VOLUME XXXI, NO. 3 S PRING 2006
THE LUTIST QUARTERLY
THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION, INC B
he only choice—Yamaha. TWhy? We have world class designers, state-of-the-art manufacturing techniques and are committed to producing the industry’s most consistent, superior-sounding instruments available. Just three of the many reasons Yamaha is un- paralleled in providing artists with the world’s premier line of musical instruments.
©2006 Yamaha Corporation of America Yamaha is a registered trademark of Yamaha Corporation of America. All Rights Reserved. www.yamaha.com BWIND449 Jeff Khaner 4C 2/21/06 9:56 AM Page 1 Table of he only choice—Yamaha. CONTENTS TWhy? We have world THE FLUTIST QUARTERLY VOLUME XXXI, NO.3 SPRING 2006 class designers, state-of-the-art manufacturing techniques and DEPARTMENTS are committed to producing the 5 From the President 67 From the Treasurer 9 From the Editor 69 From the Program Chair industry’s most consistent, 11 Letters to the Editor 72 ICONS: Welcome to Pittsburgh superior-sounding instruments 13 High Notes 73 From Your Convention Manager 17 NFA News 76 From the Development Director available. Just three of the 19 Across the Miles 80 New Products many reasons Yamaha is un- 23 Notes from Around the World 82 Convention Forms 26 Canadian News 87 NFA Staff, Coordinators, paralleled in providing artists 27 The Inner Flute Committee Chairs 32 with the world’s premier line of 66 NFA Contributors 89 Index of Advertisers musical instruments. FEATURES
32 Musical Manipulations: An Interview with Matthias Ziegler by Nancy Andrew Flutist Matthias Ziegler has created a world of new sounds through use of improvisation, technology, and consistently fresh approaches to how he plays and hears music. As a teacher, he says he is “very traditional.”
38 Career Advice From the Orchestral Flute Section by Jessica Halpin An aspiring orchestral flutist shares insights from a national study she conducted. Her goal was to learn how best to procure one of the few prized orchestral seats available in today’s dwindling market. Her resources? Current occupants of the flute section.
42 Remembering Karlheinz Zöller 42 by Brooks de Wetter-Smith and Michael Faust, translated and edited by John Bailey Karlheinz Zöller, great flutist and perhaps even greater teacher, died in July 2005 after a severe illness—for all of us, much too soon.
48 Summer 2006 Masterclasses compiled by Tony Watson
Cover Photo: Courtesy Matthias Ziegler
THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE,SUITE H SANTA CLARITA, CA 91351
FOUNDED NOVEMBER 18, 1972 IN ELKHART, INDIANA
This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of The National Flute Association, Inc., which reserves the right to refuse to print any advertisement.
ISSN 8756-8667 2006 National Flute Association, Inc. 38 69 ©2006 Yamaha Corporation of America Yamaha is a registered trademark of Yamaha Corporation of America. All Rights Reserved. www.yamaha.com Spring 2006 The Flutist Quarterly 3 THE DUO Jennings-Johnson OFFICERS Mark Thomas • Founder and Honorary Life President 824 Charter Plc. Charlotte, NC 28211-5660 704-365-0369 (phone/fax) [email protected] New Release Katherine Borst Jones • President 4635 Rutherford Rd. Powell, OH 43065 Works by Fauré, 740-881-5008 Charles Griffes, fax: 740-881-5252 jones.6@osu .edu Christina Jennings, flute Robert Schumann, Lura Johnson-Lee, piano Alexa Still • Vice President A.J. McCaffrey 301 UCB, College of Music Box 301, UC Boulder and Boulder, CO 80309-0301 303-492-7150 Jeffrey Mumford fax: 303-492-5619 [email protected]
Sue Ann Kahn • Immediate Past President 96 Fifth Ave. #4-J "The Jennings-Johnson Duo CD is a spectacular display of extraordinary New York, NY 10011 212-675-1932 musical poise and technical brilliance. The artistry of these two musicians is [email protected] Patricia George • Secretary most compelling and gratifying in this beautifully programmed CD." 311 S. 8th Ave. Pocatello, ID 83201 208-234-4922 - Jeanne Baxtresser [email protected] Former Principal Flute, New York Philharmonic Teresa Beaman • Treasurer Department of Music, CSU-Fresno 2380 E. Keats Ave. MS/MB77 Fresno, CA 93740-8024 559-278-3975 Available at fluteworld.com, flute4u.com, cdbaby.com, [email protected] Carol Dale • Assistant Secretary amazon.com, bestbuy.com, and powellflutes.com. Dept. of Music, University of Mississippi Oxford, MS 38677 662-234-2978 [email protected] Christina Jennings can also be heard on recent Albany record releases which include BOARD OF DIRECTORS Shulamit Ran’s flute concerto “Voices” with the Bowling Green Philharmonia (Troy Robert Aitken (2006–2008) 14 Maxwell Ave. 743) and The Starry Messenger (Troy 776). Both available at www.albanyrecords.com Toronto, ON M5P 2B5 Canada 416-481-4967 fax: 416-481-0040
www.christinajennings.com John Barcellona (2005–2007) 9462 Castlegate Dr. Huntington Beach, CA 92646 714-964-2382 fax: 714-964-2650 [email protected]
Zart Dombourian-Eby (2006–2008) 2515 10th Ave. W. Seattle, WA 98119 206-285-0206 [email protected]
Rhonda Larson (2005–2007) 514 49th St. Grand Junction, MI 49056 269-434-8462 (phone/fax) [email protected]
Amy Porter (2006–2008) 1647 Broadway Ann Arbor, MI 48105 734-623-4853 [email protected]
Jim Walker (2005–2007) 401 Rockedge Dr. Oak Park, CA 91301-3841 818-991-4320 fax: 818/991-9797 [email protected] From the PRESIDENT
reetings to each of you! I hope Myrna Brown scholarship provides par- you are enjoying, as I am, our tial financial assistance for a flutist from Gupdated magazine with a new an economically challenged country to look and more varied content. Please attend the NFA Convention to perform. keep your ideas and articles flowing to The scholarship honors the memory of Editor Anne Welsbacher. Myrna Brown for her dedication and Spring brings with it a full schedule devotion to the NFA. Brown was our of concerts, recitals, flute days, and first executive secretary, serving until festivals to be shared by all. The NFA her untimely death in 1990. This year wants to help each of you to publicize the scholarship has been award to Tong these events, and would also appreciate Yu, a very deserving faculty member a presence via publications and from the Shenyang Conservatory in brochures. Please take the time to fill China. Please welcome him when you out the appropriate form on our Web see him in Pittsburgh. site (nfaonline.org), and contact the We are working to obtain, and make office to order available materials. readily available, job descriptions from The Executive Committee met in all committee chairs and officers. A new Katherine Borst Jones Santa Clarita, California, January 9–11, committee has been formed, chaired by as it does every year, to continue the Kim Goodman, to recruit new members business of the NFA. Often items from and also provide a way to determine of us on a yearly basis. This work is the our summer meetings require follow-up, why members do not remain current. lifeblood of the NFA, upon which the and new items come to our attention Plans are under way to improve com- board relies to stay energized through that cannot wait until the following munication with flute clubs throughout the years. For example, the long-range summer. This year has been no exception. the year by offering membership planning committee identified our Included in our meetings were reports brochures, convention brochures, and long-standing need for a publications from our wonderful staff members, other resources to clubs for regional director. Our competition coordinators Madeline Neumann, Anne Welsbacher, festivals. (Contact the office if you wish continue to fine tune the running of Maria Stibelman, and Executive to have materials sent to for your our many competitions. The new music Director Phyllis Pemberton. March 4 meetings.) Look for substantial committee reviews the work of potential marked Pemberton’s 15th anniversary changes in the 2007 Young Artist composers for our commissions, while with the NFA. Please join me in thank- Competition and for new initiatives as the publications committee considers ing her for her devoted service to our your executive committee and board new projects for the future. Please let us organization. The work of the NFA is in continue to look for ways to increase know how you wish to be involved. fine hands! the benefits of membership. Each of us has a place in this amazing Topics that continue to require Please consider making a special organization. attention and creative thinking are donation to our endowment fund while I look forward to joining you this development, communication (among attending the Lifetime Awards Dinner summer at our annual convention in members, committees and staff, flute to honor Stephen Preston and Jeanne Pittsburgh, where we will come together clubs and exhibitors), membership Baxtresser. The endowment was created once again to celebrate our ICONS of retention, and convention-related to provide a secure future for the NFA. the flute community as programmed by issues. With the increased accessibility Donations may be specified to help the masterful Thomas Robertello. The to the Web site, more items may now be fund our competition awards, our NFA is, as our mission states, truly placed online. We encourage each of commissions, or other designated pur- “encouraging the spirit of helpfulness you to visit the site regularly and to poses. Please join me in naming the and fellowship among its members and offer suggestions. We hope you have NFA in your will as well. the flute world.” enjoyed the increased contact that the The work of NFA committees con- e-mail newsletter provides. tinues throughout the year. Our thanks Guidelines for both the convention go to those of you who volunteer, thereby program chair and Myrna Brown schol- guaranteeing the success of numerous arship have now been approved. The projects and activities that benefit each —Katherine Borst Jones, President Spring 2006 The Flutist Quarterly 5
Congratulations to:
Julietta Curenton 1st Place 2005 NFA Young Artist Competition
Paul Gardner 1st Place 2005 NFA High School Sololist Competition
FLUTES & PICCOLOS
Burkart Flutes and Piccolos 20 Main Street · Acton, MA 01720 USA 978-263-7177 · www.burkart.com THE FLUTIST QUARTERLY Anne Welsbacher, Editor John Bailey, Joan Marie Bauman, Christine Cleary, Mia Dreese, Pascal Gresset, Amy Hamilton, Contributing Editors Tony Watson, Masterclass Reporter Steve DiLauro, Advertising Sales Representative Victoria Stehl, Art Director
Editorial Advisory Board John Bailey Professor of Flute, University of Nebraska–Lincoln Lincoln, Nebraska
Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Seattle, Washington
Arthur Ephross Flute and Piccolo San Antonio, Texas
KWWS ZZZODQGHOOÀXWHVFRPWUDLQLQJWUDLQLQJKWPO Susan Goodfellow Associate Professor of Flute, 6XPPHU0DVWHU&ODVVHV University of Utah )OXWH0DNLQJDQG5HSDLU Salt Lake City, Utah Amy Likar 7KH9HUPRQW*XLOGRI)OXWH0DNLQJ,QF Flute, Piccolo and Alexander Technique 6SRQVRUHGE\/DQGHOO)OXWHV Oakland, California XJUI+POBUIPO"-BOEFMM4S 0DVWHU)OXWH0DNHU Betty Bang Mather Emeritus Professor of Flute, 6PDOOHU&ODVV6L]H The University of Iowa $OO7RROV6XSSOLHG Iowa City, Iowa
Roger Mather -XQH-XQH Adjunct Professor of Flute (retired) The University of Iowa -XO\$XJXVW Iowa City, Iowa
5LFKPRQG9HUPRQW Michael Stoune 9LVLWÀXWHVRUJWRUHJLVWHU Associate Director of Graduate Studies, School of Music, Texas Tech University Lubbock, Texas
Nancy Toff Music Historian New York, New York
Michael Treister, M.D. Orthopaedic and Hand Surgeon, Amateur Flutist Chicago, Illinois
NATIONAL FLUTE ASSOCIATION, INC, STAFF
Phyllis T. Pemberton, Executive Director Madeline Neumann, Convention Manager Maria Stibelman, Membership Manager Brian Covington, Web Design Consultant From the EDITOR
Spring Housekeeping
ost seasons crank up in the be submitted as prints or slides, and fall—orchestra and opera may be color or black-and-white. Mseasons, school (for kids The Flutist Quarterly reserves the and grown-ups), calendars of religious right to accept or reject all submissions, and social activities. But my duet with and to crop or otherwise adjust images you began in the spring—the Spring as needed. Any photos accepted for 2005 issue of The Flutist Quarterly was publication will be credited to the my first—and so spring has become my photographer in the magazine, but no season for new beginnings, looking other compensation (other than back and, mostly, forward. heartfelt thanks) can be offered. Anne Welsbacher Spring is also a traditional time for The Flutist Quarterly must retain housekeeping, and as my second year rights to use any photos accepted for begins I clear more space for additions publication in perpetuity, on the Web to the magazine. More to follow below. site as well as in print, and the photog- Other housekeeping matters: As always, your thoughts on what they rapher must be responsible for obtaining Reviews of CDs, books, and other flute- should be—or should not be—are permission from individuals appearing related matters soon will be added to always welcome. in the images when applicable. (Our the editorial lineup of The Flutist Calling all photographers! The call for photographs does not encom- Quarterly. Parties wishing to submit Flutist Quarterly seeks experienced pass or refer to the use of historical or items for review may contact me at the photographers willing to donate their already existing images, although we numbers below. The spring issue tra- efforts on an ongoing or as-needed also encourage interested parties who ditionally features our annual master- basis to the pages of the NFA member own such images to contact us regarding class listing, and you will find it in this magazine and Web site. We are interested them, and their treatments and issue. Beginning with the Spring 2007 in both assigning photographs to restrictions will be determined on a issue, an abbreviated listing will appear accompany specific articles and case-by-case basis.) in the magazine; the full listing, with accepting unassigned photos to be Please give me a call or send me a updated information, will appear on used in flexible manners, such as high- note of interest (with or without the NFA Web site. quality images of flutes or flute music images accompanied using the guide- We encourage people who know of job to illustrate articles on related topics. lines noted above) at my contact openings and graduate assistantships to (Images cannot prominently display information below. forward information to me for posting manufacturer’s or other identifying This request for photography does on the NFA Web site. See postings at information, and must be of standard, not apply to convention documenta- nfaonline.org in the Member Access widely accepted flute types.) tion, which is handled by NFA com- section for information on desired Images should be mailed on CDs or mittee volunteers, but experienced format, or contact me directly. submitted as high-resolution .jpg or photographers interested in taking .tif files attached to an e-mail message images of the annual convention —Anne Welsbacher, Editor clearly identifying the attachments. are also encouraged to contact us, The Flutist Quarterly (Please note that no more than one to either at the contact information 13810 NW Passage, #302 two images should be sent per e-mail, below or directly to the visual docu- Marina del Rey, CA 90292 and that many images are too large to mentation chair, Paula Gudmundson, 310-301-2101 send through e-mail.) Images may also [email protected]. [email protected]
Spring 2006 The Flutist Quarterly 9 ! .ATURAL ,EGACY
4HE "OSTON ,EGACY 0ICCOLO
4HE "OSTON ,EGACY PICCOLO OFFERS A SWEET DARK TONE CRAFTED FROM AGED CENTRAL !FRICAN 'RENADILLA AND ANCIENT )RONWOOD TONE WOODS
$ESIGNED IN THE "OSTON TRADITION THE "OSTON ,EGACY IS A FULLY HANDMADE INSTRUMENT PERFECT FOR PROFESSIONALS TEACHERS AND STUDENTS SEEKING THE FINEST SOUND NATURE AND MAN CAN CREATE
"REATHTAKING
8F .BLF -FHFOET $POO4FMNFS *OD t " 4UFJOXBZ .VTJDBM *OTUSVNFOUT $PNQBOZ t 10 #PY &MLIBSU */ t XXXDPOOTFMNFSDPN Letters to the EDITOR
A Choro Conversation
enjoyed the article “The of people seem to play these. Of course, people make IBrazilian Choro” (Fall arrangements and then this is very open to interpretation. 2006) because a trio I play For example, “Carinhoso”—typically a “slow” choro of with (flute, Bb clarinet, the “choro canção” variety—is usually taken at a lilting bassoon) is working on one. “andante”—but I have also heard it performed more It is quite an informative upbeat as well. “Naquele Tempo” is another choro that I article, with all kinds of have heard both upbeat and very slow. The vast majority information about this of choros are performed at an “allegro” tempo. I have genre of music. There is no heard “Tico Tico no Fuba,” one of the most famous indication of tempo on our choros, from a doable allegro to breakneck prestissimo! It music, which is “Micro depends on the choro and the interpretor. Suite” by Luiz Otavio Braga, and I don’t see a suggested Editor’s note: Koidin contacted Luiz Otavio Braga, the tempo in the article either. Do you know? composer of the piece being played, who kindly replied. —Sandy Ferguson He writes: “Tempo de Choro” means to play at a speed that allows the music to swing—but it depends on the Co-author Julie Koidin replies: Tempo would very much musician’s individual choice. I think quarter note=100 is be dependent on what choro Sandy is performing. I don’t good to start, but it could range from 90 to more than 100. think there is a “right” tempo that is “in stone” for any- Often musicians ignore the metronome recommendation thing—but certainly there is a ballpark for “standard” and play in their own manner. You can use: “Polca” performance practice, or the point at which the majority quarter=90; “Valsa” quarter=90; and “Choro” quarter=110.
Maurice Sharp
everal of Maurice Sharp’s students are preparing a and teacher. All proceeds will go to the Maurice Sharp Smemorial booklet to celebrate the career of Sharp, former Scholarship Fund at CIM. Please submit your remem- principal flute of the Cleveland Orchestra and professor brances and impressions of your experience with Maurice of flute at the Cleveland Institute of Music. This publication, Sharp by May 1 to The Sharp Project, c/o George Pope, a project of Susan Waller, Robin Fellows, and George Pope, will include a biography, a list of recordings, a collection 518 Dorchester Rd., Akron, OH 44320. For more infor- of warm-up and technical studies, and comments from mation call 330-869-9113 or e-mail [email protected]. former students and colleagues of this phenomenal performer —George Pope
Spring 2006 The Flutist Quarterly 11 &LUTES OF ELEGANT QUALITY AND CRAFTSMANSHIP
5NPARALLELED QUALITY FROM THE FACTORY TO THE CONCERT HALLx
%XPERIENCE THE !LTUS COLLECTION OF # mUTES AND HARMONY mUTES
#ONTACT !LTUS &LUTES A DIVISION OF *UPITER "AND )NSTRUMENTS )NC ALTUSFLUTESCOM High Notes News and activities about the accomplishments of National Flute Association members and the flute world
lizabeth Phelps is first place winner in the 2005 Chicago Samuel Adler at NFA’s 34th Convention in August. The EFlute Club Solo Artist Competition. Phelps earned a musicians premiered the three-movement sonata at a postgraduate diploma with distinction from the Royal September 14, 2005, performance and reception at the Academy of Music in London, England, where she studied New York Public Library marking the opening of the with Clare Southworth, Kate Hill, and Patricia Morris and exhibit The Juilliard School, 1905–2005: Celebrating 100 participated in masterclasses with William Bennett and Years. For the NFA Convention, Wincenc also will Maxence Larrieu. Phelps earned her bachelor of music perform, with Jean Ferrandis, Adler’s fast-paced duet, degree from Northwestern University, where she studied “Caccia,” which was written for her. with Walfrid Kujala; she also studied with Fenwick Smith at the New England Conservatory. Ellen Huntington is second place winner in the competition.
enwick Smith, second flute Fin the Boston Symphony Orchestra, will retire at the end of the Tanglewood season this summer. Smith has been with the orchestra for 28 years, five of them as assistant principal flute. In 1975 he joined the New England Woodwind Quintet and the contemporary-music ensemble Boston Musica Viva. He has performed on baroque Fenwick Smith flute with Boston’s leading early- Stephen Gosling and Carol Wincenc music ensembles, and has been a member of the Boston Chamber Music Society since 1984. As a concerto soloist, inalists for the Haynes International Flute Competition Smith has introduced to Boston audiences Lukas Foss’ F2006 are Inna Gilmore, Nicolas Hero, Heather Holden, Renaissance Concerto and the flute concertos of John Soonyun Kim, and Conor Nelson. Adjudicators for this Harbison and Christopher Rouse. His discography includes inaugural contest are Jeanne Baxtresser, Michel Debost, premiere recordings of works by Cage, Copland, Dahl, Guoliang Han, Christopher McKenna, Paula Robison, and Foote, Gaubert, Ginastera, Harbison, Koechlin, Pinkham, Alan Weiss. The final round will be held June 3 in Boston. Rorem, Reinecke, Schulhoff, and Schoenberg. Smith is on the faculty of the Tanglewood Music Center and New inda Chatterton recently returned England Conservatory, and will take on an expanded teaching Lfrom a month-long, nine-state commitment at the latter after his retirement from the concert tour with Milwaukee symphony orchestra. Smith also plans to give concerts and Symphony and Ballet Orchestra make recordings. harpist Ann Lobotzke. The duo’s tour encompassed Montana, Colorado, lutist Carol Wincenc and clarinetist Charles Neidich will Wyoming, Minnesota, North and Fperform a retrospective concert, “Naumberg Looks South Dakota, Kansas, Nebraska, and Back,” May 12 at 8 p.m. at Alice Tully Hall in New York. Iowa. Its program included two Wincenc is the only flutist to have won the Naumberg sonatas of Domenico Scarlatti; P.A. award. Information is available by calling 212-874-1150 or Genin’s Carnival of Venice; Joseph visiting naumberg.org. Wincenc and pianist Stephen Lauber’s Medieval Dances; Bernard Gosling will perform a commissioned flute sonata by Linda Chatterton Andres’ Algues; and two recently
Spring 2006 The Flutist Quarterly 13 HIGH NOTES written pieces: Milwaukee composer Ronald Foster’s Chamber Music America for a three-year term starting in Meditations, and Minneapolis composer Edie Hill’s This July 2006. CMA is a New York–based membership organi- Floating World, for solo flute. The duo reprises its tour in zation serving performing ensembles, composers, presenters, April, through Wisconsin, Minnesota, Iowa, and North and managers. Dakota. he Sylvan Winds, with Svjetlana Kabalin, flute and artistic ichael Stoune, former NFA board member and chair Tdirector, performed a February gala concert at the Mof the special publications committee, spent October French Consulate in New York City as part of its exploration 2005 in Northern Ireland among flute bands distinctive to this year of Georges Barrère’s legacy. Barrère biographer Ulster. He visited the Ballymena Young Conquerors Nancy Toff gave a preconcert lecture. The program included (founded in 1886), the Churchill Flute Band (founded in the first performance since 1903 of the Suite for Winds and 1835), and Ballyclare Victoria and Kellswater Flute. He was Piano by Patrice Devanchy, which was dedicated to Barrère also the honored guest at the North of Ireland Band and his Paris woodwind ensemble; the first performance Association’s 88th Annual Flute Band Competition in since 1900 of a sextet by Albert Seitz; and other works from Belfast. Stoune has been a student and advocate of flute Barrère’s repertoire by Philippe Gaubert, André Caplet, René bands for more than 20 years, and a development leave de Boisdeffre, and Hedwige Chrétien. from Texas Tech University allowed him to travel to Northern Ireland to further his research. estor Herszbaum was the featured flutist in a January Nonline Celebrity Chat with MyAuditions.com. aul Taub, chair of the NFA’s New Music Advisory Herszbaum is the new principal flutist with the Kansas City PCommittee, has been elected to the board of directors of Symphony.
14 The Flutist Quarterly Spring 2006 Spring 2006 The Flutist Quarterly 15
NFA News Updates on committee activities and other news of interest from the national office
reparation for the 2006 convention is the current focus of numerous NFA committees and volunteers. PRead more about the convention in this issue’s “From the Program Chair” and “From Your Convention Manager.” See also the profile of Madeline Neumann, the NFA’s convention manager, in this section.
The New Music Advisory Committee announces plans appointment of new members Cynthia Ellis and Jennifer for three newly commissioned works to be premiered at Clippert. Both have been active in the NFA in various the 2006 convention in Pittsburgh. For the annual High capacities, most recently serving on subcommittees for the School Soloist competition, Hong Kong–based composer committee’s publication project, Selected Flute Studies: A Lydia Ayers is writing a piece for solo flute and recorded Graded Guide of Etudes, Daily Studies, and Method Books. computer music. Composer/performer Paul Dresher has They are also active in their respective communities, accepted the commission for the Young Artist competi- Stevens in and around Fullerton, California, and Clippert tion, and is composing a piece for flute and piano. NFA in the Chicago area. The committee welcomes suggestions Lifetime Achievement Award Recipient Robert Aitken is from NFA members for convention sessions or other ideas composing the third work, a flute orchestra piece for 26 related to pedagogy. Please feel free to contact any of the players. See the Summer 2006 issue of The Flutist members of the committee: Rebecca Hovan,chair; Mary C.J. Quarterly for more information about these composers, Byrne; Cynthia Stevens; Chris Potter; Holly Clemans; Bonnie or visit cs.ust.hk/faculty/layers/; dresherensemble.org; Buhler-Tanouye; Rebecca Paluzzi; Cynthia Ellis; Jennifer and peermusic-classical.de/aitken_e.htm. Clippert; and Amy Zuback, advisory.
The Pedagogy Committee is pleased to announce that the NFA elections are coming. The following are candidates for National Flute Association Library in Tucson will soon next year’s officers and members of the board of directors for possess all 375 pieces listed in the Selected Flute Repertoire: the National Flute Association: A Graded Guide, compiled by the Pedagogy Committee and published by the NFA in 2001. In a project led by Vice President/President Elect Chris Potter and assisted by Cynthia Stevens, 65 pieces (one is elected) listed in the guide but not available in the library were Patti Adams identified. The library staff then researched and confirmed Ransom Wilson the list. The NFA library holdings can be searched online by Assistant Secretary accessing the NFA Web site at nfaonline.org and then (one is elected) selecting Resources. To borrow music, a form on the site Lori Akins can be printed and sent to the library, accompanied by a Ellen Kaner check for $6 to cover postage. The music will arrive in a few days. This is a great way to peruse new music before Members of the Board choosing to purchase it. (three are elected) The NFA library has been built primarily by member Joanna Bassett donations and the receipt of music entered in the Newly Beth Chandler Published Music Competition. The entire collection con- Janet Fergusson tains approximately 15,000 pieces of music. Selected Flute Hall Ott Repertoire: A Graded Guide categorizes music into 10 ability Tamara Thweatt levels, and is available though the NFA Web site by selecting Clifford Tretick NFA Store. The guide is $3. Selected Flute Studies, the most recent Pedagogy Committee publication, was published in To learn more about these candidates, visit nfaonline.org, 2005 and is also available through the site. where biographies, photographs, and other information can The Pedagogy Committee also is pleased to announce the be found beginning in July.
Spring 2006 The Flutist Quarterly 17 NFA NEWS Spotlight on the Convention Manager by John Bailey f you have been to a National Flute Association convention Unfortunately, college campuses do not have enough close any time in the past dozen years or more, chances are you exhibition space for our exhibitors, nor enough performance Ihave seen Madeline Neumann, our indefatigable conven- halls, and are severely limited in the numbers of beds they can tion manager. She arrives several days before the convention provide. What works for the IDRS won’t work for the NFA— begins, sets up the NFA convention office, and makes sure all and even what worked for the NFA 10 years ago won’t work for the details of the convention are in place. us now—we’ve grown! These include all those pianos (for performance and compe- Another consideration in choosing an NFA convention tition venues, but also for the accompanist rehearsal rooms), and hotel is the directive from the NFA board to make sure the con- stands (for the concerto orchestra and other ensembles, but also vention moves around to various parts of the country so that all those flute choir, solo, and chamber performances all over the NFA members from all geographic locations are served. hotel). She double-checks food arrangements for the Flute Generally, NFA conventions alternate among coasts and the Lover’s Luncheon and the NFA banquet on Saturday evening, middle of the country. The last three conventions, for instance, and makes sure all the needed audio-visual equipment is taken were held in Las Vegas, Nashville, and San Diego. The conven- care of. She makes sure the podiums and risers are delivered tion cities for the next six years, beginning with this year’s, are and set. She sets up the registration booths and confers with Pittsburgh, Albuquerque, Kansas City, New York, Anaheim, the local information booth folks and especially the hotel and, in 2011, Charlotte. management to make sure our conventions run smoothly. Any potential convention city has to have a local flute club And she stays after we leave to make sure all the necessary to help with the many convention jobs performed by local NFA business is successfully concluded. volunteers. But the NFA has to be careful not to visit the But Neumann’s other big job for the NFA takes place during same city too often so as not to wear out our welcome and the year. That is when she looks for the best venues for future exhaust the local flutists. conventions—not an easy task. Convention cities are chosen Our restraint in consuming food and alcohol creates an by the NFA board years in advance, and contracts with additional obstacle for Neumann in negotiating with a hotels that Neumann negotiates are signed soon after that. potential hotel large enough to host the NFA. Most convention But finding a hotel that will meet all of the NFA’s numerous hotels derive most of their income from large parties or needs is a daunting task. other events, where alcohol (and thus the ensuing bill) flows First, Neumann must find a hotel large enough to have freely—wedding receptions, banquets with 1,000 or more both enough hotel rooms for most attendees (we now range guests, private parties. Some hotels are reluctant to sign a from 2,500 to 3,000 at our conventions), and a significant contract that would effectively block any lucrative party number of performance venues. For our conventions, the income for an entire weekend. NFA needs a ballroom or some other large performance area There is also the matter of hotel room cost. Flutists don’t for the evening gala concerts that can accommodate all NFA have the level of income of doctors, lawyers, and other attendees plus an orchestra. We also need several other per- conventioneers. So there is always a trade-off among the formance spaces for the numerous competitions and other three-way pull of great facilities, great convention city, and concerts, including flute choirs, plus a number of smaller great prices. rooms for rehearsal space, and NFA board and other meetings. After receiving several suggestions of potential convention Most conventions use smaller break-out rooms (holding 50 to cities from the NFA board, Neumann sleuths out the best 200 people each) for numerous simultaneous sessions, so hotel possibilities and visits them, inspecting them for the our performance space needs immediately limit the number of NFA’s various needs and availability. She then reports her hotels that can host the NFA. recommendation to the NFA board, which gives final A hugely important part of any NFA convention is the approval before the contracts are signed. (Starting in 2005, Exhibitors’ Hall, which needs to be large enough to hold the any potential convention hotel is also visited by a member of many fine merchants who exhibit each year. The needs of the the NFA’s Commercial Members Committee or his or her exhibitors are understandably many, including exhibition representative.) And the cycle begins again. space, security, loading and unloading possibilities, and, most important, proximity to the other NFA events to John Bailey has served as president, program chair, commercial ensure maximum traffic. members liaison, and board member of the NFA. Madeline Some of our sister societies (such as the International Neumann can be reached at [email protected]—or in Double Reed Society) host conventions at college campuses. person at the 2006 convention in Pittsburgh.
