I Letters to the Editor 3 Why I Play the Flute John Francis 4

Developing Baroque Ornamentation Skills Berry Bang Mather 8 PAN I BFS Rules the World 12 The Journal of the British Flute Society Richard Adeney talks to The Editor 14 President Portrait Gallery 22 President for 1988 Patricia Lynden Vice President Albert Cooper ( Member's Platform 23 from 1st January 1988 I History Pages 25 Council: Edward Blakeman Chairman Reflections of a " West End Super Juliet Keeling Secretary Mole" on four seasons in the Royal Opera Simon Hunt Ediror House Pit Patricia Lynden 28 Jenny Wray Membership Secretary Jonathan Myall Treasurer James Dower Events Co-ordinator 'Friend! Look for the first allegro': Events Co-ordir~aror Some thoughts on the flute in Haydn's Andrew Thomson Publicity O//icer Symphonies Edward Blakeman 3 1 Adrian Brett Publiciry Oflicer Robin Soldan Educational and FIute Clubs Representative The Season in Malta Tom Cotterell 36 Susan Bruce Hon. Legal Adviser I Jonathan Pickford Hon. Auditor The British Flute Society was formed in January 1983. 1 The Flute Player in Art 38 from the constitution: 'The objects of the Society shall be to advance the education of the public I East Anglian Flute Group 39 in the Art and Science of Music and in particular the Art and Science of Flute playing in all its aspects by the presentation of public concerts Flute Events Section 40 and recitals and by such other ways as the Society through its Council I shaU determine from time to time.' Bath Summer School of Baroque Music 43 The Editor warmly welcomes contributions to Pan, and invites manuscripts - typed if possible - by post to 40 Portland Road, Lon- don W 11 4LG. 1 Flute Events 44 Views expressed by the contributors are their own and do not necessari- ly voice any official view of the Society. I Review Section 45 Subscription rates to BFS Complete your collection of PAN 50 Individual Membership UK and Europe £14.35 per annum Husbaod/\lVife Life Membership .&20 per annum Student Membership f8.60 per annum Commercial Membership £34.50 per annum Membership outside Europe L5 extra Life Membership Life L230 Husband and Wife Membership L285 Club membership L20 per annum School membership £14.35 per annum (per 10 members or part) Cover Picture: Adwtisemmt Reoresentarives: Richard Adeney Percival Moon 8; Son Ltd, 147 Fleet Street, London EC4A 2HN. Tel: 01-353 5555 JOIN the BFS, the Society to benefit and bring together all those in- terested in the Flute. Details from Membership Secretary, Jenny Wray, I Glasshouse Lane, Kenilworth, Warwickshire CV8 2AH.

Printed by Novello and Company Limited, Borough Green, Scvenoaks, Kent All copyrights reserved 1988 areas of flute knowledge and activity which escape my EDITORIAL notice. Remind me of them! Do not forget that if you were not there, Pan would not exist, you are a (partly) 1988 promises to be a year of great activity in the flute unknown force which spurs me to write, enquire, world, with the 7th Australian Flute Convention happen- telephone, collate, conjure and generally rush madly in ing in the year of the bi-centenary in April, the U.S. Na- all directions about the 21st of every fourth month! Thank tional Flute Association's Convention in San Diego in you for your support, and I look forward to seeing you August, and of course our own really exciting Flute Day all on the 1st of May and the 12th of June! at the , on Sunday June 12th, with Aurtle Nicolet as our star guest..It is very nice that Col- in Fleming is coming from Northern Ireland (that land of virtuosos), to be with us to conduct the flute choir. Life Members of It is significant that with a membership of something like 800, the more recently formed German Flute Society at- the British Flute Society tracted 600 to its last major event, an attendance of 7570%. Wissam' Boustany Anne Jakeman It would be nice ifwe could achieve even 50% of the U.K. Albert Cooper Trevor James membership, which according to Jeremy Wray's splen- Philomena Cooper did map would work out at 457%! Particularly as this .Elena Duran Christopher Paul Money will be the first event organised by our new events co- Michael Ennerson Alexander Murray ordinator James Dower. James Galway Barbara Noble Sunday 1st May is also a day to ring in your diaries. Jeanne Cinnante Galway Stephen Robinson Anybody who has not had the good fortune and indeed ~ ~ Brian Hamilton Trevor Wye privilege to hear give a masterclass will have the chance to do so in Leicester, a wonderful day Chairman generously organised by our erstwhile council member A Letter from the Russell Parry. The B.F.S. teacher's course, organised ef- The New Year brings some changes in personnel on ficiently as usual by Robin Soldan, to be held at Ruskin the BFS Council. We are pleased to welcome Patricia College, Oxford on the 15th - 17th April is hlly book- Lynden as the first of our Annual Presidents and we ed. This is splendid evidence of your interest and support. look forward to hearing from her in the pages of Pan. Other European events in 1988 include the Nice Flute Sadly, we have to say goodbye to our Secretary, John Symposium 4 - 7 July (a very good excuse to go to that Francis, who is taking a well earned retirement. John delighthl Edwardian resort, which I remember well from has been one of the pillars of the Society since its for- attending and playing in, Jean-Pierre Rampal's mation, and we have indeed been fortunate to benefit masterclass in 1963), an important flute competition in from his loyalty and hard work. By the time this let- Holland (see last issue of Pan) and, according to a con- ter appears, he will have celebrated his 80th birthday versation with Albert Cooper, several competitions in Ita- - congratulations from all of us, John, and very best ly. Albert is modest about his prowess in the Italian wishes for a happy retirement. language, but it is possible that he likes to practise it when The Council is very pleased to announce that Juliet he attends these events! Keeling, formerly one of the Publicity Officers, has The question of area representatives for the B.F.S. is being pursued by our new secretary Juliet Keeling (to agreed to become Secretary. Any relevant cor- whom 'Welcome') who tells me that she has already had respondence should therefore be addressed to her at: quite a positive response to her letters. This would seem 88 Lexden Road, to be a good way to involve more people and generate West Bergholt, more activities. Really, quite a lot of excellent events have Colchester, materialised as a result of the existence of the B.F.S., but Essex C06 3BW still only in a very limited number of places, and we are We are also pleased to announce that Adrian Brett has well aware that some areas may well feel very neglected. been co-opted to the Council to fill the vacancy in The logistics of organising flute events in for example, publicity. Sunderland from London are horrendous, and expensive, so more Iocal activity is essential. So please come forward The Council meets four times each year (usually and offer your participation. towards the end of March, June, September, and To our chairman's thoughts (no, no Mao's) on Coun- December), so if you have any points about the runn- cil changes, I would just like to add a brief word of my ing of the Society and its activities that you would like own. To say that we will miss John Francis as secretary, raised and discussed, please write to any Council his helpfulness, courtesy and dedication to the job from member in time for one of the meetings. There will the Society's formation; and that we welcome Adrian Brett also be an opportunity for open discussion at the AGM to the task of publicising the Society, to work with Andy which will be during the next London Flute Day on Thomson, it is felt that they may well make our (and their) 12th June. So keep the ideas coming! presence felt! Best wishes. If you have special flute interests let me know, criticise, Edward Blakeman. suggest, contribute, communicate! No doubt there are vast 2 Greetings to all B.F.S. members from James interview which resulted in the article, I should like to Galway set the record straight by stating that the originator and' sole author of the article was, of course, Edward Our President writes from an idyllic sounding Blakeman. remote bay in Victoria, Australia, where he is hav- ing a well-earned rest while on tour there. He tells JOHN SOLUM me of an idea to do a concert for the B.F.S. and perhaps an article sometime. Dear Editor, We certainly look forward to seeing and hearing First of all, I would like to congratulate the BFS for the him again when he is back from his travels and all Flute day in . It was a thoroughly invigorating send him and Jeannie very best wishes for 1988. Ed. day. I speak as a young professional, always seeking ex- citing sounds. So many flutists want to hear the well known "masters"; it is true that there is a lot to learn LETTERS TO THE EDITOR from them. But I feel there is so much one can learn from young good players, particularly if you are an adult. The Dear Editor, little girl who played on Sunday (I forget her name) moved I found Russell Parry's proposed syllabus for a B.F.S. me deeply. Listening to young players makes me yearn exam most interesting, stimulating and excellently for the simplicity of innocence, the courage of youth, and thought out. Also rather daunting - as I search among the disarming honesty of talents that still operate from my pupils for the best huffers and holders. However, that an uncanny instinct for what is natural in music. is sure!y the point of the exercise. Of course these kid's don't present the whole picture, I am in fact one of your members who is not in favour but we stand to learn so much from listening to such of yet another examining board. It occurred to me at once sounds of honesty. however, that the B.F.S. could make a real contribution As innocence develops to confidence, then graduates to standards of playing and teaching by commissioning to ambition, we as adults get taught all the tricks of the a publication on the lines of Russell Parry's syllabus. This "business" of making a success of our lives very quickly would be of immense help to all those teachers who are indeed. That is why we must surround ourselves with not flute players - and all those flute players who are the "pure" and "simple". not teachers, but who all find themselves teaching the So I applaud the BFS for giving a chance to the young flute. ones to give us older ones a lesson or two. Let us work As far as I know there is no guide published on expected towards a healthy mixture of experience and youth in the progress on the flute and certainly none in such technical planning of the society's events. detail. The only book I have seen that approaches this I would like to make a suggestion for the magazine is our own editor's 'Flute Teaching' (thinks! that'll make before I finish: Would it be possible to devote some space him publish this letter), but it does not layout progress in the magazine for informing us of all the flute competi- in stages. I feel that many a teacher would make use of tions which are taking place each year? I think a lot of guidelines by the society without feeling they were a players might find that very useful. restriction on their own methods and expectations of Thank you for everything, and good luck to the future. pupils. The B.F.S. could thus produce a very influential WISSAM BOUSTANY document and with far more ease then creating an entire examination system. PENNY COLLIER A request from our member Janet Grimes As part of a research project at The City University, I Dear Editor, am making a study of the many flute tutors available for In response to your request asking for reaction to a the beginner and am trying to collect as many opinions B.F.S. Members List, I would lie to see a regional list of as possible in order to make a full comparison. I would members published in Pan with a phone number or welcome any comments, favourable or otherwise, from address. all flute teachers who use or have used tutors. Specific This would generate an interest among members who cqmments on items such as repertoire, exercises, and would like to get together and form, say, a fluie choir whether tutors are, or should be "self-suff~cient" etc. or other amateur musicians who would like to start a small would be most useful but more general observations are chamber group etc. (By the way - how many flute players also welcome. constitute a choir?) Please write to: Janet Grimes, 2, Beech Drive, Different subject: do you think membership could be Sawbridgeworth, Herts, CM21 OAA. Thank you. boosted if B.F.S. members asked their friendly l&l music shop to carry an advert for flute players showing the ad- vantages of the 'British Flute Society'! Members please note: JOHN BENDER From Easter or thereabouts the address of our Flute Clubs and Educational Representative Dear Editor, ROBIN SOLDAN will be: The article, "William Kincaid," in the December 1987 19 ORCHARD STREET issue of Pan lists two authors, Edward Blakeman and CHICHESTER P019 1DD myself. Although it is true that I was the subject of an W. SUSSEX WHY I PLAY THE FLUTE JOHN FRANCIS1 FRCM, FGSM

When I was about six years old, I was discovered gave me his real flute, which was a sharp pitch standing in the doorway of my great-aunt's music Louis Lot with the modern closed G sharp finger- room with my ear against the door listening to her ing. Would you believe it? The first thing I did with practising Chopin on the piano, and from then on it was to take it to pieces. When I tried to put it I was allowed in to the room to listen to her prac- together, how I wished I hadn't. However, I even- tising whenever I wished. I was utterly fascinated tually got it together again without damage, which by music. As I grew older my great-aunt started to was lucky. I definitely do no: recommend such teach me the piano. She was a good professional pianist, giving recitals round the country and one SO I had a proper flute of my own, albeit a sharp a year at the Wigmore Hall. However, being a good pitch one, but at least I could have proper lessons, pianist does not necessarily mean being able to which I did, from Robert Murchie, and my fate was teach, nor is it often a good thing to be taught by sealed. I was going to be a flautist. Fate decreed a relative, so for whatever reason I did not get on that I should be given a flute. I didn't specially want with the piano. Had I done so, I might have become to be a flautist. All I wanted was to play music - a pianist instead of a flautist. somehow - if I had been given a trumpet or a french I was still utterly besotted with music, but could horn, doubtless I should have been a performer on only listen, not make it myself. In my teens, my one of those. I only know I had to be a musician, school had a cadet corps, and to my delight they nothing else would do. In my opinion, everyone started a band. But it only consisted of bugles and who goes in for music must feel equally strongly drums, and I must admit I found this kind of music about it if they are to be successful. If someone asks making rather limited. In those far off days, boys' me whether they should go in for music or schools had almost no music. Out of 600 boys only something else they are interested in, (however good two learned the piano (which I was still struggling they may be at music) I invariably tell them not to with) and this we learned from the history master! go in for music. When asked why, I simply say, 'If I think they found the bugle and drum outfit rather you ought to do music, you wouldn't ask me. You too noisy, so, to my great delight, they switched would simply say, I am going in for music, can you to a drum and fife band. At least you could play help me?' a tune on a fife. That's what started it all. We had So I didn't choose the flute. It just happened. So little five key fifes, in B flat, and a retired army I play the flute to make music, not music so that bandsman came once a week to teach us. I I may have something to play on my flute. I think remember him very well, because we had to be many flautists are so bound up in their instruments, careful not to stand in front of him when he they get so carried away, they forget the object is demonstrated or you were in for a shower of spit! to influence people's feelings and moods by inter- I remember also that I won a competition playing preting the composer's music, not to show off their The British Grenadiers. stunning technique or beautiful tone. It's the music I soon found that I had more aptitude for the flute one wants to hear, not the flute player. Certainly (i.e. B flat fife) than I had for the piano: anyway, held very strong opinions along the piano seemed much, much harder than the flute. those lines. He was quite unmoved by what kind If chance had stopped there I might have learned of flute one had. When I had lessons with him in some other instrument, for the truth is that I was the late 1930s, his flute was a silver plated so completely MAD about music that I simply HAD Couesnon and most of the plating had worn off. to play some musical instrument. However, it so It looked for all the world like a bit of old lead pip- happened that an uncle on my father's side was a ing! He was quite satisfied with my flute which was very successful piano teacher. He had studied at the an ebonite Rudall Carte, which I changed later for Royal Academy, and his second study was the flute a Louis Lot. I met him again about fifteen years which he learned with Svensden. When he heard ago at one of his master classes. I had my gold that I was playing a five keyed fife, he presented Cooper flute then. He wouldn't even look at it! It me with his first flute, which was an eight keyed played alright if you blew it properly. What did it model by Rudall & Rose, the predecessors of Rudall matter if it was made of Gold, Silver, Platinum or Carte and Co., and I still have it. When I had learn- just plated. What he really cared about was the pro- ed to play that flute with a measure of success he per sincere interpretation of the music. That was Photograph of John Francis by Elizabeth Lewis everything. I take exactly the same point of view. It's curious that here I am, Secretary of the BFS when I don't really care twopence about the flute as such. It's just music I care about. I really most enjoy Beethoven and Mozart string quartets and Mahler symphonies TELEMANN Concerto in D £4.50 more than anything. I love and thank the flute, HAYDN Concerto in D 0.00 though, because it opened the door. I think it would be appropriate to finish by LECWlR Concerto in C, Op.7 no.3 f5.90 quoting two of Marcel Moyse's sayings. 'Do not STAMITZ C Concerto in G f6.60 show your own temperament, but that of the music,' RICHTER Concerto in E minor a.90 and 'Ninety-eight out of a hundred flute players don't play the music; they play the flute. They don't CANNABICH Concerto in D f7.w care about the listener but only their own beautiful BACH C. P. E. Concerto in D minor £8.40 tone.' BODINUS Concerto no.3 in E minor f5.40 John Francis who has been our secretary since the for- . mation of the B.ES., has now retired after 5 years' All works for Flute and Piano Reduction service. Readers will recall John Francis' former ar- Sole Agents for F. E.C. LEUCKARTof Munich ticles in Pan: on The Relaxed Embouchure, and Bach and the Flute (ref. Vol. 1 No. 2 and Vol. 2 No. 3): Free Catalogue available on request the flute day 1984 reported subsequently in the magazine (ref. Vol. 3 No. 4 p.40). John Francis was the first subject of Edward Blakeman's series Profiles (ref. Vol. 2 No. 2). Readers will be delighted to know that John Francis recently married Loma, the previous editor of Pan. ED.

