Jeanne Baxtresserâ•Žs American Flute Heritage: a History of Tradition and Excellence

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FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

JEANNE BAXTRESSER’S AMERICAN FLUTE HERITAGE: A HISTORY OF TRADITION AND EXCELLENCE

DAVID MANUEL GRAHAM

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Fall Semester, 2013

David M. Graham defended this treatise on November 7, 2013.

The members of the supervisory committee were:

Eva Amsler Professor Directing Treatise

James Mathes University Representative

Timothy Hoekman Committee Member

Patrick Meighan Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.

To My Family.

iii

ACKNOWLEDGMENTS

The completion of this document would not have been possible without the guidance, support, and encouragement offered to me by my supervisory committee of Dr. Timothy Hoekman, Dr. James Mathes, and Professor Patrick Meighan. A sincere thank you to my teacher and committee chair, Eva Amsler for her years of guidance, wisdom, and inspiration during my time at Florida State. Under her supervision I have learned to become independent and mature as an artist and teacher. Her tutelage has profoundly affected me as a person and musician; for this I am grateful. Thank you to my teacher and mentor, Jeanne Baxtresser, for sharing with me her time, stories, and personal experiences that have been central to her development as a musician and teacher. I am indebted to the endless enthusiasm and encouragement that Jeanne has offered me during the conception and execution of this project. Thank you to Katha Kissman of the National Flute Association and Patricia George from Flute Talk Magazine, for their help in locating old publications that have been instrumental to the research for this document. A special thank you to Sandra Ragusa for sharing her experiences with Julius Baker, and to my former teacher Stacey Steele for her advice and support throughout the writing process. Many people have encouraged and supported me during the completion of this degree; however, I must mention the devoted friendship of Sara Chiesa, Katie Woolsey, Johnathan Robinson, Julia Walsh and Shelley Martinson. Thank you all for the countless emails, phone calls, text messages, Skype sessions, and coffee breaks that have allowed me to get through this process in one piece. Few people are lucky enough to go through a degree with such generous and considerate friends. Most of all, to my dear family, John, Luz, and Mark, I want to acknowledge the unwavering support and confidence you have always had in me to pursue my dreams in music. A special thank you must go to my father, Dr. John E. Graham, for the hours of revisions, feedback, and relentless encouragement he has given me. This document would not have been possible without his guidance as an ideal example of a teacher and father. To my partner and friend, Kevin Shields: Your patience and support have been immeasurable throughout this portion of my academic career and I cannot thank you enough.

TABLE OF CONTENTS

LIST OF TABLES ...... vii

LIST OF FIGURES ...... viii

ABSTRACT ...... ix

1. INTRODUCTION ...... 1 Significance of the Project ...... 1 Relevant Literature ...... 2

2. GEORGES BARRÈRE AND THE FRENCH TRADITION ...... 3 Introduction ...... 3 History of the French School and Background ...... 3 Georges Barrère: French Years ...... 6 Barrère and the Flute in America ...... 8 The New York Flute Club ...... 10 Barrère and the Platinum Flute ...... 11 Barrère Student Roster ...... 13 Conclusion ...... 14

3. WILLIAM KINCAID ...... 16 Introduction ...... 16 Early Years and Education ...... 16 Professional Accomplishments ...... 17 Teaching and Pedagogy ...... 19 Flute Technique ...... 19 Phrasing ...... 22 Other Elements of Musical Execution ...... 23 Kincaid Student Roster ...... 24 Conclusion ...... 25

4. JULIUS BAKER ...... 26 Introduction ...... 26 Early Years ...... 26 Young Professional ...... 27 Beginning Again in New York City ...... 30 The New York Philharmonic Years ...... 32 Life after the Philharmonic ...... 35 The Influence of Julius Baker ...... 36 Baker Student Roster ...... 39 Conclusion ...... 42

5. JEANNE BAXTRESSER ...... 43 Introduction ...... 43 Early Years ...... 43 Education ...... 44 Professional Milestones ...... 47 Studying with Julius Baker ...... 53 Thoughts on the American Flute School ...... 59 Baxtresser Student Roster ...... 61 Conclusion ...... 63

6. CONCLUSION ...... 64

APPENDICES ...... 65

A Juilliard Tribute to Julius Baker - Jeanne Baxtresser ...... 65 B Kincaid Praeludium Exercise ...... 68 C Selected Jeanne Baxtresser Discography and Publications ...... 70 D Statement from the IRB ...... 73 E Copyright Permission Letters ...... 74

