing condition, making it easier to play. It also prolongs the life of the instrument, and adds to its value. From E48.00 for student models (except TaiwaneseKhinese), and 582.00 for professional, my unique one day Service Scheme offers a full 1 year guarantee on all pads, corks, springs and regulation. Pads, Cork joints and Springs replaced at $1.50 each during servicing. So a Flute can be repadded for E72.00 - 10% DISCOUNT MAY IstdULY 31st For appointment phone TIM DAVIES (0483) 21 1385. 23 Send Barns Lane, Send, Woking, Surrey GU23 7BS Tromlitz The Virtuoso Flute Player - 'Unterricht die Flote zu Spielen' translated by Ardal Powell published by Cambridge University Press. HB £42.50 PB £1 7.95 net

by Lisa Beznosiuk

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Johann Georg Tromlitz stands at throughout the whole range. something and then criticizing 1 the close of the 18th century, the Tromlitz maintained that such a the faults in poor players betbre most significant figure in the flute could only be made by a progressing to the essential infor- history of the flute in the period player. He also experimented with mation. He frequently refers to between Quantz and Boehm. He the construction of a one keyed the fact that the flute is a difficult was born in Saxony in 1725 and flute with a cylindrical bore which instrument to play to a high level, graduated from Leipzig Univer- combined an easy fingering with more difficult than most players sity in 1750. In 1754 he joined the tonal benefits of larger bore, realize, and that flautists should the 'Grosses Konzert' (the pre- thereby anticipating Boehm by rarely be satisfied with themselves. cursor of the Leipzig Gewandhaus about fifty years! He claimed that In his foreword Tromlitz criticizes Orchestra) and became famous as this flute was in tune, that it freed those players without control of a flautist, often playing his own the lowest octave from dullness tone and precise intonation, and compositions. These include three and unevenness, but that the who lack knowledge of the rules ' concertos for flute and orchestra, fingering was very difficult. 'Tow- of good performance and the two sets of sonatas for piano and ards the end of his life he felt that ability to join up the notes pro- flute and six partitas for solo he was too old to continue his perly in a true legato, saying ' flute. He was very successful on experiments and had, in any case, 'Their playing is either sticky and tour, especially in Russia, and his become a champion of keyed droning, or lumpy and stumbling' performances were generally well flutes. He died in 1805. He stresses the importance of all- received by the press of the time. Contemporary accounts show round musical accomplishments, He wrote numerous articles on him to be an extremely precise, for example the knowledge of the flute as well as three major almost pedantic man and this is the rules of con~position. To works including the 'Unterricht'. borne out by his rather long- Tromlitz, a real musician should He contributed greatly to the winded and painstakingly detailed have considerable theoretical development of flute construction, style of writing. Very often in his practical knowledge combined striving to achieve an instrument tutor he will begin a chapter on with complete mastery of his with perfect intonation as well as a some aspect of playing by describ- instrument: That is . . .just like strong and agreeable tone ing, first of all, how nol to do Tromlitz himself! The 'Ausfiihrlicher und ing impressionist and neo-classical culties of the baroque flute, par- grundlicher Unterricht die Fliite composers were becoming firmly ticularly in relation to the more zu spielen' published in the year of established. (Maybe if Daphnis legato, flowing musical style of the Mozart's death, 1791, is the first and Chloe or the Firebird Suite late 18th century, and perhaps important theoretical and practical had been programmed in Leipzig that is why, towards the end of his work for the flute since Quantz's the flautists would have adopted life, he talks enthusiastically of the great treatise of 1752. (There is no the Boehm system sooner?) new keyed flutes with their more shortage of minor flute tutors - Tromlitz holds a very import- homogeneous sound. Delusse, Lorenzoni, Devienne, ant position in the history of the On the subject of intonation, Vanderhagen, Gunn.) The great flute at the turn of the 19th Tromlitz goes so far as to recom- appeal and usefulness of Quantz's century and tantalizingly pre- mend that all players should be 'Versuch' is that it deals with musi- echoes Boehm with his quest for able to tune a keyboard instru- cal subjects of interest and rele- an ideal flute. One cannot help ment and have some knowledge of vance to all musicians, including, wondering if he would not have different temperaments. He also for example, advice to keyboard been one of the few German flau- relates the chapter on key signa- and string players. Tromlitz, how- tists to welcome Boehm's 1832 tures to intonation and tempera- ever, addresses all aspects of flute system had he lived long enough. ment. performance, construction and Cambridge University Press The two chapters on articu- composition, and goes into these are to be congratulated on pub- lation are quite fascinating, and in much greater detail than lishing this English translation of include many astute, musical Quantz, making the work invalu- Tromlitz's major work on the flute observations along with a very able to flautists. He writes with in which Ardal Powell presents a comprehensible glossary of differ- authority, not only as an accom- very well informed, readable and ent combinations of tonguing. plished flute player but as a com- at times extremely witty edition Tromlitz compares the arm gov- poser, theorist and flute maker. which should appeal to all flautists. erning the bow on the violin with The tutor is very systematic and The clear layout and excellent the tongue controlling the wind on detailed, particularly when dealing musical examples make it a very the flute, and says that use of chest with fingering, tonguing and orna- useful reference book. (diaphragm?) alone should be mentation, and gives the flautist The translated book com- limited, as this would result in a useful hints on repair and main- prises fifteen chapters each deal- 'wretched and disgusting manner tenance, even including a recipe ing with a different topic in great of performance'. Quantz gives for lip salve! detail, the most interesting being articulation examples using 'ti, ri Tromlitz gives much valuable those on tone, articulation and and di' as the basic single tongues, information on flute playing and ornamentation, relevant today to but Tromlitz goes a step further by the general musical practice of the players of both 'modern' and insisting that 'ta, ra and da' will second half of the 18th century, 'early' instruments. make the tone fuller, rounder and but he also embraces the mature Throughout the work, Trom- brighter. He gives a set of 13 rules classical style, and looks forward to litz repeatedly emphasizes the for different applications of single the 19th century with all its supreme importance of a beautiful tonguing alone before going into advances in flute performance and tone and pure intonation, using all the exceptions and then advis- construction. the human voice as his ideal - ing that 'Rules and exceptions During the next century the 'bright, full and resonant, of mas- should be combined so as to make German flute school was no longer culine strength, but not shrieking; a usable system.' at the forefront of flute develop- soft, but not hollow; in short, for When we reach the chapter ment, German flautists for the me a beautiful voice is full of on double tonguing, ('ta-dll, ra-dll, most part being reluctant to timbre, rounded, singing, soft and da-dll'), the musical examples replace their old-fashioned multi- flexible.' He often links good tone become even more complex and keyed flutes for the new Boehm with good intonation, implying subtle. Tromlitz makes the point system. Maximilian Schwedler, the that a note cannot truly ring unless that double tonguing should not principal flute of the Leipzig Ge- it is in tune. He encourages the be used in places where single wandhaus until 1917 (some 160 player to strive for evenness in would be better; this is even more years after Tromlitz had held the every scale (not easy on a .one- crucial on the old flutes than the same post), played on a keyed flute keyed flute!) by judicious grada- modern flute because of the built- in the orchestra and the repertoire tion of breath speed and volume in inequality of 'ta-dll' compared there was largely centred around for the weaker, cross-fingered to the easily achieved equality of the great German classic and notes. He also gives a 'rolling' tone 'tu-ku' or 'du-gu'. He also gives the romantic tradition, whereas else- exercise to help achieve a stronger, student hope by stressing that it where in the orchestras of Europe more even sound that is in tune. It took him a lot of time and practice and North America the Boehm becomes evident that Tromlitz is to get it right! flute was played and the pioneer- growing inpatient with the diffi- The Boehm flautist, whilst not necessarily adopting these articu- between two notes, was very fas- improvising a small cadenza. In lations literally (though personally hionable in Tromlitz's time, but he the chapter devoted to the I don't see why not!), might ben- argues that too many players use it cadenza, Tromlitz discusses ways efit from adapting them into his or without due taste and discretion, of writing one based on good her technique, thereby giving calling this a 'monstrosity'. Inter- harmonic progressions, and then greater subtlety and variety of estingly, in the overall summary at goes on to explain ways of writing expression to the playing. the end of his book, Tromlitz cadenzas in two parts by means of' Tromlitz discusses the execu- seems to repent slightly of his parallel sixths, imitative compo- tion and application of twelve harsh words concerning the glide sition, suspensions, syncopation different ornaments in Chapter and gives a complete fingering etc. 10, not including the trill, which system for this ornament, his 6Ete The final summary of the has its own chapter! Two of the noir! book gives a brief resume of each most interesting are the 'flatte- The chapters on discretionary chapter along with some extra ment' or fingered vibrate, and the embellishments and cadenzas will hints and advice such as the glide. The 'flattement' is not done be of interest to all players of 18th importance of good synchroniz- with the breath as this makes a century classical music. Tromlitz ation between fingers and tongue, I 'wailing sound', but is used selecti- insists here that a perfbrmer the rewards of assiduous, discip- vely as an ornament on a suitable should have a thorough under- lined practice and the great value note, and is made by partially standing of the harmony of a piece of listening to good singers. > closing the next hole down, slowly before adding spontaneous mel- This book provides a most or quickly, to give an 'undulating' odic variations. There is a wealth welcome addition to the available effect. This would be very difficult of ideas for just such ornamen- flute literature and should be on on the Boehm flute, even with tation in the long Adnp'o example, every serious flautist's shelves. Its open tone holes, but the idea of where he first analyses the har- translator, Ardal Powell, is well using an ornamental vibrato is mony, and then provides three known as a player, historian and comparable and by no means a ornamented versions of the tune. maker of baroque and classical new idea. The glide, literally a The Acla,q-io also includes a fermata flutes. It is available in both hard- gradual glissando fingered sign, which he uses to show ways of back and paperback.