PORTSLADE FLUTE DAY No W available SUPPORTED BY THE BRITISH FLUTE SOCIETY WITH EDWARD BLAKEMAN A brand new & catalogue of ROBIN SOLDAN TO BE HELD AT: PORTSLADE COMMUNITY COLLEGE (MAIN HALL) CHALKY RD PORTSLADE, BETWEEN Oxford 10 am - 4.00pm SUNDAY 24th APRIL. JOIN IN AND PLAY WITH THE: Wind FLUTE CHOIR, MASTERCLASS, & CONCERT. Music ALL STANDARDS WELCOME.

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To give you even better service we're moving to new, larger premises. So from 5th April 1988 you'll find us at No. 28 Church Street instead of No. 12. The telephone number remains the same as before: 01-891 3667. If you're buying music you'll find there's an even larger selection on display in the new shop - with plenty of room to browse. While if you're choosing an instrument or headjoint, you'll be delighted with our purpose-built soundproof testing facilities. To our present customers: thank you for helping to make 'Just Flutes' such a success in less than three years. To those who have yet to discover 'Just Flutes' - come along after 5th April and see what you've been missing!

SOLE AGENTS FOR ALTUS AND ARISTA FLUTES STOCKISTS OF NATSUKI FLUTES

7 DEVELOPING BAROQUE ORNAMENTATION SKILLS BETTY BANG MATHER*

This article is based on the first part of a master Example 2. Thirteen ornamentation exercises for class on Baroque ornamentation and Classical Handel's first phrase. cadenzas that I gave at the 1986 Convention of the National Flute Association. Articles based on the SKELETON MELODY rest of that master class will appear in later issues of the Flutist Quarterly. For teaching Baroque ornamentation, I use, a THREE KINDS OF REPEATED PITCH method developed over ten years ago by a Univer- P 1 sity of Iowa musicology student, the late William

Pepper. First, for his doctoral dissertation ("The , Alternate Embellishment in the Slow Movements TRILLS AND MORDENTS of Telemann's Methodical Sonatas,'' 1973), he studied the frequency and usual locations of Telemann's passing tones, trills, turns, etc. Second, STEPWISE MOTION in an unpublished book for teaching basic ornamen- tation to performers, he recommended practising one ornament at a time, wherever possible within a given phrase. In the master class, a high school student, Ellen Kim, demonstrated how well this method taught her to ornament a Handel slow movement. Example l: G. F. Handel, Flute Sonata in G Major, op. 1/5, movement 3 (Adagio), measures 1-23. BUS- ed on Lasocki edition (London: Faber Music Ltd., 1983). LEAPS

COMPOUND ORNAMENTS

Example 1 gives the first 23 measures of the third movement of Handel's G major flute sonata. the tempo is about MM 88 for quarter notes, making one long (adagio) beat to the measure. An editorial breath mark (m. 16) shows a phrase-ending that pro- bably would not have been ornamented by eigh- teenth century players. Example 2 gives thirteen Line 1 of example 2 presents the unembellished, exercises for ornamenting the first flute phrase of or "skeleton," melody. Each of the remaining lines example 1 (mm. 5 - 9). Similar exercises should be experiments with one of three kinds of ornament, undertaken for later phrases. each used where suitable in this phrase. For ease of reading, each ornament is placed directly under its note in the skeleton. In suggesting the or- naments, I have trid to choose rhythms and slurs that Handel himself might have used. As with all ornaments, you should not perform their rhythmic MURAMATSU subdivisions exactly. For instance, depending on the expression you want, the lengths of a dotted eighth The world's note followed by a sixteenth may be in the propor- 1 tion of 2: 1, 3: 1 or 4: 1. You may be helped by sing- ing the embellishments while playing the bass line finest hand on the piano to sense the freedom of the notes within the quarter-note pulse. ! made silver Parent notes are more stable than ornamental ones and require extra length or loudness. At the same time, ornamental notes may be quite intense, especially if they are on-beat dissonances. Each or- : nament has a particular character. Short trills and mordents are brilliant and joyous. On-beat appog- giaturas, on-beat closing tones, and gruppettos are especially expressive, or "passionate". In describ- ing the sixteen kinds of ornaments in example 2, I shall give a few guidelines (in parentheses) as to which work best with particular note progressions. You will recognize other as you improvise or- naments in later phrases of the piece. The first exercise (line 2) of example 2 uses three ornaments that repeat a pitch. Ornaments marked with an arrow pointing upwards repeat the pitch of the parent note; those with an arrow to the right anticipate the pitch of the next note; those with an arrow. to the left keep the pitch of the one before. (The last kind requires stepwise ascent or descent.) In improvising similar ornaments for measures 17 - 20 of example 1, you can embellish rests as well as notes. For instance, an eighth note, a dotted figure, or even three eights on the fourth-line D might be played at the end of measure 17. Or a single D sharp might anticipate the pitch of the D sharp that follows. The use of trills and mordents is shown in line. 3 of example 2. Trills are best approached from above; mordents from below. Here I use a "squig- gle" for a short trill having only two alternations, and the abbreviation "tr" for a longer trill. A squig- gle with a vertical stroke through it signifies a mor- dent with an single alternation. A longer squiggle with stroke calls for two or three alternations. The number of trills and mordents shown here; especial- ly if performed quickly, is actually too large for this phrase; but using just a few adds spiceor indicates a repose. The next four lines use ornaments that move by one or more scale steps around the parent note: 144 Shanesbury Avenue London WC2t.I 8HN 01 240 0584 "neighbour tones," "passing tones," "closing tones," and "escape tones." (Escape tones are

9 suitable only when the parent note descends by step Example 3: Flourishes for final Phrygian cadences in to the following note.) Baroque slow movements. The ornaments in the next three lines lean The first exercise demonstrates leaps to another chord a. Handel, Op. 1/5, 3rd mov't. (Adagio), m.42- 43 tone. To know which notes to leap to, you should follow the bass figure supplied by Handel. Occa- sionally, however, as on the second pulse of the se- cond measure of the phrase (ex. 1, m.5), a chord may be construed to be a passing one. The G fits the E minor harmony at the beginning of the measure but not the B minor harmony of the se- cond pulse. Since the G clashes with its harmony, it is highly expressive and should therefore b,e strongly marked. F sharp would be the more con- servative choice. b. Handel, Op. Z/l b, 3rd mov't. (Adagio), m. 12 - 13 The second exercise for leaping ornaments il- lustrates that jumping to the note a third above or below the parent note often sounds well, even it it is not present in the chord. The third exercise shows that thirds can always be filled with passing tones. The final four exercises or example 2 experiment with several of the compound ornaments mention- ed in Baroaue texts. You can also use others. Since these embellishments include four notes in each c. Transp. from Telemann, Methodical Sonata No. pulse, special care is needed to bring out the parent 10 in Bb, 1st mov't. (Largo) note. Of the four ornaments given her, the "half circle" consists of two scale steps above or below the parent note followed by one in the opposite direction. (Where this ornament is used for a descending second or third, the melody should at first descend; where used for an ascending second, d. Transp. from Quantz, On Playing the Flute (Reil- it should at first ascend). The "open circle" con- ly transl., 2nd ed., p.193) sists of two scale steps above or below the parent note, followed by the parent. The gruppetto or "turn" consists of the upper or lower neighbour, the parent note, the opposite neighbour, and final- -- ly the parent again. (Because this ornament begins * t* with adissonance, it is very "passionate" and the begin at any of the points marked by an asterisk, dissonance must be held as long as possible). The that is, with the low C, with the first E on the fourth messanza is made up of the parent note, another space, or with the following G. (Arabic numerals chord tone, and a neighbour-tone figure on the above the notes point out the most important pit- parent note or chord tone. ches of the melody). The ornamentation of the Phrygian cadence that After practising the exercises of example 2 and ends many of Handel's slow movements is rather improvising similar ones for later phrases, you like the final cadential flourish of early Classical should experiment with mixing the ornaments. At slow movements. According to examples by first, you might use one kind for each phrase. Later, Telemann and Quantz, this embellishment moves you might prefer two or more for some or all quickly up the notes of a chord and more slowly phrases. Uncommon and dissonant ornaments are down those of a scale to a trill on the Denultimate normally suitable for the most intense parts of a note. Examples 3a and 3b present the unembellish' phrase or for the most emotional phrase of a piece. ed Phrygian cadences that conclude two of Handel's Example 2 can in fact serve as a kind of Baroque sonatas. Examples 3c and 3d give transposed ver- "chance" music. The first skeletal note (B) might sions of Telemann's and Quantz's. embellishments be ornamented with a repeated pitch as in line 2; of similar cadences. Quantz's example is in fact the second one (E), with a neighbour tone as in line three examples since he said the flourish could 4; and the third (D sharp), with closing tones as in line 6. A balance of similar and dissimilar or- Telemann's Methodical Sonatas." Unpublished naments is usually bes~. PhD dissertation, The University of Iowa, 1973. Many of the ornaments given in example 2 may --Basic Baroque Ornamentation. Draft of un- embellish quick as well as slow movements, and published book. 1976. Baroque pieces by French, Italian, and English as well as German composers. Yet they are not at all *Many thanks to David Lascoki and to my three exhaustive, nor are the rhythms and slurrings given Undergraduate Scholar Assistants - Susan Bennett, the only ones possible. The book Free Ornamenta- Elizabeth Sadilek, and Kirsten Taavola - for their tion in Woodwind Music, l 700 - 1775, by David help in the preparation of my masterclass and this Lasocki and myself, includes embellishments of a article. large variety of Baroque pieces. Once you have mastered the techniques described above, you should have no difficulty in recognizing the stylistic differences among the pieces in that book, and then Betty Bang Mather is newly-elected Vice-President & applying that knowledge to ornamenting other President-elect of the NFA. She is Professor of Flute pieces in many styles. at the University of Iowa and performs, lectures and give workshops on Baroque performance practice. Her Bibliography publications include Interpretation of French Mather, Betty Bang. "Making Up Your Own Baro- Music from 1675 to 1775, and The 18th- que Ornamention." The American Recorder, XXIIl3 Century Woodwind Cadenza, The Art of (Aug. 1981), 55 - 59; Newsletter of the NationalFlute Preluding, and Free Ornamentation with David Association, Fall 1982. Lasocki. She has served the NFA twice as a Director --, and David Lasocki. Free Ornamentation in and twice as a member of the Programme Committee. Woodwind Music, 1700 - 1775. New York: McGinnis & Marx, 1976. Reproduced by kind permission of the author and of Pepper, William Bloomfield 11. "The Alternate the Flutist's Quarterly, official magazine of the Na- Embellishment in the Slow Movements of tional Flute Association of America.

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For brochure and further informotion: 25th - 30th July and 1st - 6th Mrs. Anne ~ughes-chamberlain. Hindhead School of Music, August, 1988 Hindhead Surrey. Telephone: 042 873-4941 Please enclose a stamped addressed envelope. " B.F.S. RULES THE WORLD O.K! Our tireless and helpfil Membership Secretary Jenny Wray produced these intriguing maps, showing the disposition of B.F.S. members worldwide, for our last Council meeting, as pan of her repon, so we thought that you, our dear members, would like to see where you are, or rather where all the others are. We are still convassing opinion as to whether you would like to have ac- cess to the names and addresses of members in your area, and if enough of you would, to work out the logistics and cost of making it possible. ED.

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L THE WORLD RICHARD ADENEY TALKS TO OUR EDITOR

S.H. What was your earliest introduction to flute- S.H. Did you start with a wooden flute, a Rudall playing? Did you hear somebody in particular when Carte? you were young? R.A. I can't remember what make it was, but it R.A. I went to King Alfred's School in North was a thick wooden flute, loaned to me from the London when I was 12 and they had a sort of bam- school. Then a couple of years later I went to John boo flute class, where you made your own flutes, Francis for some lessons, and he got me a Rudall except that they were more like recorders really. Carte. I lived with my parents in Chalk Farm in S.H. So it wasn't the concert flute that attracted North London and he lived in Streatham in those you initially? days, in South London, so it.was quite a journey. R.A. Not at all. I made a lot of these bamboo in- S.H. So there was no question of a silver flute struments; I was obsessed by them, and didn't do at that stage? anything else, spending all my time making and R.A. No, but I. had a few lessons a bit later on playing these pipes. It's odd really, because I'm not with Frank Butterworth, who had learnt in Paris at all interested in messing about with flutes and and played on a Louis Lot. This was about 1936, headjoints now; I'm the total opposite of WIBB when I was 16 and he was keen on Marcel Moyse's (William Bennett), but in those days I always had playing, as I was by then. a knife and was changing the hole sizes, and I made S.H. So you had opportunities to hear Moyse? some pipes which produced an absolutely gorgeous sound, trebles and descants. R.A. Well, have I told you about my "religious In fact I spent so much time doing this that when conversion"? I went to Bryanston School, my parents suggested S.H. No. that I'd better have a flute. I hated the sound of R.A. It was when I was 14, and at Bryanston. the flute at first, but I thought, this is a step for- After lunch we used to have a half hour rest period, ward, I can't stick with the recorder, I could see when we all had to lie down in the school hall and its limitations. But I didn't like this heavy sound classical music was played on the gramophone. One that the flute made at all, and the hissing noise that day they put on a record of Mozart's D major Con- I made when I first tried to play it. certo played by Moyse, it must have been quite But clearly I had to get through this stage as the new. It had a catastrophic effect on me, like a revela- flute. was obviously an instrument with more tion, I was absolutely floating on air. I remember possibilities than the bamboo pipe! I was about 13 walking out in the country and everything looked then. different, as though something tremendous had hap- S.H. Did you want to play in the school pened. I wrote to my parents and said, 'buy that orchestra? record, please!' They did, and when the holidays R.A. Oh yes, very much. A boy called John Har- came I spent all the time listening to it, over and than was 1st flute in the school orchestra (he was over again. about 2 years older than me), and he was my hero. So that was what set me on the course, and made He could do the off-beats in the slow movement me want to sound like Moyse. I got all the recor- of Schubert's Unfinished Symphony; I couldn't, it dings of his that I could, including the Doppler was too complicated! I still see him occasionally and 'Fantaisie Pastorale Hongroise', which was quite we joke about it. influential, and the Mozart Flute and Harp, the G major Concerto and so on. S.H. Who taught the flute at Bryanston? S.H. But you went on playing a wooden flute at R.A. A chap called Rodgers, who came in and that time? taught all the woodwind. R.A. Yes, until about 1944, when I took over S.H. I thought that perhaps somebody would Geoffrey Gilbert's job, when he went into the ar- come over from the Bournemouth Orchestra? my, and I was playing principal flute in the Lon- R.A. No, he was a local man, an ex-bandmaster don Philharmonic. He sold me a Rudall Carte I think. barrel-headed gold headjoint which fitted onto my An old photograph of the rehearsing: Richard Adeney - flute, Neill Sanders - horn, Lamar Crowson - piano, Terence Weill - 'cello, Adrian Beers - double bass, - .

