((( Witish- Flute )))

PAN The Journal of the Index British Flute Society Editorial 2 President James Galway Letters to the Editor 3 Fifth Italian Flute Festival 1983 Committee: AIberr Cooper and Stephen Preston 4 Christopher Hyde-Smith Chairman Jean-Pierre Rampal Masterclass Simon Hunt 6 John Francis Secretary Tony Bingham Treasurer A Letter and A Memory Joan Simpkin 7 Margaret I'ether Membership Secretary Lorna Lewis Journal Editor Gadget Page Albert Cooper 9 Trevor Wye Assistant Editor Ian Christie Publicity Officer Not So Quick Quiz 9 Malcolm Pollock Education Representative Flute Review 10 Russell Parry Flute Clubs Representative Albert Cooper Flute Industry Representative Theobald Bohm Ludwig Bohm 12 William Bennett Flute Concms Representatiwe Simon Hunt Librarian Teaching the flute in schools and after: Susan Bmce Honorary Legal Adviser and Solicitor the importance of a relaxed embouchure John Francis 18 The British Flute Society was formed in January 1983. Pipeline 20 from the constitution: Music Reviews 'The objects of the Society shall be to advance the education of the public in the Art and Science of Music and in particular the Art and Trevor Wye and Kate Lukas 22 Science of Flute playing in all its aspects by the presentation of public Music from the heart John Turw 24 concerts and recitals and by such other ways as the Society through its Committee shall determine from time to time.' Flute and Guitar Roy Brewer 25

The Editor warmly welcomes contributions to Pan, and invites Record Reviews manuscripts - typed if possible - by post to 30 Grove Road, Stratford- Tom Norden and Trevor Wye 26 on-Avon, Warwickshire CV37 6PB. The Forgotten Flute Madeau Stewart 27 Views expressed by the contributors are their own and do not necessarily Circular Breathing and flute voice any official views of the Society. Zdenek Bruderhans 28 Subscription rates to BFS ' Concert notice Aki Znoue 30 Individual Membership 610 per annum Student Membership or under 21 L5 per annum BFS London Flute Day 30 Commercial and Industrial Membership L25 per annum 30 School Membership L20 per annum BFS Flute Extravaganza To publicise Pan Ian Christie 31 Advertisement Manager: BFS Flute Club News Russell Parry 32 Frances Moon, Percival Moon & Son Ltd, 5th floor, 80 Fleet Street, London EC4Y IPN. Tel: 01-353-5555/3913/2665/0530 Here comes the fifes: Derek Greer 33 35 JOIN BFS, the Society to benefit and bring together all those interested Pan Diary in the Flute. Details from Margaret Pether, 82 Seagull Road, Strood, Secolid Wind Hubert Thomas 35 Rochester, Kent ME2 2RH. Book Review Christopher Hyde-Smith 39

Printed by Novello and Company Limited, Borough Green, Sevenoaks, Kent Backpage 40 All copyrights reserved 1983 Editorial

'Tell me,' said the poet, 'where is fancy bred?' And he tossed up, as it were, between the heart and the head, never mentioning the fingers. But Shakespeare was no flute player, and would not have shared that particular delight that filled us all at the Guildhall on April 15th, when the sun shone and from the embankment London looked like a Caneletto print. And coming back, with a tirea but happy teenager in tow, I thought, next time . . . next time I'll wear a funny hat, or a tee shirt labelled Greet Me, or Yr Humble Servant, Editor. Because there we all were, some 250 of us; and only afterwards the let- ters came - your comments, queries, anecdotes and ai- ticles. Such a postbag proclaims the BFS alive and very old, rare & unusual well and growing fast (twice as many of us as there were a month or so ago.) In touch with you, Pan becomes more properly your journal; by you, with you, for, from and about you; our & other instruments sorting house, our meeting point, our information cen- tre. Read on. We have as many tales to tell and talents as we have members. On the subject of flutes, the par- ticular knowledge or experience of one interests us all. Say hello next time, but in the meantime, write.

Cover picture from the collection of and with the permis- sion of Tony Bingham. Readers! Pictures offlutes - of all shapes and sizes - are welcome in Pan: photograph them where you find them and please send copies to The Editor, 30 Grove Road, Stratford- on-Avon, CV37 6PB. AT THE SIGN OF THE SERPENT 11 POND STREET Panegyric LONDON NW3 2PN Tell us, where is fancy bred? TEL:- 01 794 1596 In a parabolic head. Knowing flautists never live By bread alone, the deities Have given us - that none may fail - The Boehm system, Cooper scale. Hope springs, and things are not as bad As when Pan was a little lad. CATALOGUE of old Boehm System Flutes Where is Fancy? Is it art available on request Generated by a part Other than the heart or head? Never let the rumour spread That we are heartless, who, by rote, Carry heaven in a note.

Spring comes. Where the common lot Place their fancy matters not. Pan flies ever in pursuit Through centuries of lovely flute. For this pleasure, praise the day Timid Syrinx got away. L.L. Madam, Letters to the Editor Whilst appreciating the idealism of Malcolm Pollock in his article on flute teaching in schools (PAN Vol 1 no. 1) with regard to teachers teaching instruments other Sir, than their speciality, I cannot agree with him that '. . . I read with interest the article by R. T., Glos, on their the demand for woodwind teachers is a serious problem.' Afghan hound and was wondering if you or any readers The serious problem would seem to be the lack of real had any suggestions on how to deal with my cat. The courses at either colleges of music or at training colleges problem is that every time I start playing my flute he to suit the needs of potential employers. These makes a run for the nearest exit. establishments appear to be unaware of the needs of What really distresses me is that he only does it when I L.E.A.s or of the problems of the job in hand. play and never when my pupils play. Perhaps I've got Teachers training colleges appear to spend an inor- bad breath and it's his way of telling me. (I must change dinate amount of time teaching the History of Education my toothpaste.) and the Psychology of Teaching. Worse, they send out I've tried closing the door but he always gets out just students who have no real knowledge of the basics of at in time. least two other allied woodwind instruments. I could always force him to listen to all of J.G.'s L.P.'s Colleges of music have a different approach based on without a break. (That should test his stamina.) On the the concept that if you can do it, you must be able to other hand I could always stfthe little bur teach it. You must, therefore, also be capable of teaching and place him on top of the piano, then he'd have no how to teach it. choice. The principal BUMBLEPHONE player of the Anyway, no doubt I'll think of some way of making L.S.O. may also be an expert in central heating installa- him appreciate my playing. tion but that doesn't qualify him to teach knitting. But Here's wishing every success to Pan and in particular you will find him teaching the bumblephone and to BFS. teaching teachers to teach the bumblephone. He is an ex- kave Greenhalgh, Bury, Lancs ecutant; he may or may not be good at teaching or at Sir, teaching teachers, but nobody bothers to find out. They This picture was taken as Ginger - lover of high pic- assume hemust be better at teaching than an experienced colo sounds - leapt up for a better appreciation of the teacher like M. Pollock. music. Leapt is not quite the right word - climbed At the R.N.C.M., a start has been made in recent would be better and the apparent smile is partly a years in what we believe is the right direction. Every grimace. flute player, whether an intending L.S.O. principai or Clare Tristram, Ramsbottom, Bury not, is given the ground rules of two other woodwind in- struments. Repertoire, methods, instruments, reeds, Do you think these two animals should meet? ED. salaries and even income tax are all discussed. In my view, it still isn't enough, but we do intend to do more next year. I was amused to hear recently that one of our colleges of music in London has, because of cuts in higher educa- tion, cut its 'peri' course completely though still retain- ing the examination. I invite Mr. Pollock to sit in on Entrance Auditions with me. He will soon discover that candidates who have been badly taught are seldom pupils of trombonists or saxophonists; no, they have been badly taught by flute playing specialists. ' Trevor Wpe, R.N.C.M. Manchester Sir, 1 would welcome an article in your journal on the benefits of playing an 'open G sharp' flute. May I also warn players that converting a 'closed G sharp' flute to open, if it is an 'in line' model, is not fool-proof. Keys can become jammed as a result. Clive Conway, Oxford Sir, I am at present compiling a discography of the flute (and piccolo) on 78 rpm records. I would be pleased to receive any relevant information, and would like to hear from anyone with a similar interest. Christopher Steward 14 Park Hill Road Harborne Birmingham l7 3 Preston on his collection of antique flutes. They were all V Festival del Flauto very interested in what he had to say, and hear his exper- tise on these old instruments. 31 Marzo - 4 Aprile 1983 Albert Cooper This was my second visit to the Italian annual festival of the flute. ~astyear the theme was contemporary With four days of concerts in Belveglio and surroun- music, this year baroque music. The festival is always ding villages, the annual Festival Nazionale del Flauto held over the Easter weekend and is attracting increasing brings the sound of flutes to a part of the Italian coun- numbers of Italian players, mainly flute professors and tryside where usually the most common sounds are bark- students entered for the competition from the various ing dogs and crowing cocks. The hills are covered with music conservatories. I would estimate in total over 100 small vineyards producing wine mostly for local con- flautists attended. sumption. Perhaps that's why everything seems so quiet This 5th National Festival of the Flute was held as and sleepy around there. always in Belveglio, a small village about 20 kilometfes Wel!, that peace was rudely shattered by the arrival of outside Asti, and what better place for a "Seminario di the 16 young flute players, participants in the competi- Musica Barocca per Flauto" than the Castello di tion which forms part of the Festival. Fortunately they Belveglio. This old 8th century castle made an ideal set- were the only guests at the hotel as some of the sound ting for the lectures, concerts, and competitions. made by simultaneous rabid practising of many in- The festivallseminar is all organised by Marlaena struments are quite horrific. The competition itself was Kessick who is professor of flute at Milan conservatory, won by three players who clearly deserved to win, each and is well known throughout Italy as a composer and of them receiving a unanimous vote. The lucky 1st prize soloist. She founded, conducts, and arranges music for winner was awarded a Cooper headjoint. the Italian flute orchestra which is of a very high stan- Apart from giving my seminar on various aspects of dard. When not busy in Milan, Marlaena lives with her 18th and 19th century flute technique and judging the family in Belveglio Castle. competition I didn't have a great deal to do, which left The seminar opened with a lecture on baroque music me in the perilous position of having plenty of time to given by Luciano Sgrizzi the noted Harpsichord player. enjoy the local wine and food. One of the great attrac- Both he and Renato Maioli were the accompanists for tions of the Festival is the hotel in the village of the recitals and competitions. Mombercelli, where everybody puts up. The hotel is Throughout the festival a series of recitals were given run by a family who produce most of their own food and by Marlaena Kessick, Mario Ancillotti, Vincenzo make one of the best local wines, making it almost im- Caroli, and Giulio Giannelli Viscardi in which music of possible not to indulge to the point of drastically the period was played on modern flutes. enlarging the "diaphragm". Not a slimmers paradise but Of course no baroque flute seminar would be complete a great place to have a good time. without a lecture and demonstration from Stephen Stephen Preston

Murlaerru Kessilr and Alherr Cooper czr Belveglio

4 Margery Elliott sent us this photograph of a life size statue in Meersburg, South Germany.

Overseas Members! In reply to queries: your subscription includes air mail postage of Pan. Ed.

Congratulations to Richard Davis of the Royal Northern College of Music, Manchester, who is one ofthe six Finalists in the YOUNG ARTISTS Competition at the Annual Convention of the National Flute Association of America. Richard will perform at the finals in Philadelphia in mid A ugust.

Congratulations to one of our younger members, Kirsten Spratt, and to her teacher, Clare Southworth. Kirsten has written to tell us of her Associated Board Scholarship, awarded as a result of the competitive auditions held in April at the Royal Academy. Very well done. ED. The Secretary enrols new members. Thank you, Trevor Wye, for photographs of the Masterclass by Jean-Pierre Rampal.-ED.

terested me that he seemed to think he plays faster as he Report of Jean-Pierre get older, whilst the reverse might be the case. In the first class, given in the Music Hall of the Rampal Masterclass Guildhall School (by kind permission of the principal, SIMON HUNT John Hosier), M. '&mpal'; voice did not always reach the back of the hall, but later on he seemed to have ad- The British Flute Society was very pleased to welcome justed to this. I felt that he might have gone into more the celebrated French flautist Jean-Pierre Rampal to the detail with some of the students, but this, presumably Guildhall School of Music and Drama at the Barbican was the way of working he considered appropriate, given on Friday 15th April to give two master classes. The the time available. chairman, Christopher Hyde-Smith made a short The standard of playing was generally high, by welcome speech before the start of this the first event in students from several of the colleges, although the the history of the Society. number of applications to play was not as great as had It was surely appropriate that the senior international been expected. The rarely heard Freischiitz Variations flute soloist, who has inspired so many flautists by his were particularly welcome as a change from more stan- playing and teaching, should give his first class in dard fare. They were presented by Miss Rachel Brown. England for the Society. Until recently the master-class a M. Rampal, as always, gave many demonstrations on his regular part of instrumental training on the continent, gold Haynes flute, without trying to outshine or upstage has not been general practice in Britain. I understand his pupils, yet with his customary charm and polish. that M. Rampal will only teach in classes (he takes the The response by members of the Society to its first class of the Paris Conservatoire) and it is obvious that he event was excellent, about 250 members attending, enjoys it. many of them having travelled long distances. We look His style is warm and informal, sometimes forward to many more events in the annals of the BFS. humourous, whilst being instructive. He seemed to I would like to thank George Derbyshire and members establish a rapport with the students and to try to put of the staff of the Guildhall School of Music for their co- them at their ease. It is obvious that he likes to conduct! operation, and Kate Hill for her invaluable help on the The occasional reminiscence was of great interest, for day. example his mention of the 1st performance of the Poulenc Sonata with the composer at the piano. It in- Simon Hunt sits on the BFS committee as Librarian. Ed. A Letter and A Memory JOAN SIMPKIN Flute Music Joan Simpkin writes . . . 'As you ask members to put In Cr~t~callyRevlsed Authent~cEd~t~ons pen to paper, I wondered, in view of the Jean-Pierre Rampal visit, whether the enclosed jotting would amuse BACH. J. S.. Part~la~n A rn~norBWV 101 3 for you.' Flute Solo BA 4401 E l 30 In 1953 my friend and I went to the Salzburg Festival BACH, J. S.: Sontas ~n E minor BWV 1034, E rnalor BWV 1035 for Flute & and stayed in a beautiful little hotel about 2 miles outside BclSonatas In B mlnor BWV 1030. A the town, where the guests (about 12 in all) took their major BWV 1032 for Flute & obbl meals round one large oval table, so everybody introduc- Harps~chordBA 4402 E 6 60 BACH. J. S.: Sonata ~n C major BWV 1033 for ed themselves and the conversation eventually flowed. Fl~te& BclSonatas In E flat major We were seated next to a young Frenchman, who, BWV 1031, G mlnor BWV 1020 for Flute & obbl Harps~chordBA 441 B when he heard my friend's name, Marjorie Clementi, E5 60 asked if she came from Manchester and had she recently DEVIENNE, F.: SIX Duets Op 7512 for 2 Flutes BA given a piano recital there. It transpired that he was a 6807 E 3 30 lecturer in French literature at the University and had TELEMANN. G. Ph: Sonata In D major for Flute V~ol~n& attended that recital. Contlnuo BA 68 10 E 4 62 TELEMANN, G. Ph: Sonata In B mlnor for Flute, V~ol~n. He then asked me if I was also a musician and when I 'Cello & Contlnuo BA 681 1 E 5 28 told him that I played the flute his eyes lit up and he said, 'Have you heard, or heard of, Jean-Pierre Rampal?' For a free copy of our Woodw~nd My eyes then lit up and I said, 'Oh yes, he's one of my Catalogue, please apply to - idols', to which he replied, 'Well, he's my best friend.' From then on our journeys into Salzburg were assured @ 17 - 18 Bucklersbury and we had some very fast rides in his Renault 750! Hitchin, Herts SG5 1BB We are delighted to have this recollection and invite other Ba ren re i t e r TeI: Hitchin ,Mrtl 51535 nostalgic anecdotes from readers who would share them with Pan, 30 Grove Road, Stratford-on-Avon CV37 6PB. Ed.