18 The Flutist Quarterly Spring 2006 AcrossAcross by Christine Cleary thethe MilesMiles News about flute club and flute choir activities throughout the United States
The Central Ohio Flute Association hosted guest artists Jill taped audition, piccoloists Julie Sabo and Maria Haller and Felber, Nancy Hadden, and the Chris Norman Ensemble, flutists Jessica Sindell and I-Yun Tu. among others, at the Ohio State campus. Amara Guitry presented a class exploring the dance steps of the minuet. On March 4, Patricia George presented her Flute Spa at On January 31, Emmanuel Pahud performed at the Sunset Presbyterian Church under the patronage of the Southern Theater in Downtown Columbus. In late March, Greater Portland Flute Society. On March 31, Matthias Ziegler Matthias Ziegler visited Ohio State to present a masterclass. performed a concert at All Saints Episcopal Church in The annual COFA Festival on the Ohio State campus was Portland, Oregon, and was the guest artist at the Greater held on April 8. Guest artist Alexa Still presented a concert Portland Flute Society’s annual Flute Fair at Aloha High School and masterclass, and other events included workshops, the in Aloha, Oregon. Information is available by visiting gpfs.org. COFA competitions, a flute choir showcase concert, and a large exhibit hall. Information is available by contacting The Houston Flute Club hosted its annual Flute Fest on Katherine Borst Jones at [email protected]. March 25 at the University of Houston, Moores School of Music. This year’s guest artist was Renée Siebert. She taught The Falmouth Flute Choir (Massachusetts) performed at a masterclass and presented a solo recital. Siebert also was local Cape Cod venues throughout the holiday season. (See one of the judges for the Byron Hester Flute Competition. the Winter 2006 issue of The Flutist Quarterly for information This competition hosted five finalists chosen from a taped about these events.) The choir features performances of stan- preliminary round. There is a cash prize of $1,000 to the win- dard chamber repertoire, as well as contemporary favorites ner and an opportunity to attend the 2007 Flute Festival to and transcriptions of traditional fiddle music. Information perform a solo recital. The Flute Fest also hosted the Denise is available by contacting Susan Tansey at 73 Tasina Dr., East Jennings Solo and Ensemble Competition for all age levels Falmouth, MA 02536. from beginner to adult professionals. The Flute Fest includes middle school, high school, and advanced (college and adult) All four choirs of Flutes Unlimited, a Chicago-area flute masterclasses, exhibits, and recitals. Information is available by choir organization, performed in a Christmas Concert visiting houstonfluteclub.org. December 4, 2005, at Saint Xavier University in Chicago. The last number on the program combined the choirs and The International Flute Choir Festival at Fresno Pacific included some of the players doubling on percussion University hosted its ninth annual festival February 17–18. instruments for the composition “The 12+ Days of Tadeu Coelho was the guest artist and Janette Erickson was the Christmas,” arranged by Amy Rice-Young. Members from the festival coordinator. Information is available by sending an choirs also performed on live television at WGN studios in e-mail to [email protected] or visiting flutechoirfestival.com. Chicago on December 23. Flutes Unlimited’s spring concert will be held May 7 at Saint Xavier University, McGuire Hall, The University of Wisconsin–Madison Flute Studio and 3700 W. 103rd St., Chicago, IL 60655. This concert will feature the Madison Flute Club will hold the Madison Flute all four choirs: the Ltd. Choir, the Symphonic Choir, The Divisi Festival April 22. The festival will be held at the UW- Choir, and the Tout Suite Choir. Information is available by Madison Pyle Conference Center. Information is available calling Jodi McLawhorn at 773-509-4946 or visiting the by contacting Berlinda Lopez at [email protected] or visiting updated Web site at flutesunlimited.org. madisonfluteclub.org.
The Greater Cleveland Flute Society held a recital/masterclass Magic Flutes Flute Choirs performed “Dances with given by Mary Kay Fink, principal piccolo of the Cleveland Flutes” in Foster City, California, in January. They also Orchestra, at the Cleveland Music School Settlement took part in San Jose State University’s “Tutti Flutti” November 6, 2005. Fink, accompanied by pianist/composer Concert in March and will perform “Concertos for the Nicholas Underhill, performed works by Bergamo and Flute Family with Flute Orchestra Accompaniment” in Widor. The masterclass included four participants chosen by May, at St. Matthew’s Catholic Church in San Mateo,
Spring 2006 The Flutist Quarterly 19 ACROSS THE MILES California. Magic Flutes Flute Choirs are based in San 11 a.m. worship service at Duke Chapel on January 1. The Mateo and directed by Pamela Ravenelle. spring concert, a benefit concert for children with autism, was April 9 at the North Raleigh Arts and Creative Theatre. The Marist College Community Flute Choir will have a masterclass and recital with guest artist Gary Schocker. The The Rochester Flute Association, Inc. (New York), held its program will be April 30 in the performing arts room of the annual Flute Fair on September 30–October 1, 2005, marking student center building at Marist College in Poughkeepsie, the RFA’s 10th anniversary season. (See the Winter 2006 issue New York. The recital will include a performance by Schocker of The Flutist Quarterly for information about this event.) and by Marist students performing his ensemble works. Information is available by visiting rfaonline.org. Information is available by sending an e-mail to Marist College flute instructor Julie Martyn-Baker at [email protected], The Rose City Flute Choir will celebrate its 20th anniversary calling 845-227-2706, or visiting garyschocker.com. with a concert featuring the performance of Amy Rice- Young’s arrangement of “Peter and the Wolf” May 13 in The 2006 Mid-South Flute Festival was held at Middle Portland, Oregon. Other music performed will include Tennessee State University on March 24–25. This year’s “Innes Glas Mor,” by Lisa LeMay, and “As Eagles Flew,” by guest artist was Marianne Gedigian. The festival included Phyllis Avidan Louke. young artist, college masterclass, high school soloist, and junior high masterclass competitions. The festival hosted Now in its third season, the Tulare County Silver Winds pedagogical presentations and solo and ensemble performance Flute Choir, directed by Tracy Harris, recently completed opportunities. Information is available by contacting four performances of Handel’s Messiah to a sellout audience at Deanna Hahn at [email protected]. the 750-seat First United Methodist Church Performance Center in Visalia, California. The concert was held in early The Nebraska Flute Club held its second annual Flute December 2005 with all of the proceeds donated to the fur- Festival and Flute Olympics on September 24, 2005, on the ther development of the music center. The flute choir’s 35 campus of the University of Nebraska at Omaha. The festival, members performed an arrangement of The Messiah by featuring guest artist Tadeu Coelho, attracted attendees from Harris supported by a 40-voice vocal choir, along with con- three states and a dozen exhibitors from across the United cert harpist Wendy Harris-LeBlanc, concert pianist Svetlana States. Activities included “Flute Olympics” for junior high Rudikova-Harris, and bass clarinetist Judy Burotovitch. The students, a high school honor flute choir, the NFC festival Tulare County Silver Winds is a nonprofit organization and flute choir, a masterclass with Tadeu Coelho, for which par- has a full concert season from September through June. The ticipants were selected by taped audition, a recital featuring choir annually performs in July at the St. Anthony Retreat Coelho, and short solo performances by Nebraska flutists Concert Hall as part of the Three Rivers Flute Master Class Christine Beard and John Bailey. Information is available by directed by Harris. Auditions for the choir are held in visiting nebraskafluteclub.org. January and September. Information is available by visiting TracyHarrisFlute.com and clicking on the Tulare County The Raleigh Area Flute Association hosted Grammy-award Silver Winds icon. winning flutist Rhonda Larson this past November for the 17th annual Flute Fair. Larson’s events included a concert, The Upper Midwest Flute Association held its 31st Annual masterclass, and participatory warm-up and call-and- Flute Fest November 12, 2005, in Bloomington, Minnesota. response session. The day’s events also included a workshop The event’s featured artist was Bonita Boyd, from the on intonation led by Elizabeth Goode and a session on Eastman School of Music, featured in masterclass and in vibrato led by Patti Adams. North Carolina flutists banded recital. The event included the return of the flute choir reading together in November to present New Orleans flutist Patti session conducted by Polly Meyerding, president of the Adams in a series of concerts and classes across the state and UMFA. Highlights from the event included masterclasses with to raise support for Adams and fellow musicians of the Bonita Boyd and an open masterclass with Julia Bogorad- Louisiana Philharmonic Orchestra, whose musical livelihood Kogan, from the Saint Paul Chamber Orchestra, in which was adversely affected by Hurricane Katrina. Tax-deductible audience members could volunteer to play. Lunch includ- donations earmarked for the Patti Project can be made to ed a pedagogy panel with Bonita Boyd, Julia Bogorad- RAFA, 3809 Midlakes Dr., Raleigh, NC 27612. Thanks to Kogan, Alicia McQuerry, and Amy Morris. The afternoon Kate Steinbeck for spearheading this effort. featured seventh through 12th grade winners of the annual scholarship competition and a junior and senior high flute The Raleigh Flute Choir performed during the holiday season choir performance. Information is available by contacting in Ramseur, Chapel Hill, and Raleigh, North Carolina. The Paula Gudmundson at [email protected] concert theme was “Holidays Around the World,” featuring or visiting umfaflutes.org. pieces from Italy, Poland, England, Argentina, Liberia, China, and elsewhere. A djembe drum was used with three Please send information about flute club activities to Christine pieces, and handbells and choir chimes on one each. The Cleary, Flute Clubs Coordinator, 2022 Wedgewood Dr., season concluded with the prelude and two anthems for the Grapevine, TX 76051; [email protected].
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Notes from Around Conventions, festivals, competitions, and other flute activities from around the the world World Notable Dates Swiss flutist Aurèle Nicolet turned 80 on January 22. His The British Flute Society will hold its fifth International Flute birthday is being honored this year with China’s First Convention in Manchester August 17–20. Contributing artists Beijing Nicolet International Flute Competition, one in a will include William Bennett, Denis Bouriakov, Robert Dick, series of musical competitions organized by the Chinese Wissam Boustany, Mimi Stillman, Matthias Ziegler, Susan Musician Association and China/Swiss Culture Milan, Stephen Preston, Anna Noakes, Carla Rees, Alexa Still, Communication Association. The competition “serves as a Rachel Brown, Emily Beynon, and Abbie de Quant. For infor- symbol of his deep love towards China,” as noted on the mation, contact John Rayworth, Membership Secretary, The competition’s Web site. Nicolet has donated his complete Nook, How Mill, Brampton, Cumbria CA8 9JY, U.K.; 011 44 library of works, including scores and documents, to Chen 1228 670 306 or visit bfs.org.uk. Qiling, professor of flute at the Central Music Institute of Beijing, and to Chen Sanqing, flute player at the Symphony The French Flute Association (A Travers la Flûte) held its Orchestra of Beijing. See http://homepage.mac.com/cnico- Flute Days Festival April 13–15 in Grasse and Cannes. let1/birthday/ or nicoletflutecompetition.com. Concerts and masterclasses by Philippe Bernold, Geneviève Amar, Joan Marie Bauman, and Philippe Pïerlot were The father of the modern flute, Theobald Böhm included in the event. (1794–1881), inventor, flutist, and composer, will be remembered in November, when the city of Munich The Frankfurt Music Fair, the world’s largest such exhibit, hosts numerous musical events to commemorate the was held March 29 to April 1. 125th year since his death. Festivities will include concerts and an international flute competition. (See also The French Music Fair, Musicora, held annually in Paris, took Competitions, below.) place for the first time in the prestigious Carousel du Louvre Center, situated beneath the famous museum. The Fair was Orchestral News held March 17–19. Exhibits, lecture-demonstrations, and con- German flute player Kersten McCall was chosen new certs, including a flute recital of works for solo flute by Joan first flute at the Royal Concertgebouw Orchestra in Marie Bauman, were among the varied program offerings. Amsterdam November 1, 2005. He will play first flute alternately with Emily Beynon. He has been a member of Competitions the Rundfunk-Sinfonieorchester Saarbrücken since 1992. The ARD International Music Competition is August He studied with Felix Renggli (1985–1992) in 29–September 15 in Munich. The competition is for voice, Schaffhausen, Switzerland, and with Renate Greiss-Armin piano, and woodwind quintet; total combined ages of and Aurèle Nicolet (1992–1997) in Karlsruhe, Germany. ensemble members may not exceed 150 years. The entry McCall filled in as solo flute during the 1999–2000 season deadline is May 2. Visit ard-musikwettbewerb.de. with the New York Philharmonic. He won first prize in the International Flute Competition of Kobe (Japan) and The Florence International Chamber Music Competition third prize in the ARD Competiton in Munich. Premio Vittorio Gui is November 19–26 in Florence, Italy. Entry deadline is October 3. Visit premiogui.it. Conventions and Festivals Berlin will be the host city for the Flute Festival organized The First International Theobald Böhm Competition for by the German Flute Society (Deutsche Gesellschaft für flute and alto flute is November 21–23 in Munich. The com- Flöte), to be held March 9–11, 2007. petition was created in memory of flutist, teacher, flute
Spring 2006 The Flutist Quarterly 23 NOTES FROM AROUND THE WORLD maker, inventor, and composer Theobald Böhm The German Flute Society (Deutsche Gesellschaft für Flöte) (1794–1881), who died 125 years ago. The event was has released a CD of recordings made during its 2004 Flute organized by the Theobald Böhm Society, the Deutsche Festival in Hamburg; it includes music played by Barthold Gesellschaft für Flöte, and the Hochschule für Musik und Kuijken, Karl Kaiser, Marina Piccinini, Moshe Aron Epstein, Theater in Munich. The entry deadline is August 15. On and others. Send e-mail to [email protected]. November 26, the day that Böhm died, a concert featuring the first-prize winner will be presented, with András and Farewell Marianne Adorján, Benoît Fromanger, Michael Kofler, French composer Serge Lancen, born November 5, 1922, Andrea Lieberknecht, Emanuel Pahud, Tatjana Ruhland, died July 10, 2005, at 82 years of age. Lancen was awarded the and Henrik Wiese, with Peter-Lukas Graf conducting the Grand Prix de Rome in 1950, and composed more than 200 Bayerische Staatsorchester, the orchestra Böhm played works during his lifetime. His works for flute include with from 1818 to 1848. Visit floete.de. Concerto da Camera for flute soloist and string orchestra, Duo concertant for flute and harp or piano, Quatre flutes The International Friedrich Kuhlau Flute Competition took en ballade, for flute quartet, and Pastorales en trio for flute, place in Uelzen, Germany, October 30–November 5, 2005. violin, and piano. The first prize for Solo Flute or Flute and Piano was present- ed to Ji Hoon Shin (Korea) and to Yukie Takai (Japan). There —Reported by John Bailey, Joan Marie Bauman, were no winners in the Two Flutes or Two Flutes and Piano Mia Dreese, and Pascal Gresset category. Dora Ombodi (Hungary), Sari Hyvönen (Finland), Sylvia Ansorge (Germany), and Ina Richter (Germany) won the first prize for Ensembles of Three or Four Flutes. The pres- Please send information about flute-related events ident of the jury was Peter-Lukas Graf. and activities in locations outside of the United States (clearly indicate topic in e-mail subject line) Et Cetera to one of our international news reporters: Elizabeth Koch, professor of flute and head of the Joan Marie Bauman, [email protected], or Woodwinds Department at the University of Adelaide in Pascal Gresset, [email protected] (France or Southern Australia and former principal flute with the elsewhere); Mia Dreese, [email protected] (The Adelaide Symphony Orchestra, recently organized a flute Netherlands); Mary Procopio, [email protected] festival with a new twist. To help her students discover the (Caribbean); Chelsea Czuchra, Dörrmattweg 1, 5070 variety of different styles of European flutists, she organized a Frick, Switzerland, 41 62 871 6944, [email protected]; voyage from September 9 to October 5, 2005, taking her Tadeu Coelho, [email protected] (Brazil). Please copy students directly to masterclasses and lessons with the Anne Welsbacher, [email protected]. teachers. Students prepared 26 works including Sonatas by J.S. Bach, Prokofiev, Feld, Gaubert, Sancan, and Liebermann; the Boulez Sonatine; Schubert’s Introduction, Theme and Variations; and the Concertos of Mozart and Ibert. Teachers included Michael Cox (Royal Academy of London), Susan Milan (Royal College of Music), and Paul Edmund Davies in London; Philippe Bernold and Sophie Cherrier in France; James Galway in Lucerne; and Felix Renggli in Basel and Freiburg.
This year marks the 250th anniversary of the birth of Wolfgang Amadeus Mozart (1756–1791), and among its celebratory offerings is an informative Web site about the 17 travels that he made during his short life. The European Mozart-Ways has been named a Major Cultural route by the Council of Europe. An international Web presentation on the site, in several languages, enables cultural enthusiasts access to the project as well as to the annual calendar. The European Mozart-Ways links cities and regions of 10 European countries; buildings and authentic sights related to Mozart and the historic travelling route itself in member cities and regions are marked by a special logo. The Mozart-Ways also offers innovative and pedagogical projects related to Mozart for children and young people, and related publications allow individuals to discover the Mozart Ways on their own. Visit mozartways.com.
24 The Flutist Quarterly Spring 2006
CANADIAN NEWS NEWS ABOUT FLUTE CONCERTS AND ACTIVITIES IN CANADA by Amy Hamilton anadian flutists have welcomed Orchestra in a concert featuring the works of Henry Brant, Charles Ives, John Rea, and Valentin Silvestrov on December many international guests over the 1. Toronto’s New Music Concerts is celebrating its 35th sea- past year for masterclasses across son, and it featured Aitken in the world premiere of the new C Canadian work Concertino for amplified flute and ensemble the country. Peter Lloyd visited Toronto in October once by Andre Ristic on February 26. On May 27, Aitken will per- again for a week of lessons and masterclasses. Louis Moyse was form in a New Music Concert featuring recent solo works of in London, Ontario, during November for an extensive Elliot Carter. UBC flute instructor and former principal flute series of masterclasses, discussions and lessons. A highlight of London’s BBC Orchestra Lorna McGhee toured southern of his visit was a flute concert given in his honour at the Ontario with harpist Heidi Krutzen for a series of recitals and University of Western Ontario. Jeffrey Zook of the Detroit masterclasses in September, and Camille Churchfield, former Symphony gave masterclasses in April for flute students in the principal flute of the Vancouver Symphony, gave a masterclass orchestral training program at the Glenn Gould Professional in Toronto last November. School of the Royal Conservatory of Music in Toronto. Also, Stefano Maffizzoni, principal flutist of the Verona Varied summer offerings for flute study in Canada are Symphony visited Langley Community College in British planned. In Quebec, Domaine Forget will feature an impres- Columbia for a recital and masterclass in January. In sive Canadian flute faculty along with Jeffrey Khaner and Vancouver, the French flute and harp duo Sandrine Chatron Emmanuel Pahud. Information is available by visiting and Sandrine Tilly performed at the University of British domainforget.com. Also in Quebec is the Orford Arts Columbia in November, and Paul Edmund-Davies gave Centre ([email protected]). The Boxwood Festival in masterclasses and a joint recital with UBC flute instructor Lunenburg, Nova Scotia is back again in 2006, featuring Lorna McGhee in February. A third guest visit to UBC fea- Chris Norman (boxwood.org). The Banff Centre in Banff, tured masterclasses and a recital by international soloist Jill Alberta, offers chamber music and orchestral training programs Felber in March. (banffcentre.ca). The faculty of the Symphony Orchestra Academy of the Pacific orchestral training program in In Halifax, Nova Scotia, the Atlantic Flute Society sponsored Powell River, British Columbia, will include Janet Arms, a recital, masterclass, and extended techniques workshop assistant principal flute of the New York City Opera for 2006 with British Columbia flutist Paolo Bortolussi—now a (soap-powellriver.ca). DMA candidate at Indiana University, Bloomington—and Canadian pianist Simon Docking February 5–6, 2005. They Amy Hamilton is associate professor of flute at Wilfrid Laurier performed a recital featuring the music of Canadian composer University in Waterloo, Ontario. Send information and queries Dorothy Chang, including her solo flute works Mirage II to her at [email protected]. and House on Fire, and Just an Ordinary Day for solo flute and flute ensemble, which features extended techniques. From Memorial University in St. Johns, Newfoundland, flute professor Michelle Cheremy (MM Indiana University with Peter Lloyd and DMA Rice University with Leone Buyse) has announced a new performance/pedagogy master’s pro- gram. This master of music program is flexible and can be tailored to your individual strengths and interests.
In Ottawa, National Arts Centre Orchestra principal flutist Joanna G’froerer performed the Mozart G Major Concerto with the orchestra in October. In May, Christie Reside (new principal flute, Vancouver Symphony Orchestra) and harpist Rita Costanzi will perform Mozart’s Concerto for Flute and Harp with the Victoria Symphony in Victoria, British Columbia. In Toronto, Robert Aitken conducted the Espirit
26 The Flutist Quarterly Spring 2006 THE INNER FLUTE Life Lessons by Wendy Pender-Cudlip
Cancer radically transforms the priorities and activities of life, and under its grip, the process of enjoying or making music careens from impossible task to lifeline. A flutist shares her insights.
ver the past two years, my life has been shattered they just listened. Then we talked about what was going on and re-constructed by a serious illness, and my in their lives; I listened from a great foggy distance as Opath shaped by lessons learned from music. In Kathleen described some new concepts of tongue placement March 2004, I was diagnosed with stage four ovarian cancer she was experimenting with. I remember being very interested following several months of seemingly minor digestive in the concepts while thinking that I would never again have problems for which I had been seeing doctors and having the energy to even try a new idea like that. various tests. Ovarian cancer is an insidious and deadly dis- Keep breathing. Breathing is the key to living well, playing ease. While it is very treatable in the early stages, many an instrument, and coping with just about anything. All women are not diagnosed until the disease has spread, when musicians accept that some degree of performance anxiety is the survival rates are grim indeed; the five-year survival rate part of everything we do. I learned a wonderful breathing for stage four is 30 percent, and the long-term survival rate exercise from a yoga teacher, which can be applied anywhere, is 10 percent. (See sidebar.) anytime. On a slow, low inhale, think or say,“I am here.”This After extensive surgery followed by almost two years of grounds you in space and time. On a slow, complete exhale, chemotherapy, I came to terms with the fact that every think, “I am clear.” After a few repetitions, change the single element of my life, personally and professionally, exhale statement or thought to one that suits your situation— was permanently transformed. My journey back to simply perhaps,“I am relaxed,”or “I am calm,”or “I am fully prepared enjoying and then making music has been long and rocky. and ready to perform.” In the flute world, we can get very tan- Lessons learned from my music studies over the years have gled up in trying to find the “right way to breathe,” and this profoundly affected my healing journey, and I share them here. centering breath soon will feel natural to you and help you get Be prepared to be in an altered state for some time. Music back into shape, especially if you have had abdominal surgery. was the last thing on my mind once I received the diagnosis Trust your instincts. Perhaps you sometimes sense that one week before surgery. How well I remember a visit from your lip is not positioned just right, or that a technical my dear friends pianist Christine Diwyk and flutist Kathleen problem may be related to something as subtle as one finger Nester who somehow rearranged their busy New York being positioned differently. Or maybe you have been with a schedules to come spend a few hours with me after I came new teacher for a bit and are thinking that something must home from the hospital. As we sat in my sunlit teaching studio be wrong with you if this teacher’s ideas don’t seem to work surrounded by my flute, piano, books, and plants, I told for you. Trust your instincts, as they are your inner guide to them, “I cannot imagine even wanting to play the flute lead you further. Maybe this teacher really is not the right again.” Life had shrunk to the immediate issues of coming to one for you at this time. grips with a grim diagnosis, trying to recover from major See your health as metaphor. In my case, my minor surgery while dealing with the fear of starting chemotherapy symptoms could easily be explained away as common the very next week, coping with side effects of various med- ailments. But I knew that overall I was not quite myself, ications, worrying about my family’s future, and a million and sought help. I was both relieved and horrified when other negative, worrying thoughts. To their eternal credit, my doctor told me that with my form of ovarian cancer, by
Spring 2006 The Flutist Quarterly 27 LIFE LESSONS
From left: Peter Schultz, Virginia Church, Linda Schepps, Tamar Beach Wells, Christine Diwyk, Kathleen Nester, Wendy Pender-Cudlip. Musical friends gave their time and talents for “Celebrating Hope and Healing” benefit concerts in autumn 2005. the time I felt any symptoms whatsoever, the disease was already put on my favorite high-energy housecleaning music, the well-advanced. Moulin Rouge soundtrack, because I thought, “Oh, no! In the Accept support, even if you cannot immediately process it. movie, she dies!” Perhaps you landed that spot at the conservatory with the Determine the best time for you to start to teach again.As famous teacher, only to find out the famous teacher tours all soon as I could, before I was really back in any kind of playing the time and most lessons are given by teaching assistants. shape, I started to teach my private students. All teachers are Nevertheless, you might find out that although your time with familiar with the continuing balance between showing and the Famous One is limited, you benefit greatly from interactions telling, and I didn’t pretend to be in better shape than I was. with those who have been down the path before you, including Often, being unable to demonstrate something properly commiserating with your fellow colleagues. These can be meant I had to stretch myself to get the point across another considered your artistic support group. So too with your way, by careful explanation and metaphors, which was good health: find a good support group that best suits your needs, for both me and the student. along with a trusted medical team you can work with. For me, If you need to, ration your efforts to play again. While you this also includes wonderfully trained and talented people for may depend on playing your flute to keep you going, I just yoga, Reiki, and massage. It’s like playing duets or ensemble couldn’t go there for a very long time due to all the chemo music with someone new. Sometimes once is enough, and side-effects. I first started noodling around with warm-ups, sometimes you hit it off and find a working/playing relationship just trying to hold my flute and make my fingers move. I did it that suits you well. more from a sense of needing to than wanting to. Some days it Accept that well-meaning people will give you lots of advice. was only two minutes. Little by little I could increase the time If you are a flutist with tone issues, you will naturally seek the and things started to come together. I gave myself permission teacher who has not only the tone you want, but the reputa- not to set goals but to just let the process unfold, being careful tion to teach it. This does not mean it will work for you, as it not to judge how I sounded in the process. may be too much information for the current stage in which The first piece I pulled out was Rhonda Larson’s “Be Still My you find yourself. Players can fall into the trap of looking out- Soul.” I’ve known Rhonda since we met at the Bennett-Wye side themselves for the one right answer: that perfect head masterclasses in Ramsgate, England, in 1984, so imagine my joint, or the ideal combination of wall thickness, embouchure surprise when I discovered that she lived here in western cut, or the newest tweaked scale. With both music and health Connecticut! (I thank Rhonda for encouraging me to write issues, well-intentioned people will pass along information, about my journey, and for editing my writing for this article.) Web sites, testimonials, products, and a multitude of references Her music, attitude, and accomplishments are an inspiration for different approaches. Refer back to the anchor of your par- to me, and I was deeply attracted to her piece. I played parts of ticular support group, because they all truly want the best “treat- it, melody or harmony, changed around the rhythms and ment” for you. articulations, played it backwards and forwards and upside You might depend on music or practicing to get you down. Then Christine and Kathleen urged me to consider through tough times, or, like me, you might not be able to even playing publicly again. This was very scary. After much ago- listen to music for several months. Music was simply too nizing, in the end it was simple: “Be Still My Soul,” in my little emotional initially, so I spent the first month reading all my local Warren Congregational Church, and I was back. They, son’s books about the space program. When I did start to listen along with other musical friends, gave of their talents and time to music again, I chose music with structure—Bach Goldberg for two benefit concerts in August and September, entitled Variations, Brandenburg concerti, Mozart piano concerti. I “Celebrating Hope and Healing.” We are planning now for then graduated to upbeat, energetic Vivaldi. After all, we tend similar events this summer. to use music to either reinforce or change our mood. I couldn’t Give back. These concerts were watershed events, representing
28 The Flutist Quarterly Spring 2006 Often, being unable to demonstrate something properly meant I had to stretch myself to get the point across another way, by careful explanation and metaphors, which was good for both me and my student. a real personal and musical transformation. I was buoyed and supported by musical friends, family, and the extended community. All came to listen, participate in the experience, and varian cancer is a deadly disease, often donate money for local cancer care funds. In these performances, Opresenting with symptoms that mimic I knew I had accessed a deeper, truer level of myself both those of minor or common digestive ailments. personally and musically. After I played Rhonda’s “Be Still My Any woman experiencing persistent and pro- Soul,” my 16-year-old daughter asked, in complete honesty, gressive symptoms such as a change in bowel “That wasn’t just Mom, was it? Where were the other flutes?” habits, bloating, indigestion, gas, or unexplained To end both concerts, Kathleen and I played Ricky Lombardo’s weight change should contact her doctor and ask beautiful two-flute version of “Amazing Grace.” I am still not specifically about ovarian cancer. Information is sure how we got through it, but we did. available at ovarian.org or ovariancancer.org. Expect the unexpected, and be honest with yourself. As Information about all gynecologic cancers is November arrived, our expectations and hopes for 2005 being available at Johannaslaw.org, which includes the end of treatment for at least a little while were completely interactive links to communicate with lawmakers dashed with the discovery of new tumors requiring radiation regarding passage of the pending Gynecologic and a new regimen of chemotherapy. This may seem a dire Cancer Education and Awareness Act. situation to be dealing with around the holidays, but there is a silver, gold, and platinum lining: Always leave room for miracles. Completely unexpectedly, the steroid I had to take during the radiation treatments gave May your own musical journey through life bring you gifts me tremendous energy, lifted my mood, and generally made of health, joy, peace, and healing. me feel better than I had in a very long time. Modern medicine is truly a gift. As a family we have been forced to accept a new Wendy Pender-Cudlip earned degrees in performance and reality as the context of our lives, and the clarity and honesty music education from the Hartt School. She was a winner of the of accepting the situation have helped us all grow stronger and NY Flute Club Young Artist Competition, and taught at the closer. I may not have kicked the field goal as I had hoped, and Manhattan School of Music (Preparatory Division.) Her teachers we may be doing this yard by yard with penalties and setbacks, include James Pappoutsakis, Eleanor Lawrence, and Julius Baker. but we feel truly blessed and supported by all our wonderful She has taught in public and private schools, and currently friends, family, and church, musical, and medical community. teaches privately and plays with a variety of groups.