Rudall Carte, and it was a tremendous school and were disappointed, after hearing the improvement. records, but still thought it was good. Anyway, I had this sound in my mind, and Murchie had ex- S.H. That was the same headjoint which you actly the opposite. If you had played the flute and were still playing on when I heard you in those a trombone sound had come out he would have been marvellous concerts with the Melos delighted! Either a trumpet or trombone. 'Blow it Ensemble at the Victoria and Albert Museum (in out, my boy'. Really I must have been an annoy- the Raphael Cartoon Gallery) in the late 19507s? ing pupil, because I didn't take anything he said R.A. Yes, I played on that all through that seriously. period. S.H. But you were there for 3 years and you S.H. Well, I think we'd better fill in some of the didn't change teachers. gaps, because we've made quite a jump from your R.A. No, I never thought of changing, but there 'conversion' at school to taking over G.Gilbert's job was a sort of crisis in 1938 when I was 18. Mur- in a top London orchestra! Did you go to one of chie went to the principal of the College, Sir George the colleges? Dyson, and told him that I had no hope of earning R.A. I went to the Royal College of Music in my living playing the flute, that I had good 'finger- South Kensington, and studied with Robert Mur- ing', but that I couldn't blow properly, that I chie (who was at that time principal of the BBC couldn't make the right sound. So Sir George wrote Orchestra), while still having the ideal of Moyse's to my parents telling them that I should give it up. sound in my mind. This was after 2 years at the College. So we had a family conference, and I said that S.H. You still hadn't heard him in the flesh? I was sure I could make a living, if some of the peo- R.A. No, my parents heard him, while I was at ple I had heard could! And then a nice thing hap- pened. My parents decided that we should have a or B at that time. second opinion about my career, like going to a S.H. What studies were you brought up on? specialist about a disease! So they came up with Gordon Walker, Eddie's father, even more of the R.A. Mainly Taffanel-Gaubert. old 'trumpet' style flute-player if anything. I went S.H. Murchie didn't use them did he? to his house, and he was an absolute delight, spen- R.A. No, that was what I used. He used Emil ding the whole afternoon teaching me the basics of how to blow the flute, and how to alter the pitch Prill studies, I can't remember what else, but lots of very. elaborate and complicated fingering studies, by varying the air stream and all that, things that not embouchure studies. I didn't come to the Moyse I'd never been taught by Murchie. books until much later. He wouldn't even take any money, but he gave me so much to work on, and I went home and did S.H. I wondered ifthey,were published then, but 4 hours a day solid embouchure practice. A bit of I see that the Exercises Journaliers is copyright 1923 finger technique, but not much, just crescendos, and 'de la Sonorite' ,1934. So apart from Moyse diminuendos, altering the pitch and the sound, all whom did you hear at that time? RenC le Roy? that, for hours and hours a day. And of course this R.A. Le Roy I heard and disliked. There seem- paid off because I then learnt to control the pitch ed to be no depth in the sound, it was rather like of the flute, at every dynamic level, so that I could a recorder, which by that time I had got to dislike. get in tune with other people, in a way that I I listened to his records and went to hear him give couldn't do before. a recital in the Wigmore Hall, which I didn't like S.H. Are you saying that you learnt most of your at all. A fizzy noise, very thin and pipey. A lot of finger technique by the time you were 18? English players were cynical about him, he was very good looking and presented himself well. He was R.A. Well, it gradually improved after that, but a great soloist, the sort of performer who was good I could play all the flashy bits by then! But in those days all the study books only went up to top Bb on the platform; the non-musician liked him very much because he had a good presence. and it was many years later before I extended my technique up to D. I wasn't really fluent over Bb S.H. So what happened when you left college?

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CUSTOM BAGS MADE TO ORDER R.A. In 1939, when the War started, I became small sound, beautifully neat, impeccably right and a conscientious objector, and so I had to go up to invariably in tune. A very pleasant quiet sound, he the Tribunal in October '39, a month after war played a wooden flute, as did Jack Ellory, with started, and at the Tribunal a strange thing hap- vibrato, and with perfect control of the top notes, pened. You see, if you said that you didn't want with the sound still singing and sweet in the top to fight, you were given some kind of sentence, register. And these players didn't try to pump out because the tribunal was a kind of law-court; but the low notes, as many players did then as they do they gave me "unconditional exemption", which now, resulting in an ugly sound. meant that I was completely let off. This put me S.H. You mentioned vibrato just now. Did you in a quandary, because on the one hand I thought have problems with Robert Murchie over this, that I ought to do something, be in an ambulance presumably he didn't use vibrato, or not much, or brigade perhaps, and on the other hand my one am I wrong? desirywas to go on doing what I was doing. Then I got an offer from the L.P.O. to go in as 2nd flute R.A. No, he didn't use it, but then I didn't think (in 1941). I'd joined the Wessex Symphony Or- about vibrato or use it until the end of my time at chestra for a few months and then this telegram College. Listening to Jack Ellory, I thought, this came. , the trumpet player as he sounds lovely, how does he do it? And it came very was then, had joined the L.P.O., and gave them my easily. name when they lost Geoffrey Gilbert, so Arthur S.H. Did you have to learn how to do it con- Ackroyd moved up, I was called in and did a year sciously, or did it just come? as 2nd flute before moving up to 1st myself. R.A. It just happened. Certain things come very S.H. So they offered you the job of 2nd without easily to me, double, triple tonguing, I just did audition? Because of your reputation and what you them. There was no need to practise them. had been doing? S.H. Well, if everybody was like you, a lot of flute R.A. Yes. teachers would be out of a job! S.H. In those days, of course, there were nothing R.A. But I have had trouble with my vibrato as like so many players who would be suitable I've got older. It gets slower and wider. I've notic- candidates. ed this with older players, not only wind players R.A. What is relevant to this, I think, is that 7 but string players also. I think that what happens or 8 years later, in 1949, I gave up the flute, got is that one's hearing becomes less sensitive to very fed up with it; I'd had no 'youth' in the war, I small variations in pitch, so that in fact vibrato ap- though it was time I had some, and so I bought a pears less wide, smaller than it is. Listening to the motorbike and a tent, gave up the flute and went old recordings, I used to think that Moyse had a to France, Italy and Switzerland for about 5 months. wide vibrato, now it doesn't seem to be wide any I abandoned my job in the L.P.O., but when I came more. I know that I tend to play with too wide a back my job hadn't been filled, so I went back to it! vibrato now, but I think it is just physiological. S.H. Did you ever have lessons in France? S.H. To go back to the gold headjoint I heard you playing on in the mid-fifties (I remember a beautiful R.A. No; you see I was at College until 1940, and Debussy Trio), did you do all your work on this then came the war and the L.P.O. work. combination? S.H. Many people might say that the so-called R.A. Until 1958, when I bought a silver Rudall English school of flute-playing has had rather a bad Carte 'Crown' flute, which I preferred, and played press in recent years, perhaps the best of it is not on it for many years, until about 1970, when I got well represented on recordings; perhaps you would a Japanese flute and very recently, a flute by John like to comment on English flute-playing at that Webb, with stainless steel keywork. time, some of your colleagues who played beautiful- ly, but in a style different in some respects from S.H. No problems with intonation, with the what we would hear or expect today. Rudall Carte? R.A. Let me think of the people in who R.A. Yes, in the top register, but no worse than were around. Jack Ellory, on exact contemporary with the Japanese instrument I had later. of mine, he was a most talented player and naturally S.H. Players and makers have gone into the ques- went into light music, becoming the top session tion of scales so much-in the last 20 years or so, player. And of course Arthur Gleghorn, who went but it sounds as though you didn't feel like getting to America, whose playing I admired enormously, involved? Having tone holes moved etc. R.A. It just wasn't being talked about in the me and never did. 1950s. S.H. Of course you would have been very much S.H. Geoffrey Gilbert was playing on a Powell, involved with Aldeburgh. was he? R.A. Yes, I did dozens of 1st performances, the R.A. No, at that time he played on a ~ouisLot, Church Operas and the bigger pieces, Mid-Summer and absolutely in tune. Night's Dream, the 'Cello Symphony, a whole mass of works. It was a wonderful time, we used to go S.H. It seems odd now that people played on down there and spend weeks doing the Festival and flutes which we would consider very 'out of tune' having a holiday. now and you played on them just as well as people do now. I suppose it was a question of compromis- S.H. So that was one of the most rewarding ing and adapting all the time. periods of music-making for you? R.A. Well, I remember my wooden Rudall Cartk, R.A. - Oh yes, working with the English Cham er the register above the stave, top Eb, E, Etc. was Orchestra, particularly with Barenboim, he was"\ a wildly out. Whenever one got to that Eb one lip- fantastically stimulating conductor. ped it down, and to the D a semi-tone below, one S.H. And what about your work as a Soloist? lipped it up. You had to do this all the time. R.A. In the 1950s and 60s I did more solo work S.H. Hardly ideal! than anybody else on the flute, in this country. On the BBC 3rd programme in those days I seemed R.A. No, but you just got used to it. to be playing once or twice a week, it was my main S.H. You have had a longer flute playing career source of income. than many people in this country, wind players in S.H. Geoffrey Gilbert and Gareth Morris didn't orchestras seem to be getting younger, or am I wrong? do so much solo work? R.A. No, I really had it sewn up atdhat time! It R.A. No, I suppose people don't go on playing was routine to go into Maida Vale (studios) and do in orchestras so long, although there are exceptions a concerto. One lived there in those days, there of course. was so much live music going out on the radio. One S.H. Is it competition, pressure? used to have to do those awful 9 am recitals, and R.A. What happens is that older wind players you had to go in at 7 o'clock for the balance! To start playing out of tune, making a coarser sound, do a difficult recital at 9 in the morning was being unable to hear the high frequencies. This is shattering! for a while compensated for by their greater ex- S.H. You never taught at any of the institutions? perience and because if somebody has been a good R.A. Yes, I taught for two short periods at the player he or she is naturally self critical. Royal College, the first time I lasted one afternoon! S.H. What was your experience of contemporary I said I'd do it if they didn't give me all 2nd study music? pupils, but they did so I left. R.A. I've done an enormous amount of it, with The next time I stayed for a few terms. But I have the Melos Ensemble; in the 1950s and 60s, we us- no ability for teaching. No, I haven't a clue what ed to do modern music festivals, Venice, Warsaw I'm doing. Probably not having been taught pro- and so on. Music by and other perly myself. Italian composers. We recorded Harrison Birtwhis- S.H. On the other hand, you have had to find out tle's 'Tragoedia'; but I disliked Birtwhistle because for yourself how to do things, which in a way is it was physically painful. But some of the music a good basis for teaching. was interesting, some of it one laughed at and did R.A. Well, I just said to myself, 'that sounds as a job. Some of it one faked because it didn't make nicer that way,' but it was a question of trial and any difference whether one got it right or not, and error, not how I put my mouth, or what I do when it wasn't worth the trouble learning it! But I was I go up an octave. quite into all that. S.H. And also it's something which works for you S.H. And you have had some pieces dedicated to and might not for somebody else. you? Talking about the embouchure for a moment, I R.A. Yes. Malcolm Arnold's Concertos and always thought that you achieved a flexibility of Sonatas, and pieces by other composers. Benjamin sound, a range of colour and control of intonation Britten said he was going to write something for with what would now be called a relatively tight 18 t In the English Chamber Orchestra (lames Brown to the right).

embouchure. It works for you but . the orchestra and not losing face. But I wasn't in- R.A. I had trouble controlling the top notes, terested in all that, then. anything above E, for a long time, until I was about S.H. You genuinely weren't? 25. A Brahms symphony would be agony. So I went R.A. to Geoffrey Gilbert when I was about 26 and he No, particularly through the war years, I said I'd got it all completely wrong and told me to really felt that I had something to give to people. play a completely different way. I tried, I could do It sounds terribly conceited now. A mission. It it, but it didn't seem right for me. I could definite- sounds absurd, but I felt that people needed this ly get the top notes better, but I couldn't get the music and I was able to give it in a way that a lot bottom notes! I remember doing concerts with the of other people couldnlt.'And I felt that I was able LP0 like this for several mouths, so I abandoned to put something over emotionally through the it and thought, I've got to sort out my own way flute, and so I wasn't just playing the notes but do- of playing, and gradually the top notes got better ing something emotional. r and easier, by trial and error. S.H. And so for the best part of your career, S.H. What about temperament, so important for nerves didn't get in the way too much? a player? R.A. No, I used to get nervous but I quite en- R.A. I think that I was lucky in having an attitude joyed that, I could fly over it very easily. I mean to playing that was different from a lot of people's. I'd get frantically het-up before a big concert, but Even when I was playing in a symphony orchestra, I looked forward to the big solos, and I had a feel- I definitely felt that I was playing to the audience, ing that I was putting it out right across the au- whereas I think that a lot of players feel that they dience, filing the hall. It was a most intoxicating are playing to the rest of the orchestra. I feel more feeling. You see, after a solo people would say, nowadays that it's a question of getting it right for 'what a beautiful sound', and I would think, what an odd thing to say, I was playing music. played 1st when I was away, and become principal Another thing I should mention, I used to play later on, before going to . Frank Almgill, better the worse the political situation, you know, Henry Messent, various people came in. it seemed there was going to be another war, which S.H. Going back again to your youth, did you seemed to be quite often after the last one, if there come from a musical background? was some crisis which everyone was caught up in, the Israel crises, the Berlin crisis in 1949, this would R.A. Well, I did have a background where art was somehow be tremendously stimulating. And I considered the greatest. My father, mother and remember playing in a hall in East Germany in '58, sister were painters and they believed in the arts, where there was tremendous tension, because of the including music, as something fundamentally occupying army, with Russian soldiers upstairs and important. German civilians downstairs, and this was very S.H. So you were brought up with quite a lot of exciting. music? S.H. So you fed on danger? R.A. Yes, not actually playing, but I was taken R.A. Not exactly that; but tension,'evil, and I was to concerts. trying to put over some calming, cooling influence. S.H. Do you have any more ambitions connected It sounds very pretentious, but it linked up with with the flute? pacifism. The whole of the inside of my psyche, playing an instrument, is to do with your whole be- R.A. No, I don't do so much playing now, ex- ing, isn't it? It wasn't first playing an instrument, cept for a few recording sessions, and I went but being involved in the struggle of good and evil. through a period of mourning for not playing but That I was emitting a peace-giving something; the I've got through that now. When you're had an flute is a peace instrument. This is a reason why emotional attachment to something you can't just nerves didn't get me down, because I was doing say, well that's it! something 'outside'. You know, when I'd play on S.H. It seems to me that it has been a very com- the radio, I'd sometimes think, perhaps there is plete and well-rounded flute-playing career that you somebody in a hospital listening, in great pain and have described. this will help them. It was a giving out of something, not just playing for my reputation, or RA. Well perhaps so, but finally I failed as a because I was doing it right or wrong, which was soloist, in the sense that nerves got the better of very good for the nerves. me in the end. When the really important Again this is subjective, but I had a tremendous engagements come along which would have turn- feeling of being a success, of doing something ed me into an international soloist, I was sometimes worthwhile. And I had an enormous amount of 2nd rate, I could do very well sometimes but I never praise, and was conceited like hell! People in the made the top line, compared for instance to my con- audience used to come up after performances and temporaries, and Barry Tuckwell. say I especially enjoyed your playing. This used to I didn't really have the right temperament, in the happen all the time! end. Perhaps I didn't take it seriously enough, I didn't practise, perhaps I was conceited enough to S.H. Very bad for your ego! think that I could go on without practising! And R.A. Yes, exactly. I had various emotional troubles. S.H. Wasn't it more an era of 'Star' players? Then a big engagement would come along, which seemed to me a turning point, like a concerto with R.A. I think so. And I think that nowadays con- a big orchestra at the Festival Hall, and occasionally ductors would very much object to one playing as I would make a mess of it and would come out feel- one wanted to play, they want to have much more ing abashed. It wasn't all a success story in the solo control, like Erich Kleiber, who controlled every line. I didn't have enough personality, I wasn't a nuance. Now any personality coming from the big enough personality on stage . . . . players is frowned upon, as taking away from the S.H. Like Jean-Pierre Rampal and Jimmy conductor. Galway . . . . S.H. During your time with the L.P.O. who was R.A. Exactly. Nevertheless I did have many en- 2nd flute and piccolo? joyable solo experiences. And I really did enjoy play- R.A. Well, I was there for 18 years in two 9 year ing in orchestras, I loved the feeling of blending, spells with ten years between. There was Wilfrid and weaving in and out, and the communual feel- Smith for part of the time and Colin Chambers who i.ng, getting on with the other players. S.H. Richard, this seems an appropriate place to stop, thank you on behalf of the British Flute Socie- ty for giving us your time, and a fascinating insight Flutemakers Guild Ltd into your flute-playing career. Makers of the finest handmade MEMBERS PLEASE flutes NOTE Modern scale wood flutes a speciality COPY DATE FOR THE $3 JUNEEDITION OF PAN IS "7a - Jzl APRIL 21st 1988 .;: $ra. i r -@ PLEASE ASK YOUR FRIENDS AND 34 COLLEAGUES IF THEY WOULD 10, Shacklewell Road &v ' LIKE TO CONTRIBUTE. London N16 7TA *Q'%> SEND TO THE EDITOR + Tel: 01-254 7175 40 PORTLAND ROAD, %G 01-254 6362 LONDON W 11 4LG $ Write or phone for details

Solos that expand into ensembles, that's SESSION TIME Devised, selected, and edited by Peter Wastall.