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"Musica Attacca" _.,*I' Wissam Boustany Flute Workshops in SW France 4th & 11th July

Masterclasses and individual tuition on interpretation, performance and chamber repertoire. Observers welcome. Janet Way - flute Christine Croshaw - piano Warm welcome, good t-l food, lovely Quercy house Study and practise sonatas and duos from the flute repertoire h. with pool. Interpretation, nccon~paniment,presentation Individual and class tuition Ensembles for fun Chamber Music for Woodwind & Strings Chgteau de Ratilly is a beautiful centre for contemporary ans lying in Alexander Technique Workshops La Puisaye between Auxerre and Smcerre. For a second year the course directors and members of this small & friendly summer school will be wamlly Tanera Dawkins, Mary Ryan, Trevor Williams, welcomed by the owners. Luc and Madot Pierlot. Ralilly is reached by road or Beachamp Bagenal, Mark Tolson. rail and is about 160 km SE ofParis. Also Painting & Writing Holidays. FOR BROCHURE or further inform~tionplease contact: Janet Way. 12 Jesse Terr:~ce.Rexding RC1 7RT. Tel: 0734 507865 Full details from LA BORDE NEUVE BOOK DIRECT with: 27 Chatsworth Road, Sheffield S17 3QG M. Luc Pierlot. ChSte:~ude R:~tilly.89520 TREICNY. France. 0742 367608 FEE: 3.000F (approx £315) for tuition and full board. Deposit with booking 1.000 F.

, OXFORD FLUTE OXFORD SUMMER FLUTE SCHOOL SUNDAY The Queen's College Oxford ALL FLUTES PLUS in association with JANET WAY and CLIVE CONWAY 16-22 August present 1992 WILLIAM BENNETT flute Course Directors and tutors: CLIFFORD BENSON piano JANET WAY and CLIVE CONWAY with visiting tutors ALEXANDER MURRAY, on SUNDAY 26 APRIL 1992 KATHERINE KEMLER, JONATHAN SNOWDEN, Holywell Music Room, Holywell Street, Oxford SIMON HUNT andpianists CHRISTINE CROSHAW, GARY BRANCH Masterclasses 1 1.OO - 1.OO & 2.30 - 4.30 1 Alexander Technique JOAN MURRAY Flute Choir ! *Play your flute all day Directed by lanet Way *Distinguished teachers 5.00 - 6.00 *Individual attention Recital 7.30 *Elegant Oxford College William Bennett and Clifford Benson *Single rooms and fine food *Evening concerts in beautiful Chapel Details (available early January) from Wendy Langdon. Administrator 12 Lakeside. Oxford. OX2 8JG

Send for brochure from: Masterclass applications must be accompanied by tape and letter ~Trecommendationfrom teacher. Wendy Langdon, Administrator OFSS, 12 Lakeside, Oxford. OX2 8JG b Summer Flute Masterclass L