BIBLIOGRAPHY ...... 76

BIOGRAPHICAL SKETCH ...... 78

LIST OF TABLES

1 Paris Conservatoire Flute Instructors (1860-1950) ...... 4

2 Georges Barrère Student Roster ...... 13

3 William Kincaid Student Roster ...... 24

4 Julius Baker Student Roster ...... 39

5 Jeanne Baxtresser Student Roster ...... 61

vii

LIST OF FIGURES

1 Heritage of the American Flute School ...... 5

2 Julius Baker and Jean-Pierre Rampal Album Cover ...... 31

3 Bernstein Welcome Letter to Julius Baker ...... 33

4 Jeanne Baxtresser playing in the Interlochen Arts Academy Orchestra ...... 45

5 European Tour with Luciano Berio ...... 47

6 With David Carroll, future husband and principal bassoonist, Montreal Symphony . 48

7 European tour rehearsal with Sir Andrew Davis, Toronto Symphony Orchestra ...... 49

8 Julius Baker and Jeanne Baxtresser ...... 54

9 Jeanne Baxtresser and Julius Baker sharing a moment together ...... 58

viii

ABSTRACT Jeanne Baxtresser (b. 1947) is considered to be one of the most influential and accomplished American flutists of the twentieth century. Despite the many American flutistic lineages that have come to surface through the teaching artistry of accomplished orchestral players and university teachers over the years, the flute heritage of Jeanne Baxtresser is a direct connection to the origins of professional flute playing in America. Furthermore, it is important to recognize that there are many different notable veins of tutelage that can be linked to the beginnings of flute playing in the United States. It is the intent of this document to trace Ms. Baxtresser’s branch of American flute genealogy, examining the careers and teaching styles of legendary flutists who helped shape Baxtresser’s heritage and career. Baxtresser has been recognized for her many years as the principal flutist of the Toronto Symphony, Montreal Symphony, and New York Philharmonic Orchestras, and for teaching at a number of respected music schools such as McGill University, University of Toronto, The Juilliard School, Manhattan School of Music, Carnegie Mellon University, and New England Conservatory of Music. In spite of her many successes, little has been written about Ms. Baxtresser’s musical background and pedagogical upbringing. This may be attributed to the fact that Ms. Baxtresser is still teaching. Each chapter of this document features the biography and significant professional milestones of prominent flutists that are a part of Jeanne Baxtresser’s flute lineage. Opening with the traditions of French conservatoire training, the life and accomplishments of flutist Georges Barrère are covered as well as his influential effect on flute instruction in the United States. In the next chapter, Barrère’s student William Kincaid is featured, focusing on his tenure as principal flutist of the Philadelphia orchestra and his instruction of many notable American flutists. His pedagogical philosophies and performance suggestions are highlighted in this chapter of the document. Julius Baker, known for his time as principal flutist of the New York Philharmonic and significant influence as a teacher, is discussed through a summary of professional accomplishments and pedagogical influences. Lastly, as one of the primary living flutists of the heritage, Jeanne Baxtresser’s extensive musical career is presented. Interviews with Ms. Baxtresser serve as the main source of documentation of her studies with Julius Baker, as well as her reflections on the current state and future of the American flute school. A student roster accompanies each chapter as a direct account of each teacher’s pedagogical contributions.

CHAPTER ONE

INTRODUCTION

Quality, tradition, and institution are all words that have been affiliated with fine schools of transverse flute playing for many years. Widely recognized as one of the most accomplished American flutist of her time, Jeanne Baxtresser is one of the living descendants of a uniquely American flute lineage. In recent years, flutists have attempted to trace the sources of the American flute school, outlining a myriad of flute “families” and highlighting their various paths and affiliations. Although it is not within the scope of this treatise to explore all of them, Jeanne Baxtresser’s lineage encompasses flutists considered to be pillars of what is recognized to be the American flute school. Due to the ambiguous usage of the term “school” in this particular context, it is important to clarify that for the purposes of this treatise, this expression will refer to the handing down of musical procedures and styles from teacher to student, the instruction of techniques and aesthetics of performance that are passed down over time, as well as artistic flute playing trends that have originated from a particular cultural or social climate.1

Significance of the Project Baxtresser’s career as an American orchestral flutist and her world wide recognition prove that her specific flute heritage is of great importance to the history of American flute playing. This particular branch of flute playing is also rather unusual in that each featured flutist had one primarily influential flute teacher during his or her tutelage prior to the launching of their respective musical careers. The origins of the American flute school and Baxtresser’s flute heritage can be traced back to flute playing in France during the middle of the nineteenth century, commonly known as the French flute school.2 Elaborating on the development of this particular school of flute playing is essential to outlining which flutists are most influential within the structure of Jeanne Baxtresser’s flute lineage.

1 Claude Dorgeuille, The French Flute School, 1860-1950 (New York: Tony Bingham Publishing, 1986), 11.

2 Dorgeuille, 11.

Relevant Literature For the research purposes of this document, biographical information for each flutist has been located by the author through various publications, including the biographical works of flute scholars Nancy Toff, Georges Dorgeuille, John C. Krell, Victoria Jicha, Kathleen Goll- Wilson, and Sandra Ragusa. There are two doctoral dissertations that have served as useful sources pertaining to the research done for this topic. Demetra Baferos Fair, a Doctoral of Musical Arts graduate of Ohio State University, has written a comprehensive dissertation entitled “Flutists Family Tree,” tracing the most prominent schools of flute teaching in the United States. Written in 2003, the document does mention Jeanne Baxtresser as a student of Julius Baker yet does not include biographical information. In 2008 Kortney James, a Doctor of Music candidate at the University of Arizona wrote a dissertation entitled “Jeanne Baxtresser, A Musical Legacy.” The document is largely biographical, using live interviews with Jeanne Baxtresser and features several chapters of pedagogical methodology and philosophies. Jeanne Baxtresser has a personal website which features a wealth of biographical information and articles she has written about orchestral and performance experience including pedagogical advice.3 Detailed information gathered through a live interview with Jeanne Baxtresser in May of 2013 serves as the primary source for information about private lessons with Julius Baker, apparent influences of previous teachers from her flute heritage, and opinions on the development and future of the American flute school as a whole. The compilation and thorough analysis of these sources is the inspiration and basis of discussion for this document.

3 Jeanne Baxtresser, http://www.jeannebaxtresser.com (accessed July 16, 2013)

CHAPTER TWO

GEORGES BARRÈRE AND THE FRENCH TRADITION

Introduction This chapter is a brief overview of the French flute school, featuring the life and accomplishments of flutist and teacher Georges Barrère (1876-1944). The background and traditions of the Paris Conservatoire as well as its prominent flute teachers are discussed, followed by a more in-depth account of Barrère’s achievements in both France and in the United States. A roster of students that have been known to have studied with Barrère is included at the end of the chapter.

History of the French School and Background Founded in 17954, the Paris Conservatoire was known for being the leading institution of musical education in France during the middle of the nineteenth century.5 Flute classes were generally small, consisting of about twelve students at a time. Entry to the class was competitive through auditions that were held every October. Depending on how many spaces were available from the previous year, two or three spots were obtainable at the school.6 There was one flute class until 1945 and no individual instruction was offered, all classes were taught in groups.7 The progress of all flute students was evaluated through playing examinations that were held yearly in February and June. These exams were conducted to evaluate every student’s general progress as well as establish his/her eligibility to compete in the yearly concours, or public examinations every July.8 Each year for the concours, a piece was assigned to each instrument (often a new commission) accompanied by a work for sight-reading. A jury of faculty members and outside invitees would award a First or Second Prize, or First or Second

4 Edward Blakeman, Taffanel: Genius of the Flute (New York: Oxford University Press, 2005), 16.

5 Dorgeuille, 9.

6 Blakeman, 16.

7 Dorgeuille, 9.

8 Blakeman, 17.

Certificate of Merit to all participating candidates. The term ‘prize’ in this particular context refers to a ranking standard that each candidate was compared to, rather than a comparison between the abilities of various students. Therefore, it was possible to have several First Prizes (Premier Prix) in a given year as well as the possibility of withholding such a prize altogether. A Premier Prix from the Conservatoire was considered to be an extremely high musical honor and was widely recognized as the key to a successful career in music.9 During the French flute school’s most prominent years (1860-1950), a relatively small number of flute teachers were employed with lengthy tenures. Many of these professors were composers as well as authors of influential method books and were also graduates of the Conservatoire. These instructors played an instrumental role in the heritage of the American flute school (see table 1).