Jean-Pierre Rampal gives a lesson to Clare Southworth

Jean-Pierre Rampal Masterclass '83. Katey Thomas, Rachel Brown, Jennifer Stinton, These people played at the Guildhall School of Music, Christopher Freebury, Marion Ackrill, Julian Cawdrey, London on April 15th: Michael Cox, Clare Southworth, Sam Coles. 7 VIENNA FLUTE EDITION

GERHARD BRAUN 0 Q Selected Titles 0 Bach, J. S. Trio Sonata in D minor for 2 Flutes and Basso Continuo f 7.20 0 Bartok, B. 18 Flute Duets f3.90 Q Beethoven, L van Serenade Op. 8 for flute and piano £5.85 0 Sonata in F major Op. 17 for flute and piano £4.80 0 Belioz, H. Trio for 2 Flutes and Guitar f4.20 Blavet, M. Sonata in E minor Op.3 No. 3 for Flute 0 and Basso Continuo £5.20 0 Haydon, J. Sonata in C major for Flute and Piano f6.00 Marais, M. Suite for 2 Flutes and Basso Continuo f9.45 0 Mozart, W. A. The Magic Flute for 2 Flutes £5.20 0 The Marriage of Figaro for 2 Flutes f5.20 Don Giovanni for 2 Flutes £4.50 0 Vanhal, J. B. Three Easy Sonatas for Flute and Piano f 3.60 Q Q @3 0 @ Q Please write for our catalogue of music for flute 0 @ UNIVERSAL EDITION 0 London Showroom, 213 Fareham St. Dean St. London W1V 4DU Tel 101) 437 5203 Q Trade Department: 38 Eldon Way, Paddock Wood, Tonbridge, Kent TN12 6BE @ Q Tel (089 283) 3422 0 Kate Lukas who plays the open holed system and Gadget Page teaches at the Guildhall School of Music once made the remark to me "I explain the advantages and disadvan- I have owned a Yamaha open-holed flute for four years tages of each system to my students, I never recommend now and wondered if you could tell me the advantages of either; they must make up their own mind." I have having the open-holed system as compared to the closed never met the world famous teacher Marcel Moyse; I am hole one. told he plays the covered system and takes a similar S. L. Thurlow, 7 Ray Avenue, Dovercourt, Harwich, point of view. Essex. Albert Cooper

Albert Cooper represents the Flute industry on the BFS Really this is a question for a player to answer as I only Committee. Write to Gadget Page, 30 Grove Road, blow a flute, not play one. My reply is based mainly on Slratford-on-Avon CV37 6PB, with queries about what players have told me over the years. mechanics. ED. ThP advantage of the open holed system enables one to close the key and leave the open hole open to give a quarter tone of sorts, this practise along with the gradual opening of the open hole for a glissando effect is an essential part of playing contemporary music. There are also some special fingerings as well as regular fingerings using this technique where the player can alter the pitch Not so Quick Quiz or quality of sound as desired. 1. Who went to the theatre on February 27th 1668 and Some players prefer the feel of the open cup, some do heard wind music 'so sweet it made me really sick, not. Some say it forces a good hand position, some say just as I have formerly been when in love with my what's the use of a good hand position. To give of one's wife . . .' best you must be fully relaxed without any strain 2. What was his resolution? however slight. 3. In which of Dickens' novels does a schoolmaster Bushes or doughnuts in the G sharp hole in the line, take a flute from his pocket to play at home in his give assistance to high E with a less dulling effect on low digs? and middle A. This dulling effect is very noticeable on 4. Who, furious at being overheard, told Sir James the covered svstem. Melville, in 1564, that she played the virginals only To answer this question properly we should quote the when solitary, 'to shun melancholy'? disadvantages. Anybody with very small fingers may 5. Which published Flute Tutor in the early 19th cen- have difficulty in covering the open holes. their size does tury urged the pupil to learn the flute rather than the vary slightly between makers; the smallest I think are violin, since 'if a person arrive at a state of mediocri- best for playing in general, the larger size does give some ty only, on the German flute, he is sure to please, high notes a wild feel; this could be due to increased but on the violin he must spend a great deal of time bore area or too much venting. Some say the venting is and labour very hard . . .'? uneven; nobody complains about this in the low or mid- 6. Which family of French cabinet makers were dle octaves. I have always thought the most uneven part distinguished throughout the seventeenth and eigh- was between high E flat and high G sharp when each of teenth centuries for their making, playing and com- these notes has a different degree of left hand venting; posing for woodwind instruments? high F sharp being the most difficult on account of the 7. Why was it customary for the 19th century piano excessive venting at the A sharp hole while the F natural teacher to accompany his young lady pupils on the is too good. flute if he gave a lesson i deux in the drawing room? When descending quickly to the foot notes the open 8. In which of D. H. Lawrence's novels is the hero a hole player tends to miss them more often. fluteplayer? If you want the best of both worlds play open holes on 9. Which king took his flute to the front line? the right hand and covered on the left with a split E, this 10. 'Item for Guillem for flutes in a case: 70s'. This was system with carefully chosen hole diameters does make stumped up by Henry 7 in April, 1492. How much the venting more even, and I would have thought helped is the sum worth now? even up the tonal qualities and attack between high. E flat and high G sharp. These flutes are beginning to ap- Answers on page 23. pear; only last month I was shown a new gold one of this system. I do not think all open holed systems sound better than covered ones or vice versa. For me a good sound depends much more on the way a flute covers, the head- joint design, and other factors than on the design of only The British Flute Society would like to extend a warm 5 cups; after all on the open hole system there are still 8 welcome to the Founder and Honorary Life President of or 9 covered keys; the 5 open cups represent less than the National Flute Association of America, Mark half the total. Thomas, who has become a member of the B.F.S. 9 could not afford a new flute, EXCEPT that it is too long Flute Review from embouchure hole to the open end. And the propor- tions are awkwardly short from the embouchure hole to UNDER TEST: BOOSEY & HAWKES' EMPEROR the crown. Why not use the same measurements as most 561 CONCERT FLUTE. other flutemakers around the world? The flute plays well in tune. However, the appearance THE PANEL: CO-ORDINATOR: TREVOR WYE and workmanship in the assembly of the mechanism was CONSTRUCTION: ALBERT COOPER WITH OPI- very disappointing and may lead to trouble in the future. NIONS FROM SEBASTIAN BELL, KATE LUCAS The tail pieces on the keys are not perpendicular (at and ROGER ROSTRON right angles) to the keys. The felt used is of a poor quali- ty and not finished well, though the flute was working MARKET RESEARCH: ANN RADZINOWICZ well then I tried it. A strong point was the use of plastic washers to keep Trevor Wye writes: 'Our job is to test, evaluate, apd the pacis in place - acoustically a good design, nearly offer opinions on flutes submitted by Manufacturers or flat, and very smooth. Retailers. Naturally, comparisons are made with flutes I would recommend it for a beginner, but for the price in the same price range. To ensure fair play, Ann's job is asked, comparing it with the sturdier Japanese flutes, I to see whether the flutes submitted are similar in quality would wish for a higher mechanical standard. to those offered in retail shops and to check whether any Conclusion: Considerable improvement on it's 'discount' price is available. predecessors but further improvement possible. Emperor 561 flute: specification: pitch 440Hz. I feel that the mechanism could become noisy with use Seamless nickel silver tube, heavily silver plated as the adjusting scews have no buffer between the tip of throughout. Scale: improved COOPER. Stainless steel the screw and the clutch plate, and that its general clum- springs, nylon loaded adjustment screws, high quality siness is unfortunate. skin pads, Cooper pattern head, in choice of square or Albert Cooper round luxury pochette case with cleaning rod. 'E' mechanism optional. Price: f209.00 incl. V.A.T. with 'E' Mech. f221.00 incl. V.A.T. Teachers: less 10% The Emperor flute has much in its favour, I would Reviewer 'A' Plus points: good lower register - good quality pads - feels nice and works well - excellent touch pieces on foot joint - point screws in mechanism (wear can be taken out when necessary) - adjustment screws throughout (useful in a beginners flute since a teacher can make adjustments quickly without using more than a screwdriver) - cork assembly on head, light and strong. mubic bp Y~ITHqmob Minus points: general roughness of finish. Ugly "half sucked toffee" appearance of key arms - clumsily ap- Congratulations, too, to Keith Amos, whose plied felt buffers - bits of polishing mop stuck under original music is outstanding. the rolled rim of the tone holes. Tone holes not flat. CAMBRIDGE EVENING NEWS Springing could be of a better design but feels good. Conclusion: considerable improvement on its SONATINA £4.50 predecessors but further improvement possible. I feel Flute & Piano that the mechanism could become noisy with use and that its general clumsiness is unfortunate. The scale is RAQUETTES f 5.25 manageable. A good flute for a beginner. Flute & Clarinet

Reviewer 'B' HELIOTROPE f 2.75 An excellent well fitting case housed the flute which Flute & Alto Saxophone seemed a little heavier than usual. I assume it was tuned to A=442 which did alter the middle register when pull- TRlFOLlUM f4.00 ed out. The basic sound was good but it didn't respond Flute, Oboe & Clarinet as well in fast articulated passagework. I prefer this to Catalogue & Price List available on request. the YAMAHA which produces a brighter, harder Music supplied post free. sound. A reasonable flute for the price. All enquiries Reviewer 'C' RAMSDEN MUSIC On the whole, a reasonable flute for a beginner. The 9 Park Avenue, London SW1 4 8AT embouchure hole is designed for a clear sound with Tel: 01-876 9221 some flexibility of tone colour. It is a headjoint I would buy separately to improve the playing of someone who 10 A Summine"A, UD bv the Co-ordinator Well, they all agree on one thing: its a reasonable flute for a reasonable price. The first point-which should be corrected is adapting All works for Flute and Piano unless otherwise the standard body length which enables other heads to stated. be used. There seem to be some gremlins at work in the BACH J S: MENUET AND BADlNERlE E 1.30 finishing stages and the keywork seems not to be finish- BEETHOVEN: SONATA in Bb E 3.75 ed well enough before plating. The scale was agreed to CHERUBINI: AVE MARlA for Flute, be good. Toneholes not flat seems to be a general pro- Soprano and Piano E 2.00 DEBUSSY: THE GIRL WITH THE blem with factory made flutes but does make padding so FLAXEN HAIR E1.50 much easier and more reliable when its right. FAURE:PAVANE E 1.80 The flute submitted for testing worked well, and GLUCK: DANCE OF THE BLESSED covered well; others tried at random, one of which was SPIRITS f 1.80 off the shelf in Boosey & Hawkes Regent St showroom JACOB G: AUBADE for 2 Flutes and "was sloppy with pads not properly covering the holes". Clarinet f 2.60 VERDICT: A good flute for a beginner but do test it MASSENET: MEDITATIONFROM first and if trouble develops, ask for it to be put right. THAIS E 1.60 Also shop around for cheaper prices. MOZART: CONCERTO IN D, K314 E 3.00 SATIE: THREE GYMNOPEDIESfor Flute The B.F.S. would like to thank The Boosey and and Guitar E 1.80 Hawkes Group for kindly allowing the Testing Panel to TELEMANN: SONATA IN B minor E 2.00 test a flute on behalf of its members. WAGNER: SONG TO THE EVENING STAR E 1.50 Sole Agents for Breitkop f & Hartel, Leipzig. i Flerning Road, Earlstree, Corby, Northants NNI7 2SN

ADVERTISE IN certainly put it top in the student range. The tuning and PAN MAGAZINE sound are good, the particular instrument I examined Price (Single) Series Rate had a good attack and was strong throughout the three octaves. Page E89 E80 The pad washers were the plastic variety, although not Half page f 55 €50 seen on high quality gold and silver instruments I have Quarter E33 E30 always liked them providing they can be removed and Eighth €20 E18 replaced easily. Their smooth slightly domed surface on Repairers' the covered hole system for me is a definite plus; some Window €1 l E10 metal pad washers plus a card washer and thickish screw Lineage: 15p a word, minimum E1 .50 with screwdriver slot is not the ideal protruding shape for escaping or passing air to encounter, particularly for , Sizes: Page 210mmx 150mm those who like a close key rise. I feel they had some Half 100mm X 150mm beneficial influence on the sound produced. Quarter 100mmx 72mm I would criticise two things. The flute is not propor- Eighth 50mmx 72mm tioned as I like it. To fall in line with most other Repairers' Window 25mm X 150mm manufacturers I prefer to see a longer centre joint and a shorter headjoint, although the cork end of the headjoint Deadline for November issue: September 15th could be a bit longer, it was inclined to look stubby. All this is good for headjoint interchange. Ring Frances Moon on The cup arms could look more stylish and uniform, 01.353 55551266510530 this would greatly enhance the general appearance and Or write to British Flute Society appeal. P. Moon €2 Son Ltd The footjoint touch pieces and low C roller I thought 80 Fleet Street, London EC4Y 1 PN were very comfortable and had a smooth feel. On the traces of my great-great-grandfather Theobald Bohm (flute. The Complete maker, flautist, com- Sonatas for Flute and poser, 1794-1881) Basso Continuo Edited by David Lasocki My research and publications: Keyboard realization by Peter Holman Thls new scholarly edition collects LUDWIG BOHM together all the sonatas which Handel is known to have written or arranged First step: Genealogical tree hunself specifically for the flute. A My family research began l l years ago, in 1970, when previously unknown original sonata in my father organized a family reunion in Munich. I sear- D major is published for the first ched for the addresses of all descendants of Theobald time. Included are an introduction Bohm, and after the reunion I decided to bring the and a full critical report with genealogical tree of the family up to date from the year comprehensive evaluation of the 1936. In 1971, the first product of my family research sources. was finished, a genealogical tree of the direct ascendants Keyboard score with flute and basso and all the descendants of Theobald Bohm. continuo parts £5.95. . It goes back to the year 1498 and comprises 15 genera- tions. Theobald Bohm is in the tenth generation, and I FABER MUSIC LTD am in the fourteenth generation. Today there are about 3 Queen Square 250 descendants of Theobald Bohm including spouses, @ London WClN 3AU and about 100 addresses in West-Germany, Belgium, Austria, Portugal, Namibia, South Africa, Canada, U.S.A., Hawaii, Venezuela, Chile and Australia.