KEY Teacher or festival BOSTON UNlVERSIn TANGLEWOOD 15 each weeWl5 each week Dates INSTITUTE one wk - f330Can or S280USlB300Can or $250 Location 28 June-25 .July US RBT Level of playing or appropriate age Tanglewood, Lenox, MA two wks - S6OOCan or $500USl$550Can or Number of performerdauditors DORIOT ANTHONY DWYER $450 US RBT Cost for perfbrmerslauditors LEONE BUYSE Cwcr: Gisele Millet RBT indicates room and bard are advanced students (age 15 and older) 190 Bord-de-l'eau, est included in [he tuition 15-18lna Longueuil, Quebec, CANADA J4H 1Al Application deadline $1 18OIna 5 14 677-3764 Address to write for further information 16 March Cmcf: Boston University. Tanglewood Institute DICK. ROBERT - 6-10 July 855 Commonwealth Avenue, Rm 205 with KEITH UNDERWOOD - 29 June-3 July Boston. MA 02215 St Margaret's School, Victoria, British Columbia, 61 7 353-3386 CANADA university age and above, younger players BUYSE, LEONE considered ACADEMIE DE MUSIQUE DE SlON see Boston University Tanglewood Institute 201? Sion. Switzerland see Domaine Forget $400uSl$250uS I. TREVOR WYE - 3-8 Aug l April 2. ALEXANDRE MAGNIN - CENTRE INTERNATIONAL DE Conlacr: Max Schoenfeld 28 July4 Aug FORMATION MUSICALE 209 Eisenhower Drive, X3 advanced, 'semi to professional' music students Nice Conservatory of Music, FRANCE Bloomington. 1L 6 170 1 20lno limit MARION, ALAIN - 17-31 July and 2-16 Aug 1. 350 sfr.1150sfr. RIBERA, IDA - 17-31 July DOMAINE FORGET - 21 lune-5 lulv 2. 400 sfr.1180sfr. GREGOIRE, J.L. 17-3 1 July Domaine Forget, Quebec, ANA AD^ ' 1 May GUIOT. RAYMOND - 2-16 Aug LEONE BUYSE Confacl: Miss Liliane Martin PIERLOT, PIERRE - 2-16 Aug LISE DAOUST Academie de Musique de Sion advanced music student, young RAYMOND GUIOT Case Postale 954 professional, keen amateur ALAIN MARION CH-I951 Sion, SWITZERLAND 2&30/a few JEAN MORlN 027 22 66 52 2100 FFl900 FF (plus a registration fee of 700 FF) CENEVIEVE BLANCHARD Cunkzct: CIFM's Secretariat 18 and over (younger students accepted upon ADOR,JAN, ANDRAS - 12-18 October merit) Belognia 24, boulevard de Cimiez 06000 Nice - FRANCE 50lna Cunfact: Accademia Italiano Del Flauto $620 Canadian RBT Via Degli Orti Di Trastervere 34 Tel. 33 93-81-01-23 Fax 33 93-81-12-45 Conlacf: Domaine Forget 00153 Roma Italia 398, chemin les Bains 0 1039-6-5880429 CHASTAIN, KATHY St Irenbe. Quebec, GOT 1VO Fax: 537036 see Oberlin Wind Performance Institute CANADA AITKEN, ROBERT Tel. 418 452 81 11 CHERRIER, SOPHIE - 8-22 July Fax. 4 18 452 3503 KONTRASTE, International Forum for old and Contemporary music masterclasses on the works new music, North German Study Centre for of George Benjamin (GB). Magnus Lindberg DUNIGAN. PHlLlP - 22 June-24 July Musical Culture - 28 May-5 June (masterclasses (Finland). Tristan Murail, Philippe Manoury (F), in Baroque and contemporary music) North Carolina School of the Arts Charterhose of Villeneuve lez Avignon (30) - intermediate and advanced Cunfacr: Prof. Reinbert Evers FRANCE 25lna Am Kasinopark 1-3, 4504 Georgsmar- advanced students and professionals ienhiitte $426 in-state and $10 12 out-of-state 121na GERMANY 15 April 1400FFlna Cunlact: Michael S. Rothkopf, Assistant Dean 05401 34160 mid-May WORKSHOP FOR NEW MUSIC North Carolina School of the Aru Cmcl: Association Acanthes Musik and Kunstfbrum Bad Ischl, Austria - 29 200 Waughtown St 146 rue de Rennes Winston-Salem, NC 271 17 Aug-5 Sept (masterclasses in flute and contem- F-75006 Paris FRANCE porary music) 909 7703254 1 45-44-56-50 Cdcf: Rektor Wolfgang Bobowski, Artistic DURAN, ELENA, FLUTE COURSE Direclor CLARDY, MARY KAREN - 22-27 June 18July-l Aug Roith 30. A-4820 Bad lschl University of North Texas, Denton, TX With Colin Fleming and other guests AUSTRIA high school, college, professional adults King Edward V1 School, Stratford-upon-Avon. BAKER, JULIUS - 2-9 Aug Cunlacl: Mary Karen Clardy, Professor of Flute ENGLAND With Jeanne Baxstresser and Jeffrey Khaner University of North Texas students, performers, and teachers of all ages The Ives Center Denton. TX 76203 and levels Western Connecticut State Univ., Danbury, CT 817 565-3722 or 565-2791 50lna 18 July for course/l June for accommodation college and professional CLARDY, MARY KAREN 20130 Cmcf: Michael Emmerson see Wildacres Flute and Chamber Music Sym- Elena DurPn Flute Course $200/$90 posium I June PO Box 7 Conkzcl: Ken Fricker CONTI, MARZIO Stratford-upon-Avon Charles Ives Center for the Arts see Wildacres Flute and Chamber Music Sym- Warwickshire CV37 9GB Box 2957 posium ENGLAND Danbury, CT 06813 0753 643442 203 797-4002 CONWAY, CLlVE +44-753-643442 (Int) see The Queen's College Oxford BARCELLONA, JOHN DWYER, DORIOT ANTHONY see Fairbanks Summer Arts Festival DAOUST, LISE see Boston University Tanglewood Institute see Domaine Forget BARON, SAMUEL - 7-21 June FAIRBANKS SUMMER ARTS FESTIVAL 12th Bach Aria Festival and Institute DEBOST. MICHEL - 24 July-9 Aug State University of New York, Stony Brook see Oberlin Wind Performance Institute University of Alaska, Fairbanks, AK young professional DEBOST, MICHEL - 24-30 June JOHN BARCELLONA 4 flutesll-2 Florence ROGER STEVENS fellowship RBTl$175 (2 weeks) Contact: Via Degli Orti Di ~rastervere.34 college and above 1 Feb 00153 Roma ltalia 12lunlimited Confact: Bach Aria Festival and Institute 0 1039-6-5880429 $200/$200 PO Box 997 Fax: 537036 1 July Stony Brook. NY 11790 Cunkzct: Jo Scott 5 16 632-7239 DICK, ROBERT - 21 .lune-4 July PO Box 80845 Ancien Monastere de Contrecoeur BLANCHARD, CENEVIEVE Fairbanks. AK 99708 Quebec. CANADA see Domaine Forget 907 479-6778 First week is for the basics in extended techniques BOLAND. JAN Second week is for more advanced flutists who FELLOWS, ROBIN - 12-17 .July see Wildacres Flute and Chamber Music Sym- have already worked with extended techniques University of Wisconsin - Whitewater high school posium high school to professional flute camp ummer Flute Masterclass Listing - 1992 Summer Flute Masterclass Lilr