Spring 2006 The Flutist Quarterly 29 LOPATIN ANNOUNCES FIRST ALTO FLUTE
Leonard Lopatin, flute maker, designer, and current Principal Flutist with the Asheville Symphony is proud to announce the successful completion of his first Alto Flute commission.
This new and innovative product from Lopatin Flutes features the unique "Square-One" design on a handmade all sterling silver Alto flute. It is another example of the detailed attention and craftsmanship available from this independent American flute maker.
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—Catherine Thompson, Editor-American Flute Guild
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MUSICAL MANIPULATIONS:
An Interview with Matthias Ziegler
Flutist Matthias Ziegler has created a world of new sounds through use of improvisation, technology, and consistently fresh approaches to how he plays and hears music. As a teacher, he says he is “very traditional.”
By Nancy Andrew
ne of the world’s virtuosos on the large flutes—stand-up bass and contra—Matthias Ziegler has a charismatic presence, and the music he creates is fresh and engaging. His stage setup Ousually includes electronic equipment that allows him to augment and manipulate his sound options, complementing his mastery of extended techniques. Indeed, he has created not only a whole new world of sounds, but new musically satisfying applications of these sounds. In his solo appearances, he performs mostly his own compositions, which are organized around a basic structure with room for improvised variation. R E L G E
Many American flutists first heard Ziegler at the National Flute Association Convention in Kansas City I Z S A in 1994. Those of us in the audience knew that we had just experienced something special. A few years later, I H T T A
I interviewed him for an article (Flute Talk, “Pushing the Limits,”April 1998) and I have been following his M Y S E
creative developments ever since. This past August, he performed at the NFA convention in San Diego, T R U O and I had the opportunity to talk with him about his creative growth over the past several years. C
32 The Flutist Quarterly Spring 2006 “I went straight home that night and put microphones in my bass flute and discovered the most beautiful things.”
WERE YOU ALWAYS INTERESTED IN NEW MUSIC? I always played improvised music, but none of my teachers emphasized contemporary music. After my conservatory training I became more interested. Such techniques as multi- phonics and singing while playing fascinated me, and I began using them in my improvisations. Often the way I heard these sounds played was not attractive at all—there was no consideration of the audience, or of basic qualities in the instrument. We leave out so much stuff to be able to create a pure sound. We reduce what we’re doing— Matthias Ziegler is playing a silver quartertone flute. Behind him is a contrabass first, harmonically, by playing equal tempered pitch, which flute. His new golden brass flute is in front of him. leads to tonal harmony, and second, setting the parameters of it possible to have something going and play on top of it. But the instrument with the aesthetics of pure sound quality. We I also like to play without the loop and try to get things going accept these as the notes and raw materials with which we simultaneously. It’s like the old dream you find in Telemann will make a piece. But the “note” in Western music was not Fantasies—trying to play bass and melody at the same time— discussed until the 1950s, with Giacinto Scelsi and others or the operatic pieces with all those variations. You want to talking about something “inside” the sound. In non- play the whole picture. Western music, sound production and the sound itself is already something. So I began exploring to find more WHERE DID RECORDING AND TOURING WITH ANDREAS appealing ways of presenting extended techniques. VOLLENWIEDER COME INTO ALL OF THIS? I had known Andreas since I was about 12—we lived near CAN YOU TALK ABOUT THE EVOLUTION OF ELECTRO- each other in Zurich and knew some of the same people. One ACOUSTIC APPLICATIONS IN YOUR MUSIC? day he called me and said, “Look, I’m going on tour, and I First, I discovered new possibilities with microphones. I heard need a wind player—would you like to come?” By this time, a didgeridoo player in a concert, and he had a microphone his music had become a huge success. I had just finished the inside the didgeridoo. I thought “Why don’t I do this with the soloist exam at the conservatory, so I went on tour for one flute? I want to hear the flute from inside.” So I went straight year with this pop group all over the world. When I was home that night and put microphones in my bass flute and playing with Andreas, I had all those wonderful technicians discovered the most beautiful things. Of course developing a around and learned that you can make a first-class hi-fi sound repertoire of new sounds is just the beginning. Now you have on stage with no buzz, no hum, just pure sound. They devel- to make these sounds speak and integrate them into your oped the harp sound with Andreas and helped me to devel- musical language. That was the main work and my musical op my microphones. So I had this experience with electron- goal. I had to solve technical problems, practice the tech- ics and amplification. We also spent lots of time in the studio. niques, and see how I could involve them in my playing. To Andreas would record a song and then take two weeks to mix do that, I made a lexicon—every single sound with dynamic it; making a record took three months. This was a tremendous range, how long I could do it, and how to notate it—and I experience for me, from the technical side as well as the musi- recorded it. I created a CD and a chart documenting every cal side. single sound I can use. Once I had the sounds, I had to decide how to get from one DID YOU INVENT THE MATUSIFLUTE AT THIS TIME? sound to the next. It’s like looking at the flute as if you have an Yes. On these tours I was using Chinese bamboo flutes with orchestra inside it. How do I use the bass and treble register the paper membrane. I always had problems on stage—the compositionally? How do I keep something going while giving heat and the lights would affect the membrane and it wouldn’t the illusion that something else starts? I’m always trying when vibrate consistently. Intonation was also complicated. I I’m improvising to have two or three things cooking at the thought that it must be possible to have the same mechanism R E L
G same time, to refer to ideas again so that people have some on a normal flute. I drilled a hole into a head joint and put E I Z
S structure to listen to, on different levels. a paper on top and it worked. And that was my Matusiflute A I H T
T with the membrane headjoint. And of course I had to put on A M
Y OW DID YOU GET INTO TAPE LOOPS AND DELAYS
S H ? either a membrane head or a normal head and that’s why I E T R I became fascinated with these techniques because they made U developed a mute triggered by a little string to put it on and off; O C
Spring 2006 The Flutist Quarterly 33 MUSICAL MANIPULATIONS: AN INTERVIEW WITH MATTHIAS ZIEGLER You have to ask how much complexity you want in your music and how you define or write down the complexity. I write down as much as needed and as little as possible. In writing chamber music, I’m working with specific musicians. I know what they can do, I know how they play their instruments, I know the way they think musically, so I just write them a road map.
IS IT THE SAME WITH YOUR OWN SOLO PIECES? Yes. I try to leave it open. It’s good to have navigation in your car, but it’s sometimes nice to take detours. I try to imagine I’m standing there with my back to the wall, saying,“Here I am and I have a story to tell.”That situation triggers creativity.
AND YET THE STRUCTURE OF YOUR PIECES IS ALWAYS CLEAR.IS ANY OF THIS SENSE OF STRUCTURE INFLUENCED BY YOUR LOVE OF ARCHITECTURE? With architecture you have an overall structure that comes out of a basic idea, but as you proceed, thousands of situations are created that require quick feedback from the basic structure, which influences the structure or shows you if the basic idea will work. When you play, you create those small situations, which force you to integrate something new, Matthias Ziegler with his contrabass flute. and this is when creativity happens. Through architecture, I control it with my right thumb. I can also play around with I saw that having an idea and making something out of it the sounds in between—in the spectrum between on and off. was a personal technique you can develop.
YOU’VE BEEN TOURING A GREAT DEAL AND HAVE YOU SAID ONCE IT’S LIKE WALKING THE SAME ROUTE BEEN INFLUENCED BY OTHER ARTISTS AND WORLD EVERY DAY, BUT NOTICING DIFFERENT THINGS. MUSIC.CAN YOU TALK ABOUT THESE INFLUENCES, You try to do the same thing every day, differently. This PARTICULARLY POLYRHYTHMS AND MICROTONES? concept is also good for traditional flute playing. If you get There are three people who are very important for this. One up in the morning and do your tone development exercises, is Mark Dresser, a virtuoso bass player from New York who it’s just a primitive workout. But if you give yourself a sub- specializes in new music and is also pushing the limits of his ject you want to work on, it stays fresh. I’m fascinated right instrument. We started working together about 10 years ago. now with having resonance in my head while playing. If you I commissioned a piece from him for flute, string quartet, practice your sound exercises with an idea like this, you and bass, which we played on several tours. We also formed will play them differently. a trio with myself, Mark, and Denman Maroney, a pianist from New York. Denman is “Mr. Polyrhythm.” We would YOU WERE COMMISSIONED TO WRITE A PIECE FOR THE clap polyrhythms on the tour bus, from New York to NFA HIGH SCHOOL YOUNG ARTIST’S COMPETITION Chicago. Denman would say, “you take seven, I’ll take five, THIS YEAR. WHAT WAS IT LIKE TO HEAR THESE YOUNG and he’ll take six,” and we would go like that for hundreds PLAYERS PERFORM IT? of miles. We were also experimenting with microtonal It was a new experience for me, and very nice. In writing the stuff. Then I met Joe Maneri in Boston, one of the craziest piece, I first put on the mini-disc recorder and improvised. musicians I know. He’s around 70 and teaches a course on Then I wrote down the structure of the improv, and saw that microtonal music at New England Conservatory. He’s I had to reduce here and cut there. From this I developed been following microtonal music developments for years ideas about how to get from a horizontal melodic situation and has published several works. I played the quarter-tone into a vertical rhythmic, even polyrhythmic structure—the flute for his class and did a workshop. I did some improvs transition challenge that I find so interesting and creative. and he went nuts—really started pushing me. That was an At the same time, I wanted them to combine several contem- exciting influence on my microtonal usage. porary playing techniques to have a little bit of everything. The morceaux de concours pieces at the Paris Conservatory R E F
WHAT ABOUT STRUCTURE AND IMPROVISATION IN were always constructed this way. You want to hear them F E F P
YOUR MUSIC? do some double tonguing, some melodic stuff, some A C S E
There are pieces with specific titles and a basic outline, but technical…you want to show all the skills. I was impressed C N A R
every time you play them they’re the same yet different. with the performances. Each person played the piece very F
34 The Flutist Quarterly Spring 2006 differently, but the structure was there. They had all done a lot of work, and they also memorized it!
WHAT HAVE YOU GLEANED FROM YOUR STUDIES AND CAREER SO FAR? HOW DO YOU WORK WITH STUDENTS? DO YOU HAVE ANY ADVICE FOR YOUNG PLAYERS? I’ve developed my basic technique, which serves me well, and I also have this light way of playing and not forcing too much, which helps me to keep in form. [For many years Ziegler has taken weekly Alexander Technique lessons when he is in Zurich.] But I’m very traditional in my teaching. Rhythm is a big issue and something I emphasize. I also feel that when my students come with questions, they want, and deserve, answers. My teachers—Conrad Klemm, Andre Jaunet, Geoffrey Gilbert, and William Bennett—gave me a fantastic background, but also liked that I was doing different things and encouraged my creativity. Great artist/teachers do not clone students, but allow them to develop an artistic Across Ziegler’s shoulder is his new bassflute, developed with a major flute maker personality. I try to do this with my own students. in 2004. They call it the Hoover because it looks like a vacuum cleaner.
Formerly principal flute of the Zurich Chamber Orchestra, Nancy Andrew is flute professor at the University of Oregon in Ziegler teaches at the Zurich Conservatory, when he is not on Eugene, where she also plays with the Eugene Symphony, the tour. He is on the Galway Network as a specialist on contem- Eugene Opera, and the Oregon Mozart Players. She is the porary playing techniques. His interview with James Galway can executive director of the Marcel Moyse Society and has be heard at thegalwaynetwork.com/interviews/intervue.htm; presented lectures and masterclasses on Moyse in the United information is also available at matthias-ziegler.ch. States and abroad.
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Spring 2006 The Flutist Quarterly 35
Career Advice From The Orchestral Flute Section An aspiring orchestral flutist shares insights from a national study she conducted. Her goal was to learn how best to procure one of the few prized orchestral seats available in today’s dwindling market. Her resources? Current occupants of the flute section.
by Jessica Halpin
ike many flutists of my generation, of surveyed flutists had received what to weed out those who are not capable I plan to pursue a career as an is generally considered to be adequate of mastering them, and to hire those Lorchestral player, placing me, if I training for their desired orchestral pro- who are. “My teacher and I spent a lot am successful, among only 4,200 fession. Even so, after their education of time on orchestral excerpts as an musicians1 and perhaps 60 to 80 and countless numbers of hours in the undergrad,” said one participant. “So flutists2 nationwide. The competitive practice rooms, were these flutists truly I think I was probably better prepared nature of this field compelled me to ready to begin an orchestral career in the than a lot of young players who were discover what it would take to win a field of professional music? focusing all of their energies on position in it. With the help of a I have been encouraged and challenged recital repertoire.” research stipend awarded to me by my by the trials and successes of these Excerpts must be studied with care, undergraduate university, I wasted no flutists and hope that this article will diligence, and patience to interpret time in heading straight to the source: serve as a guide to other aspiring every nuance of musicality with orchestral flutists from across the flutists by helping further them on the appropriate style, technique, vibrato, nation. I contacted more than 100 road to success. rhythm, and flair. Even after 10 years orchestras to acquire the e-mail of dedicated study, one of the flutists addresses of flutists hired in the United Preparing for the Audition said she still did not feel completely States within the past five years. I sent an One of the surveyed flutists noted confident in playing all of the excerpts. online survey with pertinent questions that many orchestras are interested in She realized that she “was unprepared to as many addresses as possible in an hiring only experienced players. She for the level of performance required attempt to gain a firsthand account of said that there is no way of getting to win a big audition.”It was noted that these flutists’ musical backgrounds, experience unless one has a job, and flutists who do not take the preparation audition experiences, and current there is no way of getting a job unless of these excerpts seriously are making employment. To allow as much candor one attends auditions. a monumental mistake: “I still think a as possible, I ensured all of the flutists An often-repeated sentiment of inter- lot of [the excerpts] are very that their participation would remain views was that the best way to prepare hard…they are excerpts for a reason!” completely anonymous. for auditions is to study standard said one flutist. “You can study them N I P
Upon the completion of at least six orchestral excerpts—snippets of prin- and gain proficiency, but…they will L A H A
years of undergraduate and graduate- cipal parts from leading orchestral always be some of the most challenging C I S S E
level studies, this participating group works. They are used by committees and telling licks on the instrument.” J
38 The Flutist Quarterly Spring 2006 (There are separate excerpts for the The Audition Process position of second flute, and an entirely Being a musician is “…a lot like being different set for opera and musical an Olympic athlete…with the strength theatre employment.) and training required of you physically, The most common excerpts requested plus the mental toughness and the dis- of the flutists interviewed were Ravel’s cipline that’s required of us to practice Daphnis and Chloe, Beethoven’s Lenore, all of those long hours day after day, year Mendelssohn’s A Midsummer Night’s after year,” says one flutist. “We’re never Dream, Prokovief’s Classical Symphony, really done.” Brahm’s Symphony No. 4 in E Minor, This is never truer than during the Debussy’s Afternoon of a Faun, Dvorak’s audition process—a time that demands Symphony No. 8 in G Major, Gluck’s a great amount of physical, emotional, Menuet and Dance of the Blessed Spirits, and musical energy. Some of the flutists and solos from Bizet’s Carmen. have taken up to 30 auditions and are Most students use their instructors’ still auditioning in hopes of playing opinions to gauge how ready they are to with a larger orchestra. begin auditions. Unfortunately, this is Most musicians remain abreast of an inexact, and not always accurate, upcoming auditions by perusing The method of determining readiness. As my International Musician on a regular own teacher reminds me, “You must be basis. After carefully selecting which your own best teacher.”One flutist noted auditions to take, a flutist streamlines Jessica Halpin her quandary when her instructor’s his or her practice routine based upon opinions differed from her own. “My the specific solo repertoire and orchestral exercises (one hour) each morning. I instructors and conductors were overly excerpts requested for each audition. The made lists for every day of which confident in my ability to win or do well surveyed flutists all noted that it is not excerpts I was going to practice and how in auditions,” she said. “I found auditions enough to accurately play an excerpt—it I was going to practice them…I also were a lot more difficult than my instruc- is also necessary to be aware of the played for my teacher weekly and...for tors thought they would be.” Most of the excerpts’ “musical surroundings.” two other people a week.” As this flutist surveyed flutists said that they did not feel Studying scores is very useful for this modeled, it is advisable to perform for prepared to begin auditions until after at purpose because it shows the player as many people as possible to feel more least one year of graduate school. which instruments are involved in the relaxed during an audition. melodic and accompaniment lines of Several flutists also mentioned that The Costs of Auditioning the piece, and helps the player make they practice behind a screen, similar to In addition to the rigors of perfecting the informed, interpretive decisions to what might be utilized at an audition, to orchestral excerpts and solo repertoire, sound as authentic as possible. prepare themselves for “that feeling.” the audition process can be financially The surveyed flutists take audition Some enjoy the impersonal quality of and physically draining. During this preparation very seriously. One flutist the screen because it blocks their view of time, a work schedule—necessary for stated, “I try to go over every excerpt the audition committee and calms them. paying living costs and, most likely, with scores to mark and remind myself Others dislike it for the same reason: “I student loans—must be fit into an what the rest of the orchestra is doing. am actually more comfortable without already rigorous practice regimen. Also, I listen to as many recordings as I the screen because I feel like everyone Auditions take place all over the coun- can…to see what others have done sees each other as a human being,”noted try, so a flutist must be prepared for with tempos, phrasing, dynamics, etc. one musician. traveling expenses. One flutist What I’ve found is to make sure I know Most orchestras use a screen for all recounted the many jobs it took to the entire piece…It makes me feel rounds except the finals. Flutists need to earn enough money to adequately overprepared.” be flexible enough to play comfortably finance audition excursions. Others A highly structured, consistent routine behind a screen and confidently before a simply borrowed money. is a must: “…I work slowly and sys- committee. As performers, comments Most of these flutists taught or played tematically, always with my tuner and indicated that an audience—even one as freelancers to support themselves. metronome, and I also tape myself regu- that decides one’s orchestral fate— Many were fortunate enough to obtain larly. I listen to my recordings and take would actually be a catalyst to a pleasing an orchestral job immediately upon notes [in a practice journal] so I can fix performance. “Once the screen was graduation or after only one year fol- things in my next practice session,” said gone,” said a flutist, “I enjoyed playing lowing graduate school. This situation is one flutist. for the committee more than I thought I ideal, not a given. Flutists need to be “I would estimate that I practiced an would. I liked seeing the committee and financially prepared to support them- average of five hours a day in a highly responding to their suggestions when selves until they win an adequate salary organized manner,” said another. “I was asked to play an excerpt again.” as an orchestral player. sure to do my full warmup and breathing One flutist commented that orchestras
Spring 2006 The Flutist Quarterly 39 CAREER ADVICE FROM THE OCHESTRAL FLUTE SECTION small cities to about $105,000 in Chicago and New York, and principal, associate, and assistant principal players make more money and have added responsibilities.3 Salaries also differ depending on the length of the orchestra’s season. Some flutists receive a base weekly salary and others are paid per service. Some receive a wage per hour during rehearsals; others do not. On average, flutists nationwide perform 168 services; rehearse, on average, four times a week; and receive an average of $190 per service. Flutists who play in full- time orchestras all state that they are content with the wages they receive; flutists who are still aspiring to such a position are not. Ron Spigelman conducts the Fort Worth Symphony Orchestra. Many flutists—especially in large orchestras—sense an unsettling spirit use screens because it is the fairest way attempt to establish a connection. of competitiveness among colleagues. to ensure that the committee is judging Once in an orchestra, however, con- Several of the surveyed flutists solely on talent, and many flutists nections can be useful in developing recounted the awkwardness they felt believe that “connections” do actually good rapport among colleagues: upon filling a principal position that play a role in who is winning auditions. “Connections can help in other ways,” had also been desired by another However, as one of the flutists reminded, said a player. “I do think that it helps to member of the orchestra. A few of the it depends completely upon the indi- take lessons with people in the section, flutists are also concerned that they viduals involved in the hiring process. since it helps you to understand the could be replaced because of players’ “I don’t think you can generalize about style of the orchestra.” negative comments. this,” this flutist said. “It depends on On the whole, however, most seem the attitudes/integrity of those on the The Job to believe that the majority of orchestral committee.”This person noted that the Most orchestral flutists are not content players are polite and professional: “I position being auditioned for also in their professional lives and do not think it [competition and strife] differs makes a difference, as orchestras are have a sense of job security until they from orchestra to orchestra, section more likely to take a chance on an are in a successful, full-time orchestra— to section, and person to person. unknown entity for a second position preferably one with a pension, benefits, However, I believe there are more than a principal one. and a salary amenable to the flutist’s supportive players than negative ones “I do believe that it is fair for person- lifestyle. To gain the necessary experi- in any group.” ality to factor into who wins the job ence for a larger orchestra, some must once they are in the finals,” this flutist first begin in smaller, part-time Encore noted. “The committee is choosing a orchestras that require a supplemented My goal in writing this article was to colleague, not just a flutist, and in the salary. One of the flutists surveyed discover, on behalf of my generation’s case of a major orchestra, there is a commented that many professionally flutists, the “secret to orchestral suc- good chance that you will sit next to aspiring flutists are constrained to cess.” In a roundabout way, I was suc- that person for 20 or more years. Bad teach lessons or play in a community cessful. As a Kansan, I should have personality conflicts can create a bad orchestra in hopes of substituting in a remembered Dorothy’s advice and product even if the two people are professional orchestra. stuck to my own backyard by realizing A
individually fine flutists.” The scarcity of full-time orchestral that the “secret” has been with me all R T S E
If connections do play a role in jobs was also noted. One of the flutists of my life. H C R appointments, none of these flutists estimated that in the United States O
The secret is that there is no secret. All Y N O
employed any tactics in an attempt to there are 20 top, full-time orchestras flutists, throughout the ages, have dis- H P M Y
make a good impression on a prospective with a total of 60 to 80 full-time flute covered their own, individual strengths S N A C orchestra. One said that she thought positions. and endeavored to make the most of I R E M
such behavior was inappropriate. Salaries differ depending on the their unique talents. The “secret formu- A Y S E
Several did take lessons with principals orchestra and the position. They la” used by these flutists is, simply put, T R U O
they respected, but never in an range from $25,000 for orchestras in practice, patience, and persistence. C
40 The Flutist Quarterly Spring 2006 As simplistic as this “formula” might Many flutists have enjoyed the privilege to the direction your experiences are seem, it offers more than adequate chal- of earning a living as an orchestral pointing you in, you will end up in the lenge, even for the most ambitious flutist. However, orchestral playing is right place for you.” > among us. The orchestral pursuit is a not the only available musical career difficult path, and one that is not well choice. One of the flutists noted that Jessica Halpin is a sophomore flute per- suited to everyone’s strengths. A great many times musicians have a precon- formance major at Washburn University amount of dedication is required for ceived idea of what they want to do. in Topeka, Kansas. She performs with practice and audition preparation, for Although it is advisable to have set goals the University Orchestra, Wind Ensemble, which an ample amount of time must and a plan of action, musicians should and Flute Choir. In addition, she was be set aside. A flutist should remember be careful not to become shortsighted in selected to play for the Nebraska Flute that regarding the hours spent in prac- their aspirations. Club-sponsored Karl Kraber masterclass tice, it is not the quantity but the quality “Don’t be so preoccupied with the and the Kansas City Flute Association- that counts. goal that you miss out on other things sponsored Mark Sparks masterclass. One flutist wisely stated, “Be sure you that might be more important and that Halpin studies with Rebecca Meador. are truly working when you are practicing. will point you in the career direction in Looking back, I realize that in the past, I which you would be most successful,” Footnotes would think I was working, but actually advises one flutist. “Everyone knows how I was just playing and sort of solving difficult it is to get a job as a musician, but 1. Katherine Millett. “Plucked from Oblivion,” Chicago. June 2005. some problems.” there are many ways to earn a living that 2. Interview, survey respondent. Another added, “Don’t forget the involve music, and if you pay attention 3. Millett, “Plucked from Oblivion.” details. It’s what separates the ‘good flute players’ from the ‘good flute players who are winning jobs.’” Piccolo Playing: All of these flutists continued to persist in their endeavors because, ultimately, Not A Small Matter they knew the reward awaiting them was well worth the effort. One flutist remarked, “Being a professional classical musician is very difficult. You are con- substantial investment to consider is the purchase of a reliable tinuously challenged, sometimes not in piccolo and piccolo lessons. Many of the surveyed flutists, even a good way, and you really learn who with a master’s degree, had devoted a minimal amount of study you are. You [have to be] tough. You A to this seemingly less important instrument. Flutists are, however, [have to] believe in yourself…There is “…diluting their orchestral options when they refuse [to] or fail to always something we can fix or improve become proficient in piccolo,” as one survey participant noted. One or learn or relearn. flutist spent a great deal of time and money in studying the piccolo with “As tough as it gets,” this person con- a separate instructor; she is now playing piccolo in an orchestra and tinued, “there is nothing else I would believes that she made a worthy investment. rather do with my life. I love being a musician, a flutist, and a teacher. Although it might naturally be assumed that a fine flute player Nothing compares to the experience of makes a fine piccolo player, this is not generally the case. The piccolo sitting in the middle of an orchestra is an entirely different instrument, with its own set of problems and [and] hearing that amazing sound all idiosyncrasies to be mastered. The piccolo may be small in size, but it around you. Even if a person never gets possesses great potential to increase competitiveness at auditions. that big job with their dream orchestra, to “For those of us who do play the piccolo, it’s great that so many fine be able to make your living as a classical flutists neglect it,”noted one survey participant.“That narrows the field flutist...whether you [are] freelancing or at auditions. For precisely this reason, I feel that anybody who’s consid- playing chamber music or teaching, or ering auditioning for flute jobs should also think seriously about all of the above…you’ve got to realize whether or not they plan to take piccolo auditions. Further, some peo- how lucky you are to be able to do what ple assume that because they play the flute well, they have a chance of you do. There are so many people out winning piccolo auditions. In rare cases, this may be true, but it’s there that truly never find fulfillment in important to remember that it is a separate instrument with its own their jobs, and we do. We get to play challenges. I think you need to spend some time with the instrument really beautiful music with other truly before you try to take piccolo auditions.”(There are also separate pic- incredible musicians, and that’s what we colo excerpts and solo repertoire requested at piccolo auditions. do for a living!...And then to be able to Several of the surveyed flutists were requested to play Vivaldi’s picco- teach and pass [on the] enthusiasm for lo concerto in C major.) —JH music to another young aspiring flutist…that’s what it’s all about!”