If you'rea woodwind teacher with several pupils, and you want to create a stimulating environment for solo and ensemble music-making, SESSION TlME is for you. SESSION TlME consists of books of easy solos for Flute, Clarinet, and Saxophone, in the easy to intermediate range of difficulty, that expand for flexible, group performances. All three albums are compatible, and the l pieces can be played by any combination of these instruments, as solos, duets, trios or larger ensembles. A seperate keyboard accompaniment book includes rhy thm and chord settings for electronic keyboards. SESSION TIME covers a wide range of styles; rock, blues, jazz-rock, and lyric. Titles include 'Dixieland Blues', 'Summert ime', and 'Memory'. Solos or ensembles- with SESSION TIME you choose. Flute, Clarinet and Sax books- £3.85 each Key board book - £4.25 b~()(SRC< HAM& Boosey 81 Hawkes Music Publishers Ltd. The Hyde, Edgware Road, London NW9 6.N. Tel: 01-205 3861 PORTRAIT GALLERY David Nicholson

,'A # .. . David Nicholson was born and educated in Newcastle- concert schedule both In the United Klngdom and upon-Tyne. He studied the flute with Geoffrey Gllbert abroad - 1987 for instance saw visits to France, Ger- at the Guildhall School of Music where he was a many, Italy, Switzerland, Israel and Japan. The or- medallist in the diploma examinations during subse- chestra is also very active in the recording studios. quent years he continued private study with Geoffrey David has appeared frequently as soloist with the or- Gilbert, and also had lessons with Jean-Pierre Ram- chestra in works from Bach to Nielsen and has part- pal, and attended Marcel Moyse's Master Classes. nered Galway, Rampal, Bennett, Nicolet and Marisa Most of David's playing career has been In Scotland, Robles in double concertos. The orchestra's assoclate and he helped create most of the ensembles with whlch composer Sir Peter Maxwell Davies will include a flute he has been associated. On moving to Scotland he concerto for David in the cycle he is writing for the taught privately and started a chamber group playing S.C.O. programme of baroque and twentieth century music. David also loves teaching! He has been on the staff then came a wind quintet and later the New Music of the Royal Scottish Academy of Music for many Group of Scotland which in its concerts and broad- years, and derives great satisfaction from seeing his casts has been responsible for many first performances students enter the profession either as players or of works commissioned by the group from Scottish teachers. He teaches in the junior department also, composers. and has been much in demand over the years as a However in recent years the bulk of David's play- coach for Youth Orchestras throughout Scotland. ing has been with the Scottlsh Chamber Orchestra. He llsts his favourite relaxations as hill walking and That highly successful orchestra now has a very full cooking. MEMBER'S PLATFORM

An occasional series, complementary to Portrait Gallery, to give you, our members, a chance to tell us, and show us, who you are, whether teacher or player, amateur or professional, young or-old. The size and content of the copy submitted will be at the editor's discretion (ten pages not allowed!). Do write to me, I know so few of you! ED. - .- X"-'. -

MICHELLE LEE as to Paris for private tuition. Her professors have in- East Anglian based Michelle Lee was born in Lon- cluded Gareth Morris, Maxence Larrieu, John Fran- don, her late father a fifth generation sculptor and her cis and L6rhnt KcvAcs. mother an artist. Although highly motivated by the Since her return to the UK in 1980, Michelle has visual arts, Michelle had set her heart on becoming become firmly established as a leading flautist and a musician by the age of fow, first learning recorder teacher, especially in the East Anglian region where and piano, then later, flute. she now lives permanently. Her studies in Hungary Michelle's broad understandine of music as an art encompassed a good deal of research in the Kodaly led her to undergo a training more intensive and Concept of teaching music to children and together thorough than other flautists of her generation. Not with this knowledge and her wide experience of only is Michelle well known as a solo flautist both on teaching talented pupils of all ages and backgrounds BBC Radio 3 and live in concert, but other attributes she is able to produce results of a very high standard include the distinction of being an Associate of the in an atmosphere which is enjoyed by both pupil and Royal College of Music in both flute and recorder and teacher. being able to accompany her pupils at all leyels. Many Michelle has a daughter, Sophie Jane, aged eleven, composers, including Gyorgy Kurthg, have written who is a pupil at the Purcell School in Harrow. especially for Michelle and as a composer herself she Michelle has given several first broadcast perfor- has received wide acclaim on the Continent for her mances on BBC Radio 3, including FaurC's 'Morceau composition with live electronics. de Concours' (on 1 May 1985 with pianist Ian Brown) Michelle's extensive training took her to the BCla and the 'Bagatelles' for flute, double-bass and piano BartBk School in Budapest, the Royal College of written, and dedicated to her, by Hungary's leading Music, The Institute in Diisseldorf composer Gyorgy Kurthg

HISTORY PAGES

The Flutist has stood for "more and better flute-playing" Vitalizing Flute Clubs for close on a decade, but we believe its flute club direc- HAYDN MATTHEWS tory to be but a ripple on a large pond, for we are con- vinced that in many places the story of the Border Cities boys (Detroit, Mich., and Windsor, Ontario), is being A quarter of a century seems quite a long time to spend duplicated daily and the flutists are enjoying themselves in the pursuit of any kind of knowledge, yet how odd and improving their knowledge without taking the trou- it is, and how imcomprehensible is the depth of that great ble to notify the off~ce. tfuth, "one is never too old to learn." And again, how For over four years Messrs. Shergold and Holloway strange a thing is habit, or custom, which can so blind have laboured in the cause of the flute club. Meetings even the greatest minds at times to new possibilities ly- were intermittent from 1924 to 1927 but for the past year ing at their feet. regular tri-weekly meetings have been held with nine or Most of the so-called great had greatness thrust upon ten flutists attending. All were good readers and knew them (shrewdness merely caused them to read up or their instrument. We had a lot of fun but - well to put perhaps wake up), and thus many a wobbly crown it briefly,.we were beginning to get more or less disgusted, secured. At least sixty per cent of the most usehl basic especially those of us who had hammered away at the inventions were born of fortunate accidents - witness same old stuff for years; results were unsatisfactory. young Watt and the boiling kettle, innumerable combina- The crisis came one night as Shergold and I were com- tions, etc., etc. Rare indeed are such brains as those of ing down the home stretch on a fish dinner at his home Edison, Marconi, or Steinmetz which can deliberately set (which was flutist's headquarters), when Norman out to invent some certain needed thing or method, and Holloway startled me into missing a graceful and non- while the art of flute-playing and mechanics represent chalant pass I had made at the last piece of fish (Bill got widely separate lines of thought, how true it is that the it). Holloway had similarly irritated the writer on previous "simplest is best," in - anything. occasions so we determined on revenge. Is it not strange how we all go through cycles of wild When we sat down to play, I gave Bill his cue and he fantasies, dizzy airs and variations, tongue-twisting tri- handed Norman a pencil in lieu of a baton. A small argu- ple tongue solos, and pressure development to the nth ment ensued and, as is frequently the case, the unassum- degree, and then when the bland smile and rotund "tum- ing one knew his business and conducted the quartet in my" of 40 become part of us we finally wake up and see a very creditable manner. A few words from our newly how foolish it all was; then we settle down to a no- elected director relative to the effects he desired and the pressure, easy style of playing, and - lovely melody. Not repetition of the number proved a revelation. Fortes and laying any claim to brains in any particular direction we pianos began to rise and fall, solos stood out, there was now "modestly present for your approval," as they used attack and release, better balanced accompaniment, and to say back in the old days - Conductors for Flute we caught glimpses of a little of the beauty that good old Ensembles. Kuhlau wrote into the work. Immediately enthusiasm ran We know it is not an honest to goodness invention high, the inconveniences of the eight-hour shift which because we read in the June Flutist of Mr. Kirby taking some of our members worked, were promptly overrid- the baton of the Pipes and Pan Club (West Chicago), but den, and weekly meetings were arranged. Friend "fess up" fellows, we have not played the game these 25 Holloway proved a gifted leader, in fact, too much so for years without knowing how it is. Think back; the little his own good as he has never been permitted to play since. gang get together, two fellows on a Berbiguier duet, three Maganini's Realm ofDolls and several others of the newer perhaps on a Gabrielski trio, or perhaps on some great compositions were rehearsed along with the standard night when the gods were especially kind in bringing works for flute and what had been for four years a semi- together four sons of Pan, the boys would trot out in'different group was transformed into an enthusiastic, Kuhlau's Grand Quartet, and fight and haggle their way aggressive organization, and why? Simply because at last through it. The result was murder in the first degree, we had stumbled upon the secret of organization - nothing less, but what a thrill we got out of it! It never leadership. entered our minds to "dig up" only one more music lover, Shergold's home always had been "headquarters" for who was not necessarily a flutist, to conducr for us. local flutists, with its musical atmosphere, an excellent Fellows who are inclined to "high hat" may say, "Oh, table (Madam is an ace of cooks), or a glass of mellow that's old stuff". Yes, so is twice two, but the banks still wine awaiting anyone who happened to call, but now the figure that way, and this writer knows through nearly a place became a Mecca. From Birmingham to Windsor, lifetime's experience that most flute clubs have to labour 15 or more miles they came. A concert had to be staged through perfectly lovely things only to lose half of their at Alex Simpson's home so that none of us would have beauty because rarity of instruments, habit, etc,. chain over 6 miles to go, and two talented ladies, whose names, them to the "home we can make it" method of getting unfortunately we cannot recall assisted with piano and through a number. voice. The quartet received a truly great reception, such as Do not play directly after eating a heavy meal. none of us ever believed possible for a flute quartet. In- The performer should keep his body in an upright, but vitations from Highland Park, Birmingham, and all easy position. He must, at the same time, be very careful around the town began to pour in, then radio bids. Our to avoid blowing out the cheeks, distorting his features, friends and musical-groups in all these widely separated and improper movements with his arms, etc. localities became welded into a solid musical society. Alex Always stand when practising; keep the right elbow Simpson, of North Detroit, began playing with Manley rather high and free and the left not so close to the body , Tyson, of Birmingham; both would drop in on the writer in order that a good position and free breathing may and perhaps the three of us would run over to Windsor result. or out to Fred Field's home. Imagine the degree of our ~remolior vibrato should be avoided as much as l enthusiasm and the practical good that resulted form the possible. . friendship wrought and all on account of one simple Never attempt too much at first. Rest often and never change made in our tactics, i.e., the appointment of a con- be discouraged. ductor. The here-to-fore playing of a quartet which wfs Transposing should be studied by all professional musi- often a long, drawn-out battle we often had heard cians as well as amateurs. describes as anything froma calliope to a cat fight, now Remember that a good instument and a good instruc- became the beautiful dream the composer intended it to tor are always the cheapest in the end. be, and - these boys have not even dignified their splen- Reprinted from The Flutisr Jan. 1929 did organization with a name. - Detroit, Mich. Hints and Suggestions GORDON WALKER It is with much pleasure that we annnounce Gordon LEONARDO DE LORENZO Walker, solo and principal flute of the London Sym- The Embouchure, or aperture for the mouth, is to be plac- phony, Covent Garden, and Royal ed in line with the first cover of the middle piece (second Philharmonic Orchestras, of London, as our London cor- finger left hand), as it is not advisable to keep the mouth- respondent. Mr. Walker takes the place of Albert hole to one side or the other. Fransella, who is absent from London for an indefinite The last joint may be adjusted to the convenience of stay. the performer, so that his right hand little finger may reach the D-sharp key and stop the lower C-sharp and C key with facility. Some players prefer to have their flutes with the second and foot-joint in one piece. . Experience is the best teacher; therefore, obtain as much as you can by playing in good orchestras and associating DON 81 EDDIE with good musicians. If certain notes are harder to play then others and you are sure you blow right, have the instrument regulated by a competent man. It is not at all necessary to pull out the stopper in the head-joint every time the flute is wiped, but if you are in the habit of doing so, see that same is replaced correctly. The stopper in the head-joint should not be altered. Same will be found in its right place if the flute produces the first. second and third D in ~erfecttune. The use of the bridge or crutch is by no means advantageous. The thumb of the right hand should be kept always on the same place, that is: under the second and third finger, towards one's self, so as not to show on the other side. Never breathe through the nose, it is an old and vicious woodwind .m. fashion. The taking of breath should not be heard. No woodwind or brass instruments are perfectly in 208 LIVERPOOL ROAD, tune, but they can be regulated by a good ear and judicious practice. CADISHEAD, Trying to name and identify the tones that are sound- MANCHESTER M30 5DB ed by a steam whistle, bugle, piano, violin, etc., will be Teiephone: 061-775 1342 of great help to you and will assist you to play well in tune. Remember that although technic is very important, clearness of tone comes first. I d Blackpool Pier Orchestra Dear Editor A few days ago I had the pleasure of visiting Mr Tony Walker, the grandson of Mr Gordon Walker, a well known flute player of the early part of this century. Among the souvenirs of his grandfather, was the con- cert programme of the 31st August 191 1 of the North FLUTES Pier Orchestra, Blackpool. I hope you will be able to find The Prestigious French space to re-produce this programme in Pan. Music Magazine As a small boy I attended these concerts with my Les Diapsons D'or parents. tested 20 Flutes and During my visit to Tony Walker, a number of very old awarded YAMAHA gramophone records were played and although these were 1st.prizein every scratched and suffered from surface noises, it was still category - possible to get a demonstration of the skilful playing of his grandfather. STUDENT FLUTES JOHN E. ANDREWS ,l FLUTES WITH SILVER , HEADJOINT SOLID SILVER FLUTES 4 NORTH PIER D. BLACKPOOL -. ,U *_.L PROMENADE CONCERTS .. -..,.m NORTH PIER ORCHESTRA. bndunor : Pmf. SPZELWN.