$230RBT/$170 commuters Featuring Orchestral Audition Repertoire and I C-20lna 26 June Concertos - flute and piccolo I May Conlecl: Robin B. Fellows college and adult professional Contact: Office of Outreach Programs Music Dept - College of the Arts 121110 limit Oberlin Conservatory of Music University of Wisconsin - Whitewater $275/$10 per session Oberlin, OH 44074 Whitewater, W1 53190 26 May 216 775-8044 4 14 472-5628 Cfmtal: Northwestern University School of Music Summer Session PALUZZI, REBECCA - 2-8 Aug GALWAY, JAMES - 2-8 Aug 71 1 Elgin Road American Suzuki Institute. University of Dublin, IRELAND Evanston, IL 60208-1200 Wisconsin-Stevens Point children through adult all levels 708 491-3141 5- 1012 approx. 100 (active and passive) Fax 708 49 1-5260 $195/$195 500 SFR 10 July Conlect: James Galway International Flute Semi- LAWRENCE, ELEANOR Cdct: Dee Martz, Director nar Technique seminar - 2-8 Aug American Suzuki Institute Marianne von Allmen Performance seminar - 9-15 Aug University of Wisconsin-Stevens Point Alte Post Chatham, MA on Cape Cod Stevens Point, W1 54481 3897 CH 6382 Biiren, SWITZERLAND advanced high school through professional 1OIna PIERLOT, PIERRE GEORGE, PATRlCIA - 610July see CIFM Guest Artist teacher to be announced 1st wk $380 RBT; 2nd wk $430 RBT; both wks Idaho State University $780 RBT POPE, GEORGE - 20-25 June junior high through college, teachers Contact: Eleanor Lawrence Teaching techniques, theory, history, styles, jazz 50lunlimited 100 Riverside Drive, Apt 7-D improv, ensembles advanced $100/jr high and high school $50 New York, NY 10024 University of Akron, Akron. OH 15 June 212 799-3245 high school, college, flute teachers Cmct: Patricia George LLOYD, PETER alVunlimited 3 11 S.8th Florida, Southern College, Lakeland, FL - 22-29 $225/$125 15 May Pocatello, ID 8320 1 June 208 234 4922 With Paula Elliott and Carol Noe Contact: George Pope School of Music GERRY, DAVlD - August, exact dates TBA college through professional 24lunlimited University of Akron With Marie Lorcini, harp Akron, OH 44325-1002 Southern Ontario Chamber Music Institute, Performers $430 RBTlParticipants $350 CANADA RBTIAud$300RBT PRESTON, STEPHEN Chamber music for flute and harp 25 March see Wildacres Flute and Chamber Music Sym- advanced high school and college students McMaster University, Hamilton, Ontario, posium 41na CANADA - 14-19 June I June college through professional THE QUEEN'S COLLEGE OXFORD - 1622 Cunlact: S.O.C.M.I. 20lunlimited Aug Ann Vallentyne, Director $260 US1$150 US A course for enthusiasts with the accent on 36 Longwood Road North 25 March participation, Oxford, ENGLAND Hamilton. Ontario L8S 3V4 CANADA Contacl: Nancy Clew JANET WAY 416 4068 460 Harwood Ave CLlVE CONWAY Satellite Beach, FL 32937 ALEXANDER MURRAY GREGOIRE, J.L. 407 773-4797 JONATHAN SNOWDEN see CIFM KATHERINE KEMLER MAGNIN, ALEXANDRE all ages, moderate to advancedlprofessiona1 GREISS, RENATE (Karlsruhe Music Hoch- see Acadkmie de Musique de Sion schule) - 20-29 Aug approx. 401na San Colombano Abbey, Bobbio (Piacenza), MARION, ALAIN 2132-2171220 per day ITALY see CIFM 31 July high level see Domaine Forget Conlac!: Wendy Langdon, Administrator 12lno limit OFSS MILAN, SUSAN 27-30 July 12 Lakeside 400.000 It. lirel225.000 It. lire - Dartington International Summer School Oxford OX2 8jG ENGLAND July all ages Cmct: Segreteria dei Corsi Musicali Estivi Cwiact: Marcus Davey, Dartington Hall RIBERA, IDA Centro Culturale del Comune di Bobbio see CIFM Piazetta S. Chiara, 1 Totnes, Devon TQ9 6EJ RICE-YOUNG, AMY 29022 Bobbio (Piacenza) ITALY MONTGOMERY, WILLIAM - 2-12 July University of Maryland, College Park, MD see Wildacres Flute and Chamber Music Sym- GUIOT, RAYMOND posium see ClFM advanced high school through young pro- see Domaine Forget fessional RUDOLF, KATHLEEN - 19 July-2 Aug 16/unlimited Courtenay Summer Music School, Vancouver JONES, KATHERINE BORST - 14-18 June $255/$105/$45 Island, BC, CANADA The Ohio State University, Columbus, OH 13 May S750 (2 wks) high school Conl~ct:Montgomery Flute Masterclass Cunt~ct:Registrar, CYMC 501NA University of Maryland Box 3056 $230 RBT Department of Music Courtenay, British Columbia I May College Park, MD 20742 V9N 5N3 CANADA Contact: Katherine Borst Jones 301 405-5539 Tel. 604 338 7463 1866 College Road Fax 604 338 7480 Columbus, OH 432 10 MORIN, JEAN see Domaine Forget SNOWDEN, JONATHAN 1 KEMLER, KATHERINE see The Queen's College Oxford see The Queen's College, Oxfbrd MURRAY, ALEXANDER see The Queen's College Oxford SPELL, ELDRED - 27 June-2 Aug KRAFT, KATHLEEN (flute and traverso) - 28 Sewanee Summer Music Center June+ July NOAKES, ANNA - 15-20 Aug University of the South, Sewanee, TN San Francisco Early Music Society 'A Breath of Fresh Air' medium through advanced 'Barmoor', Hutton-le-Hole, North Yorkshire Dominican College, San Rafael, CA 20110 silver flute - intermediate to advanced Grade V and abovelall ages $1560 RBT for 5 weekslna Cmct: Anna Noakes, 98 Marlborough Road traverso - beginning to advanced Feb or March 610 in flute classlna London N22 4NN Cdct: Sewanee Summer Music Center $2701by arrangement 081 888 9005 735 University Avenue Catat: SFEMS Baroque Workshop OBERLIN WIND PERFORMANCE INSTI- Sewanee, TN 37375-1000 Anna Carol Dudley, Director TUTE AND DEBOST FLUTE MASTER CLASS 615 598-1225 1745 Capistrano Avenue -June 13-21 Berkeley, CA 94707 SPELL, ELDRED Conservatory of Music, Oberlin College, Oberlin. 510 527-3748 see Wildacres Flute and Chamber Music Sym- OH posium KUJALA, WALFRID - 13-17 July MICHEL DEBOST Northwestern University School of Music, Evans- KATHY CHASTAIN STEVENS, ROGER ton, 1L high school sophomores and juniors see Fairbanks Summer Arts Festival isting - 1992 Summer Flute Masterclass Listing - 1992 Summer Flute M;

