British Flute Society @BritishFluteSoc on Facebook @TheFluteEditor From the Editor Contact Elisabeth at [email protected]
s December arrives, members of the British Flute Society can reflect on another successful year. In 2013, we have been privileged to enjoy exceptional recitals from our various Premier Flautists; our annual competitions continue to grow in both popularity and attainment, and there has been a growing involvement from Aour regional representatives, many of whom have organised local events. We are, as always, greatly indebted to many people: artists, trade specialists, and flute-loving volunteers, all of whom have made the events of the past year possible. In 2014 the BFS-RAM Premier Flautist recital series will continue, starting with the acclaimed duo of Andy Findon and Geoff Eales who will perform theirDancing Flute programme at the Duke’s Hall, Royal Academy of Music, on 16 February. Most excitingly, planning for the Convention is also now well under way, thanks to the hard work of Convention Director Carla Rees, and this issue unveils a preview of some of the artists who will be joining us in Warwick in August next year. Finally, on a personal note, I would like to thank everyone who has contributed to PAN over the past year. Without the generous commitment of time and expertise freely given by contributors and reviewers from around the world, this magazine could not exist. I am very grateful for your help and your flute- playing friendship. I hope you enjoy the December edition of PAN. Elisabeth Hobbs Editor
December 2013 1 The Council and Officers of the British Flute Society Chairperson Carole Jenner-Timms Vice Chairperson Rachel Misson Treasurer Catriona Crosby Area Representative Co-ordinator The British Flute Society Kate Cuzner Council Members Kate Hill; Anne Hodgson; Lisa Nelsen; Niall O’Riordan; President William Bennett OBE Malcolm Pollock; Sally Quantrill Vice President Sheena Gordon AFT Representative Honorary Patrons Sir James Galway Hugh Phillips and Lady Jeanne Galway Membership Secretary Chairperson Carole Jenner-Timms Nicola Thompson Legal Advisor The Journal of the Alastair Learmont British Flute Society BFS Secretary and Advertising Manager Anna Munks Volume 32 Number 4 Editor December 2013 Elisabeth Hobbs Editor Elisabeth Hobbs Convention Programme Director [email protected] Carla Rees Full contact details for all council members and officers are available from the secretary.
Contacting the BFS Secretary and Advertising Area Representatives Anna Munks Avon & Somerset Carole Jenner-Timms Leicestershire Elizabeth Rowan 0116 2514595 27 Eskdale Gardens 01761 233982 London E & Essex Kate Cuzner 01787 273628 Purley, Surrey CR8 1ET Birmingham Margaret Lowe 0121 474 3549 NW London Joss Campbell 07930 093564 Telephone and fax 020 8668 3360 Cardiff Justine Swainson 029 2075 1313 Oxfordshire Kate Hill 01491 641212 [email protected] Cheshire Dawn Savell 01925 416647 Scotland Marysia Williamson 01501 762 510 Cumbria Suzanne de Lozey 01539 560054 Southampton/Hants Sarah Heard 07779 927613 Derry/NI Sarah Murphy 07811 107065 Surrey Jacqueline Cox 020 8773 0436 Membership Secretary Devon (West) & Cornwall (East) Swansea Hugh Phillips 01792 865825 Nicola Thompson Kym Burton 01837 861138 West Yorkshire Tracey Smurthwaite 01924 48 Wistow Road East Sussex Anne Hodgson 01273 812580 211538 Selby YO8 3LY Hertford Sally Quantrill 01992 536236 INTERNATIONAL Telephone 0845 680 1983 Hertfordshire Wendy Walshe 01707 261573 Australia (VIC) Paula Rae +61 3 9882 6888 [email protected] Hertfordshire (Hitchin) Liz Childs 07711 Australia (NSW) Derek Galloway +61 4 080275 50045753 Isle of Wight Louis Henry 01983 531868 France Atarah Ben-Tovim +33 5574 74428 Editorial Committee Kent Pat Daniels 01732 770141 Italy Geoff Warren +39 85 4159865 Carole Jenner-Timms Lancashire Mark Parkinson 01257 410856 Muscat, Oman Nicholas Foster +968 95203966 Alastair Learmont Lancashire (Preston) Jane Pembleton-Smyth New Zealand Marion Titmuss +64 75520794 Rachel Misson 01772 864587 Qatar Pat Smith +974 4678121 Anna Munks Niall O’Riordan
Associate Editor Eleanor Stammeijer CLASSIFIEDS Editorial Assistant Elizabeth Rowan Pan magazines, as new, volumes Design and layout Elisabeth Hobbs 1 to 28. Will sell separately or Cover image Michael Cox complete. Tel. 01924 827507 Printed by Lavenham Press Miyazawa PA201E solid silver Views expressed by contributors are their own and do not necessarily reflect an headjoint excellent condition official view of the British Flute Society. £375 plus postage. Contact 07730 All copyrights reserved. 105264; email sarahrfelton@ googlemail.com.
Flute Hammig (Aug. Rich.) Registered charity No. 326473 Grenadilla silver closed key 1953 ISSN 2052-6814 interesting offers invited. Ian. Text 07840 697551 or email ikp. [email protected] Contents
1 From the editor 16 5 Letters 6 News and people 14 Events diary 56 Reviews 62 Opinion Wissam Boustany
Features 26 16 An Irish flute celebration Sarah Murphy on the ‘Relief of Derry’ Symphony project 20 Summer school: is it for me? Adult amateurs and students talk about their experiences 24 Principal Chairs Michael Cox leads a new approach to learning orchestral excerpts 26 The flute works of Mel Bonis Malcolm Pollock on an overlooked French composer 30 Jennifer Higdon: flautist and composer Tammy Evans Yonce DMA on the interpretation of her flute works
Regulars 34 34 Baroque Elizabeth Walker introduces the essentials of baroque ornamentation 38 Technique Niall O’Riordan on building finger dexterity 42 Forgotten Music 54 Roz Trübger on the rediscovered Concerto for Flute by Macfarren 48 Teachers’ portfolio Roz Trübger on exams, Myra Baker on breathing, and Elizabeth Rowan on the Suzuki method 54 Flutewise Jonathan Myall and the ‘antique flute’; Mark Goodwin on myfife
December 2013 3 From piccolo to bass, student to solid gold, and everything in between. The complete range - a Pearl Flute for every stage of your flute playing career.
4 www.bfs.org.uk
www.pearlflute.com The Editor, PAN The Dairy Toot Baldon OXFORD Letters OX44 9NG Write to [email protected]
Prize Letter A structure – not a prison The winner of In your last edition you asked for comments on the exam system. I use both the ABRSM and Trinity December’s Letter From piccolo to bass, Guildhall boards in my teaching as I find they each have their own advantages. The Associated prize receives a Board in the eyes of parents and students still seems to carry ‘gold standard’ value, though as a complete set of the student to solid gold, teacher I find that there can be, as a result, a reluctance to consider that another board might be new ABRSM flute more suitable for whatever reason. As Trinity does not require theory, or even scales, these days – syllabus books both controversial changes – it does mean that this board can be better for students who have an (flute and piano, and everything in between. ear and an aptitude but want to concentrate on playing for pleasure. The new Trinity syllabus also Grades 1 to 7). PAN has some really enjoyable highlights in the new Mosaics books and the Musical Moments series. is grateful to the The complete range - a Pearl Flute for every stage of your flute playing career. As for our long-time friend, the Associated Board, there is certainly a rigour in the requirements Associated Board of that imparts the sense that we are handing on to our students the same time-honoured training the Royal Schools that we experienced ourselves (scales, scales, scales, theory, aural…). There is no doubt that this of Music for this traditional route has served the test of time. Nonetheless, I’m sure most people felt as happy as I generous donation did to see the end of the yellow books, and welcome some fresh new material. This in itself can which marks the refresh our approach to teaching. launch of their new I think the main thing we need to remember in terms of exams is that they are not of themselves flute syllabus. a syllabus. If we get stuck using only the prescribed material, doing only the technical work that they tell us to do, we are not really stretching either our students or ourselves as musicians. I am grateful for the structure of the exam systems that we have, but I don’t want to be a prisoner of them. Jane Howe
December 2013 5
www.pearlflute.com flute, as well as the world premiere of Daniel Kessner’s Tableaux for bass flute and guitar. The first of the new works was Tomi Räisänen’s Mirrie Dancers, a 25-minute piece inspired by the News Northern Lights, while the second concerto, heard at the end of the concert, was Dungeness, an atmospheric reflection of a remarkable landscape, by rarescale’s composer in residence, and People Michael Oliva. Both events, and the 17 works premiered over 10 days, were testament to rarescale, and Carla Rees’ commitment to the development of repertoire for low flutes which, with rarescale, rarescale celebrates its 10th anniversary has helped to establish the alto and bass flute as successful recital instruments with a distinctive contemporary voice. ontemporary music ensemble rarescale celebrated its 10th Anniversary this autumn with two major events. The group was formed by Carla Rees in 2003 to perform Cchamber repertoire for alto and bass flutes, and has since premiered several hundred works, in addition to forming its own record label (rarescale records), an associated publishing company (Tetractys), and training flute ensemble rarescale( Flute Academy). The group has developed an international reputation for its work and has performed at a number of leading festivals, including Huddersfield Contemporary Music Festival, Spark Festival (Minneapolis) and Sonic Circuits The rarescale competition final (image: Derek Rees) Festival (Washington DC). To reflect rarescale’s commitment to the creation of new repertoire, it held a competition for composers hosted by the Royal College of Music to mark its tenth anniversary. The competition attracted nearly 50 entries from the UK, USA, France, Greece, Germany, Sweden, Italy, Canada and Argentina, from which works were selected for judging in the Student and Professional categories. The shortlisted works in the student category were featured in a one-day workshop in the presence of the judges, and the category winner was Devon Yasamune Toyotomi with his work Twenty Thousand Folds for Kingma alto flute and guitar. Azlee Babar’s composition Fluorepv for soprano, violin, bass flute and marimba was awarded an honourable mention. The professional category final was held on 27 September in the Amaryllis Fleming Concert Hall at the Royal College of Music. rarescale performed seven works, ranging from works for solo alto flute to an ensemble of bass flute, bass clarinet, cello and electronics. The judges were Simon Channing, Daniel Kessner, Carla Rees and Michael Oliva, and the overall winner was Antonis Anestis from Greece, with his work Nights for amplified bass flute, cello and piano. The winning works in each category will be published by Tetractys, and a compilation CD of selected works from the shortlists will be released by rarescale records in the New Year. A week later, on 5 October, rarescale held a Tenth Anniversary Concerto Gala concert at Shoreditch Church in East London, featuring two newly commissioned concertos for alto flute and chamber ensemble, to celebrate the gift to Carla of the new prototype Kingma and Brannen Kingma System alto
6 bfs.org.uk News
Flutewise Jazz Day brilliantly. After a short break Geoff and Malcolm Ball then with Geoff Warren gave a wonderful jazz recital that was thoroughly enjoyed n November, Geoff by both the morning and Warren led an amazing afternoon groups and their jazz event for Flutewise parents and friends Iin Tunbridge Wells. The The afternoon session day was divided into two was for players Grade 5 sessions, beginning with a and over who wanted to general introduction to jazz learn more about playing flute for young players. jazz. This group received Geoff started by giving the same materials as the each of the participants morning students and sheets of major and minor played through several of pentatonic scales and the scales – an essential explained a pentatonic foundation. This time, the practice routine. After piece was played with a jazz getting used to the D minor swing, and once again, all pentatonic scale the players the participants tried their used it in a piece composed hand at improvising. by Geoff which had both Flutewise was generously tutti parts and blank sections supported by Yamaha in for improvisation. Everyone presenting the jazz day had a go at improvising, after with Geoff Warren, and a which Geoff asked if anyone thoroughly enjoyable time would like to step up to was had by everyone who the front. Three volunteers attended. Photos and videos stepped forward, Anthony, of the event can be found on Emma and Thomas (aged www.flutewise.com Seven-year old Thomas improvising with Geoff Warren seven), who all performed PAT DANIELS ritish flautist Elena Durán, who is now based in Mexico, and her pianist Edgar Ibarra were recently Bhonoured to perform at the opening of the ‘Great’ British Week in Mexico City. The week-long festival celebrated British business and culture in Mexico. Elena is currently an Ambassador of Mexico City, and in addition to giving concerts with leading orchestras in all the major halls and festivals, has a personal out-reach programme in which she takes music to those on the outskirts of society, including prisoners in the gaols of Mexico City. Elena reports, “I’m in the middle of a 30-concert national tour at the moment, performing repertoire I call ‘stolen gems’ (arrangements of Dvořák, Schumann, Milhaud, Franck) as well as a Beatles, Queen, and Rock and Roll programme with my jazz trio.” Elena has also recently performed a programme of music by the great Mexican composer-song writer José Alfredo Jiménez who died in 1973, which was recorded for television. Elena will be returning to the UK next summer for a number of Festival engagements.
December 2013 7 News
9th International Convention Convention 2014: August 22-24 2014 Warwick Arts Centre Music with Friends University of Warwick
lans are well under The theme for this play together, socialise and with a focus on a younger way for the 2014 convention is Music with share inspirational musical generation of performers, Convention, which Friends, inspired by the memories. some of whom have not Pwill be held at Warwick friendships that have As usual, there played in the UK before. Arts Centre, just outside developed through flute will be a wide range of World-class headline Coventry. Warwick playing for so many of recitals, workshops, foyer recitalists include Katherine Arts Centre is just over us. The theme takes on performances, flute choirs Bryan, Robert Dick, Marina an hour from London two main strands within and masterclasses, with Piccinini, Quintessenz, Peter by train, and there is the programming; the an early music day on Verhoyen and Adam Walker. free parking and sports artists are encouraged to Saturday and a number of The full programme will perform together, both events aimed particularly be announced online on centre access for anyone in shared recitals and towards teachers on Friday. 1 January, when booking coming by car and ensemble playing, and Artists include a wide opens. We look forward to staying in University convention delegates will range of regular convention seeing you at the flute event accommodation. be given opportunities to favourites and new faces, of the year! The Leipzig-based flute ensemble Quintessenz will be one of the highlights of the Convention
Note: The Convention programme and advertised artists may be subject to change without notice
8 bfs.org.uk Convention
Flutes and friendship at the BFS Convention 2012
ANN CHERRY It is with great regret that the BFS announces the death of Ann Cherry in November 2013. A highly respected flute teacher and player, Ann worked for Hampshire music service and Dartington, and later as Professor of Flute at London College of Music and Trinity College. She was an eminent performer and played with many leading ensembles. Ann also edited and arranged music, composed, and wrote books and articles on aspects of flute playing. She served for a period as Secretary of the BFS. A full obituary will appear in the next issue of PAN. Safe in our hands Protection from theft and damage from just £30
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10 bfs.org.uk News
pupils with the wonderful experience of playing as part of an ensemble. The group Flute teacher wins plays on a voluntary basis in the local community and Claire says it is invaluable at helping to develop essential Classic FM award musicianship skills and confidence. As well as this, she says, the children have FS member Claire the opportunity to form Hennie was recently friendships which they may delighted to be never have done otherwise. Bhonoured with the Classic With an all-inclusive policy FM Teacher of the Year in the group, Claire arranges award for private teaching. most of the music to suit Claire lives and teaches the abilities and interests of flute from her home in her students; so all students Whitchurch, Shropshire (as are challenged, while well as teaching music at a performing a part which is local primary school). She suited to their abilities. grew up in Stockton on Tees, Having received taking piano lessons from her LRSM Diploma in the age of 11 and flute from flute teaching from the 13 (relatively old by today’s ABRSM in 2012, Claire is standards). She achieved an a passionate advocate of ABRSM award (The Derek professional development Henderson memorial prize) for private music teachers. for the highest distinction She believes that “no music results in the county of teacher is the finished Cleveland, and went on to article, there are always study music at Lancaster new teaching methods to University specialising in explore and skills to refine. flute and studying with We owe it to our pupils to Rachel Holt. continue developing our Claire says that she knew own technique as teachers, early on that her purpose so we strive to give the best was to share her love of we can.” music with others through On winning her award teaching, and she has been (presented by actor Damian doing so for the past 18 years. Lewis, film director Through this time she has Sam Mendes, and film taught flute both privately, producer Lord Puttnam), peripatetically, as head of Claire commented, “I am music in a preparatory completely overwhelmed. It school, in several primary is a huge honour to be given and secondary schools over this award. Teaching music the years, and has worked as for me isn’t a job at all, it’s an a musical director for theatre all-consuming passion, and arts groups. I consider myself incredibly As well as teaching lucky to be working with privately, Claire established a some amazing young people flute choir six years ago called who are utterly inspiring to Flute Salad to provide her m e”. Claire Hennie (top) and with fellow award winner Matthew Tiffany
December 2013 11 The British Flute Society’s Flute Competitions 2014 Wednesday 19 February Regent Hall, The Salvation Army, 275 Oxford Street, London, W1C 2DJ
BFS School Performer 2014 Class A: For performers aged 13 years and under and approximately Grade 5 or above. Class A will conclude with a flute choir/workshop. Class B: For competitors aged 14–18 years and approximately Grade 7-8 or above.
BFS Young Artist 2014 for performers aged 24 years and under
Closing date for entries: 20 January 2014 but book early to avoid disappointment. A leaflet and booking form will be included in the December issue of Pan or apply online at: www.bfs.org.uk Registered charity no: 326473
Competition Prizes 2014 BFS School Performer 2014 Class A First Prize: Pearl Flutes Prize Pearl Flutes (Pearl Music Europe) will kindly award a piccolo to the winner of the Class A BFS School Performer 2014 competition.
Class B First Prize: Wm S Haynes Co Prize William S Haynes Co of Boston will kindly award a solid silver headjoint with 14K rose gold embouchure and 14K rose gold riser to the winner of the Class B BFS School Performer 2014 competition. In addition, the winner will be invited to perform at the 2014 BFS International Convention.
BFS Young Artist 2014 First Prize: Trevor James Prize Trevor James will kindly award a TJ alto flute as a prize and this will be presented to the winner of the Young Artist 2014 competition. In addition, the winner will be invited to perform at the 2014 BFS International Convention.
We would like to thank all companies who generously give prizes for the competitions. A full list of prizes will be included on the BFS website soon. 12 bfs.org.uk Sigfrid Karg-Elert Raymond Guiot 30 Caprices op.107 for solo flute Do it Duet for two flutes (edited by Rien de Reede)
Sigfrid Karg-Elert Wolfgang Amadeus Mozart Sonata Appassionata op.140 for solo flute 6 Sonatas for flute and piano KV 301-306 (edited by Rien de Reede) Vol. I + Vol. II (edited by Konrad Hünteler) Benedetto Marcello Verdi / Fahrbach 12 Sonatas for flute and continuo op. 2 Prima Fantasia su motivi dell’Aida op. 78 for three flutes Vol. I + Vol. II urtext (edited by A.Persichilli) Honorable Mention NFA Newly Published Music Competition 2008 Viotti Gianella Mercadante 3 duetti italiani for two flutes (edited by Rien de Reede) ORDERS AT Winner NFA Newly Published Music Competition 2008 topwind.c om Johann Joachim Quantz 6 sonatas for two flutes op. 5 justflutes.com (edited by Rien de Reede) Honorable Mention NFA Newly Published Music Competition 2008 COMPLETE CATALOGUE ON WEBSITE
www.riverberisonori.it tel/fax + 39 06 44 70 32 90
December 2013 13 EVENTS DIARY The British Flute Society’s DECEMBER Ninth International Convention 1 Join Sarah Heard and Funky Flutes for a Christmas Playalong, Prior’s Hall, Winchester Cathedral, 2pm. Festive music, mince pies and ice skating (booked in advance). To book contact the box office on 01962 857275.