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Holme Cottage, Ravensworth, Nr. Richmond. N. Yorkshire DLI 1 7EZ 144 Shaftesbury Avenue . London WCPH 8HN .01-240 0584 Tel: Darlington (0325) 718368 REFLECTIONS OF A CCLONDONWEST END SUPER MOLE'' ON FOUR SEASONS IN THE ROYAL OPERA HOUSE PIT PATRICIA LYNDEN I'm looking back to September 1982 when I was far as possible. about to embark on my new job as CO-principalflute Actually; most of the time we were able to sit in at Covent Garden, after spending twenty years in the normal wind section seating, in the pit, but the the 'free-lance' and 'Symphony Orchestra' world. shallow depth prevented us from sitting like a sym- The season was to open with Wagner's "Ring" Cy- phony orchestra with the woodwind in the centre, cle, and - full of enthusiasm at the prospect of tak- , and 1~was.laterto discover that this. combined with ing part in such a wonderful work - I entered the the dry and unhelpful acoustic, was a factor that pit for the first rehearsal, searching for my bothered many players. customary seat next to the principal oboe. To my ,Some nights when there were so many bodies dismay, I found that the flutes were seated behind squashed into the pit it almost gave rise to a feel- the , next to the clarinets with the bassoons ing of "disorientation" - so much sound so close in a row behind us. (Behind us all, tucked away together - I sometimes wondered if such a "hud- under the over-hang from the side of the stage and dle" caused all the wrong "over-tones" of the in- back of the pit, were the horns and Wagner tubas struments to get trapped in one's ear - giving rise - a position that I learned later, was most distress- to some weird intonation effects. ing to them). On enquiring about this curious (Mercifully this doesn't appear to travel beyond seating, I was informed that this was the only possi- the pit rail!) I recall a series of "Der Rosenkavalier" ble way to get everyone into the pit for large or- performances (the horrible "behind the oboes" chestrations. Ah well - "C'est la vie' in a pit, I seating necessary for this piece) when the squash suppose. in the pit was so great that the flute section had The rehearsal duly commenced and - help! - to sit virtually side-ways on to the conductor, with I couldn't hear anything at all - well, that is to our chairs "staggered'' out of line to enable us to say nothing in the way that I had been used to hear- lift the flutes up! At the time I remember thinking ing it in the symphony orchestra set-up! My head that to put up with these conditions for a week of was filled to bursting with the most beautiful "Annie get your Gun" in "Little Bogdon-under- clarinet sound - not really surprising as the bell Snooze" would have been bad enough, but to sit of his instrument was only a few inches from my like this through., four hours of one of the most tax- left ear, it seemed, but it was impossible to hear ing of all scores, with Solti conducting, and in- the first oboe when playing with him - most cluding a live broadcast performance, was most disconcerting when one is used to "closing up" the depressing. octaves on the top, with the oboe intonation sitting Well - back to the repertoire. Having completed comfortably in the left ear! two "Ring" cycles we embarked on some ballets Peering round the oboe's head I could see the including Tchaikovsky's "Swan Lake" and "Sleep- backs of heads of a large first violin section - all ing Beauty" - goodness, what a slog both those working away like mad - but I could hardly hear evenings are, particularly "Sleeping Beauty" which them. As for the second violins, violas and celli on feels a bit like playing through all the Tchaikovsky the other side of the pit, it is a well-known fact that Symphonies in one night! There is so much loud you can never hear them if you have got anything "tutti", as well as tricky solos that one needs plen- to play with them. ty of physical as well as mental stamina to survive. As the rehearsal progressed, this gave rise to a In "Sleeping Beauty", the first flute's particularly peculiar feeling, that I was, subsequently, to ex- taxing variations, including the famous "Bluebird" perience quite frequently, and can best be describ- came two thirds of the way through the last act. ed by saying that I felt as though I was swimming I used to try and pace myself throughout the heavy on top of a rice-pudding with no clothes on! At blowing demanded in the previous acts, but, even home it was back to work with the "Korg" tuner so, frequently used to find myself facing the - after all I figured that if I was always going to "Bluebird" in a depieted and tensed-up condition. have to "fly blind" (perhaps, "deaf' would be a However much I tried to prevent it, as the dreaded better word) in the pit, it was as well to boost the moment approached, to my internal shame, all the dwindling confidence over intonation problems, as years of "Alexander'' work seemed to slip away, PAT LYNDEN leaving me a shaking heap with a bunch of bananas and discomfort, and the never-ending struggle to in each hand! I was forced to face this phenomena over-come this produces excellent results. on many occasions - but never really got used to It would be very nice to hope, that when the pro- it, and my retirement from the Opera House pro- jected improvements are made to the pit, as part duced a great sense of relief that I need never shake of the Opera House re-development plans, many my way through another "Bluebird" again! of the struggles may be a thing of the past. Cer- I would hate to give the impression that the years tainly if only the pit could be extended from back in the pit were all misery and gloom. On the con- to front, producing a less shallow area , and the trary, I have many cherished memories of real peaks players could sit in normal orchestral seatings, many of musical experience there. On the first night of of the problems would disappear. a big new production of - for instance - "Fidelio" During my time there, if I had not been surround- with a star international cast and conductor, the at- ed by such sensitive musicians and dear friends - mosphere in the house can be really electric. On, life could have been much worse! such emotional occasions, one seems able to ride above all cares, and can enjoy being part of such a wonderful whole. Magid moments, such as when ROBERT BlGlO the great "Third Leonora Overture" is played Flutemaker towards the end of the second act of "Fidelio", pro- Handmade flutes and piccolos in wood and silver duce an enormous "high", and tend to make up for . Repairs everything. I would go home, after such an even- Alterations ing, walking on air, feeling that the struggle was Headjoints really worth it after all, and would even temporari- Unit 4, Colwell Workshops, Colwell, near Hexham, ly forget that tomorrow was Saturday, and there was Northumberland NE46 4TL a matinke as well as evening performance of "Sleep- Tel: Humshaugh (043 481) 809 ing Beauty" to get through! Finally I must say that Home address: the foregoing remarks about the Opera House pit, 15 Woodlands, Hexham, Northumberland. NE46 IHT are certainly no reflection on the excellent orchestra Tel: (04341 606372 which inhabits it. All are affected by the acoustic l1 MUSIC FOR TWO FLUTES J. S. BACH 15 Two part Inventions (arr. Kolman) BARTOK 18 Duos (from the 44 Violin Duos) (arr. Csupor) BIRTWISTLE Duets for Storab HAYDN The Creation (ed. Fuss1 from an edition of 1806) The Seasons (ed. Braun from an early 19th Cen- tury edition) MOZART The Magic Flute (ed. Braun from an edition of 1792) The ~arria~eof Figaro (ed. Braun from an edi- tion of 1799) The Seraglio (ed. Braun from an edition of 1799) Don Giovanni led. Fmlfrom an edition of 1809) 12 Variations on "Ah! vous dirai-je, am an" K300e (265) (arr. Kolman) ROSSINI The Barber of Seville (ed. Fussl from an edition of 1820) TULOU Three Duos, Op.14 (ed. Braun) VANHAL Six Duets (ed. Bryan) published in 2 volumes ea. UNIVERSAL FLUTE EDITION

Sole agents: UNIVERSAL EDITION I Showroom: 2/3 Fareham Street, Dean Street, London W1V 4DU . 01-437 5203 111 Trade Department: 38 Eldon Way, Paddock Wood, Tonbridge, Kent TNl2 6BE . 089283 2322 l 'FRIEND! LOOK FOR THE FIRST ALLEGRO': SOME THOUGHTS ON THE FLUTE IN HAYDN'S SYMPHONIES EDWARD BLAKEMAN

The 'friend' was Zacharias Hirsch, flautist in the flute was its 'royal' adoption by Frederick the Great Esterhaza orchestra, and the 'first allegro' was the of Prussia. His flute teacher and concert master for opening movement of Haydn's Symphony No. 62. many years was Quantz, whose extensive treatise This movement had originated as an overture and On Playing the Flute (Versuch einer Anwiesung die then served as one of four alternative finales for Fliite traversiere zu spielen), published in 1752, Symphony No. 53. As such, it had no flute part quickly became the flute player's encyclopaedia and (although the publisher Hummel later provided has remained a vital source-book on 18th century one). When Haydn decided to incorporate the performance practice. movement into Symphony No. 62 (?1780), he seems Despite its importance as a solo and chamber in- to have done so after composing the other three strument, however, the flute was slow to be adopted movements which already included a flute. So he into the 18th century orchestra. The powerfbl tone added a separate part,' crossed out 'primo allo. of oboes and bassoons had been more practical in tacet' from the original, and substituted that cryp- wind bands for outdoor music and when the wind tic message for the player. Earlier in his career he band was admitted to the concert hall to join the would probably not have worried that the flute was developing 18th century orchestra, it generally still silent during a movement - even after this date he lacked a flute. Consequently, although composers could still be selective in its use - but the incident immediately knew how to use the wind band in- is some indication of the flute's importance in struments to punctuate the basic string texture of Haydn's orchestral thinking by the late 1770s. orchestral music, the role of the flute (as later that The flute part for the first movement of Sym- of the clarinet) had to be discovered and defined phony No.62 illustrates one basic way in which without any fixed points of reference. It is perhaps Haydn wrote for the instrument: in unison with the not surprising, therefore, that Haydn began by us- 1st violins to lend an extra lustre to their sound. ing the flute as a solo instrument allied to the strings The effectiveness of this is seen as much in the bars rather than to the members of the wind band, and where he omits the flute (e.g. Nos. 36-39 and employed it only occasionally in the early sym- 43 - 44) as in those where he includes it. The col- ponies. That he used it at all was due to a our is applied carefully and the effect never reorganisation of the Esterhaza Orchestra which overstated. Unfortunately, much of this subtlety can coincided with Havdn's arrival in April 1761 and be lost in modern performances and recordings. included the appo&tment of a flute player: Franz Changes in instrumental design and tonal balance Sigl.3 may make the doubling of parts appear somewhat Sigl's contract described him as a flautist and bland and unnecessary. The extent to which the oboist and stated that 'he should rather turn to, and baroque flute stood apart from the strings, and yet thus qualify in the Houbois'. It also warned that complemented their sound, can, however, be readily he was 'to conduct himself soberly, modestly, quiet- appreciated in performances with reduced forces on ly and honestly'. Unfortunately, in September 1765, original instruments. Then the translucency of 'according to an official report, 'the musician Franz Haydn's orchestral textures is ~nmistakeable.~ Sigl, through an explosion from his flint, when he In identifying the flute with the violin, Haydn shot at some birds on the roof, set on fire a prince- was drawing on a long-established European tiadi- ly house next to the castle and that house burned tion. The one-keyed baroque flute, designed by Hot- down completely'. Sigl was immediately arrested teterre in France about 1680, had quickly become and dismissed from the orchestra. Haydn con- just as popular a solo instrument. Indeed, the sidered too harsh a punishment, so he protested French considered that in matters of 'exoression' to Prince Nicolaus and was eventually able to get it surpassed the violin and was rivalled oniy by the Sigl reinstated, though not until February 1767. voice. By the 1720s, players such as Buffardin and Sigl left again in 1771 and soon after fought and Blavet had developed a dexterity of fingering that won a court gction against Prince Nicolaus for full compared favourably to the great Italian violin payment of a legacy (he had only received half) be- school of Corelli. The final seal of approval for the queathed to the musicians by Prince Paul Anton. 3 1

After Sigl's departure, there appears to have been mediately apparent from the above list. During a gap of almost five years without a specialist flute Sigl's time in the orchestra, the flute was used in player until Zacharias Hirsch was appointed in just under a third of the symphonies (ten out of April 1776. During this time one or other of the about thirty-four). In the interim between Sigl and oboists would have played the flute when necessary, Hirsch (some fifteen symphonies) it didn't appear just as flautists of the period were often expected at all.5After Hirsch was engaged in 1776, the flute to double on the oboe. Hirsch was apparently pro- became a permanent feature of every symphony ficient as a flautist, oboist, and violinist, and was from No. 61 onwards (excluding Nos. 64-69 which a well respected member of the orchestra - Prince are now dated earlier than 1776). It would seem, Nicolaus stood as godfather to one of his children. therefore, that while Sigl was in the orchestra the He was paid 400 gulden per year (more than the flute was an occasional option, after his departure oboist or trumpeters, though less than the first and (and during the 'Sturm und Drang' period) it was second horn) and on at least one occasion he played ignored, and when Hirsch arrived it suddenly a flute concerto at Esterhaza (30 January 1778). became indispensable. When the orchestra was disbanded in 1790, after The flute parts in the symphonies may well the death of Prince Nicolaus, he settled in Vienna. reflect something of the style of Haydn's two Sigl and Hirsch share the honours, therefore, as players, as well as his growing understanding of the highly skilled players who helped to inspire the instrument's potential." The first symphonies development of Haydn's orchestral flute writing. composed for Esterhaza certainly leave us in no Before 1761 and the move to Esterhaza, there were doubt as to the technical ability of Sigl, and indeed only the early 'Morzin' Symphonies, none of which of the rest of the orchestra. 'Le Matin', 'Le Midi' included the flute. From No.6 onwards, when he and 'Le Soir' (Nos. 6-8) are brilliant and chose to use it, Haydn wrote for one flute (except astonishing works. Later Haydn symphonies may for Nos. 7,9 and 54 which have two) until the final contain better music, but the sheer orchestral in- sequence of twelve 'London' Symphonies (179 1- 4) genuity of these works is hard to equal. The increas- which are mainly scored for two, although only one ed forces available at Esterhaza must have proved appears in Nos. 95, 98 and 100. a keen stimulus for Haydn who features many of The sequence of symphonies which would have the instruments as soloists, somewhat is the man- been played by Sigl and Hirsch is as follow^:^ ner of the concerto grosso. He writes for the flute Franz S@ (1761 - 1765, 1767- 1771) with complete freedom from its lowest note, D, to Symphony No. 6 (?1761) the G almost two-and-a-half octaves higher. This 7 (1761) was the extended concerto range of the period, and 8 (?1761) while Haydn continued to exploit the low register 9 (?1762) of the flute in subsequent symphonies, he reduced 13 (1763) the upper range by a minor third to E, a more 24 (1764) generally accepted limit for the period. 30 (1765) The flute is an agile protagonist in the first and 31 (1765) last movements of Nos. 6 and 8, and in the Finale 72 (?C.1763 - 65) of No. 7. Running scales and arpeggios, sometimes 41 (-1770) with the violins, more often without, characterise the writing, rivalling the 'violin0 concertante' solos Zacharias Hirsch (1776 - 1790) which would have been played by the virtuoso Symphony No. 61 (1776) leader of the orchestra, Luigi Tomasini. The Finale, 53 (?1778/9?) 'La Tempesta', of No. 8 even attempts 'lightning' 70 (?1778/9) effects on solo flute. 71 (?1778/9) In complete contrast, the second movement of 63 (?1779) No. 7 (the only slow movement of the three to in- 75 (21779) clude the flute) has mellifluous arabesques in thirds 62 (?1780) and sixths for two flutes over the violin solo. This 74 (?1780) movement is perhaps more representative of the 73 (?1781) general flute style of the symphonies played by Sigl. and Nos. 76 (?1782) Although there is much agility in the works to come to 92 (1789) - determinedly virtuosic as in the fust movement Reference to recent research on the complicated of No.31, or poised and elegant as in the Trio of dating and numbering of Haydn's symphonies No. 13 and the second movement of No.41 - the begins to reveal a more logical pattern than is im- slow movements contain the most beautiful passages: the Andante of No.9 for two flutes with of high A and modified the part accordingly in bar violins; the Andante of No.30 with its delicate 12), and the Prestissimo last movement is a master- dialogue of solo flute and strings; and especially the piece of carefully controlled and varied textures of expressive Adagio of No.24 and Andante of No.72, flute and strings. There is also some inspired pair- both for solo flute. In No.72 the flute is partnered ing of flute and horn - an instrument which Haydn by a solo violin; in No.24 it holds the stage alone treated with particular fondness. and is even allowed to improvise a cadenza at bar The flute writing of this period reaches a peak 53.' Here, perhaps, we may be glimpsing perhaps in Symphony No.73, 'La Chasse', where something of the slow movement of Haydn's lost the flute' weaves a golden thread through the en- Flute Concerto, also dating from the 1760s.~The tire fabric of the work. Particularly notable are the apparently volatile Sigl must have excelled in such solo passages down to low D in the first movement music for Haydn to have favoured him so generous- (e.g. bars 120 - 125) which imply much about the ly, and would no doubt have known the chapter 'Of resonance of Hirsch's flute tone and the clarity of the manner of playing the Adagio' in Quantz's Ver- the Esterhaza orchestral sound. such . . .: With the role of the solo flute thus defined as an . . . a true musician may distinguish himself by independent voice and as a versatile complement the manner in which he plays the Adagio . . . to the first violins, it is worth noting that Haydn To play an Adagio well, you must enter as much makes no attempt to expand the scoring to two as possible into a calm and almost melancholy flutes in the 'Paris' Symphonies (Nos. 82-87) of mood, so that you execute what you have to play 1785- 6. This is particularly interesting as the Con- in the same state of mind as that in which the cert de la Loge Olppique, for which he was writing, composer wrote it. A true Adagio must resem- boasted much larger orchestral force than those at ble a flattering petition . . . engage, soften and Esterhaza and would certainly have had at least two touch vour listener . . . For that which does not flutes. (Paris orchestras have never been short of come kom the heart does not easily reach the flute players!) We can only assume that Haydn kept heart.9 to one as a conscious artistic decision, and perhaps H. C. Robbins Landon's comment about the 'gen- also with an eye to performing the works at tle flute solo' in the Trio of Symphony No.53 could Esterhaza. His particular attention to detail, equally well apply to the lovely slow movements however, in the woodwind writing of these sym- of these early symphonies: phonies - as befitted French taste - resulted in Haydn caught the spirit of the times: for the a final development of his flute writing: the suc- flute, in the eighteenth century, was, even more cessful integration of the instrument into the 'wind than the harpsichord, the symbol of music; it band' of the orchestra as a necessary 'blending' col- figured, hauntingly, in Watteau; it was the Petit our. This is first effected in the long wind band solo ~rianon,it was ~ousseau'sback-to-nature, it at the end of the second movement of Symphony represented the galant, the mock shepherds and No.84, where each instrument is persuasively vital shepherdesses who languish in the corners of to the texture. The eventual outcome of such French painting.'' passages would be the pairing of flutes to balance Symphony N0.61(1776), composed the year that that of oboes and bassoons, which Haydn did adopt Hirsch was appointed to the Esterhaza Orchestra, to some extent in the 'London' symphonies. set the standard for a vigorous new style of flute The 'Paris Symphonies' provide many striking writing. Possibly the three solos in the-first move- examples of the style of flute writing developed dur- ment (bars 45 -49, 85- 90, and 164-68) were ing Hirsch's time in the Esterhaza Orchestra. Haydn's way of greeting his new colleague; certain- Nos.82 and 83 have brilliant solo passagework in ly they immediately put Hirsch through his paces their Finales; the Romanza of No.85, 'La Reine', as they once again included the high register note has a most elegantly French obbligato; and No.87 G. In the third and fourth movement Haydn in- pairs flute and high oboe in a unique lyrical in- troduced a new idea: having the flute double the terlude in the Adagio, before setting it to lead the first violins an octave higher in certain passages. wind band in the soaring colours of the Finale. From then on, acceptance of an extended tessitura Hirsch no doubt relished these richly varied flute allowed him to choose at will between unison and parts and those of the final symphonies of this octave doubling, whereas the earlier symphonies period, especially Nos. 88, 90, and 92, 'The Ox- had been confined almost exclusively to unison in ford' (the last one he would have played), which the comfortable middle range of the flute. The first includes two superb wind band solos in its slow twenty bars of the Minuet of No.61 provide a good movement (bars 55 - 60 and 98 - 107). example of his ingenuity (although he stopped short Only the twelve 'London' Symphonies remain- ed, and there Havdn did not fundamentallv alter not be taken too seriously, at least as regards his treatment of the flute writing, he just continued to refine it. Nine the flute. 7Antony Hodgson in The Music of : the Sym- of the twelve symphonies are scored for two flutes, phonies, London, Tantivy Press, 1976, p. 171, recounts that for but Haydn mainly uses them in unison for tonal the Vienna State Opera recording of No.24, conducted by Max reinforcement of the tutti passages. Considerations Goberman, 'a stylish cadenza . . . was composed, just before the of balance with the large London forces may have recording session, by H. C. Robbins Landon and the conduc- tor, each taking alternate bars'. (!) suggested two flutes, but his basic thematic think- *The published Flute Concerto in D, attributed to Haydn, is ingstill centred on one solo instrument, and the in fact by L. Hofmann; see the Haydn work-list, op. cit. second flute is rarely given an independent part. 9Joachim Quantz, On Pkzying the Flute, trans. Edward R. Reil- Notable among these symphonies is the delicate ly, London, Faber, 1966, p.162-3. flute figuration in the slow movements of Nos.94, I0See the notes accompanying the fourth volume (Nos. 49- 56) of the complete recordings of the Haydn Symphonies by the 'The Surprise', and 101, 'The Clock'; and a last Philharmonia Hungarica, conducted by Antal Dorati, Decca brief solo in the closing pages of the final sym- HDND 19-22. phony, No.104, 'The London'. No.100, 'The "See Carleton Sprague Smith, 'Haydn's Chamber Music and Military', is perhaps the finest example of Haydn's Flute', Musical Quarterly, 1933, p.342. remarkable artistry in blending the flute into the I2Eulenberg score pp.13- 15, bars 72- 111. orchestral texture and thematic structure of the Reprinted from the Haydn Society of Great Bri- music. Here we may certainly feel it achieved full tain Newsletter, No. 7, 1987. status in the orchestra. With the benefit of hindsight we can now ap- O Edward Blakeman preciate the extent of Haydn's many musical in- novations, for so long unrecognised. His pioneer- ing treatment of the flute in the orchestra should surely be counted among them. It is ironic to note, therefore, that in 1855 Berlioz scorned the inclu- sion of an example of Haydn's flute writing in an expanded German edition of the Treatise on In- strumentation." Had he been able, Haydn might have smiled knowingly and pointed to Berlioz's in- spired coupling of unison first violins and flute, beginning in the low register, for the first ap- pearance of the idee fixe in the Symphonie Fantasti- que (1830).12It is, incidentally, the first allegro of that work. 'Friend! Look . . . '.