SUZUKI INSTITUTE - 5-17 July $475 RBTlS375 RBT GALWAY, JAMES - 2-8 Aug East Tennessee State University, Johnson City, l May Dublin, IRELAND TN C&l: Patricia Harper, Director GREISS, RENATE (Karlsruhe Music Hoch- TOSHIO TAKAHASHI Trevor Wye Residency Master Class schule) 20-29 Aug REBECCA PALUZZl Box 5587 - San Colombano Abbey, Bobbio (Piacenza), KENICHI UEDA Connecticut College ITALY LAURA LARSON New London. CT 06320 PANDORA BRYCE 203 439-2719 or 767-0629 MILAN, SUSAN - 27-30 July JUNE WARHOFTIG WY E, TREVOR - 22-3 1 Aug Dartington. Devon Teachers and children, all ages Tunghai University, Taiwan England Confacl: Rebecca Paluzzi high school, college, teachers NOAKES, ANNA - 15-20 Aug Department of Music 251none Box 22330A. ETSU N. Yorkshire $450 or 12,500NT England Johnson City, TN 37614 l April 615 929-6956 Confacl: Mark Dannenbring THE QUEEN'S COLLEGE OXFORD - UNDERWOOD, KEITH - 29 June-3 July Box 5-807 1622 Aug with ROBERT DICK - 610July Tunghai University A course for enthusiasts with the accent on St Margaret's School, Victoria, British Taichung, Taiwan 40098 Republic of participation Columbia, CANADA China Oxford, ENGLAND university age and above, young players con- WYE, TREVOR - 4-12 July WAY, JANET - prov dates 24 Aug-l Sept sidered Madrid, Spain Chiteau de Ratilly. Treigny, FRANCE 201? all ages and levels 3 $4oouSI$25ouS Cunlact: Mundimusica, Espejo 4 WYE. TREVOR - 4-12 July l April Madrid, Spain Mundimusica, Espejo 4. I. Conlab: Max Schoenfeld 209 Eisenhower Drive, #3 WYE, TREVOR - 1623July DICK, ROBERT - 6-10 ,luly Bloomington. IL 61701 With Clifford Benson with KEITH UNDERWOOD - 29 June-3 luly 1' Wye, Kent, ENGLAND St Margaret's School, Victoria, British Columbia, WAY, JANET - 24 Aug-l Sept student and pre-college CANADA Chiteau de Ratilly, Treigny, FRANCE 15/30 DOMAINE FORGET 21 June-5 July moderate to advanced Cutllacl: Anne Nichols - Domaine Forget, Quebec, CANADA 12-1 51none Oak Cottage approx 3000 FF RBT Elmsted GERRY, DAVlD - August, exact dates TBA Confacl: Before March 1992: Nr Ashford, Kent TN25 5JT, With Marie Lorcini, harp 1. Way ENGLAND Southern Ontario Chamber Music Institute, 12 Jesse Terrace CANADA Reading RGI 7RT ENGLAND WYE, TREVOR - 2-8 Aug After March 1992: see Academie de Musique de Sion LLOYD, PETER M. Luc. Pierlot McMaster University. Hamilton, Ontario. Association des amis de Ratilly Geographical Summary of CANADA - 14-19 June 89520 Treigny FRANCE RUDOLF. KATHLEEN - 19 July - 2 Aug WAY, JANET 1992 Summer Flute Courtenay Summer Music School, see The Queen's College Oxford Masterclasses Vancouver Island, BC, CANADA UNDERWOOD, KEITH - 29 July-3 July WILDACRES FLUTE AND CHAMBER MUSIC with ROBERT DICK - 610July SYMPOSIUM - 14-20 June ASIA St Margaret's School, Victoria. British Wildacres Retreat. Little Switzerland, NC WYE, TREVOR - 22-3 1 Aug Columbia, CANADA MARZIO CONTI Tunghai University, Taiwan STEPHEN PRESTON CAROL WINCENC - 29 June-17 July Assisted by: Eldred Spell. Amy Rice-Young. Mary THE BANFF CENTRE FOR THE ARTS Karen Clardy. and Jan Boland EUROPE Banft; Alberta, CANADA high school through professional ACADEMIE DE MUSIQUE DE SlON 20 per classlunlimited Sion. Switzerland UNITED STATES Performers $360 RBTIParticipanrs 1. TREVOR WYE 3-8 Aug - Alaska S340RBTIAud f325RBT 2. ALEXANDRE MAGNIN - 28 July4 Aug 1 April for performers, I May all others FAIRBANKS SUMMER ARTS Cunlacl: ALRY Publications Etc, Inc ADORJAN. ANDRAS - 12-18 Oct FESTIVAL - 24 July-9 Aug PO Box 36542 Belognia University of Alaska, Fairbanks, AK JOHN BARCELLONA Charlotte, NC 28236 AITKEN, ROBERT ROGER STEVENS 704 334-34 13 KONTRASTE, International Forum for old and new music, California WILLOUGHBY, ROBERT 28 June-3 July North German Study Centre for Musical Culture KRAFT, KATHLEEN (flute and traverso) University of New Hampshire, Durham, DH - 28 May-5 June - 28 June4 July college through adult WORKSHOP FOR NEW MUSIC San Francisco Early Music Society 20125 Musik and Kunstforum Bad Ischl. Austria 29 Dominican College, San Rafael, CA $26015 100 - Aug-5 Sept 10 May Connecticut I CMcl: Katherine Borst Jones CENTRE INTERNATIONAL DE BAKER, JULIUS - 2-9 Aug 4635 Rutherford Road FORMATION MUSICALE With Jeanne Baxstresser and Jeff'rey Powell, OH 43065 Nice Conservatory of Music, FRANCE Khaner I 614 881-5008 MARION, ALAIN - 17-31 July and 2-16 Aug The Ives Center RIBERA, IDA - 17-31 July Western Connecticut State Univ., Danbury, CT CAROL WINCENC - 29June-17 July GREGOIRE, J.L. 17-31 July - WYE, TREVOR 21-28 June THE BANFF CENTRE FOR THE ARTS RAYMOND, GUIOT 2-16 Aug - - Connecticut College, New London, CT Banff. Alberta. CANADA PIERLOT, PIERRE - 2-16 Aug semi-professional and professional Florida CHERRIER, SOPHIE 8-22 July 7- 1013 - LLOYD, PETER Contemporary music masterclasses on the works $240 per week/$l20 per week Florida Southern College, Lakeland, FL - 15 January of George Benjamin (GB), Magnus Lindberg 22-29 June Cumct: The Banff Centre for the Arts (Finland). Tristan Murail, Philippe Manoury (F) Office of the Registrar Charterhose of Villeneuve lez Avignon (30) - Idaho Box 1020 FRANCE GEORGE. PATRICIA - 610July Guest Artist teacher to be announced Banff', Alberta, CANADA TOL OCO DEBOST, MICHEL 24-30 June - Idaho State University Tel. 403 762-6 180 Florence Fax. 403 762-6345 Illinois DURAN, ELENA, FLUTE COURSE KUJALA. WALFRID - 13-17 July WYE. TREVOR - 21-28 June - 18luly-1 Aug Northwestern University School of Music, Connecticut College, New London, CT With Colin Fleming and other guests Evanston, IL all ages and levels King Edward V1 School, Stratford-upon-Avon, 30lunlimited ENGLAND Maryland terclass Listing - 1992 Summer Flute Masterclass Listing - 1992 Summ