7 Flautissimo join forces with Nightinglee choir at All Saints Church, Desborough Road, Eastleigh SO50 9NH at 6.30pm. Tickets £5 and £1, available on the door. 8 Flutes Unlimited Christmas Concert. Get into the Christmas spirit with Glasgow’s popular flute ensemble. For more Friday 22–Sunday 24 August 2014 information, see www.flutesunlimited.co.uk/Flutes_Unlimited. Venue: Shawlands Kirk, time to be confirmed. Warwick Arts Centre 12 Sir James and Lady Jeanne Galway with the Orchestra of St John’s, Ely Cathedral, 7.30pm. A programme of Bach and Vivaldi. Tickets available online at www.osj.org.uk or call the Box Office on 01353 660349. University of Warwick 13 Sir James and Lady Jeanne Galway with the Orchestra of St John’s, Malsmbury Abbey, Wiltshire. 7.30pm. Programme and booking details as above.
14 Sir James and Lady Jeanne Galway with the Orchestra of St John’s, Dorchester Abbey, Oxfordshire, 7.30pm. Programme and booking details as for 12 December. Nearest rail station Coventry:
22 Emmanuel Pahud with Christian Rivet (guitar), Wigmore Hall, London, 7.30pm. Music by Handel, Piazzolla, Bartók, and just 1 hour from London Euston more. Tickets £15-£30. Book online at www.wigmore-hall.org.uk or call the box office on 020 7935 2141. and 15 minutes from Birmingham Airport
JANUARY
9 Alison Mitchell (flute) and Sivan Magen (harp) with the Scottish Chamber Orchestra perform Mozart’s Concerto for Booking opens 1 January 2014 Flute and Harp. Queen’s Hall, Edinburgh, 7.30pm. Tickets £10 - £30. Box office: 0131 668 2019.
15 Patrick Gallois (flute) and Maria Prinz (piano). A concert of German and French Romantic music. Milton Court Concert Hall, Barbican Centre, 7.30pm. Tickets £10 - £30. 25% discount for BFS members, promo code: 151114. Book online at www.barbican.org.uk.
25 Elizabeth Rowan, solo recital at St Wulfram’s Church, Grantham, Lincolnshire, NG31 6RR, 11.30am. Free entry with contributions invited towards the church funds. Music by Piazzolla, Telemann, Hoover, Bach, and Karg-Elert. Refreshments will be available before the concert. Enquiries: 0116 251 4595
26 Adam Walker (flute) and James Baillieu (piano) for Kelso Music Society. Kelso High School, 2.30pm. French repertoire from the principal of the London Symphony Orchestra. The concert is preceded by a masterclass. See www. kelsomusicsociety.com for more information.
FEBRUARY
8 Andrea Oliva (flute), Angela Hewitt (piano) and Julia Schröder (violin), Wigmore Hall, London, 7.30pm. Music by Bach. Tickets £15 - £30. Tickets £15-£30. Book online at www.wigmore-hall.org.uk or call the box office on 020 7935 2141.
16 BFS Premier Flautist recital, The Dancing Flute, Andy Findon (flute) with Geoff Eales (piano). Duke’s Hall, Royal Academy of Music, London. Tickets: BFS members £10, non-members £15, students £5. www.ram.ac.uk.
18-21 Fantastic Flutes with Zoe Booth and Rachael Buxton, Benslow Music, Benslow Lane, Hitchin, Hertfordshire, SG4 9RB. For more information contact [email protected] or call 01462 459446.
19 BFS Competitions (School Performer Classes A and B and Young Artist), Regent’s Hall, Oxford Street, London. Entries close 20 January. Further details and application form from www.bfs.org.uk. www.bfs.org.uk Registered charity no: 326473 14 bfs.org.uk
Warwick 4.indd 1 5/14/2013 11:39:24 AM The British Flute Society’s Ninth International Convention
Friday 22–Sunday 24 August 2014 Warwick Arts Centre University of Warwick
Nearest rail station Coventry: just 1 hour from London Euston and 15 minutes from Birmingham Airport
Booking opens 1 January 2014
www.bfs.org.uk Registered charity no: 326473 December 2013 15
Warwick 4.indd 1 5/14/2013 11:39:24 AM An Irish flute celebration Sarah Murphy on a special flute event for Derry-Londonderry UK City of Culture 2013
uring this extra special year for Derry-Londonderry as and socialise together once or twice a week playing a diverse UK City of Culture, the Maiden City Festival decided repertoire of classical overtures, songs from the shows and to shine a spotlight on the flute cultures of Northern traditional marching tunes. They span a wide age range from 10 DIreland by commissioning an arrangement of Shaun Davey’s to 80+ and play on a full range of flutes and percussion, with the Relief of Derry Symphony. This was not just any arrangement silver flute bands having Piccolo, G treble Flutes, Concert, Alto, but one for 10 different types of flute, 80 flautists from three Bass, Contra Alto, Contra Bass and Double Contra Bass flutes. flute bands with associated percussion, traditional Irish flautist These bands have an annual programme of concerts, Marcus Ó Murchú, professional flute quartet Festive Flutes, and competitions and marching as well as offering group tuition, mezzo soprano Doreen Curran. teaching flute to the younger generation. It is little known that The project came about when I was invited by the festival the flute band scene is one of the biggest in amateur music director, David Hoey, in 2012 to suggest ideas that would making across Northern Ireland. Derek Moore from the raise the profile of the flute as an instrument and highlight William King Fife Band is the development worker for the the culturally diverse music making of flautists within Derry- Londonderry Bands Forum and told me of 20,000 members Londonderry. Festival director David Hoey had ambition for in flute bands across the province with 600 registered bands “a project with the potential to and approximately another 200 amaze and inspire; bringing unregistered. Within an 8 mile together all flute genres into “It was the most moving music radius of Londonderry there are an event that will reach across experience I have ever had. Our 12 flute bands including three communities and challenge established and award winning stereotypes.” After manycommon language is music and silver flute and wooden melody discussions David kept coming hopefully this will be the beginning of flute bands: the “Churchill” back to the idea of performing a formed in 1885, “Hamilton” symphony that commemorated many musical collaborations and will formed in 1856, and a relative the famous siege of 1689 in St lead to wider co-operation and more newcomer the wooden melody Columb’s Cathedral, a building flute band, the “William King within the city walls that existed sharing of our musical experiences. The Memorial” (1973). during the siege itself, performed Derry also has a traditional by an orchestra of flutes from all legacy will be that this should continue Irish music scene with its weekly communities. and blossom and become part of what classes in many instruments, As we were combining flute including flute and whistle, run band players, a traditional Irish we are as musicians on this island.” at Cultúrlann Uí Chanáin, a flautist, professional classical purpose built Irish language, flautists Liz Walker, Joss Marcas Ó Murchú, traditional flautist arts and cultural centre, as well Campbell , Sandi Skipper, Mel as sessions in bars and venues Orris and myself who together make Festive Flutes, as well as a throughout the city. One of Ireland’s most respected traditional mezzo soprano, there was a lot to consider. This is the story of flute players Marcas Ó Murchú, who was awarded the major the lead up to the two incredible performances that happened honour of “Ard Ollamh” (Professor Laureate of Irish Music) in August 2013 on the eve of the Relief of Derry Pageant. from “Comhaltas Ceoltoiri Eireann” during the Fleadh Ceoil The flute band world in Northern Ireland is very active na hEireann this year, also lives in Derry. but rarely seen or heard by members of the public outside of Shaun Davey’s Relief of Derry Symphony, which was the communities playing in them.The bands are usually only originally commissioned by Derry City Council in 1989 to visible to the wider public during the summer marching season commemorate the tercentenary of the famous Siege of Derry where they play small melody flutes and percussion in parades in 1689, became the vehicle to bring these culturally diverse that can be culturally contentious. However, they rehearse worlds together in a meaningful way.
16 bfs.org.uk Derry flutes
David Hoey says, “As I listened to Simon Mowbray, piccolo player Shaun’s Ulster Orchestra performance, from the Churchill Band, said, “Some I imagined the three flute bands would of the key changes in the arrangement serve as the core of a ‘flute orchestra’ proved challenging for me as an amateur – the part flutes of the Hamilton and musician. I am comfortable playing in Churchill, with the William King, a the keys of G, D, A etc but F sharp and G melody flute band, performing as ‘the flat! That was a challenge in itself. I was bagpipes’ in the piece.” really wishing I had practised my scales A bemused Shaun Davey was and arpeggios when I was younger!” puzzled by the idea of his symphony With personal challenges and being taken over by massed flutes. practical rehearsal challenges as the However, after he granted permission three bands came together the question the very talented Mel Oriss from Festive of conductor began to arise and it Flutes was commissioned with the huge became clear that the only person task of arranging the music, a project who knew the score well enough was which took four months to complete. Mel Orriss herself. Mel visited Derry- Mel said, “Arranging the Symphony Londonderry twice in the two months was a slightly daunting but very exciting leading up to the performance and we experience. I was aware from the outset worked with the bands bringing more that nothing of this scale had ever music, answering questions and cracking been attempted before for flutes, and jokes. This process helped everyone to that the project represented a unique overcome the challenges of the piece and opportunity to draw together players initial nervousness about the possibility from different traditions across the of being able to perform something so flute community. I spent many hours challenging. Any difficulties between listening to the orchestral performance the rival bands disappeared as everyone of the symphony, figuring out how began to appreciate the beauty of the best to translate the orchestral sounds music and the huge flute sound. and moods into a flute and percussion In the last few hectic days of intensive setting, whilst staying true to the spirit rehearsal there was huge commitment and ‘story’ of the piece.” from band members who rehearsed When the first movement was ready around their day jobs and even night it was sent to the flute bands and they shifts with a growing confidence and began their collaborative rehearsals nervous excitement. In St Columb’s over a four-month period. I was really Cathedral a special stage was being built inspired by the dedication of these and we reserved the balcony at the back bands. In the months leading up to the for the William King Memorial Band performances they rehearsed twice a who, for additional dramatic effect, week, as well as requesting mp3 tracks would represent a marching bagpipe to play along with at home, and then band in the performance. rehearsed every night in the week of the Derek Moore explains the challenge: performances. “Although we were all playing the one Tim Cairns from the Hamilton Flute piece together the fact that we were Band said, “The first time I listened 50 metres behind the conductor and 5 to the orchestral arrangement which metres above, didn’t make life any easier ran to over an hour I must admit I for timing!” felt a touch of trepidation! Given the As Marcas, Doreen, and Festive amount of rehearsal time required, in Flutes added in their parts, everyone what is essentially our off-season meant appreciated the beauty of the music. asking the band for a huge amount of Simon Mowbray commented, “The commitment which, thankfully, they highlight for me was the final days gave in abundance!” of rehearsal when the combined
December 2013 17 Derry flutes
TM bands were joined by the Festive Flutes, Marcas and Doreen. Their professionalism and attention to detail really lifted our rehearsals to a higher level. I particularly enjoyed the third movement of the symphony, not because I wasn’t playing in it, but because the haunting melody played by Marcas on Making life sound beautiful the traditional Irish flute, coupled with the beautiful voice of Doreen and the expert accompaniment of Festive Flutes really captured the emotion of that particular section of the Siege that it was trying to encapsulate.” In between rehearsals there was a great deal of interest in this significant event from the press and BBC TV and radio. The packed out concerts took place in St Columb’s Cathedral on 8th and 9th August 2013 and were a huge success. Messages of good will and congratulations were sent by email and social media from around the UK and Ireland and from as far away as America, Australia and Canada with many people listening in on the live internet broadcast. For me this was one of the most significant concerts to take place in Derry-Londonderry in this UK City of Culture 2013 year in the way that it brought communities together inspired by their love of music and their passion for flutes of all kinds. The project did what it set out to do by bringing together amateur and professional flute players from culturally diverse backgrounds living in Derry-Londonderry to share their passions and play beautiful music in a visible and significant celebration of the flute as part of UK City of Culture 2013. “As the music soared through the Wessel Flutes Cathedral I realised that everyone had achieved something really very special.” Individually handmade David Hoey, Director, Maiden City Festival “The significance of the whole event to ourselves and our city is difficult to convey... it will always hold a very special place in our memories.”
Derek Moore, William King Memorial Band
“I have been a member of the Churchill Flute Band for 29 years, since the age of nine... this was the +44 (0)1749 860047 pinnacle of my playing experience.” [email protected] Trevor James flutes Simon Mowbray, piccolo player and conductor, www.trevorjames.com www.wessel-flutes.co.uk Churchill Band
18 bfs.org.uk
PAN ad - Trevor James September 2013.indd 1 12/07/2013 11:55 TM
Making life sound beautiful
Trevor James flutes www.trevorjames.com
PAN ad - Trevor James September 2013.indd 1 12/07/2013 11:55 Summer school: is it for someone like me? Adult amateurs and students share their experiences
Oxford Flute Summer School
The Oxford Flute Summer School (OFSS) has been running since 1986 and I have attended around ten times over the past twenty years. “So what is it that makes me go back? OFSS is a very hands-on course, every day there is a warm up session, technique class and ensemble session; most days there’s a flute choir session as well. Add in two individual lessons, piano sessions and a group lesson and it amounts to a serious amount of playing. For adult amateur flute players, like me, who have played flute for much of their life, it’s a chance to have lessons with excellent tutors who normally teach at specialist music schools or universities. Working on a piece with them gives me ideas about interpretation as well as sorting out technical difficulties. I don’t have regular lessons currently so interpretation from the young player he was teaching was it’s a chance to get some ideas on what to work on when I’m noticeable. practising back at home. All the tutors are admirably patient Playing in a flute choir with so many skilled flute players and supportive to those of us for whom flute playing is a hobby: means a great sound and a chance to tackle more advanced we know we’ll never play Le Merle Noir or the Liebermann music than you might in a local flute choir. Somehow my concerto but want to be able to give an enjoyable performance fingers manage things that I didn’t think they were capable of of the CPE Bach Hamburger Sonata or a Morceau de Concours. and there’s a great deal of satisfaction gained by being able to Where else would I be able to play with top-class look at the parts and say I played that and kept up with aspiring accompanists who know the repertoire so are not the least fazed music college students. There’s also the chance in flute choir and by the Hindemith Sonata. They are also incredibly supportive if ensembles to try alto and bass flutes which test your technique. something doesn’t quite go as rehearsed. Doing a master class Another reason for my repeated visits is the people. Over is a challenge but everyone listening is wanting you to do well the years I’ve met flute players and tutors from around the and the second time through after the tutor has given you some world, and it’s great to catch up with people again and hear how ideas is much less fraught than the first one. The course is split their flute playing has progressed. I’ve also heard many aspiring into the Oxford and Oxford Extra options and the Seminar young flute players, a number of whom have since gone on to course with separate masterclasses for the Seminar course, be professional musicians. I admire their dedication and hard so you don’t have to worry about doing your class in front of work; being able to play at the level they do when they are still postgraduate music students! only in their teens doesn’t come easily. Listening to the concerts and masterclasses gives you ideas None of this would happen without Janet Way who runs the of new pieces to learn; hearing Ian Clarke play his own music Summer School and has done so since it began. Organising 60 made me determined to try Hypnosis. There’s also a chance to students, from at least 11 countries, four pianists, eight main hear different interpretations of familiar pieces. Syrinx featured tutors and three visiting tutors for six days is a mammoth task. in William Bennett’s master class and the improvement in The days are packed from the warm-ups before eight am through
20 bfs.org.uk OFSS-tall-advert-oct2012-PRINT.pdf 1 09/10/2013 12:15:12
to a concert in the evening and Janet’s far too loudly on the car CD player. always there to support and encourage, I suppose if the truth be known, I just as well as giving lessons herself.” didn’t want the week to end. Would I go MELANIE HAYDON again? See you there next year!” SUE COX One rainy day last March, I casually typed the words “flute summer For me as a keen (and more mature) schools” into Google. As an adult amateur flute player (Grade 7/8 “learner of five years, I was thoroughly standard), the Oxford Summer Flute enjoying my hobby and keen to improve. “School was a wonderful experience. Robert Winn What’s more I had five weeks of summer Although I had not taken part in a music Kate Hill holiday to fill – so why not? I had no idea summer school previously and was Robert Manasse at that moment, nor at the moment of initially a little daunted by the unknown, sending off the deposit, nor the moment the atmosphere of the flute school was Katherine Kemler of turning up at Radley College hoping totally one of encouragement, warmth that I hadn’t made a huge mistake, that it and positive energy. would be a truly memorable experience Although the majority of students in every sense. In the months preceding attending were younger, the dynamic the course I worried about the prospect created by the format of the course of spending the week with an army brought everyone together in magical of teenagers who were leagues better ways. The technique class each morning C flautists than me. All I can say is thank grounded us and was enlivened by the goodness I didn’t let any of it put me off. teacher’s wonderful repertoire of images M I was, quite simply, not prepared at by which abstract concepts could be Y all for the total pleasure and enjoyment visualised. The ensemble and flute choir CM I derived from a week immersed in all provided an excellent context in which MY things flute: playing with an ensemble to develop skills of playing with others of similar ability enthusiasts; having under expert guidance. Observing CY the privilege of being taught by masterclasses was a revelation and the CMY masters of the instrument; forging new teaching was exciting and energising, K friendships with people of all ages (for giving participants and audience one refreshing week age was totally new ways of thinking about musical irrelevant); scribbling copious notes at expression, technique and performing. master classes led by Robert Manasse, The two individual lessons were Robert Winn and Ian Clarke amongst sensitive and helpful, leaving me feeling others equally “awesome”, and to top it encouraged but with plenty to think all, having nightly performances by these about. and other top class performers which The highlight for me was a masterclass enthralled, delighted and inspired us. by Ian Clarke teaching and talking th nd Add to that a fantastic afternoon in the about performance, interpretation and 17 - 22 company of Wibb – or the great William technique, followed by a concert in August 2014 Bennett – and a performance which which he played his own compositions. literally moved me to tears, and I think This concert was totally stunning, you may just be getting the picture! I inspiring, and never-to-be forgotten. mustn’t also forget to mention the other To be amongst amateur and first-class students whose talent and dedication professional musicians who shared a were in themselves inspiring. passionate interest, and to be able to Thanks to Janet Way and her totally play, practise, listen and learn with a committed team, I had a week I will never group of students of all ages from across forget in the privileged surroundings of the globe was incredibly energising. The Radley College. I drove home with a bag impact of this experience will last for a full of new music I couldn’t wait to play long while.” and Reinecke’s Undine Sonata playing SARA LAVEN
December 2013 21 Summer schools
Scottish International Flute Summer School experience at the SIFSS being one of the most enjoyable and educational weeks of my life. Yvonne and Ruth have done an he Scottish International Flute Summer School was excellent job in making the course friendly and enjoyable, founded by Peter Lloyd and Ruth Morley in 1996. From as well as educational. Everybody is extremely supportive, humble beginnings it has grown to be a prestigious and I would highly recommend the course to anyone who is Tcourse with talented students coming each year from across considering attending a flute course, particularly if it’s for the the globe. At the Scottish International Flute Summer School’s first time. I definitely hope to return to the course again soon.” core has always been the belief and conviction that the summer school should be about learning from top class teachers in a Marion Mackay, an adult amateur who also took part in the relaxed, friendly and supportive environment. Performer course, gave her view: Attending a summer school for the first time is an exciting I’ve been attending the Scottish International Flute Summer experience. If you haven’t tried it yet here are some of our School for more years than anyone cares to remember and students to tell you all about it from their point of view. Go on, it’s now a firmly established annual fixture in my calendar. “As a very late starter on the flute and enthusiastic amateur, I next summer, give it a try! value the opportunity to hear talented players, have lessons Elizabeth Malkin, a music student who took part in the with some of the best flautists in the business, and play with Performer course, writes: fabulous pianists – all in a wonderfully supportive and friendly In July, I attended my very first flute course: the Scottish environment. International Flute Summer School. The course includes a I know that in the years I’ve been coming my playing lot of variety, has incredible teachers, and is open to every has improved and I’ve certainly grown in confidence. I don’t “type of flute player, whether you just play for fun, or want to think anyone - least of all me - ever thought I would play play professionally. I had never been to Scotland before, and in a masterclass or concert but I now do both and enjoy it this seemed like the perfect opportunity for my first visit. I thoroughly. applied for the course bursary, very generously provided by All Flutes Plus, and was overjoyed to learn that it had been awarded to me. Most people arrived on the Sunday, and some people had the scottish come from as far as Canada and Mexico.The atmosphere was international very welcoming and relaxed, and the timetable allowed plenty of time to explore St. Andrews, since the school is a five-minute walk from the town and the sea. Everybody had lessons and technique classes, as well as summer school : 3 - 9 August 2014 piano coaching sessions and chamber music opportunities. I founded by Ruth Morley & Peter Lloyd learned a number of new ways to warm up, and the flute lessons I had at the course have really developed my playing. In addition Set in Scotland, this prestigious course with world class to these, all students on the performer/intensive course had a tutors provides masterclasses, recitals, private lessons, slot in a masterclass. I had never played in a masterclass before, technique workshops and inspiration to last the year. so I was worried about not being able to do whatever they asked Tutors for 2014: Wissam Boustany, Ian Clarke, me to do in front of an audience. I soon realised that there was Ruth Morley, Yvonne Paterson & Patricia Dydnansky. no reason to worry, as masterclasses are like giant open flute 4 course options of varying intensity including a 3-day lessons that everyone who attends can learn from. The students short course aimed at adult amateurs (6 - 8 August). and teachers were very encouraging and supportive, and the masterclass ended up being a great experience. One bursary place available. Discounts online One of the highlights for me was being treated to recitals Students under 16 must be accompanied by an adult from Alison Mitchell, Wissam Boustany and Ian Clarke. It was Yvonne on 07764852685 inspirational to hear flute players at the top of their profession admin@fl utescotland.co.uk week” perform, and it was wonderful to experience it in such a friendly www.fl utescotland.co.uk and informal environment. There was a chamber concert and @ScotIntFlSchool student recital on the final evening, in which most people performed. It was great to hear how everyone had progressed /fl utescotland unforge able during the time they had spent on the course, and was a lovely and end to an amazing week. inspiring Since I’ve returned many people have commented on how much my playing has developed, and I put this down to my “a truly
22 bfs.org.uk Summer schools
But above all, the course is friendly and reflection, as well as enabling us to Yvonne Paterson, course administrator and fun. It’s an opportunity to mix with perform with an accompanist. for the Scottish International Flute players of all nationalities, ages and I was inspired by my lesson with Summer School, says, “This year our abilities, to hear amazing concerts and Sheena Gordon, who stepped in at the summer course will be held from 3–9 to enjoy the wonderful world of the flute last moment when Lis Dooner was August with details on our website at with like-minded folk. At the end of a needed elsewhere. Sheena’s comments www.flutescotland.co.uk. With four long day there’s also the opportunity on body mapping and breathing have different course options to choose to chat about the day’s activities over a transformed the way I look at my from you really can tailor the week to glass of wine and some cheese – how playing. She also ran a great group suit your fluting needs. Whether you civilised!” session on breathing and resonance. The are a music student at a conservatoire flute choir was also great fun, run by or university wanting to broaden your Pamela Carr attended the Adult Patricia Dydnansky and Yvonne. There studies, or a student still at school and Amateur three-day short course. She was a huge range of repertoire, but a considering study on a performance writes: high spot for us all had to be The Great course, or perhaps a flute teacher or a “What a great summer we had Escape – it took weeks to get the tune young professional player who wants in Scotland, and what a good time out of my mind. some fresh ideas – or simply someone we had on the Scottish International It was so lovely to spend time with who plays purely for your own pleasure, Flute School short course! Organised so many flute players, ranging in age whatever your needs, this course provide by Yvonne Paterson, the short course from 13 to 75. We got the opportunity the opportunity to learn, explore and offers flute players a wide range of to meet everyone at meals and in the develop your flute playing. We hope to opportunities. Wissam Boustany’s the evening, and the accommodation is see you there!” masterclass on the last day is an charming. I’m already looking forward extraordinary opportunity for feedback to next summer!”