Spring 2006 The Flutist Quarterly 41 REMEMBERING Karlheinz Zöller
by Brooks de Wetter-Smith and Michael Faust
Karlheinz Zöller, great flutist and perhaps even greater teacher, died in July 2005 after a severe illness—for all of us, much too soon. T
Editor’s note: German flutist Karlheinz Zöller, former principal flutist of the Berlin S U A F
Philharmonic and teacher of a generation of flutists in Hamburg and Berlin, died L E A H C July 29, 2005, at age 81. Following are comments in memory of Zöller by Brooks de I M Y S
Wetter-Smith and Michael Faust, colleagues who knew him professionally and personally. E T R U
Thanks to John Bailey for brokering and compiling these essays. O C
42 The Flutist Quarterly Spring 2006 Teacher, Soloist, Orchestral Player, Friend of Rome, to which I had gone without telling the Zöllers. At age 19, in one’s third semester, it was simply unheard of to go A German colleague recalls the inspired musician, off to an international audition for a solo position. When I confidant, and teacher he knew in Professor Zöller. told them of my success—I had played well enough to be offered the job—Mrs. Zöller cried, “No, you must stay here by Michael Faust and study technique!” translated by John Bailey Karlheinz only smiled and said, “Well, Michael, go there dur- öller, born in 1928 near Frankfurt, studied first there ing academy vacation, and get some experience.“ And so I did. and later in Detmold, where he took lessons with flutist Kurt Redel. There he also met his future wife Gertrud, The Soloist Z Karlheinz Zöller was a terrific concert flutist. My personal who studied with Hans-Peter Schmitz. Immediately at the end of the second world war, Zöller, then 17, who had not yet memories of his live performances go back to that first mas- started his college studies, came to play in the Frankfurt terclass in Salzburg in 1976, where I was allowed to turn Opera Orchestra—where, he told me again and again years pages for the pianist for an important solo recital in the later, he learned many really important lessons. After turns in Archbishop’s Palace, and so experienced the master from Herford and Cologne he joined the Berlin Philharmonic very close. Among later concerts, those that I remember best Orchestra in 1960 as solo flutist. From 1968 he was professor are those in which he was concerto soloist with his fellow at the Hamburg Music Academy, and later at the Hochschule members of the Berlin Philharmonic. He was a tireless der Künste in Berlin. champion of new music and commissioned solo concertos Each of his students will have very personal memories of from many composers, including Isang Yun, Manfred him and his activities as teacher. Mine go back almost 30 Trojahn, Siegfried Matthus, and Diether de la Motte. Two of years: I played his first recording of the Mozart G major these world premieres I experienced during my student Concerto over and over on my record player when I was years and when I played with that wonderful orchestra as studying in Cologne with Caecilie Lamerichs, who was one part of the Karajan-Academy. of Zöller’s schoolmates. Lamerichs had told me about him. Later, I went to Zöller’s summer masterclass in Salzburg and The Orchestral Player came to know the wonderful way he worked, together with To sit next to the solo flutist of the Berlin Philharmonic, his wife, Gertrud. I was fascinated with the precision, the who had been playing more than 20 years in that orchestra, musicality, the enthusiasm, and the intensity with which he was a very great privilege. I could learn how great music is taught. Those three weeks in Salzburg were very important made, whether together with wind colleagues, with the for me and for my decision a half year later, even before I string section, or alone in solo passages. The concerts under finished high school, to begin my studies with him at the Herbert von Karajan, all of which I was able to play because G Hamburg Music Academy. just at that time the second flutist retired, were very powerful experiences for me. My life as a flutist has been inspired by The Teacher the experiences of playing the four symphonies of Johannes The Zöllers were the best thing that could have suited me as Brahms in Berlin and at festivals in Salzburg and Lucerne, a student, because of the way they collaborated and comple- sitting next to Karlheinz Zöller. mented each other—the list of his former students now employed in European orchestras or professors in music schools is long, and a testimony to the success of the “Zöller Method”: extensive technical training, especially from her, and music and tone, from him. The student concerts usually took place in the music room of the student dorm and lasted between four and six hours. There were always a lot of students, and some of them always had important things to prepare for, concerts or auditions, which were rehearsed in the classes. I still well remember some really great moments: Roswitha Staege, who already had a solo chair and is now professor of flute at the Berlin Arts Academy, played “Tempus Loquendi,” by Bernd Alois Zimmermann; Wolfgang Ritter, now solo flutist with the North German Radio Orchestra in Hamburg,
T played Jolivet’s “Chant de Linos”; Maren Distel played the S U A
F Sonatine by Boulez. We all played the “standard“ pieces of the L E A German repertoire also, constantly: Mozart concertos, Bach H C I M and Handel sonatas, Prokofiev, Reinecke. Y S E T A wonderful experience occurred when I came back from R From left, Michael Faust, Hans-Peter Schmitz, and Karlheinz Zöller, circa 1992. U O
C an audition for principal flute with the Saint Cecilia Orchestra Opposite: a young Zöller, around 1960.
Spring 2006 The Flutist Quarterly 43 REMEMBERING KARLHEINZ ZÖLLER
Karlheinz Zöller, circa 1967, playing with the Berlin Philharmonic Orchestra.
The Friend Life in the Ring with Karlheinz Zöller I relied on Zöller for important advice after my studies, A former student recalls the rewards and the and he became through the years a good friend in whom I challenges—like jabs and hooks in a boxing ring— confided, and who talked about himself with me. He was always a warm person, strong in his musical and personal of lessons with Professor Zöller and his wife Gertrud. confidence, but also capable of inflicting hurt, remaining sensitive his whole life. He told wonderful stories: all his stu- by Brooks de Wetter-Smith dents and friends remember his stories about “his” great t was the fall of 1969 when one of my fellow students at the Karajan, and his ensemble, the Berlin Philharmonic Soloists. New England Conservatory pressed a recording in my He was grief-stricken after the death of his first wife, hands and said, “Listen to this!” The recording was of Gertrud, but found a wonderful second wife in Anna-Luise, I Karlheinz Zöller and members of the Berlin Philharmonic whom he married several years later. She gave him what he performing chamber music by C.P.E. Bach and some of his had always hoped for: she had children and grandchildren contemporaries. Having grown up listening to either from her first marriage, to whom Karlheinz became a good Rampal or Gazzelloni, I was rather surprised by Zöller’s friend and grandfather, which made the final chapters of his approach to sound and especially attracted to his ornamen- life very happy. tation. His sound was clear but it felt extremely dark, almost covered. I wondered how he could project with a Michael Faust has been solo flute with the Westdeustcher such a sound that was decidedly not French. A former Rundfunk Sinfonieorchester in Cologne since 1988. He has flutist from NEC was studying with him at the same time presented solo concerts and masterclasses in Europe, North and in Hamburg, and she had written of her great enthusiasm South America, Africa, and Japan. He is a professor at the Musik for his teaching style. Hochschule in Dusseldorf and founder of the Ensemble I wrote Professor Zöller about possibly studying with him Contrasts Köln and the Zephyr-woodwind quintet. Among the following fall, when I had completed my MM at NEC. He other concerts, Faust performed Ibert’s flute concerto with the wrote back in German, much to my dismay, as my German H T I M
Moscow Radio Symphony Orchestra under Vladimir Fedossejev S facility was virtually nonexistent. My German father-in-law - R E T
and Gunther Schuller’s flute concerto with the St. Louis graciously offered to translate the letter for me. Zöller’s letter T E W
Symphony Orchestra. Mauricio Kagel wrote his flute concer- was warm, enthusiastic, and welcoming, inviting me to study E D S to, his only concerto for an instrument and orchestra, for Faust, with him at the Musik Hochschule in Hamburg. K O O R
who premiered the piece in 2003. Faust has recorded for radio With invitation in hand, plus a grant from the Beebe B Y S E
and television in Germany, France, the United States, and Foundation in Boston to support my studies, my wife and T R U O
Japan, and has recorded numerous CDs in various genres. I purchased a one-way ticket to Germany to study German C
44 The Flutist Quarterly Spring 2006 at a Goethe Institute language center in Brannenburg- the Philharmonic. He was replaced by James Galway. Degerndorf, outside Munich, for six weeks, and then continue Because of his limited air supply, Zöller’s career had by on to Hamburg to begin my flute studies for the year. necessity changed from orchestral to solo and chamber I had not anticipated my first contact with Professor performing. Nevertheless, he kept his position with the Zöller. For the first time I realized I must take the standard wind quintet of the Berlin Philharmonic, and managed to audition to be accepted at the Hochschule, since my acceptance maintain an incredibly busy concert schedule. into his studio was not automatic, despite his welcoming letter. In the Ring No Room in the Studio Lessons were weekly for a month or two, then all of us would The audition went well, but he explained his class was now receive as many as three lessons in a week after his extended filled and he didn’t have room in the studio for me. With absence. These were always arranged via telephone. He would that, he asked me for a ride to the airport so he could return say, “I will be in Hamburg tomorrow. Let’s meet at 10 a.m., to his home in Berlin. In the car, he said he would teach me and then again the day after tomorrow. The following day you for a fee, but I could not receive the normal free tuition will meet with my wife.” Preparing enough literature for three offered to those students seeking a diploma from the lessons a week was quite a challenge. Added to this was the fact Hochschule because his teaching schedule at the school was that the Zöller studio actually consisted of two Zöllers, already full. We had stored all our belongings in the United Karlheinz and his wife, Gertrud. Sometimes they were a version States, rented a second-floor suite of two rooms in a private of the good cop/bad cop team. At other times, I felt as if I were house somewhat removed from the city center, on Friedrich in a ring with a heavyweight boxer, trying to stay on my feet Silcher Strasse (a street named after a 19th-century German after catching first a left hook, then a right. composer), and had just bought a classy pale blue VW Herr Zöller taught either solo or orchestral literature. His Beetle of which we were immensely proud. It was almost lessons often extended beyond the allotted hour. Frau Zöller’s unthinkable that we might have to return, jobless, to the sessions reminded us all that to be free as musicians, we must States. Zöller agreed he would also be disciplined. I would consider the possibility of Frau Zöller’s sessions enter her studio, and, following teaching more students in his some short pleasantries, she studio than he was being paid reminded us all that would set her metronome. for, and I was to meet with the For an hour I would do lordly director of the to be free as musicians, everything I could to stay Hochschule to plead my cause. with her ever-increasing Having just completed my tempi for scales or studies. six-week intensive German we must also be disciplined. These technique sessions course, I was both anxious and reluctant to argue my case in were a bit like being told to eat spinach. Initially, I disliked a “new” foreign language, but there was no alternative. The them, but knew she was dedicated to what was needed. She appointment was made for the following week, just before was unrelenting and persistent. It was grueling, but incredibly Zöller was scheduled to return to Hamburg to begin teach- beneficial. Almost imperceptibly, I began to realize I actually ing. I knew this would be a difficult meeting when I was told looked forward to the hour. My technical control grew more I was too old to study flute. At 28, I felt I was receptive and from her instruction than from my studies with any other mature and would be the kind of student that I would have teacher up to that point. Her discipline was clearly what I loved to have taught. The director explained that, at my age, needed and should have had years earlier. Spinach never one must already have a prestigious orchestra or teaching tasted so good. position, or else there was no hope of a career Lessons with Herr Zöller were very different from what I in music. (Zöller had vaguely alluded to this when we met had become accustomed to receiving from James a week earlier.) But my Goethe Institute training paid off; Pappoutsakis at NEC. Unlike the very supportive “Mr. P,” at the conclusion of my meeting, the director agreed to Zöller was all business, but always with an occasional twinkle talk with Zöller, and assured me of his support. Three days of humor thrown in. This would emerge in the most unex- later I was having my first lesson as a full-fledged pected moments, and his face would light up with a mischievous Hochschule student. smirk followed by a chuckle that broke the tension and kept Scheduling lessons with Herr Zöller was challenging. He me glued to his suggestions. lived in Berlin, commuted on an irregular basis to Although I had sought his expertise in baroque and pre- Hamburg, and had an active solo and chamber music career classical styles, his musical taste was eclectic. We spent long throughout Western Europe. Two years earlier, in 1968, as hours on Mahault and Mozart, but he wanted to explore the principal flutist of the Berlin Philharmonic, he was severely more contemporary literature as well. Students collaborated injured while in a taxi from the hotel in Buenos Aires to the in works by Linke and other contemporary German composers. concert hall. The driver was killed, and one of Zöller’s lungs We might spend a full hour on solo passages in Bach’s Mass in was severed by a piece of steel that had penetrated his chest. B minor, then another few hours on Debussy excerpts. Zöller’s After weeks in an Argentinian hospital, he was flown back to book of modern orchestral studies had just been released with Germany for more treatment, with no hope of returning to great fanfare by Schott, and it was required material for every
Spring 2006 The Flutist Quarterly 45 REMEMBERING KARLHEINZ ZÖLLER one of us. I always had difficulty orienting myself to his Zöller was too sick to see me. My phone call with him in sound, but his rhythmic and dynamic precision were striking. October 2004 was my fond farewell. I am filled with many My greatest gift from him was developing a good breathing rich memories of that year in Hamburg, the personal interest technique. He said he had to learn to breath in a new way, he had in my development, his professional attitude, and his and to overcome his fear that if something happened to his beguiling, devilish smile. He was a wonderful mentor and one functioning lung, life would be over. That technique guiding spirit. forms the basis of my playing and teaching today. I never spoke English with him, either in lessons or socially. Brooks de Wetter-Smith has performed and presented mas- He expressed no interest whatsoever in speaking my language. terclasses throughout the United States, Europe, the Middle I suspected he did not know English, but I learned years later East, South America, and Asia. He has been featured at the that he could manage moderately well. It was my responsibility festivals at Tanglewood, Salzburg, Carmel, and St. Malo, as to learn the music vocabulary of German-speaking flutists, well as at numerous contemporary music festivals. His far removed from anything learned at the Goethe Institute. recordings offer repertoire from the 18th through the 21st This lesson served me well, as I have been fortunate to present centuries. Two recordings were released in 2005, one devot- many classes in Germany over the years and have worked ed to American composers, and another featuring works with musicians from the former East Germany who had not inspired by jazz. De Wetter-Smith received a master’s been schooled in English. degree from the New England Conservatory, a doctorate from the Eastman School of Music, and is the James Gordon Friendship Hanes Distinguished Professor of Music at the University of It was at my recital at the Amerika Haus in Hamburg that I North Carolina at Chapel Hill. He is a past president and a finally felt his unequivocal support of this American flutist. former program chair of the NFA and has served on its We became good friends. When I concluded my study with board of directors. him in July 1971, it meant a lot to me that he strongly urged me to stay in Hamburg and continue my study with him. A couple of years later, he underwent more surgery to reattach his injured lung and then won back his position as principal flutist with the Berlin Philharmonic under Karajan, upon the departure of James Galway to teach flute at the Eastman School of Music. We saw each other once again in the early 1980s, when I was in Berlin to present a recital. Although he was unable to attend my concert because of a Philharmonic performance that night, he arranged for me to observe a rehearsal of the orchestra with Karajan conducting. I was the only listener in that phenomenal home of the Philharmonic. It was spell- binding and will remain in my memory forever. The orchestra rehearsed for three hours, spending the entire time on Berlioz’ Symphonie Fantastique. When I joined Zöller for lunch after the rehearsal, I expressed my surprise that so much time had been spent on one piece, asking him when the last time was that the orchestra had played it. He looked at me with his wonderful smile and said,“Two months ago at the Salzburg Festival.” In fall 2004 I was on sabbatical, living in Bremen. I decided to call Zöller, who was still living in Berlin, with the hope of visiting him. We had not spoken to each other for 20 years. He was warm and gracious, remembering our work together with much enthusiasm, but he was also in severe pain, with undiagnosed cancer. I feared I would not see him again, so I tried my best to tell him of my gratitude for his guidance 33 years earlier. He needed to know what that year had meant for me. Too often we do not express to one another our T S U
appreciation and love, until it is too late. I didn’t want to miss A F L E
this chance. A H C I
We agreed I would come to Berlin in December for a brief M Y S E
visit, if he was feeling better. It was with deep sadness that I T R U O
heard from Michael Faust, another former student, that Zöller, probably in Salzburg, around 1976. C
46 The Flutist Quarterly Spring 2006
SUMMER 2006MASTERCLASSES The following masterclass listing was compiled by Tony Watson for The National Flute Association, Inc. and its Flutist Quarterly magazine, and is used by permission.
For updated information, consult the NFA Web site: nfaonline.org
ALPHABETICAL DESCRIPTIONS by Illinois Valley Community College 301 UCB, College of Music MASTERCLASS NAME #118 815 N Orlando Smith Boulder, Colorado 80309-0301 ALPHABETICAL INDEX by TEACHER Oglesby, Illinois 61348 303-492-7150 (fax) 303-492 5619 NAME 815-224-3838 www.Alexastill.com CHRONOLOGICAL INDEX opus111musicstudio.com [email protected] GEOGRAPHICAL INDEX [email protected] Teacher(s): Alexa Still Teacher(s): Anne Badger, Gerald Carey, ALPHABETICAL DESCRIPTIONS Sue Gillio, Cindi Isenhower, Jennifer ALTO AND BASS FLUTE RETREAT by MASTERCLASS NAME Reddick Peaceful Valley Ranch, Lyons, Colorado Dates: June 8–12 15TH INTERNATIONAL FLUTE SUM- ADVANCED FLUTE REPERTOIRE Play Level: all levels Age Level: adults MER COURSE BY WIL OFFERMANS CLASS 2006 Focus: alto and bass flute repertoire Molino Balcon del Rio, University of North Texas, Denton, Texas R&B: $400 for double occupancy & meals Sayalonga—Malaga, Spain Dates: June 30–July 2 Deadline: April 21 Dates: August 19–26 Play Level: Admittance by taped audition Contact: Play Level: student, teacher for advanced performers Chris Potter Focus: Offermans’ book For the Focus: Standard solo repertoire, emphasis 2985 18th Street Contemporary Flutist ZM29700 on performance Boulder, Colorado 80304 R&B: all included in the tuition Performers/ Participants/ Auditors: 10 / 303-443-3330 Contact: N/A / Unlimited altoflute.net Studio E Tuition: $350 / N/A / $200 [email protected] Vrolikstraat 195 D R&B: $50/single; $35/double; $30/dining Teacher(s): Christine Potter Amsterdam, Netherlands 1091TX Deadline: June 1 0031-20-6682478 (fax) 0031-20-6651425 Contact: THE ANATOMY OF SOUND: www.wiloffermans.com Mary Karen Clardy A WORKSHOP FOR FLUTISTS [email protected] Box 311367 College of Music University of Michigan School of Music, Teacher(s): Wil Offermans University of North Texas Ann Arbor, Michigan Denton, Texas 76203 Dates: June 11–14 8TH ANNUAL SUMMER FLUTE 940-565-3722 (fax) 940-565-2002 Play Level: student, amateur, RETREAT AT ILLINOIS VALLEY mkclardy.com semi-professional, professional COMMUNITY COLLEGE [email protected] Focus: A supportive, holistic approach Illinois Valley Community College, Teacher(s): Mary Karen Clardy to the flute. Oglesby, Illinois Performers/ Participants/ Auditors: 15 / Dates: June 25–July 1 ALEXA STILL FLUTE SCHOOL unlimited / unlimited Play Level: All ability levels Boulder, Colorado Tuition: $450 / $350/4 days / $150/day Age Level: All ages Dates: July 5–9 R&B: UM Campus Housing information Focus: Solo Masterclasses; Ensembles; Play Level: All levels, an interest in sent on request Flute Choir pedagogy especially encouraged Deadline: May 1 Tuition: $275.00 Focus: all repertoire welcome Contact: R&B: Host family, n/c; or local hotels R&B: to be advised (emphasis on Marionette Cano Deadline: May 10, 2006 “affordable”) Adult Summer Programs University Contact: Deadline: June 1 of Michigan School of Music Sue Gillio Contact: 1100 Baits Dr. General Coordinator Alexa Still Ann Arbor, Michigan 48109-2085
48 The Flutist Quarterly Spring 2006 734-764-5429 828/650-6666 www.boxwood.org www.music.umich.edu/special_pro- www.ashevilleflute.com [email protected] grams/adult [email protected] Teacher(s): Rod Garnett, David [email protected] Teacher(s): Lea Kibler, Kate Steinbeck Greenberg, Paddy Keenan, David Teacher(s): András Adorján, Laura Dwyer, McGuinness, Chris Norman, Marten Amy Porter, Jerald Schwiebert BARTHOLD KUIJKEN MASTERCLASS Root, Scaip Na Cleiti Dancers, Nina University of Indianapolis, Indianapolis, Shorey, David Shorey, Andy Thurston, AREON SUMMER FLUTE INSTITUTE Indiana Jean-Michel Veillon Foothill College, Los Altos Hills, California Dates: January 30–31, 2007 Dates: July 23–28 Play Level: Professional and Pre-Professional BURGOS SUMMER CHAMBER MUSIC Play Level: Late Beginning to Advanced Historical and Boehm Flutists FESTIVAL Age Level: Ages 8–23 Focus: Baroque and Classical Burgos, Spain Contact: R&B: participants arrange own housing Dates: July 24–August 6 Areon Flutes, Inc. Deadline: November 1 Age Level: undergraduate and graduate 557 Leland Ave. Contact: students San Jose, California 95128 Barbara Kallaur Focus: chamber music, orchestra, 408-298-8950 5544 Broadway Street masterclasses, seminars www.areonflutes.com Indianapolis, Indiana 46220 Contact: [email protected] 317-253-2435 Jonathan Keeble Teacher(s): Tamara Chadima, Jill Heinke, [email protected] 217-333-8142 Kassey LeBow, Amelia Vitarelli Teacher(s): Barthold Kuijken [email protected] Teacher(s): Jonathan Keeble ARIA INTERNATIONAL SUMMER BODY MAPPING AND THE ACADEMY ALEXANDER TECHNIQUE CINCINNATI FLUTE SYMPOSIUM Ball State University, Muncie, Indiana Santa Sabina Conference Center, College-Conservatory of Music, Dates: June 19–July 15 San Rafael, California University of Cincinnati, Cincinnati, Ohio Play Level: Advanced, Pre-Professional Dates: July 10–14 Dates: June 25–July 1 Focus: general Play Level: all levels Play Level: All levels Performers/ Participants/ Auditors: 20 / Focus: performers choose their own Performers/ Participants/ Auditors: 50 / 20 / no limit repertoire 50 / unlimited Tuition: $1,550 / $1,550 / $500 Performers/ Participants/ Auditors: 20 / Tuition: $520 / $460 / $370 R&B: $1250 20 / NA R&B: TBA, will be posted on Web site. Deadline: March 24 Tuition: $500 / $400 / $125/day Deadline: May 1 Contact: R&B: $104/single, $92/double; includes food Contact: Prof. Mihai Tetel Deadline: May 1 Heather Verbeck School of Music, Ball State University Contact: www.cincyflute.com Muncie, Indiana 47304 Amy Likar [email protected] 765-212-0327 510-393-7640 Teacher(s): Timothy Carey, Glen Cortese, www.bsu.edu/cfa/music/aria www.bodymap.org Jill Felber, Bradley Garner, Göran [email protected] [email protected] Marcusson, John Steele Ritter, Heather Teacher(s): Bonita Boyd, Leone Buyse, Teacher(s): Amy Likar, Lea Pearson, Verbeck, Jack Wellbaum Bradley Garner, Karen Moratz, Amy Stacey Pelinka, Liisa Ruoho, Sandra Porter, Fenwick Smith Seefeld EAST TENNESSEE SUZUKI FLUTE INSTITUTE INTERNATIONAL ASHEVILLE FLUTE VACATION BOXWOOD FESTIVAL, LTD. East Tennessee State University, Bed & Breakfast accommodations, Lunenburg Academy, Lunenburg, Johnson City, Tennessee Asheville, North Carolina Nova Scotia, Dates: June 25–July 1 Dates: May 8–14 Dates: July 22–28 Play Level: Professional with component Play Level: amateur Age Level: Adult Play Level: all levels of ability for students Focus: trio, quartet ensemble playing Age Level: all ages R&B: Additional fee for on-campus R&B: Bring a spouse or companion for an Focus: baroque, folk traditions; see Website housing additional $250 R&B: TBD Deadline: May 15 Deadline: April 1 Contact: Contact: Contact: Ann Huntoon East Tennessee Suzuki Flute Institute Asheville Flute Vacation 713 South Oak Avenue International 3 Breezeway Drive Marshfield, Wisconsin 54449 Box 70661 Asheville, North Carolina 28803 715-384-6585 Johnson City, TN 37614
Spring 2006 The Flutist Quarterly 49 SUMMER 2006 MASTERCLASSES
423-439-6956 (fax) 423-439-8466 R&B: daily fee/campus housing and Box 311367 College of Music www.etsu.edu/music/suzuki/institute.htm meals available University of North Texas [email protected] Deadline: April 1 Denton, Texas 76203 Teacher(s): Joyce Bennett, David Gerry, Contact: 940 565 3722 (fax) 940 565 2002 Rebecca Paluzzi, Wendy Stern, Toshio Nancy Peltier mkclardy.com Takahashi, Kenichi Ueda Faculty of Music [email protected] Wilfrid Laurier University Teacher(s): Mary Karen Clardy EMMANUEL PAHUD MASTERCLASS Waterloo, Ontario, Canada N2L 3C5 Henry Wood Hall, London, England (519) 884-0710 Ext. 2631 ILLINOIS SUMMER YOUTH MUSIC Dates: June 15 [email protected] ADVANCED JUNIOR FLUTE CAMP Play Level: Players from London's top Teacher(s): Amy Hamilton University of Illinois, Urbana, Illinois conservatoires will be playing Dates: June 25–July 1 Deadline: June 10 FLUTE! IN CRESTED BUTTE Age Level: Grades 7–9 Contact: Crested Butte Community School, Focus: solo repertoire, master classes Roderick Seed Crested Butte, Colorado and seminars [email protected] Dates: July 7–10 R&B: included Teacher(s): Emmanuel Pahud Focus: Check the website Contact: (mkclardy.com) for add'l info Illinois Summer Youth Music FLUTE AS INSPIRATION AND PRAISE Contact: University of Illinois Second Presbyterian Church, Greenville, Mary Karen Clardy 1114 W. Nevada Street South Carolina Box 311367 College of Music Urbana, Illinois 61801 Dates: June 12–16 University of North Texas (217) 244-3404 Play Level: High school and above Denton, Texas 76203 www.music.uiuc.edu R&B: not provided 940 565 3722 (fax) 940 565 2002 [email protected] Deadline: May 12 mkclardy.com Teacher(s): Jonathan Keeble Contact: [email protected] Amanda Barrett Teacher(s): Mary Karen Clardy ILLINOIS SUMMER YOUTH MUSIC 203 Wakewood Way ADVANCED SENIOR FLUTE CAMP Greenville, South Carolina 29609 FLUTE! IN HAWAII University of Illinois, Urbana, Illinois www.tempoprimoenterprises.com Punahou School and the University of Dates: June 25–July 1 [email protected] Hawaii, Honolulu, Hawaii Age Level: Grades 9-12 Teacher(s): Tadeu Coelho Focus: Check website (mkclardy.com) Focus: solo repertoire, excerpts, for add'l info masterclasses, seminars FLUTE FESTIVAL AT SNOW COLLEGE Contact: R&B: included Snow College, Ephraim, Utah Mary Karen Clardy Contact: Dates: June 15–17 Box 311367 College of Music Illinois Summer Youth Music Play Level: Intermediate - Advanced University of North Texas University of Illinois Focus: Standard Flute Repertoire Denton, Texas 76203 1114 W. Nevada Street R&B: $40/day 940 565 3722 (fax) 940 565 2002 Urbana, Illinois 61801 Deadline: May 1 mkclardy.com (217) 244-3404 Contact: [email protected] www.music.uiuc.edu Kristine Parker Teacher(s): Mary Karen Clardy [email protected] 343 E. 6990 S. Teacher(s): Jonathan Keeble Midvale, Utah 84047 FLUTE! PEDAGOGY 2006 (801) 563-8117 University of North Texas, Denton, Texas ILLINOIS SUMMER YOUTH MUSIC [email protected] Dates: June 12–16 SENIOR ORCHESTRA CAMP Teacher(s): April Clayton, Bradley Age Level: all ages University of Illinois, Urbana, Illinois Garner, Elaine Jorgenson, Kristine Parker Focus: Intensive laboratory in flute Dates: June 18–24 pedagogy Age Level: Grades 9-12 FLUTE SEMINAR Performers/ Participants/ Auditors: N/A Focus: orchestra, chamber music, Wilfrid Laurier University, Waterloo, / 15 / N/A seminars, masterclasses Ontario, Tuition: N/A / $595 / N/A R&B: included Dates: May 29–June 17 R&B: $100/Single occupancy; Contact: Age Level: Undergraduate flute $75/Dining Illinois Summer Youth Music performance majors Deadline: May 1 University of Illinois Focus: Orchestral excerpts, solo Contact: 1114 W. Nevada Street and sectional coachings Mary Karen Clardy Urbana, Illinois 61801