FOOTNOTES

IThe first page is reproduced as the frontispiece to Vo1.6 (Nos. 58-65) of the Philharmonia Cniical Edition of the Complete Sym- Michael White phonies, ed H. C. Robbins Landon, London, Universal Edition, 1976. Bar numbers throughout refer to this edition. 2The Academy of Ancient Music, conducted by Christopher Hogwood, have recorded four of the 'London' symphonies on Musical Instruments L'Oiseau-Lyre 414 330-10H (Nos. 94 and 96) and 41 1 833-1OH (Nos. 100 and 104). They illustrate with something approaching the 'original' sound some of the points about Haydn's flute writing included in this article. Flute Specialists 3See H. C. Robbins Landon, Haydn: the early years, 1732 - 1765, London, Thames and Hudson, 1980, pp.348 and 412-4; and All leading makes at discount Haydn at Esterhaza, London, Thames and Hudson, 1978, pp.72, prices 79, 94 and 429, for sources of information on Sigl and Hirsch Repairs quoted from the Esterhaza Archives. 4Numbers and dates are as given in Section 2 of the Haydn Credit terms work-list in The New Grove Dictionary, Vol. 8. 5No. 54 (1774) was originally scored for strings, oboes, bassoons 11 Queen's Parade, Queen's Drive, and horns; parts for two flutes and trumpets were added much Ealing, London W5 3HU later. See Haydn at Esterhaza, op. cit., p. 307. Telephone 01-997 4088 6Haydn's oft quoted remark to Kalkbrenner: 'I have only just learned in my old age how to use the wind instruments, and now Opp. North Ealing (Picc.) Station that I do understand them I must leave the world', should perhaps THE SEASON IN MALTA TOM COTTERELL

Its all go in Malta at present. There is a concert The programme-notes mention that Mercelli has every night this week and a workshop most morn- recently published his own version of Handel's ings in the Ballroom of the large 'Hotel Phoenicia' Flute Sonatas. Could he have written out all these near the main gate of Valletta, the island's capital ornaments in full? I remember the black scores of and the huge 16th cent. fortress of the Knights of Couperin's flute duo edited by Louis Moyse which St. John of Jerusalem. I have never been able to sort out, and know that Quite independently, the National Manoel I shall stay with my old 'Carte Edition'; the three Theatre in Old Theatre St. Valletta is also into its graces are enough for me - trill, turn and mordent. season with a series of concerts and opera. This very It is said that embellishment of the note comes pretty little theatre is th.e oldest existing one in naturally to the Italian voice and, as far back as the Europe having been built for the Grand Master 14th cent. the Pope forebad its use in plainchant, Manoel de Vilhena in 1731. It has since been a doss- but what else is 'jazz' at which the British excel? house, warehouse and a cinema but is now A word about the guitar: surely the classical guitar beautifully restored and extended into the adjoin- is the ideal accompaniment to the flute! At the ing palace to provide two smaller halls, known as Manoel we have such trouble with the vast Stein- 'The Foyer', popular for recitals. way drowning the soloist. Piero Bonaguri was So on Tuesday evening we found ourselves with always discreet but provided a firm tread, undeter- the choice of Stravinsky's 'The Soldier's Tale' stag- red by the myriads of notes thrown at him. He ar- ed in the Ballroom at 7 pm, or a 'Recital for Flute ranged his own accompaniment and his rich warm & Guitar' at the Manoel Theatre at 7.30 pm. Much chords gave just the right balance to the ensemble. as we would have liked to see and hear John Arnis, Massimo Mercelli then played a well-chosen cy- Timothy Bannerman and the ballerina Sophia cle of fifteen dances by Schubert, arranged from the Lefevre, flute and guitar were our things; the piano, which were enthusiastically received. flautist was Massimo Mercelli of the Hindemith A very personal and polished performance of Quartet and the Chamber Orchestra of Genoa and Debussy's 'Syrinx' followed and then a refreshing Professor at the Conservatorio of Pesaro with the surprise; three short works by the Japanese lady, equally famous Piero Bonaguri, Professor of guitar Toyoko Yamashita, most delicately played. at the Conservatorio of Bologna. Piero Bonaguri shone in the final piece; Sonata Not having booked, we were dressed for the Op. 85 for Flute and Guitar by Mauro Giuliani, gallery, complete with two cushions but the clash the Italian guitarist of the 19th. cent. Here the two of events meant that the theatre was only half-full instruments were evenly matched and engaged in and this by the loyal Italian community who had brilliant dialogue. sponsored the performance. For a modest E7 we It was most interesting to listen to a top Italian were offered a stage-side box which added to our flautist; his fast playing was so neat and his articula- enjoyment. tion sometimes almost brittle. He had a wide range The great crystal chandelier dimmed. Mercelli, of expression but not perhaps, the volume of our looking ten feet tall beside the short guitarist, strode 'English sound' (which our Austrian maestro used in, wearing a loose-fitting, sombre, tweed suit, to call 'a mouthful of cream'.) heavy shoes and a benign expression, like a village After the performance the Director of the theatre priest on parish rounds. Carrying his shining golden (daughter of our viola-player) invited us to meet the rod (soon to become a magic flute) he explained, artists for a drink and we found them both easy and with a smile that their suit-cases were missing. The charming people. audience laughed and sat back to listen to the sim- On the previous night I had been to the Ballroom ple melodies of Loeillet's Sonata Op. 1 No. 1. to hear the Mozart piano quartet in G minor and Simple? - What, then, were these florid met our 1st violin there. The new McCapra Quartet passages? I had forgotten the Italian penchant for (Guildhall School of Music) were to make their ornament. How could so many notes be fitted-in debut but fog at Heathrow delayed their arrival and and still not break the flow of the melody! There forced a change of programme. In lieu we had followed Handel's sonata in E minor and, even Stockhausen's 'Harlequin' - not our normal fare more so, the embellishments took us into a world but we stayed - and witnessed a most unusual spec- of magic. tacle; a Clarinettist in a one-man ballet! Young Ian Stuart, a fine clarinettist, also has the slim, supple form of a dancer and, in a one-piece black leotard patterned with the 'Harlequin' diamonds, he was more Ariel than clown. A beautihl performance but why not a Columbine with a silver flute to partner him? We learned that Stockhausen's score details both the complex melodic line and the choreography and it took Ian a year to master it. The following night the McCapra Quartet played Beethoven and Mozart and so the Phoenicia Festival week came to a close. But next week is Italian opera at the Manoel Theatre followed by the Christmas pantomime - and for those who like bands it's 'Carnival' in February. As I write: Brr - Brr! Mary's clear voice: "Tom, can you and Bett use our tickets for the concert tonight and the play tomorrow? Eric has a cold" Yes, it's all go!

Piero Bonaguri and Massimo Mercelli

When your vibrato becomes a wobble

we're here to help. Nothing lasts forever. So, if your finale isn't pmving as grand as you'd hoped, And a mosician's playing days are no excepiion. you know who to call. Remember, we're here when the music Ill health, accident or old age - any one of these could mean stops. that your instrument case stays shut for good. However, if things are going well for you, spare a As often as not, with no sick pay or maybe no pension thought for those less fortunate -send a donation. to fall hack on. musicians can find themselves in trouble. And that's the cue for the Musicians Benevolent Fund. Tc> nFnrH LI\YOU ONIY HAVI TO PHONI 01-f~h4481.

An occasional series. Please send your contributions to the Editor. Permission for reproduction may be necessary.

S. The MUSICParty, A Caricature: Sir Thomas Kennedy, Lord Charlemont, Mr. Ward and Mr. Phelps (1751) by Joshua Reynolds. Reproduced by kind permission of the National Gallery of Ireland. East Anglian Flute Group 1

- ?r 24. From left, James wyatr,-~ine Saville, Maria Davis, Susie Sharp and Fiona Mortimer Reproduced by kind permission of East Anglian Daily Times EAST ANGLIAN CELEBRATION Supper was by candlelight and we discovered some gifted caterers and flower arrangers amongst our com- In the picture you see Trevor Wye with James Wyatt, mittee members and friends, and there was time in Anne Saville, Maria Davis, Susie Sharp and Fiona the interval to browse over Barrlines music and in- Mortimer who took part in the master class and recital struments which had been set out in the entrance hall. organised to celebrate the formation of the East Thank you Trevor Wye, Robert Scott and the Anglian Flute Society. The event was held at gracious master class pupils for this very special, never to be Gestingthorpe Hall, near Halstead in Essex on Oc- forgotten day. tober 24. Despite hurricane damage and the maestro being involved in a motor accident a few days earlier East Anglian Flute Society the performance went well. Just over 100 people came The following meetings will be at Institute Hall, to listen in the music room of the hall. Marianna High Street, Kelvedon, Essex. starting at 2.30 pm Woolley made it possible for the meeting to take place Sunday, March 13th - Will Sleath will be conduc- in the charming setting of her sister's home. Marian- ting the flute choir. na was the first teacher of the flute at Colchester In- Sunday, April 10th - Michelle Lee workshop in the stitute - it was interesting to hear her talk of her days afternoon - flute choir evening. at the Royal Academy, of knowing and Sunday, May 8th - AGM and flute choir. Charles Stainer and of her time in Berlin in the early London Flute Day June 12th - people from the area 1930's and being taught by Emil Frill. . please get in touch with the me if you require lifts. During the afternoon Trevor accompanied by On June 26th a picnic is planned and Saturday, July Robert Scott on piano kept the pupils at ease and the 9th Adrian Brett will be joining us - venues to be audience enthralled with his vivacious mix of anec- arranged. dotal humour and masterly musicianship. In the even- ing he performed a full and varied solo recital with Contact Fay Fontana, 27 London Road, Maldon, a progamme ranging from Bach to Latin American CM9 6HE for copy of the years programme. (Please music. enclose S.A.E.) FLUTE EVENTS SECTION

COME AND ENJOY THE BRITISH FLUTE SOCIETY'S 9th LONDON FLUTE DAY at the Royal College of Music, Prince Consort Rd, London S.W.7. (behind the Royal Albert Hall, nearest tube South Kensington)

ON SUNDAY 12th JUNE 1988

PROGRAMME from 10.00 Registration and Trade Stands. Coffee 11.00 Young Artists' Recital - Julian Sperry and Jennifer Sturgeon 12.00 AurMe Nicolet Masterclass 1.00 Lunch - Stands 2.00 Annual General Meeting 2.30 Judith Hall, flute and Timothy Walker, guitar 3.15 Break 3.30 Celebrity Recital - AurGle Nicolet, "Bach to Boulez" 4.30 Tea and Stands 5.00 Massed Flute Choir, conducted by Colin Fleming.

R.C.M. Cafeteria open for light lunches and snacks - Please don't all queue at once!