lorem + elementum lorem + elementum William Bennett International Flute Summer School 21 July - 5 August 2014 in Sale Marasino, Italy with Lorna McGhee and Denis Bouriakov Information : www.williambennettflute.com
Sponsered by Top Wind & Mayor of Sale Marasino Italy & UK Altus & Song Flute Michie Bennett . Zoia Vyazovskaya Emma Halnan . Yen Huan Wang assistants Principal Chairs: a new approach to orchestral excerpts Camilla Marchant and Pasha Mansurov introduce their new flute venture
ollowing the recent article in PAN (December 2012) on available to assist them. It also provides a wealth of additional the development of the classical music business in the information to supplement regular tuition. virtual world and on social networking sites, we have In the UK we are fortunate enough to have a wealth of Fnews of an exciting new project. Early in 2012 Michael Cox and highly experienced and distinguished flute players whom we the Principal Chairs team began recording video masterclasses can aspire to emulate. Not everyone, however, has access to the for their innovative, online flute resource that many of you may high level of tuition that these flautists can provide. When a already have heard about. Together, they are helping to bring the single lesson with a top flautist can cost upwards of £100, a price classical music industry into the 21st Century and they would exacerbated by travel costs, this type of education is simply not like to introduce you to a few of the benefits of incorporating even a possibility for many of us. I personally struggled with new digital opportunities into your learning, as well as sharing this dilemma and prior to attending RCM was only able to their inspiration for this project. have one flute lesson a month. Through online resources such as Principal Chairs, this coveted expertise becomes attainable Camilla Marchant, flute student at the Royal College of for many more aspiring flute players. For a small annual Music, London, writes: subscription you gain access to the library of over 100 videos. Like most students, I often find it difficult to keep my The relatively low cost means that this resource is readily practice productive when I have not had a flute lesson accessible for many more people. for a while, such as over the long summer holidays. Many Principal Chairs has certainly opened my eyes to a world of “teachers have suggested listening to recordings of my repertoire new ideas that I would not have been able to afford to seek out by different artists, or following a structured scale and exercise independently. It has been a privilege to work with Michael for regime such as that of Marcel Moyse. I have had some success over 40 hours of recording sessions over the last few months, and with these methods, but after a couple of weeks I sometimes to be able to help him document his vast orchestral knowledge find myself lacking the inspiration that drives us all. As part has been a unique experience. It is only because of Michael’s of the Principal Chairs team, I have been trialling the site as generosity with his time that Principal Chairs can offer such a part of my practice sessions and I have found it a much more high level of tuition for such an affordable rate. I, for one, will interactive and engaging alternative to the traditional route take full advantage of this wealth of information and I hope that of private practice and solitary listening. Principal Chairs is many others will wish to do the same.” an online educational resource that provides in-depth video masterclasses with internationally-acclaimed orchestral flautists Pasha Mansurov, freelance flautist and founder of Principal on essential audition repertoire. During the summer months it Chairs, writes: can provide a more affordable alternative to summer schools, For those of you who are, like me, hoping to break onto the one which allows you to work at your own pace, wherever you orchestral scene, the Internet is an essential tool for keeping are, over a prolonged period. you in the loop regarding orchestral vacancies. Indeed I personally found Principal Chairs extremely helpful in the “Principal Chairs will help you to keep in mind the purpose weeks and months prior to an orchestral exam as it helped me of your hours of excerpt practice thanks to its comprehensive feel thoroughly prepared, especially in terms of the context and Jobs Page which links directly from set audition repertoire to orchestral setting of the excerpts. The videos have also proved relevant videos. We all know that it is essential for orchestral helpful in preparing me for freelance orchestral concerts, applicants to know the orchestral context, the harmony, the the repertoire for which I had to prepare independently and setting, and the meaning of the excerpt that they are playing in addition to my college work. I believe it can help students in order to stand out from the crowd. Yet still for many of us, like me to sustain their motivation and encourage focused practice takes priority over this fundamental research. This type practice with a determined direction when teachers may not be of information has been readily available for decades in libraries
24 bfs.org.uk Principal Chairs
I spent my childhood in Africa and, perhaps because of this, I have always been particularly enthused by the idea of making good quality tuition easily available to everyone. “The Internet provides the opportunity to do this, not just in the developed world, but globally. We are really very fortunate indeed in having an extraordinary abundance of fine teaching in the UK. By contrast there is seriously limited access to high level tuition, or tuition that students feel fulfils their needs, in some of the countries that I have visited. Worse still is that there are plenty of places with no high level musical tuition at all. It has been really heart-warming to be of some little help working with students both at home and in many different circumstances internationally, so when Pasha Mansurov floated the idea of setting up Principal Chairs as a wide-ranging and thorough resource of orchestral knowledge I was delighted to come on board as their frontman. It is very much typical of the The Principal Chairs home screen ethos of the site that Pasha set the whole thing up (and dedicated of scores, recordings, composers’ biographies and analytical months of work to it) not with the aim of financial gain, but with papers, but seeking this information can be time consuming. the hope of helping many people. It is the primary ambition I have found it incredibly useful to have all of this information and drive of all of us at Principal Chairs that an abundance of at my fingertips on one website. In the video-masterclasses on students will benefit and be enriched in terms of their playing, Principal Chairs the artists go into great detail regarding the musicianship, outlook, preparation for auditions, and their harmonic setting of the excerpts and share both their own musical career by the site. The incredible thirst for knowledge opinion about the implied characters of the pieces, and their I’ve encountered on my travels is nothing short of humbling, so knowledge of the composer’s intention. In the increasingly I am grateful to Pasha and the Principal Chairs team for giving competitive industry of classical music, giving a harmonically, me the opportunity to, in some part, help slake this thirst. It structurally and historically informed performance can give the feels satisfyingly worthwhile work. performer a crucial advantage. Often after masterclasses I feel a sense of a job only partly An intriguing aspect of today’s online tuition is the done. This is largely due to the inherent time constraints of the availability of a diverse range of professional opinions. I believe format. Teachers after classes will often be faced with eager- that one does not need to stick to one school of teaching, but faced, young players queuing for answers, direction and cures. can gather inspiration from various sources. Hopefully you will There is only so much one can cover in a masterclass, a lesson arrive at your own conclusion regarding the ideal performance or even in a day, and so I often regret having to leave students of a piece, having been inspired by numerous artists. At present without thoroughly full, complete answers. With Principal Principal Chairs has masterclasses with Michael Cox, Emily Chairs I now feel I can do my bit towards leaving them with Beynon, Patricia Morris, Katherine Bryan, and will soon have a compendious body of information that can endure and, all videos with Andrea Oliva, an outstanding Italian flautist whom being well, help to inspire and nourish all those bright and you may have seen performing in the Proms with the St. Cecilia ambitious artists out there. While the site is obviously geared Orchestra of Rome. With this eclectic mix of opinions I hope towards success in orchestral auditions, my contribution to you will stay inspired too. the site includes as much information on my philosophy of all This project would not have been possible without the aspects of playing as it does to the excerpts it deals with, and relentless commitment and unwavering support of our aims to be both thought-provoking and musically challenging. Principal Chairs Artist in Residence and Co-Founder, Michael I cross my fingers that people find the resource as useful Cox. We are extremely fortunate, as flute players, to have such and excellent as we feel it to be. The initial response has been iconic musicians and teachers ready to help us, but it is rare for very encouraging. For one thing, subscription to the site seems an artist of Michael’s calibre to have the drive to commit the almost ludicrously good value when compared to the price time from their overloaded schedule, in order to help young of a single flute lesson. Try it for yourself and join the flute flute players world-wide. community at www.principalchairs.com.”
Michael Cox, Principal Flute of the BBC Symphony Orchestra, the London Sinfonietta, and the Academy of St Martin in the Fields, and Professor of Flute at the Royal Academy of Music is the active figurehead of the project. Michael writes,
December 2013 25 The flute works of Mel Bonis by Malcolm Pollock
élanie Bonis, who later providing much needed support: she was the first female composer to be shortened her name to the Mel secretly resumed their former awarded the Légion d’Honneur (France’s more gender neutral Mel relationship in 1890, subsequently highest civilian honour). MBonis, was born in Paris in 1858 into a bearing an illegitimate child by him who Earlier nineteenth century female devout petit bourgeois Catholic family. was known to her family for years as her composers Clara Schumann and Fanny Mélanie’s parents were persuaded by god-daughter before the truth finally Mendelssohn benefitted from having a her piano teacher César Franck that became known. relatively benign artistic environment their daughter had great musical talent, Mel Bonis’ situation and dilemma around them (although Fanny’s brother and agreed to her enrolling at the Paris were fairly typical of talented women Felix was rather ambivalent about Conservatoire in December 1876. of the time. Although seemingly well her talents). Other famous and very Her fellow students included Claude respected by her fellow composers successful creative female voices of Debussy, Gabriel Pierné and Ernest (she was secretary of the Société des the century still much respected today Chausson. Compositeurs, an honour never before include the painter Berthe Morisot, She was a star pupil but seemed bestowed upon a woman), Mel Bonis and authors George Sand (Amantine to lack self-confidence: women were suffered throughout most of her life Dupin), the Brontës, Jane Austen and after all not supposed to aspire to be from a lack of interest from publishers George Eliot (Mary Anne Evans). composers, no matter how talented and performers alike. Whilst through In contrast Mel Bonis suffered they were. Claude Debussy and Mel Hettich she was introduced to Alphonse throughout her life from the complete Bonis both studied harmony and Leduc who published some of her early indifference to music of all her closest accompaniment with Ernest Guiraud, works, with Eschig and Sénarts also relatives, coupled with her own and were his best pupils. In June 1880, publishing some of her later output, psychological fragility (due in no small in his end-of-semester reports Guiraud the overriding opinion of the male- measure to guilt over her liaison with wrote of Debussy: “Great facility. Good dominated establishment at the time Hettich). It is very likely that these reader, very good fingers. Could work was that women simply did not possess two factors severely hampered the harder. Good harmony, a little “fantastic”. the inspirational power of men. On development of her creative voice. Lots of initiative and verve.” Of Mélanie hearing Bonis’ quartet in 1905, Saint- Although she produced some very Bonis he reported:“Very gifted, good Saëns is said to have remarked “I would attractive Salon music for piano in musician, beautiful harmony. Score never have believed that a woman could an early attempt to “market” herself, reading good. Unfortunately is too timid. write that: she knows all the tricks of the unlike Chaminade we feel most of the I am very pleased with this student.”1 trade!” time that she is writing music largely When her parents discovered that And yet it was not impossible to for herself. Whilst she wrote some of she was having an affair with fellow become respected as a creative woman her best chamber music after 1900, her student Amédée Hettich, however, in France at the time. Indeed, the career compositions being an outlet for her they immediately insisted that she of Cécile Chaminade, an almost exact confused moral and psychological state, terminate her studies. Not long after contemporary of Mel Bonis, would seem she became more and more isolated after Mel married the wealthy businessman to suggest that it was indeed possible to the end of the First World War, finally Albert Domange, who was 25 years be internationally famous as a woman passing away in 1937 leaving a large older than her and had been married composer. The prolific Chaminade wrote number of unpublished, unperformed twice before. She is said to have declared Salon music for the growing amateur works. at the time “as I cannot have love, I will (largely younger female) middle class Her life’s work included music for have money”. market in England and the United States voice (both religious and secular), Hettich was to be a crucial influence as well as France at the time and actively chamber music for various combinations on her future creative development, exploited her celebrity status. In 1913 of instruments, works for organ, a large
26 bfs.org.uk Mel Bonis
Amongst the chamber music we have the Suite en Trio for flute, violin and piano Op 59, Scènes de la Forêt Op 123 for flute, piano and horn,Suite dans le Style Ancien Op 127 for flute, piano, violin and viola (or clarinet), and the Fantaisie en Septuor Op 72 for 2 flutes, 2 violins, viola, cello and piano. All of these pieces deserve to be performed more often: the Scènes de la Forêt and the Suite en Trio I
believe are particularly striking.4 Bonis’ musical style seems much influenced by Franck, Saint-Saëns and Fauré, and also at times is close to early Debussy and Liszt. Some of her piano music is outstanding, and much of the
vocal music5 (both secular and sacred) is beautifully written and sometimes
quite original. Her music for orchestra6 is generally well written and ranges from lighter works to full scale and more ambitiously conceived versions of some of her Femmes de Légende piano pieces. And so to the Flute Sonata, dedicated to Louis Fleury (who was a family friend) and in my opinion a minor masterpiece. Some of you will have heard William Bennett’s performance with Helen Crayford in April last year as part of the BFS Premier Flautist Series in the Duke’s Hall, Royal Academy of Music (available on You Tube). There are three CDs readily available in the UK which include the work, by Kenneth Smith (To Pan and Syrinx), Michel Moragues (Forgotten Gems for Flute), and Wissam number of piano works (including of the music, live performances, and Boustany (This Invisible World). a group of pieces entitled “Women of recordings when and where it can. Mme. The first movementAndante ( con Legend”), and works for orchestra with Géliot bemoans the fact that Bonis’ moto) begins tentatively with a very and without voices. music is almost entirely unknown in beautiful drooping flute motif and I first heard Mel Bonis’ work a few the UK. She is the author of a biography simple accompaniment. The music years ago via Kenneth Smith’s wonderful of Mel Bonis and numerous articles, 2 almost immediately seeks to take flight recording of the flute sonata. I was including one on the flute works with upward semi quaver runs in piano immediately struck by the beauty and published in Traversières, the magazine and flute leading to a restless syncopated charm of her music, and tried to find of our sister organisation in France, chromatic rising phrase. The movement out more. I eventually managed to get l’Association Française de la Flûte. 3 is entirely based on this material, ending hold of a copy of the flute sonata with Mel Bonis seemed to be attracted to in an ecstatic descending flute phrase much greater difficulty than I am used the flute as a medium through which in C sharp major. With the gossamer to in the Internet age. to express some of her most intimate light scherzo we are on more familiar Christine Géliot, Bonis’ great grand- musical thoughts. For flute and piano in territory. The style is very similar to daughter, is president of the Association addition to the Flute Sonata we have an Taffanel and Gaubert’s writing for flute, Mel Bonis (www.mel-bonis.com). The Andante and Allegro Op 133, Une Flûte a light and frothy 3/8 movement. Association seeks to promote Mel Soupire Op 121, Air Vaudois Op 108, The third movement Adagio is the Bonis’ work, encouraging publication Scherzo Op 187, and the Pièce Op 189. emotional heart of the work and contains
December 2013 27 Mel Bonis
some of its most beautiful moments: the initial phrase on the flute seems a more extended version of the first movement theme. Here we have again the tentative syncopated chromatic melodies set against drooping flute motifs, occasional full- blown Romantic outbursts in the piano, with faster Allegro and Allegretto sections building up dramatic tension. The fourth movement finale starts with an imposing C sharp minor melody in flute and piano. In a movement that is in part reminiscent of the Reinecke Undine Sonata the overriding impression once again is that the music is seeking almost to escape from the page in upward flight. The final flute triplet quaver runs can never reach higher than an E sharp, and finally the music sinks exhausted onto a final C sharp major chord. To some extent both the outer movements of this piece inhabit the nostalgic, pastoral mood of Fauré’s Clair de Lune. There is also a certain Debussyian “orientalism” in the scale passages which helps to give the music its distinctive colour. The piano throughout rarely dominates and often seeks to mirror the colours and textures of the flute. The point of this article is not to make some feminist- inspired case after the historical fact of Mel Bonis’ experiences and the institutional prejudice she undoubtedly encountered during her lifetime. Rather it is to make readers aware of the work of a mature, profound and often original voice. Mel Bonis accepted her position with resignation and modesty, at least at the end of her life. Writing to the young American flautist Norman Gifford in 1933 she claimed that her time was “monopolized in my younger days by family duties, whilst always having an inner desire to compose music. I could not END NOTES set to work in earnest until later, so that in spite of my advanced years I am not an old composer.” 1 From the archives of the Conservatoire National Editions Fortin has published Mel Bonis’ music for flute8 in Superieur de Musique de Paris, quoted in Mel Bonis the last ten years or so. They also publish her works for voice and Femme et “Compositeur”, Christine Géliot (L’Harmattan). choir and some of her chamber music. The German publisher 2 See note 1. Furore Verlag9 (specializing in publishing women composers) 3 Traversières 78 (2004) publish her piano music. 4 All of these are available on the CD La Joueuse de Flute If you want to read more about the composer, apart from a (SWR Music), played by Tatjana Ruhland and Florian tiny English Wikipedia entry, and an entry in Grove’s Dictionary Wiek with members of the Stuttgart Radio Symphony of Women Composers9, you need to be able to read French well. Orchestra. The most interesting books I have come across are Christine 5 CD available of the secular music: Mel Bonis L’Oeuvre Géliot’s biography Mel Bonis, woman and “composer” (1858- Vocale sung by Brigitte Balleys and Valerie Gabail with 1937) (see note 1) and Florence Launay’s Women Composers in Eric Cerantola. (Doron Music) France in the 19th Century10. 6 CD available of all of the purely orchestral works, I would recommend that readers explore Mel Bonis’ work played by the Bucharest Symphony Orchestra conduced because I believe that her music is worthy of a much wider by Benoît Fromanger. (Le Chant de Linos) audience. The flute sonata is in its own right at least as good 7 www.editionsmusicalesfortin.com. as most published works written by her male contemporaries. 8 www.furore-verlag.de. 9 The Norton/ Grove Dictionary of Women Composers My sincere thanks to Christine Géliot for the invaluable help (edited by Julie Ann Sadie & Rhian Samuel (Norton) and support she has given me whilst I have been writing this 10 Les Compositrices en France au XIXe siècle , Florence article. Launay, pub Fayard. MALCOLM POLLOCK
28 bfs.org.uk December 2013 29 Jennifer Higdon: Flautist and Composer by Tammy Evans Yonce
ennifer Higdon is a contemporary American composer there. Spano became an advocate of her work, and the Atlanta who has written many works for flute. She is a Grammy Symphony Orchestra has commissioned works, given multiple Award winner and won the 2010 Pulitzer Prize in Music performances, and made recordings of Jennifer Higdon’s music. Jfor her Violin Concerto. While she is well-known for her large Higdon earns a living through composition and has received orchestral works, she has also made a substantial contribution commissions from orchestras all over the United States. Her to the flute repertoire by way of solo and chamber works. These Pulitzer Prize-winning Violin Concerto was written for Hilary works offer something for most players; their difficulty ranges Hahn and commissioned jointly by the Indianapolis Symphony, from intermediate to quite advanced. Toronto Symphony, the Baltimore Symphony Orchestra, and This article looks at Higdon’s unorthodox career path, which the Curtis Institute Symphony Orchestra. Her works have includes instruction in flute and then composition, and gives been recorded extensively, appearing on more than four dozen a brief description of her compositional style. Finally, it gives CDs; she won a 2010 Grammy Award for Best Contemporary some performance suggestions for three of Higdon’s works for Classical Composition for her Percussion Concerto. She is flute: Song, The Jeffrey Mode, and Flute Poetic. currently on the faculty of the Curtis Institute of Music.