MONTGOMERY, WILLIAM - 2-12 ,July Ohio PALUZZI, REBECCA - 2-8 Aug University of Maryland, College Park, MD JONES, KATHERINE BORST - American Suzuki Institute, University of 1+18 June Wisconsin-Stevens Point Massachusetts The Ohio Su~teUniversity, Columbus, OH BOSTON UNIVERSITY TANGLEWOOD Summer 1992 Addendum INSTITUTE OBERLIN WIND PERFORMANCE - 28 June-25 July INSTITUTE AND DEBOST FLUTE BAKER,JULIUS - 1+19 August Tanelewood. Lenox. MA MASTER CLASS - 13-21 June Pebble Beach, California DO~IOTANTHONY DWYER Conservatory of Music. Oberlin College, Oberlin, conservatory LEONE BUYSE OH 25lunlimited $3006 175 LAWRENCE, ELEANOR POPE, GEORGE - 20-25 Iune Contact: Baker Flute Class Teaching techniques, theory, history, styles, jazz Technique seminar - 2-8 Aug PO Box 221878 - improv, ensembles Performance seminar 9-15 Aug Carmel, CA 93922 University of Akron, Akron, OH Chatham. MA on Cape Cod 408 6244 15 1 New Hampshire Tennessee WILLOUCHBY. ROBERT - 28 June3July SPELL, ELDRED - 27 June-:! Aug University of New Hampshire, Durham, NH Sewanee Summer Music Center University of the South, Sewanee, TN New York The Masterclass list was compiled by BARON, SAMUEL - 7-21 June SUZUKI INSTITUTE - 5-17 July Susan Waller of the NFA who has 12th Bach Aria Festival and Institute East Tennessee Sute University, Johnson City, kindly made it available for the use of State University of New York, Stony Brook TN Pan. Those players interested in hav- North Carolina Texas ing their classes included in the 1992 DUNIGAN, PHILIP - 22 June-24 July CLARDY, MARY KAREN - 22-27 June North Carolina School of the Arts University of North Texas, Denton. TX list should contact Susan Waller. Mas- terclass Reporter, 224 Kent Place, San WILDACRES FLUTE AND CHAMBER MUSIC Wisconsin SYMPOSIUM - 14-20 June 1:ELLOWS. ROBIN - 12-17July Ramon, CA 94583-3748. Tel. 0101 Wildacres Retreat, Little Switzerland, NC University of Wisconsin - Whitewater 5 10 829-4922.

SUMMER THE FOURTH FLUTE ACADEMY JAMES GALWAY 1623 JULY 1992 INTERNATIONAL FLUTE SEMINAR TUTORS: TREVOR WYE In Dublinllreland University Industry Centre at the CLIFFORD BENSON University College DublinIUCD, Belfield Flute Master Classes and sonata classes focusing on the repertoire for flute & piano. Excellent August 2 to August 8,1992 accommodation, food and surroundings. Deadline for application: April 30, 1992 Charge: sFr. 500.- (Five hundred Swiss Francs) Everybody should bring herlhis own flute! The seminar will be in English.