Table 1. Paris Conservatoire Flute Instructors (1860-1950)10

Professor Dates of Service Conservatoire Graduation Vincent-Joseph Dorus 1860-1868 1828 Henri Altès 1868-1893 1842 Paul Taffanel 1893-1908 1860 Adolphe Hennebains 1901-1914 1880 Leopold Lafleurance 1915-1919 ? Philippe Gaubert 1919-1931 1894 Marcel Moyse 1932-40, 1946-51 1906

Most origins of American flute playing can be traced back to some lineage of the French school through teachers of the Paris Conservatoire, including Jeanne Baxtresser’s heritage (see figure 1).

9 Dorgeuille, 9.

10 Demetra Baferos Fair, “Flutists’ Family Tree: In Search of the American Flute School” (DMA diss., The Ohio State University, 2004), 14.

Figure 1. Heritage of the American Flute School11

11 Demetra Baferos Fair, 25.

The most prominent individuals linked to this specific vein of flute playing are American born flutist William Kincaid (1895-1967) and his French born teacher Georges Barrère (1876-1944). It is important to note that this generation of flutists who migrated to the United States, beginning with Barrère, directly influenced the development of the flute in the United States, acting as ambassadors from the French institution. A tradition of excellence in teaching, the focus on performance practice, and the importance of excellence in flute playing were all traits that were passed on to the first generation of American flute players and their future students.

Georges Barrère: French Years Georges Barrère was born on October 31, 1876 in Bordeaux, France the very same year that symbolist poet Stéphane Mallarmé published his work L'après-midi d'un faune. According to Barrère, his parents were not musical and moved their family to the town of Epernon in the year 1886. The same year, Georges’s older brother, Étienne, passed onto him a tin whistle in favor of playing the violin. Although his brother struggled with basic major and minor scales on his violin, it was not long before Georges had mastered all scales on his simple six-holed flute.12 After showing significant natural ability on the tiny flute and offering tin whistle lessons to his friends, it was suggested by the Epernon schoolmaster that Georges further his musical studies.13 Barrère later became a member of the Batallions Scholaires where he learned to play the fife and also received military training.14 Barrère’s fife instructor was a flute student at the Paris Conservatoire who felt that Barrère’s ability on the instrument was substantial, presenting him to his own teacher, Léon Richaud. Richaud took Georges to the Conservatoire to play for the professor of flute, Henri Altès. It was decided that Barrère would audit classes at the school for the year and was accepted for admission in 1890. Barrère’s progress under Altès was poor. Barrère later wrote, “(Altès) was a great teacher but I did not progress as well as I should under his tutorship. I still believe this very systematic teaching gave me no chance to develop my own.”15 Three years of struggled studies went by under the guidance of Altès until his retirement

12 Ibid, 7.

13 Ibid, 8.

14 Demetra Baferos Fair, 38.

15 Nancy Toff, Monarch of the Flute, 8-11.

in 1893. In the fall semester of the same year, Barrère met his new professor, Claude-Paul Taffanel, describing the transition as “the turning point of my life.”16 Also a student of Altès, Taffanel was known for being the finest flutist in Paris, winning the First Prize from the Conservatoire in 1860. Barrère biographer Nancy Toff takes into account the words of Taffanel’s student Louis Fleury, who wrote:

In my opinion he (Taffanel) reached limits unknown in the art of flute-playing. . . . his virtuosity was prodigious. . . . I still keep the astonishment of his lightning scales, played at random, slowed or stopped at whim, and I will always have in my ear a certain Variation of Schubert, played with an evenness and simplicity that was the height of art.17

Georges thrived under the tutelage of Taffanel and his career flourished over the next decade. He established a group called the Société moderne des instruments á vent (Modern Society of Wind Instruments), an ensemble committed to recruiting established composers to write for their woodwind group.18 As a young professional, Barrère became principal flute of the Société Nationale, a group with which he would play the world premier of Debussy’s legendary tone poem entitled L'après-midi d'un faune in 1894. Georges became highly desired as an orchestral flutist, holding positions with a number of orchestras including the Concerts Colonne, Geneva Exposition, and Paris Opéra.19 In 1905 Barrère’s busy life as a Parisian musician changed. Walter Damrosch, conductor of the New York Symphony Orchestra, had traveled to France for the sad reason that his principal flutist, Charles Molé, also a Paris Conservatoire graduate, had passed away in January and Damrosch was in search of five French wind players to play in the orchestra. Emphasizing the high reputation that the Paris Conservatoire had among musicians world wide, Damrosch wrote regarding the French musicians: “Generally speaking, a conductor can safely engage a first prize from the Paris Conservatoire in flute, oboe, or bassoon without giving him any further

16 Ibid, 11.

17 Ibid, 14.

18 Demetra Baferos Fair, 27.

19 Nancy Toff, Georges Barrère and the Flute in America (New York: The New York Flute Club), 6.

examination.”20 Damrosch was pointed in the direction of Taffanel who recommended Barrère for the position. Legendary oboist Marcel Tabuteau was also hired as the new second oboist for the orchestra.21 Later that year Barrère accepted the position with the New York Symphony Orchestra and boarded a ship for the weeklong voyage to America. He arrived in New York on Saturday, May 13, and recalls the following scene in his autobiography:

Before docking, I saw the great downtown skyscrapers on that grey cloudy morning and watched the busy traffic of the harbor with its noisy ferry boats and important little tugs snorting about, and suddenly, I began to feel myself very small and distressingly unknown in all of the pandemonium.

I began to regret leaving Paris and all the dear friends there, to say nothing of my work. I felt they would be utterly withdrawn from my life and I must now deal with strange people, new customs, wrestle with the English language, and in short enter an entirely new element.22

The subsequent chapters of Barrère’s biography take into account his accomplishments and significant contributions to the flute world after moving to the United States.