50 The Flutist Quarterly Spring 2006 (217) 244-3404 Play Level: Professionals, College and HS Play Level: College, Professional, www.music.uiuc.edu students, amateurs Age Level: all ages Amateurs Age Level: Special High School [email protected] Focus: Solo, orchestral, traditional, Class: Aug. 19 Teacher(s): Jonathan Keeble contemporary Focus: Traditional, Classical, Orchestral Performers/ Participants/ Auditors: 25 / Excerpts INSTRUMENTA OAXACA VERANO 2006 65 / no limit Performers/ Participants/ Auditors: 20 / Oaxaca, Mexico Tuition: $650 / $545 / $450 Unlimited / Unlimited Dates: June 28–July 14 R&B: to be determined Tuition: $600 (USD) / $500 (USD) / Age Level: 18 - 33 Deadline: April 3 $300 (USD) Contact: Contact: R&B: Room & board lists given upon Veronica de Luna Lozano Ann Rosenblum request Instrumenta Oaxaca Class Director GSi Artists Deadline: June 1 Tlaxcala 173 Piso 1 Col Hipodromo Jeanne Baxtresser International Contact: Condesa, Mexico D.F. Mexico Master Class 2006 Rebecca Collaros 52 (55) 52 86 47 30/33 ext. 219 12 Princeton Street 2641 S. Vance Court #201 http://www.instrumenta.org Summit, New Jersey 07901 Arlington, Virginia 22206 [email protected] 908-608-1325 (fax) 908-608-1326 +1.202.686.8008 (fax) +1.202.686.9733 Teacher(s): Thomas Robertello www.jeannebaxtresser.com www.jonathansnowden.com [email protected] [email protected] ITHACA FLUTE INSTITUTE Teacher(s): Alberto Almarza, Jeanne Teacher(s): Rebecca Collaros, Gina Ithaca College, Ithaca, New York Baxtresser, Jennifer Conner, Mathieu DiMedio Marrazza, Jonathan Snowden Dates: June 25–29 DuFour, Christina Jennings, Stephen Play Level: undergraduate, graduate Schultz THE JULIUS BAKER FLUTE MASTER- students, young professionals CLASSES R&B: $40 per night for double JILL FELBER AT MARROWSTONE Western Connecticut State University, Deadline: May 31 MUSIC FESTIVAL Danbury , Connecticut Contact: Western Washington Univ., Bellingham, Dates: July 29–August 3 Wendy Herbener Mehne Washington Play Level: Any - serious level player 2206 Whalen Center Dates: July 23–August 6 Deadline: May 15 School of Music Ithaca College Age Level: up to age 26 Contact: Ithaca, New York 14850 Focus: orchestral and chamber music Laura Piechota 607-274-3413 (fax) 607-274-1727 Deadline: April 1 WCSU White Street [email protected] Contact: Danbury , Connecticut 06810203 837 Teacher(s): Claudia Anderson, Leone www.marrowstone.org 8614 (fax) 203 837 8630 Buyse, Jill Felber, Wendy Herbener Mehne [email protected] www.wcsu.edu/summermusic Teacher(s): Jill Felber [email protected] JEANNE BAXTRESSER AT THE MUSIC Teacher(s): Sandra Church, Tadeu Coelho, ACADEMY OF THE WEST AT SANTA JILL FELBER SUMMER SESSION Bart Feller, Bradley Garner, Susan BARBARA AT UCSB Hoeppner, Trudy Kane, Jeffrey Khaner, Music Academy of the West, University of California, Santa Barbara, Marina Piccinini, Gary Schocker, Santa Barbara, California Santa Barbara, California Nobutaka Shimizu Dates: July 31–August 12 Dates: July 1 Contact: Play Level: university and pre-professional THE NOW & PRESENT FLUTE SEMINAR Music Academy of the West R&B: to be arranged Bard College, Annandale on Hudson, 1070 Fairway Road Deadline: May 15 New York Santa Barbara, California 93108-2899 Contact: Dates: June 13–17 805-969-4726 (fax) 805-969-0686 Professor Jill Felber Play Level: Advanced High School— www.musicacademy.org 805 893 8608 (fax) 805 893 7194, attn. Professional [email protected] Prof. Felber R&B: $75 per day Teacher(s): Jeanne Baxtresser [email protected] Deadline: May 20 Teacher(s): Jill Felber Contact: JEANNE BAXTRESSER INTER- Melissa Sweet NATIONAL MASTER CLASS AT JONATHAN SNOWDEN 14 Garden Court CARNEGIE MELLON UNIVERSITY INTERNATIONAL FLUTE SCHOOL Saugerties, New York 12477 Carnegie Mellon University, Pittsburgh, Old Presbyterian Meeting House, 845-246-6195 (fax) 845-246-7045 Pennsylvania Old Town, Alexandria, Virginia [email protected] Dates: June 18–June 25 Dates: August 14–19 Teacher(s): Patricia Spencer
Spring 2006 The Flutist Quarterly 51 SUMMER 2006 MASTERCLASSES
THREE RIVERS FLUTE MASTER Deadline: June 12 WILLIAM BENNETT INTERNATIONAL CLASS 2006 Contact: FLUTE SUMMER SCHOOL 2006 St. Anthony's Retreat, Three Rivers, High School Flute Camp UW- Farnham, Surrey, United Kingdom California Whitewater Dates: August 7–17 Dates: July 20–23 Continuing Education Services Play Level: Above grade 8 Play Level: Intermediate to Professional Roseman Room 2005 Tuition: £360 / £310 / £260 Focus: All Repertoire is acceptable 800 West Main Street R&B: £295 (10 nights, 30 meals) Performers/ Participants/ Auditors: 30 / Whitewater, Wisconsin 53190 Contact: 30 / 45 262-472-3165 or 800-622-0350 +44 (0)207 498 9807 Tuition: see website / see website (fax) 262-472-5241 www.williambennettflute.com or R&B: Please See www.uww.edu/conteduc/camps www.wibb.co.uk www.TracyHarrisFlute.com for details [email protected] [email protected] Deadline: June 1 Teacher(s): Robin Fellows Teacher(s): William Bennett OBE, Marco Contact: Granados, Jenny Miller, Lea Pearson, Class Administrator WESTMINSTER COLLEGE HIGH Matthias Ziegler Three Rivers Flute Master Class 2006 SCHOOL FLUTE CAMP 418 East Mill Avenue Westminster Choir College, Princeton, WILLIAM MONTGOMERY 30TH Porterville, California 93257 New Jersey ANNUAL FLUTE MASTER CLASS (559) 308-1559 (fax) Call for fax Dates: July 23–29 University of Maryland, Clarice Smith www.TracyHarrisFlute.com Age Level: Grades 9-12 Performing Arts Center, College Park, [email protected] Focus: solo playing, ensemble playing Maryland Teacher(s): Tracy Harris, Todd Harris, and technique Dates: July 8–16 Wendy Harris-LeBlanc, Wendy Musk, R&B: included Play Level: young professional, graduate, Svetlana Rudikova Deadline: June 1 undergraduate, advanced high school Contact: Focus: “100 Master Works for the Flute” TREVOR WYE MASTERCLASS Sandra Olson R&B: varies, dorm rooms $40-45/night University of New Mexico, Albuquerque, 272 Georges Rd. Deadline: May 1 New Mexico Dayton, New Jersey 08810 Contact: Dates: June 10–18 732-735-6620 (fax) 732-329-4508 Dr. William Montgomery Play Level: performers: Advanced high (call first) Flute Master Class school thru professional & auditors: all www.rider.edu/866.htm School of Music University of MD levels [email protected] College Park, Maryland 20742 Focus: flute & fl/pno rep, orch. excerpts, Teacher(s): Gerald Carey, Sue Gillio, 301-405-5539 studies Sandra Olson, Esma Pasic-Filopovich [email protected] R&B: $225 (food not included) Teacher(s): Dr. William Montgomery Deadline: April 22 WILDACRES FLUTE RETREAT Contact: Wildacres Retreat, Little Switzerland, KEITH UNDERWOOD FLUTE Carla Beauchamp North Carolina MASTERCLASS Albuquerque Flute Association Dates: June 17–23 Ghost Ranch, Abiquiu, New Mexico 3326 Mackland Ave. NE Play Level: Professional, university students Dates: August 14–20 Albuquerque, New Mexico 87106 Focus: All repertoire Play Level: advanced student, professional (505) 266-9869 Performers/ Participants/ Auditors: 30 / R&B: $460 double; $660 single, if available; www.abqflute.com 20 / 10 3 meals [email protected] Tuition: $685 / $635 / $575 Contact: Teacher(s): Clifford Benson, Trevor Wye R&B: included Nancy Laupheimer Deadline: April 1 Taos Chamber Music Group UW-WHITEWATER HIGH SCHOOL Contact: PO Box 2049 FLUTE CAMP Anna Thibeault Taos, New Mexico 87571 University of Wisconsin-Whitewater, PO Box 1522 505-758-0150 (fax) 505-751-0038 Whitewater, Wisconsin Swainsboro, Georgia 30401 [email protected] Dates: June 18–23 478-237-4464 Teacher(s): Keith Underwood Age Level: Students entering eighth www.barefootboy.org/wildacres.html grade through those currently High School [email protected] LAFQ AND GARY SCHOCKER seniors Teacher(s): Amy Blumenthal, Bradley MASTERCLASS AND CONCERT, Focus: Private lessons, repertoire, elec- Garner, Amara Guitry, Göran SPONSORED BY THE GREATER tives Marcusson, Lea Pearson, Stephen LOS ANGELES FLUTE SOCIETY R&B: None Preston, Joy Sears, Helen Spielman Los Angeles/Pasadena, California
52 The Flutist Quarterly Spring 2006 Dates: April 23 MADELINE ISLAND MUSIC CAMP MILLS COLLEGE FLUTE ACADEMY Play Level: All Age Level: All Madeline Island, Wisconsin Mills College, Oakland, California Focus: Chamber Music Dates: July 16–23 Dates: June 17–24 Performers/ Participants/ Auditors: 20 / Play Level: College undergraduate, Play Level: High School, University, 20 / 200 graduate, and post-graduate students Post-graduate, young professionals Tuition: $75 / $75 / $75 Focus: Chamber Music for Winds R&B: Hotels and guest houses available Contact: R&B: included Deadline: June 1 www.LosAngelesFluteQuartet.com Contact: Contact: www.Flute.org Madeline Island Music Camp Administrator 310-649-0690 (fax) 310-649-0690 118 East Twenty-Sixth Street Mills College Flute Academy, HW www.Flute.org Minneapolis, Minnesota 55404 Products losangelesflutequartet@LosAngelesFlu 612-871-7781 (fax) 612-871-3356 2001 Peralta Street, Suite C music-camp.org teQuartet.com Oakland, California 94607 [email protected] Teacher(s): Lisa-Marie Amos, Colleen 510-893-7447 (fax) 510-893-7450 Teacher(s): Jonathan Keeble Carroll, Eileen Holt Helwig, Los Angeles www.millsflute.com Flute Quartet, Gary Schocker, Peter [email protected] MARY KAREN CLARDY HIGH Sheridan Teacher(s): Elena Durán, Angela SCHOOL FLUTE CAMP 2006 Koregelos LINDA WETHERILL FLUTE University of North Texas, Denton, Texas Dates: June 7–11 WORKSHOP NATIONAL ORCHESTRAL INSTITUTE Adelphi University, Garden City, New York Play Level: High School performers, Grades 9-12 University of Maryland, College Park, Dates: July 31–August 4 Maryland Play Level: Professional Ed. or Performer Focus: Standard solo repertoire and Dates: June 2–25 Age Level: High School, College technical studies Play Level: University level Focus: contemporary and baroque reper- R&B: $100/single occupancy; $80/double; Focus: Orchestral toire $75/dining Deadline: May 1 Contact: Performers/ Participants/ Auditors: 15 / Contact: National Orchestral Institute open / open Mary Karen Clardy 2110 Clarice Smith PAC Tuition: $565/$625 / $350 / $350 Box 311367 College of Music College Park, Maryland 20742 R&B: $150 each, double for four nights University of North Texas 301.405.2317 (fax) 301.314.9504 Deadline: June 1 Denton, Texas 76203 www.nationalorchestralinstitute.com Contact: 940 565 3722 (fax) 940 565 2002 [email protected] Professor Linda Wetherill mkclardy.com Adelphi University Teacher(s): William Montgomery, [email protected] Music Department, Post Hall Thomas Robertello, Mark Sparks Teacher(s): Mary Karen Clardy Garden City, 11530 NORTHERN CALIFORNIA FLUTE (917) 861-4528 MARY KAREN CLARDY MIDDLE http://home.att.net/~lindawetherill CAMP SCHOOL FLUTE DAY CAMP 2006 Hidden Valley Music Seminars, [email protected] University of North Texas, Denton, Texas Teacher(s): Sidney Boquiren, Robert Carmel Valley, California Dates: June 15–17 Dates: July 28–August 5 Voisey, Linda Wetherill Age Level: Grades 4-8 Play Level: Advanced Age Level: high school Focus: fundamentals of tone/technique R&B: included LOUIS MOYSE FLUTE MASTERCLASS Performers/ Participants/ Auditors: Deadline: May 1 Montpelier, Vermont Unlimited / N/A / N/A Contact: Dates: July 13–22 Tuition: $250.00 / N/A / N/A NCFC Play Level: Advanced R&B: daily lunch included in tuition Focus: Standard Repertoire Deadline: May 1 P.O. Box 53724 R&B: Yes Contact: San Jose, California 95153 Deadline: June 1 Mary Karen Clardy 408-978-5101 (fax) 408-978-5819 Contact: Box 311367 College of Music www.flutecamp.com Rebecca Cochran Siegel University of North Texas [email protected] 4407 Westbourne Rd. Denton, Texas 76203 Teacher(s): Jeanne Baxtresser, Randy Greensboro, North Carolina 27410 940 565 3722 (fax) 940 565 2002 Bowman, Michelle Caimotto, David 336 855-0072 (fax) 336 855-9926 mkclardy.com Carroll, Greer Ellison, Katherine Kemler, [email protected] [email protected] Maria Tamburrino, Karen Van Dyke, Gary Teacher(s): Louis Moyse Teacher(s): Mary Karen Clardy Woodward
Spring 2006 The Flutist Quarterly 53 SUMMER 2006 MASTERCLASSES
NORTHWEST MISSOURI STATE [email protected] Contact: UNIVERSITY FLUTE CAMP Teacher(s): Jonathon A. Landell Sn Monroe Northwest Missouri State University , 5063 Adams Road North Maryville, Missouri ONE WEEK MASTERCLASSES IN Bloomfield Hills , Michigan 48304 Dates: July 16–21 FLUTE REPAIR—OVERHAUL & 248-540-7970 (fax) 248-645-5446 Age Level: High school through adults MECHANICAL www.little-piper.com Focus: Flute History/Acoustics, Landell Flutes Workshop, Richmond, [email protected] fl. choir, fl. repair Vermont Teacher(s): Philip Dikeman, Ervin Contact: Dates: June 19–23; July 31–Aug 4 Monroe, Sharon Sparrow, Jeffery Zook Dr. Rebecca Dunnell Play Level: All Professor of Flute Age Level: 16+ OXFORD FLUTE SUMMER SCHOOL Northwest Missouri State University Focus: Handmade and/or Student flutes Worcester College, University of Oxford, Music Department R&B: Local B&B. Lunch provided England, Oxford, England 800 University Dr. Deadline: May 15 Dates: August 13–18 Maryville, Missouri 64468 Contact: Play Level: Options are available for all 660-562-1791 Jonathon A. Landell levels Age Level: from age 15 [email protected] Landell Flutes Focus: all repertoire Teacher(s): Eldred Spell 529 Williams Hill Rd. Performers/ Participants/ Auditors: 35 / Richmond, Vermont 05477 no limit / no limit OHIO STATE UNIVERSITY FLUTE 802-434-4317 (fax) 802-434-4317 Tuition: from £450 / from £450 / negotiable WORKSHOP FOR HIGH SCHOOL www.flutes.org R&B: from £250 approx STUDENTS [email protected] Contact: Ohio State University, Columbus, Ohio Teacher(s): Jonathon A. Landell Administrator Dates: June 18–22 12 Jesse Terrace Age Level: high school flutists, including ONE WEEK MASTERCLASSES IN READING, England RG1 those entering the ninth grade FLUTE REPAIR—PADDING 7RT++(0)118 950 7865 R&B: None TECHNIQUES www.oxford-flutes.co.uk Deadline: May 1 Landell Flutes Workshop, Richmond, [email protected] Contact: Vermont Teacher(s): Michael Cox, Ander Ljungar- Katherine Borst Jones Dates: June 12, 16; July 24–28 Chapelon, Peter Lloyd, Patricia Morris Flute Workshop Ohio State University Play Level: All 1866 College Road Age Level: 16+ PATRICIA GEORGE FLUTE SPA & Columbus, Ohio 43210 Focus: Hand Made flutes and/or Student MADISON AREA FLUTE FESTIVAL 614-292-4618 (fax) 614-292-1102 Model flutes University of Wisconsin-Madison Pyle www.music.osu.edu R&B: Local B&B. Lunch provided Conference Center, Madison, Wisconsin [email protected] Deadline: May 15 Dates: April 22 Teacher(s): Katherine Borst Jones Contact: Play Level: Intermediate thru advanced Jonathon A. Landell Focus: Participatory ONE WEEK MASTERCLASSES IN Landell Flutes Contact: FLUTE REPAIR—BUILD YOUR 529 Williams Hill Rd. Berlinda Lopez OWN HEAD JOINT Richmond, Vermont 05477 Madison Flute Club Landell Flutes Workshop, Richmond, 802-434-4317 (fax) 802-434-4317 14 Madeline Island Vermont www.flutes.org Madison, Wisconsin 53719-3241 Dates: June 26–30 [email protected] 608.824.9689 (fax) 608.233.4410 Play Level: All Teacher(s): Jonathon A. Landell www.madisonfluteclub.org Age Level: 16+ [email protected] Focus: Hand Made flutes and/or Student ORCHESTRAL FLUTE INSTITUTE 2006 Teacher(s): Patricia George Model flutes Oakland University, Rochester, R&B: Local B&B. Lunch provided Michigan PATRICIA HARPER Deadline: May 15 Dates: July 17–21 Vermont, Brownsville, Vermont Contact: Play Level: Advanced Dates: June 25–July 1 Jonathon A. Landell Focus: Orchestral Playing Play Level: all Landell Flutes Performers/ Participants/ Auditors: 25 / Age Level: 17 to 70 529 Williams Hill Rd. 25 / 10 Focus: week of flute study and ensemble Richmond, Vermont 05477 Tuition: $359 / $359 / $300 opportunities. 802-434-4317 (fax) 802-434-4317 R&B: $150 - $200 R&B: included in above fee. www.flutes.org Deadline: June 10 Deadline: May 15
54 The Flutist Quarterly Spring 2006 Contact: 602-678-5850 (fax) 602-678-5865 Play Level: Any level of playing Patricia Harper placemusic.com Age Level: over 16 unless accompanied Summer Flute Course [email protected] by a parent or guardian 38 Oak Drive Teacher(s): Carol Mellis, Jeanie Pierce Focus: recital repertoire; orchestral Centerbrook, Connecticut 06409 excerpts class 860-767-0629 (fax) 860-767-0629 PLACE MUSIC ACADEMY FLUTE CAMP R&B: Full Board £230; meals only £95 www.patriciaharper.com PLACe Music Academy, Phoenix, Arizona Contact: [email protected] Dates: June 5–9 Ruth Morley Teacher(s): Patricia Harper Age Level: grade 5 - adult Director, SIFSS Contact: Burnton of Boquhan PATRICIA HARPER SUMMER Carol Mellis Inch of Leckie Road FLUTE CLASS 10240 N. 27th Ave Kippen, Stirling, Scotland FK8 3JL UK North Greenville University, Greenville, Phoenix, Arizona 85051 +44 (0)1786 870576 South Carolina 602-678-5850 (fax) 602-678-5865 (fax) +44 (0)1786 870576 Dates: June 11–16 placemusic.com www.flutescotland.co.uk Play Level: All [email protected] [email protected] Age Level: ages 17-70 Teacher(s): Carol Mellis, Jeanie Pierce Teacher(s): Wissam Boustany, Patricia Focus: Standard repertory & pedagogical Dydansky, Peter Lloyd, Scott Mitchell, Deadline: May 15 POCATELLO FLUTE SPA Ruth Morley Contact: Pocatello, Idaho Martha Kitterman Dates: August 3–5 SEWANEE SUMMER MUSIC FESTIVAL Class Director Play Level: Advanced high school through The University of the South, Sewanee, Summer Flute Course adult Tennessee 204 Wisteria Way Focus: Flute Fundamentals, Body Dates: June 17–July 23 Easley, South Carolina 29640 Mapping, Musicianship Play Level: Advanced High School - 864-246-4717 (fax) 864-246-4717 R&B: R/B on your own. Local Motel University [email protected] Deadline: June 1 Focus: Orchestra, Chamber Music, Teacher(s): Patricia Harper Contact: Solo Literature Patricia George Deadline: March 15 PAULA ROBISON MASTER CLASS 311 South 8th Avenue Contact: SERIES Pocatello, Idaho 83201 Mark Savage Diller-Quaile School of Music, New York 208-234-4922 (fax) 208-234-4922 Managing Director City, New York [email protected] Sewanee Summer Music Festival Dates: October 11, December 6; February Teacher(s): Patricia George The University of the South 14, April 18, 2007 735 University Avenue Play Level: advanced high school through RED CEDAR CHAMBER MUSIC Sewanee, Tennessee 37383-1000 professional SUMMER FESTIVAL 931-598-1225 (fax) 931-598-1706 Focus: each class has a different theme Cornell College, Mount Vernon, Iowa www.sewanee.edu/ssmf Contact: Dates: July 16–23 [email protected] Heather Holden Play Level: professional or pre-professional Teacher(s): Patricia George class coordinator Focus: flute and guitar duos Diller-Quaile School of Music R&B: $280 bed and breakfast for 7 nights SKIDMORE SUMMER FLUTE INSTITUTE 24 East 95th Street while available Skidmore College, Saratoga Springs, New York, New York 10128 Deadline: June 15 New York 212-369-1484 x26 (fax) 212-369-1483 Contact: Dates: August 3–9 www.diller-quaile.org/robison.html Jan Boland Play Level: amateur and professional [email protected] PO Box 154 Age Level: high school thru adult Teacher(s): Paula Robison Marion, Iowa 52302 Focus: classical and jazz 319-377-8028 (fax) 319-377-8061 R&B: $315 PLACE MUSIC ACADEMY FLUTE CAMP www.redcedar.org Deadline: May 27 PLACe Music Academy, Mesa, Arizona [email protected] Contact: Dates: July 17–21 Teacher(s): Jan Boland, John Dowdall Christine Merrill Age Level: grade 5 - adult Program Coordinator Special Contact: SCOTTISH INTERNATIONAL FLUTE Programs Carol Mellis SUMMER SCHOOL Skidmore College 10240 N. 27th Ave Strathallan School, Perth, Scotland 815 N. Broadway Phoenix, Arizona 85051 Dates: July 23–29 Saratoga Springs, New York 12866
Spring 2006 The Flutist Quarterly 55 SUMMER 2006 MASTERCLASSES
518-580-5590 (fax) 518-580-5548 Play Level: beginners and juniors up to SUMMER FLUTE EXPERIENCE 2006 www.skidmore.edu/summer Grade 3 University of Akron, Akron, Ohio [email protected] Contact: Dates: July 10–15 Teacher(s): Jeffrey Khaner, Mark Vinci, Jackie Prevett Age Level: High School, College Jan Vinci Administrator Performers/ Participants/ Auditors: 16 / unlimited / unlimited 10 Guild Street Tuition: $275 / $175 / $175 STRATFORD-UPON-AVON Stratford-upon-Avon, Warwickshire, R&B: Room: approx. $20/night; Food: extra INTERNATIONAL FLUTE FESTIVAL United Kingdom CV37 6RE+44 Deadline: May 12 2006 FLUTE ACADEMY (0)871 2771659 Contact: King Edward VI School, (fax) +44 (0)1789 261577 George Pope Stratford-upon-Avon, United Kingdom www.stratford-flute.co.uk SFE School of Music Dates: July 24–August 5 [email protected] University of Akron Play Level: Junior Academy for Grades Teacher(s): Janet McKay, Rachel Smith Akron, Ohio 44325-1002 3-5 and Senior Academy for Grades 6-8 330-972-6575 (fax) 330-972-6409 Focus: preparing for Associated Board STRATFORD-UPON-AVON www.neofa.org exams/flute orch. INTERNATIONAL FLUTE FESTIVAL [email protected] Teacher(s): Jane Berkner, George Pope Contact: MASTER CLASS AND YOUNG Jackie Prevett ARTISTS’ PLATFORM Administrator ALPHABETICAL INDEX King Edward VI School, by TEACHER NAME 10 Guild Street Stratford-upon-Avon, United Kingdom Stratford-upon-Avon, Warwickshire, Dates: July 21–August 5 Adorján, András United Kingdom CV37 6RE+44 Play Level: under-graduates, graduates, See The Anatomy of Sound: A Workshop (0)871 2771659 post-graduates and young professionals for Flutists (fax) +44 (0)1789 261577 R&B: additional www.stratford-flute.co.uk Contact: Almarza, Alberto [email protected] Jackie Prevett See Jeanne Baxtresser International Master Teacher(s): Elena Durán, Sandy Hay, 10 Guild Street Class at Carnegie Mellon University Liam Mallett, Jessi Rosinski Stratford-upon-Avon, Warwickshire, Amos, Lisa-Marie United Kingdom CV37 6RE+44 STRATFORD-UPON-AVON See LAFQ and Gary Schocker (0)871 2771659 INTERNATIONAL FLUTE FESTIVAL Masterclass and Concert, Sponsored by (fax) +44 (0)1789 261577 2006 FLUTES FOR PLEASURE the Greater Los Angeles Flute Society www.stratford-flute.co.uk King Edward VI School, [email protected] Stratford-upon-Avon, United Kingdom Anderson, Claudia Dates: July 22–30 Teacher(s): Keith Bragg, Gareth See Ithaca Flute Institute Play Level: amateurs of all levels Davies, Richard Davis, Elena Durán, Badger, Anne R&B: additional Clare Findlater, Karen Jones, Angela Koregelos, Jaime Martin, Ian Mullin, See 8th Annual Summer Flute Retreat at Contact: Illinois Valley Community College Jackie Prevett Sarah Newbold, Jonathan Snowden, Miguel Angel Villanueva Administrator Baxtresser, Jeanne 10 Guild Street See Jeanne Baxtresser International Master Stratford-upon-Avon, Warwickshire, SUMMER FLUTE CLASS Class at Carnegie Mellon University United Kingdom CV37 6RE+44 Hindemith Music Center, Blonay, See Jeannie Baxtresser Day at the (0)871 2771659 Switzerland University of Redlands (fax) +44 (0)1789 261577 Dates: July 29–August 5 See Jeanne Baxtresser at The Music www.stratford-flute.co.uk Play Level: each level Academy of the West at Santa Barbara [email protected] Focus: solo, chamber, flute ensemble, See Northern California Flute Camp Teacher(s): Elena Durán, Sandy Hay, technique, style Angela Koregelos, Janet McKay, Miguel Contact: Bennett, Joyce See East Tennessee Suzuki Flute Institute Angel Villanueva Elisabeth Weinzierl, Edmund Wächter International Magdalenenstrasse 36 Munich, D-80638 STRATFORD-UPON-AVON Bennett OBE, William INTERNATIONAL FLUTE FESTIVAL +49-(0)89-15 54 92 See William Bennett International Flute 2006 MAGIC FLUTE WORKSHOP www.weinzierl-waechter.de Summer School 2006 King Edward VI School, [email protected] Stratford-upon-Avon, United Kingdom Teacher(s): Edmund Wächter, Elisabeth Benson, Clifford Dates: July 24–August 5 Weinzierl See Trevor Wye Masterclass
56 The Flutist Quarterly Spring 2006 Berkner, Jane Flute Day Camp 2006 Dwyer, Laura See Summer Flute Experience 2006 See Flute! in Crested Butte See The Anatomy of Sound: A Workshop See Flute! in Hawaii for Flutists Blumenthal, Amy See See Flute! Pedagogy 2006 Wildacres Flute Retreat Dydansky, Patricia Clayton, April See Scottish International Flute Summer Boland, Jan See Flute Festival at Snow College School See Red Cedar Chamber Music Summer Festival Coelho, Tadeu Ellison, Greer See Northern California Flute Camp See The Julius Baker Flute Masterclasses Boquiren, Sidney See Flute as Inspiration and Praise See Linda Wetherill Flute Workshop Felber, Jill See Cincinnati Flute Symposium Collaros, Rebecca See Ithaca Flute Institute Boustany, Wissam See Jonathan Snowden International Flute See Scottish International Flute Summer See Jill Felber at Marrowstone Music Festival School School See Jill Felber Summer Session at UCSB
Bowman, Randy Conner, Jennifer Feller, Bart See Northern California Flute Camp See Jeanne Baxtresser International See The Julius Baker Flute Masterclasses Master Class at Carnegie Mellon Boyd, Bonita University Fellows, Robin See ARIA International Summer Academy See UW-Whitewater High School Flute Camp Cortese, Federico Bragg, Keith See Boston University Tanglewood Findlater, Clare See Stratford-upon-Avon International Institute See Stratford-upon-Avon International Flute Festival Master Class and Young Flute Festival Master Class and Young Artists’ Platform Artists’ Platform Cortese, Glen See Cincinnati Flute Symposium Gaffigan, James Buyse, Leone See Boston University Tanglewood Institute See ARIA International Summer Academy Cox, Michael See Ithaca Flute Institute See Oxford Flute Summer School Garner, Bradley See ARIA International Summer Academy Caimotto, Michelle Davies, Gareth See Cincinnati Flute Symposium See Northern California Flute Camp See Stratford-upon-Avon International See Flute Festival at Snow College Flute Festival Master Class and Young See The Julius Baker Flute Masterclasses Carey, Gerald Artists’ Platform See Wildacres Flute Retreat See 8th Annual Summer Flute Retreat at Illinois Valley Community College Davis, Richard Garnett, Rod See Westminster College High School See Stratford-upon-Avon International See Boxwood Festival, Ltd. Flute Camp Flute Festival Master Class and Young Artists’ Platform George, Patricia Carey, Timothy See Patricia George Flute Spa See Cincinnati Flute Symposium Dikeman, Philip See Patricia George Flute Spa & Madison See Orchestral Flute Institute 2006 Area Flute Festival Carroll, Colleen See Pocatello Flute Spa See LAFQ and Gary Schocker Masterclass Dowdall, John See Sewanee Summer Music Festival and Concert, Sponsored by the Greater See Red Cedar Chamber Music Summer Los Angeles Flute Society Festival Gerry, David See East Tennessee Suzuki Flute Institute Carroll, David International See Northern California Flute Camp DuFour, Mathieu See Jeanne Baxtresser International Master Gillio, Sue Chadima, Tamara Class at Carnegie Mellon University See 8th Annual Summer Flute Retreat at See Areon Summer Flute Institute Illinois Valley Community College Durán, Elena See Westminster College High School Church, Sandra See Mills College Flute Academy Flute Camp See The Julius Baker Flute Masterclasses See Stratford-upon-Avon International Flute Festival 2006 Flute Academy Granados, Marco Clardy, Mary Karen See Stratford-upon-Avon International See William Bennett International Flute See Mary Karen Clardy High School Flute Flute Festival 2006 Flutes For Pleasure Summer School 2006 Camp 2006 See Stratford-upon-Avon International See Advanced Flute Repertoire Class 2006 Flute Festival Master Class and Young Greenberg, David See Mary Karen Clardy Middle School Artists’ Platform See Boxwood Festival, Ltd.