Second step: Family chronicle In the following 7 years I was busy with studying his many contacts with Great Britain, France, and the English, French, and Spanish at the University of Wiirz- United States. But 6 of his 8 children kept the spelling burg. After another family reunion in 1978, I heard of with the umlaut "6". I also prefer to write Theobald the existence of an unpublished family chronicle written Bohm's name with the umlaut "on, according to the by my uncle Karl Bohm, who died in 1944. I got a copy, family tradition of nearly 500 years. added an index, completed the dates of birth, marriage, and death and had it newly typed. Volume 1 comprises Third step: My private editions of works by and about the direct ascendants, 50 pages about Theobald Bohm, Theobald Bohm and all his descendants. This volume of 230 pages was Reading the 50 pages about Theobald Bohm's life in sent to all relatives in 1979. Volume 2 deals with the the family chronicle, I was fascinated by the versatility of lateral ascendants and has another 320 pages. my great-great-grandfather. Very soon, I had agreed with my father to organize a great family celebration on 1) Published in: the occasion of the 100th anniversary of his death in -Flutter Tongue. Sydney September 1981, p.8f (ex- November 1981. For preparation, I sent private reprints tract). of Theobald Bohm's books of 1847 and 1871, as well as -Glareana. Ziirich October 1981, p. 11-17. two biographies by Marie Bohm and Karl V. Schafhautl, -Newsletter of the National Flute Association. New to all his descendents in March and December 1980. York November 1981, p. 14-17. -0sterreichische Blasmusik. Horbranz December Fourth step: My publications of works by and about 1981, p. 3 (extract). Theobald Bohm. -Mens I Melodie. Utrecht May 1982, p. 218-230 I sent my Theobald Bohm editions also to several (enlarged; in Dutch). libraries and flautists, and because of the great interest -Newsletter of the Japan Flautist Association. Tokyo that I found there, I decided in December 1980 to offer November 1982, (in Japanese). them to some music publishers. I soon came to an agree- ment with a renowned music publisher near Munich. On the cover of both volumes is the coat of arms of the The collection of all writings by and about Theobald Bohm family from the year 1543. The name is written Bdhm was no easy task, as they are scattered to the four with the German umlaut "6". Theobald Bahm wrote his winds. So I made an inquiry of 600 libraries and 600 name both with "0" and with "oe", the latter because of musical instrument collections and published notes in various music journals. In addition to this, in 198111982 I wrote more than 900 letters to libraries, musical instru- ment collections and flautists, holding material by and about Theobald Bohm. On 7 January 1982 I also could give a short report on my research in the Bavarian televi- MURAMATSU sion. Particularly successful were two research trips which took me in August 1981 to the State Library in Berlinlwest, the New York Public Library and the The world's Library of Congress, Washington, and in August 1982 to the British Library, London, Library of Congress, inest hand Washington, National Diet Library, Tokyo and Na- 1, tional Library, Paris. Besides, I received valuable hints during the Annual Conventions of the National Flute Association, U.S.A., in Detroit, 20-23 August 1981 and made silver of the Japan Flautists Association in Tsumagoi, 27-29 August 1982, which were dedicated entirely or partly to the memory of Theobald Bohm. The richest source was the Library of Congress, Washington, where I found 32 marked Bohm flutes, several letters and articles by Theobald Bohm, about 115 original and new editions of his compositions and most of his handwritten composi- tions for alto flute, the existence of which was unknown to almost everybody. The result of my research is my Theobald Bohm com- plete edition which will be published in early 1983, by the music publisher Hans Schneider, Tutzing: 6 works by Theobald Bohm, 3 biographies and my documenta- tion: 1) Theobald Bohm: Compositions for Flute. Munich, Vien- na, Mainz, Leipzig 1822-1880. The complete edition comprises 40 works with opus number (Opus 1-37, 45-47; no works with the opus number 38-44 were published) and 37 works without opus number (WOO 1-13: compositions for flute; WOO 14-37 compositions for alto flute), altogether about 1800 pages. 21 compositions can be played with orchestral ac- companiment instead of piano. I was able to find the original editions in the libraries of Munich, West and East Berlin, London, Paris, New York and Washington and my collection of photocopies has grown to nearly 1800 pages. 2)Theobald Bohm: Prospectus of the old flute, the ring keyed flute of 1832 and the cylindrical flute of 1847. Munich 1828-1881. There are only a few copies left of the 14 flute prospec- tuses of Theobald Bohm, Bohm & Greve, Bohm & Mendler and his workshop successors Karl Mendler jr. and Ernst Robert Leibl, which I found in the libraries of Munich (4), Washington (4), Base1 (l), and Paris (l), 4 prospectuses are in my own collection. 3) Theobald Bohm: On the construction of flutes and their latest improvements. Mainz 1847 Theobald Bohm's work of 1847 is one of thd classical studies not only of the construction of flute, but also of the construction of all the other keyed wind instruments. The original is in Munich, along with an English and French version, translated by Theobald Bohm. The handwritten manuscripts of the English version is in the 144 Shaflesbury Avenue London WC2H 8HN 01-240 0584 British Library, London. I also found an Italian transla- tion in Florence. 4) Theobald Bohm: Account book of the flute workshop. 9) Karl Bohm: Theobald Bohm. Extract of the family Munich 1847-1859 chronicle. Munich 1944 The workshop of Theobald Bohm lasted for 53 years, Karl Bohm, the writer of the family chronicle, but there exist only two fragments of his account book, sometimes did some writing for his grandfather one from the period 1847-1859 (workshop of Theobald Theobald Bohm. He lived in the flat above Theobald Bohm) and one from 1876-1879 (workshop of Bohm & Bohm, who used to knock at the ceiling with a Mendler). This account book gives exact information broomstick when he needed his grandson's help. The about each flute that was sold: its type, the date of sell- biography is strictly chronological, very clear and very ing, the price, and the buyer. easy to.understand. It also deals with the less well-known A copy of the two fragments is in the Library of Con- activities of Theobald Bohm in the areas of improving gress, Washington. the piano and the fabrication of steel. A carbon-copy of the original is in my collection. 5) Theobald Bohm: Scheme to determinate the placement of the tone holes on woodwind instruments. Munich 1862, 10) L.udwig Bohm: Theobald and his flute. A documenta- 1867, 1868, 1871 tion. Munich 1981 There exist 4 versions of Theobald Bohm's scheme. The first part of my documentation contains general information about Theobald Bohm: The schemes of 1862 and 1867 were sent to the world , exhibitions in London and Paris. With one exception, all Photographs schemes are in my collection. I collected 48 photographs: 12 portraits of Theobald Bohm, a portait of his flute teacher Johann Nepomuk Kapeller, of his friend Karl v. Schaflautl, and his 6) Theobald Bohm: The flute and flute playing in workshop companions Rudolph Greve and Karl acoustical, technical and artistic aspects. Munich 1871. Mendler, 4 types of his flute, brandmarks on his flutes, This work not only deals with flute construction but some autographs, front pages of some of his writings and also gives valuable hints on flute playing. compositions, the two theatres where he performed as The handwritten manuscript is in the Library of Con- first flautist, the house where he was born, the com- gress, Washington, and the original edition is in my col- memorative plate, the Bljhmstrake, the commemorative lection. Dayton C. Miller published an annotated tablet, the Theobald Bohm exhibition, and the festive English translation in 190811922. concert on the occasion of the 100th anniversry of his death in the CuvilliCs-Theatre in Munich. 7) Karl v. Schafhautl: Theobald Bohm. A strange life of an artist. Leipzig 1882. Karl v. Schafhautl was a friend of Theobald Bohm for 54 years and he lived in the same house with Theobald Bohm for the last 37 years. He made an important con- tribution to the acoustical improvements of the flute. His biography is flavoured with many literal quotations and many humorous anecdotes. Although there are a few small errors, this work can be regarded as one of the best sources of information on Theobald Bohm's life. The biography was serialized in 1882 in a magazine, and a separate print is in my collection. An English translation by Emil Reich was published in the third edi- Michael White tion of Christopher Welch's book: History of the Boehm flute. London 1896. Musical Instruments Flute Specialists 8) Marie Bohm: In memory of Theobald Bohm, royal All leading makes at discount Bavarian court musician. Munich 1898 prices Theobald Bohm's only daughter, Marie Bohm, wrote a short biography of her father, which is particularly Repairs charming to read. Her book is relieved of all scientific Credit terms details and is full of anecdotes. For example she reports that Theobald Bohm was a very sportive man and that when he was 87 he still used to tell, full of enthusiasm, how skating was one of his hobbies, how one afternoon Michael White Musical Instruments, he tried to jump over three hats, and how he fell down 1 1 Queen's Parade, Queen's Drive, inumerable times but succeeded at last. Ealing, London W5 3HU. The original is in my possession. I also found an un- Telephone 01-997 4088 published English translation by Dayton C. Miller in the Library of Congress, Washington. ween 1822 and 1831, he undertook extended journeys that brought him to Vienna, Prag, Dresden, Berlin, Flutemakers Guild Ltd Leipzig, Ziirich, Geneva, Venice, Strasbourg, London, and Paris, as well as other cities. I have made a list of about 40 concerts and collected about 20 concert reports and 10 concert programmes. Makers of fine One report is of a concert of the Philharmonic Society of handmade flutes London on 9 May 1831, where Theobald Bbhm played his op. 16, Grande Polonaise: "Mr. Bohm is a very superior flautist with an excellent tone and his composi- tion was comparatively speaking, highly respectable. His style differs from that of Nicholson and Drouet, in- asmuch as he rather strives to touch the heart than to astonish." (The Harmonicon, London, June 1831, p.153).

The composer In 1818 Theobald B6hm studied composition with Joseph Graetz and instrumentation with Joseph Hart- mann Stuntz. His list of compositions amounts to 77. The popularity of his compositions can be seen not only by the enthusiastic concert reports and the appreciations in music encyclopedia as masterpieces (Gustav Schilling: Universallexikon der Tonkunst. Vol. 1. Stuttgart 1835, p. 698), but also by the great number of more than 130 10, Shacklewell Road new editions published in Western Germany, France, Great Britain, the U.S.A., and Japan. Besides, about 13 London N16 7TA recordings with compositions by Theobald Bohm are available.

The flute maker Theobald Bohm made his first flute when he was 16 years old. 18 years later, in 1828, he opened his own flute workshop. In 1832 he invented his ring-keyed flute, in 1847 his cylindrical flute. In 1834 and 1835 he T. C. DAVIES won silver medals at the Industry Exhibitions in Munich, in 1850 he won a silver medal at the Industry OBOE SPECIALIST Exhibition in Leipzig, in 1851 he won a gold medal at the Exhibition in London (Hector Berlioz was on the jury), and 1854 he won a medal at the exhibition in Munich and 1855 another gold medal at the World Ex- WOODWIND hibition in Paris, where he was honoured by Prince INSTRUMENT SALES Joseph Napoleon. His flutes were the best in the world and they were sold to the best flautists all over the world. HIRE AND REPAIR Up to now, I have been able to find 125 flutes marked by Theobald Bohm, Bohm & Greve, or B6hm & Mendler. Four flutes are in the possession of descen- dants of Theobald Bbhm. I would be very grateful for IMMEDIA TE PERSONAL hints on further flutes with Theobald Bohm's mark. SERVICE

The flautist 10% MEMBERS' DISCOUNT Theobald Bohm's flute teacher was Johann Nepomuk Kapeller, who told him after two years in 1812 that he could not teach him anything more. From 18 12-1818 he was first flautist at the Royal Isarthor-Theatre, from 9 1 WALTON ROAD, 1818-1848 he was a member of the Royal Court Or- chestra, from 1830 on as first flautist. According to a WOKING contemporary music encyclopedia he was one of the first WOKING (048 62) 5525 flautists of Germany (Mendel-Reissmann; Musikalisches Konversationslexikon Vol. 1. Berlin 1880, (p. 68). Bet- The flute teacher held or will be held in ~erlin,Ann Arbor (Michigan), In- Theobald Bbhm had more than 100 flute pupils accor- terlochen (Michigan), Detroit, Monroe (Lousiana), ding to a letter to Walter S. Broadwood dated 19 April Zurich, Manchester, Den Haag, Munich, New York, 1866. His most famous pupils in Europe were Moritz Sydney and TsumagoiIJapan. Furstenau (Dresden), Hans Heindl (Vienna), Karl In Munich, Manfred Hermann Schmid from the Krtiger (Stuttgart), and Rudolph Tillmetz (Munich). Museum of Musical Instruments in the Munich His most famous American pupils were Edward Heindl Municipal Museum organized a Theobald Bohm exhibi- (Boston Symphony Orchestra), Car1 Wehner (New York tion (25 November 1981 - 29 March 1982). I organized a Philharmonic Orchestra), and Eugene Weiner (New festive concert in the Old Renaissance Theatre York). (Cuvilliks-Theatre, 27 November 1981), during which the most beautiful compositions of Theobald BBhm The technician (Opus 4, 16,21,22,31,47, WOO27-29) were performed In addition to his flute constructions, Theobald BBhm by the most famous flautists (Andrhs Adorjirn, William made patented inventions of the construction of pianos, Bennett, Ursula Burkhard, Michel Debost, Irena the fabrication of steel, the burning of gases in blast- Grafknauer, Aurele Nicolet, ' ,Qute; Barton Weber, furnaces, and the construction of locomotive chimneys. piano). I also organized together with my brother Rudolf a family celebration of the descendants of Theobold Letters and writings by and about Theobald Bohm BBhm in the Hotel Bayerischer Hof. The next 9 parts of my Theobald Bbhm documentation At the beginning of the family celebration, a wreath comprise letters and writing by and about Theobald was placed on Theobald Bbhm's grave. Then followed a Bbhm. I found: visit of the exhibition, a short flute concert, and the per- -about 75 letters by Theobald B6hm formance of a TV film of Theobald Bbhm. -about 40 articles and notes by Theobald BBhm Nearly a hundred years ago, in 1894, a great family -about 185 articles and notes about Theobald Bbhm celebration was organized by my great-grandfather, Lud- -about 50 encyclopedias where Theobald BBhm is dealt wig BShm, the eldest son of Theobald Bohm, on the oc- with in a more or less detailed way. casion of his 100th birthday. Christopher Welch was the guest of honour. It seems that the name Ludwig BBhm Commemorative Celebrations on the occasion of the 100th obliges me to keep up the family tradition, the memory anniversary of Theobald Bohm's death of Theobald BBhm, and the contact with flautists all As far as I know, Theobald Bbhm celebrations were over the world. We are delighted to have William Bennett's Figures of Pan (and on pages 27 6 38) to grace this issue. Do any other readers push a decorative pen? The Editor's effort appears on page 39. Cartoons and characrers to Pan, 30 Grove Road, bra fjord-on-Avon CV37 6PB. In my opinion no more fatal instruction can be given Teaching the Flute in to a budding flautist. Schools and After: the With a new student I sometimes find a feeling of op- position, because changing the embouchure can be a Importance of a Relaxed traumatic experience, but the student has only to hear the sound of others who have mastered the system and see how they do it for doubt to turn to enthusiastic co- operation. JOHN FRANCIS, F.R.c.M., F.G.S.M. Some players manage to make quite a good sound in what I cbnsider the wrong way - but this is only one of The advent of the recorder has had a far reaching ef- those dangerous culs-de-sac one meets in the 'Pilgrim's fect on the pattern of instrumental playing in schools Progress', and later the player runs into ever increasing and consequently in the country at large. It can be learn- difficulties, most often connected with intonation. ed by the very young. It is inexpensive and very por- What right have I to assert all this? Forty five years of table. It is fairly easy to get quick results and has ih- teaching does not necessarily confer this, though it is a mense value in introducing actuaI'musica1 performance, help. Every teacher of piano or stringed instruments individually and in groups, to children. Children who knows there are fundamental principles in teaching these make music themselves never forget the pleasure and instruments, with endless small variations, but all based enhance their capacity to enjoy life. on certain essentials, and so it is with the flute, but pro- The majority of children who learn the recorder in pogation and recognition of these methods seems slow to school give it up when they leave and forget the playing come. I do not claim to have invented the relaxed em- part. The minority who have a capacity above average bouchure. I think I am right in saying it emanated from tend to carry on. Most often there comes a time when France under Taffanel. I wish I had known about it they want to learn an instrument they can play in a when I started to learn the flute. I should have been modern orchestra. What is the obvious choice? The spared much fruitless work, worry and frustration, going flute, because this has an affinity with the recorder. The down endless wrong turnings until I eventually found scale is produced in a similar way, and if the fingering is what I think is the best way to produce a good tone with different, it can soon be learned by someone with the minimum of effort. recorder playing experience. Only the tone is different. In my opinion the situation with regard to the flute is It is not self producing as on the recorder. Each player improving all the time. When I was a student, if one had has to learn how to produce his own tone, with endless a good tone one was considered lucky and said to have a possibilities for individual variation - which is excellent good embouchure (implying it was something one was - but also with equal possibilities for a wrong approach born with), much as people say of a singer that they have to the fundamentals of tone production, or more often, a good voice. There seemed not to be any idea that a no method at all, which is not excellent. good embouchure was something that could be ac- I was flute professor at both the Royal College of quired. However, (even then) unknown to me there was Music and the Guildhall of Music for many years, and it the beginning of ,a revolution in tone production - and is no exaggeration to say that nine out of ten new the teaching of it.,A system which has slowly progressed students who came to me had to start their tone produc- over the years, until it is safe to say that we have, in tion right from the beginning. This was not just another Great Britain, some of the best flautists in the world. I case like each singing teacher having a different method think I am right in saying that this came from France, diametrically opposed to the last. Wind teaching is not though the main transfer of it came from a flautist in this so difficult as that. We are dealing with lips that are country. His name was Joseph Lindgard and he was a seen, not internal organs that are invisible. As a result of distinguished orchestral player. I daresay many flautists dealing with this problem, I have evolved a system for have never heard of him, but he had a great influence on teaching what I call the relaxed embouchure, which flute playing in this country. His most eminent pupil is hardly ever fails. I wish it were possible to describe this Geoffrey Gilbert who has had a great influence on flute adequately in writing, but find this too difficult and a teaching here but is now mostly in the U.S.A. written description is only too easily misinterpreted. While Geoffrey Gilbert was studying in the North, I I ask a new student, 'And what made you take up the was trying to find out how the excellent flautists I heard flute?' on the Radio from Paris and Brussels managed to pro- 'Oh! I used to play the recorder at school and wanted duce such a beautiful sound. It took me a very long time to learn a modern orchestral instrument and thought the and much painful experiment. I was just about there flute would be the easiest.' when I had the good fortune to meet Marcel Moyse who 'I see. And who taught you?' accepted me as a pupil and told me I had 'got it right'. So 'A Mr. Smith used to come to the school.' I arrived at the same basic method as Geoffrey Gilbert 'Did he play the flute? but by a different route. Now it would be impossible to 'Oh no! He was a clarinettist.' explain in writing how it works. I can only say it in- 'And what did he tell you to do to produce a nice volves having as relaxed an embouchure as possible with tone?' the lower lip spread along the lip-plate. This way one 'He told me to smile and tighten the corners of my can play all day without any fatigue except to the arms mouth.' holding up the flute. After all being relaxed is generally accepted as essential in any kind of physical activity. time as a student, there seemed to be no cogent method When Geoffrey and I met in London, we were friend- of embouchure teaching, there is now a well formulated ly rivals with, I think, considerable mutual respect. I cer- well thought out method. There may be other methods tianly sent him pupils from time to time, when I thought - just as good but I have not encountered them yet. I they needed a change, and he asked me to take charge of am not suggesting that everybody ,has to play exactly his pupils whilst. he made an extensive tour of the alike, only that there are certain basic principles, but U.S.S.R. with endless minor variations, which in my opinion give To show that this method of tone production can be the best results. At this point the personality of the passed on at second (or even third) hand, I might men- player takes over and he - as it were - speaks with his tion that when James Galway came to study with me at own voice through his instrument, so no two players the Royal College of Music he had been taught in Belfast have exactly the same tone. by the wife of an old friend of mine - Mrs Muriel Dawn With regard to teaching the flute in schools by non - who had been a pupil of Geoffrey's. There were no flute players, this seems to be an almost insoluble pro- embouchure problems at all. I have tried to do the same blem. It is a matter of money and the availability of through my ex-pupils - such as Susan Milan and suitable teachers. PePaps if the Music Colleges could be Graham Mayger (flute professor at the Royal College of persuaded to give a performer on one wood-wind instru- Music) and at third hand through their pupils. Geoffrey ment, really expert teaching from a professor on one or Gilbert is doing the same through his ex-pupils such as two of the other wood-wind it would help, and save William Bennett, Peter Lloyd, Martin Parry and Trevor pupils from having disastrous instructions. It would be a Wye, but to name a few. More recently there are, for- move in the right direction. I wonder if a kind of com- tunately, many others who have acquired this skill by posite wood-wind diploma could be evolved? It is worth other routes. a thought. The main conclusion of all this is that, whereas in my