Barrère and the Flute in America After arriving in America in 1905, Barrère soon became one of the most well known flutists from the French Conservatoire to ever establish himself in the United States. Developing both solo and orchestral careers in the northeastern United States, Barrère also organized a group of wind players called The Barrère Ensemble of Woodwind Instruments in 1910. From 1920 to 1928, The New York Symphony traveled to a number of music festivals and performance venues across the country including Chautauqua. He played in the New York Symphony Orchestra until it disbanded in 1928 and when the Chautauqua Symphony was founded after the folding of the New York Symphony, Barrère became principal flute and the assistant conductor. Gaining the attention of professional musicians and critics across the country, Barrère was a performer whose

20 Nancy Toff, Monarch of the Flute, 81.

21 Ibid.

22 Ibid, 84.

work ethic was relentless. As a soloist, he was a dedicated flutist committed to elevating the artistry of his performances to the finest level, stating, “I always make up my programme so it compares favorably with that of any other soloist.”23 Solo flute recitals were not extremely common in the early 1900s; however, Barrère is credited for elevating the standard of flute performance, programming virtuosic works such as the Bach sonatas and Schubert Introduction and Variations. Barrère was known for having a charismatic character and stage presence that won over audiences everywhere he went.24 He was an avid proponent of American music and new works for flute, premiering many compositions including Charles Griffes’s Poem for Flute and Orchestra (1913), Darius Milhaud’s Sonatine (N.Y. premier 1926), Edgar Varèse’s Density 21.5 (1936), Paul Hindemith’s Sonata (1937), and Philippe Gaubert’s Sonatine (1938), all of which are now substantial compositions in 20th century flute repertoire.25 Having earned the respect and support of his colleagues, Barrère was a highly desired collaborator, working with organizations such as the Juilliard faculty and the Society for Publication of American Music, among others. Additional performance partnerships included working with soprano Emma Calvé, baritone David Bispham, pianist Harold Bauer, and dancer Isadora Duncan. He was also an avid performer of chamber music establishing a number of trios including Trio Rameau, Trio De Lutèce, and The Barrère Trio. These chamber music performances not only built on Barrère already established fame, but also assisted greatly in recruiting students to his studio at The Juilliard School.26 Barrère’s highly respected reputation as a teacher solidifies his position as one of America’s forefathers of flute performance and pedagogy. His musical roots firmly tie American flute heritage to the lineage of the French Conservatoire through Paul Taffanel (see figure 1), establishing a strong pedagogy of French Conservatoire tradition through his teaching. Barrère began teaching at the Institute of Musical Art in 1905 for an annual salary of $2,000.27 He

23 Nancy Toff, Georges Barrère and the Flute in America, 7-8.

24 Ibid.

25 Ibid, 70-71.

26 Ibid, 8.

27 Demetra Baferos Fair, 27.

moved to The Juilliard School faculty in 1931 and was known to be an advocate for excellence in woodwind teaching. It was evident to Barrère that American music schools should elevate the standard of woodwind playing by introducing the same repertoire requirements for all studios as the Conservatoire used in Paris. He believed that the woodwind playing status was “decidedly too far from that of the string instruments” and was determined to integrate the solfeggio system into instruction as well as reduce instructor teaching loads to ensure student progress.28 Barrère’s demanding and committed teaching style is undoubtedly what allowed so many of his students to also have careers in music, launching the beginnings of the American flute school heritage. According to American flute school scholar Demetra Baferos Fair, nearly 91% of American flutists living today can trace their flute ancestry through one or more of their teachers back to Georges Barrère, some 87% of them trace this lineage through his star pupil William Kincaid.29

The New York Flute Club The New York Flute Club, established by Georges Barrère, has been known throughout the United States as an organization for the advancement and encouragement of higher artistic excellence for the flute since its founding in 1920.30 Inspiration for its founding is believed to have come to Barrère after being honored by the Los Angeles Flute Club in 1919. Barrère said of their hospitality, “I have traveled thirty years and have had to come all the way from Paris to find an organization of this sort.”31 The first meeting of the New York Flute Club was held on December 5, 1920 at which time a board of directors was appointed, making Barrère the president. After regular meetings were established, the club performed monthly concerts on Sundays.32 Concerts by the flute club became a model for similar groups across the country,

28 Nancy Toff, Georges Barrère and the Flute in America, 9.

29 Demetra Baferos Fair, 28-29.

30 Nancy Toff, Georges Barrère and the Flute in America, 58.

31 Nancy Toff, Monarch of the Flute, 174.

32 Nancy Toff, Georges Barrère and the Flute in America, 58.

acting as a venue to feature new works in diverse genres that were not typically heard in major concert halls at the time. Helping to organize the New York Flute Club was a time consuming project for an already engaged musician like Georges Barrère. In a letter written to Emil Medicus, the editor of The Flutist magazine, Barrère expressed the difficulty of bringing together a city of flute players.

The Amateur sees in the club mainly the entertainments for which the Professionals are in demand. This is some time very interesting for a young and ambitious man but some others feel that they are giving more than they receive. Established Artists do not care to appear in such a way that they have the feeling of giving free public lessons. It might seem quite mercenary to you that such ideas could interfere with the welfare of a club of Flute players, but I think it is the main difficulty.

I even heard once a very brilliant Amateur saying that he considered that the Flute Quartet should have the same place as the String Quartet on the Musical World!!! I love too much my instrument to misguide its reputation by seconding such a fanatical utterance.

We have a French saying about “Qui n’entend qu’une Cloche n’entend qu’un son” that I can clumsily translate thus “Who listens to only one Bell hears only one Tone.” As a musician I should deny such a saying as whoever invented it forgot about the rich overtones of any Bell. But the originator of such a false proverb was right in his meaning, and flutists may think it over. Too much flute is perhaps worse than not enough: first: for the musical education and taste of flutists. Second: for the reputation of our instrument and its players outside of the Flute’s Guild.33

It is apparent that establishing a place for the merging of both amateur and professional flute players was of great importance to Barrère for both the future and developing image of the flute.