For registration forms and more information write immediately to:

WYE COLLEGE,WYE, KE Marianne von Allmen Details from the Administrator: Alte Post KNNE NICHOLS, OAK COTTAGE CH-6382 Biiren, Switzerland ELMSTED, ASHFORD, KENT TN25 5JT TWO NEW ABRACADABRA WOODWIND & BRASS SPECIALISTS 57 NIGHTINGALE ROAD HITCHIN HERTS FLUTE BOOKS TEL: 0462 420057 FAX: 0462 435464

WHAT DOES A SPECIALIST SUPPLIER OFFER?

As professional musicians we have put together the service we always looked for unsuccessfully when buying for our own needs and those of our students. We list the results of our efforts: 1 Set up a staff of specialists able to demonstrate and advise on their instruments. Weare pleased to list them here:- FLUTES Michael Wood and DebSrnith DOUBLE REEDS Andrew McFarlane and Thomas Dryer-Beers OBOE 6, BASSOON CONSULTANTTrevor Maloney CLARINETS Val Cheesman and MarkTromans SAXOPHONES Nick Walker, Mark Tromans arid Thomas Dryer-Beers BRASS INSTRUMENTS Richard Graves, Kay Hollingsworth & Harold Gurden SHEET MUSIC Jo Moore and Stuart Lindsey REPAIRERS Graham deVere White, Hazel Montila and Jessica Rance RECORDERS DebSmith 2 Keep in stock the widest range of instruments and accessories from student to professional standard. Weare the UK leading stockist in woodwind and brass instruments foryamaha, Buffet Crampon, Vincent Bach, Selmer, Besson, Schreiber and most other available makes. Many accessories stocked are unavailable elsewhere. All standard woodwind and brass exam music held in stock. 3 Ensure that all instruments are set up to the highest standard in professional workshops and tested by professional players before they leave the shop. 4 Even after providing this costly service, ensure that we offer the most competitive prices available. Please feel free to contact us at the above address for a copy of our Spring/Summer 92 catalogue (out April].

CIISTOhlERS IN EVERY PROFESSIONAL ORCHESTRA IN TI-IE COIINTRY In a class of its own Trevor Wye FLUTE CLASS £4 95 A group teachlng book for students and teachers w~thplano accompaniment by Robert Scott

B a baslc method for group teachlng B over 73 pleces for class actlvlty B 15 trlos and quartets for concerts B scales and arpeggios for grades B separate easy plano part 1Thls book alms to prov~delnterestlng mater~alfor those who teach the flute to groups of three or more puplls together The sequence of learnlng new notes follows convent~onalpatterns and the muslc ventures Into no more than two sharps or two flats As well as solos, duets, trlos and quartets by a varlety of famous composers, Flute Classalso contalns four sect~onson lmprovlsatlon of varying klnds At the back of the book, there are 15 trlos and quartets for concert use, some of them lncorporatlng jazz styles and harmon~es

ALSO AVAILABLE

Five very easy books for beginners by Trevor Wye £4 95 each

B malnly or~glnalflute pleces B access~bleand approachable B fun to play B brlngs the hlstory of music and musical styles to l~fe A VERY EASY BAROWE ALBUM (Vol I Grades 1-3 Vol 2 Grades 24 NEW! Each of these volumes comprises a collect~onof dances all of whlch are or~glnalflute pleces The two albums cover the w~destposs~ble range of Baroque forms so that flaut~stscan gain conf~dence by playlng In the styles that are approprlate to the per~od,and In applylng d~fferenttechn~ques to sult each work A VERY EASY CLASSICAL ALBUM (Grades 2-41 NEW! Encompassing muslc from several of the great masters of the Classical era, lncludlng Beethoven, Mozart. Schubert and Weber, thls album Introduces players to what IS perhaps the most popular of all per~odsIn muslc A VERY EASY ROMANTIC ALBUM (Grades 2-41 NEW! Reflecting the music of the Romant~cper~od [c 1830-801, thls collect~onemphas~ses personal expression and freedom of Interpretation In the works that are chosen A VERY EASY 20TH CENTURY ALBUM (Grades 7-31 Prov~dlngmarvellous varlety for players, thls album opens the doorto an area of music whlch IS sadly often neglected by beginners due to the dlfflculty of many 20th century works SIX dlstlngu~shed contemporary composers have wrltten new pleces espec~allyfor those just startlng on the flute

Nwello 6 CO Ltd, Block 7, Vestry Estate, Sevenoaks, Kent TN14 5EL Tel 071 287 5060 A Victorian Gentleman and his Flutes