Spring 2006 The Flutist Quarterly 57 SUMMER 2006 MASTERCLASSES
Guitry, Amara See Illinois Summer Youth Music Marcusson, Göran See Wildacres Flute Retreat Advanced Senior Flute Camp See Cincinnati Flute Symposium See Illinois Summer Youth Music See Wildacres Flute Retreat Hamilton, Amy Advanced Junior Flute Camp See Flute Seminar See Madeline Island Music Camp Marrazza, Gina DiMedio See Burgos Summer Chamber Music See Jonathan Snowden International Harper, Patricia Festival Flute School See Patricia Harper See Patricia Harper Summer Flute Class Keenan, Paddy Martin, Jaime See Boxwood Festival, Ltd. See Stratford-upon-Avon International Harris, Todd Flute Festival Master Class and Young See Three Rivers Flute Master Class 2006 Kemler, Katherine Artists’ Platform See Northern California Flute Camp Harris, Tracy McGuinness, David See Three Rivers Flute Master Class 2006 Khaner, Jeffrey See Boxwood Festival, Ltd. See The Julius Baker Flute Masterclasses Harris-LeBlanc, Wendy See Skidmore Summer Flute Institute McKay, Janet See Three Rivers Flute Master Class 2006 See Stratford-upon-Avon International Kibler, Lea Flute Festival 2006 Flutes For Pleasure Hay, Sandy See Asheville Flute Vacation See Stratford-upon-Avon International See Mills College Flute Academy Flute Festival 2006 Magic Flute Workshop See Stratford-upon-Avon International Koregelos, Angela Flute Festival 2006 Flute Academy See Stratford-upon-Avon International Mehne, Wendy Herbener See Stratford-upon-Avon International Flute Festival 2006 Flutes For Pleasure See Ithaca Flute Institute Flute Festival 2006 Flutes For Pleasure See Stratford-upon-Avon International Flute Festival Master Class and Young Mellis, Carol Heinke, Jill Artists’ Platform See PLACe Music Academy Flute Camp See Aeron Summer Flute Institute Miller, Jenny Kuijken, Barthold Helwig, Eileen Holt See William Bennett International Flute See Barthold Kuijken Masterclass See LAFQ and Gary Schocker Summer School 2006 Masterclass and Concert, Sponsored by Landell, Jonathon A. the Greater Los Angeles Flute Society Mitchell, Scott See One Week Masterclasses in Flute See Scottish International Flute Summer Repair--Padding Techniques Hoeppner, Susan School See The Julius Baker Flute Masterclasses See One Week Masterclasses in Flute Repair--Overhaul & Mechanical Monroe, Ervin Isenhower, Cindi See One Week Masterclasses in Flute See Orchestral Flute Institute 2006 See 8th Annual Summer Flute Retreat at Repair--Build Your Own Head Joint Illinois Valley Community College Montgomery, Dr. William LeBow, Kassey See William Montgomery 30th Annual Jennings, Christina See Areon Summer Flute Institute Flute Master Class See Jeanne Baxtresser International Master Class at Carnegie Mellon University Likar, Amy Montgomery, William See Body Mapping and the Alexander See National Orchestral Institute Jones, Karen Technique See Stratford-upon-Avon International Moratz, Karen Flute Festival Master Class and Young Ljungar-Chapelon, Ander See ARIA International Summer Academy Artists’ Platform See Oxford Flute Summer School Morley, Ruth Jones, Katherine Borst Lloyd, Peter See Scottish International Flute Summer See Ohio State University Flute See Oxford Flute Summer School School Workshop for high school students See Scottish International Flute Summer School Morris, Patricia Jorgenson, Elaine See Oxford Flute Summer School See Flute Festival at Snow College Los Angeles Flute Quartet, See LAFQ and Gary Schocker Moyse, Louis Kane, Trudy Masterclass and Concert, Sponsored by See Louis Moyse Flute Masterclass See The Julius Baker Flute Masterclasses the Greater Los Angeles Flute Society Mullin, Ian Keeble, Jonathan Mallett, Liam See Stratford-upon-Avon International See Illinois Summer Youth Music Senior See Stratford-upon-Avon International Flute Festival Master Class and Young Orchestra Camp Flute Festival 2006 Flute Academy Artists’ Platform
58 The Flutist Quarterly Spring 2006 Musk, Wendy Preston, Stephen Shorey, David See Three Rivers Flute Master Class 2006 See Wildacres Flute Retreat See Boxwood Festival, Ltd.
Newbold, Sarah Reddick, Jennifer Shorey, Nina See Stratford-upon-Avon International See 8th Annual Summer Flute Retreat at See Boxwood Festival, Ltd. Flute Festival Master Class and Young Illinois Valley Community CollegeTre Artists’ Platform Smith, Fenwick Ritter, John Steele See ARIA International Summer Academy Norman, Chris See Cincinnati Flute Symposium See Boxwood Festival, Ltd. Smith, Joshua Robertello, Thomas See Bowdoin International Music Festival Offermans, Wil See Sarasota Music Festival See 15th International Flute Summer See National Orchestral Institute Smith, Rachel Course by Wil Offermans See Instrumenta Oaxaca Verano 2006 See Stratford-upon-Avon International Flute Festival 2006 Magic Flute Workshop Olson, Sandra Robison, Paula See Westminster College High School See Paula Robison Master Class Series Snowden, Jonathan Flute Camp See Jonathan Snowden International Flute Root, Marten School Pahud, Emmanuel See Boxwood Festival, Ltd. See Stratford-upon-Avon International See Emmanuel Pahud Masterclass Flute Festival Master Class and Young Rosinski, Jessi Artists’ Platform Paluzzi, Rebecca See Stratford-upon-Avon International See East Tennessee Suzuki Flute Institute Flute Festival 2006 Flute Academy Sparks, Mark International See National Orchestral Institute Rudikova, Svetlana Parker, Kristine See Three Rivers Flute Master Class 2006 Sparrow, Sharon See Flute Festival at Snow College See Orchestral Flute Institute 2006 Ruoho, Liisa See Body Mapping and the Alexander Pasic-Filopovich, Esma Spell, Eldred See Westminster College High School Technique See Northwest Missouri State University Flute Camp Flute Camp Scaip Na Cleiti Dancers, Pearson, Lea See Boxwood Festival, Ltd. Spencer, Patricia See Body Mapping and the Alexander See The Now & Present Flute Seminar Technique Schocker, Gary See Wildacres Flute Retreat See The Julius Baker Flute Masterclasses See William Bennett International Flute See LAFQ and Gary Schocker Masterclass Spielman, Helen Summer School 2006 and Concert, Sponsored by the Greater See Wildacres Flute Retreat Los Angeles Flute Society Pelinka, Stacey Steinbeck, Kate See Body Mapping and the Alexander Schultz, Stephen See Asheville Flute Vacation Technique See Jeanne Baxtresser International Master Class at Carnegie Mellon University Stern, Wendy Piccinini, Marina See East Tennessee Suzuki Flute Institute See The Julius Baker Flute Masterclasses Schwiebert, Jerald International See The Anatomy of Sound: A Workshop Pierce, Jeanie for Flutists Still, Alexa See PLACe Music Academy Flute Camp See Alexa Still Flute School See PLACe Music Academy Flute Camp Sears, Joy See Wildacres Flute Retreat Takahashi, Toshio Pope, George See East Tennessee Suzuki Flute Institute See Summer Flute Experience 2006 Seefeld, Sandra International See Body Mapping and the Alexander Porter, Amy Technique Tamburrino, Maria See The Anatomy of Sound: A Workshop See Northern California Flute Camp for Flutists Sheridan, Peter See ARIA International Summer Academy See LAFQ and Gary Schocker Masterclass Thurston, Andy See MPulse Ann Arbor Young Artists and Concert, Sponsored by the Greater See Boxwood Festival, Ltd. Flute Institute Los Angeles Flute Society Ueda, Kenichi Potter, Christine Shimizu, Nobutaka See East Tennessee Suzuki Flute Institute See Alto and Bass Flute Retreat See The Julius Baker Flute Masterclasses International
Spring 2006 The Flutist Quarterly 59 SUMMER 2006 MASTERCLASSES
Underwood, Keith Orford, Quebec, Orford Arts Center Los Altos Hills, CALIFORNIA Areon See Keith Underwood Flute Masterclass Music Academy - Advanced studies in Summer Flute Institute July 23–28 Music June 26–August 12 Van Dyke, Karen Los Angeles/Pasadena, CALIFORNIA See Northern California Flute Camp Waterloo, Ontario, Flute Seminar May LAFQ and Gary Schocker Masterclass 29–June 17 and Concert, Sponsored by the Greater Veillon, Jean-Michel Los Angeles Flute Society April 23 See Boxwood Festival, Ltd. Europe London, ENGLAND Emmanuel Pahud Oakland, CALIFORNIA Mills College Flute Verbeck, Heather Masterclass June 15 Academy June 17–24 See Cincinnati Flute Symposium Oxford, ENGLAND Oxford Flute Redlands, CALIFORNIA Jeannie Villanueva, Miguel Angel Summer School August 13–18 See Stratford-upon-Avon International Baxtresser Day at the University of Redlands March 11 Flute Festival 2006 Flutes For Pleasure Perth, SCOTLAND Scottish See Stratford-upon-Avon International International Flute Summer School July San Rafael, CALIFORNIA Body Flute Festival Master Class and Young 23–29 Artists’ Platform Mapping and the Alexander Technique Burgos, SPAIN Burgos Summer Chamber July 10–14 Vinci, Jan Music Festival July 24–August 6 See Skidmore Summer Flute Institute Santa Barbara, CALIFORNIA Jeanne Sayalonga - Malaga, SPAIN 15th Baxtresser at The Music Academy Vinci, Mark International Flute Summer Course by Wil of the West at Santa Barbara See Skidmore Summer Flute Institute Offermans August 19–August 26 July 31–August 12,
Vitarelli, Amelia Blonay, SWITZERLAND Summer Flute Santa Barbara, CALIFORNIA Jill Felber See Areon Summer Flute Institute Class July 29–August 5 Summer Session at UCSB July 1
Voisey, Robert Stratford-upon-Avon, UNITED KING- Three Rivers, CALIFORNIA Three Rivers See Linda Wetherill Flute Workshop DOM Stratford-upon-Avon International Flute Master Class 2006 July 20–23 Flute Festival Master Class and Young Wächter, Edmund Artists’ Platform July 21–August 5 Boulder, COLORADO Alexa Still Flute See Summer Flute Class School July 5–9 Stratford-upon-Avon, UNITED Weinzierl, Elisabeth KINGDOM Stratford-upon-Avon See Summer Flute Class Crested Butte, COLORADO Flute! International Flute Festival 2006 in Crested Butte July 7–10 Wellbaum, Jack Flute Academy July 24–August 5 See Cincinnati Flute Symposium Lyons, COLORADO Alto and Bass Flute Stratford-upon-Avon, UNITED Retreat June 8–12 Wetherill, Linda KINGDOM Stratford-upon-Avon See Linda Wetherill Flute Workshop International Flute Festival 2006 Danbury , CONNECTICUT Magic Flute Workshop July 24–August 5 The Julius Baker Flute Masterclasses Wincenc, Carol July 29–August 3 See Sarasota Music Festival Stratford-upon-Avon, UNITED KINGDOM Stratford-upon-Avon International Flute Sarasota, FLORIDA Sarasota Music Woodward, Gary Festival 2006 Flutes For Pleasure July 22–30 Festival May 28–June 18 See Northern California Flute Camp Surrey, UNITED KINGDOM William Honolulu, HAWAII Flute! in Hawaii Wye, Trevor Bennett International Flute Summer School 2006 August 7–17 See Trevor Wye Masterclass Pocatello, IDAHO Pocatello Flute Spa August 3–5 Ziegler, Matthias North America See William Bennett International Flute Oaxaca, MEXICO Instrumenta Oaxaca Oglesby, ILLINOIS 8th Annual Summer Summer School 2006 Verano 2006 June 28–July 14 Flute Retreat at Illinois Valley Community Zook, Jeffery United States College June 25–July 1 See Orchestral Flute Institute 2006 Mesa, ARIZONA PLACe Music Academy Flute Camp July 17–21 Urbana, ILLINOIS Illinois Summer Youth Music Senior Orchestra Camp GEOGRAPHICAL INDEX Phoenix, ARIZONA PLACe Music Academy June 18–24 Flute Camp June 5–9 Canada Urbana, ILLINOIS Illinois Summer Lunenburg, Nova Scotia, Boxwood Carmel Valley, CALIFORNIA Northern Youth Music Advanced Senior Flute Festival, Ltd. July 22–28 California Flute Camp July 28–August 5 Camp June 25–July 1
60 The Flutist Quarterly Spring 2006 Urbana, ILLINOIS Illinois Summer Youth Asheville, NORTH CAROLINA Asheville Richmond, VERMONT One Week Music Advanced Junior Flute Camp Flute Vacation May 8–14 Masterclasses in Flute Repair—Build June 25–July 1 Your Own Head Joint June 26–30 Little Switzerland, NORTH CAROLINA Indianapolis, INDIANA Barthold Kuijken Wildacres Flute Retreat June 17–23 Old Town, Alexandria, VIRGINIA Masterclass January 29, 2007 - January 31, Jonathan Snowden International Flute 2007 Akron, OHIO Summer Flute Experience School August 14–19 2006 July 10–15 Muncie, INDIANA ARIA International Bellingham, WASHINGTON Jill Felber at Summer Academy June 19–July 15 Cincinnati, OHIO Cincinnati Flute Marrowstone Music Festival July Symposium June 25–July 1 23–August 6 Mount Vernon, IOWA Red Cedar Chamber Music Summer Festival July Columbus, OHIO Ohio State University Madeline Island, WISCONSIN Madeline 16–23 Flute Workshop for high school students Island Music Camp July 16–23 June 18–22 Brunswick, MAINE Bowdoin Madison, WISCONSIN Patricia George International Music Festival June Beaverton, OREGON Patricia George Flute Spa & Madison Area Flute Festival 24–August 5 Flute Spa March 4 April 22
College Park, MARYLAND National Pittsburgh, PENNSYLVANIA Jeanne Whitewater, WISCONSIN UW-Whitewater Orchestral Institute June 2–25 Baxtresser International Master Class at High School Flute Camp June 18–23 Carnegie Mellon University June 18–25 College Park, MARYLAND William Montgomery 30th Annual Flute Master Greenville, SOUTH CAROLINA Flute as CHRONOLOGICAL INDEX Class July 8–16 Inspiration and Praise June 12–16 To Be Announced Flute! in Hawaii Ann Arbor, MICHIGAN The Anatomy of Greenville, SOUTH CAROLINA Patricia Honolulu, HAWAII Sound: A Workshop for Flutists June Harper Summer Flute Class June 11–16 11–14 April Johnson City, TENNESSEE East Tennessee Patricia George Flute Spa & Madison Area Rochester, MICHIGAN Orchestral Flute Suzuki Flute Institute International June Flute Festival Madison, WISCONSIN Institute 2006 July 17–21 25–July 1 April 22 Maryville, MISSOURI Northwest Missouri State University Flute Camp July Sewanee, TENNESSEE Sewanee Summer LAFQ and Gary Schocker Masterclass and 16–21 Music Festival June 17–July 23 Concert, Sponsored by the Greater Los Angeles Flute Society Los Angeles/Pasadena, Princeton, NEW JERSEY Westminster Denton, TEXAS Mary Karen Clardy High CALIFORNIA April 23 College High School Flute Camp July School Flute Camp 2006 June 7–11 23–29 May Denton, TEXAS Advanced Flute Repertoire Asheville Flute Vacation Asheville, Abiquiu, NEW MEXICO Keith Class 2006 June 30–July 2 NORTH CAROLINA May 8-14 Underwood Flute Masterclass August 14–20 Denton, TEXAS Mary Karen Clardy Middle Flute Seminar Waterloo, Ontario, May School Flute Day Camp 2006 June 15–17 29–June 17 Albuquerque, NEW MEXICO Trevor Wye Masterclass June 10–18 Denton, TEXAS Flute! Pedagogy 2006 June June 12–16 National Orchestral Institute College Park, Annandale on Hudson, NEW YORK The MARYLAND June 2–25 Now & Present Flute Seminar June 13–17 Ephraim, UTAH Flute Festival at Snow College June 15–17 PLACe Music Academy Flute Camp Garden City, NEW YORK Linda Wetherill Phoenix, ARIZONA June 5–9 Flute Workshop July 31–August 4 Brownsville, VERMONT Patricia Harper June 25–July 1 Mary Karen Clardy High School Flute Ithaca, NEW YORK Ithaca Flute Institute Camp 2006 Denton, TEXAS June 7–11 June 25–29 Montpelier, VERMONT Louis Moyse Flute Masterclass July 13–22 Alto and Bass Flute Retreat Lyons, COL- New York City, NEW YORK Paula Robison ORADO June 8–12 Master Class Series Richmond, VERMONT One Week Masterclasses in Flute Repair—Padding Trevor Wye Masterclass Albuquerque, NEW Rochester, NEW YORK Rochester Flute Techniques June 12–16 MEXICO June 10–18 Association Spring Flute Masterclass April 1 Richmond, VERMONT One Week Patricia Harper Summer Flute Class Saratoga Springs, NEW YORK Skidmore Masterclasses in Flute Repair—Overhaul Greenville, SOUTH CAROLINA June Summer Flute Institute August 3–9 & Mechanical June 19–23 11–16
Spring 2006 The Flutist Quarterly 61 SUMMER 2006 MASTERCLASSES
The Anatomy of Sound: A Workshop for One Week Masterclasses in Flute Louis Moyse Flute Masterclass Flutists Ann Arbor, MICHIGAN Repair—Overhaul & Mechanical Montpelier, VERMONT July 13–22 June 11–14 Richmond, VERMONT June 19–23 Madeline Island Music Camp Madeline Flute as Inspiration and Praise 8th Annual Summer Flute Retreat at Island, WISCONSIN July 16–23 Greenville, SOUTH CAROLINA Illinois Valley Community College Oglesby, June 12–16 ILLINOIS June 25–July 1 Northwest Missouri State University Flute Camp Maryville, MISSOURI Flute! Pedagogy 2006 Denton, TEXAS Cincinnati Flute Symposium Cincinnati, July 16–21 June 12–16 OHIO June 25–1 Red Cedar Chamber Music Summer One Week Masterclasses in Flute East Tennessee Suzuki Flute Institute Festival Mount Vernon, IOWA Repair—Padding Techniques Richmond, July 16–23 VERMONT June 12-16 International Johnson City, TENNESSEE June 25–July 1 Orchestral Flute Institute 2006 The Now & Present Flute Seminar Rochester, MICHIGAN July 17–21 Annandale on Hudson, NEW YORK Illinois Summer Youth Music Advanced Junior Flute Camp Urbana, ILLINOIS June 13–17 PLACe Music Academy Flute Camp June 25–July 1 Mesa, ARIZONA July 17–21 Emmanuel Pahud Masterclass London, ENGLAND June 15 Illinois Summer Youth Music Advanced Three Rivers Flute Master Class 2006 Senior Flute Camp Urbana, ILLINOIS Three Rivers, CALIFORNIA July 20–23 Flute Festival at Snow College Ephraim, June 25–July 1 UTAH June 15–17 Stratford-upon-Avon International Flute Ithaca Flute Institute Ithaca, NEW Festival Master Class and Young Artists’ Mary Karen Clardy Middle School Flute YORK June 25–29 Platform Stratford-upon-Avon, UNITED Day Camp 2006 Denton, TEXAS KINGDOM July 21–August 5 June 15–17 Patricia Harper Brownsville, VERMONT June 25–July 1 Boxwood Festival, Ltd. Lunenburg, Mills College Flute Academy Oakland, Nova Scotia, July 22–28 CALIFORNIA June 17–24 One Week Masterclasses in Flute Repair— Stratford-upon-Avon International Flute Sewanee Summer Music Festival Build Your Own Head Joint Richmond, Festival 2006 Flutes For Pleasure Stratford- Sewanee, TENNESSEE June 17–July 23 VERMONT June 26–30 upon-Avon, UNITED KINGDOM Wildacres Flute Retreat Little Instrumenta Oaxaca Verano 2006 Oaxaca, July 22–30 Switzerland, NORTH CAROLINA MEXICO June 28–July 14 June 17–23 Areon Summer Flute Institute Los Altos Advanced Flute Repertoire Class 2006 Hills, CALIFORNIA July 23–28 Boston University Tanglewood Institute Denton, TEXAS June 30–July 2 Lenox, MASSACHUSSETTS Jill Felber at Marrowstone Music Festival June 18–August 12 July Bellingham, WASHINGTON Jill Felber Summer Session at UCSB Santa July 23–August 6 Illinois Summer Youth Music Senior Barbara, CALIFORNIA July 1 Orchestra Camp Urbana, ILLINOIS Scottish International Flute Summer School Perth, SCOTLAND July 23–29 June 18–24 Alexa Still Flute School Boulder, COLORADO July 5–9 Jeanne Baxtresser International Master Westminster College High School Flute Class at Carnegie Mellon University Camp Princeton, NEW JERSEY Flute! in Crested Butte Crested Butte, July 23–29 Pittsburgh, PENNSYLVANIA COLORADO July 7–10 June 18–25 Burgos Summer Chamber Music William Montgomery 30th Annual Flute Ohio State University Flute Workshop Festival Burgos, SPAIN July 24–August 6 for high school students Columbus, Master Class College Park, MARYLAND OHIO June 18–22 July 8–16 One Week Masterclasses in Flute Repair—Padding Techniques UW-Whitewater High School Flute Body Mapping and the Alexander Richmond, VERMONT July 24–28 Camp Whitewater, WISCONSIN Technique San Rafael, CALIFORNIA June 18–23 July 10–14 Stratford-upon-Avon International Flute Festival 2006 Flute Academy Stratford- ARIA International Summer Academy Summer Flute Experience 2006 Akron, upon-Avon, UNITED KINGDOM July Muncie, INDIANA June 19–July 15 OHIO July 10–15 24–August 5
62 The Flutist Quarterly Spring 2006 Stratford-upon-Avon International Flute Overhaul & Mechanical Richmond, 15th International Flute Summer Course Festival 2006 Magic Flute Workshop VERMONT July 31–August 4 by Wil Offermans Sayalonga - Malaga, Stratford-upon-Avon, UNITED KING- SPAIN August 19–26 DOM July 24–August 5 August Pocatello Flute Spa Pocatello, IDAHO October Northern California Flute Camp Carmel August 3–5 Paula Robison Master Class Series New Valley, CALIFORNIA July 28–August 5 York City, NEW YORK October 11 Skidmore Summer Flute Institute December Summer Flute Class Blonay, SWITZER- Saratoga Springs, NEW YORK August 3–9 Paula Robison Master Class Series New LAND July 29–August 5 York City, NEW YORK December 6 William Bennett International Flute The Julius Baker Flute Masterclasses Summer School 2006 Surrey, UNITED January 2007 Danbury , CONNECTICUT July KINGDOM August 7–17 Barthold Kuijken Masterclass 29–August 3 Indianapolis, INDIANA January 30–31, Oxford Flute Summer School Oxford, 2007 Jeanne Baxtresser at The Music Academy ENGLAND August 13–18 of the West at Santa Barbara Santa February 2007 Barbara, CALIFORNIA July 31–August 12 Jonathan Snowden International Flute Paula Robison Master Class Series New School Old Town, Alexandria, VIRGINIA York City, NEW YORK February 14 Linda Wetherill Flute Workshop Garden August 14–19 City, NEW YORK July 31–August 4 April 2007 Keith Underwood Flute Masterclass Paula Robison Master Class Series New One Week Masterclasses in Flute Repair-- Abiquiu, NEW MEXICO August 14–20 York City, NEW YORK April 18
Spring 2006 The Flutist Quarterly 63 A Headjoint for Life Once you play Drelinger’s UpRite®, you may never consider another &/2 3!,% headjoint. Because its likely to be the most satisfying !LTO &LUTE playing experience you’ve ever had. STERLING SILVER The UpRite is actually two headjoints. As a transverse head it HANDMADE BY MASTER FLUTEMAKER has all the wonderful sound of Drelinger’s time honored designs. #IRO $!MORE As a Vertical headjoint you’ll get that same 0OWELL FACTORY sound plus extraordinary physical comfort. CUPPED EMBOUCHURE But the UpRite is much more than two headjoints in one. EXCEPTIONAL KEYWORK AND SCALE It’s an amazing ergonomic invention that makes effortless flute playing a physical reality. We invite you to try it. STRAIGHT HEAD JOINT POINTED ARMS The UpRite is priced at $4500 including all accessories. GORGEOUS TONE Phone 1-800-450-1151 for brochure and demo CDs. #ONTACT 6IRGINIA 2) OR VSINDELAR PEOPLEPCCOM The Headjoint Specialist © 2006 Drelinger - All Rights Reserved
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NFACONTRIBUTERS To The Annual President’s Appeal Updated as of March 15, 2006 General Endowment Fund Linda Mintener Myrna Brown Contributors Anne Adams William Montgomery Mary Berk Eleanor Duncan Armstrong William K. Morris Susan Fain Deborah Rebeck Ash Joyce Oakes Carolyn May Kim T. Ashwell Mary Peterson Linda Mintener Rick Bandy Marjorie Phillips Wendy H. Rolfe Mary Berk George S. Pope Nancy Schneeloch-Bingham Irene Pruzan Karen Betz-Griewahn Stephanie A. Wheeler Deborah L. Ragsdale Joanne Ennis Bourquin Robert Willoughby Caliendo World Music Martha Rearick Publishing Fenwick Smith David Hart Contributors Kim Carey John Solum Mary Berk Cincinnati Flute Association Kathleen J. Spurgeon Susan Fain Linda Cykert Cynthia C. Stokes Stuart DeLaney Paul Taub Carolyn May Darlene Dugan Judith Thomas Linda Mintener Claire Durand-Racamato Michael Treister Wendy H. Rolfe Martha A Egan Julia K. Vasquez Nancy Schneeloch-Bingham Rev. William Morris Evans Nancy M. Vinson Stephanie A. Wheeler Ann Fairbanks Yaada Weber Robert Willoughby Angeleita S. Floyd Thomas R. Forsgren Diane Gold-Toulson Patricia Harper Give to Your NFA Ina Mae Holt The National Flute Association, Inc., John T. Howard invites you to join its growing list of Benefactors Edgar Iwamoto Jerry Jenkin You can help build the Endowment by naming the NFA in your portfolio Yvonne Kam of charitable gifts through any of the following types of contributions. Ellen Kaner Wills and Bequests Robert Katayama Life Insurance Gifts Marjorie Koharski Gifts of Stock Walfrid Kujala Charitible Gift Annuities Wendy Webb Kumer Gerardo Levy For more information, contact Richard Soule, NFA Development Director Debby Malnic [email protected] Laurel Ann Maurer 702-895-3377 Martin Melicharek III Mary Minsk
66 The Flutist Quarterly Spring 2006 From the TREASURER Fiscal Year 2005 (November 1, 2004–October 31, 2005)