Barrère and the Platinum Flute Commonly mistaken as the first platinum flute ever made, the flute that Georges Barrère owned was built by the Boston based Haynes Flute Company in the summer of 1935. It was, indeed, the first flute made entirely of platinum in the world. The London based company Rudall, Carte & Co. had produced three other platinum flutes since 1933, but each of these was made with silver keys to reduce the weight of the instrument, while Barrère’s was entirely made of the dense metal. The debut of the special instrument, purchased for $2,600, was on July 28,

33 Ibid, 58-59.

1935. Soloing with the Chautauqua Symphony Orchestra, Barrère performed Bach’s Suite in B Minor and was considered to be the first concert artist to use such an instrument in a public performance.34 The addition of platinum to the range of conceivable metals for flute production initiated a frenzy of scientific testing on the timbral, volume, and response qualities of flutes made of silver, wood, gold and platinum. Barrère stated that “the platinum flute had greater brilliancy in the high register, the beautiful mellowness in the medium range and a rich fullness in the lower notes…but perhaps the most important factor…is that both the volume and the quality of the tone are better.”35 The unique instrument made headlines in both Newsweek and Time magazines. Although Barrère platinum flute had a remarkable debut to the world, his opinion of the unique instrument changed over time. In a letter to his student Everett Timm in 1941, Georges writes, “Platinum is not any better than silver…this is confidential of course.”36 Among the more than 180 works that Barrère premiered, none has had such a lasting impression as the solo work Density 21.5, written by French-born composer Edgard Varèse to officially inaugurate the platinum flute. Named after the density of platinum, the work was the first composition to utilize extended techniques on the flute through the use of key slaps. Initially not well received, Density 21.5 was premiered on February 16, 1936, and played by Barrère only three more times during his career. Resurgence in programing the piece in the 1960s allowed for the work to gain popularity, making it a staple of 20th century flute literature.37

34 Ibid, 27-28.

35 Nancy Toff, Monarch of the Flute, 278.

36 Ibid.

37 Ibid, 278-279.

Barrère Student Roster Table 2. Georges Barrère Student Roster38

Joseph Abrams Ruth Cubbage Dorsey Phillip Kaplan Albert Affeld George Drexler Emmet Keller Pasquale Amerana Doriot Anthony Dwyer John Kiburz, Jr. Chester Anderson Ralph Dye William Kincaid James Andrews Charlotte Dykema Harold Kittelplan Louis Babst Karl Kykema Rudolph Klenik Frederick Baker Bernard Elbaum Marjorie Klughers Samuel Baron Gwyneth Duane Emery Robert Klump Harry John Baugh, Jr. Anita Haines Foster Exline John Koockogey John Weston Bell John Fabrizio Clarence Kraum Bernard Birnbaum Rex Elton Fair William Kruskal Frances Blaisdell Cecil Fattey Gioia Labate Robert Bolles Frances E. Fitzgerald Alice Lambrix Israel Borouchoff George F. Ford G. Merritt Langdon Joyce Thompson Bottje Eugene Foster Elladean Foster Lebow Will Gay Bottje Frohmann Foster Edwin Lennig Joseph Henry Bove Sidney Foster Donald A. Lentz Ardelle Hookins Bowers Ruth Freeman-Gudeman Charles Lesh Marion Jordan Bridgmann Ray Friendly Kate Levenson Anabel Hulme Brieff Marjorie Broer Gallagher Herbert Levy Norna Wren Brittan Frederick Garinger Ernest Liegl Paige Brook Norman Gifford Arthur Lora Elsie Brown Bernard Zion Goldberg Quinto Maganini Eleanor Allen Buck Stephen Gulbransen Margaret Marsh Walter Campbell Genevieve Hall Mary Charlotte McClung Leo Cannon Don Hammond Edward Victor Meyer August Caputo Victor Harris Alex Michetti Marie Mountain Clark Mary Elizabeth Miles Haydu Paul Miller Walter B. Coleman Elias Hecht Samuel Miller Simone Condosta F. William Heim Julius Modesti Violet Conklin John Hein Otto Monnard Joanne Hertel Conviser Mary Henderson Carl Wilbur Moore Carmine Coppola Florentino Luciano Herrera Jean Klussman Morehead Ellen Daugherty Byron Hester Carolyn Grant Morey Johnny Dee Homer H. Honeyman George Ellers Morey, Jr. Julia Drumm Denecke James B. Hosmer Alec Moroshan David DeVol Carl Blair Hutchings Robert E. Morris Valentine Dike Domenico Iasconi Harry H. Moskowitz Anthony DiLascia Mary Johns Adolph Muhlenthaler E.A. Dobson Victor Just Duncan Murphy

38 Demetra Baferos Fair, 30-31.

Table 2. continued

George H. Neitzert Howard Rowland Harry F. Thorne Edwin Nelson Walter Rubsamen Everett LeRoy Timm Emil Niosi Gerlad B. Rudy Laurent Torno John Norris Maurice Sackett Lois Turner Warren Ross Norwood Edith Sagul Caroline Solfronk Vacha Lesley Greaves Oakes Lois A. Schaefer Sylvia Van Riper Jim Patrone Brown Schoenheit Albert Weatherly Chester Perry Max Schotter Paul Welch John Petrie Fran Schwartz Frederick White Christine Howells Pfund Vineeta Scheweitzer Jean Overman Whiton Elaine Pippin Eugene Seaman Frederick Wilkins Leonard Posella Faymond E. Selders Raymond E. Williams George Roscoe Possell Maurice Sharp Meredith Willson Sarah Lillian Possell Irving Shoichet Joseph Winston Francis J. Prand Paul Siebeneichen Milton Wittgenstein Bruce P. Price Harry Silverstien Adam Wojtysiak Gerald Quinland Elmber M. Sinclair Kathlyn Woolf Morty Rapfogel Edna Stadler John Wummer Morton Reibman Ethan Stang Mildred Hunt Wummer James Reynolds Douglas Steensland Gregory Zeitlin Walter Robesman Lamar Stringfield George Zepf Fred Rogers Howard Suslak Patricia Powell Zirkle Jeannette Rogers Rose Taubela H. Henry Zlotnik Page Grosenbaugh Rowe Parker Taylor

Conclusion The life, accomplishments and countless contributions that Georges Barrère made to the flute world through a life of performance and teaching are so substantial that it is difficult to summarize which take precedence over others. Nevertheless, it is clear that his legend and devoted approach to the French tradition of fine woodwind playing has lived on through his students’ careers in music. Lola M. Allison beautifully outlines Barrère’s sophisticated approach to music using his words in an article: I know well that soloists on other instruments indulge in such false demonstrations but we must not follow their bad example. Our mission is to serve Music – not ourselves. We must always avoid sugary sentimentality, rough exaggeration of style, futile exhibition of technique and bear in mind nobility and dignity of expression and right sense of proportion.39

39 Georges Barrère, quoted in Dorgeuille, 92.

The accomplished musical life of flutist Georges Barrère leads directly to the career and teachings of his most influential American student, William Kincaid. Kincaid was Barrère’s pupil at the Institute of Musical Art and went on to play with his teacher in the New York Symphony from 1913 until 1919. Kincaid won the principal chair of the Philadelphia Orchestra in 1921 and is most well known for holding a coveted position in history as the most dominant and influential American flute teacher to solely establish a school of flute playing through the success of his students.40 The following chapter highlights the career and prominent pedagogical contributions made to the American school of flute playing by William Kincaid.