TICKET FOR THE DAY £6.50 B.F.S. MEMBERS (who may bring one friend for the same price)

£4 FOR CHILDREN UNDER 16 (B.F.S. MEMBERS) - £8 FOR NON - B.F.S. MEMBERS

Send your application forms with a S.A.E. to: JAMES DOWER 48 MANOR HOUSE, MARYLEBONE ROAD, LONDON, NW15NP PLEASE BOOK EARLY JANET WAY & CLIVE CONWAY Stay in the heart of this ancient University City in one of its most beautiful colleges. Play your flute all day! Daily ensemble sessions, private lessons, technique and interpretation classes. Midweek workshop for flute and guitar with Gerald Garcia. Concerts and much more!

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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). Members' lineage ads for the private sale of instruments are free

Write only one word in each box, please. FIXED CHARGE+ 30pv~~ Remember to include your telephone number or address within the advertisement. C~QMaximum 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, 147 Fleet Street. London EC4A 2HN B.F.S. DAY LEICESTER

Sunday, 1st May

Masterclasses by world renowned teacher and player GEOFFREY GILBERT & Flute Choir for All

Programme 10.30 Registration, Coffee, Trade Stands 1 1.OO Flute Choir for All 11.30 Geoffrey Gilbert Masterclass part 1 1.OO Lunch, Trade Stands 2.00 Recital of Flute Ensembles by Leicestershire School of Music 2.30 Geoffrey Gilbert Masterclass part 2 4.00 Tea, Trade Stands 4.30 Flute Choir for All - Open Workshop (Free entry to audience) 5.15 Close

Only light refreshments available

Venue: Leicestershire School of Music, College St. Leicester; just 5 minutes walk from B.R. Station

Cost: for B.F.S. Members - £3, non-members - £6 Masterclass players - £10, non-members - £20

Advanced booking and choir music available. Please send large S.A.E. to: Russell Parry, 21 St. Philip's Road, Leicester LE5 5TR stating standard required. Bath Surnrner School of WOOL WARD 6r WINTERBOURN Baroque Music to give WOODWIND MUSICAL INSTRUMENTS 9th Annual Course 7 - 14 August 1988 QU.4LllY WOODWIND + E Rat Clannetr The ninth annual course in Baroque music and dance Yedium Bore B flat Clanneu organised by the Bath Summer School of Baroque Music INSTRUMENTS will be given from 7 to 14 August 1988 at Douai Abbey ALL INDMDUALLY HANDBUILT BY and School, Upper Woolhampton, near Reading, Oboer & Con run4 by L A. fhmhrl Eneland.U The course will include master-classes. lectures and ensemble coaching in music and dance of the 17th Clarind fund by C. .Acton and 18th centuries, with emphasis on historical perfor- mance practices. Period instruments will be used exclusively. The distinguished faculty will consist of the following internationally-renowned artists and teachers: SPECIALISTS IN HANUPACNRC - REPMR Micaela Comberti, baroque violin WHoLESALe mAm Complete Overhauls - Lucy Graham, baroque dance Keywork Alterations MAIU)RDER Judith Nelson, voice 81 Complete Rebuilds Michel Piguet, baroque oboe and recorder on all Woodwind John Solum, flauto traverso OUR AFTER-SALES SERVlCE Colin Tilney, harpsichord and organ IS SECOND TO NONE Peter Vel, viola da gamba and baroque violoncello All enquiries regarding the course should be directed to Colin Bromelow, Register, Bath Summer School of 75. Alexancba Road. Hendon. London, NW4 2RX. Baroque Music, 2 Charleville Circus, London SE26 6NR, Tel: 01.203 2678 England.

Study Baroque and Classical Flute with JOHN SOLUM

at the Bath Summer School of Baroque Music

7 - 14 August 1988 Faculty members of the Bath Summer School of Baroque Music (l.to r.) John Solum,flauto traver- DOUAI ABBEY, near READING so; Lucy Graham, baroque dance; Peter Vel, baro- que cello and viola da gamba; Micaela Comberti, 9th Annual Course baroque violin; Michel Piguet, baroque oboe and Masterclasses, ensemble coaching, baroque recorder; Judith Nelson, voice; and Colin Tilney, harpsichord and organ. The 1988 course will be orchestra, lectures, concerts. held from 7 to 14 August at Douai Abbey and Faculty includes Colin Tilney, Judith Nelson, School, Upper Woolhampton, near Reading, Michel Piguet, Micaela Comberti. Peter Vel, England. Lucy Graham. I:or hrochrrr.i, anrl frrll r1rtail.s. 113ritc Colin Bromelow, Registrar Bath Summer School of Baroque Music 2 Charleville Circus London SE26 6NR v FLUTE EVENTS DIARY FOR APRIL, MAY and JUNE 1988 Solo, Chamber Music and Masterclass dates in the U.K. and elsewhere. Please send details of dates, personnel, venues, times and programmes (for July., Aug., Sept., '88) to the Editor by 21st of April for June issue. Thank you! It helps everybody.

10 April Clive Conway - Shiplake College, Nr. Reading - Five Winds, Wind Qt. 10 April Michelle Lee - Workshop with E. Anglian F1. Choir. Kelvedon. 14 April Christopher Hyde-Smith. Bradford. Lunchtime recital with Jane Dodd. 14 April Teresa Elvin - St. James, Piccadilly 20th Century Week; concert for flute, violin, cello and piano, to include Lennox Berkeley's Concertino. l. lOpm 17 April Colin Chambers - Chester Town Hall. Ibert Concerto. 7.30 pm. 23 April Judith Hall - Australia 23 April Judith Hall - Hong Kong 26 April Jennifer Stinton - Lunchtime Recital with S. Mitchell. Bishopsgate Hall, London 1.05pm 27 April Philippa Davies - QEH. Solo flute with Hatfield Philharmonic Society 29 April Philippa Davies - BBC Birmingham concert playing Boulez and Crosse for solo flute and chamber ensemble 29 April Jennifer Stinton - Flute & Harp Recital. Nailsworth Festival, Gloucestershire 7.30pm 30 April Jennifer Stinton - Battle Festival. Brandenburg 5 1 May Geoffrey Gilbert Masterclass. B.F.S. Leicestershire School of Music. College of St. Leicester. 4 May Christopher Hyde-Smith. Nat. Mus. of Wales. Turner House, Penarth with J. Dodd (hpd.) 5 May Philippa Davies - Bristol lunchtime BBC Haydn and Piggott flute trio. Nash Ensemble 11 May Judith Hall - Pollock House, Glasgow Entr'acte 7.30 12 May Christopher Hyde-Smith. Bath Univ. Viotti & Martinu. 12 May James Dower - Durngate, Northampton. Recital with Sioned Williams, harp. 1 pm. 15 May Flute Ensemble. Tutor Michael Axtell. Mary Ward Centre, 42 Queens Sq. London WC1 11-5 17 May Colin Chambers - Preston Guildhall. Cimarosa Concerto for two flutes, with Tony Ovenell, RLPO, Pesek. 7.30 pm. 21 May Clive Conway - Selborne, Hampshire - Five Winds, Wind Qt. 25 May Colin Chambers - Southport Arts Centre. Cimarosa Concerto for two flutes, with Tony Ovenell, RLPO, Pesek. 7.30 pm. 25 May Philippa Davies - Manchester live BBC concert. Flute and piano recital 31 May Philippa Davies - St. Johns Smith Square. Paul Reed flute concerto 2 June Judith Hall - St Johns Smith Square F1. and guitar 1.15 pm 4 June Clive Conway - Donhead St. Mary - Baroque Ensemble. 7 June Clive Conway - Winchombe Library, Cheltenham, Glos. (South West Arts) F1. & Gtr. 7.30. 8 June Clive Conway - Guildhall Arts Centre, Glos. (South West Arts) F1. & Gtr. 7.30. 9 June Clive Conway - Stroud. (South West Arts) F1. & Gtr. 7.30 12 June B.F.S. London Flute Day. Royal College of Music. Sth. Ken. 14 June Philippa Davies - QEH lunchtime. Debussy trio, Nash Ensemble 16 June James Dower - Greenwich Festival, Ranger's House. Recital with Sioned Williams. 7.30 p.m. 17 June James Dower. Devizes Festival. Mozart Concerto. 20 June Clive Conway - St. Anne & St. Agnes Church, City of London Fl., Gtr., & accordion 1.10 pm. 23 June Judith Hall - Stogumber Music Festival Taunton

We have had a request from a member in Germany who would like to be kept informed of any impending flute events by U.K. flautists on the Continent. Please let me have any information about this in addition to U.K. Venues. ED.

PLEASE SEND IN DETAILS OF ALL SUMMER SCHOOLS IN THE U.K. AND EUROPE FOR WHICH YOU HAVE INFORMATION, FOR THE JUNE ISSUE. ED. B.F.S. NORTHERN FLUTE DAY 30 NOVEMBER 1988

at the ROYAL NORTHERN COLLEGE OF MUSIC

THE DAYS EVENTS INCLUDE; MASSED FLUTE CHOIRS with ROBIN SOLDAN and RUSSELL PARRY A CELEBRITY RECITAL with WILLIAM BENNETT flute CLIFFORD BENSON piano

Full details in next issue of PAN

REVIEW SECTION Open Ear be well-worth a hearing, despite their obscurity. - The Sonata in D by Adalbert Gyrowetz (compos- A personal survey of BBC broadcasts for ed in 1815) showed the strong influence that Haydn flute during the last quarter of 1987 had on the composer; the Sonata semplice by Petr Eben of 1957 reflected its title in the fresh ap- CHRISTOPHER STEWARD proachable style of the music. Sebastian Bell played The quarter began with a performance by James beautifully in the first broadcast performance of Ar- Dower of the engaging Serenade by Damase for nold Cooke's Flute Quartet (1936), a substantial and flute and strings. In a programme of music by valuable contribution to the repertoire for the Schubert, Richard Davis played the well-known In- combination. troduction and Variations. Less familiar were the A programme in the 'Friday Night is Music Aria and Passacaglia (the latter a virtuoso nnaccom- Night' series on Radio 2 in December featured Jane panied piece) by Dohnanyi, played by Margaret Pickles, the principal flute in the BBC Concert Or- Camubell in a recital which also included Martinu's chestra, as soloist in a sprightly performance of the fine 'Sonata. Godard Waltz. 'Matinee Musicale' gave us another November brought Martin Parry and his fellow- opportunity to hear James Dower, this time in