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OPENING TIMES: WHERE TO FIND US: MON-FRI: 9.30-6.00 47-53 St. John Street SATS: 10.00-4.00 London ECl Nearest tube Farringdon Tel: 01-251 381 1101-250 0949 Easy walking distance from St Pauls WHY NOT PAY US A VISIT?

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Dear Auntie Crotchet . . . I am adult, a teacher in a school, and have rented ac- Got a problem? Want a point of view? Write to Auntie commodation. I have great problems with practise. Crotchet, c10 Pan 30 Grove Road, Stratford-on-Avon There doesn't seem a time when someone doesn't com- CV37 6PB. plain. Can you help me? Auntie Crotchet says: You don't say whether you live in I am 16 years old and a member of your society. I have a bedsitter, flat or house. You could do something sensible in been playing the flute for five and a half years and passed a house, such as double glazing the practice room, or injec- my grade 8 (Associated Board) with distinction just over ting cavity insulation into the walls - with your landlord's a year ago. I need performing experience and should like permission of course. Ifyou're in a room or flat you'll have to know of any competitions or competitive festivals, to come to an arrangement with your neighbours. If they preferably near Newbury, Berkshire, in the next few know when to expect the glad sounds, they can make ar- months which would be suitable, or have a class suitable rangements to be out, or at least know the sounds will cease for me. Will the Society itself be having competitions for ar the hour appointed. And don 't let it rest until you play so different sections of its membership in the future well they're queuing up at the keyhole. perhaps? Can you please give me some information - I'm a member of B.F.S. A friend, who has been obliged to give Auntie Crotchet says: for information about festivals, up playing her flute has offered to sell me her instru- write to the British Federation of Music Festivals, at ment. Can you suggest an independent person who Festivals House, 198 Park Lane, Macclesfield, Cheshire would, for a fee, give us a written valuation? I do not SKI1 6UD. You might also browse through copies of Music want to take the instrument too far, but London is O.K. Teacher for any competitive festivals advertised there, and P.S. A. Crotchet! It's not clear which is your address! keep an eye on the notice boards at the Colleges of Music. Local Radio sponsor competitions and you might get in Auntie Crotchet says: Watch our ads! Go to see, or touch with local broadcasting in your area, as well as your write to, a woodwind retailer, check the replacement price, local education authority, who might, in common with other new, of a similar model, and then calculate the concession L.E.A.s, be staging a sung musician of the year in your appropriate for age, wear and tear, and general condition. locality. Unless handmade in wood or metal of great intrinsic value, A BFS competition? Now there's an idea. the retail catalogue would help you bearing in mind that flutes drop anything up to one third of their replacement 'I saw 5 spider in a pet shop,' he said at once. 'It was value when second hand. A retailer might gladly help you E15 and guaranteed poisonous.' come to a decision - again - scan the ads in Pan. Make The last was a lady who asked me to teach her son. 'He sure that the estimated value is the second hand sale price does need some lessons', she said. 'He loves it, but he and not any sum a dealer mkht offer you before he sells it hasn't got the hang of it yet. He's still taking breath in for profit. Ultimately, the value of the flute is how much through his mouth. Shouldn't you breathe through your

J you want it. nose?' P.S. You were right, dear reader, to send your letter to the I ask you. Editor, who passed it on to me, the kindly soul. I am inor- Auntie Crotchet says: Don't ask me, carry on the con- dinately shy. versation. you learn all the time.

I am continually amused and amazed at the things I have a flute, which I bought with my own money children say. This week a child was putting her flute from the Post Office. My little sister likes to try to play together and seemed to have some difficulty, it. She takes it from my room when I'm out and tries to 'Your footjoint's stir I said. blow it. I'm afraid she'll drop it or something. Mummy She nodded. 'And sore as well. I stepped into the drain says I'm being selfish. Do you? and banged my leg against the wall.' Auntie Crotchet says: No, hide the flute. Keep it out of The next child was having problems with her right sight or lock it up. Giveyour little sister a toy trumpet and I hand. dare say Mummy will find her a better alternative soon 'Curl your fingers over', I said, 'like spiders' legs.' enough. This will certainly appeal to the young flute choir. It's Music Reviews complete with score (all home-spun printing - see TREVOR WYE and KATE LUCAS above) and parts for 2 piccolos, 8 flutes, alto and bass flutes, bass and drums. 3 'Pink Panther' pieces are in- iute Lessons by Simon Hunt (Book one) cluded. (T.W.) Pan Educational Music £2.25 This is in fact a reduction of 'Learning to play the Flute' Suite in D Major 2 flutes and cont. method by the same author. A good idea, as the cost (and Marais U.E. No. 16739 £8.70 the interesting, but unnecessary information contained A suite of 12 dance movements. These can be played in in the preface) was rather prohibitive of the earlier, and any sensible order, or a few left out. A clear, unfussy edi- longer book. The print is clear, the presentation of the tion with separate gambalbassoon part. (T.W.) information is excellent and the cover will resist tear stains. The introduction, though not inaccurate, has a Three Fantasias. Op. 38. Solo flute slightly muddled air about it as does the dotty table of Kuhlau fingerings on page 5. A really useful publication for those who practice alone a Once the instruction gets under way, there is more lot as each piece sounds complete. These are useful prac- me~hodto the system which is sprinkled with sensible tise fodder though once again, the print seems to my age- advice. There are plenty of recognisable tunes in duet ing eyes, to be particularly small. Yes, pages turns and form. It would be suitable for group instruction. all the rest of it, but halfway through page 8 both my (T.W.) eyes and my lip, gave out. Its still nice to have these Favourite Music from the Opera. arr. as flute duets available. The usual smart U.E. cover. V.W.) by Simon Hunt and Graville Walker Pan ed. Music £2.25 Three Dances Woodwind Ensemble. Schubert Nice tunes, nicely arranged and good edition but with Chester £2.40 no uniformity of print. On pages 2-7 the notes seem I thought I might have got the price wrong, but no, for rather small at which point a different engraver was this includes 2 set of parts - seventeen in all - and a hired. Good value though a comparison with Mozart score. How do they do it? You might easily pay the same Duets (U.E.) which follows, is inevitable - 16 pages. price for a single sheet of whistling-kettle music from (T.W.) Italy. The large print of the music can easily be seen by more than 2 players so further sets of parts for larger Mozart Operatic Highlights for 2 flutes arr. ensembles is unnecessary. The parts are easy and can be Gerhard Braun. 61 pages. played by very nearly any combination of ,flutes, (U.E. £3.95) clarinets, oboes and bassoons. The publishers must have Lots of lovely Mozart well arranged and again with consulted the conductors of school wind ensembles to several sacked engravers during preparation. Perhaps its have come up with this one. Needless to say, the music is the page turns. More likely a reproduction of earlier edi- good. Well done, Chester. (T.W.) tions to save money, which it does, and at £3.95 who can complain. A very substantial and useful book going Sonatina. F1 & Piano. Keith Amos cheap. (T.W.) Ramsden Music £4.50 A lightweight, approachable and easy Sonatina both Sonatas for 2 flutes by De. Fesch, Locatelli? and technically and on the ear. Strong on rhythm. Printed on Groneman Broeckmans & Van Poppel superior double sided photocopy with stiff cover and Kalmus spiral bound, which I thought was a little expensive. After this reviewer's previous remarks, it was a pleasure (T.W.) to see this edition; I could not fault it in any way. The printing, depth of blackness, neatness of print, presenta- Music for Group Instruction for flute. A. Bonsel 3 tion and cover leave me full of admiration. Other volumes Broeckmans, Van Poppel publishers~ please note. The music? That's. good~ too. Kalmus (price not known) The price is not known but should be around £2.50. It's Well, the ghastly things that have gone on in the past a very cheap lesson for publishers on printing and three years to increase 'productivity' in peripatetic presentation. (T.W.) teachers (like sacking some to increase the workload of Adagio for vln. (Sonata - Bach) arr. W. Bennett. others) has created a real need for a group instruction Alry Publications, around £3.00 method. I'm not sure that these books provide the A lovely tune which makes a splendid encore item. A answer though they are a very real attempt to get to grips great piece. The edition is home spun and at $4.00 is ex- with the problem. All instructions are in both Dutch and pensive in the.U.K. for a garden shed production. But English though titles of tunes only the Dutch (you might the piece is good. . . (T. W.) wish to know that Altijd is Kortjatje Ziek is "Twinkle, twinkle". To see too much of a foreign language can Pink Panther Suite H. Mancini arr. for flute choir, create a barrier to learning in young people. Amy Rice Young There is much in this method which is good. The Alry Publications P.O. Box 24494, Denver, Co. 8022, printing isn't marvellous; they should study their own USA edition of the duets praised above! (T.W.) Sonata for Two Flutes Escher Op. 8. Pierre Paubon', appears some more goodies; Blavets A good duet from the little known (in this country Third Book of Sonatas in 3 volumes (about £4.50) anyway) Rudolf Escher. Written 1944. Easy on the ear. per vol. for 2 sonatas. In a further series - there (T.W.) is a group of pieces for flute and guitar. These are mostly, but not all, arrangements of music by Trio F1. oboe and piano Thomas Pitfield Albinoni, Corelli, Lully and the indispensible Giuliani Piper Publications £5.40 and include some original compositions. This is a re-issue, or reprint of the earlier Augener edi- All very impressive from one publisher. Aren't we tion. If you don't know it you should. Its good virile lucky to have so much excellent music to choose from? music with excellent piano writing (and sympathetic to To fully appreciate this series write to U.M.P. for a flute and oboe too). The Elegiac nocturne is especially catalogue. (T.W.) memorable. (T.W.)

Compact Concerto. Flute and orchestra Gordon Dale fl & piano D.00 THE EDITORS INVITE MUSIC FOR Score and 28 parts £15.30 REVIEW: A simple, listen-with-mother, easier than it sounds, short concerto complete with score and instructions on how to Scores by post to: perform it when half the players are away with chicken 4 Abbots Barton Walk, pox. Bouncy rhythms, easy-to-play parts all add up to a Canterbury, Kent CTl 3AX piece which is preferable to the Mozart concerto movements that one often hears young players cock up at school concerts. (T:W .)