40 Georges Barrère and the Flute in America, 62.

CHAPTER THREE

WILLIAM KINCAID

Introduction This chapter features salient biographical and musical milestones from the life of William Kincaid (1895-1967). Known for being the sole founder of the American flute school through his significant teaching and performing career, Kincaid has passed on a wealth of knowledge to his students, thereby contributing to their own prominent careers in music. His early years as a musician, professional experiences, and pedagogical methods will be discussed in this chapter.

Early Years and Education William Morris Kincaid was born on April 26, 1895, in Minneapolis, Minnesota. The Kincaid family made a number of moves in William’s early years living in Honolulu, Hawaii Charlotte, North Carolina; and finally moving to New York City after his father’s death in 1911.41 Kincaid’s father was a Presbyterian minister and enrolled young William in flute and piano lessons that began during the eight years they spent in Honolulu. A new position as the pastor of a church for Kincaid’s father brought the family back onto North American soil to Charlotte, NC. Although no names of Kincaid’s first flute teachers are mentioned in any biographical sources, Kincaid does mention that it was here that he began to intensify his studies in flute.42 In an autobiographical sketch, Kincaid mentions that after his father’s death in 1911 due to tropical climate, he moved to New York City where he enrolled in the Institute of Musical Art as a pupil of flutist and teacher Georges Barrère.43 Highly regarded by the faculty of the Institute, Kincaid was often asked to perform in classes and for special concerts. Exceedingly ambitious as a young musician, Kincaid studied both flute and keyboard as an undergraduate; however, the demands of a touring concert schedule and the enormous time commitment needed to perfect two

41 Demetra Baferos Fair, 51.

42 John C. Krell, Kincaidiana: A Flute Player’s Notebook (Santa Clarita: The National Flute Association, 1973), 101.

43 Ibid.

instruments became too overwhelming to continue with both. Finishing his degree in flute, Kincaid graduated from the Institute in 1914 and performed a portion of Bach’s orchestral Suite in B Minor at the commencement ceremony.44

Professional Accomplishments Directly after completing studies at the Institute of Musical Art in New York City, Kincaid was hired as assistant first flute of the New York Symphony Orchestra by conductor Walter Damrosch. Kincaid played alongside his teacher Barrère in the ensemble from 1914-1918. Also during these years, Kincaid spent time completing an artist’s diploma from the Institute. He played with the orchestra until 1918 and then decided to enlist with the U.S. Navy. After spending nearly a year in service, Kincaid was released in the fall of 1919 and engaged by the New York Chamber Music Society. Kincaid played with them for two years, touring the entire United States and portions of Canada.45 Through his diverse playing engagements in both the orchestral and chamber music settings, Kincaid became widely respected as an accomplished flutist. In the middle of the Philadelphia Orchestra’s 1921 season, Leopold Stokowski offered Kincaid the principal flute position upon Barrère’s recommendation. The previous principal flutist’s rehearsal behavior had been poor, according to Stokowski, and Kincaid stepped in, launching a 39-year career in Philadelphia with the orchestra. Kincaid was a commanding musician in the group and well respected among his colleagues. Records note that William Kincaid was featured as a soloist in an astonishing 215 performances during his tenure. Repertoire that Kincaid performed during solo appearances included the Griffes Poem, Hanson Serenade, Kennan Night Soliloquy, J.S. Bach Brandenburg Concertos and Suite in B Minor, as well as the Mozart concertos.46 Kincaid played with the Philadelphia Orchestra until he was 65, retiring at the end of their 1959-60 season.47 William Kincaid’s accomplished playing career mirrored in many ways the talent he exuded as a teacher. According to American flute school scholar Demetra Baferos Fair, nearly

44 Demetra Baferos Fair, 51.

45 Krell, Kincaidiana, 101.

46 Demetra Baferos Fair, 52.

47 John Solum, “The Kincaid Legacy” Flute Talk (May 1983), 3.

87% of American flutists can trace their flute ancestry through Kincaid.48 Hailed by many as the father of the American flute school, Kincaid began his teaching legacy at the Curtis Institute in the fall of 1924, teaching a studio of as many as nine students per year. During this time in American conservatory training, it is noted by Baferos Fair, that flute students rarely played a solo recital. The flute had not yet made a debut as a viable soloistic instrument for recitals and in fact, Kincaid only appeared three times in faculty chamber music performances during his teaching career at Curtis. The breadth of influence that William Kincaid has had lives on decades past his time through his most successful students who have gone on to cultivate musical careers of their own. Some of these students include Julius Baker, Harold Bennett, Judith Bentley, Frances Blaisdell, Philip Dunigan, Doriot Anthony Dwyer, Byron Hester, Katherine Hoover, John Krell, Joseph Mariano, Betty Bang Mather, Emil Opava, Donald Peck, James Pellerite, Maurice Sharp, Albert Tipton, Robert Willoughby, John Wion, and James Pellerite, who was his immediate successor in the Philadelphia Orchestra. These students, as well as many others (see table 3 at the end of this chapter), have developed their own lines of instruction that have spread throughout American flute teaching.49 The significant influence that Kincaid had on professional American flute training was described in a 1960 Time magazine article which stated that “U.S. flutists are divided into two classes: those who have, and those who have not studied with Kincaid.”50 Unlike other flutists mentioned in this lineage of American flute teaching, Kincaid did pass on personal teaching methods detailed enough to publish a book about his pedagogical thoughts and methods.51 The following subchapter of this document will focus on salient pedagogical areas of flute playing that are featured in Kincaidiana: A Flute Player’s Notebook written by Kincaid student John C. Krell, as well as other substantial resources.