Background Compositional Style Higdon was born in Brooklyn, New York in 1962; her When considering the reviews that have been published of family moved to Atlanta, Georgia shortly after her birth and Jennifer Higdon’s music, one idea continues to be suggested: she spent the first ten years of her life in Atlanta before moving energy. When we consider the descriptions of her flute music, to Tennessee. Today many people are familiar with her works as we can see why this idea of highly energetic music continues an orchestral composer; according to the League of American to come to the fore. We learn that DASH is full of “a … Orchestras, she’s one of the most performed living composers. sprint of scale passages, fast repeated phrases, and rapidly Forthcoming performances include multiple performances of evolving textures” (Fanfare magazine); rapid.fire is “frenetic blue cathedral, Percussion Concerto, Fanfare Ritmico, Skyline, and bewildering” and “one of the best solo flute works I On a Wire, and Violin Concerto. Other works that will be have heard…” (Sequenza 21); and running the edgE is “full of presented in the near future include Celebration Fanfare, Ninety pointilistic energy and propulsive ostinatos” by a composer Notes for Ned, Peachtree Street, All Things Majestic, and The who “seems to be constructing one of the more impressive Singing Rooms. bodies of modern flute literature” (Fanfare). We also learn Her path to such an illustrious career is an unlikely one. She that Higdon thinks in terms of sound. According to the liner was introduced to classical music by way of the flute, which she notes for the Atlanta Symphony Orchestra’s recording of City picked up as a teenager and essentially taught herself. Formal Scape and the Concerto for Orchestra, Higdon ‘tends to think music study began when Higdon was accepted at Bowling Green in terms of melody and color when she composes, rather than State University (Ohio), where she earned a Bachelor of Music thematically. The listener’s ear is not drawn to themes and their degree in flute performance. Further study included Master of development, but to bright patches of color, exuberant rhythms, Arts and Doctor of Philosophy degrees in composition from the and fascinating shifts of texture.’ University of Pennsylvania, where her teachers included Ned Rorem and George Crumb. She also earned an Artist Diploma Performance Suggestions from the Curtis Institute of Music. The Jeffrey Mode is an early work by Higdon written for flute Higdon is considered part of the “Atlanta School of and piano. It was written in 1984 in response to an assignment Composers”, which is a collaboration lead by the Atlanta to compose a piece that would reflect the character of a friend. Symphony Orchestra and its music director, Robert Spano. The “Jeffrey” referred to in this case was a fellow student in Higdon’s association with Spano is a lengthy one; she first became Higdon’s high school band. acquainted with him when she was a student at Bowling Green One important idea to notice in this work is that of contrasts. State University and he was Director of Orchestral Activities There are several types of contrasts at work here, and identifying
30 bfs.org.uk Jennifer Higdon
Higdon, assisted by Beau them will help you as a performer to understand the structure be difficult for a typical high school student. In this work the of this piece. The Jeffrey Mode features contrasting tempos, as performer needs to consider the idea of intensity and how this it alternates between fast and more moderately paced sections. is created and controlled by the composer throughout the work. There are also contrasts in mood. Higdon gives specific Higdon achieves these fluctuations in the level of intensity by notations such as “lyrical,” “lively,” “vibrant,” and “playful.” varying both the speed of the notes as well as the register. These suggest changes in mood, and more specifically, changes This work is divided into five parts, which are arranged in in articulation. Some specific ideas are marked, such astenuto a five-part rondo form (ABACA). Ford mentions note values and staccato, but we also must take cues from the particular and how those become shorter in certain sections. We can also words she uses to help us determine how each section should discuss register in these sections. Often a section will begin be played. At the end of the work, the changes are even more in the low register of the flute, and as the note values shorten, extreme. In one section, the tempo changes at every bar and the musical line ascends in pitch. There is a sense of relaxation leads to a marking of presto at the very end. After this section, at the return of the A section. The highest notes of the piece which is the only presto of the entire work, both parts have a occur during the C section; this portion also features rhythmic rest extended by a fermata. The last gesture is suddenly quite complexity and short note values. Pacing is something that moderate and is marked crotchet = 72. must be carefully considered by the performer so the relaxed Song was commissioned by the National Flute Association A sections provide a contrast to the more intense episodic for their High School Soloist Competition in 1995. It is for solo sections. flute. This work does not require the use of extended techniques Flute Poetic (2009) is a more recent work and comprises because Higdon was unsure of the background of the flautists three movements. It was written for Jan Vinci, with whom who would be performing it. Because the notation is straight Higdon studied for a short period; Vinci encouraged Higdon forward, Higdon does not provide any explanatory notes to the to attend a flute camp at Bowling Green State University, where performers. Higdon would eventually earn her Bachelor of Music degree. In an analysis by Ronda Benson Ford, it is suggested that the The first movement of this work was written specifically lack of both a key signature as well as a time signature might for Vinci and Pola Baytelman, the pianist with whom she gave
December 2013 31 BFS Premier Flautist Series 5 pm, Sunday 16 February 2014 in association with the Royal Academy of Music Duke’s Hall, Royal Academy of Music Marylebone Road, London, NW1 5HT Andy Findon Flute Geoff Eales Piano
The Dancing Flute The flute and piano music of Geoff Eales
One-hour recital, immediately followed by a question-and-answer session
Ticket information Members of the BFS £10 Non-members £15 Students £5 Online booking (at any time): www.ram.ac.uk or telephone the box office: 020 7873 7300 10am–12pm and 2–4pm weekdays during term time
www.bfs.org.uk The British Flute Society is a registered charity: 326473 Andy Findon is a Pearl Flutes International Artist
Andy Findon premier flautist ad for December 2013 issue.indd 1 10/22/2013 6:25:30 PM BFS Premier Flautist Series 5 pm, Sunday 16 February 2014 in association with the Royal Academy of Music Duke’s Hall, Royal Academy of Music Jennifer Higdon Marylebone Road, London, NW1 5HT Andy Findon Flute the premiere. Movements two and three are transcriptions of The last movement, “Jagged,” opens with a long sustained Geoff Eales Piano String Poetic, Higdon’s work for violin and piano. The outer pitch marked “no vibrato.” The piano also plays sustained movements are ‘virtuosic and rhythmically driving’, while the pitches, so this creates an interesting sound at the beginning middle movement is ‘poetic and elegant.’ Throughout this of this movement. That stillness doesn’t last long, however, as The Dancing Flute work, there are times when the pianist dampens the strings this movement soon features considerable rhythmic intensity. The flute and piano music of Geoff Eales with his fingers, producing a muffled sound. Later in the movement, there is another instruction to use The opening movement, “First,” begins with rhythmic no vibrato. As before, this is on a sustained pitch, providing a intensity. The piano plays two bars after which the flute drastic contrast to the fast moving, rhythmically intense sounds One-hour recital, immediately followed by enters with a similar two-note, whole-step motive in the low surrounding these sustained pitches. register. Syncopation and tied notes across the bar line are The time signature changes in every bar for the first seven a question-and-answer session soon introduced and further pushes the rhythm aggressively bars, making it difficult to anticipate where the strong and weak forward. beats will fall, however, the movement soon settles down into The second movement, “Blue Hills,” provides a more relaxed, a more predictable pattern. As in the other movements, there lyrical contrast. The opening section features an introduction are many complex subdivisions of the beat throughout this by the piano; the flute enters at bar nine. The second section movement. Higdon also uses the full range of the instrument. begins at bar 14; the tempo slows here and the rhythm becomes Half-step motion is common. Intensity is created through the more complex. This is an aspect of the movement that must be stark contrast between flurries of notes and the still pitches with carefully studied. There are often complex subdivisions as well no vibrato. as ties across the bar line that make the rhythm of this work a Jennifer Higdon has established herself as an important, particular challenge. Intensity is created as the notes ascend to relevant contemporary composer. While it is common to see the high register and the subdivisions include shorter notes. It large orchestras performing her works, her chamber music for should also be noted that there are occasionally some awkward flute also provides opportunities for flautists of various levels fingerings; for example, high F-sharp to high B is slurred in a with new, accessible high-energy music that is interesting and fast gesture in a couple of instances. rewarding for flautists and audience alike.
Ticket information Members of the BFS £10 Non-members £15 Students £5 Online booking (at any time): www.ram.ac.uk or telephone the box office: 020 7873 7300 10am–12pm and 2–4pm weekdays during term time www.bfs.org.uk The British Flute Society is a registered charity: 326473 December 2013 33 Andy Findon is a Pearl Flutes International Artist
Andy Findon premier flautist ad for December 2013 issue.indd 1 10/22/2013 6:25:30 PM An introduction to baroque ornamentation Elizabeth Walker on playing ‘tasteful and stylish’ ornaments
was recently trying to summarize this topic in my new tradition that was carried through into later baroque music. The baroque flute bookTone through Interpretation (the chapter more of these diminutions you can practise, the better, because on ornamentation is included here, but the entire book of ornaments need to be played with ease. Istudies will be available at www.wonderfulwinds.com in the Moving on to the Italian Baroque is quite a natural New Year). It is as hard to capture the essence of this intricate progression from the Renaissance. In Vivaldi, Corelli and subject as it is to describe the use of baroque temperaments – in Locatelli, amongst others, the slow movements should be other words, virtually impossible. However difficult the task, elaborated with passaggi combined with turns, mordents, trills though, what is not in doubt is the importance of including and other ornaments from the baroque period. J.J.Quantz tasteful and stylistic ornaments in renaissance, baroque and dedicates chapters of his book, Essay of a Method for Playing the some classical repertoire (in cadenzas). But where to begin? Transverse Flute (commonly called On Playing the Flute), first Listening to, and absorbing existing good recordings is a printed in Berlin in 1752, to explaining the function, execution very good start and I have listed some personal favourites at the and stylistic appropriateness of French and Italian ornaments end of this article; but I will start by suggesting a familiarization for use in Baroque music. I can do no better than to remind The hall of mirrors at Versailles: inspiration for musical ornamentation with renaissance ornaments and work forwards from there. you to reread these chapters as an aid to executing mordents, Ornamentation can be seen as a kind of musical shorthand, how to place trills and turns in your music, where to articulate music at this time being laborious to print. The symbols were and strengthen upbeats, terminations and the speed of the abbreviations that saved the composers and copywriters from beginning, middle and end of ornaments. There is no short having to scribe fast notations. However, a few Renaissance cut that can be explained here – I must simply implore you to composers did write out their ornaments in full, and it is from purchase this essential book and read the appropriate chapters. these precious examples, that we glean suggestions on how to German Baroque ornaments, all covered in Quantz’s book, ornament. can also be studied using G.P. Telemann’s wonderful Methodical In Venice in 1535, Sylvestro Ganassi published a Treatise on Sonatas (Twelve Methodical Sonatas, Urtext BA2951). In all playing the recorder and diminution. This publication offers a the expressive first movements, Telemann has provided an clear set of options on how to embellish long notes or series of ornamented version where he demonstrates how inventive you melodic intervals and cadences. The word diminution comes should be with the rhythms, the harmonies, and the addition from the medieval Latin diminutio meaning ‘decrease’. In place of turns and trills. I would recommend that you play through of a few cadential notes, the art of diminution leads the player the Methodical Sonata movement without ornaments first. to replace these slow beats with fast and florid runs of scale or Feel how the musical line is shaped before adding just a few of arpeggio patterns. A quick look through this book on a recorder the written out ornaments. Think for yourself why Telemann or a flute will help illustrate the art of diminution. chooses the ornament he does, and how it enhances the musical A second valuable resource is Der Fluyten Lust-hof (first line. By doing this, you will begin to feel where and when you printed in Amsterdam, 1646) by Jacob van Eyck, written one too can add a similar ornament. Try changing some of the hundred years later, but equally dependent on the technique of ornaments written in, adding some others and then go back to passaggi or stepwise motion of equal, fast-moving notes. The the plain version and start adding your own ornaments. book was intended for recorder, nominally in C, with a range French ornaments differ because they contain a set of of two octaves and a tone, or a little alto (renaissance) flute in symbols that are mostly written in by the composer. Most G. These varied and beautiful themes were the ‘popular tunes’ good editions offer a chart of these symbols and a note on of the day, French airs de cour, English ballad tunes, and one how to execute them. The ornaments are not easy to execute extremely well known Italian song, Caccini’s Amarilli mia bella. on a modern flute. The air speed needs to be flexible and the Playing through these early ornamented ‘diminution’ or articulation should be subtle. The notes need to lift and dance passaggi examples, helps to encourage the art of seeing long with variety before you add any ornaments, and the ornaments notes, but playing florid runs of smaller notes; an ornamental need to be varied in speed and often inégale (unequal).
34 bfs.org.uk Elizabeth Walker on playing ‘tasteful and stylish’ ornaments
The hall of mirrors at Versailles: inspiration for musical ornamentation Barthold Kuijken once told me that a visit to the palace of • Do not change the melodic, rhythmic or harmonic line Versailles was an absolute must – a walk through the mirrored with your ornament ballroom to see the elegance, experience the charm, the • Do not allow your ornaments to sound written out, or opulence, the abundance of variety, listen to the ebb and flow studied (even if they are) of the French language; all help gain the right stylistic feel when • Do not play fast and furious ornaments in a slow movement. adding shapes, turns and subtle ornamental notes to a French • Do not add an ornament if it is unplayable. dance movement. It is perfectly acceptable to add French ornaments to some See overleaf for examples of appropriate ornamentation of your German or Italian pieces, but use them sparingly and previewed from Elizabeth Walker’s forthcoming book, Tone mostly in the movements written in a French style. Playing Through Interpretation (www.wonderfulwinds.com). Hotteterre duets or the wonderful Joseph Bodin de Boismortier trios with some friends, having discussed and practised French Discography suggestions ornaments, would be a lovely way to discover the joys of this music which will then open up a wealth of gems – Jean-Marie Fretwork: John Dowland, Paduan from Tunes of Sad Leclair, De la Barre, Michel Blavet, François Couperin, to name Despaire but a few, and of course, not forgetting to mention J.S. Bach and Jordi Savall: Marin Marais, Piece de Viole and Tombeau his delight in French dance movements such as the Allemande, from Il Livre Minuet and Sarabande. William Christie: Charpentier: La descente d’Orphée aux Finally, here is my check list of Do’s and Don’ts. enfers, overture to Act I • Do check your ornament is harmonically accurate (check Lucy van Dael: Corelli, Violin Sonatas op. 5 nos. 1-6 against the figured bass or piano part, if accompanied) • Do learn your chosen ornaments so that you can execute them with ease • Do learn the symbols for all the French ornaments Pamela Thorby: Vivaldi, Concerto in G major • Do read J.J. Quantz Frans Bruggen: Handel, Sonata in A minor • Do start your trills with an expressive upper note, unless Montserrat Figueras: Giulio Caccini, Amor, io parto the trill should actually be a fast mordent, without an Gustav Leonhardt: Louis Couperin, Sonata en ré upper note.
December 2013 35 Ornamentation
Adding tasteful and stylistic ornaments, well placed and well executed, is vital in baroque music. Here are a few examples that appear regularly. Become familiar with these and practise in all keys.
FRENCH ORNAMENTS 'Agréments du chant' (ornaments of the melody).
Trills are written as a plus sign or as a shake; they are called 'Tremblement'. or or Execution
Execution
'Port de voix' Execution a) or b) (Hotteterre)
'Coulement' Execution a) or b) or c) (Hotteterre) 3
J-M. Hotteterre: "Le Romain" Quatrième Suite, Op. 5 (1715) Execution Gay
J-M. Hotteterre: "Le Romain" Livre de Pièces, Op. 2/1 (1708) 'Tour de chant'- a melodic turn used as a preparation for a trill. Execution
J. B. Boismortier: Premiere Suite (1731) - Prelude The following ornaments have been written in by the composer, adding elegance and style. Lentement (inegale)
6 etc.
36 bfs.org.uk Elizabeth Walker ©2013 www.wonderfulwinds.com ITALIAN ORNAMENTS
These ornaments are not always written in, so appropriate embellishments need to be added. Initially, add ornaments to cadences, passing notes and to slow movements. Use written out examples such as those found in the Telemann Methodical Sonatas. Always be careful to look at the harmonies (bass lines and figures). Trills can be considered as either enhancing the melody, the harmony or the rhythm.
Always start the trill on the upper note and treat the upper note expressively. Trill Execution
Mordent Execution Inverted mordent Execution
Appoggiaturas - (French 'ports de voix')
"Without appoggiaturas a melody would often sound very meagre and plain...It is of little importance whether they have one or two crooks...appoggiaturas must be tipped gently with the tongue, allowing them to swell in volume if time permits." J.J. Quantz Simple appoggiatura Execution Passing appoggiaturas Execution
Accented appoggiaturas Execution
Dotted appoggiaturas Execution
Compound time appoggiatura Execution
Turns, passing notes and linking notes can also be used. See J.J. Quantz's chapter "Of Extempore Variations on Simple Intervals" in 'On Playing the Flute' (Faber & Faber). However, use caution - do do use too many ornaments and never allow the ornament to shift the beat, alter the underlying rhythm or overload the melody so that the essence of the musical line is disrupted.