Concierto Pastoral Fl,and orch. Rodrigo. fl. and piano reduction. Schort 11489 This reviewer isn't a Rodrigo fan; he find the repetition of every musical point slightly tedious. Those who do will welcome the appearance of this edition. The pro- PUFFED OUT? duction is excellent with clear type and smart cover. Yes, there are impossible page turns but that is but a teeny problem compared with learning to play it. I'm sure PUTAWAY YOUR most people will want it for its sensuous slow movement and to see whether the other movements are as hard as FLUTE they sound on J.G.'s excellent recording. By golly when you've staggered through it, you can only take your hat WRITE AN ARTICLE - and toupee - off to him and hope that no composer ever writes a really difficult piece for you which you are FOR then obliged to perform. (T.W.) PAN The French Flutists propose . . . is a series of pieces, some new, some old and published by Billaudot (via Kalmus) The series is too numerous to review individually but to mention a few gems:- Doppler's Fantasie on Hungarian Motifs is a welcome visitor at £4.40. Genin's Fantasie on La Traviata for flute and piano at £3.70 will please the 19th century fans as Answers to the Not so Quick Qiuz: will Demmerseman's Le Tremolo at &.l0 for fl. and 1. Samual Pepps piano. Most welcome was the re-appearance of Donjons 2. To practise daily and make his wife do the same. delicious Eight Studies at £2.80. J. M. Castandelle's 3. David Copperfield flute quartet for 4 flutes is another good piece: In addi- 4. Elizabeth I tion to these propositions by eminent French flute 5. Thomas Wragg: Improved Flute Preceptor players, there is another series called I1 Flauto Buffo in 6. The Hotteterre family which appears Doppler's Duettino Americain for fl. and 7. So that his hands could be heard to be properly oc- vln. (or 2 flts) and piano £3.25 and a fine Grande Sonate cupied. Concertante by the excellent Moscheles (£8.20). In pro- 8. Aaron's Rod gramme building, it is difficult to find good works from 9. Frederick the Great the early 19th century; this is one. Incidentally Rampal 10. I shudder to think. A labourer earned about f l an- has made a charming recording of it. In the 'Collection nually. Also Received J. S. Bach(?) Trio Sonata in D minor 2 flts and cont. Michael Dawney Claustrophobia, for solo flute. Op. JE No. 15969 £7.20 24. Free, from the composer, 5, Queens Road, Parkstone, Poole BHI4 9HF (S.A.E. +16p stamp) G. Miluccio Nostalgie. Flute and piano LeducLZ. 60 Prelude and Fugue. Op. 78. Flute, viola and hp., or MUSIC FROM THE HEART keyboard Piper £4.80 A fanciful tribute from a lifelong disciple of the English Thomas Pitfreld Sonatina. Flute and piano School (Cocuswood, Murchie, Morris) on acquiring a Piper (or& 0.U.P. £3.40) delightfully artistic flautist daughter-in-law of the Keith Amos Heliotrope. Flute and alto saxophone AmericanlFrench Style (Silverlgold; Kincaid, Pellerite, Ramsden Music £2.75 Mariano). The central message - all will agree - is The following were received from Broeckmans and Van timeless. Poppel, Amsterdam. (Kalmus). Telemann Sonata in F. (Bruggen) F1. and continub TRIBUTE: JOHN TURNER Sonata in D minor. (Bruggen) F1. and continuo To Sally, whose Pellerite pouting Loeillet Sonata in C Minor. Flute and continuo The long tradition of English fluting's flouting; Loeillet Sonata X F. Major, Flute and continuo Who, siren-like, lures from his patriotic principles Locatelli Sonata I1 D Major, Flute and continuo Her father-by-marriage, one of Murchie's disciples. Hasse Sonata D. Minor Flute and continuo Kincaid the master from recent shades avers Marcello and. Focking 2 Sonatas. Flute and con- Her tone is quite the equal of Barrere's; tinuo Barrere himself, from long celestial tranquility, Faure Piece. Flute and piano Readily concedes the point and commends her facility Blavet Concerto in A Minor (Vester) Of execution. Abel Sonata in G. Harpsichord and flute Giordani Flute Quartet in D. El. vln. vla. cello Platinum, silver, gold? Cocuswood or rose? De Fesch Trio Sonata Op. 7. 2 flutes and continuo Shadowy flights of flautists the ancient predilections C. P. E. Bach Trio Sonata in G. Fl. vln. and con- pose: tinuo But Baker to Barrere, from Nicholson to Gilbert, Gyrowetz Quartet in G minor. F1. and string trio Present and past, the great ones all assert W. F. Bach Sonata flute, vln and continuo The same solution: Vivaldi Sonata in F Tr. rec, and continuo Campagnoli Duet in D. fl. and vln. Metal or wood? Boehm's keys and rings? Telemann Six Duets 2 flts Music's beauty's not based on mechanical things. Drouet Two airs 2 flts When from her silver flute her siren calls she flings Devienne Six Duettinos 2 flts (in 2 books) What matters most of all is . . . Sally sings! Corrette Sonata 1 2 flts. Bodino Sonata E. min. 2 flts What a lovely way to welcome a new member of the family. Vermeulen 98 Little Melodic Studies for solo flute Do other readers celebrate domestic events with such Mac Gillavry 20 easy studies flute elegance? Contributions, please, to Pan, 30 Grove Road, Korevaar 2 Impressions flute solo Stratford-on-Avon, CV37 6PB. ED. Flothuis Aubade flute solo Flothuis Cadenzas for Mozart fl. and Hp. concerto Blavet Gigue and Rondo solo flute Calling all Helpers. Help! Poulenc Mouvements Perpetuels F1. and guitar Could you fetch, carry, aid and assist us with the Lon- Chester £1.60 don Day, or other B.F.S. meetings, and events when we Degenne Simplement F1. & Piano U.M.P. £1.45 really do need extra hands? If you have some time to P. Cam Three Bagatelles fl (or clart) and piano spare, Tony Bingham, 11 Pond Street, London NW3, Cramer will be very glad to hear from you. Pink Panther Suite W. Popp Fantasie Brillante on I1 Trovatore Southern Music Co. about £5 The National Flute Association of America holds its Faure Pavane flute and piano 1 lth Annual Convention at the Bellevue Stratford Hotel Southern Music Co. about £2.50 August 18-21 1983 in Philadelphia, Pennsylvania. Write Mozart Andante in C fl and piano to Myrna Brown, at 805 Laguna Drive, Denton, Texas Southern Music Co. about £1.80 76201 for all details and registration forms. Sarasate Romanza Andaluza fl and guitar Southern Music Co. about £4.00 Favourite Music from the Opera 2 flutes (Vol 2) Apologies to David Butt, Oliver Bannister, Robin Pan Educational Music £2.25 Chapman and Robert Dawes whose names were wrong- John Reynolds Airs and Dances fl. and clarinet ly represented in the British Orchestral List, Pan Vol. 1 Pan Educational Music W.75 No. 1. Superb material for the average beginner. Ideally paced and superbly constructed. Popular tunes like - THE SAINTS; SUMMERTIME; CREENSLEEVES; PINK PANTHER used as an integral part of the teaching process. Encourages recognisable musical achievements from the earliest stages. "Fun" books with a serious purpose.

Two Books: each £1.75 Pick up a copy at your local music shop or write to Chester Music for more details ClfSlERMISK: J b. W ChesterIEdition Wilhelm Hansen London Ltd. 7-9 Eagle Court, London EC lM 5QD Telephone: 01-253 6947

recorder players with an accompaniment rather than any Flute and Guitar higher musical aim. Nevertheless there is, among this ROY BREWER sector of the repertoire, some attractive arrangements of Baroque music and a few modern pieces. Having just completed a book on the guitar for Oxford The practical advantage for the flute player who University Press I have had to investigate, among other wishes to play with a guitar is, of course, the present things, the available repertoire for the guitar 'with other popularity of the latter instrument. Guitar societies are instruments'. This led to a surprise: the amount of almost everywhere to be found and, though playing stan- music written or arranged for flute and guitar, and to a dards may vary, there are usually amateurs who personal investigation of some of it. With a guitarist welcome the opportunity for extending their playing ac- friend we soon put together a small repertoire which in- tivies with some accompaniment, and discovering the cludes such pieces as the Ibert Entr'acte (Leduc, Paris less familiar music for their instrument found in duos 1954) and the Poulenc Mouvements Pqetuels nicely ar- and arrangements. ranged for flute and guitar by Arthur Levering (Chester In the Guitar Music Catalogue, compiled in 1981 by Music; 1982), together with some earlier works for this Robin J. Pearson there are no fewer than 79 pieces or combination, such as the Duettino by the guitar com- collections for flute and guitar and, since then to my cer- poser Giuliani, and a few other 19th century works, as tain knowledge, many have been added. They range in well as arrangements of sonatas by Handel and Loellet. 'difficulty from all four of the Bach flute sonatas to cheer- My main reason for writing about this is to draw atten- ful 'easy' pieces: the scope is immense, both musically tion to both the accessiblity and the attractiveness of the and technically. flute and guitar duo. The guitar's qualities are par- On the whole, in what we have so far played together, ticularly sympathetic to the flute's tone, and, compared my friend and I have been encouraged to 'fill out' some with the piano, encourages accuracy, delicacy and of the guitar writing to avoid the less interesting and oc- rhythmic vitality. (I have often been 'saved' by a pianist casionally inappropriate balancing of the respective in a sticky phrase, but would never get away with it parts. The flute gets most of the fun! Additionally we when playing with the less assertive guitar!) have found it possible quickly to make our own ar- A good deal of music for recorder and guitar was writ- rangements from works for flute and piano from the ten in the 50s and 60s when the recorder was virtually piano parts. The guitar uses the treble clef and, with the standard 'school' instrument. (Now it is the guitar!) some knowledge of guitar technique, it is sometimes Much of this is, for the guitarist, rather elementary and possible to read the treble stave of the piano part and add boring stuff, created, one suspects, to provide the some of the lower strings of the guitar to it in order to maintain some harmonic sense in the accompaniment. Of course I do not expect many readers of Pan to be Record Reviews unaware that flutes and guitars ace compatible, or that there is a wide range of music available for them to play TOM NORDEN and TREVOR WYE together. What might be less well-known is the sheer availability of players of both instruments who, with a Berkeley: Flute Concerto with LPO. Conducted by the little patience and a few enquiries, could disinter a lot of composer this music from the catalogues and play it. The danger Sonatina for flute and piano with flute players, especially amateurs, as with Sonata Op. 97 for flute and piano guitarists, is that they become isolated by their in- James Gaiway flute, Phillip Moll, piano struments from the pleasures and profits of performing RCA RS 9011 music outside their respective, somewhat enclosed, Although the Sonatina wasn't originally written for 'worlds'. flute, all flute players must now claim it as their own. Pianists (if I may say so) are sometimes rather touchy Having oft-times been murdered by Associated Board about accompaniment insofar as their technique, if equal Candidates, it was doubly refreshing to hear such a to the more advanced repertoire of flute and piano, tends polished and whigging recording. to require, let us say, careful balancing and modification The Sonata is on the next Associated Board list, so for the role of the accompaninist. I played the Rampal perhaps this record will serve as the perfect model for arrangement of the Cesar Franck violin sonata with a young performers. pianist who said (with justification!) 'That's not a flute A lovely record. piece - it's a damn big piano sonata with flute accom- paniment!' Also received:- The guitarist is, as a rule, a gentler creature and, due Saint Saens Symphony No 2 to the essentially amateur qualities which composers for Sawyers Four Poems for flute and strings SRRE 131 flute and guitar have kept in focus, it would indeed be (Rare Recorded Editions) surprising if even less technically advanced players Godard: Impressions de Campagne, Op 123 could not find something of interest and musical reward (Rare Recorded Editions 162) in this sector of the repertoire.

RO~Brewer sent this article in response to our appeal for material published in the last issue. We are delighted to have it and invite all contributions to The Editor, Pan, 30 Grove Road Stratford-on-Avon, CV37 6PB. ~ef~specialinstrume from %ddie3l/loors SUMMER FLUTE SALE - ONCE ONLY, UNREPEATABLE OFFERS! RRP OUR PRICE Muramatsu with split 'E' E1.789.60 E 1.399.00 De Ford No. 14 Alto Flute E695.00 f599.00 Takumi E1.430.63 f 1,099.00 Hernals Open Hole E 196.00 E1 38.00 Sankyo Artist with split 'E' E 1.050.00 E799.00 Hernals Silverhead f 270.94 E 189.00 Sankyo Silversonic with split Hernals with split 'E' E288.77 E201.00 'E' €822.00 E649.00 Schreiber E 165.77 E 125.00 n Miyazawa with split 'E' E980.00 E 675.00 Sonata R1 290 E226.37 E 175.00 IB Miyazawa E895.00 E599.00 Pearl9590 E258.00 E175.00 8 & H '78' E 165.00 E 135.00 De Ford No. 7 E498.00 E 299.00 De Ford No. 9 Thinwall E836.00 E499.00 Secondhand Flutes from E 85.00. Full range of Yamaha Flutes and Piccolos, new model B&H Emperor Flute, Puchner Bassoons and Howarth Oboes, Cor Anglais etc. all in stock. Now available:- Full range of Moeck, Rottenburgh and Tuju Baroque Wooden Recorders. without finger holes, it produces the harmonic series in The Forgotten Flute all its beautiful, lawful progression. Skilhl blowing technique and the use of continuous or rotary breathing MADEAU STEWART can bind and "bend" the notes with exquisite subtlety. This is the flute of the greatest antiquity. Already known in the 4th millenium BC, it was played in ancient Sumer There is something odd, puzzling and mysterious and throughout the centuries of the Egyptian about the history of the flute family. All historians draw Kingdoms. In what appears to be an unbroken tradition our attention to the facts that compound this mystery, it is still played in the middle east, the Balkans, Africa and then leave them aside, as though they were unim- (north and south), as well as in South America. The portant, or perhaps because they might confuse a story Japanese shaku hachi, introduced from China in the that is already distressingly complex. I cannot solve the 10th century, is a vertical flute. A characteristic of this mystery. I can only offer a few observations that may flute is its narrow bore and, often, considerable length. I galvanise further research. But first of all I need to know of no piccolo verticals. The timbre in the lower define what I mean by flute. register has a serene, hypnotic quality and, not surpris- The flute is a hollow tube. Apart from certain ingly, this flute is used in the music of the ecstatic rituals trumpets, for which the technique of producing sound is of the Dervishes in Turkey. An instrument which was in any case different, it is the only wind instrument effortlessly perfect from the start, its basic configuration without a mouthpiece. There are two principle forms of has remained unaltered, although a number of holes had flute: the vertical and the transverse. already been added when the Egyptians played it in The vertical flute is open at both ends. Rim blown, ensembles with the harp, proving irrehtably that they had more than adequate knowledge of the physics of sound, a system of tuning and harmonic music. The other form of flute is a tube which is stopped at one end and blown through a hole pierced in the side. This transverse or cross flute has always had at least one finger hole. It is both less well documented than the ver- tical and less ancient. From the beginning it offered an acoustic conundrum, the relationship between the stop- ped end, finger and blow holes posing awful problems. Certain notes were feeble or out of tune, the sound was often weak in the lower register or shrieky in the upper. And yet it was this, problematical tube, at first un- suitable for refined music, which was adopted by Europe. Why? This is a mystery. The theoreticians had to be called in to battle with the acoustical problems, and because they could not immediately resolve them all, in- terest in the cross flute waxed and waned and every so often it seemed as though the instrument might glide in- to oblivion. The early repertoire, with its limited number of works of outstanding quality, is evidence of something unsatisfactory about the cross flute. By what route the cross flute was introduced into Europe in the 10th or l lth centuries, or whether it was already present and ready for adoption, no longer seems important. What we need to find out is if early Europe knew anything of the vertical flute, and whether it was used for composed music. If so, why was it abandoned in favour of the cross flute? Or was its repertoire transfer- red to the recorder? Most, if not all, European instruments have today come to the end of their technical development, and per- formances on them have surpassed what once seemed humanly possible. The flute is an exception. If the ver- tical flute, with its few open holes, were adopted, a new timbre and expressive range would be available, produc- ed partly by subtler forms of fingering and articulation. With rotary breathing, interesting coups de souffle can be used in the place of tongueing. To experiment with a vertical flute there is not need to buy one. A rolled up piece of stiff paper will do. You will have to invent your own music - but why not try! Oxford Flute Music JoachimAndersen (1847-1909) Alun Hoddinott ed. JohnSOIU~ Italian Suite Five Songs for flute (or treble recorder) and guitar. In four movements: Cadenza; Passamezzo; without Words Condoliera,Duration 16 minutesand Tarantella E5.95 for flute and piano f3.60 arl W.H. Parry and Jane Parker Four lutes or More Book 2 Seven 19th-century pieces for flute ensemble. These pieces (by Beethoven, Weber, Miiller, Fischer, Wolf, Andersen, and Wesley) are arranged for four flutes, with one piece for five flutes. Playing score f2.35 Four Flutes or More Book 1, Oxford six pieces by classical composers arranged by W.H. Parry and Jane Parker, is on sale (£1.95). Press Music Department