48 Demetra Baferos Fair, 29.

49 Ibid, 53-57.

50 Solum, 4.

51 Krell, Kincaidiana, Preface.

Teaching and Pedagogy Julius Baker studied with William Kincaid at the Curtis Institute of Music from 1935- 1937.52 In a 1994 interview, Julius Baker described Kincaid’s teaching:

He was a very gifted teacher. He brought the best out of everybody. He wasn’t one to always find fault with you, and he was always encouraging. I learned a great deal about how to be a teacher from him. I kept a diary while studying with him that shows he was a very thorough and no-nonsense teacher.53

It is apparent that Kincaid’s intense and polished teaching style influenced many of his students, including Julius Baker. The following subchapter is divided into sections based on the pedagogical areas of flute technique, phrasing, and other elements of musical execution as highlighted in John Krell’s book Kincaidiana, a work comprised of notes Krell took during his time studying with William Kincaid (1933-1941). Krell expresses in his work that Kincaid was a very private and particular man, seldom concerned about publishing anything regarding his teaching techniques. He was more concerned about musicality than methodology. Krell also mentions in a 1983 Flute Talk article that Kincaid never wanted his students to sound like him, but rather, to gain the knowledge that would allow them to make musical decisions on their own.54 The following material is a brief outline of selections from Kincaid’s suggestions on flute playing.

Flute Technique Kincaid believed that tone production begins with the diaphragm. He suggested to flutists that the diaphragm should support the sound, acting as the main source for tone as a whole, while the lips merely shape the air. Resonance was of great importance to his cultivation of a good flute sound, and he always suggested that students explore resonant cavities in the body, remembering that you are the source of flute sound within your body. Exercises such as experimentation with vowel resonances within the oral cavity while playing (A, E, I, O, U and

52 Sandra Ragusa, Julius Baker – A Tribute (New York: Oxford Recording Company, 2004), 11.

53 Julius Baker, Interview by Peter Bacchus, September, 1994. http://www.peterbacchus.com/technique/Interv_Flutists.html (accessed August 14, 2013).

54 John C. Krell, “William Kincaid – Master Musician” Flute Talk (May 1983), 2.

Y) are helpful for students to gain flexibility in tone color. Kincaid suggested that you imagine your body to be as hollow as possible, thinking of blowing from the floor beneath you. Concerning embouchure, Kincaid advised that flutists should aim and shape the air column with the musculature of the lips, due to the lack of resistance in flute playing. Keep the cheeks relaxed and play from the smooth inside portion of the lips when forming the embouchure. Kincaid taught his students always to work for a tone that is not constricted or forced. He believed that any unfocused air is inefficient, creating breathiness in the sound. To help with delicate attacks and focusing one’s sound, he suggested that the player test for the placement of a note by blowing discreet puffs of air across the embouchure hole of the flute only audible to the player.55 Kincaid is often credited as the first flutist to teach whistle tones as a pedagogical technique after performing them in a concerto written for him by Louis Gesenway in 1946.56 As many flute teachers instruct today, Kincaid believed that a good flute tone is one that is appropriate to the style, period, and character of music that is being performed. He asked that his students search for a tone that is centered, yet flexible enough to be manipulated. This kind of tone should be shaped with a considerable amount of complex overtones that increase depth and color, suggesting wide variants of intensity in the sound. The following is what Krell writes of Kincaid’s thoughts on flute tone:

Flute tone, then, is an extremely complex phenomenon capable of great variations and modulations. The flutist should be able to change the color of his tone to suggest perfumes, to indicate textures of light and darkness, to reflect emotions of rage, repose, etc. Tone is one of the most central means of musical communication. Since music has many different kinds of things to say, the flutist should be capable of producing a variety of tonal qualities.57

As one may notice when listening to recordings of flutists from the early twentieth century, the speed of vibrato in flute playing was much faster overall than today’s approach. Kincaid suggested that vibrato be used by the player with great care and discretion. In general, he recommended that flutists add vibrato on longer notes and avoid it on running notes. Most

55 Krell, Kincaidiana, 2-6.

56 Krell, “William Kincaid – Master Musician,” 2.

57 Krell, Kincaidiana, 13.

flutists today would consider Kincaid’s vibrato to be too fast. Interestingly enough, he acknowledges a type of vibrato that is over exaggerated, having a trembling quality that distracts the listener. Kincaid believed that flutists should study string players and develop a vibrato that has a wide range of flexibility, amplitude, speeds, and contours. 58 Julius Baker commented about Kincaid’s vibrato in 1994: “Yes, he had the fast vibrato, but he changed later on. I noticed that in about 1950. His playing was different and he had changed his vibrato.”59 Baker also mentions that he believes flutists such as Kincaid were heavily influenced by the faster vibrato of popular singers and string players.60 There is no doubt that Kincaid was also teaching students to use a slower vibrato speed, expressing relaxation, as well as the contrasting idea of a faster vibrato that adds intensity to the sound. It appears that the methodology of teaching the effects of vibrato have not changed, but more so the general trend of speed. Kincaid believed that articulation was an often-neglected element of communication in music, calling it the “pronunciation of musical sound.”61 He valued the artistry of exploring the wide possibilities of duration and release of notes in flute playing. Kincaid informed his students that flutists have a great deal to learn from string players who have the greatest variety and options for articulations. He believed that wind players often only allowed themselves to explore the areas of short, medium, and long articulations, neglecting the many permutations in between. In addition, he also taught that the diaphragm is a flutist’s bow, suggesting that it always be kept in motion when articulating. Tongue placement was also of crucial importance to Kincaid, instructing that the tongue releases air for articulations from a position on the gum ridge above the teeth. Tone must never be stopped with the tongue or the lips and one should avoid “chewing” articulations with the jaw and lips. This kind of articulation has a tendency to disrupt the quality of the sound and also slows down essential air speed. In short, Kincaid acknowledged that the possibilities for articulation are endless, suggesting that flutists explore all possibilities that will help to clarify what a composer may want to communicate.62

58 Ibid, 14-16.

59 Baker, Interview by Peter Bacchus, (September 1994).

60 Ibid.

61 Krell, Kincaidiana, 17.

62 Ibid, 19-22.

Lastly, Kincaid acknowledged that a formidable flutist must obtain excellent agility and dexterity in finger technique. He stressed the importance of patience and diligent work ethic when practicing technique, equating technical work to calisthenics that professional athletes endure for perfection. Perhaps something considered obvious to some flutists, yet deserving of restatement, is that Kincaid encouraged young students to refine finger technique early on in their studies (see exercise in appendix B). When playing difficult passages of intricate finger motions, he suggested that one should isolate complicated fingerings, utilizing various rhythms and tremolo exercises. He said, “Thoughtful repetition is the key to facility.”63 Kincaid also taught students that in the case of a particularly troublesome technical situation, one should not neglect the possibility of using an alternate or harmonic fingering in strategic places.