G. F. Handel: Sonata in B minor, HWV 367b Use ornaments at cadences and between intervals. It is possible to use French ornaments too, especially in dance movements such as Minuets and Sarabandes. Start by adding a few ornaments on key notes. Here is a slow movement with some suggestions... Largo mp 5 mf 8 p 10 etc. mf p Elizabeth Walker ©2013 www.wonderfulwinds.com December 2013 37 Building finger dexterity Niall O’Riordan on ways to develop your technique
hen discussing flute playing, many people mistake these is important. Virtuosity cannot be rushed. It is a slow finger dexterity for technique. There is, however, journey that requires patience. Progress is never linear, and at much more to flute technique than just having fast times when you least expect it your advancement can suddenly Wfingers. Other vital aspects of flute technique, such as tone and leap forward. A very common mistake lies in trying to play articulation, have to have a solid foundation so that they fit too fast too soon. I have experimented recently in my practice together with the movement of the fingers like a jigsaw. If any with picking a metronome mark at which I can play everything one of these aspects is uncoordinated or less developed than with a sense of ease. Rather than pushing the speed forward, I the rest, the results can be disappointing. I have heard people continue with the same tempo and instead I look at discovering play at breakneck speed, but somehow the ‘magic’ isn’t there ways of making what I can play easily feel even easier. I find this for me. When I ask myself why this is the case, I often discover strategy very effective and, once I move the tempo forward, I it is something to do with the clarity of tone or articulation find it requires far less time to reach the tempo I am aiming for. that is lacking. When we hear these aspects of technique in clear coordination, however, the results can be very exciting, The exercises even at speeds that are slower than might be expected. For Taffanel & Gaubert Exercises Journaliers EJ1 & EJ2 me, a good flute technique is a coordinated technique, with These two exercises are extremely popular, however, and a good balance between all the various aspects. Keeping this there are a number of easier versions written by other teachers in mind, and understanding that finger dexterity practised which are available online and elsewhere. If you can obtain these, without consideration of the other technical aspects is of little it is likely to be helpful to work on them before attempting the use, I would like to offer some suggestions for improving finger originals. Without careful attention these exercises can become dexterity using methods that I have found effective over the very sloppy, reflected in the movement of fingers and evenness years. of rhythm, especially if they are attempted too early in the Some priorities process of developing your technique. The apparent simplicity of this five-note pattern can be misleading. Cultivating an easy, efficient, and light movement of each finger should be a goal. The movement of our fingers involves a complex arrangement of many muscle groups in coordination Trevor Wye Practice Book 2 ‘Technique’ with each other. Establishing a good posture and hand position The variations written by Trevor Wye for his essential book is the foundation of this. Finding a good hand position relies on on technique were inspired by EJ1 & EJ2 and are excellent two things. The first of these is solid advice from your teacher for gaining greater independence of the fingers within this (you may want to research the Rockstro grip), while the second simple five note passage. I recommend that these variations be part is self-directed. It is learnt through experience. You will practised before EJ1 and EJ2. The scale exercises ‘Series A-F’ find this through a process of practising various exercises. all focus on one repeated movement pattern, together with the Verbal instruction alone will not help you find a comfortable five-note pattern. I have added a long note at the end in the and efficient position for your hands; such instructions can following examples to show how I use these exercises in my merely be a signpost. If we keep this in mind and practise own practice. These motifs are great for developing an even independence of each finger while paying attention to the touch on the keys. body and its comfort, over time you will consciously and unconsciously make micro-adjustments to find a position for Lifting and depressing our fingers in order to create the your hands that allows your fingers to move freely. From my repeated movement required by these all of these exercises own experience this process continues to evolve and refine itself (shown opposite) is a surprisingly complex act for the nervous the more I play. system. Coordination is the key here. The opposing muscles must not fight each other but work together to create effortless A word on virtuosity and seamless movement. Our nervous system must learn what In this article I have included an array of resources to help is needed to lift the fingers, what is needed to put the fingers with developing finger dexterity; however, the way we practise back down and to make distinctions between necessary and
38 bfs.org.uk Technique
Taffanel and Gaubert EJ1
Trevor Wye Series A
Trevor Wye Series B
Trevor Wye Series C
Trevor Wye Daily Exercise II
unnecessary effort. If we go too quickly we do not get the that good positioning. I was somewhat disappointed when chance to pay attention to what we are doing. If you play or I discovered these variations in a book by Peter-Lukas Graf practise without proper attention you most likely will engage because I had felt rather pleased that I had come up with them parasitic effort, and if this extra effort becomes habituated it can myself; later I also heard these variations in a YouTube video be very difficult to eradicate later on. I also believe this extra by Sir James Galway. Given Moyse’s legacy to flute playing, I effort contributes to the painful hand problems that develop for think, in fact, that there are very few new finger exercises and an alarming number of players these days. I suggest that you variations on scales left to discover; nonetheless, the process of cultivate a sense of ease and lightness and instead anchor this coming up with new ones for yourself is still very valuable. Even feeling into your playing as you progress. I’m not advocating if you later find your ‘new’ exercises have been written by others that you spend your days practising at slow speeds; if you before you, I encourage you to experiment with developing follow my suggestions eventually your body will tell you when your own. When we create our own exercises we are actively it’s ready to move faster, and it will feel spontaneous and easy. creating solutions to our own specific difficulties. Time spent exploring and eradicating unnecessary effort will contribute to playing quickly and with greater ease later. Equalisation of the fingers Further Variations on Taffanel & Gaubert EJ1 I’ve already explained the importance of coordination in The following variations on the same five note pattern are lifting and depressing the keys and the involvement of different excellent, particularly for establishing a good hand position. muscle groups. If you look at the flute studies and exercises by When you descend in the scale you can establish a good position Italian composers, Rabboni and Lorenzo, there are numerous of your fingers over the keys before you play. The variations exercises to assist with developing the equalisation of the that then follow overleaf can help you maintain and explore fingers.
December 2013 39 Technique
Taffanel and Gaubert variation 1
Taffanel and Gaubert variation 2
Taffanel and Gaubert variation 3
Taffanel and Gaubert variation 4
Taffanel and Gaubert EJ1
Lorenzo L’Indispensabile
Paul Edmund-Davies 28 Day Warm Up Book
40 bfs.org.uk Lorenzo L’Indispensabile A complete Modern School Variations such as these are excellent for gaining greater independence of each finger and are probably the most demanding for coordination. A sample exercise is given opposite. Paul Edmund-Davies The exercises in Paul Edmund-Davies’ book, The 28 Day Warm-up Book, are also inspired by the Italian school. The technical exercises in this book are excellent and I can highly recommend it. Given opposite is another variation by Paul Edmund-Davies on Taffanel and Gaubert EJ1.
There are many other excellent resources. When working on technical issues, repetition with variation is a very good strategy to use. Don’t stick to the same finger exercises for too long: it is better to change your routine regularly, perhaps even every two weeks or so. Above all find ways to enjoy it, take regular rests, and remember you are not practising this for tomorrow, but rather next year. Don’t push for immediate results; instead, give yourself the space you need to cultivate a finger technique that will serve you for a lifetime. More from Niall at www.niallflute.com Twitter @Niall_ORiordan
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December 2013 41 Sir George Alexander Macfarren’s rediscovered Concerto for Flute Roz Trübger on reconstructing a lost flute concerto
ccording to the website of the capable musician and a skilled painter, became friends with Mendelssohn who Royal Academy of Music in wrote stage plays and essays. Seeking to conducted one of the many performances London, George Alexander promote his son’s musical talent and at of Chevy Chase. Macfarren likewise AMacfarren was the man who ‘saved the the same time fulfill his own desire to supported Mendelssohn’s work and life of the Institution and marked the raise theatrical standards in London, wrote an appreciative article after the turning-point of its fortunes. In spite George Macfarren senior secured the composer’s death. The composer’s of grave disabilities he left the school rights to manage the Queen’s Theatre in son, Karl Mendelssohn, was to say in a far better position, in all respects, London. Father and son collaborated on that his father and Macfarren were ‘of than he found it.’ For this as well as for several operas of artistic merit but they congenial mind’. Other critics also noted his many other contributions to music all too often failed to reach the stage similarities in the composers’ output, in England – as a composer, teacher, due to bad timing and bad luck. The though not necessarily with absolute musicologist, founder of the Handel Queen’s Theatre venture was abandoned appreciation. A reviewer in The Musical Society and supporter of English music after one year and after the management World (March 1842) announced to – he was awarded a knighthood. So why, of two subsequent theatres proved his readers that ‘the prevailing custom even in this, his bi-centenary year, has equally luckless, by 1836 the young among the best modern composers is he been generally forgotten? George Macfarren found himself to be to incite the saddest possible feelings so Macfarren was born in London the sole breadwinner for his family. As that…. instead of an ecstasy of delight, in 1813, the same year as the Royal a consequence he took a teaching job we feel inclined to walk straight into Philharmonic Society was formed and at a school on the Isle of Man. It was a river and drown ourselves... Mr. nearly 10 years before the foundation of there that he gained much experience Macfarren has fallen into the same the Royal Academy of Music, at which of the flute’s capabilities since the school notion and usually regales us with institution he was to begin his studies in orchestra, for which he wrote music, melancholy.’ Nonetheless, readers will piano and trombone at the age of sixteen. consisted of sixteen flutes and little else. be relieved to know that Macfarren’s One of his teachers at the Academy Here, he also composed the overture works for the flute include many light was the composer Cipriani Potter and Chevy Chase that was to establish hearted movements. with his guidance, Macfarren wrote his reputation as a composer both in If Macfarren was in any way his first symphony. It was premiered England and in Germany. Macfarren perturbed by that article, he surely in an Academy concert in 1830 with a was able to quit the school after one would have been cheered the following second symphony and other large scale year, and returned to London where he year when a review in the Musical works quickly following. It is interesting was appointed Professor of Harmony Examiner likened his Symphony in C to note that Macfarren’s orchestral and Counterpoint at the Royal Academy sharp minor to those of the recently compositions show an unusual usage of of Music. deceased Beethoven. the trombone and demonstrate that his London had become an exciting Macfarren was evidently making instrumental lessons had given him a place for a young musician. Visits by a name for himself but it did not help sound understanding of the instrument’s Mendelssohn and Weber, along with his career when, a couple of years later, capabilities. concerts of works by Beethoven, Spohr, he made himself especially unpopular Macfarren was born into an artistic Hummel, and Cherubini, were receiving amongst large swathes of the musical family. His father, as well as being a enthusiastic audiences. Macfarren establishment by supporting Alfred
42 bfs.org.uk Forgotten composers
Day’s new Theory of Music which had man sitting in reach of the keyboard, his His attitude to harmony was detailed otherwise been condemned by all head hanging down in the manner so and meticulous. He was a popular and the influential musicians in London. well known, his face illuminated by the frequent lecturer, although his lectures Macfarren was, according to his look of attention...I remember giving must have been quite difficult to hear biographer H.C. Bannister, the ‘single him a snowdrop one day to feel, he held since he tended to mumble with his jaw believer’ and it resulted in him resigning it by the stem with one hand, while cupped in his hand as his arm rested his post at the RAM. Although he was with the tips of the fingers of the other on the piano lid. He had fixed ideas reinstated one year later, after Day’s hand he felt the blossom. “How lightly about most things and when it came ideas had become generally accepted, it hangs,” he said ……to watch him seek to harmony he had definite views on the episode contributed to Macfarren’s laboriously by touch for the thing that chords, holding some in great esteem, reputation for being dogmatically we could see, was to realize the painful such as the use of the minor ninth for obstinate with a single-minded approach darkness of his life…’ modulation, and shrinking from others to people and situations. But Macfarren never gave up. He was including the diminished third, which To make matters worse, although an industrious, dedicated teacher and he described as ‘the hideous interval’. He Macfarren hated pedantry, he was composer who produced some of the advised not using too many dissonant considered to be a pedant. In the 21st chords since, in his opinion, it would century we can, perhaps, appreciate detract from the big climactic moments. that this ‘pedantry’ with its attention to ‘If it was all done here,’ he told his authenticity and detail was a positive students, ‘what was going to happen trait, ahead of its time and in keeping with when the hero was going to shoot our modern thinking. As an example: himself, or the heroine was tearing her acting on his father’s suggestion, he hair?’ formed the short-lived Handel Society In 1875, after the death of Sterndale with the aim of producing a complete Bennet, Macfarren was made Principal edition of Handel’s works that would of the Royal Academy of Music and, ‘follow the manuscript of Handel as shortly afterwards, also Professor of closely as possible and make important Music at Cambridge University. He took corrections that had appeared in the old these roles most seriously, giving special printed copies’. We can imagine how that attention to both the internal and would upset some of his contemporaries. external examinations and establishing With painstaking care and despite his fortnightly meetings of professors with failing eyesight, Macfarren produced students at the RAM. However his important editions of three of Handel’s approach to himself in his doctorial oratorios before the society folded. Sir George Alexander Macfarren (1813-1887) robes was more lighthearted — wearing Failing eyesight them, he said, made him look ‘like best operas of his day and who worked first cousin to the Knave of Hearts’. He Macfarren’s school years had been hard right until the night before his shrank from pomp, valuing instead the marred by his deteriorating eyesight, death at the age of 74. He championed esteem of his peers. As a consequence and in class the best his teachers could English music, composing all his operas when the knighthood was offered to do was to provide him with an oversized to English words with English subjects him, he at first rejected it. Eventually magnifying glass. By the time he was and harmonizing all of the traditional he was persuaded to accept it, although 34, his eyesight had become so bad melodies for Chappell’s collected he disliked the title ‘Sir’, preferring to be that he was persuaded to put himself in editions of national airs. He placed high known as ‘Professor’. the hands of an American oculist and value upon Purcell’s music, especially Macfarren had many devoted travelled to New York for treatment. Dido and Aeneas, but complained of friends and students. To celebrate his Sadly, maybe predictably, it achieved Italian opera in England that ‘it was 70th birthday in March 1883 they made nothing, and his eyesight continued during Queen Anne’s sovereignty that a collection of 800 guineas that they to worsen until in 1865, aged 52, his the first experiment of Italian opera presented to him at a surprise party. blindness became total. From that was made in this country…and [it is Amongst the gathering was his brother time, Macfarren was forced to rely on account of] the gross affectation Walter and, of course, his wife of forty on the services of an amanuensis for which this bred and nourished, that years, Natalia Macfarren (née Clarina his compositions. There are several the degradation of art is wholly to be Thalia Andrae) who was a singer but touching and poignant accounts by a s c r i b e d .’ became better known as a translator pupils of the outward effect ‘..the blind
December 2013 43 Forgotten composers
and adaptor of musical works. These century and performed the concerto in 1867 stated ‘his works have been included the Concerto in G for flute as again on at least one other occasion undeservedly neglected’. well as several others of her husband’s when he included the slow movement in Macfarren lived at a time when works. a Covent Garden Promenade Concert English music was generally disregarded The Concerto for flute on 27 August 1890 (The Morning Post). even by English people. England was Readers wishing to know more about ‘the land without music’. The German The Concerto for flute is a substantial John Radcliffe should refer to John Hanoverians had come to power a work of more than 800 bars. There is no Wion’s excellent article published in hundred years previously and foreign record of when it was written, although FLUTE / PAN, September 2010. music was fashionable. European the style suggests that it is an earlier composers, especially Mendelssohn, work than the Sonata written in 1883 Reorchestrating the concerto were in vogue. Macfarren wrote in a style (see PAN, September 2013). However, The original full score of the concerto similar to Mendelssohn throughout his I was surprised to discover an entry in is missing, presumed lost. Only a single life but, unlike Mendelssohn, he went the memoirs of J W Davison (compiled copy of Natalie Macfarren’s adaptation on living and composing into an era by his son) which suggests that the for flute and piano exists, and this is when music was changing and ‘modern’ concerto was written as early as 1836 the basis for the re-orchestration of the music was taking audiences by storm and which would date it to Macfarren’s work that I currently am undertaking led by composers such as Wagner. time at the school with the sixteen flute (my thanks to the Library of the Macfarren maintained a serious attitude players, or before. University of Western Australia for to music and had a reputation for being Certainly in 1863, just before the first their help in supplying the score). As obstinate. Although he had friends, he performance of the Concerto for flute, this copy is in Australia, it is interesting did not have the disposition to ‘sell’ E Macfarren would have been very busy to have discovered a newspaper report n himself in the salons of London and, o with his opera She Stoops to Conquer so of a performance given at the general u in the words of Oscar Wilde, ‘there is g perhaps when a concerto was needed, meeting of the Musical Association h only one thing in the world worse than i he simply pulled out of the bag one that of Victoria, Australia, which was n being talked about, and that is not being s he had made earlier. Further evidence ‘held at Gunsler’s Café on Saturday t talked about.’ r of the concerto’s early date appears in evening….there being a numerous u It is true that the music of many m Davison’s letter which states that the audience present not withstanding the e ‘forgotten composers’ is best left n concerto ‘is to be published by Hills’ inclemency of the weather. Following t forgotten, buried in dusty archives. s the publisher whom the (later) Rudall the business of the meeting there was a However, after several decades of n Carte edition identifies as owning the a concert including the flute concerto d research, I can say unreservedly as a orchestral parts (now missing). by Professor Macfarren performed by c a flautist and as a musicologist, that c The concerto is dedicated to the flute Mr Siede accompanied by Mr Vogt….’ e Macfarren’s music for flute deserves to s player John Radcliffe who gave the first [The Argus (Melbourne, Victoria) 13 so be rediscovered and played. r performance of the work, according August 1883]. An extract from the new ie s to Ian Graham Jones, in the Hanover edition for flute and piano is given in Macfarren’s forgotten works for the to Rooms on 27 February 1864 for the the following pages and the orchestral p flute are: ut ... Musical Society of London. However material will be available shortly. a er Concerto in G for flute and orchestra sm lay both The Era and The Musical Times Macfarren was a skilled orchestrator Sonata for flute and piano ile e p state that the first performance took and much of the effect of his on flut Recitative and Air for flute and the face of any place later, at the opening concert of compositions lies in his use of the piano the season at the RAM on 17 March instruments. So the re-orchestration of Three Trifles for flute [or piccolo] 1864 where, according to The Era, the concerto is no light task. I have been and piano the concerto was ‘the great feature listening to learn, but few of his works Trio for flute, cello and piano • Wonderful selection of new and pre-owned instruments in the programme…full of beautiful have been recorded, namely symphonies Andante & Allegro [missing] passages’ and ‘Radcliff performed the nos. 4 and 7, the opera Robin Hood, the • The largest flute music selection - anywhere • Main agents for Altus, Azumi, Burkart, Hammig, Haynes, Flute Concerto in admirable style with overtures Chevy Chase and She stoops An extract from the Concerto an excellent tone and true musical to Conquer. I have thoroughly enjoyed is published overleaf, and the Miyazawa, Muramatsu, Pearl, Powell, Sankyo, Yamaha... feeling’(Musical Times). Radcliff, a the works and the reviews of other Concerto, the Sonata for flute and • Cases, covers, repairs, gifts, gadgets... former student at the RAM and pupil of listeners show that they are all surprised piano, Trifle No. ,1 and the Recitative ...in fact, so much more than Macfarren’s brother, Walter Macfarren, and delighted by the music. So why has and Air are all now available to buy was just 22 years old at the time. He Macfarren been forgotten? It is apparent online from Trübcher Publishing at was to become one of the leading flute that the neglect began whilst he was still www.trubcher.com. players in England during the late 19th alive, for the Dorset County Chronicle
46 South End, Croydon, CR0 1DP 44 bfs.org.uk @justflutes Tel: 020 8662 8400 www.justflutes.com E
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• Wonderful selection of new and pre-owned instruments • The largest flute music selection - anywhere • Main agents for Altus, Azumi, Burkart, Hammig, Haynes, Miyazawa, Muramatsu, Pearl, Powell, Sankyo, Yamaha... • Cases, covers, repairs, gifts, gadgets...... in fact, so much more than
46 South End, Croydon, CR0 1DP @justflutes Tel: 020 8662 8400 www.justflutes.com piano accompaniment arr. by Natalia McFarren Concerto dedictaed dedicated to to and and composed composed for for John John Radcliff Radcliff I G A McFarren Allegro Moderato œ œ 3 3 œ# œ œ œ# œ œ# œ œ œœ œ 3 # 4 œ# œ œ œ# œ œ œ.. œœœ œ œ & 4 Ó Œ‰ ‰ ‰ œ# œ œœœ R œ œœœ f 8 œ œ œ œ œ U 3 œ# œ œ# œ œ œ œ œ# œ œ œ œ œ œ # ˙ Œ Ó Œ‰ ‰ œ ‰ œ# œ# œ œ & œ ad lib a tempo f p f 15 A B # U 28 24 3 œ œ œ œ# œ œ œn œ œ œ & œ# œ œ œ œ n˙ œ# œ œ œ œ œ Œ
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114 S Ÿœ œ œ œ. œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ # œ r œ. œ œ œ œ œ & Ó Œ‰. R J ‰ ∑ ‰. œ œ œ œ œ 119 œ. œ œn œ œ œ. œ œ œb œ œ œb œ œ œ# œ œb œ # j rœ. œ œ œn œb œ œ œn œ œ œ & œ ≈œ œ œb œ œ œ# œ œ 122 œ œ œ œ œ œ œ œ œ œ# œb œ œ œ# œb œ œ œ œ œ œ# œn œ œ# œ œn œ# œ# œ œn # œœ œn œœœ œœ œœ œ œ# œ œn & œ# œœ
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157 œ# œ œ œ œ œ œ# œ œn œ# œ œ# œ œ# œ œn œ œ œ œ # œ# œ# œ œ œ œ œ œn œœœœœœ œ œ# œn œ# œ# œ œœ œ & F 160 œ œ œ œ œ œ œ# œ œn # œ œ# œ œn œ œ œ# œ œ œ œ œ# œ œn œ 7 & Œ 979-0-708082-93-4 ©Trübcher 2013 Exams: good or bad? Roz Trübger considers the pros and cons of instrumental exams
an’t I play something easier?” asked my student, turning “My son needs Grade 6 so he can apply for a music pathetic eyes towards me. She had been struggling with scholarship.” Pan by Roussel (Grade 8) for a month or so, taking Private schools can seem to be the cause, wittingly or Ctwo steps forward in the lessons and then two steps backward unwittingly, of an abuse and devaluation of the grade system during the week due to lack of practice. It is a situation that most by offering valuable music scholarships to pupils with a general teachers will have come across and it sums up the dilemma that requirement of Grade 6 or above. Parents of preparatory school the grade examination system now presents to us as teachers. pupils needless to say are enthusiastic about saving money on When I began teaching in 1976, there was no Grade 1 or education wherever possible and will frequently try to push Grade 2 exam for flute players. The first grade that could be their child (and the teacher) into taking grades before the pupil taken was Grade 3 but, after the explosion of interest prompted is properly ready. I recall one thirteen year old ‘scholarship’ by James Galway’s rise to stardom, significant numbers of student, fresh from her prep school, who arriving at her first children started to learn flute as a first instrument and at a very lesson with me clutching her Grade 6 certificate, announced young age, giving rise to the necessity for easier exams. ‘Actually I’m really a very good player’ – sadly for her and for me, she was neither a good player nor anywhere near Grade 6 “Mum wants to know when I’m going to do Grade 1.” standard; she had only limited technical skills and could not That parents, especially those without any instrumental read music. experience of their own, should be anxious to know how their child is doing is natural and understandable. The grade system “I can play the pieces, but I can’t play the scales’” provides them with clear evidence of progress as well as an extra Not only parents but students also can be so blinded by the detail for the Christmas letter. However, in this era of CATS, desire to gain that piece of paper that they fail to understand SATS and every other standardized test it can also detract from the wider implications of grades as a measure of skills that need the notion of developing ongoing skills and the fulfillment of an to be achieved. But does the exam test those skills accurately individual’s potential. or appropriately? It is fair to say that, despite the introduction of more student-centred tests, the format of the exam (and I “She only practises when she’s got an exam to work for.” include all boards) has changed very little in the past 100 years We all work best when we have a goal, a concert, an audition and is still largely based around ideas appropriate to pianists. or an exam as an objective, and one of the founding principles Student with perfect pitch will do well in aural tests, whilst of the ABRSM when it was formed in 1889 was ‘ to give people those without will do less well. Similarly, I always got good something definite to work for; to counteract the tendency to marks in exams because I could sight-read with ease, but should sipping and sampling which so often defeats the aspirations of a student with less good eye-to-brain skills be penalized in the gifted beings’. Sir Hubert Parry also stated that it was to ‘maintain exam room? It is a tribute to teachers that we have always found standards of interpretation and an attitude of thoroughness in a way to get students ‘through’ exams but, in the process, are we connection with music which will enable it to be most fruitful ourselves contributing to the devaluation of the system? of good.’ This latter objective may be brought into question now For instance, Grade 4 requires that a student is able to play when schools and parents frequently ignore the musical aspects two octaves of the A major scale but the pieces do not demand of the grade exams, preferring instead to focus on and exploit this same skill so, if little Johnny can’t play a top A he can still ‘successes’ for status and commercial gain. An academy school, pass the exam! During the past twelve months I have attended in which I taught until recently, refused to employ instrumental several events in Croatia and other parts of Europe where the teachers (I was self employed and paid rent for the room) or to grade system is not employed and I have been very struck by take any part in the lessons or preparation of students, but they the quality of playing by young players that I witnessed. Flute were quick to request that the school’s name should be given on playing skills are taught ahead of pieces and there is little examination applications (I refused) and all certificates gained attempt to keep pupils ‘happy’ by dumbing down musically or were required to be handed over to the school for award to the technically. student by the head teacher.