members of the group- - Syrinx with another of their Janacek's March of the Blue Bird (for piccolo), programmes of unusual and very attractive reper- Vladimir Cebyn's romantic Andante (both with toire for flute, harp and string trio; PiernC's 'Voyage piano) which he played at the 8th London Flute au pays du tendre', the Quintette by Fran~aix,and Day, and the last two movements of Benda's E Tournier's Suite. An unexaggerated (and hence ef- minor Concerto with orchestra. fective) performance of Debussy's Syrinx completed Jiri Marsalek,took part in a programme of wind the programme. The pieces by Czech composers quintets played by the now familiar Academia Wind in an enjoyable recital by Judith Fitton proved to Quintet of Prague. Haydn's Divertimento in Bb was followed by Otomar Kvech's Kvintetiada in the first To relax, you can practise the things you have broadcast of its 1984 revision, and the Quintet by been freshly introduced to, but there is also a bar Lukas Matousek, composed in 1987, and also for drinking coffee and making fun with your new receiving its first broadcast. More wind quintets friends. And there is tennis, swimming, sitting on could be heard played by the Aspen Wind Quintet the lawn if you like, or marching round the garden with Barli Nugent; Elliott Carter's brilliant Quintet in G-major, to the sound of the first movement of of 1948, La Cheminee du Roi Rene by Milhaud, Mozart's concerto. Ligeti's pithy and exciting Six Bagatelles of 1953 As a finale, a most delicious dinner served on (originally written for piano), and, to complete an tables beautifully laid with candles, was followed admirably played programme, the delightful by unforgettably high spirited entertainment, a Humoreske by Zemlinsky. cabaret, with plenty of music. Bach in jazz, Cana- dian flute duos, popular songs: "Tea for two", two A FLUTIST'S people for one flute, one piano for four people, and SEASIDE HOLIDAY then singing together and saying good-bye. A trip to England, first time in your life, is an Back at home, when you tell your family the exciting experience, especially if you are a flutist, Ramsgate story, they will finally ask . . . and what going to attend a mastercourse where flutists gather about the sea? . . . what was that like? And you from all parts and nations of the world and where reply: Oh yes, the sea . . . really . . . I wonder where you will find tutors revealing the deepest secrets it actually was. I tried to go there once or twice but of flute playing. If you are someone coming from you know I didn't want to miss that concert . . . a big city inside the continent, and the course takes and I had to practise, too. No, I am sure I have made place in summer, at a beautiful seaside place like the best choice. The course gave me so much more Ramsgate, you are perhaps day-dreaming about than I expected. long lazy hours on the beach, breathing in fresh sea Katalin Fehir air and marvelling at the panorama of the sea at sunset. After a shaky flight and London sightseeing in pouring rain you are welcomed at Ramsgate railway MUSIC REVIEWS station by the friendly staff, who take you to the John Heiss' Mosaics 'for a very large array of flutists' ancient building of St. Lawrence College. A quick (S.M.C) which I heard in St. Louis at the N.F.A. con- look at the full programme going round the flute vention, comes without a score (its not necessary) but 20 parts in a folder. The instructions state that each bar makes you feel a little lost. But you soon recover, 'should not synchronise with your neighbour'. What I thanks to the enthusiastic guidance by Sarah Fenn remember of it was organised chaos. Still, there aren't and her colleagues. The only thing you have to do many pieces for upwards of 20 players. It's harmless fun. is to follow the programme with open ears and Volumes 3 & 4 of the Sammartini Sonatas, Op.2 heart, not to miss a sound, or a word: the scale class (Sonatas 7-9 and 10-12)Kunzelman (via Schott) for flute, out of doors at daybreak, conducted by Geoffrey or violin and continuo; a very nice group of Sonatas, Gilbert, morning and afternoon classes with Trevor though rather low writing, with plenty of low D's, Wye (based on his quite unique Practice Books) and perhaps more suited to the violin. with Kate Hill and Clare Southworth (giving ex- From Fentone comes a very jolly arrangement of Paganini's 24th Caprice, in the form of "Hoe Down", cellent ideas how to practise the basic things on the by Colin Cowles for flute & piano (£2.10) which would flute). work as well with several flutes doubling the solo parts. "The flute puzzle" - repair class with the always Peter Schickele's Spring Serenade, for flute & piano Elkan helpful Ian McLauchlan. Clifford Benson's sonata Vogel(L15.75) (via U.M.P.) tries hard to be interesting class and master classes with Geoffrey ("the sing- with such movements as Whirl Wind Waltz, but failed, ing flute") and Trevor, who played syringes and when I played it through, to evoke more than a yawn. bones as well as his forty flutes, giving a funny con- From U.E. (via Kalmus) came two offerings, an early cert on all of them, with Robert Scott's untiring 19th century Grande Sonata by Hoffmeister (£7.25) and accompaniment. And other concerts, too. A real en- Volume 2 of 6 duets for 2 flutes by Haydn in a contem- joyment to listen to Clare, Kate, Rachel Brown and porary arrangement by Samuel Arnold and printed in fac- simile (£11.20). The Hoffmeister is more properly for Graham Jackson (piano), also playing ancient in- piano and flute but with a much more interesting flute struments and chamber music for one, two, three part than is generally provided. Not too long, it is a cut four or more flutes, big and small. Enthusiasm was above the usual indigestive material of the period, tuneful, at the top after Clifford's piano recital and Trevor's good piano writing, and within the capabilities of a grade and Robert's candle-lit Vivaldi performance late at V111 player. The Haydn is the usual form of duo; one night. player has the tune whilst the other bubbles quietly. A parcel from Amadeus is always eagerly welcomed, Taking Care Of Your Flute by Eric Lucey (Flute Ser- today was no exception. What attractive covers! The quali- vices) £1.00 ty of the engraving, printing and presentation, not to men- An economically produced guide which is obviously based tion the material contained within, is always above on a wealth of experience. Topics include assembly, reproach. First, Hotteterre; Four Suites for flute and con- routine maintenance and cleaning, key and pad adjust- tinuo, opus 5, Nos 1 & 2 and 3 & 4 @ £9.60 respective- ment and simple overhauling. The table of Mechanical ly. A h11 and helpful preface on articulation, ornaments Checks usually lead us to "consult flute repairer", but and inegalitC complements these tunehl Suites edited by there is also much useful D.I.Y. advice packed into this Oskar Peter. little pamphlet. Two points which might deter children: Lastly, a really fine edition of four Bach Sonatas (those a dearth of explanatory illustrations, and very small print. guaranteed as authentic); the E minor, E major, B minor R.S. and A major. The preface offers the most up-to-date Luciano Berio thoughts on compositional dates - with due recognition Autre fois (1971) of the research of Robert Marshal1 - and at the back is Universal Edition £4.00 a list of the differences between this edition and those A 45-second gem for flute, clarinet and harp. It combines most commonly in use today. This list alone is fascinating. Berio's genius for combining instrumental colours with Only one source is used for this edition. his simplicity of expression. The piece is suitably sub- In many editions there are notes long recognised as titled Berceuse canonique pour Igor Stravinsky. 'wrong', that is to say scholars have shown that the source Kazuko Narita for a modern edition has often been another earlier Episode (01987) 'modern' edition. Few editors have taken the trouble to Editions Henry Lemoine £5.60 go back to the original sources and make comparisons, As the title suggests, this piece is in a narrative form, hence the repeated errors which have come down to us much like and operatic recitative with a dramatic accom- as 'correct'. It may sound as though this edition would paniment. Its clear and melodic chordal shapes make the be useful only to 'authentic' performers. No. Its for you atonal harmony expressive and easy on the ear. It makes and me because, apart from the fact that it contains all a' pleasant four minutes. the 'right' notes, if we should seek hrther enlightenment, Dia Succari the information can be found within. Sin (@ 1987) The edition contains a reconstruction of the missing Billaudot £1 1.25 46 bars of the A major and is complete with basso part. Sin is a piece of truly epic proportions (a two part work, With an outstanding cover, at £10.00, its a fine present total duration nearly half an hour!) It is dedicated to the for any flute player lucky enough to receive it. Published Syrian countryside and its people, who would identify by Amadeus (via Schott). with the moon god, Sin, and who know the desert. The T.W. first part evokes the open spaces, the timelessness, and the shifting moods of the desert. The second part, Sacred Music Received Song moves swiftly in a dance-like 718 rhythm and has an impassioned central section. All in all, its worth the Terzetto No. 1. (3 flutes) Joseph Pranzer (S.M.C) trip. Terzetto No. 5. (3 flutes) Joseph Pranzer (S.M.C) Philip Wilby Softly awakes my hears fl. + p. Fentone £1.95 And I move around the cross (1980) Chester Music (no price) Three Little Duets for 2 flts. Amadeus (via Schott) £4.80. In this piece the flute and piano have an unusual dialogue. rhree Duos for Flute and Bassoon Amadeus (via Schott) They create different moods and textures in rapidly £8.80 changing sections by juggling fourteen fragments in various ways. In the composer's words these are "like 14 Studies and Pieces for Elementary Wind Group by snapshots taken from all angles, providing a total yet in- Stefan de Haan (Highgate Publishing) Score £3.20 Set complete view." A fascinating 10 mins. of 7 parts £5.00 'Listed: These 8 very elementary pieces represent a brave ven- Seven etudes for flute and rape (1987) ture into beginner wind-ensemble music: they are pro- by Herrmann, Risset, Fremoit, Fourchotte, Boeuf gressive, and can be played by flutes and clarinets alone, Editions Salabert £9.20 K.L. with additional trumpet, horn, bassoon and cello parts. The most popular with my pupils are the opening Frederick Kaufman. Meditation for a lonely flute. Solo "Clouds I and 11" which provide a good long-note (all fl. Merien Music (Theodore Presser) £2.75 semibreves) warm up and tuning exercise. Although Performance notes say "Improvise pitches where no Stefan de Haan has, on the whole, managed to skirt the specific note is shown" . . . "Play random harmonics . occupational hazard of dullness at the expense of difficulty . . " Etc, thereby saving the composer a lot of trouble! in beginner music, some of the pieces do get near it, but Not too demanding technically or musically to introduce the final "Flute Waltz" and "Clarinet March" are cheer- contemporary flute music to an audience, but seems to ful enough. The hand-written score suffers from poor owe a lot to Density 21.5 without its innovation. An ex- legibility, though the parts are clear. pensive £2.75 for 2 sheets of paper. There's one study for each key, just like Andersen, Boehm & Co., but the style is very different. There are FLUTEMAKERS OF AUSTRALIA helpful suggestions on how to achieve jazz grammar, and 5)LUKW FlLC CUAILITY (r 'i C+ FLUTES HEAD JOIMS you can buy a tape of the studies with a rhythm section 'Jrd' on one channel for your own personal backing. To a non- Wilden, Kiln Road, Prestwood, Great Missenden, Bucks. HP16 9DG jazzer like me these are instructive, fascinating and fun. Tel: (02406) 5258 How about one or two of these on exam syllabuses from Just as we believe that our FLUTEMAKERS OF AUSTRALIA grade 5 upwards? head joints, in Gold, Silver and Palladium, are the fmest anywhere in the world today, we believe that our hand made LEHNER FLUTES, in gold and silver, are the epitome ofquality workman- Contemporary Flute Solos in PopIJazz Styles by Bill ship, tone production and a joy to play. Holcombe. Musicians' Publications. Price, £6.25. Designed and hand made for the discerning professional, the These 10 short tunes are of easy to middling difficul- LEHNER FLUTE can be supplied in either 14K or 9K gold (with ty. Like all 'easy' music, the more advanced the player, matching gold or with silver key work) or totally in silver. the more.subtlety in the performance. As with the studies, 1 a helpful tape is available. Pierre Paubon. Pax. Solo fl.or Alto fl. Heugel-Leduc £4.10 4 Pieces for Flute and Guitar transcribed from the Piano An imaginative piece, partly serial, exploiting various Music of Stravinsky by Arthur Levering. Chester. Price, modern devices in a fairly simple way. Sensibly printed £2.25. on 3 continuous pages to avoid a turn. A useful addition These very short items have a simple melody line, and to recital repertory at an intermediate level. I suspect that the guitar accompaniment is equally straightforward. Gerald Bordner. Synergism. Two flutes. Southern Music CO $4.50 English Suite No. 4 for Flute and Guitar by John Intriguing chromatic and inventive duets of medium stan- Duarte. Chester. Price not known. dard. Parts and score. This short, 4 movement work was originally written Ph. Rougeron. Dew Pieces on Duo. Simple duets of no for recorders and guitar, but if performed on flute, the startling musical interest. Conservatoires Municipaux 3rd movement may be played on the Piccolo. The whole Syllabus material apparently. Indifferently printed. piece is imaginatively based on various English folk tunes. Billaudot £2.60 The flute part is suitable for players of grade 5 and up- wards, and the guitar part is certainly more demanding Joseph Haydn. The Seasons for two flutes. Universal than the Stravinsky mentioned above. One small gripe £5.60 to publishers. Please include the present price when sen- I often love arrangements of improbably large forces for ding music for review. 2 flutes, but I'm not sure that these work specially well, but there is some attractive music here, and it is well produced. 'Cats' selection for flute and piano arranged from the musical by A.L. Webber by Daniel Scott. Faber. Price A. Grktry. Pantomime arr. A. Brett. Fentone £1.80 £1.50. An attractive and elegant little piece, good for practising 6 unimaginative arrangements of the popular tunes. the 'Scotch Snap' rhythm. The problem is, it really is O.K. for beginners who know and like the songs anyway. too short. S.H. Due Duetti for C and Bb instruments by Jan van Music Received Beekum. Kalmus. Price £3.40. Jan Kapr. Dvojhritky. Double games for wind in- Expensive grade 3 sight reading practice. struments. Panton. £1.00 Bernard Wystraete. L'Enfant Do . . . for flute & piano. Leduc £2.10 30 Miniature Duets for 2 flutes. A progressive guide Joel Burkharrott. Chanson. flute & piano. Southern Music to sight reading by Paul Harris Fentone. Price £2.50. Co. $2.00 These are well thought out, and while having a pur- David Uber. 3 Scenes from Quimby's Prairie. fl. & pno. posehl intent (they are well peppered with good advice!), S.M.C. $6.00 they are also hn. Much better value than the duets above, F. Chopin. 6 Preludes VariCs. arr. Kessick. fl. & pno. and as sight reading they'll work from beginner level to Berben n.p. about grade 6. Serenade by Gounod arranged for flute and piano by Ian Morton. Fentone. Price £1.95. Humoreske (price £2.50) and Impromptu (price £1.95) A pretty, short, lyrical piece suitable for good grade by Dvorak, arranged for 2 flutes and piano by C.P. 4 players and above. Lynch. Pan Educational Music. Either of these fetching numbers would make charm- 24 Jazz Etudes by Bill Holcombe. Musicians' publica- ing short concert items for players of grade 4 and above. tions. Price £6.35. The parts are of equal importance. Der Freischiitz by Weber. A contemporary arrange- player can supply his own realization. Everyone knows ment for 3 flutes edited by Henner Eppel. Zimmermann. the history of the fireworks music, and now we have an Price £7.00. opportunity of playing all the well-known tunes, but per- Each of the 3 parts runs to 16 pages (no score), and sonally I miss the trumpets and the kettledrums. the turns are just possible. If you know the style of roman- tic opera, then this would be good fun for one of those von Gallenberg Eine Kleine Ballettmusick fiir zwei flautists's evenings. A warm fire, a glass of mulled ale, floten Zimmermann (Novello) £7.80 convivial company and . . . . Count von Gallenberg was Viennese, a contemporary of Beethoven, his wife was the dedicatee of the Moonlight Bossa Nova (£3.70) and Swing (£4.25) by Jelle Sonata. He wrote a large amount of ballet music, and Hogenhuis. Kalmus. this piece, Alfred the Great, for two flutes was one of Only the scores of these were provided by Kalmus for the more popular. This edition is based on a contemporary review. Check that a set of parts isprovided in the price, print and consists of numerous pieces several of which or you'll need to buy 4 copies of each! They are basically I recognise as Scottish tunes. The editor of this volume, short, simple tunes for 'elastic' ensemble. The first is 32 Werner Richter, seems to be completely unaware of this. bars which can be performed by 1,4 or 7 flutes with piano Indeed von Gallenberg seems to have made use of the ,or 7 flutes without piano, or any of these combinations same folk tunes as Beethoven used in Op.107. Perhaps & guitar and portable keyboard. The second is 45 bars the ballet should have been named Robert the Bruce in- for 1, 3, 5 or 5 + piccolo with piano, or 5 flutes without stead of Alfred the Great. piano, or any of those + guitar and keyboard. They are both produced under the title 'Community Swinging' Listed: Prelude 3 for Solo Flute by Edward McGuire. Scot- Francis Coiteux. Rosinette pour flfite et piano tish Music Publishing. Price not known. Henry Lemoine (U.M.P.) £3.45 2 pages of very approachable contemporary unaccom- panied flute writing, which should be of interest to grade Jules Massenet. Eligie Ghrd Billaudot (Kalmus)~1.95 8 + players. Tschaikovsky Danse des Mirlitons (from the Nutcracker Also received unpriced:- Suite) Car1 Fischer (Boosey & Hawks) £2.95 Citrus Suite by Bruce Fraser for a Mixed Bag of JC Woodwind players. Loch Lomond, A Whiter Shade of Pale, Corona- tion Street and Merry Christmas Everybody for every concievable instrumental combination. All these are published by Chester in an attempt to provide easy, in- teresting music for very 'elastic' school ensembles, and they certainly look as if they can be made to work. R.P.

A Chopin Notebook for Solo Flute arranged by Simon Hunt. Pan Educational Music 1.95 Advanced design and These arrangements by Simon Hunt are delighthl, acoustic technology pieces in their own right, and now it is possible to enjoy a truly beautiful them in their new setting. The selected pieces all work . well as solo pieces, are clearly printed and reasonably priced.

A Bizet Notebook 'Fantasia on Carmen' arranged by Simon Hunt for solo flute. Pan Educational Music £1.95 A selection of the best tunes from Carmen well adapted for the solo instrument. Another masterly collection from All models supplied our editor Simon Hunt. in leather-covered cases with a choice of hand-crafted Handel.The Musick for the Royal Fireworks edited case covers. For further by Peter Henison O.U.P. £4.24 This edition is based on the arrangement issued by John details contact 07372 43138 Walsh in 1749. Peter Henison has supplied an accom- or write to 37 Smith Road, paniment for keyboard based on the orchestral score, but Reigate, Surrey RH2 8HJ has also maintained the figured bass so that the keyboard COMPLETE YOUR COLLECTION

"THE FIRST FOUR YEARS"

We still have copies of most of the 1st 15 issues, edited by our founder editor Lorna Lewis. There are many fascinating articles which will undoubtedly become collectors' items of the future.

Here is a selection of contents from various editions. VOL.l NO. 1 is, alas, not available.

Vol. I No. 2 Jul$August l983 43pp 1. The 5th Festival del Flauto (at Belveglio) - Albert Cooper and Stephen Preston 2. Report of the Jean-Pierre Rampal Masterclass. B.F.S. 1st London Flute Day - S~monHunt

Theoblad Bohm (flute maker, flautist, composer 1794- 1881) - Ludwig Bohm 5. Teaching the Flute in Schools and After: the im- portance of a Relaxed Embouchure - John Francis 7. The Forgotten Flute. (The Flute in Antiquity) - Madeau Stewart 8. Circular Breathing and the Flute - Zdenek

rs 1920 to the present day

All these issues have an interesting old flute print reproduced on the cover. Vol. 3 No. 2 June 1985 60pp. 1. Rene Le Roy (1898- 1985): an appreciation - Ed- ward Blakeman 2. Stevenson and the Flute (Robert Louis) - Geof- frey Brook 3. The Flute or the Headjoint (Which came first?) - Juan Novo 4. Gadget Page: Embouchure chimney depth - A. And ideal present Cooper for a flute-playing 5 The Flute, the Hammer and Sickle (Part 2) - Trevor Wye friend, 6. Eurobusking - Jane Charles 7. The Flute in Winter - Gillian Williams niece, 8. The Capped Flute Head; a radically new design - nephew, Ian Senior 9. Grade Examinations: Associated Board and Trini- pupil, ty College - Patricia Moore 10. Fay was Fifty - Fay Fontana ..... 11. A Musical Knot - Gordon Heard 12. The Gentle Art of Choreography - Basil Bolshoi 13. Marcel Moyse - Laurence Bertrand. trans. Rachel Wood (including some rare pictures). 14. Acquisition of Perfect Pitch Revisited - Pamela Breese 15. On a Personal Toot (memoir) - Gordon Heard 16. Fluting in Australia - when the going gets hot - Robert Brown Vol. 4 No. 2 June 1986 52pp. 7. Marcel Moyse 1889- 1984 - Trevor Wye 1. A Visit to the Paris Conservatoire, February 1986 - Trevor Wye 2. William Bennett 50th Birthday Concert - T. Wye 3. Song and the Flute - Louis Fleury, into E. Blakeman 4. Goldsmith and the Flute - Geoffrey Brook 5. Early Music in Malta - Tom Cottrell Remember, 6. Eight Statements and a Coda concerning the Per- formance of 18th Century Music - Frans Vester Back Issues transl. by Frieda Leia Jacobovitz will not 7. Gadget Page: the 6th Australian Flute Convention - A. Cooper . always be 8. A Piccolo Story - John Andrews 9. A Tribute to another Flautist's Spouse - Joan available, they Miller will not be 10. Flute Studies for the Pre-Student Years - Russell Parry reprinted 11. The Birmingham Flute Day 12. The Trivial Pursuit of the Flute - Nancy Toff 13. The Marvellous Flute - J. Jack Haden 14.' B.F.S. Flute Teachers Course 25-27 April 1986. A Personal Comment - Rene Mairis

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