iscal Year 2005 ended in the black times each month, and investments due to Leonard Garrison’s skillful remain well diversified. The automatic Fbudgeting in his final year as treas- contributions to the endowment from urer. For the period November 1, membership dues were cancelled for 2004–October 31, 2005, total income fiscal year 2005 in order to support the was $823,757, and expenses were salary of the newly created position of $753,853, for a surplus of $69,904. The publications director, and thus, growth various investment accounts con- (or decline) in the endowment now tributed $68,389 to the total income relies solely on market conditions and figure, thus from an operational specific endowment contributions. Rick standpoint, we essentially broke even Soule has volunteered to serve as the (gain of $1,515). Our largest expenses director of development, and he is Teresa Beaman are the convention (fortunately covered working with his committee and the by the income it generates) and general board of directors on ways to increase In August 2005 the board approved operating expenses, including the cost of donations to the NFA. The endowment slight increases for convention preregis- running the office, staff salaries, and enhances the long-term financial stability tration and registration fees, and booth database and Web site management. of the NFA and supports projects desig- fees for the 2006 convention. Attendance at the San Diego conven- nated by the NFA board of directors, The revised membership dues struc- tion was strong for a West Coast city, at such as major commissions and ture that was implemented beginning 2,983, and convention income of Cultural Outreach Scholarships. The with the August 1, 2005–July 31, 2006 $350,048 exceeded expenses by $89,784. average annual income generated by the We are hoping for a good turnout for endowment is still not yet significant year (as approved in 2004–05) included the Pittsburgh 2006 convention because enough to fund more NFA projects, the e-membership categories. E-mem- of its northeast location. The 2005–06 and the endowment continues to be in bership has attracted about 18 percent budget anticipates this and includes a building phase. The goal is to of the memberships so far, but the full funds for renting a real concert venue, increase the total value of the endow- fiscal ramifications of this will not be Heinz Hall, for one evening. ment to at least $1 million before known until the end of the 2005–06 The two new professional positions beginning to draw from it. The Myrna fiscal year. of publications director and advertising Brown Fund, founded to support a guest I look forward to seeing you in sales representative proved to be fiscally from a developing nation at the conven- Pittsburgh! worthwhile. The board’s concern of the tion, stands at $19,943, and the David previous year that advertising revenue Hart Fund, which supports prizes for —Teresa Beaman, Treasurer be collected in a timely manner was the Baroque Flute Artist Competition, addressed, and 2004–05 revenues for is at $14,897. Both the Myrna Brown commercial ads was $108,753 (as and David Hart funds are also grow- compared to $25,582 in 2003–04; ing; thus the guest’s stipend and baroque $57,225 in 2002–03; and $25,334 in competition prizes currently are sup- 2001–02). ported by operating funds. At the close of the fiscal year on Contributions from NFA members for October 31, 2005, the endowment fund the continuing development of our was $694,712, reflecting an investment endowment, Myrna Brown, and David gain of $70,290, or 11.3 percent, since Hart funds are greatly appreciated. the previous year. Under the guidance Our policy of small incremental of our financial advisor, we continue to increases in fees has preserved the long- adjust to market conditions several term financial health of the organization. Spring 2006 The Flutist Quarterly 67
From the PROGRAM CHAIR 34th Annual Convention: August 10–13, Pittsburgh
riting this article is one of the great artist Marina Piccinini. the greatest pleasures I have Piccinini’s artistry is unparalleled— Whad in my career as a flutist. an exciting performer with limitless I am very excited to have been able to colors, moods, and spontaneity. organize from our NFA membership an amazing array of events that showcase Friday the top performers, teachers, and flute O Jonathan Snowden is featured in the choirs, and great emerging artists of our Headliner Concert. Snowden plays time. It looks like a pot-luck dinner with one of the warmest sounds you with the best chefs from around the will ever have the privilege to hear in world, and we will all feast for four days person, and his natural manner and
in Pittsburgh! elegant phrasing are designed to Jean Ferrandis is among myriad guest artists. Our ever-energetic and artistic Lifetime make his audience melt. You have Achievement Award recipients, Jeanne heard the recordings—now hear it live! Baxtresser and Stephen Preston, will performer, will dazzle you with her be featured in their own events and O Our special Gala Concert will take jaw-dropping artistry. presentations, as well as honored by place in one of the great concert halls the NFA. I hope you will join the in North America—Heinz Hall, O ICONS of the Future perform for the celebration at Saturday evening’s home of the Pittsburgh Symphony. Sunday Gala Concert. The Professional Awards Banquet to honor these two Featured artists are Carol Wincenc Flute Choir will perform Martin extraordinary people. and Jean Ferrandis. In addition to the Kennedy’s “A Pantry Ballet in Four elegant concert hall and world Acts.” More great music featuring EADLINER AND VENING renowned artists, a little samba music H E Brad Garner, Andrea Oliva, Amy GALA CONCERTS might be thrown in for good measure. Porter, and Jim Walker will follow. The roster of performers for the head- Get ready to dance in the aisles! The great wizard himself, Robert liner concerts and evening gala concerts Dick, will beguile us with some of the is an incredible lineup of some of the Saturday most forward-thinking, thought-pro- world’s greatest artists. O The Headliner features master teacher voking, and musically satisfying and performer Bradley Garner and Thursday Italian rising star Andrea Oliva. performance art in which we mortal flutists will have the opportunity to O Amy Porter in recital. Porter’s confi- take part. Dick’s art is like no other— dence, agility, silky legato, and energy O The ICONS Orchestra, conducted by will win your heart! A headliner Steven Byess, performs for a Gala conceptually complicated, composi- concert not to be missed. Concerto evening. Four great works tionally deft, flutistically limitless. and four great soloists include Looking toward the future is a great O Gala Concert. Unforgettable solo flute Jonathan Snowden, performing way to close the convention. music will be performed by Jean Martin Kennedy’s Concerto; Marianne Ferrandis, Caen Thomason-Redus, Gedigian, playing the Khachaturian SOLO AND LECTURE RECITALS and Yuki Otsuka. The Rochester Flute Concerto; Yu Kurata playing Mozart’s More performances await throughout Club Choir will perform Steve Reich’s G major Concerto; and Amy Porter the convention, by Alexa Still, Elizabeth Vermont Counterpoint and Italian performing William Bolcom’s Lyric Buck, Tadeu Coelho, Yu Kurata, Jim virtuoso Vieri Bottazzini and his All Concerto. Walker, Gergely Ittzes, Aldo Baerton, Flutes Orchestra will perform selec- John Bailey (“The Flute Music of tions from Vivaldi’s Four Seasons Sunday Theodore Blumer”), and Nancy Andrew arranged for flute ensemble. The second O In the Sunday Headliner, Marianne (“A Paris Conservatory Tradition: The half of this concert is devoted to Gedigian, an amazingly versatile Sight Reading Examination Pieces”). Spring 2006 The Flutist Quarterly 69 Andrea Oliva Amy Porter Jonathan Snowden BAROQUE FLUTE EVENTS GALORE Fay Farmer Duo, Regina Helcher, Level Using Method and Daily Studies, Presentations include Christopher Susan Glaser a panel discussion. Krueger in a recital and masterclass; O Friday Kaleidoscope Concert— AMATEUR EVENTS Stephen Preston in concert; Stephen Joanna Bassett, Kathryn Thomas Amateur Resource Committee Events Schultz offering a recital and master- Umble, Diane Fiocca, Yuki Otsuka scheduled include two Amateur class on the Bach B minor Sonata for Masterclasses with Alexa Still and Jim baroque and modern flutists; and O Saturday Kaleidoscope Concert— Walker; Tips For Amateurs with Barbara Kallaur and Ensemble Voltaire Tong Yu, Pamela Youngblood, Nora Patricia Harper; Flute Lover’s Lunch with actress Maia Guest performing Lee Garcia, Yuki Otsuka, Diane Boyd with guest speaker Jeanne Baxtresser; “Madame.” Schultz, Kathryn Thomas Umble Amateur Mixer in conjunction with the Myrna Brown Dinner; and Adults ASTERCLASSES O Gen-X Concert—Marisela Sager, M Returning to Flute Playing, a panel Rich masterclass offerings include: Julietta Curenton, Natalie Debikey, discussion. Jeanne Baxtresser, Practicing Creatively: Nicole Esposito How to Build Maximum Confidence PRESENTATIONS THAT APPEAL TO ALL and Inspiration for Performance O Northern Lights: Flutists from Numerous workshops, lectures, and and Auditions; Marianne Gedigian, Canada’s Symphony Orchestras— presentations address many interests: Orchestral Master-class Competition; Kathleen Rudolph, Sarah Hahn, O Building a Flute Club: How to Get a Marina Piccinini and Carol Wincenc, Rosanne Wieringa, Emily Smethurst New Club Started and How to Sustain with winners of the Masterclass It, with Joanna Bassett and Christine Performers Competition; Jean Ferrandis, O Contemporary ICONS: Music by Cleary Open Masterclass; Christopher Krueger, Contemporary Composers—Elizabeth Baroque Flute Masterclass Competition McNutt, Janice Misurell Mitchell, O Morning Warm-Up sessions with winners; Stephen Schultz, Bach B Keith Wright, Katherine Kemler, Suzanne Buerkle, certified Bikram minor Sonata, Open Class for Baroque Diane Boyd Schultz Yoga instructor; Tadeu Coelho and his and Modern players; Robert Dick, energetic fluteworkout; and Jeremy Circular Breathing; and Tadeu Coelho, O Remembrance and Healing Concert— Hunt, on breathing for singers Berio Sequenza. John Bailey, Jane Berkner, Wendy Kumer, Daniel Parasky, Pamela Foster O Ars Musica: The Dayton C. Miller ADDITIONAL CONCERTS Murchinson, Thomas Wible, Beth Iconography Collection, with Jan Concerts throughout the convention Chandler, Nancy Andrew Lancaster include: O Pittsburgh Symphony Flute Section PEDAGOGY EVENTS O Marcel Moyse: His Life and Legacy, in Recital—Demarre McGill, Damian Every day of the convention includes with Nancy Andrew Bursill-Hall, Jennifer Conner, Rhian pedagogy events, among them two Kenny junior masterclasses; one Pedagogy O Robert Dick discussing his works Potpourri session; one Pedagogy O African American ICONS: Past, Present, Sampler Concert; the Physical Fix-it O DM Papers presentation and Future—Caen Thomason-Redus, Shop, a panel discussion on health- Damarre McGill, Judy Dines related issues; Teaching Debussy O Dancing, Reciting, and Praying to the Syrinx, with Kathy Blocki; and A Allemande of Bach’s A minor Partita O Chamber Music Concert—Lois Bliss Method to Your Madness? Developing for Solo Flute, with Betty Bang Herbine, Carrin Sherrard and Phyllis a Progressive Curriculum for Every Mather and Elizabeth Sadilek
70 The Flutist Quarterly Spring 2006 Vieri Bottazzini Stephen Schultz Marina Piccinini
O The Flute: Myth and Magic, with O Flute Choir Showcase: Fairbanks with Art Lillard, drums, will perform Barbara Croft Flutists, directed by Dorli McWayne, jazz standards and original compo- and the Pittsburgh Flute Academy, sitions by members of the Flutet in O Irish Flute Workshop, with Grey Larsen directed by Wendy Kumer, perform. the lobby of Heinz Hall.
O Discographical Research lecture, with O Evening Atrium Concert: Columbia Saturday Susan Nelson Flute Choir, director Sharyn Byer O Lunchtime Atrium Concert: Florida CABARET CONCERTS performs. Flute Association Teacher’s Flute Orchestra, directed by Shaul Ben-Meir. Stay up late, because you won’t want Friday to miss the sizzling hot Rebecca O Lunchtime Atrium Concert: Paige O The National Flute Choir’s 25th Kleinmann Quartet Thursday night or Long, director, New England Anniversary Celebration: The choir, the master Irish flutist Grey Larsen on Conservatory Summer Metropolitan directed by Amy Rice Blumenthal, Saturday night! Flute Orchestra and Florida Flute celebrates 25 years of flute choir history. Orchestra FLUTE CHOIR EVENTS O Evening Atrium Concert: Flute Choir There will be a screaming plethora of flute O Flute Choir Showcase: Slippery Rock of Atlanta, directed by Kathy Farmer. choir events in Pittsburgh! Top-notch University Flute Choir, directed by Sunday flute choirs from all over the country Stacey Steele; the University of O Lunchtime Atrium Concert: Flutes will perform in various venues at the Florida Flute Choir, directed by on the Brink, directed by Laura convention. The large flute choir room Kristen Stoner; and Youngstown State Benning, and University of Central will accommodate reading sessions, University Flute Choir, directed by Florida Flute Choir, directed by Nora flute choir showcases, and an abundant Kathryn Thomas Umble. audience. The lunchtime and evening Lee Garcia. concerts will be held in the main atrium O Flute Ensemble Showcase: This concert O Professional Flute Choir, directed by of the convention center, a beautiful will feature Flauto Dolce, comprised Steven Byess. space looking out onto downtown of Debra Bingham, Amy Cavazos, Pittsburgh. It provides excellent Maria Luisa de al Cerda, Linda O National High School Flute Choir, acoustics and a lovely place to sit and Eagleson, and Teresa Spisak performing directed by Stacey Steele. listen to music. repertoire titled “Icons: Women Composers for Flute Ensembles,” Reading Sessions Thursday and Femmes Four flute quartet, Bring your flute and play with other O The ICONS Flute Orchestra, conducted comprised of Lauren Ausubel, Helen flutists in these open reading sessions. by Shaul Ben-Meir, will open the Richman, Amy Ziegelbaum, and This is a great chance to meet other 34th Annual Convention on Anna Povich de Mayer. As the winner members of the NFA and sight-read Thursday, August 10. All NFA mem- of the Artists International flute choir repertoire. All are welcome, bers are welcome to participate! Chamber Music Award, Femmes so please come and join the fun! There Rehearsals will begin on Wednesday, Four made its Carnegie Hall debut will be reading sessions on Thursday, August 9. Please refer to the NFA at Weill Recital Hall in March 2004. Friday, Saturday, and Sunday. The Web site for details. directors of the reading sessions will O Evening Concert: The New York Jazz include Pamela Youngblood, John O Lunchtime Atrium Concert: University Flutet, comprised of Elise Wood, Bailey, Deborah Silverstein, and of Akron Flute Choir performs, Dotta Anita Taylor, Jan Leder, Tabatha Easley. directed by Jane Berkner. Michele Smith, and Chip Shelton, —Thomas Robertello, Program Chair
Spring 2006 The Flutist Quarterly 71 ICONS: Celebrating the Iconography of the Flute: Performers, Educators, Repertoire, History, and Art
Welcome to the 34th annual National Flute Association convention, this year in Pittsburgh.
by Wendy Webb Kumer
his is the year to pack up the family and attend the Interesting destinations include: 34th annual NFA convention ICONS in downtown O The Carnegie Museums (Natural History, Science, Art, TPittsburgh, Pennsylvania. A world-class airport and and Andy Warhol) convenient interstate highways make it an easy commute O H. J. Heinz History Center from everywhere. Program Chair Thomas Robertello has O PNC Park (take in a Pirates baseball game on Friday, planned a stunning array of events to keep flutists busy, and Saturday, or Sunday) a plethora of activities and sites for the family promises to O Heinz Field (tour the home of the Super Bowl XL amuse and delight. champion Steelers) The Pittsburgh convention center is a newly renovated, O The Strip (warehouse district eateries, clubs, shopping) huge, modern structure. A description from its Web site: O Station Square in the South Side (shopping, clubs, restaurants, and river cruises, Just Ducky Tours) The David L. Lawrence Convention Center is a significant O Mt. Washington (arrive by a ride on an incline from Station symbol of the “new” Pittsburgh Region. On the cutting edge of Square and experience terrific views of the city from design, this innovative structure connects the urban city to the restaurants and lookout pods) waterfront overlooking the Allegheny River. Boasting breath-taking O The North Shore, including parks, kayaking, the Children’s views of the North Shore and downtown Pittsburgh from the Museum, the National Aviary concourses, balconies, and terraces located throughout the O Kennywood Park (historic amusement park with great building, the Center has been certified with a Gold LEED rating by coasters) the U.S. Green Building Council. As the first “green” convention O Local colleges and universities, including the University of center and world’s largest “green” building, the Center capitalized Pittsburgh, Carnegie Mellon, Duquesne, Point Park, Robert on its environmentally smart structure by utilizing natural Morris, Chatham, Carlow, Art Institute of Pittsburgh daylight and natural ventilation to light and heat the building, O Frick Art and Historical Center and incorporating a water reclamation system which reduces O Phipps Conservatory and botanical gardens potable water use. O Pittsburgh Cultural District, including the Benedum, Since the downtown area of Pittsburgh is limited to the Byham, Pittsburgh Symphony Heinz Hall, and Theatre “golden triangle” of land created by the joining of two rivers Square theaters, and diverse performing and visual arts (the Allegheny and Monongahela) to create the Ohio River, it is large enough to be truly metropolitan, but contained The well-established Pittsburgh Flute Club, more than 75 years old, is committed to serving the NFA in its convention enough to be able to walk to great shopping, entertainment, this summer. The officers, board, membership, and family and restaurants. The Port Authority Transit system (PAT) members plan to participate as volunteers and attendees. We can take you everywhere else. (This includes a bus ride, the look forward to working closely with Tom Robertello and the Airport Flyer 28X, from the airport to the Liberty at Wood NFA staff and officers to make the 2006 convention successful, Street stop—four blocks from the convention hotel—and memorable, and rewarding. Please visit us at the information the William Penn Place stop for those staying at the Omni booth, and also visit the Pittsburgh Visitors and Convention William Penn Hotel. The 28X costs $2.25 and departs every 20 Bureau booth, both open daily. minutes). Cabs are available in Pittsburgh, but outside the See you in Pittsburgh! airport are rare. Locals walk or take a PAT bas. A taxi trip from the airport (17 miles) could cost as much as $50 depending Wendy Webb Kumer is Local Arrangements Chair and the on traffic (typically $30 for 30 minutes). Pittsburgh Flute Club President.
72 The Flutist Quarterly Spring 2006 -ADELINEPDF !-
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05-0126 Flutist Q (4.75x2.5) 11/22/05 11:08 AM Page 1
Music at Ithaca Ithaca Flute Institute June 25–29, 2006 Wendy Mehne, professor of flute at Ithaca College A week of flute master classes, concerts, and workshops, with special guests Leone Buyse, professor of flute and chamber music at Rice University; Diane Birr, associate professor of piano at Ithaca College; and Jill Felber and Claudia Anderson of the flute duo ZAWA! The master classes will focus on the standard flute repertoire, and the workshops will concentrate on such topics as stage presence, intonation, breathing, 18th century ornamentation, extended techniques, and orchestral excerpts. Two graduate credits or noncredit.
Division of Continuing Education and Summer Sessions 607-274-3143, [email protected], www.ithaca.edu/cess/gradmusic/workshops.htm
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From the DEVELOPMENT DIRECTOR National Flute Association, Inc, Lifetime Achievement Awards Banquet
By Richard Soule
Join your fellow members in honoring our award recipients at the 34th annual Convention for the National Flute Association, Inc, Lifetime Achievement Awards Banquet. Banquet attendees will sit in a specially reserved VIP section at the Gala Evening Concert. This year’s awards recipients are Jeanne Baxtresser and Stephen Preston.
Jeanne Baxtresser Stephen Preston
eanne Baxtresser has held principal positions with three students occupy principal and section positions in major major orchestras, culminating with her 15-year tenure as orchestras throughout the United States, Canada, Europe, and Jsolo flutist with the New York Philharmonic. Making her Asia. In addition to presenting masterclasses worldwide, heralded solo debut with the Minnesota Orchestra at age 14, Baxtresser served on the faculty of the Juilliard School and the Baxtresser began her professional career as principal flutist of Manhattan School of Music. She is the Vira I. Heinz Professor the Montreal Symphony immediately following her graduation of Flute at Carnegie Mellon University in Pittsburgh and from the Juilliard School, where she studied with Julius Baker. Visiting Artist Lecturer at the New England Conservatory in She was subsequently appointed principal flute of the Toronto Boston. Among her solo and chamber recordings is York Symphony before being invited to join the New York Legends–Jeanne Baxtresser (Cala). This season will see the Philharmonic. Today, she is recognized internationally as a release of Jeanne Baxtresser–Chamber Music for Flute (Cala), leading recording artist, author, and teacher. Many of her featuring her performances with principal players of the New
76 The Flutist Quarterly Spring 2006 York Philharmonic. Baxtresser’s first book is Orchestral A portion of the proceeds from the annual Lifetime Excerpts for Flute with Piano Accompaniment (Theodore Achievement Awards Banquet provides income to the NFA Presser), with a companion CD available on the Summit label. Endowment. This tax deductible amount ($20.00) is one Her subsequent book, Great Flute Duos from the Orchestral of many ways in which members can contribute to the Repertoire, was named the 2004 winner of the National Flute future stability of the NFA. For more information on Association’s Newly Published Music Competition. charitable donations and gifts please contact Richard Soule, NFA Development Director at 702-895-3377 or tephen Preston is one of the leading musicians in the [email protected] development of early music performance in the United SKingdom and Europe, and one of its most respected Richard Soule is a past president and life member of the NFA. figures. Preston also performs and develops new music and He was a two-term member of the board of directors, the contemporary techniques for baroque flute. He recently per- creator of NFA Online, and serves as NFA’s development formed a broadcast world premiere of a new work specially director and chair of the LAA Banquet. written for him. Through his ground-breaking work with historical flutes and solo, ensemble, and orchestral performances What, Where, When and recordings, he established a worldwide reputation and an Lifetime Achievement Awards Banquet international career. His area of expertise extends from the 17th to the 19th centuries, and he is as at home with the music Honoring: of Bach and Mozart as he is with Schubert and Weber. The Jeanne Baxtresser and Stephen Preston emphasis of Preston’s work is always on performance practice Saturday, August 12, 2006 as a way of realizing the highest degree of musical potential in The David L. Lawrence Convention Center in the performer. His work as a choreographer of historical Pittsburgh, Pennsylvania dance gives him a unique insight into the dance music of the baroque and classical periods. He has many years’ experience Reception: working with the widest range of students and professional 5:00–5:45 p.m. instrumentalists and singers. Stephen Preston’s teaching open to all convention attendees (cash bar) philosophy extends beyond the narrow boundaries of stylistic Banquet: performance, and he is equally successful whether working 5:45–7:45 p.m. Tickets $75 ($20 tax deductible) with period performers or with modern instrumentalists and Banquet attendees will sit in a specially reserved singers. He worked with one of America’s most eminent VIP section at the Gala Evening Concert chamber ensembles, the New Century Saxophone Quartet, on its highly praised recording of Bach’s Art of Fugue. Preston To reserve your spot, fill out the “banquet” lectures, teaches, and coaches at Britain’s four leading music portion of the registration form, or contact academies, the Royal College of Music, the Royal Academy of Madeline Neumann at the NFA office at Music, Trinity College, and the Guildhall School of Music and 661-299-6680 or [email protected]. Drama. He is widely in demand for masterclasses and for private A limited amount of reservations can be made on teaching and coaching. site at the convention registration desk between Wednesday, August 9 and Friday, August 11. NFA members can conveniently add this event to their Deadline is noon on Friday. convention registration by filling out the “banquet” portion of the registration form. 5BJ )FJ 4IBLVIBDIJ * - "" 1/ - >iÀÊvÊÌ i - 1 1/ - >Õ >V Êi>`ÌÊvÀÊÌ iÊ-ÛiÀÊÕÌi ÊÛiÀÌV>Þ i`Ê ÞLÀ`ÊÃÌÀÕiÌ VL}ÊLÜ}ÊÃÌÞiÃÊEÊÌiV µÕiÃÊ`ÃÌVÌÛiÊÌÊÌ iÊÌÀ>`Ì>Ê >«>iÃiÊà >Õ >V ÊÜÌ ÊÌ iÊV>ÃÃV>Ê7iÃÌiÀÊ i ÊyÕÌi° ÌÃÊ-Ì>`>À`Ê ÊÀÊ ÊÌ]ÊÌÊEÊ7`ÊÕÌià ÜÜÜ°Ã >Õ >V °V " /9 ° 6 -" ] *°"° "8 Ó{] 7 /-] x{ä / \ ÇäÇ® {xÎ{äÓ U 8\ ÇäÇ®{xÎ{Î{ U ÌÞJà >Õ >V °V
Spring 2006 The Flutist Quarterly 77
4EI(EI30INDD 0- Your Ad Could Have Appeared Here! . . . and reached all (5,500-plus) members of the National Flute Association, the largest flute organization in the world! NFA members/The Flutist Quarterly readers are looking for flute-related products and services. Will they see your message—or just those of your competitors?