48 bfs.org.uk Teachers’ Portfolio
“My dad says I can give up when I’ve passed my Grade 5” the word ‘exam’ which itself too closely aligns it in the minds of This phrase has to be the saddest of them all: here we meet students and parents with the ‘just do it this way and you’ll get the student who is less enthusiastic than his parents. This an A’ mentality of the school GCSE system. Over the past two student does not wish to learn but, alas, his parents think that decades I was aware increasingly of students’ expectation that giving him ‘something to aim for’ will make him miraculously I would supply them with an answer to copy, rather than us determined. This entirely negative use of the exam system is exploring their ability to reach their own full potential. I mean, detrimental to all parties concerned and only rarely does it have have you ever heard a capable school student saying ‘I got an a positive outcome. A star but I think I was capable of much more’. The student to whom I referred at the start was a clever girl but she could see “If you don’t put my child in for Grade 5 this term, I’ll only as far as the exam day, the school system having driven send him to a different teacher” out of her the desire to learn for learning’s sake. Have you ever Nearly as bad is the parent who, lacking faith in the teacher’s asked a student ‘for whom are you learning this piece?’ Most judgement, believes that the exam system will prove his child frequently they look puzzled, put on a worried expression, to be a gifted genius, despite the teacher’s protestations and think for a while and answer ‘um, I don’t know, err - for you?’ coaxing to the contrary. And if it were not for the need to earn a The use of non-specialist examiners, whilst economically living, the teacher would indeed be glad to see the back of both worthwhile, is in all other respects entirely detrimental, such families. especially in the early grades. One of my friends with no experience of playing percussion was horrified to find herself Big business having to examine a whole day of drum kit candidates. It Exams have become big business with hundreds of should be expected that the teacher and examiner will have people employed in and around the boards. Salaries must be equal knowledge of the subject and only candidates who are paid, so the candidates must be encouraged to keep coming. fully prepared will be entered. If I think of the young lady at the The ABRSM alone now accounts for some 600,000 students start of the article, struggling to play one of the less demanding annually, a marked increase when set against the days of the pieces on the grade 8 syllabus, it seems to me that a solution founding principles – when the Royal Academy of Music to this might be to have an examination in which all the skills external examinations were first held the initial number of are fully tested in a repertoire of, say, six pieces at each grade. entries warranted the services of only two examiners, Brinley When the student has fully mastered all of them, the teacher Richards and Walter Macfarren with most of the candidates should undertake an application for which they are entirely being at the Cheltenham Ladies College. accountable stating that the candidate is now ready to be ‘Also to give people… opportunities to be intimately auditioned. Seven days before the exam, the candidate would acquainted with the finest kinds of musical art’ was another of be given notice of which one single piece they are to perform to the ABRSM’s founding principles but that also is becoming lost the examiner. Controversial idea? Or maybe room for thought in the scramble for certificates as exemplified by another of my since perhaps it would remove the ‘choose the easiest pieces former pupils (I’ve had a lot of them!). Aged seventeen, she was and move on to the next grade mentality’ and provide a fuller desperate to pass Grade 6 and had selected the first movement musical experience for student, parent and teacher. of the Concerto in C by Abel as one of the pieces. With no background of listening to anything other than popular music, she was totally lost stylistically and failing to make ground, so I very gently suggested that she needed to do some listening. The following week she arrived in tears plus the words “I don’t want to have lessons anymore because you’ve asked me to listen to classical music. I don’t ever listen to classical music. My family don’t ever listen to classical music. I just want you to tell me how to play the piece so that I can pass the exam”. Happily there was a good outcome: after our chat she started to listen to and enjoy Mozart and friends – and passed the exam, too. A force for good? So are the grade exams a force for good or are they becoming a self-defeating end in themselves? Clearly there can be no positive answer to this question because no two candidates or teachers are alike. However, I would like to suggest that the time is nigh for a radical overhaul of the system. Not least the use of
December 2013 49 More thoughts on breathing by Myra Baker n the evidence of recent issues of He stood taller than me by probably a and flat to them if a long phrase that PAN it seems that a lot of us are foot and was about a foot wider too. they cannot manage is insisted upon by thinking a lot about breathing However, in my teaching room, a well-meaning musician in their lives, Oat the moment. This trend puts me in conversations purely about how long a conductor or ensemble leader. If you slightly dangerous territory: I don’t a breath will last are rare. We discuss have the long-term view in mind, every claim for one moment to be an anatomy breathing as a means to improve the flautist needs to appreciate the reality of expert; my musings are probably no sound, to enable satisfactory tuning, the amount of air needed to play at his more interesting than anyone else’s, and tonguing, and fast fingering. And or her best. Perhaps it is selfish of me, undoubtedly not revolutionary. So why somehow, by discussing breathing as but I would, every time, rather listen this article? Well, although not often an integral part of everything else that to a good sound and work over time talked about, it seems to me a perfectly we do, it’s not really until the advanced at the breathing management with my fair observation to make that some repertoire is reached, or the odd bit of students, than admire a long phrase flautists just find breathing issues easier Handel, that we seem to need to talk played to the end with no breath but than others, in exactly the same way that about breathing as a means of getting with no substance or beauty either. some pianists have huge hands that make from A to B, rather than improving how I have a completely unsubstantiated light work of the chords and stretches we get from A to B. Everyone always theory that one’s very first flute teacher that are almost impossible for the small- needs more air, but I’m generally not just can carry a lot of the blame for this handed to play. I relate to this. I am thinking about getting to the next pit malaise. So often progress as a beginner fairly small; in fact I’m pretty sure that I stop. Getting sufficient air to make the is partially measured in terms of how have the lungs of a harvest mouse. And journey there actually work is my prime many notes can be played before because of this, perhaps, I have become concern. The breath is the lifeblood of they gasp their next breath. For some slightly obsessive about breathing and our playing, the magic genie that will students this process continues, with how to really use the lungs that I do weave its magic if we know what to do flute playing resembling an underwater have. It was maybe inevitable then that with it. swimming competition where the last I should also become slightly obsessive one up for air is the winner. I say we about breathing in my teaching, too. I should leave this to the oboists: we have have a hunch that if I teach my pupils “Students should never much bigger fish to fry! nothing else, they must learn how compromise a beautiful So, philosophy is all very well, but important this is. sound in favour of lasting my role in my young students’ lives is I have a terrible tendency to stare to actually teach them some techniques at any wind player or singer, looking to longer without a breath” to improve the business of breathing. see what they seem to be doing in the Early awareness of the muscles that breathing department. It’s fascinating! It is one of my many teaching support the diaphragm is pretty critical The flute teachers with whom I learned mantras that students should never in my book, before we have even begun were mostly male and tall. A quick compromise a beautiful sound in order to explore their function in breathing. I browse through many a scientific tome to last longer without a breath. I try to am a big fan of a technique introduced on this subject will speedily confirm encourage my students to make the best to me as ‘huffing’. This is essentially something of the obvious, that is, that sound that they possibly can all the time. staccato playing without the tongue. large men have significantly larger lungs I detest that end-of-phrase dropping off The feeling from the area around the than small females. It was a source of of pitch and substance with a passion. diaphragm is often best found by asking much debate with one former teacher Who doesn’t? And you know, it isn’t your student to blow a short blast of hot in particular that my idea of how far really understood by other musicians, air on their hand. Weekly scale exercises a full quota of air would go differed even our friends in the woodwind played in lessons in this manner do enormously from his. It was bound to. section. Flute players just sound feeble almost more than anything else I have
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tried to develop a basic good sound in my flautists. Without the helpful in getting it there. I have a copy of the brass exercise crutch of tonguing, that whole issue of the air stream has to be book, How Brass Players Do It by John Ridgeon. It contains addressed, and actually a few embouchure issues too! the most wonderful 1970s photographs of a lady in her bikini I’m sure more than a few of my pupils would tell you demonstrating what good (and bad) breathing practice actually that this particular exercise hurts initially, a deep muscular looks like in the flesh, inside the school uniform. With the weariness setting into their abdomen somewhere around the caveat that I teach girls these days, I find this incredibly useful, turn at the top, but the discomfort passes as the abdominal alongside my long-standing favourite Illustrated Futeplaying strength increases over ensuing weeks. I like to think of these by Soldan and Mellersh which provides exactly the type of as gym exercises for flute playing and they seem to serve as a illustrations I always wish I could just rustle up to order. reminder to my young charges that flute playing is an aerobic Frustratingly, once the idea of actually employing the activity requiring considerable physical input as well as quietly diaphragm in the breathing process starts to click, I often then preparing this area of the torso for some serious breathing. witness a complete and total abandonment of the top part of The question of air intake is one with which we are all the lungs. For me, this is where I ‘top up’; that lovely feeling of familiar. Making students aware of the exact space that their adding to the deep reservoir of air and being fully ready to do lungs inhabit is standard teaching fare. The two difficulties business. One of the crazier things I have tried to help students I find repeatedly in my students, however, are taking in an
The fabulous 1970’s brass players’ pin-up “Miss Incorrect Breath”, courtesy of Brass Wind Publications.
initially sufficient breath, and actually becoming familiar with feel this is to wrap a towel around the upper chest, the end the unnaturally enlarged feeling that goes with over-riding tucked in as if just leaving the shower. As the breath comes in what is a natural reflex process, and filling up fully with air. and the rib cage moves outwards the towel becomes tight: the In terms of drawing attention to filling the lower part of the resistance to the expansion of the ribs almost inevitably comes lungs I have found a lot of success with talk of actually making as a surprise. I have found this a remarkably effective visual and the stomach “fat”, or stick out, to make room for the breath. I palpable way to demonstrate the mechanics for filling the lungs think this possibly just focuses on the result of the breath in, fully. A good relationship with one’s student is probably pretty rather than the process; can one actually ‘feel’ the diaphragm crucial here, but it’s a lovely icebreaker if you are ever working moving when inhaling? I presume that my own students are not with a group. Can they even pop the towel open? Hold the the exception in that they all seem to spend a lot of time holding towel in a loose position and then fill the gap by breathing in? in their stomachs these days and letting go of this comes with Endless fun can be had here. If towels seem like far too much a lot of persuasion. One of my most unyielding students in this organization in the morning, I have also used those stretchy regard was actually a very fine player who was also something elastic belts with writing or patterns on that seem to pop into of a serious ballet dancer, and as such she had a very strong vogue every now and again. The difference in the writing/ awareness of her ‘core’, and how to use it for maximum strength pattern as a belt, fastened around wherever you wanted it to in elevation. Good once the breath was inside her, but not very go, stretches with a breath is again very visual, although less of a physical feeling due to the inherent stretchiness of said belt.
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In conjunction with this I find the old favourite ‘blowing However, on the matter of embouchure I would like to through a straw’ exercise (straw outside the lips, not between mention headjoints. Should one ever get to a stage of helping them) immensely helpful, to familiarize students with the a pupil to upgrade their flute, the headjoint that they play inner resistance they need to find in the chest so necessary for obviously affects sound, so in my experience affects breathing a supported sound and conservation of the air. I find myself too. Now, this is hard, as we all know, because it takes a while to using images of jelly being pushed through a syringe; a steely adjust to new headjoints and find their potential; teenagers with core of air slowly rising ever upwards whilst the body frame their relative lack of experience are hardly best-placed to make itself is gently acquiescing to the forces of gravity, surrendering decisions beyond instinctive likes and dislikes (which are not to tension and melting away into the floor. All highly entertaining be ignored, just honed somewhat). A headjoint that offers the rhetoric for my pupils I’m sure, but strangely, it does (more than desired flexibility of tone, but which is cut to enable the lips of occasionally) yield results. that particular player to create a big sound without needing to That thorny matter of a big enough breath at the outset of expend extra, taxing, effort, is a definite help in our breathing a piece or exercise is interesting. We often experiment with armoury. It may only make a small difference in measurable a focus on blowing out rather than breathing in to kick in a terms, but small differences are sometimes what is needed: a reflexive deep intake of air, topped up by a further snifter to small refinement in the lips, with the headjoint and some hard gain the ‘overflowing with air’ feeling. This particularly helps work in the torso actually adds up to a significant difference. students who perform a lot, as that initial exhalation can I suppose we have to be creative these days when it comes to be key to controlling nervous tensions in breathing when teaching something so physical. The clothing worn by athletes playing. Generally, though, I just try to teach awareness that and dancers enables teachers to spot weaknesses. We rely on that first breath is crucial. There’s no sensory feeling of a need questions, pictures, diagrams, demonstrations, and ultimately, for air so the body won’t do it for you. It’s a crucial breath, but the evidence of our ears to tell us that something is improving. often a flawed breath, especially as many students don’t seem Or not. And when it isn’t we just say the same thing all over to consider that the business of playing the flute has actually again in a slightly different way, in the hope that eventually started until a sound comes forth, so struggle with the concept something will make a connection. For just those times, I hope of preparing for this in advance (!). that my version of these undoubtedly familiar thoughts may There are then the quick, ‘gathering nuts for winter’ kind of help in a moment of desperation for somebody. breaths where we maybe don’t need air, but there’s nowhere else to take it later, or we do need air, and we’re desperately snatching what we can when we can. The ‘Ostinato’ from Rutter’s Suite Antique demands this at a standard where it seems to have relevance and I will often pursue study of at least the first page of this piece just for experience of this breathing technique. The unrelenting ostinato of the piano part leaves absolutely no space for a breath of any measurable kind mid-phrase, and in all my years of teaching those 18 years and under there has not been one who can complete the coast-to-coast challenge of the bars between the rests without air. Alongside this consideration of what is happening in the torso, in young developing players we really do have to consider the lips too. If the embouchure hole is too big in any direction a player wastes their preciously gathered fuel, which does seem rather self-defeating to me. This concept is very well demonstrated by the previously mentioned method of asking students to blow on their hand. Hot air will probably produce a large opening in the lips. Cold air, a much more compressed lip shape with a smaller aperture and often requires some exploration. It’s not at all a route to embouchure formation but does serve to illustrate the principle of lungs and lips working together to results. Of course, the road to then perfecting the correct lip shape in every register and for every dynamic with students is complex and worthy of consideration by itself. Suffice perhaps to say here that it can be a futile process without adequate breath support in place.