the principles of this technique (he himself had learned it Circular Breathing and from glass blowers) and after a few months I was able to Flute sustain a pianissimo note. In the sixties I demonstrated it to a couple of flautists, among others to A. Nicolet and P. Birkelund, at M. Moyse Masterclass in Boswill. I ZDENEKBRUDERHANS resumed my work in 1975, some ten years after Mach's The technique of "circular breathing" means the abili- tragic death. In 1976 I employed it for the first time ty in inhale whilst blowing out. The already well when performing the Flight of the Bumble-Bee, and established name - circular breathing - might seem to Moto Perpetuo by Paganini in 1977. Adelaide Festivals, be somewhat misleading - suggesting, for example, the classes in U.S. and Australia, 1979 Dallas Flute Conven- air intake by some other way than by nose or mouth. As tion, New York Carnegie Recital Hall and London the breathing itself is not changed in the physical1 Wigmore Hall debuts were the venues which followed. physiological sense, it should be perhaps more properly There are substantial differences in the application of called "auletic breathing", according to the aulos players circular breathing technique as used on the flute, com- in ancient Greece who were applying this technique pared with the otherldouble reedlinstruments: some twenty five centuries ago. 1. All double reed instruments have lesser air consump- This technique has been known for centuries both to tion than the flute. certain professions - such as glass blowers, or to some 2. There is a liplcheeks support in form of a metal plate1 double reed instrumentalists - Chinese oboeists, Malay- Seru-nai, Chinese oboelor leather bandlauloslfor dou- sian seru-nai players, and the already mentioned aulos ble reed players. players. The application of this technique on flute play- 3. The double reed player can make quite a big reser- ing is, however, a relatively recent event. voir by his expanded cheeks before blocking his The Czech flautist Antonin Mach was, to my throat passage with the uvula and simultaneous knowledge, the first person among flautists who had breathing in through his nose, and pushing air into mastered it in the fifties. He shocked the panel, in- the instrument by cheekslfacial muscles which con- cluding J. P. Rampal, at the 1959 Prague Spring Festival tract. International Competition of Wind Instruments, when On the contrary, the flautist who must constantly con- he performed Bach's Allemande from BWV 1013 trol the embouchure with some of his faciallneck without an obvious interruption. Mach explained to me muscles, cannot relax temporally some of these muscleslby blowing up the cheekslif he wishes to main- always articulated - which means, there is an alterna- tain unchanged qualities of sound, colours and dynamics tion of sound and silence. It is not advisable, therefore, throughout the whole compass of the flute. to employ this technique in order to "get help" in long It is therefore obvious that he must look for another air phrases. Even Allemande from BWV 1013, although an reservoirlreleasing device, whilst breathing through his uninterrupted chain of semiquavers, is based on an in- nose. The throat is the logical place for such a storage, as tegration of three linear lines and harmony which all re- the expansion of the throat by the back of the tongue and quire "breathing" at times, and thus allow the flautist to by some larynx and pharynx muscles does not interfere take a breath. with the muscles which control the embouchure. It is But, on the other hand, movement - more precisely, also obvious, that the flautist cannot sustain unchanged fast continuous movement - is fascinating for a man, qualities of any tonguing whilst breathing in, as the and in its musical expression (i.e. an uninterrupted chain tongue is already involved in the throat expansion. of equal fast notes) the application of circular breathing Learning the application of circular breathing on the is fully justified musically. flute is very dificult, and any flautist must possess cer- Mastering this technique opens new exciting pro- tain abilities, before starting this demanding work: spects to both performers and composers. 1. He must have a perfectly focused sound1i.e. he must not waste air in sound production/. 2. He must learn breathing in very quickly/some three tenths of a second/, as the throat space is rather limited, and the air consumption, particularly in the Zdenek Bruderhans, Grand Prix winner at the 1959 low register or forte dynamics, is quite a big one. Prague International Competition of Wind Instruments, former principal flautist of the Prague Radio Symphony, is presently Reader in Music at the Elder Conservatorium IS THE APPLICATION OF CIRCULAR and Associate Dean of the Music Faculty of the University BREATHING TECHNIQUE ON FLUTE PLAY- of Adelaide, South Australia. He toured in I3 European ING JUSTIFIED MUSICALLY? countries, U.S., U.K., Asia and Australia. His 10 records, Music has two sources: vocal communication of a including GLPs, were released by Supraphon, Philips, Col- man, and physical movement. Vocal communication is umbia Nippon and E.M.I.

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Tel: 01-202 3711 Concert Notice BFS Flute Extravaganza KATHERINE KEMPLER November 516 1983 at Royal Northern by AKI INOUE College of Music, Manchester. I was delighted to have a chance to hear and review Saturday 5th this concert by my friend and contemporary, the 12.00 Arrival, registration and rece~tion. American flautist, Katherine Kempler, who made her 12.30 ~unch.' debut in London (Wigmore Hall) 20th February. Her 2.00 'The Contemporary Flute' recital by Sebastian elegant appearance immediately enchanted the whole au- Bell. dience, which was very regrettably not so large. She 4.00. Tea. started the concert with Loeillet's Sonata in A minor 4.30 Jack Moore, the distinguished American flute with guitar accompaniment on this occasion. It was maker, and Albert Cooper the world famous beautifully ornamented and proved her tone rich and, British flute maker in a Discussion Panel on brilliant especially in low and middle registers. She kept flute making. Chairman, Trevor Wye. 6.30 Supper this sonorous sound until the end of the programme, 7.30 Orchestral Concert: R.N.C.M. Sinfonia. 'Chant de Linos', by A: Jolivet, which was en- Soloists: David Haslam, flute; Stephen Preston, thusiastically performed with her splendid technique ' classical flute with Sebastian Bell. and with the perfect support of Clifford Benson, the Later Bar Extension. Bawdy songs and Victorian pianist. ballads sung by the Queen's Singers. Like some other American women flautists she's got a special skill to draw and move the audience with her ex- Sunday 6th pressive way of flute-playing, as well as with her 9.30 Illustrated Lecture "Paul Taffanel" given by elaborate choreography. It was a little pity that her high Edward Blakeman 11.30 Coffee. notes sounded slightly thinner, although she was quite 11.45 Fritz S~iegl:"Nothing to do with flutes!" well in tune. Perhaps her instrument should be to blame, 12.45 ~unch." I suppose but not her. 2.00 'One Plus' a multiple flute concert of music for Sonatina for flute and guitar by Mario Castelnuovo- from one to several flutes with continuo. Tedesco is not so often heard, but that lovely performance 3.15 Tea. of this Sonatina's second movement, 'Tempo di 3.45 Discussion Panel: Orchestral Playing and Siciliana' fascinated everybody in that concert hall. Repertoire. With Roger Rostron, Principal Flute, Halle Orchestra, Colin Chambers, Prin- This review, by the Japanese flautist Aki Znoue, is our first cipal Flute, Royal Liverpool Philharmonic Or- Concert Notice in Pan, and we would welcome reviews by chestra. Chairman: Trevor Wye. other members who put pen to paper after a performance of 5.30 Short rehearsal and Concert of music for massed note. ED. flutes. Bring yours! 6.30 Buffet Supper - Cabaret - Bar. BFS London Flute Day The weekend is timed to allow arrival on Saturday Sunday 9th October, 1983 without rising at dawn, and finishes in time for those who go back to London by train. A Day of Flute Stars! Don't miss it! Cost £9.00 to B.F.S. members only for the complete two days meals and accommodation extra. TABLE OF EVENTS Meals: Saturday Lunch: £2.50 9.30 Registration Saturday Supper: £1.75 10.00110.30 Youne Artists Platform: Michael Cox Sunday Lunch: £2.50 10.30 Talk: ~rciestralPlaying: Gareth Morris. Find Sunday Buffet Supper: £2.00 out what its about from the Master! 11.30 Coffee. Space does not permit a full menu but Saturday Lunch 12.00 Emile Biessen: Recital of Contemporary Dutch 1s:- Chicken drumsticks and French music. (Principal flute of the Radio Assorted quickies Philharmonic Orchestra, Hilversum). Hot sausage rolls 1.00 Lunch. Coleslaw, Rice and Potato salads 2.15 Solo Master Class: Distinguished Swiss flute Assorted sweets player, Peter-Lukas Graf. Pupil: Clare Coffee and mints Southworth. V.A.T. not included. 3.45 Tea. 4.15 Lisa Besnociuk: Recital of Music for 2 traversos This is a special menu for B.F.S. members, meals and continuo. must be booked and paid for in advance. 5.30 Young Artist Platform: Wissam Boustany. Concert tickets for the separate events will be on sale ~ecital:Peter-Lukas Graf. after 6th October. The total cost of concert tickets will $.% Finish. be about £15.00. Information on Manchester Hotels and Guest Houses Cost: £9.00 B.F.S. members only. Full details of tickets is available on request, S.A.E. please. on the separate sheet in this issue of Pan. For address see flyer in this issue. 30 for articles, letters, adverts, dates for the diary or queries THANKS! to Auntie Crotchet. (Does anyone have any idea who The Committee of the British Flute Society wish Auntie is - and why?) to thank all the artists who are so generously giv- It's up to us all to publicise the Society. You know ing their services for the London Flute Day and Fluteplayers that I don't. Hopefully everyone will share in this task. Active help is wht we need. So, if you call at your local music shop and they haven't a poster up about the society, tell me and I'll send them one. If they don't have any membership forms I'm sure Margaret Pether would send them a few. Local Radio is another good source of members. I have sent a letter to every Radio To Publicise Pan station in the British Isles, but if you know someone who CHRISTIE can get us a plug - do so. IAN If you need any help or information just drop me a Well, it all seems to have started off very well, but can line, or ring, and I'll do all I can to help. If anyone has we keep it that way? I'm sure that with all the flautists any other ideas on how they could help publicise the there are in the British Isles (and abroad), and with all Society we would love to hear them. (In view of the the interest there is in the flute, that we will have a very prestigious nature of the Society I think that ladies prestigious and successful society in the years to come. parading down Oxford Street, topless, with B.F.S. tat- But why in the years to come? Why not immediately? toed on the bosoms is a very nice idea, but one that we Why not indeed! How can we do this? would decline). Well, one way is to stimulate more interest in the flute Active interest not passive resistance - we're and gain more members by getting other flautists we FLUTEPLAYERS. know to join. It's surprising how many just seem to sit on their ixixixixix at home practising double tonguing, Ian Christie is our committee member in charge of publicity Taffanel-Gaubert scales or, even worse, Vivian Scale Ex- and has achieved an absolutely mammoth task to date. ercises. (And what's wrong with these, Ian! Ed). We will Anyone needing to contact him should write to him at 33 have to awaken them by telling them of the Society and, Linksway, Congleton, Cheshire, or telephone Gongleton more tothe point, using it. The Editor is always asking 77647. ED.

PAN MARKET PLACE Take advantage of our special offer for classified advertisements at under half price. All you have to do is fill in the coupon below and send it to us, with a cheque or postal order payable to P. Moon & Son. (If you wish to place a longer advertisement, or to include a box number, please see ordinary advertising rates at the top of this page). Members' lineage ads for the private sale of instruments are free (please give membership no.). Write only one word in each box, please.

t 1x1 0 CHARGE Remember to include your telephone number or address within the advertisement. Maximum of 12 words allowed. Anything written below this line will not be published. Please place my advertisement in Pan Magazine on the next available date. Name (Block Capitals)...... Address ...... Signed...... Date...... Send to: Classified Advertisement Dept., British Flute Society, P. Moon & Son Limited, 80 Fleet Street, London EC4Y 1 PN Musicians need to see music to appraise the content and musical value before committing . themselves to purchase. This collection of first lines is our attempt to solve this problem. We hope it will stimulate all musical tastes.

Solos as studies for the'flute (Francis) ...... Briccialdi 24Technical Studies ...... Prill Sonatina ...... Arnold Sonata ...... Bach 3 Duos for flutes ...... Berbiguier 4 Icelandic Folksongs ...... Bjornsson Nocturne (Silver/Francis Series) ...... Borodin Albumblatt (S/F Series) ...... Busoni Etude (S/F Series) ...... Cramer Dance of the Blessed Spirits (S/F Series) ...... Gluck Tambourin (S/F Series) ...... Hasse ...... Haydn La Flauta Espanola ...... Kleyn Song without words (S/F Series) ...... Mendelssohn Andante Sostenuto, Op 85/4 Allegro Vivace, Op 102/5 Presto, Op 102/3 Please send S.A.E. for your own copy to: Andante (The Magic Flute) (S/F Series) ...... Mozart Alfred Lengnick & Co~npanyLtd.. Canzonetta (Don Giovanni) (S/F Series) ...... Mozart Purley Oaks Studios 421a Brighton Road. The Flight of the Bumble Bee (S/FSeries) .. .Rimsky-Korsakov South Croydon. Surrey CR2 6YR Sonata. Op31 ...... Wallbank

There is also considerable interest in forming clubs BFS Flute Club News ....In.- RUSSELL PARRY Hampstead NW3 (contact Lyn McLaren, 1 Netherhall The news of flute clubs is indeed cheering. Members Gardens NW3 5RN). of the BFS in many parts of the country are seeking con- Thornton Heath, Surrey (contact Carolyn Kelly, 59 tact with other enthusiasts to start clubs, and several Melfort Rd, Thornton Heath). clubs which were operating in isolation are now beginn- Worcester (contact Mr. M. Bowley, 29 Fern Rd., Com- ing to exchange ideas and material. er Gardens, Worcester). Several clubs are linked with the local education Rochester (contact M. Pether, 82 Seagull Road, authorities andlor individual schools but some are Strood, Rochester, Kent ME2 2RH). operating in a splendidly independent manner. Of the WellslBristollBath (contact Mrs. Juliet Keeling, Rose former there are groups in Cottage, Water Street, East Harptree, Bristol BS18 Southampton (contact Robin Soldam, 87 Avenue Rd. 6AD). S02 IAW). Harrow (contact Mrs Jean Thomas, 156 The Bury (contact Clare Tristram, 7 Wildwood Close, Ridgeway, North Harrow, Middlesex). Holcombe Brook, Ramsbottom, Bury BLO 9SF). Northern Ireland is, of course, traditionally well stock- Doncaster ed with flute bands and readers will be interested to hear Derby (contact Chris Freebury, 69 Avon St. Alvaston, of the Scottish Amateur Flute Band Association (contact Derby DE2 8TL). the secretary, Mr. S. Houston, 13 Boreland Drive, Glasgow, G13 3DF). Leicester (contact Russell Parry,- Leicestershire School of Music, LE^ OJJ). May I start the ball rolling with a request for some Hertfordshire (contact Malcolm Pollock. 1 Kinas Rd. original music specifically written for a group of about Hitchin, ~erts).' 20 flutes, possibly with the addition of piccolos and alto Cheshire & Wycombe High School (contact Ian flutes? To be of use, individual parts should vary in dif- ficulty, but all have some interest. Such a challenge was Christie, 33 Linksway, Congleton). not beyond composers of previous generations, so how Independent groups have met in:- about it, contemporaries! I can guarantee a performance Edinburgh (contact Sheila Cochrane, 16 Lansdowne of a suitable piece, and perhaps the B.F.S. would be Crescent, 1st Floor EH12 5EH). prepared to commission it. Bramhall, Cheshire (contact David Greenhalgh, 22 West Drive, Seedfield, Bury, Lancs). Watch Pan Diary for Flute Club events: write to Pan, 30 Reading (contact Janet Way, 9 Windrush Way, Berks Grove Road, Stratford-on-Avon CV37 6PB with news of RG2 2NQ). your meetings: RusseN Parry, of 21 St. Philip's Road, Harrogate area (contact Mr. Humphries, c10 Rudall Leicester LE5 5TR represents Flute Clubs on the BFS com- Carte & Co. Ltd., Deansbrook Rd, Edgware HA8 9BB). mittee and would be glad to hear from you. ED. flute bandsmen do - properly it would be Ab and Eb Here comes the Fifes flutes.) Before 1900 sets of Boehm system flutes were unheard of, bands being equipped with inferior 'simple DEREK GREER system' instruments. The marching season was a short one in Ulster and bands found themselves with nothing Whalin' and Lundherin', Blargin' and Dundherin', to do in the cold winter months. It was a natural exten- ' Here comes the drums; sion that bands should wish to play all year around, as Wailin' and weepin', sobbin' and cheepin', well as attempting a repertoire beyond that of marching Here comes the Fifes . . . tunes. A major turning point came when Eb (Db) and Bb