Contact Steve DiLauro at 440-238-5577 or [email protected] to discuss how you can Advertise in The Flutist Quarterly! MHTP Conference 2006 “Knowledge,Intuition & In tention” June 1 to 4, 2006 Notre Dame College, South Euclid, OH Featuring: Therese Schroeder-Sheker—Founder & Director of The Chalice of Repose Project Fabien Maman—Founding Father of Vibrational Sound Therapy Richard B. Fratianne, MD— Director Emeritus, Comprehensive Burn Care Center, MetroHealth Medical Center, Cleveland Sarah Weiss— Medical Intuitive/Founder & Director of The SpiritHeal Institute Plus a Seasonal Healing Concert, other workshops, exhibitors and more... (For information and registration see contact info below) The Music for Healing & Transition Program “Educating and preparing musicians to provide live, therapeutic music at the bedside” Classes offered at 15 sites in 2005-6. For a comprehensive brochure outlining the courses and a current schedule of classes and locations, please contact: The Music for Healing & Transition Program, 22 West End Rd, Hillsdale, NY 12529 518-325-5546 • [email protected] • www.mhtp.org
Flutist Quarterly 1/4-page ad (3-5/8’’h’ x 4-1/2’’w) Deadline: 10/30/05 for Winter 2006 issue File: FQ 2006 Winter ad.cdr Export: FQ-MHTP 2006 Winter ad.tif (400 dpi) Proof Sent: 11/2/05 Ad Sent: 11/2/05 Ad Resent: 12/7/05
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The Los Angeles Flute Quartet Leonard Lopatin of Lopatin has released a new CD, Above and Flute Company, located in Beyond, featuring works for flute, Asheville, North Carolina, is piccolo, alto and bass flute, and pleased to announce the cre- voice. Above and Beyond explores ation of the first SquareONE the sounds of flutes from early Alto flute. The flute was music to the present day. Visit unveiled in November at a LosAngelesFluteQuartet.com. reception held by J. L. Smith & Company of Charlotte, North Carolina. Also presented was a documentary slide show on the making of this sterling- silver flute with Lopatin’s signature, square-holed mechanism. Lopatin, a Juilliard-trained flutist and second flute in the Lee Zakian, flutist and educator, has Asheville Symphony, has been making flutes for more than 25 edited two volumes of flute solos with years and founded his own company in 1994. His first CD and MIDI accompaniments. SquareONE flute was created to test his theory that a straight Published by JL Publishing, Volume edge to each air column would produce a truer, sweeter tone One is comprised of 20 easy solos, than the graduated edge of the air column produced by a round suitable for grade 2 players. Volume tone hole. Future product development plans for Lopatin Flute Two is for intermediate to advanced Company include adding a piccolo and a bass flute to the students, grade 3 and 4 players, SquareONE family of flutes. Visit lopatinflutes.com. featuring 20 pieces from the standard flute repertoire. Volume One is arranged with harpsichord and piano Traditional Christmas carols are accompaniments, while Volume Two paired with premiere recordings features mostly orchestral arrange- of arrangements by Minnesota ments. The tempos are appropriate composers on Gabriel’s Message, for the level of each book, and the a new CD of Christmas music MIDI versions are included for those from Twin Cities–based flutist who would like to experiment with Linda Chatterton and harpist alternate tempos, dynamics, and Nikki Christopher. Gabriel’s articulations. The books are compiled Message features traditional hol- to avoid page turns, for practice and iday favorites such as “O Holy performance. Visit jlpublishing.com. Night,” “Sussex Carol” and “Lo, How a Rose E’er Blooming” alongside new arrangements, including “The Wassail Song,” adapted for flute and harp by David Evan Thomas; “Four Carols of Alfred Burt,” arranged by Abbie Betinis; Stephen Paulus’s Paco Paco, a new CD from the Bill McBirnie Duo/Quartet, “Gabriel’s Message;” Nancy Grundahl’s “Polish Lullaby;” and Jeff features flutist McBirnie, jazz pianist Bernie Senensky, bass Lambert’s “Divinium Mysterium.” Robert Webb’s “Gesu player Neil Swainson, and drummer John Sumner in an acoustic Bambino,” to be published by Alry in 2006, and the premiere jazz setting. Paco Paco contains standard jazz duo and quartet flute-harp arrangement of Robert Beaser’s “Il Est Ne, le Divin repertoire by Thelonius Monk, John Coltrane, Keith Jarrett, and Enfant,” originally for flute and guitar, are also on the CD. Visit others. The title track is written by Senensky.Visit indiepool.com lindachatterton.com; amazon.com; or cdbaby.com.
Flute specialist Ho-Fan Lee has invented the Thumbport, a Americas Musicworks has released Measure for Measure: The device to help relieve the strain and stress of playing the Music of Shakespeare’s Plays, featuring Peter H. Bloom and his flute. The Thumbport is designed to clip on to the flute tube period-instrument Ensemble Chaconne with guest artist Pamela around the F key, utilizing the only finger that does not Dellal, mezzo-soprano. Measure for Measure presents music operate any key—the right thumb. It provides more free- exclusively from Shakespeare’s time, tied directly to the plays. dom and the potential to correct awkward holding of a flute. Ensemble Chaconne, celebrating its 20th concert season, Constructed with two types of plastic, soft and hard, the includes Carol Lewis, viols; Olav Chris Henriksen, flutes; Thumbport will not scratch the flute and will stay securely and Peter H. Bloom, renaissance transverse flutes. Visit in place. Visit thumbport.com. americasmusicworks.com or e-mail [email protected].
80 The Flutist Quarterly Spring 2006 No Stretch Fit Others stretch fit headjoints by burnishing or ID expander. We don’t. Drelinger believes any kind of stretch fitting compromises quality. Often plumbers tape is used to avoid this problem, but it also compromises quality. Drawing shows result of stretch fit. Headjoint tenon bore and wall -A- stretched as compared to flute body bore and wall -B-.
Drelinger solved the problem by making the headjoint tenon fit without stretching using an exclusive metal on metal sizing process. Drawing shows headjoint tenon bore and wall -A- are stretch free. Our process is also repeatable, should you decide to change flute bodies. And we don’t need to have your instrument to fit a Drelinger to your flute. To learn more www.drelinger.com
The Headjoint Specialist © 2006 Drelinger. All rights reserved. ÿ ÿ Á Â Á Â Á Â Ã Ä Convention attendance does not require pre-registration. However, if you Mail this page with payment to: choose not to pre-register, there will be a $30 on-site surcharge.All convention attendees receive free use of the 24-hour guarded instrument The National Flute Association, Inc. security room throughout the convention. 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351 ♦ CONVENTION BADGES WILL NOT BE MAILED! Phone: (661) 299-6680 FAX: (661) 299-6681 PICK THEM UP AT REGISTRATION ON-SITE! Or visit our web site to register at: www.nfaonline.org 1 NAME: ______PHONE: ( ) ______First Last
ADDRESS:______Street City State/Country Zip/Postal Code E-MAIL ADDRESS: ______
Convention badges can be picked up at registration starting Wed. Aug. 9 - 3:00 - 6:00 and 7:00 - 9:00 p.m., & Thurs. thru Sun. 8:00 a.m. - 5:30 p.m. PLEASE NOTE: THERE WILL BE A $25.00 CHARGE TO REPLACE LOST BADGES. MEMBERSHIP DUES 8/1/2006-7/31/2007: $______INTERNATIONAL 3 MAIL FEE: $______2 Dues are required to be paid through 7/31/07 to attend the 2006 convention. Applicable to regular international membership. __ ACTIVE ($55) __STUDENT ($30) ** __ CONTRIBUTING * ($90) CANADA/MEXICO: $22 ___ ACTIVE e-member ($40) __ STUDENT e-member ($20) __ CONTRIBUTING e-member ($75) OUTSIDE NORTH AMERICA: $31 ___COMMERCIAL ($55) __ LIFE MEMBER * ($1500) __ SUSTAINING *($125 No mailing fees for e-membership! ___COMMERCIAL e-member($40) ___SUSTAINING e-member ($110)
**Full-time students only. Institution name and copy *Will be identified as such in the 2006 T-SHIRT $15: of ID is required: ______2006-2007 Membership Roster 5 $______CONVENTION FEE: $______ONE DAY ONLY For T-shirts, please indicate 4 __ Active/Contributing/Sustaining/Life ($90) how many in each size and FULL CONVENTION: __ Student ($45) check if you want ladies __ Active/Comm/Contrib/Sustain/Life ($175) style or a regular t-shirt IF 1-DAY CHOOSE ONE: THU FRI SAT SUN __ Student ($85) (Circle one) _____S _____M _____L _____XL _____XXL ____ ladies ____regular AWARDS BANQUET 7 NON-FLUTIST GUEST FEES 6 Saturday, August 12, 2006, 5:45 PM FLUTE LOVERS’ Honoring Jeanne Baxtresser and (Includes 1-4 days, all events) 8 LUNCH Stephen Preston ______@$55/person: $______Friday, August 11, 2006 @$75 per person ($20 tax-deductible) NAME(S):______11:30 AM - 1:00 PM or $750 for a ten-seat table $______Guest Speaker: Names must be provided for badge printing. Use Jeanne Baxtresser Banquet 5:45-7:45 PM in 408—410. No tickets will be sent! Admission will be via a master list at the door. separate sheet if necessary. Guests under 8 @$30 per person $______Pre-banquet reception (cash bar) will be held 5:00-5:45 PM admitted free when accompanied by an adult. and will be open to all convention attendees. ______CONTRIBUTION: $______YES, I would like to 9 The National Flute Association, Inc. is a not-for ______volunteer at the (list names of attendees; use separate sheet if necessary) profit organization. Contributions are tax- convention. A volunteer deductible to the extent provided by law. manager will contact you. DONOR LEVELS
10 TOTAL AMOUNT: $______Friend: $50-$99 _____Donor: $100-$499 Total of #2-9. Make check or money-order in US funds drawn on a US ____Silver: $500-$999 _____Gold: $1000-$2499 bank payable to: The National Flute Association, Inc. There will be a can- ____Platinum: $2500-$4999 cellation fee of $10. No refunds for any event, if request is received after ____President’s Circle: $5000-$9999 8/1/06. If paying by credit card, please fill out information below. ____Mark Thomas Society: $10,000 and above
______Credit Card (Circle one):Visa ______Mastercard ______(Card number) (Exp. Date) (Card number) (Exp.Date) ______(Print name as(Print it appears name on as it card) appears on card) (Signature) (Signature)
FORM AND PAYMENT MUST BE POSTMARKED BY JULY 1, 2006 **NO EXCEPTIONS**
Produced By ChriStevRyan Music ©2001 Form NFA-002 ÿ Á ÂÃÄÁ The National Flute Association, Inc. • 2006 Annual Convention • Pittsburgh, PA • August 10-13, 2006
Westin Hotel (Main Hotel) Omni William Penn Hotel For Reservations Call: (overflow hotel—2 blocks from Center) (412) 281-3700 For Reservations Call: or (800) 843-6664 Go to NFA web site www.nfaonline.org or click the convention tab and go to the Westin link Go to NFA web site www.nfaonline.org click the convention tab and go to the Omni link
SINGLE/DOUBLE (1 or 2 persons—$146) SINGLE /DOUBLE (1 or 2 persons - $139) TRIPLE (3 persons— $166) TRIPLE (3 persons - $159) QUAD (4 persons— $186) QUAD(4 persons - $179 )
RESERVATIONS Call for Suite Rates! 1. Reservations must be guaranteed by 1 night’s advance deposit. You may guarantee When reserving your room by phone, identify your reservations by using a major credit card for the first night’s room & tax charge. A yourself as a member of NFA. reservation may be canceled without penalty 72 hours prior to arrival. Reservations must be received by July 7, 2006 2. Check-in time is 3:00PM and check-out time is Noon 3. 14% Room Tax
NFA Roommate Assistance Service TRAVEL INFORMATION Airline Travel & Car Rental NFA OFFICE Identify yourself as an NFA member to get the best rates. Madeline Neumann Book your Air Travel,with: For assistance please 661/299-6680 PHONE 661/299-6681 FAX contact >>>>>>>>>>> [email protected] Call Toll-Free 1-800-433-1790 www.aa.com At checkout put in the code Code #A2286AF If you need a roommate, you can call or e-mail Madeline Neumann at the NFA office and she will keep names of people who are looking for a Avis Car Rental match and give you the information. You will be responsible for 1-800-331-1600 making your own reservations! Refer to Code #D006380
 ÿ CONDUCTED BY Shaul Ben-Meir Come and join us by performing at the Pittsburgh Convention in the “ 2006 Icons Flute Orchestra ”. This ensemble will perform the opening concert of the convention, immediately following the Annual Meeting, on Thursday morning, August 10. Rehearsals will be held on Wednesday, August 9 from 4:00-5:00 PM and 8-10 PM in the Spirit of Pittsburgh Ballroom in the David Lawrence Convention Center. Participation is open to all NFA members, so long as there is space available. Pre-registration for the entire convention is required of all participants. Come and join the fun! NAME______ADDRESS______Please detach and mail or e-mail the Flute Orchestra part of this form to: CITY______STATE_____ZIP______Kathy Farmer PHONE______FAX______EMAIL______2406 Stoney Point Rd. Please indicate: C-FLUTE_____ ALTO FLUTE_____ BASS FLUTE____CONTRA BASS FLUTE ___ Cumming, GA 30041 email - [email protected]
Produced By ChriStevRyan Music ©2001 Form NFA-003 “Now everyone can afford to play an excellent piccolo.”
The new Global piccolo by Burkart & Phelan is the piccolo you have been waiting for, combining the reliability, reputation and quality of a Burkart instrument with a very competitive price.
Find a Dealer www.globalpiccolo.com Jan Gippo 978-263-7177 Solo Piccolo, St. Louis Symphony Orchestra SUBSCRIPTIONS editor reserves the right to edit all articles for style, content, or space requirements. Receipt of The Flutist Quarterly is a benefit of membership in the National Flute The Flutist Quarterly budget does not include honorariums for authors. Association, Inc. Subscriptions are available to libraries and institutions at a charge Editorial deadlines for The Flutist Quarterly apply primarily to departments of $35 per year. Personal subscriptions are not available. The Music Library Catalog providing news of interest about flutist activities and products. Unsolicited feature (6th ed.) is also available to libraries and institutions at $15 per copy. articles may be sent at any time for consideration; submissions to Across the Miles, Canadian News, and Notes from Abroad departments should be sent to their edi- ADDRESS CORRECTIONS tors at least one week prior to deadline dates to be considered for inclusion. Send Bulk rate mail is not forwarded. Send address corrections to: Maria Stibelman, editorial materials for the fall issue by July 1; for the winter issue by October 1; for Membership Services, 26951 Ruether Ave., Suite H, Santa Clarita, CA 91351; the spring issue by January 2; and for the summer issue by April 1. 661-250-8920; 661-299-6681 (fax); [email protected]. The NFA will be responsible for one missed magazine in the event an address change crosses in the Please send submissions (except Across the Miles, Canadian News, and Notes mail. Missed issues due to bad addresses are available at the rate of $10 per copy from Abroad—see those departments for contact information) to: through the membership services manager. Anne Welsbacher 13810 NW Passage #302 BACK ISSUES Marina del Rey, CA 90292 Members and nonmembers may purchase back issues of The Flutist Quarterly phone/fax: 310-301-2101 (call before sending fax) at the rate of $10 each through the membership services manager at the [email protected] address listed above. No submissions will be returned unless accompanied by a stamped, EDITORIAL GUIDELINES self-addressed envelope. Please submit manuscripts electronically as Word files attached to an e-mail message that clearly states what you are submitting. (Unidentified attachments ADVERTISING GUIDELINES might be deleted as a virus security precaution.) If you are unable to submit via Guidelines, deadlines, and fees are available on the NFA Web site at e-mail, please send submissions as Word files on a CD or computer disk. Please nfaonline.org/fqadvertising.asp. include a single-spaced, printed copy of your submission. Advertising deadlines for The Flutist Quarterly are: fall issue, August 15; winter Submissions should also be accompanied by a signed letter stating that the issue, November 15; spring issue, February 15; summer issue, May 1. material contained in your submission (1) is entirely original; (2) has not been previously published; and (3) is not currently under consideration for publication Please send advertising submissions and queries to: elsewhere. (Electronic submissions need not be signed but should include these Steve DiLauro, NFA Advertising Sales Representative three statements.) Manuscripts under copyright need to include permission to LaRich & Associates, Inc. duplicate 10 copies for review purposes only. 153000 Pearl Rd., Ste. 112 You will be notified that your manuscript has been received by the editor. Strongsville, OH 44136-5036 Authors of manuscripts accepted for publication will be sent a permission-to- 440-238-5577 print form. Accepted manuscripts will, when appropriate, go through a review fax: 440-572-2976 process. Authors might be asked to revise manuscripts during this procedure. The [email protected]
NFA Staff, Coordinators, Committee Chairs Please check the NFA Web site for any changes and updates for addresses, phone numbers, and e-mail addresses: nfaonline.org
• NFA STAFF Program Book Bio Editor • COMPETITION COORDINATORS NFA Library Committee Chair Don Rice Brian Luce Executive Director 4845 Fountain Ave #46 General Coordinator Music Building, Rm. 236 Phyllis T. Pemberton Los Angeles, CA 90029 Lori Akins University of Arizona 26951 Ruether Ave., Ste. H 323-660-7550 5113 Glenaire Dr. Tucson, AZ 85721-0004 Santa Clarita, CA 91351 [email protected] Dublin, OH 43017-9479 520-621-7015 661-713-6013 614-766-1838 fax: 520-621-1307 fax: 661-297-0753 Visual Documentation [email protected] [email protected] [email protected] Paula Gudmundson 1128 LaSalle Ave. Baroque Flute Artist NFA Librarian Minneapolis, MN 55403 Convention Manager Linda Pereksta Bob Diaz, Music and Dance Librarian Madeline Neumann 612-321-0100 x433 836 S. Clearview Pkwy. #353 [email protected] NFA Music Library 26951 Ruether Ave., Ste. H River Ridge, LA 70123 c/o University of Arizona Libraries Santa Clarita, CA 91351 phone/fax: 504-818-0581 1510 E. University 661-299-6680 Lifetime Achievement Awards Banquet Chair [email protected] fax: 661-299-6681 Richard Soule Tucson, AZ 85721-0055 5407 Ramillete Rd. 520-621-7010 [email protected] Chamber Music Las Vegas, NV 89120 [email protected] Andrea Graves Publications Director 702-895-3377 [email protected] Western Illinois University, 120 Richmond Rd • THER OORDINATORS Anne Welsbacher Macomb, IL 61455 O C 13810 NW Passage #302 309-836-2374 • COMMITTEE CHAIRS Director of Development Marina del Rey, CA 90292 fax: 309-298-1968 phone/fax: 310-301-2101 [email protected] Richard Soule [email protected] Amateur Resources 5407 Ramillete Rd. Brenda Trautman Convention Performers Las Vegas, NV 89120 Membership Services 275A Solon Rd. 702-895-3377 Chagrin Falls, OH 44022 Amy Hamilton Maria Stibelman 154 King St. fax: 702-433-9457 26951 Reuther Ave., Ste. H 440-247-2548 Oakville, ON, L6J 1B2 [email protected] Santa Clarita, CA 91351 [email protected] Canada 661-250-8920 Commercial Members 905-339-2658 Director of Public Relations fax: 662-299-6681 Irene Pruzan [email protected] Sue Ann Kahn [email protected] 96 Fifth Ave. #4-J 5951 Petunia Ln. • NFA PUBLICATIONS New York, New York 10011 Call for DM/PhD Papers Orlando, FL 32821 212-675-1932 Rachel Lynn Waddell phone/fax: 407-238-9378 Editor, The Flutist Quarterly, NFA Online [email protected] Hillsdale College, Howard Music Building cell: 651-398-7307 Anne Welsbacher 79 E. College St. [email protected] 13810 NW Passage #302 Cultural Outreach Hillsdale, MI 49242 Marina del Rey, CA 90292 Ellen Kaner 517-607-2366 Flute Choirs Coordinator 310-301-2101 5802 Tinsley Dr. [email protected] Dorli McWayne [email protected] Arlington, TX 76017-6324 780 Merlin Ln. 817-467-6784 High School Soloist Fairbanks, AK 99709 Advertising Sales Representative [email protected] Darrin Thaves 907-479-6701 Steve DiLauro, LaRich & Associates, Inc. California State University, [email protected] 153000 Pearl Rd., Ste. 112 Historical Flutes Department of Music, 1250 Bellflower Blvd. Strongsville, OH 44136-5036 Kim Pineda Long Beach, CA 90840-7101 Flute Clubs Coordinator 440-238-5577 4208 3rd Ave., NW 562-858-7697 Christine Cleary Seattle, WA 98107 [email protected] fax: 440-572-2976 2022 Wedgewood Dr. [email protected] 206-782-0406 [email protected] Jazz Flute Masterclass Grapevine, TX 76051-7706 817-421-6663 NFA Online Administrator Ali Ryerson [email protected] Brian Covington Jazz 12 Longview Dr. [email protected] Ali Ryerson Brookfield, CT 06804 12 Longview Dr. 203-740-2044 Flute Research • CONVENTION Brookfield, CT 06804 [email protected] Rachel Lynn Waddell 203-740-2044 Hillsdale College, Howard Music Building Program Chair 2006 [email protected] Masterclass Performers 79 E. College St. Thomas Robertello Catherine Bull Hillsdale, MI 49242 c/o Emily McKay, Assistant Program Chair Long-Range Planning 303 Augusta Ave. SE 517-607-2366 717 S. Lincoln St. Leone Buyse Atlanta, GA 30315-1403 [email protected] Bloomington, IN 47401 2136 Swift Blvd. 404-627-9077 202-674-8381 Houston, TX 77030 [email protected] Grants Development [email protected] 713-838-0420 Patricia Spencer cc all to [email protected] fax: 713-838-0078 National High School Flute Choir 215 W. 90th St. #1G [email protected] Jane Berkner New York, NY 10024 Convention Manager School of Music, University of Akron 212-873-1065 Madeline Neumann New Music Advisory Akron, OH 44325-1002 fax: 212-873-1065 Paul Taub 26951 Ruether Ave., Ste. H 330-972-7061 [email protected] Santa Clarita, CA 91351 1513 25th Ave. [email protected] 661-299-6680 Seattle, WA 98122 Insurance fax: 661-299-6681 206-720-1011 Newly Published Music [email protected] [email protected] Francesca Arnone Andrea Loewy 1620 Vermont Ave. 110 Live Oak Dr. Boise, ID 83706 Local Arrangements Chair 2006 Nominating Lafayette, LA 70503 208-429-8026 Wendy Kumer Alexa Still 337-988-6323 [email protected] 136 Fairfax Rd. College of Music, Box 301 [email protected] Pittsburgh, PA 15221-4616 UC Boulder 412-241-0209 Boulder, CO 80309-0301 Orchestral Audition/Masterclass International Liaison [email protected] 303-492-7150 Joanna Bassett Matej ZUPAN fax: 303-492-5619 85 Maywood Ave. C. 9. avgusta 72, 1410 Zagorje ob Savi Exhibits Management [email protected] Rochester, NY 14618 Slovenija, Europe Jim Magee 585-383-0650 +386 40 811 811 Oral History N’Awlins Trade Show and Convention Services, Inc. [email protected] fax: +386 1 516 11 34 612 Highland Ct. Nancy Toff [email protected] 425 East 79th St. #6F Mandeville, LA 70470-8538 Piccolo Masterclass 985-626-3046 New York, NY 10021 Rebecca Arrensen Legal Advisor fax: 985-727-3940 212-772-1343 1429 Stoney Creek Cir. Linda Mintener [email protected] [email protected] Carmel, IN 46032 3976 Plymouth Cir. Exhibits Assistant Pedagogy phone/fax: 317-818-0004 Madison, WI 53705 Patti McCleney Rebecca Hovan [email protected] phone/fax: 608-231-1680 N’Awlins Trade Show and Convention Services, Inc. 23685 Arlene Ave. office: 608-266-3049 P.O. Box 8538 Elkhart, IN 46517-3643 Professional Flute Choir [email protected] Mandeville, LA 70470-8538 574-875-5447 Lisa Garner Santa phone/fax: 985-893-9521 [email protected] School of Music, Texas Tech University Myrna Brown International Liaison [email protected] Box 42033 Dennette Derby McDermott Performance Health Care Lubbock, TX 79409-2033 315 South Court Dr. Showcase & Exhibitor’s Concert Coordinator Lee Van Dusen 806-742-2270, ext. 279 Nachitoches, LA 71457 Nora Kile 1947 Gravel Rd. [email protected] 318-357-5761 1802 Glen Stone Ln. Seneca Falls, NY 13148-8720 fax: 318-357-5906 Hixson, TN 37343-3106 315-568-1233 Young Artist [email protected] 423-842-4570 [email protected] Karen Moratz Jordan College of Fine Arts, Butler University [email protected] Myrna Brown Society Piccolo 4600 Sunset Ave. Indianapolis, IN 46208 Debbie Hyde-Duby Program Book Editor Mary Kay Ferguson 4554 Leathers St. Anne Welsbacher 3420 E. Fairfax 317-253-1891 San Diego, CA 92117-3419 phone/fax: 310-301-2101 Cleveland Heights, OH 44118 [email protected] [email protected] 216-321-2713 858-270-4506 [email protected] • ARCHIVES & LIBRARIES [email protected] Advertising Sales Representative Steve DiLauro, LaRich & Associates, Inc. Special Publications Archivist-Historian Masterclass Reporter 153000 Pearl Rd., Ste. 112 Susan Waller Natalie Syring Tony Watson Strongsville, OH 44136-5036 224 Kent Pl. 9 Mallard Glen Pl. 1722 Hummingbird Ln. NE 440-238-5577 San Ramon, CA 94583-3748 The Woodlands, TX 77381 Atlanta, GA 30307 fax: 440-572-2976 925-829-4922 281-363-0955 404-964-4142 [email protected] [email protected] [email protected] [email protected]
INDEX OF ADVERTISERS
Abell Flute Co. 24 Altus Flutes America, Inc. 12 Brannen Bros. Flutemakers, Inc. 91 Burkart Flutes and Piccolos (2) 7, 84 Cantilena Records 16 Carlini, Louis A. 29 Clarion Insurance 37 Drelinger Headjoint Co. (3) 21, 64, 81 Emerson, division of Conn-Selmer 10 Flute Exchange, The 4 Flute Network/Little Wizard Enterprises 68 flutesonline.com 36 Flute Specialists, Inc. 78 Flute World 31 Graf, Erich 78 Green (Tom) Flutes, Inc. 8 Hammig Piccolos (see also Miyazawa) 85 Harper, Patricia 68 Interlaken Classics 8 Ithaca College 74 Christina Jennings 4 Jupiter Band Instruments, Inc. 14–15 Keefe Piccolos 81 Kemler, Katherine 75 Kingma, Eva 30 Landell Flutes 8 Bradley Leighton 36 Listesso 64 Little Piper/Dean Yang Flutes 36 Loewy 77 Lopatin 30 Lyric Flutes (see also Miyazawa) 6 Magnolia Music Press 26 Mancke-Flutes 81 Masters Flutes/ABA Music 6 Miyazawa Flutes, Ltd (3) 6, 85, 88 Christine Moore Curtis 64 Muramatsu America 86 Music for Healing & Transition Program 79 Nagahara Flutes 22 National Flute Association (4) 63, 65, 66, 78 Ogura Flute Works 68 Pearl Flutes 90 Polak, Simon 36 Amy Porter DVD 29 Potter, Christine (2) 74, 89 Powell Flutes 79 Progress Press 47 Sagerman Flutes 75 J.S. Engineering 74 Sheridan Flute Co. 35 Virginia Sindelar 64 Sonare Winds, a division of Powell Flutes 15 Syrinx 30 Tai Hei Shakuhachi Flutes 77 Tap Music Sales 75 Williams Flutes 92 Windplayer 35 Winzer Press 25 Woodwind/Brasswind 21 Yamaha Corporation of America 2 Your Flute Works 89
Williams Flutes
Fine quality flutes & headjoints hand-crafted in the Boston tradition. Available in gold,platinum, silver and wood.
Phone: 781-643-8839 williamsflutes.com
THE NATIONAL FLUTE ASSOCIATION, INC. NON PROFIT ORG US POSTAGE PAID 26951 RUETHER AVE., SUITE H LOS ANGELES, CA SANTA CLARITA, CA 91351 90052 PERMIT #1831
ADDRESS SERVICE REQUESTED