52 bfs.org.uk Teachers’ Portfolio Starting too young? Elizabeth Rowan on the Suzuki method of flute teaching his was the query posed by Suzuki flute teaching adopted the Atarah Ben-Tovim in the March idea, long since taken for granted 2013 edition of the journal, and among violin and piano teachers using Tshe received a few interesting responses the Suzuki method, and also by quite in subsequent issues from flute teachers a few who do not, that an early start is who have clearly thought deeply about good, given the appropriate positive, the question of the appropriate age for nurturing environment. Flute teachers children to start learning flute. have been quite successful in achieving Atarah’s own view was that the results with children as young as three recorder is a better instrument for and four years old. Suzuki commented: Elizabeth Rowan is a Suzuki-qualified young beginners. Manda Williams ‘Every child grows; everything depends teacher, and is also BFS Area wrote favouring the fife on account of on the teacher’. In practice, what this Representative for Leicestershire. the ‘physical problems presented by means is that we teachers have to change a full size flute’; Pat Daniels’ letter in our approach – we cannot teach three- Manda mentioned children, who, the same issue (June 2013), suggested year-olds in the way we would teach having started on a curved head joint, some brilliant ideas based on the aim seven-year-olds, let alone 11-year-olds. played with a dropped chin. (I was glad of teaching ‘music, not just flute’; and One thing that might surprise us is how to be reminded of this danger: teachers a county music service teacher (name a three-year-old would, for instance, be must always be vigilant - though much of withheld) pleaded for a ‘coherent quite happy to play just on a flute head the problem can be avoided by adjusting methodology’ for starting children so joint for several months, without getting the head joint’s angle.) And Ruth Leech, young. bored or frustrated – as long as that in her letter in the September 2013 issue, Nobody mentioned the Suzuki activity is rooted in a thoroughly musical spoke of the risk of students being put approach. (By the way, Suzuki recorder environment, with plenty of singing, off the flute if they are not physically is something else again – amazingly rhythm games, listening, observing, and ready. It is, of course, the teacher’s effective – for people who prefer that creativity. responsibility to avoid these problems. instrument.) I have sometimes taught children who are exceptionally tall for their age, or who have unusually long fingers - this can cause difficulties with posture or with hand positions too, and if I were to ignore the frustrations that the children might experience as a result, I do not think I would be doing a good job. I completely agree with Pat’s argument about ‘enthusing the younger student while it is still fun to play (so that playing is “play”), so that we can make music a part of their life.’ I am looking forward to showing in future editions of PAN how the ‘coherent methodology’ developed by Suzuki and his followers has already taken to heart this wonderful aim.
December 2013 53 The BBC and the ‘antique flute’ Liz Goodwin on how a generous gesture by Just Flutes will help young players in Croatia he flute world is a wonderful place, full of amazing, Although I felt the five and six year olds were a little too young, generous people. especially with the language barrier, they all made remarkable Recently I had a phone call from Jonathan Myall. He progress in the short time I was working with them and took Thad just been contacted by the BBC and they wanted to know part in our concert in the castle at the end of the course. It was if he would be willing to take part in their programme, Put a fantastic experience for them (and me!) The oldest girl and Your Money Where Your Mouth Is. They told Jonathan they boy did exceptionally well. The boy, Emin, showed particular had found a rare, antique, French flute and wanted to know if talent, but was obviously also a troubled young person. The staff he would consider buying it as part of the programme. Further at the home told me he is only ever cooperative in a one-to-one discussion took place and he discovered it actually wasn’t setting. On the flute course, however, he proved the opposite, rare, French or even old – it was a new(ish) Buffet student joining in at every opportunity even though he was desperate to model flute. He agreed to take part in the programme and was explore the Fife Book on his own and learn new notes. contemplating what he could do with it. Hence his phone call to me. He kindly offered to buy it and then give it to me for use by children in Croatia. For over a decade now I’ve been privileged to go to Croatia to deliver a summer school for children. I start beginners on fife and they come back year after year, developing as flute players. I’ve built good links with the local community and have been able to donate a number of flutes for the children to use. Many of those flutes, which are maintained by the local music school, have now served several children. They really do love them and take care of them. I had one of the coloured ones which I bought for £99 some years ago. One of the children on the course fell in love with it so I left it with her to use. I was stunned with the progress she made in a year. The following summer she arrived with her own brand new Yamaha flute so my trusty purple job was passed onto another child. I was amazed this summer to The not-so-antique flute find it was still working well even though there was little purple I’m hoping this flute, so kindly donated by Jonathan Myall, plating left. will be able to be used by Emin. I will give it to him when, and In my experience, the children in Croatia all seem to work if, he makes enough progress on his fife. Whatever happens so much harder than many UK youngsters, expectations with this boy, the flute won’t go to waste, as there are plenty are higher and they are more disciplined. I always find them of other keen young people in Croatia who would relish the really thirsty to learn and exceptionally cooperative, eager to opportunity to play the flute. help others in the group. Maybe this is partly due to fewer We don’t know when the programme will be aired. The staff opportunities being offered to them. who were in Just Flutes when it was recorded, all said Jonathan This summer I invited some children from the local came over extremely well on the screen. I’m looking forward to children’s home to take part in the course, giving them the seeing it and taking this “antique” flute to Croatia. If you would opportunity to learn to play the fife, join in musical games like to see the programme when it goes on air please keep an and learn songs in English. Aged from five to 12 years, they eye on the Just Flutes and Flutewise websites. We will post the were all completely inexperienced in music, but enthusiastic. time and date as soon as we know.
54 bfs.org.uk Flutewise
Do you have an old beginner flute gathering dust in the back of a cupboard? If you would like to see new life breathed into it, Flutewise would be very grateful for any donations. Like Jonathan’s flute, it could be used to help our young flute friends in Croatia discover the joy of making music. If you can help, please contact Liz Goodwin on [email protected]. Flutewise are also looking for a sponsor to support a Flutewise Apprentice in helping with the programme in Croatia next summer. Liz would be delighted to hear from anyone who might be interested in helping Flutewise fund this goal. The much-loved purple flute Myfife: encouraging and supporting a new generation of flute players he response from BFS members to Liz’s column regarding flogging a dead horse! I personally do not believe this is true the myfife scheme in the last journal has been impressive and hope all those who read this will agree. To ensure this isn’t and there is certainly a great deal of positive interest out the case, however, we have to bring together all members of the Tthere. I would like to take this opportunity to explain our plans flute community. With the fife we have a unique opportunity to help flute teachers all over the country to swell the number of to give many young people the chance to give music-making young people playing the flute. a go at low cost. Teachers working with groups of three to As I meet and talk to many teachers I hear the same message five children can offer a very attractive, affordable scheme to as I do from our friends in retail and manufacturing: the parents whilst maintaining and growing their income. Parents number of players is dropping at a staggering rate. Perhaps the witnessing their child engaged in music-making with the fife clearest (and saddest) indication of this I see is at the secondary will have the confidence to invest in a good-quality instrument school I attended, now a noted Performing Arts Specialist for their child’s lessons to continue. In the long term teachers, school. Twenty one (ahem…) years ago, when I started at the retailers, manufacturers, the flute community, and the wider school, aged 11, there were 65 students all learning to play the music world will all stand to benefit. flute; today just four students take flute lessons. With additional At the time of writing the major manufacturers, many pressure on family finances and an obsession with grade-based retailers and several teachers have shown interest and started school league tables throughout the system, numbers seem set to be involved in our plans. I hope that many of you reading to decline further. If anyone is still in any doubt as to how much this would like to be involved too. Liz has started to run myfife emphasis is placed on music education in schools I offer you teacher workshops and we are looking to roll out a full-scale the following example – music teachers in one school local to pilot scheme in early 2014. We hope to be invited to deliver me were told recently that they would be teaching Maths and a myfife teacher’s workshop at the BFS Convention next year, English instead of timetabled music because it was essential that though in the meantime we would love to hear from you if you the ratio of students achieving five A* to C grades (including have any comments, questions or would like to be involved in Maths and English) should improve. any way at all. There is more information and a newsletter to This, combined with the other numerous factors often which you can sign up at www.myfife.org discussed, may lead to a very simple conclusion – we are Mark Goodwin
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CONCERT REVIEW EMILY BEYNON
BFS-RAM PREMIER seasoned musicians to Emily plays with great contain wonderfully tender FLAUTIST RECITAL students, along with the beauty of tone, always moments. Emily Beynon (flute) with general public, delighted to expressive with a wonderful Andrew West introduced Andrew West (piano) have the chance to hear the silky quality. There is a us to the next piece, John DUKE’S HALL LONDON principal flute of the Royal sense of great power in her Woolrich’s Darker Still, 20 OCTOBER 2013 Concertgebouw Orchestra sound, full of resonance, explaining the structure of in recital. showing she is not afraid the piece to the audience. he prestigious Duke’s For those of you to push the boundaries in This is a work of short Hall at the Royal who don’t know Emily’s dynamics to help create variations based on a simple Academy of Music, background, she achieved dramatic effects, whether motif, which explores the Teven on a very wet miserable this position at the age of just for an explosive fortissimo outer edges of lyricism, October night, provided 25 and has since developed or serene pianissimo. brutality, sound, and silence. a setting for the Premier an extremely varied career Notwithstanding this, I This work ‘starts with a bang Flautist recital by Emily as a soloist, chamber found the use of vibrato and ends with a whisper’. Beynon that any performer musician and orchestral sometimes to be too This atmospheric piece would admire. I arrived with player. Alongside this uniform and so would have was emotional and lyrical, soggy shoes and a drenched enviable career, Emily is also liked a little more variation challenging the performer coat, feeling very out of a passionate and dedicated to match her range of colour in all areas of technique. The place surrounded by the teacher who is regularly and dynamics. tremolo effects and sudden chandeliers and glistening invited to give master classes The Prokofiev was pianissimos forced the organ; however, I soon all over the world. Emily’s followed by two pieces audience to listen carefully, stopped worrying about my pianist, Andrew West, is written especially for Emily, but Emily played with such dampness once the concert known internationally as the first of which wasWords ease throughout the range began. The concert started a soloist, accompanist and for my Daughter by Sally of her flute, demonstrating at 5pm and followed a chamber musician, and Beamish. Emily engaged immaculate control of refreshing format in which having worked with Emily the audience with her tone and intonation. the hour-long performance for many years, the easy clear and knowledgeable Andrew West accompanied was followed by a question rapport between the two was introductions, telling the beautifully, always and answer session. I clearly demonstrated. audience that she wanted to sympathetic to the flute by think this format could be The concert‘bring in a few pieces you being supportive but never followed more often, as programming was based might not know to make a overwhelming, creating a it allows the audience to on an unusual premise of personal concert’. perfect partnership. relate to the performer on ‘alternative’ pieces, and The Beamish work is In Emily’s introduction a personal level, offering a the concert started with based on a poem by Janet to her final piece, she warned more intimate experience Prokofiev’s Cinq Mélodies, Paisley, a powerful piece us of the sinister undertones than is possible in a standard originally composed for about the life cycle from of the opening movement concert. violin and transcribed by birth to death written from of Escher’s Sonata for Flute Accompanied by the Emily, who demonstrated a mother to her daughter. and Piano. Unusally, this notable pianist Andrew beautiful characterisation A conventionally-written, is followed by a solo flute West, Emily presented a in each. The pieces enabled modern piece that had both second movement, which programme that challenged Emily to demonstrate her rhythmical interest and is then rounded out by the listeners as much as it full range of expression, a huge range of dramatic a relentless, edgy third did the performer; nothing colour and dynamics, effects, it demonstrated movement. traditional or predictable treating the audience to this relationship through The piece has very here. Despite the weather, exquisite musical lines, and the music and showed effective voicing between there was an appreciative taking us on a mysterious that although life is not flute and piano, producing an audience, ranging from journey. always easy, it can still almost French flavour to the
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PREMIER FLAUTIST
Emily Beynon in concert at the Duke’s Hall (image: Malcolm Pollock)
first movement. The second, as a light and delicate, even communicated by Emily and For me full enjoyment solo movement was gentle, feminine, instrument. Andrew. of concerts lies in being and is a welcome interlude Emily demonstrated An encore was inevitable entertained. This concert before the violent opening that there is more to the after such a brilliant was certainly impressive of the last movement which flute than mere prettiness, performance and Emily with its display of technical is heralded by an explosive playing in a style I would treated us to Kent Kennan’s brilliance, but I personally piano entry. more often associate with Night Soliloquy, a cool, found the programme This opening flourish string playing than flute moody and dark gem of a difficult to listen to and was ominous and menacing playing. This was a risky piece, in which she retained would perhaps have had with a real sense of urgency programme, but successful sure control of the lyrical greater enjoyment from a and a dramatic build- because of the brilliance beauty and sound. more balanced programme, up. Emily seemed to play of the performance. The The style of this concert which might would also have effortlessly, showing no audience was exhausted by was ideal as we had an hour to more appeal to a broader signs of fatigue, and with a the emotional turmoil, and listen to Emily play followed or less specialist audience. powerful low register tone this only heightened our by an opportunity to get to Nonetheless, Emily’s that preceded a final flash of appreciation for the energy know the performer. The Premier Flautist recital was brilliance. required from Emily and question and answer session a concert to remember and At times this concert Andrew. hosted by Karen Jones was the audience response was made for difficult listening These are not necessarily a delight; hearing such a unreservedly admiring and – it was a programme of pieces I would go out relaxed, easy conversation excited. hard hitting, dynamic pieces and buy, but during a live between the two of them ELEANOR STAMMEIJER – and lay, perhaps, a world performance they were was needed after such a away from the music we challenging and reached demanding programme and normally associate with out to the listener throug was very much enjoyed by the flute, often perceived the powerful emotions the audience.
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MUSIC REVIEWS
of each work provides the compositional voice. The opportunity for pupils to brief but exhilarating become familiar with the second movement, with 6/4 and 3/2 time signatures its memorable dance- MUSIC popular at that time (the like melody and rapid, book also includes tunes coruscating scales is TIM KNIGHT recaps its opening moments in 2/2 and 3/4), as well enjoyable throughout, and Last Boat to Skye as it closes, with a brief solo as in following repeat would make a dazzling Flute and Piano on the flute before ending instructions. For those encore piece in its own Tim Knight Music gently with material from the who enjoy developing an right. TheCalmato third opening piano introduction interpretation by adding movement provides an Marked ‘unhurried and shared between both parts. thoughtfully’, Last Boat to dynamics and embellishing opportunity for expressive Skye is a pleasing piece in the tunes, there is ample playing, tone colours and a folk-classical crossover opportunity throughout. The increasing intensity in style. Written in 4/4, dances can be performed by its long melodic phrases. the syncopated rhythms JOHN PLAYFORD one flute accompanied by Something about the (including dotted rhythms (ed. N. NEWERKLA) a comfortable piano part; stillness of this movement and backwards-dotted The English Dancing however, an interesting reminded me of parts of second flute part has also the slow movement of “scotch-snap”rhythms which Master convey the setting) suggest been provided, which is the Ibert concerto, with an easy feel. Although the Flute and Piano, with optional particularly effective when, the flute line floating over notes are well within the second flute part as suggested by the arranger, translucent harmonies. The range of a Grade 5 to 6 Bärenreiter it enters on repeated last movement is bright, player, to be at ease with This is a delightful book of sections. virtuosic and spirited, the syncopations the piece twelve easy to intermediate both by ZOË BOOTH with angular lines and may more comfortably dance pieces from the fast moving semiquavers suit a player with more seventeenth century, and contrasting with splashes of experience. After a twinkly will be enjoyed by those who lyricism. This is an enjoyable sonata which has potential piano introduction, the enjoy traditional folk music YUKO UEBAYASHI as well as baroque. Initially to become a significant part flute begins with the Sonata main theme of the work, collected by the publisher of the repertoire; although supported by a sostenuto John Playford and presented Flute and Piano the style is perhaps more piano accompaniment. with dance instructions Alphonse Leduc aligned with twentieth The melody is memorable, and step sequences, it is The Japanese composer century Romanticism than becoming more angular easy to understand why the Uebayashi has been living in Modernism, we live in an and with some prominent tuneful melodies were so France since the late 1990s, era where ‘contemporary’ suspensions (which need popular; ever-catchy and and the influence of French encompasses a broad range careful preparation) as it with evocative titles like Romantic composers, of compositional styles, and increases in intensity. As Nobody’s Jigg, Drive the Cold especially Ravel and this particular work makes a the piece develops, the Winter Away, and Beveridge’s Debussy, is evident in this notable contribution to the piano enters the dialogue Maggot, it is clear that as 2003 sonata. This extended flute repertoire. more equally, occasionally well as being dances several four movement work has broadening in texture whilst of them were originally an overall duration of nearly the treble part lies within songs, too. The collection half an hour. the range. The middleforte reflects a range of styles from A lyrical first movement M.-A. DALBAVIE the era, from crisp, dances fuses impressionistic style section is more decisive and Flute Concerto crisply articulated in both such as Newcastle and the with a contemporary instruments, reaching its intriguingly syncopated chromaticism, and although Flute with piano score peak before a final repeat The Simeron’s Dance to the there is a freshness to the Billaudot of the opening theme, this singing melodies of Old harmony, with many twists This 2006 concerto was time played on the piano Batchelor and The Queen’s and unexpected directions, written for Emmanuel with a descant part on the Delight. As educational tonality is an important Pahud, and I heard the flute. Last Boat to Skye music, the instant appeal part of Uebayashi’s London premiere at the