C (Ab) bass flutes were added to give bands a wider and So wrote the Ulster poet Brian McAlister many years more adventurous range. By the early part of this cen- ago, in an attempt to convey in words the frenetic sights tury the standard had improved radically and the bigger and sounds of an Orange Order band procession. His and better bands were considering a change to full sets of description of 'blargin' drums' and 'weepin' fifes', ebonite Boehm system instruments. In 1907 John Mur- however unfortunately remains even today as the die, conductor of the "Argyle", along with other in- commonly accepted impression of the Ulster flute terested parties invited bands to join together and form band. It is certainly true that, many such boisterous an association. Thus an organisation was formed which outfits still exist "parading the streets to exhibit eventually became the North of Ireland Bands Associa- their political affiliation in musical terms". But tion, an "umbrella body" containing the Flute Band, beyond this mundane level is a network of fully Brass Band, Military Band, and Accordion Band equipped concert flute bands, producing a brand of Leagues. From this time on the movement really ac- music which is iepeated and admired among flute celerated in terms of growth, with Championship Con- players throughout the world. Many of these superior tests being organised and music of increasing complexity bands began their existence marching with fifes behind being made available. First class musicians were engaged the swirling banners of the Orange Order. All seem to as band conductors, and a grading introduced to allow have had one thing in common - they began with peo- bands of a similar standard to compete fairly. Five Con- ple in similar circumstances joining together to make test sections were introduced - Melody, Junior Second music, as a means of improving their personal entertain- Grade, Junior First Grade, Intermediate and Senior. ment and that of the community. It must be borne in Melody bands were obviously restricted to march tunes, mind that much of this development took place between but the other sections contained full range bands which 60 and 100 years ago, before mass entertainment became tackled music of increasing difficulty. For example the order of the day. People were driven to make their Junior 2nd grade bands would render a march such as own music, motivated by the fact that live performance "The Red Cloak", while those in the Junior First might was really the only medium available. attempt a simple overture, perhaps Kelar Bela's So it was, for example, that a group of shipyard "Lustpiel". Weber's overture "Peter Schmoll - might workers joined together to form the Ravenhill be a suitable Intermediate selection, and Beethoven's Temperance Flute Band, whilst former members of the "Leonora No. 3" overture the choice for the more dif- 26th Belfast Company of the Boys Brigade became the ficult Senior Section. These yearly Championships have Argyle band. Similar stories could be told all over the regularly attracted top names from the world of music to Province concerning the beginnings of flute band in city, act as adjudicators, such as Harry Mortimer, Roy town and country. Newsome, and Eric Ball. A most interesting (and possibly apocryphal) story sur- In 191 1 the Ulster Amateur band travelled to Belle rounds the origin of fhe Ballymena Young Conquerors Vue, Manchester, to take part in the Great Britain Flute Band in 1886, and how they assumed such an Championship for flute bands. No one gave them any unusual name. Apparently it seems that a group of fifers chance, but in fact they stormed through the contest to were on the march rendering the loyal tunes of Ulster take every prize available and returned to Belfast trium- * when they were set upon by people dedicated to a dif- phant. It was this same band that travelled to London in ferent politic. It appears that they acquitted themselves 1932, and under their conductor William Blythe record- well in the ensuing struggle, and eventually continued ed several discs of marches for Decca. The culmination , with the parade. At this time the band had neither name of their weekend was an historic Sunday evening perfor- nor organisation, and so as they approached the end of mance at the famous London Palladium. One of the the march a voice on the street exclaimed 'Here come the most interesting aspects of flute band history is that conquerors!' The name was duly adopted and remains to unlike brass bands, instrumentation has rarely remained this day. unchanged for long. The quest for improvement was of It seems likely that inspiration for the styie and prime importance, an aspiration which led to the organisation of many bands came from the fife and drum development of "double bass" flutes around 1920. corps of the British Army. In fact anyone listening to the These were termed "double F" (Eb) and "double Eb" present band of the Coldstream or Scot Guards would (Db), and were constructed in metal material, usually gain an accurate impression of what most early Ulster with a coiled head. A full sized contesting band of this flute bands sounded like. These bands of course, contain period would have been made up of Bb flutes (Solo, lst, only a number of Bb fifes with an F bass accompani- 2nd and 3rd)) F flutes (solo and lst), Eb flutes, Bb bass, ment. (I use the old naming system here as almost all F bass, and Eb bass (plus percussion). Bands usually 33 varied in number from 20 to 35 players. years of history. There is enough material for a large In the mid 1960's it became increasingly clear that book, waiting for someone who wishes to tell the full these specially manufactured flutes were about to story. become obsolete. The cost of production for firms such To those of you who have never heard a good flute as Boosey and Hawkes was becoming prohibitive, and a band playing worthwhile music, I encourage you to try radical re-think became necessary. Some bandsmen had and listen to one as soon as possible. It is my belief that if heard a combination of orchestral flutes with added "G flute players in Britain could hear our bands at their best trebles", and were most impressed by the tonal qualities they would take steps to set up similar organisations. of the instruments. In 1965 it was again the Ulster The encouragement and coaching of young players is Amateur Band which broke new ground by becoming the key concept in the Irish flute band tradition. For a the first band to be equipped with concert system flutes. country of only 1% million people there is a staggering G treble flutes took over from the old Bb flutes, whilst number of flautists, albeit of varying degrees of com- concert flutes fulfilled the role previously taken by the F petence. The flute playing potential of young people has and Eb instruments. Alto G and C Bass came in as yet to be fully "tapped" in England, and only will be replacements for Bb, F, and Eb bass. The texture of when the musical parameters expand to allow both flute sound achieved by the modern ensemble can be imagin- and brass bands to develop. The Flute Band League in ed with the aid of a quick comparison between flute and Northern Ireland will always be willing to help in any brass - G trebles equivalent to Cornets, concert flutes ' way it can in order to further this development. assuming the part of tenor horns and saxhorns, Alto The Irish writer Oliver Goldsmith, like so many of his flutes somewhere between euphonium and trombone, C countrymen, was a fine amateur flute player. The music Bass at the bottom end with tuba, etc. Nowadays almost historian O'Neill, in "Irish Minstrels and Musicians" every contesting band uses the concert system, with tells us that "he partook of the free hospitalities of the perhaps the only exception being the 1981 Intermediate monks of the monasteries, slept in straw in humble Champions Ballymana Young Conquerors, still playing barns, and when he reached a village would pull out his on a 1932 Boosey and Hawkes ebonite set. flute and strike up a lively air, to which the rustics would The present day sees the flute band in an important respond with dances". It is this fine tradition of flute position in Irish musical life, but perhaps not as strong playing in the island of Ireland which has helped to pro- as it once was. Other entertainments and interests of the duce the impressive flute bands of today. Perhaps the eighties have radically reduced the number of concert time will come soon when this experience will cross the bands~byalmost half of what existed in the twenties and Irish Sea, and do much to increase the popularity of this thirties. Senior, Intermediate, and Junior contesting excellent instrument in Great Britain. grades now contain about 25 bands each season. But on the whole those bands which remain have become larger in numbers and the standard of playing is improving all Derek Greer promises us photographs to illustrate this and the time. Some of the larger Senior bands, such as future articles, and practical advice relating to the organisa- Ballyclare Victoria and C.L.B. Newtownards, now have tion and repertoire of Flute Bands, and we very greatly ap- well over 40 players. The repertoire of these outfits has preciate this-ED. widened considerably to include folk, classical, light, pop music, and even occasionally a bit of jazz. One of the greatest problems facing flute bands has always been the difficulty in gaining a widespread accep- tance outside Northern Ireland. There seems to be a general unwillinginess to recognise and promote the flute band, an attitude which is mostly held by those unaware of the marvellous sound a good band can Thankyou to Nigel Wardfor designing the B.F.S. logo and achieve. And this despite the knowledge that James the cover frame of Pan. We are, and we feel that aN future Galway, arguably the best flautist in the world, had his B.F.S. members always will, be most appreciative of this early training and playing in Belfast flute bands. The present principal flute in the Ulster Orchestra is Colin elegant identity in print.-ED. Fleming, former player with Ballyclare Victoria and son of the band's conductor. Such reputations within, for ex- ample, brass band circles would be used to the full as Members Advertisements promotion, but is seems that flute bands are unable to This service is free to members without commercial interest. capitalise. Perhaps is has something to do with being FOR SALE: Mateki 162 Handmade Silver flute. Open holes, very confined in a parochial setting? It is to be hoped that the well in tune and beautifully made. Very regretted sale. f 2000 activities of the British Flute Society will do something o.n.0. Tel lan Christie Congleton 77647. May be played in Lon- to redress the imbalance which has so impeded the pro- don. FOR SALE: Djalma Julliot Flute, silver plated, closed holes. gress of the flute band. E 350 o.n.0. Tel: Jane Charles, Worcester 60273. In this article I have tried to briefly introduce some WANTED: Any flute making or repairing tools. Tel: lan Christie, aspects of the history and current activities of the Flute Congleton 77647. Band League. Obviously it is impossible in a piece of WANTED: Any flute quartet music or anything suitable for flute this size to convey a fully detailed account of over 100 band. Tel: lan Christie, Congleton 77647. Pan Diary Second Wind

Promoters, Artists and Societies are invited to send details of concerts or other events of interest HUBERT THOMAS to Flute Players to: I was about 6 or 7 years of age (1920) when I first Pan Diary became involved in amateur music. My father was a 4 Abbots Barton Walk church organist, pianist and flautist, self taught. Canterbury CT1 3AX How strange that he started me off on a violin! At the time I never questioned it but recently some 60 years later I have often wondered. about it. Was it because he could foresee the growth in popularity of an instrument, FLUTE BAND FROM SCRATCH only two or three of which are required in an orchestra? Sunday 23 October 2-4 p.m. at Mary Ward Cen- Perhaps it was because my elder brother, Evan, was at- tre, 42 Queens Square, London WC2. Admission tracted to the violin, but whatever the reason two f 2.00 at door (El .50 if pre-booked) violins, music and stands appeared and I suppose I made All levels welcome - special beginners parts in- reasonable progress for my age. I recollect playing duets cluded in the mad and maniacal arrangements by by Pleyel with Evan on 1st violin and father on piano, Lyn McLarin for up to 100 flutes. Some nice nor- and winning a magnificent prize of sixpence (2%~)on mal music as well. Further details tel: 01-794 St. David's Day at Trefelin Primary School, Port 1 709. Talbot. My father was practically a chain smoker, and even smoked when demonstrating on the violin. Once when Little Benslow Hills, Hitchin, headquarters of Rural practising on my own I found the going so hard I stuck a Music Schools Association. Frequent wind tube of paper in my mouth, but there was no magical im- chamber music courses with tutors including petus! I never became a smoker! Kerry ,Camden, Bernard Parris, Trevor Wye, Gor- Evan progressed well and soon went for lessons to an don Heard, etc. Also chamber orchestra and wind accomplished violinst, but my enthusiasm waned so I chamber music summer school, this year August was switched to piano. Some progress was made, Dad 23-29. Details from the Secretary, RMSA, and I played piano duets from the "Curwen" series and Benslow Lane. Hitchin. I even played marches for school assembly. Round about 1924 my father came to a great decision. After years on the simple System he purchased a Boehm Purcell Room: November 7 at 7.30. Clare flute, also a secondhand Boehm piccolo - both Old Southworthr- flute. Works for flute and piano. Philharmonic Pitch. At this period I was a great boy with "Meccano", building models with 2 or 3 speed gearboxes and dif- Louise Carslake, Baroque Flute, will be giving 3 ferential gears etc so I was fascinated with the sheer recitals in the Midlands with the ensemble mechanics of this new flute. For the first time I express- "Music's Recreation". ed a desire to learn an instrument instead of being per- suaded. (Perhaps in his wisdom, this is what father July 21st - A lunchtime recital for the War- might have been waiting for). He said I could use his pic- wick Arts week. colo and see how I progressed; so I played piccolo before July 22nd - The Birmingham and Midlands In- flute! stitute, Margaret Street, at 8 p.m. . In those days, in musical Wales, there were few flautists, no peripatetics, no school or youth orchestras. July 23rd - Hall's Croft, Stratford-upon-Avon . Fortunately an ex-army bandsman started up a small at 8 p.m. orchestra, a Mr Rolf, caretaker of Port Talbot Secondary The programme will include music by Blavet, School to which I "graduated" a year later. This must . Couperin, and J. S. Bach. For more information have been a very unbalanced band! I recalled violins, tel. Claverdon (092684) 2239. violas, cello, cornet and myself on piccolo! We gave several concerts, once at an army camp at Porthcawl in a great marquee tent, the worst acoustic "building" I've October 9th: BFS London Flute Day at the ever performed in! Once we all went by train to Swansea Guildhall School of Music for an audition to perform "on the wireless" as radio was then called. I was quite put off by an engineer placing November 516 BFS Flute Extravaganza at the me and piccolo twelve yards from the orchestra to Royal Northern College of Music, preserve the sound balance! Manchester My father was now satisfied that I would continue, so he purchased a flute. In 1925 one could not simply walk THIS SERVICE IS FREE into a Port Talbot music shop to purchase a flute! Lon- 99 ST. MARTIN'S LANE LONDON WC2 Tel: 01-240 1612

FLUTE DEPARTMENT

Recommended Our Retail Price Price YFL-211s Silver plated. E mechanism, covered hole (f221) f 199 YFL-261s Silver plated, open hole (f248) f 220 YFL-311 Silver head, E mechanism, covered hole (E369) f 330 YFL-361 Silver head, open hole (€383) E345 YFL-381 Silver head, open hole. In line (f385) E346 YFL-381H Silver head, open hole. In line WIB foot-joint (€460) E410 YFL-411 Silver head, body and foot, E mechanism, covered hole (€667) f 599 YFL-481 Silver head, body and foot, open hole. In line (€681) E610 YFL-481H Silver head, body and foot, open hole. In line B foot joint (€752) £675 YFL-611 Silver head, body and keys. E mechanism, covered hole (E2039) £ 1800

(U.S.A.! 2SP Silver plated, covered hole. E mechanism (€236) f 195 2SH Silver head. E mechanism, covered hole (€357) E299 2s Silver head, body and foot, E mechanism, covered hole (E 533) f 460 2CS As model 25 with gold springs. E mechanism (f576) f 490 5SS Solid silver, gold springs. E mechanism (€1126) £875 3SS Solid silver, open hole, off set (€ 1069) f 825 KG Solid silver, gold mouthpiece (€1681) E 1200 PlCCOLOS YPC - 32 Yamaha ABS Resin body (E196) £175 YPC - 62 Yamaha Grenadilla body (E344) £310 YPC-81 Yamaha Grenadilla head and body (E670) f 599 CP- 7 Gemeinhardt plastic, conical bore, silver plated keys (€285) f 240 C Gemeinhardt silver plated (€251) f 215 CSH Gemeinhardt silver head (€321) f 275 CS Gemeinhardt solid silver (E4381 f 370