If you go into the Bate Collection tion, and one of them also helped well aware of the musical scene of Historical Instruments, housed to found and administrate the and of the development of the in the Music Faculty of the Univer- Birmingham Children's Hospital. flute during his lifetime. sity of Oxford, you will find there, No doubt the young James The up-to-date flute of the next to each other and among showed his musical talent early in 1820s would usually have been many other instruments, two very life, but it was probably unthink- made of wood, though ivory, glass, unusual flutes. One of them has a able that a member of such a and, later, gold and silver were gold tube, with a bewildering respectable and respected family sometimes used for flutes for the number of silver keys. The other is of public benefactors should wealthiest players. It would have of silver with rectangular keys, and embrace such a precarious pro- had a round or oval mouth-hole, both have a mouth-hole which is a fession as music, no matter how with six holes for the fingers to perfect square in shape. Both of well he could play. So it was that, give the basic scale and six or eight these instruments belonged to after attending King Edward V1 keys to give the chromatic notes. James Mathews, a Victorian School in Stourbridge, James During the 1830s and 1840s, gentleman well known in his day Mathews followed his father into Boehm carried out his work, as an amateur player of some the world of business, working which has been well documented distinction. first in a bank before joining his elsewhere. After that, there was -lames Mathews was born in father at the local Rufford's brick- much experimenting, some of it 1827 - the year that Beethoven works, eventually succeeding him devoted to improving the then died - in Stourbridge, Worcester- there as manager and ultimately familiar simple system flute, some shire, which town lies within the becoming a partner before retir- of it to adapting the Boehm flute industrial Midlands, on the verge ing in 1896. to personal requirements, and of that area known now as the So James Mathews confined some of it trying to marry the best Black Country. He was the son of a his music making to the activities of both. It must have been far local business man, a member of of the enthusiastic amateur, play- from obvious in the middle of the an extended family, well educated ing for his own pleasure. How- last century that the Boehm flute and comfortably-off, known for ever, like his varoius relatives he would ultimately become univer- their concern and interest in the also used his talents widely for the sally accepted. social and cult~~rallife of that very benefit of those less fortunate than The first instrument which deprived area. For instance, himself, for he often played for Mathews is known to have pos- several of his cousins were intim- charitable causes. Music was sessed, and which has survived to ately associated with the develop- obviously a ruling passion in his the present day, was made in ment of the Birmingham and Mid- life, and the two instruments about 1854 by Rudall, Rose and land Institute which was in the referred to above are just one Carte. It was made of silver, which forefront of Victorian adult educ- illustration of the fact that he was suggests that from the first, Math- ews was concerned to own the very founder, who died in 1900, and plans for the new flute were drawn best and costliest instrument. This only passed out of existence as up by a Mr Frankland of Dudley instrument, on which he bestowed recently as the early 1950s. Inci- (about whom little is known) with the name 'Barbitoz', had a square dentally, the Birmingham Flute the help of Mathews himself. mouth-hole. Why he adopted this Society amassed an extensive - and These plans incorporated Math- unusual shaped mouth-hole we do interesting - library of flute music ews' improvements to Barbitoz not know, but he retained the which is now to be found in the and other refinements and yet same shape in his subsequent library of the Birmingham Con- more keys were added. instruments. The key-work of' this servatoire. Amongst this collection The instrument which was flute was based on Carte's 1851 are a number of James Mathews' ultimately presented to James patent flute, but it had extra keys own compositions and arrange- Mathews had a tube of 18 carat and he made a number of alter- ments, the dedications of which gold, keys of silver - 28 in number ations to it in later years. Very disclose further the whimsical side -with, again, a square mouth-hole much an experimental instru- of his nature which also led him to cut in an ivory mouthpiece - truly ment, it has been described in name his flutes. the 'very finest flute that ever was detail by Paul Lewis in an article in With this instrument, 'Barbi- made' (Mathews' description of it the Galpin Society Journal, no 33. toz', Mathews built up his repu- when he accepted it at a musical It was sold recently by an Ameri- tation as a flautist and musician, a evening). Superbly made by can dealer to a German collector. reputation such as to inspire his Rudall, Rose and Carte, it bore the This was the instrument friends to organize a public sub- inscription "To James Mathews: which Mathews played on when in scription to buy for him an even presented to him by a few who 1856 he founded the Birmingham finer instrument. The original esteem him as a friend and admire Flute Trio and Quartet Society. idea of this subscription was to buy him as an artist. A.D. 1868.' After This, in 1871, changed its name, another silver flute, but so much this, Chrysostom ('golden for the sake of brevity, to the money was raised that a gold flute mouthed') as Mathews named the Birmingham Flute Society, a was bought instead. Thus between flute, gained even more keys, until society which long outlived its the years 1865 and 1868 a series of in its final state it has 2 1 note-holes

We act as a safety net. The Musicians Benevolent Fund exists to help The Fund is financed by music lovers who feel their professional musicians whose life has become dogged appreciation should go beyond applause. 'lb enjoy their with financial or health problems and whose future generosity, all you need to do is telephone 071-636 4481 4 looks like walking a tightrope. or write to Mrs Michal7hylor at the address below Jl W can provide you and your dependants with MUSICIANS BENEVOLENT FUND financial advice and assistance. If you're elderly, we can PATRON:H M THEQUEEN offer accommodation. 16 OGLESTREET, LONDON WIP 7LG. and 36 keys. A fingering chart, Collection would like to buy it, but manufacturer, and deserves to be made by Mathews himself towards can't afford it. I have recently been preserved as part of our flute the end of' his life (undertaken at involved with launching a second heritage and the industrial the request of 'his dear old wife, to public subscription, with the help ingenuity of the Black Country do with what she will') shows many of the Black Country Society, to which conceived it. It is also a alternative fingerings, and gives a raise enough money to buy it for a tribute to our Victorian Black range from the usual bottom C up second time. Flute students at Country predecessors who cared to the F in the 4th octave! Stourbridge King Edward's enough, and derived pleasure Even after all these additions, College (fbrmerly King Edward enough from the musical skill of presumably intended to give V1 School, attended by James one man to want to encourage it. greater virtuosity, Mathews con- Mathews and now a Sixth Form If you would also like to make tinued to experiment. His next College), under the direction of a donation to preserve this golden instrument, the silver flute BFS member Linda Goodwin, instrument, please send it to me, referred to in the opening para- have agreed to give a concert of Margaret Lowe, graph, had rectangular keys. This flute music on 10 March which will 10, Navenby Close, instrument, given the name of include some of Mathews' work, to Shirley, 'Chrysostonides', (son of Chryso- help raise money; his flute will be Solihull, toin) was described in detail by on display. West Midlands B90 1LH Russell Parry in Pan, vol. S, no 4, Chrysostom is an instrument so further description here is not which few modern players would The Bate Collection of Historical necessary. want to play - its bewildering Instruments, This last instrument, Chrysos- number of keys and many alterna- Faculty of Music, tonides, now belongs to the Bate tive fingerings would take too long St. Aldate's, Collection. Chrysostom, the gol- to master. Yet it has played its part Oxford. den flute, is merely on loan, but in the history of our instrument. It has recently been put up for sale, is a tribute to the expertise and Cheques to be made payable to at a price of 24,000. The Bate craftsmanship of designer and The Bate Collection.

20 Basic Studies for Flautists

PETER-LUKAS GRAF was born in Zurich. He studied the flute with Andre Jaunet (Zurich), Marcel Moyse and Roger Cortet (Paris). He was awarded the First Prize as flautist and the conductors diploma at the Conservatoire National de Paris. Nowadays Peter-Lukas Graf is a constant guest of international music festivals such as Salzburg, Edinburgh, Ansbach, Ludwigsburg, Naantali, Ossiach etc. Numerous records, radio and television productions as well as his tours through America, Australia, Europe, Israel, Japan, Korea and Russia confirm his reputation of international prominence. Since 1973 he is professor at the Base1 Music Academy (Switzerland) and gives master classes internationally.

In CHECK-UP Peter-Lukas Graf has put together a training programme which allows the flute player constantly to review and improve his technique through a range of specifically focussed basic daily exercises. A commentary is provided on each exercise, further complemented by useful tips and suggestions for additional practice material. THE TOPICS INCLUDE: breathing embouchure posture fingering dexterity scales and arpeggios register dynamics tonguing articulation vibrato trills tone

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