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Proms in 2011. At the time, I groundbreaking, this relatively easy note patterns, from earlier in the work, remember being particularly is an enjoyable work mostly in the low register. It with forays into the extreme interested in the interaction which presents a range of is likely to be an enjoyable high register (up to top E) between the relatively small challenges for the advanced piece for young performers interspersed with fast scales. orchestra and the solo flute, player. of around Grade 4 level. The Throughout the piece, the with lines moving seamlessly piano part is also relatively piano part appears to be between the orchestra and simple and the edition is largely accompanimental the soloist, and the scoring well presented and clear. in nature, with semiquaver carefully enough balanced passages creating texture to give the soloist space to DAVIDE ZANNONI and the use of the full pitch be clearly heard. Colours Until a Petal Hit the range to create a further are an important aspect Ground sense of drama. This is a of Dalbavie’s orchestral Flute and Piano ANŽE ROZMAN challenging piece, which is writing, and he creates a Ut Orpheus Phoenix likely to be popular in its bright canvas in his use Flute and Piano This work was composed appeal because of its film of the available sounds. Alry Publications in 2001, in response to the music style and largely tonal The form and language of events of 9/11. Zannoni is a Anže Rozman is becoming a harmonic language. this concerto is perhaps New York-based composer, familiar name in Slovenian more conservative than whose apartment was quite concert and film music, and would be expected from close to the site of the Twin his reputation is growing a contemporary concerto; Towers, and the opening through an increasing Dalbavie’s single movement DAVE HEATH movement, Like a Quiet number of performances ternary form work Home from the Storm River, is a contemplative, throughout the world. His begins with shimmering Flute and Piano calm piece, with expressive flute music is well conceived demisemiquavers in the solo Camden melodies and an overarching and worth exploring. line which rely heavily on sense of space. The second This is a substantial four This is a short, melodicand pentatonic and octatonic movement, Like a Rainy movement sonata for flute expressive work with jazz- scales. The patterns repeat Forest, has an extended and piano, lasting around influenced syncopations and and gradually change, until but technically simple 17 minutes. Phoenix uses harmony. Dedicated to the the flute settles on one cadenza, and would be an changing time signatures, canoeist Paul Vander Molen, single note. The central ideal piece for introducing lyrical melodies and rapid the piece was originally slow section allows the young players to playing scalic passages to good written in an orchestral flute a chance to show its music in free rhythm. The effect. As the title suggests, version in 1983 and appears more expressive side, with overall slow tempo of the the piece tells the story of here in a highly convincing simple, expansive melodic piece, as well as its Romantic the legend of the Phoenix, flute and piano transcription. lines decorated with bursts harmonic language makes and the first movement has The piece serves as an ideal of energy. The piece ends this movement particularly a sense of growing energy introduction to Heath’s with more demisemiquaver useful as a study in and momentum. The second music, especially for those patterns, building on perfect expression and tone. The movement, representing the who might find pieces such as fifths to create a similar final movement is shorter first flight, features chromatic Out of the Cool and Coltrane mood to the opening, than the others, lasting only sextuplet movement leading something of a challenge. although faster tempos and two minutes instead of the to a soaring high register The high register melodies fast articulation help to build five minutes each of the first melody. One can clearly would provide excellent and tension and excitement as two movements. It is fast, detect the filmic influences enjoyable practice material the work draws to a close. playful, and bears the title here. The dramatic third for intermediate players, and The piano reduction will Like a Kitten at Play. This movement, depicting at four minutes duration it inevitably lose much of the movement was written as a death, is strong, challenging would also be an ideal short magic of the orchestration, birthday gift for the amateur and musically rewarding, recital piece. but it is a worthwhile piece pianist Larry Goldstein, and with big tonal themes all by CARLA REES for any player’s repertoire the famous Happy Birthday transforming to a darker and it is good to have the melody is quoted at the end. harmonic language towards work available in this form. This simple movement uses the end. The final movement Although not particularly syncopated rhythms and brings back thematic ideas
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CD REVIEWS
TRAVELING SONATA (European Music for CDS flute and guitar) Viviana Guzmán (flute) Jérémy Jouve (guitar) of texture between pieces Emily Andrews and guitarist Reference Recordings create interest; two pieces David Massey, who formed are for solo flute, whilst their duo while students A NATIVE AMERICAN- Pamela is joined by various at the RAM, succeed in instrumental colleagues producing convincing full- JAZZ TRIBUTE throughout the rest of the length arrangements of Pamela Sklar (flute) and disc. Of these, Remember folk music by varying the friends (with guitar) conjures a instrumentation (flute, Pamela Sklar beguiling medieval mood alto flute, piccolo and tin through its sound quality, whistle, classical and the whilst the unusual tonal folksy steel-string guitar) combination of flutes with and overdubbing to create cor anglais in Coniferous new effects. While some may While a CD musical Forest also works well. find the latter somewhat travelogue is hardly an The musicians manage to synthetic, the eight songs original idea in itself (cf. retain the exploratory and are here given beguiling Alma Nova’s CD Journey improvised feel of each of treatment. reviewed previously), these works, and Pamela’s I particularly liked the Chilean flautist Viviana This CD of nine original playing - including some use of some bubbly piccolo Guzmán and French compositions comes highly extended techniques which ornamentation over the guitarist Jérémy Jouve here recommended for those mimic the sound of the flute tune in Dribbles of present a challenging and interested in the beautiful genuine Native American Brandy and the low-register wide-ranging journey from style of Native American flute – is colourful and harmonisation in Bold familiar French pieces such flute playing. The intriguing intimately expressed. Grenadier. Blow the Wind as Faure’s Pavane (here in title suggests a combination ZOË BOOTH Southerly is given a more a rather bijou version), of the traditional folk music upbeat treatment than the Ravel’s Habañera and of the Native Americans familiar Kathleen Ferrier Satie’s Gymnopédie no. 1 to partnered with jazz; however, version, while Loch Lomond three contemporary pieces has some wonderful lute- it is the Native American ....FROM THE ROOTS by the Bulgarian Atanas theme that comes across like sounds on the guitar. Andrews Massey Duo (flute Ourkouzounov, Frenchman most strongly, demonstrated At just under 25 minutes and guitar) Mathias Duplessy and by the centrepiece of the this CD is all too brief, giving AndrewsMasseyDuo Tunisian-born Roland compilation From The the impression that this Dyens, whose Traveling Land featuring flutes with It has been said that the project, using improvisation Sonata lends its title to the traditional percussion. and playing from memory CD (produced in the USA, The tribute to jazz is most to extend the songs (thus hence the spelling). prominently featured in evading the tyranny of the This work, while the final track,A Tune printed note), is to some ostensibly inspired by for America, where the extent work-in-progress. travels in Italy and Turkey, jazz rhythm section This is an inspiring and betrays more than a hint accompaniment give this original addition to the of its composer’s origins. the feel of late night blues. growing list of flute/guitar Both players are particularly Pamela plays all the flute CDs. The playing is beautiful impressive here, especially lines, which has required throughout. in the finale, spiced with clever layering, although problem with folk music is CHRIS BRITTON Turkish rhythms and the CD still manages to that once you have played a percussive tonguing and achieve a genuine feeling tune, all you can do is play vocalisation from the of live ensemble. Contrasts it again. On this disc flautist flautist. There are welcome
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solo opportunities for track, and the pieces by Sir through his instrument, recommend this unique the guitarist to shine: John Manduell and Gordon suffusing the work with both recording. Gnossienne no. 1 by Satie Crosse complement each dexterity and line. both by LISA NELSEN has commendable precision other brilliantly. and spiky ornamentation, The flute concerto for ARIE E CAPRICCI while Cavalcade by Duplessy flute, harp, strings and Saverio Mercadante is a flamenco tour-de- percussion by Manduell Stefano Parrino (solo flute) force. Guzmán’s playing has evokes deep-rooted, even Stradivarius THE EXPRESSIVE VOICE enviable clarity and poise, pagan, stirrings in the OF THE FLUTE while she shows full-on listener from the very Kenneth Smith (flute) Paul virtuosity in Borne’s Carmen beginning of the piece. Rhodes (piano) Fantasy and a strong feeling Manduell explains that he Divine Art for ethnic styles in the wanted to “embrace a spatial Bulgarian piece. A highly element” by requiring the evocative tour of European flute player to play away music to its very limits. from the ensemble at CHRIS BRITTON times. It is very clear in the recording that positions of the strings, harp and percussion are varied, and This disc for solo flute is a the listener feels as if in the wonderful addition to the room with the musicians catalogue of recordings of MIXED DOUBLES themselves. As well as the Mercadante’s little-known As with his last disc, Vocalise, Double Concertos by to-be-expected concert and unjustly neglected Kenneth Smith (Principal John Manduell and flute, the alto flute is given works. Not only are the pieces flute of the Philharmonia Gordon Crosse voice, as it is highlighted deftly performed by Parrino, for over 27 years) showcases Michael Cox (flute) in the haunting second but the accompanying CD the vocal qualities of the with others movement. The playing liner notes are extremely flute rather than its potential Manchester Sinfonia (cond. expresses a wonderful helpful in extending our for brilliance (although Timothy Reynish) artistry and the work itself understanding of the his technical mastery is Metier gives scope to demonstrate research into Mercadante’s evident too). The playing an impressive breadth of music and the flute of the is a pleasure to listen to, tonal shading, textures, and time. The edition comprises with beautifully even tone, moods. Throughout the disc, two discs: the first includes a wide palette of colours, this quality of musicality arias from the most popular and flawless intonation, both in performance and operas of the time (Mozart’s accompanied sensitively by composition is exquisitely Don Giovanni and Rossini’s Paul Rhodes. There are 46 balanced. The third Armida) along with several tracks in this double-disc set; movement surprises us with variations on each theme. some are obvious choices for piccolo playing that moves The second disc presents a ‘vocal’ compilation album: the music forward with the world premier recording Schumann songs, Elgar, and suspense and drive. Michael of 20 caprices. It is very English traditional songs. Cox handles every musical This is an outstanding CD rare to find studies like There are, however, also and artistic demand with of concertos by two British these actually recorded for some more unusual choices complete command. No one composers, written for posterity, and Perrino shows such as Finzi’s Five Bagatelles who hears him can doubt combinations of ‘unlike’ wonderful lightness and (originally for clarinet and the ability of this musician, instruments with strings as dexterity in his renditions piano), which transfer well but this disc shows that support. The recording is of all the pieces. For anyone onto flute, and the gypsy- he is, first and foremost, a wonderfully well balanced who enjoys 18th century inspired violin showpiece musician, and the flute is between the soloists and solo flute music, or who Csárdás by Monti. This is a merely his chosen means the Manchester Sinfonia. would like to become more most enjoyable compilation, of expression. Michael Cox It is exciting to hear such familiar with Mercadante’s beautifully played. communicates and sings vibrancy and clarity in every flute compositions, I highly DANIEL SHAO
December 2013 61 The aesthetics of phrasing Wissam Boustany on what your body language is saying about your flute playing
es, the title is a mouthful, but this issue is increasingly whether or how the gesture manifests itself, but why. Whenever dominating much of my teaching, my own practice and we say or do something for a defensive reason, the gesture performance, and almost every conversation I have with tends to fall flat on its face, because we are off balance and, Yothers and myself when I am away from the flute. therefore, at a disadvantage. It is this which is the issue, rather Body language dominates every waking moment of our than the movement itself; if we fix the cause of that implicit lives; to become aware of it is to become aware of how energy is defensiveness, we fix the movement. We must always seek to transmitted between people, beyond and in spite of the words address the cause not the symptom, otherwise we are only and sounds that we utter. In fact, it does more than just express effecting cosmetic changes and exchanging one dysfunctional our thoughts and feelings – it betrays who we really are and gesture for another. what our intentions are. Body language is the unedited physical When you look more closely at the gestures related to manifestation of our emotional reality. beating time, you will begin to realise how it actually affects the These are the things I can usually immediately tell from the accuracy of our playing – in a negative way. Often the gesture body language while people play: bears little relation to where we are actually intending to place • Whether they are comfortable or not the note itself. This often results in an alarming lack of accuracy • Whether they are feeling the music in our coordination and leads directly to unnecessary muscular • Whether they are sincere intervention (tension), as we instinctively try to override these • The ease or difficulty of breathing inaccuracies. Essentially, we are out of sync and are trying • Whether they care about their audience to force our bodies to realign with the moment. Worse, the • The ease or difficulty of sound production and/or of bigger the gesture, the more fundamental our discomfort is. If finger-work we don’t deal with this aspect of our playing we wind up in a • Whether the person is showing off or putting on an act constant state of damage limitation resulting from this physical • Whether a performer is driven by the phrase dysfunction. • Whether a person is ‘trying too hard’ or is zoned out From the aesthetic point of view, physically highlighting • Whether a person is struggling with the beat or is in individual beats inadvertently prioritizes the beat over the harmony with it. phrase. Instead of the movement reaching its culmination at the The list, of course, can go on. conclusion of a phrase we wind up peaking on every single beat. These messages are transmitted spontaneously and This kind of body language leads to technical problems, not immediately through our movements, even if we have thought to mention musical suicide. long and hard about them; but they don’t necessarily correspond with the sounds that are actually being produced (although in The breath spasm fact mostly they do). I notice very similar body language patterns related As you delve deeper, you become aware of the discrepancies to breathing, where our anxiety at the point of breathing that can often appear between a person’s original intent and is underscored by our body language. The most common what is actually happening. These can often undermine the movements associated with this phenomenon are either the message we are trying to share with our audience, and can downwards swipe as we inhale, or a tight lifting-up of the wreak havoc on the consistency of our playing (or, in other shoulders (and often both these movements are accompanied words, our technique). by the knees buckling in sympathy). Apart from looking terrible There are some tendencies that I notice are very common and destroying the journey of the phrase, these movements among many players and which it may be helpful to consider. severely undermine our ability to inhale in an unobstructed way. Tapping of the knee/foot/toe, related to beating time Again, this dysfunction is instigated by discomfort (both One of the most common physical gestures is to beat time physical and emotional), though in this case the primary cause of with the upper body or elbow, knee, foot or toe. The issue is not discomfort does not lie in the relationship with the beat. Instead
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it derives from our sense of panic or desperation leading up to, We need to be aware of the emotional basis behind our eye and at the point of, the breath; and, of course, a by-product of movements. Whether we blink, flinch, or look at the ceiling panic is very often that we rush. Going over the phrase with full or the floor, whether we close our eyes or stare at something musical involvement (which affects the breathing enormously) static, or meet the gaze of someone during performance – these and mapping out exactly what you want and where you begin actions reveal the heart of who we are and whether we are in falling apart, will reveal the way forward. This process can take tune with our environment and the blossoming moment. Our time (sometimes several weeks), so patience is not just a virtue eyes betray the precise moment when we are feeling the strain – it is an absolute necessity. Again, we must resist dealing with of a particular passage, while at the same time short-circuiting the symptom at the expense of confronting the root cause. The our concentration at the very moment when we need to be at physical manifestation of your discomfort is the last link in a our most lucid. chain of events. In my opinion, being in control of the body language of The functional route to solving the problem is to work out the the eyes often has the side benefit of solving many other body most musical and subtle way to bend the beat around the point language issues. of the breath. Often there is a great deal of guilt associated with doing this, because the beat is usually (I would say, wrongly) Conclusion considered sacrosanct – we often confuse ‘timing’ with ‘beat’, So where do we go from here? Should we move less? Move both of which require innate accuracy; one is very restrictive, more? Look at the ceiling? Eyeball the audience? Is all this while the other can be thoroughly liberating and empowering. analysis just navel-gazing and a recipe for chronic inhibition? No, no, no, no and no. Holding the flute The challenge is to identify the cause, usually emotional, The way we hold our flute and move our fingers over the linked to any stress point and which consequently manifests keys tells us a lot about our relationship with the instrument itself as ‘body language’. Whilst playing, we need to engage and is an extension of the body language discussion. We must fully in the moment with a scorching emotional force; our hold the instrument like we would hold a friend: we need to real priority needs to be the moulding of notes (and our body be firm, trusting, flexible, and even sensual at times. This has movements) into a phrase. The culmination of a phrase is the an enormous influence on the tension levels of playing, as well end of the last note, extending beyond the breath into another as the quality and beauty of the sound we produce. We need to phrase, and so on and on until the end of the piece, which in hold the flute with authority, without losing any sensitivity or physical terms becomes the ‘ultimate downbeat’. So we need to flexibility in the process. learn to absorb our energies and peak at the right time with Of course, this is not just a question of simply ‘relaxing’. our movements, if we are to create a storyline with our music, Once more, it involves creating an emotionally functional rather than a series of notes or the beats. connection with the instrument – holding the flute with love, Identify the aim and fix the cause and you will have liberated pleasure, and joy transforms the experience and awakens our your movements without falling into the trap of developing senses, nerves and muscles to a heightened state of awareness. dysfunctional physical fetishes. The aim is not to control the movements, but to liberate ourselves. The eyes: window into the soul ©WISSAM BOUSTANY Finally, the smallest and most powerful body language is revealed through our eyes. The eyes are the focal point of our aura as human beings; that is why we instinctively look at the eyes when we talk to people (unless we are uncomfortable) because this reveals the true energy, which tends to dance over, under and in between any words that are flying around. A well- known expression, the ‘eye of the storm’, very vividly describes the utterly devastating core force that lies at the still centre of any powerful phenomenon. In terms of flute playing, the body language taking place in the eyes is a huge factor that is often totally overlooked. Because the actual sound production on the flute is virtually invisible (compared to the bowing and vibrato movements that are visible when playing a string instrument), this results in the impact (positive or negative) of the expression in our eyes being multiplied to a significant degree.
December 2013 63
The Association of Flute Traders
Abell Flutes 111 Grovewood Road, Ashville, NC 28804, USA +1 828 254 1004 www.abellflute.com Academy Wind Instruments 25 Bramblys Close, Basingstoke, Hants, RG21 9UP 01256 350282 www.academywind.com All Flutes Plus 60-61 Warren Street, London W1T 5NZ 020 7388 8438 www.allflutesplus.co.uk Alry Publications LLC PO Box 3249, Seattle WA 98114, USA 98122 +1 2062748204 www.alrypublications.com Arista Flutes 10 Railroad Avenue, Bedford, MA 01730, United States +1 (781) 275-8821 www.aristaflutes.com Astute Music 4 Sunnymill Drive, Sandbach, Cheshire, CW11 4NB www.astute-music.com Bärenreiter Burnt Mill, Elizabeth Way, Harlow, Essex, CM20 2HX 01279 828930 www.baerenreiter.com Bill Lewington Unit 8, Hornsby Square, Southfields Industrial Park, Laindon, 01268 413366 www.bill-lewington.com Essex, SS15 6SD Bulgheroni F.LLI SNC Via Primo Maggio 1, 22020 Parè (COMO), ITALIA +39 031 440053 www.bulgheroni.it Burkart Flutes 2 Shaker Rd #D107, Shirley, MA 2048, USA +978-425-4500 www.burkart.com Carl Fischer/Theodore Presser 65 Bleecker Street, New York, NY 10012 +1 (212) 7770900 www.carlfischer.com Co De Haske Hal Leonard Ltd 17/18 Henrietta Street, London, WC2E 8QH 020 7395 0382 www.dehaske.com Edition Svitzer Refshalevej 110, 208, 1432 Copenhagen K, Denmark +45 2579 7371 www.editionsvitzer.com Eloy Flutes BV Hoevenstraat 8, 5712 GW Someren, The Netherlands 5712 GW +31 493 471290 www.EloyFlutes.com Eva Kingma Flutes Hoofdstraat 12, 9444 PB Grolloo, The Netherlands +31 592 501 659 www.kingmaflutes.com EXATON Records & Editions 9 Avenue Foch, 56400 Auray, FRANCE +33 (0) 297 240 816 Faber Music Ltd Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX 01279 828989 www.fabermusic.com Flute Fix UK Reed Farm, Fen Lane, Thelnetham, Suffolk, IP22 1JX 01379 890162 www.flutefix.co.uk Forton Music 6 Lakeland Close, Forton, Preston, Lancashire, PR3 0AY www.fortonmusic.co.uk Ian McLauchlan 46 South End, Croydon, CR0 1DP 020 8662 8420 www.headjoints.co.uk Jonathan Myall Music/Just 46 South End, Croydon CR0 1DP 020 8662 8400 www.justflutes.com Flutes Kevin Mayhew Ltd Buxhall, Stowmarket, IP14 3BW 0845 3881634 www.kevinmayhew.com Mancke Flutes Eulnerstr. 41, D-54662 Speicher, Germany +49 6562 974311 www.mancke.com Murumatsu Inc 8-11-1 Nishi-Shinjuku, Shinjuku-ku, Tokyo 160-0023 www.muramatsuflute.com Music Sales Ltd Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB 01284 702600 www.musicsales.com Must Music Publishers 33 Quernmore Road, London N4 4QT, UK (0)20 8341 4088 www.music-trading.co.uk Oxford University Press Music Great Clarendon Street, Oxford OX2 6DP 01865 556767 www.oup.com/uk/music Pearl Flutes Europe BV Craenakker 28, NL-5951 CC Belfeld, The Netherlands 07771 880462 www.pearleurope.com Phoenix Music Bryn Golau, Saron, Denbighshire, LL16 4TH www.phoenix-music.com Schott Music Ltd 48 Great Marlborough Street, London, W1F 7BB www.schott-music.com The Tutor Pages 49 Rutland Road, Harrow, HA1 4JN 020 8248 2208 www.thetutorpages.com Top Wind 2 Lower Marsh , London, SE1 7RJ 020 7401 8787 www.topwind.com Trinity Guildhall 89 Albert Embankment, London, SE1 7TP 020 7820 4745 www. trinitycollege.co.uk Trübcher Publishing 6 Merley Lane, Dorset BH21 1RX 01202 884196 www.trubcher.com Verne Q. Powell Flutes, Inc 1 Clock Tower Place, Maynard, MA 01754 USA +011 978 4616111 www.powellflutes.com Viento Flutes Mittelweg 15, 35647 Waldsolms, Germany 0049 6085 www.viento-flutes.com 9888378 Wenner Flöten Aluminiumstrasse 8, Singen, GERMANY D78224 +49 7731 64085 www. wennerfloeten.de William S Haynes Company 68 Nonset Path, Acton, MA 01720, USA +1 978-268 0600 www.wmshaynes.com Windstruments 3 Croft Avenue, Crossflatts, Bingley, West Yorkshire, BD16 01274 510050 www.windstruments.co.uk 2DX Wood, Wind & Reed 106 Russell Street, Cambridge, CB2 1HU 01223 500442 www.wwr.co.uk Wonderful Winds 44, Exeter Road, Okehampton, Devon EX20 1NH 01837 658745 www. wonderfulwinds.com Worldwind Music Ltd Worldwind House, Ashmill Park, Ashford Road, Lenham, Kent, ME17 01622 859590 www.worldwind.co.uk 2GQ Yamaha Music Europe GmbH Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL 01908 366700 www.uk.yamaha.com UK 64 bfs.org.uk