We also stock Emerson & Armstrong flutes LARGE SELECTION OF FLUTE MUSIC IN STOCK

PART EXCHANGE INSTRUMENTS BOUGHT FOR CASH RENTAL SCHEME EASY PAYMENT SCHEME - DISCOUNTS FOR TEACHERS AND M.U. MEMBERS BARCLAY CARD - ACCESS - AMEX - DINERS don shops were approached by post and in due course outlet for an instrumentalist, but there was a boost to our flutes arrived on approval. I chose a Rudall-Carte in "at home" music. As a loyal accountant to the Margam cocus wood no. 1438, Old Philharmonic pitch. It cost 13 Estate (pre strip-mill steelworks days) he was offered guineas! part of the "Cottage Hospital" which was being con- I suppose that would have been two week's wages, but verted into two houses. The lounge used to be a ward; it Dad also earned a bit extra with teaching short hand and was large with a very high ceiling and was therefore ex- book keeping at evening classes and at home. cellent from an acoustic point of view. It took some This was a lovely flute and I still use it. There was heating though, in winter. Mother was a bit of a devil - never any shortage of good music at home - flute and she would carry a shovel of burning coal from the dining piano, flute duets and trios - with and without piano ac- room fire to start the lounge fire! Other musical friends companiment and flute, violin and piano. My sister were invited frequently but our main "performances" Winnie, older than Evan and I, was, and still is, an ac- were Kahlau Duets and Kummer Trios. complished pianist so father could be released from the I think it was 1932 when I was persuaded to compete piano to play flute. in the National Welsh Eisteddford at Caernarvon. I joined Dad as second flute in a larger orchestra Would you believe this - only two competitors entered. which rehearsed at St. Agnes school room under the We had to play "Andante" by Haydn. The other fellow baton of Mr Gwilym Thomas (no relative!) His father beat me by 5 marks but I can honestly say I once came was Afan Thomas from Cwmavon, no mean performer second in the Eisteddford! and composer. We had clarinet and oboe but nothing as My college days finished in 1935, still slump years in exotic as bassoon! South Wales and I considered myself lucky to be taken My father had little time for music teaching apart from by B.T.H. Co. Ltd. at Rugby, at £2.50 per week. My his children but he did teach three men, to my various lodgings during the next three years averaged 27 knowledge and memory, to play the flute. One was Per- shillings (£1.35) per week. this included all meals and cy Stevens a steel worker, another was Josiah Thomas, a laundry and substantial sandwiches for my extensive coalminer and the third Mr. H. 0. Ffoulkes, a week end cycling excursions. mathematician at University College, Swansea. The three years at Rugby were very rich musically. Percy made something "on the side" playing for silent No homework nor examinations to "swot" for, and plen- films at the "New Theatre", Port Talbot and one day he ty of flute playing. There was only one flautist in Rugby suggested to Dad that it would be an experience for Orchestral Society, a Mr Marsh, so I was "in". We Hubert to have a go with him for the best part of a week. rehearsed and gave concerts at the Temple Speech It certainly was an experience! I was only eleven years Room of Rugby School, with Mr C. L. Salmons of the old and without Percy alongside I could never have school staff conducting. Also I joined Coventry New Or- managed the quick switches from one piece to another to chestra conducted by the appropriately named Mr Ma- suit the mood of the film. It was rather "seamy", we sat jor as M.D. This orchestra gave frequent concerts, join- on beer crates which of course were not empty! ed by solo celebraties such as Joan Coxom, Betty Hum- It is very amusing to tell people in 1983 - "I once by, Heddle Nash. played for the silent films, you know!" There were two operatic societies; my experience in Josiah emigrated to the coal mining area of Scranton, the "pit" was far pleasanter than in the silent film Pennsylvania and became an orchestral flautist of theatre! distinction. He made several trips to Eisteddfodau in One day I had the unique experience of meeting Prof. South wales (this before Atlantic flights). His son was Dayton C. Miller of Case School of Applied Science, Thomas Llynfi Thomas, a celebrated baritone singer, Cleveland, Ohio. When he returned to America he kind- who sustained his inrerest in Welsh folk music in spite of ly posted me several large photographs of his famous col- leaving his native Maesteg at age 12. He has recorded lection of flutes. "Songs of Wales" on the "Daffodil" series. More ardent Thanks to Hitler, 1939 started a period of low ebb in Welsh folk than myself have told me his diction is far amateur music activities, and I had periods of lodging in superior to many native singers! Nottingham, Liverpool, Burnley and Manchester while Mr Ffoulkes (from North Wales!) became an excellent working for Ministry of Aircraft Production. While at amateur and was the first person father and I had met -Liverpool I met a girl cyclist at Merseyside Youth who purchased one of the new-fangled Rudall-Carte Hostel in North Wales and by 1941 we were married. metal flutes. I recollect him having a conscience at spen- (We celebrated our Ruby Wedding in 1981). ding as much as £30 for his instrument. In the Trafford Park industrial area of Manchester a My secondary school life now started (1925) which I Home Guard Light Orchestra was set up in 1942 and I found difficult intellectually! As a normal .boy I had just happened to be on the spot! I was sole flute in this other distracting interests apart from music such as until its demise, soon after hostilies ceased. We played a model trains, cycling, swimming, hill walking and large number of concerts and the grand finale was to photography. My flute playing was confined to chamber combine with an operatic society to perform "Merrie music at home. Low pitch became universal but Rudall England" out of doors in Longford Park, Stretford. It Carte undertook a conversion by supplying a new tube never rained ori us - how about that for Manchester and fitting the old keyword to it. This cost f 10! weather?! By 1932 I was at University (Swansea) taking an In 1945 I became a Technical College lecturer and had Engineering Degree Course. Here again there was no to burn a lot of "midnight oil" preparing notes etc, but found leisure to play in various amateur orchestras. I set- tled down in the Manchester area and have had a very Backpage full musical existence up to the present day. In the Man- chester "Beethoven Society" Orchestra we had the What do you think? privilege, for a few years, of being directed by Maurice Handford. Another amateur orchestra, Gordin Philhar- Readers, Backpage is yours for any comments on our monic, under Mr J. Crosdale bought me in touch with previous issue. Grumbles, information and accolades please several excellent flautists, some became professionals. to PAN, Backpage, 30 Grove Road, Stratford-on-Avon, This orchestra is still able to attract an audience of 3000 Warwickshire CV37 6PB. to the Free Trade Hall. There have been numerous Rehearsal Orchestra Whereas elsewhere in Pan all articles are infact, lack of weekends and Oratorios. I recollect giving Miss Ida Car- space may necessitate selection from more copious com- roll Principal of the then Northern School of Music, a ments. -ED. lift home from Buxton after a "Messiah". She had played Double Bass and when I asked if she had played it in "Messiah" often she said "Third time this week my from Patricia Moore, AGSM, ARCM dear!" Musical shows have been a great joy to me, but there Dear Auntie Crotchet: What a ridiculous name! To was a great difficulty, I had to lecture on two evening me, its association with 'crotchety' gives it an aura of ill classes per week, sometimes three. Fortunately I met a temper which I hope was not intended. flautist who was an insurance agent, also involved in evening work. Between us we shared out a week, but Why should you presume that someone wanting to play never played together except at rehearsals! duets will have a reasonable standard? Most beginners By the time I attained age 60 I had had enough of love playing with other people. If your correspondent Technical Teaching so retired. Surprisingly, I was of- needs some straightforward flute duets to start on, I fered part time flute teaching which escalated to three recommend the two volumes of duets edited by Himie days a week. How glad I was that a few years earlier I Voxman and published by Novello, which start from a had had a series of refresher lessons from Tony Walker. modest level of technique and include quite a lot of short Although I had to retire from peripatetic teaching at pieces in the first book. 65 I still teach voluntarily at a juniorschool. The change over from teaching applied science was such a fresh Auditions: I find the instruction 'Don't worry about phase in my life I almost felt re-created - in other words your interpretation, you'll be taught that at College" ob- a period of "second wind!" jectionable. What does Trevor Wye expect teachers out- Next year I shall be 70; how glad am I that I persisted side music colleges to do? And who is he to say that only with my early start as a flautist despite the distractions of the privileged few who have the opportunity to teach study, other hobbies, the barren war years and the even- the privileged few should offer anything more than ing classes of post war years. 'technique, tone and articulation'? My four children have all turned out very musical, one college trained oboeist who spent 8 years in New Many thanks for the note about the British Music In- Zealand as a peripatetic ,(or itinerant musicians as they formation Centre, which I had never heard of. As a call them over there) a boy and girl amateur flautist, the result of a brief first visit I shall be able to obtain photo- later having replaced me in the Beethoven Society, and a copies of an unpublished quartet by Arnold Cooke. recorder plus classical guitar player. A tolerant and understanding wife has made all this possible. She did not have my childhood good fortune, but took to the Yamaha I purchased as a teaching instru- ment. She is now proficient enough for us to enjoy duet playing - even on caravan holidays when the weather is bad!

Readers! May we, for future issues, have other musical memories from amateurs for whom flute playing has been a life-long interest? ED.

STOP PRESS Nigel James of All Flutes Plus has negotiated a 10% reduction for BFS members with the British Reserve In- surance Company on instrumental insurance cover. All details, including valuation and immediate cover, from Nigel James, 5 Dorset Street, WlH 3FE. Tel: 01-935 3339. shown on the chart. Curiously such options as open Book Review G# , split E or any other fingering system or additional key, use of harmonics or alternative fingerings are not CHRISTOPHER HYDE-SMITH mentioned by Jimmy. Part three discusses musical approach to Baroque The Flute, by our President, James Galway, has re- music, Bach tempi, decoration and some major flute , cently been published, adding our instrument to the solos, unaccompanied, with orchestral and piano accom- wind section of Yehudi Menuhin's Music Guides; paniment, and also what to look for in an ideal accom- already available are Leon Goossen's and Edwin Rox- panist. The final part suggests ways to launch oneself as burgh's Oboe and Jack Brymer's Clarinet; promised in a flute player in orchestras, chamber music, jazz etc, future are Bassoon by William Waterhouse and Horn by assuring us we must get a kick out of playing. These are Barry Tuckwell. given extra point by some of Jimmy's own experiences As one would expect from Jimmy every page of the with conductors, commissioning works and the book is entertaining and the whole volume exudes his transcriptions he has chosen to play. love of the flute, flute playing, his repertoire and perfor- I can say that this is the most readable and enjoyable ming, indeed, his enthusiasm for life. book on the Flute I have seen. Jimmy's printed words The book is divided into four parts; 1) the flute, 2) reflect the sparkling personality that has made him the playing, practising and developing technique, 3) lessons, household name he is in every type of home; he so en- 4) on being a flute player. Each part has several chapters joys what he does, or in this case what he writes that the and these are subdivided into headings. pleasure is immediately infectiously caught by the Part one consists of a short history of the development listener, viewer or reader. of the flute and recorder, most informatively and engag- ingly told, showing why in the end the flute eclipsed the recorder as a concert instrument and even finding a pro- phesy of this by the composer Thomas Morley almost D'N l- two centuries before it occurred. The penultimate chapter of this part (the final words being on flute care and maintenance) Jimmy had the excellent idea of asking Albert Cooper - maker of two of Jimmy's gold flutes - to write a chapter which he calls 'My work on flutes'. This is a fascinating essay with no fence sitting and no ,l 1 holding back; he tells us about his experiments with /- measurements and materials, concluding with the type of flute he considers best - a design which I personally have never seen! Part two is by far the longest, taking over one third of the book. Here Jimmy shows amazing openness, honesty and zest as well as his obvious understanding of the sub- ject; he is never dogmatic, but tells us how and why he , does things. Quite rightly, in my view, he encourages us to listen to the great performers, singers, pianists, and string players. He particularly admires those that can change their tone colour. He says on performing, 'You are the actor now': or to succeed as a player. . . 'there is no such thing as a holiday. I practise the flute every day of my life, at home, on tour, in transit if necessary. But I want to be really good at it. If you want to be really good you will do likewise.' He points out, 'what staccato does A not mean is short': but it is equivalent to the french word detach6 - separate, a point that is ignored by some + players to this day. On the subject of articulation there is LINE a constructive chapter but triple and flutter tonguing are not mentioned. There is sound advice for the beginner - how to aim the air and to keep the tone even. Jimmy feels Bh should be the first note to be tried after 'a clear healthy sound' has been made on the headjoint alone. Unusually he advises the student to procede downwards chromatically, then upwards. Page 92 is a fingering chart, with instructions 'Black keys: closed, white keys: open, shaded keys: optional.' The chart actually shows, Black keys: open, white keys: fingers off. Therefore closed standing keys are wrongly - L.L Supporr from members of the Internationa/ Summer School 1982 - a//doing what comes narura/ly. Pholograph: Trcvor W'ye 40 - Graham Lyons' new book entitled CONTENTS Sarabande Corelli useful flute SO~OS Hornpipe PurceH Papageno's Song Mozart At last: really useful album for flute arr. Lyons Arietta Greig * Playing standard: pre-Grade 3 to Grade 5 'New attractive pieces - from Purcell to the 20th Boree Richard Jones century Rondo from Suite in B Minor Bach * Skilfully arranged and adapted Andante Semplice Lyons * Piano accompaniments that don't plod - they really enhance the music, yet are simply written. Allemande Beethoven * *Extra flute parts available separately Morning from the Peer Gynt Suite * Each piece has advice on interpretation and practice Grieg * Music that is enjoyable to play and to listen to. Menuet Bach ". . . by far the best I have seen. 1 wish they had been around Set Free Lyons years ago. " Tony Arnopp, experienced teacher and principal woodwind Each book (piano score and part) player, BBC Radio Orchestra. costs f 2.95. Each additional part costs E 1.20 Every selection in these books has been written, arranged or edited by Graham Lyons, best known for the 'Mixed Bag', 'Set Postage packing is 60~for any Two' and 'Take up the Flute' series. quantity bought directly. Available from music shops (distributor: Music Sales Ltd) or directly from: Useful Music (Woodwind) Ltd. 19 Battledean Rd, London N5 1 UX. Tel: 01-359 327 1

You have a flute - do you have a pen?

Write an article for PAN Pan is distributed free to all members of the society. We offer a first-class service to advertisers in every field connected with the flute, such as instrument manufacturers, music and record publishers, and repairers. Display advertising rates on application. Small ads-strictly remittance with order, please; 15p per word (minimum 10 words). Box numbers f l extra. Cheques made payable to P. Moon & Son Ltd. (client AIC). Please send to Frances Moon at the address below. Members' lineage ads for the private sale of instruments are free (please enclose your membership number). Final copy date for the November issue is September 15. Please send to: Frances Moon, PAN Advertisement Manager, P. Moon & Son Ltd., 80 Fleet St., London EC4Y 1PN (Tel: 01-353 5555/3913/0530/2665).

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FOR SALE: Welsh Harp, immaculate, f 150. Lewis, 30 Grove For Sale Road, Stratford-on-Avon. FOR SALE: Muramatsu flute, plateau model. Unused. Fine instru- ment E 1,200 o.n.0. Tel: Maidstone 79961. Recordings FOR SALE: Rudall Carte joint flute and piccolo case with outer cover included. Only 3 months old and as new €30. Tel: Stevenage (0438)59881. Now available: M. Moyse recital record E 10.55.T. Bohm 'Com- positions for flute', live digital double album performed by Ador- FOR SALE: Rudall Carte Coronet with Flutemakers Guild head, all jhn, Bennet, Burkhard, Debost, Grafenauer, Nicolet. Superb sterling silver, good condition. E 500.Tel: 083785 330 (after 6). recording at special price of f 13.95, from All Flutes Plus, 5 01-935 3339. MURAMATSU solid silver 'E' mechanism, f850. Monnig bass -.Dorset St, Wl. Tel: flute, E 800.Tel: Ramsbottom 51 90. FOR SALE: Pearl Flute. Solid silver head, body and foot; silver plated keys; E mechanism. Excellent condition. €520. Tel: PROFESSIONAL WOODWIND REPAIRS 021 -449 0503. by experienced repairer. E. D. Kettlewell, FOR SALE: Almeida flute headjoint. Silver. Greatly jmproved - 56 Leabrooks Road, Somercotes, Derby. especially low register. €400.Reiner Piccolo headjoint. Wood. phone 0773 603276. Especially good top register. Also fits most Pho Hammig wood pic- 14 mins. Junc. 28 M.1.l colos. f 300.James Piccolo headjoint. Silver tube, wood lip piece. E 150. Please ring Andrew Lane: 02 1-4490672.

7 VACANCY: We are a large private teaching John Underhill practice in Nottingham with a very secure future. We are looking for a person in their twenties who can teach at least two of the a following subjects to Musical Instrument Maker diplomalevel; Flute/ Saxophone/Piano/Theory/ Reproductions of Recorder. An interest in Jazz/Rock would be useful. The Renaissance and Baroque Flutes successful candidate will wish to make a career in I teaching, whilst continuing to develop as a U 5, Wellington Square, Cheltenham GL50 4JU performing musician. Write with full C.V. to Jeremy 0242 24880 Shaw, 193 Wollaton Street, Nottingham NG5 ICE. Interviews in late Julv.

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