Phrasing Phrasing is a topic that cannot be discussed in regard to William Kincaid’s teaching without mentioning the great influence he had from legendary oboist and teacher Marcel Tabuteau. Kincaid and Tabuteau were were both principal players of the Philadelphia Orchestra in the 1930s and 1940s under the direction of maestro Leopold Stokowski. Both teachers became known as pioneers of a developing American school of woodwind playing. The high standards that Kincaid and Tabuteau held for themselves and their students are something that flutists and oboists continue to strive for today. Known as the perfect orchestral duo, Kincaid and Tabuteau were recognized for their beautifully blended sound, thoughtful phrasing, and virtuosity. The methodology that these two musicians created together was something that has also influenced string, brass, and piano players.64 Their concept is based on the understanding that musical line is comprised of musical ideas called phrases, that each phrase has direction and a peak or a high point guided by harmony and rhythm, and that music is on a line, constantly implying motion. Kincaid believed that flutists should always have an understanding of the underlying chord progressions in music. He would group notes using visual brackets that would pull the phrase over a downbeat, making main beat notes finishing notes rather than beginning notes. Kincaid also used Tabuteau’s

63 Ibid, 25.

64 Lois Bliss Herbine, “William Kincaid and Marcel Tabuteau: A Legendary Collaboration,” The Flutist Quarterly (Winter 2006), 46.

number system, which gave each note a numeric value on a scale from 1 to 10. Each number indicated the degree of intensity and the dynamic of which the note was to be played (1 being the least significant and soft and 10 being the most dynamic and loud).65 This principle allowed for students to disassociate predictable and generic dynamics based on the basic rhythm and visual shape of a phrase, encouraging them to see smaller phrases within a larger structure.66 A number of various diagrams are included in Krell’s Kincaidiana, which may clarify the association Kincaid had with breath and line in regard to phrasing. Krell writes that “There is no one definitive solution to a phrasing problem; rather, there are several definitive solutions with the validity of each, depending upon the personal frame of reference and the conviction with which it is executed.”67

Other Elements of Musical Execution Aside from the technical and phrasing suggestions for flutists, Krell’s third section of notes encompasses a number of miscellaneous suggestions for performance that Kincaid taught. Regarding tempo, he mentions that metronomic markings are relative and that finding a definitive tempo for performance should depend on the style and conviction of what you are trying to communicate. He also cautions flutists not to become too sentimental with ritards, rallentandos, and calandos, and to differentiate between their usages. Kincaid believed that all music must breathe and that a good flutist will plan breathing accordingly. He suggested utilizing opportunities to enhance a performance by allowing breathing to add punctuation to a musical line. Proper breathing will enable the flute sound to continue while you breathe. Learn to breathe in a way that disguises the abruptness of a break in the line. Kincaid’s breathing approach focused largely on the importance of phrasing, suggesting that flutists should avoid breathing before large intervals, but rather play through them. He noted that wide leaps are often used to communicate expression and should be thought of as space that should be filled with sound.68

65 Krell, Kincaidiana, 35.

66 Ibid, 47-48.

67 Ibid, 47.

68 Ibid, 53-56.

When Kincaid taught dynamics, he emphasized that one should not be too literal when observing dynamic markings. He encourages one to discern the differences between dynamic and expressive accents, stating,

Dynamics are relative. The emotional impact of a performer’s fortissimo is directly related to the level and delicacy of his pianissimo. . . .Only through experience (and the advice of others) does he learn that there must be small exaggerations in performance in order to fill up the space between performer and audience.69

Kincaid Student Roster Table 3. William Kincaid Student Roster70

Louis Ralph Abramson Benjamin H. Carpenter Susan Goodfellow Gail V. Adams Deborah Carter Lloyd Gowen Patricia Ahmad Joyce Catalfano Gary E. Gray Beverly Allison Ann Cherry Don Griffis Robert Ambs Robert F. Cole Thomas Hageman Ralph Andrews Walter B. Coleman Sterling Hanson Anthony Antonacci David Colvig Cyril Haworth Ann Apalian Kathleen Course Mary Elizabeth Miles Haydu Burnett F. Atkinson Robert Etienne Cray Fred William Heim Julius Baker Harriet Crossland Byron Hester Clement Barone, Jr. Catherin Curran John Harrison Hicks Harold Bennett Nancy Pallesen Dalley Harry Strange Hirsch Joanne K. Bennett Susan Morris DeJong Paul A. Hockstad Joyce Bennett Louis DiFazio Katherine Hoover Judith Cook Bentley George Drexler James Hosmer Jacob Berg Philip Dunigan Harry Houdeshel Milton George Bergey Paul Lustig Dunkel John Hreachmack Emma Mary Bergson Doriot Anthony Dwyer Leslie L. Hunt John Bitter Amos Eisenberg Marguerite Hynek Frances Blaisdell Kenneth B. Emery Mancy Mae Iden Levina M. Boehl Patricia Kirk Fawcett Britton Garrison Johnson Ardelle Hookins Bowers Nicholas Fiore Linda Scheffer Jonas Paul C. Boyer Melvin Flood Merrill Jordan Cornelia Lyons Brewster Eugene Foster Sue Ann Kahn Myrna Brown Marilyn Laughlin Froehlich Jean-Louis Kashy Keith Bryan Patricia Dengler George Peter Kern Charlotte June S. Burgess Irvin E. Gilman John C. Krell Richard J. Cameron, Jr. Scott Goff Bonnie Lake

69 Krell, Kincaidiana, 58.

70 Demetra Baferos Fair, 58-59.

Table 3. continued

Eleanor Baker Lawrence James Pellerite John H. Solum Dorothy Tutt Lee Thomas Perazzoli Lee Trobaugh Steelman Alexander Armand Lesueur Claire Polin Glennis Metz Stout Susan Levitin Laudie D. Porter Kathie Sumrow-Volkman Brenda Grad Levy Edward V. Powell Kenton F. Terry Carol Klingler Light Chester A. Quinley Mark Thomas Warren Little John Rautenberg Albert Tipton Donald MacDonald Sally Rentschler-Curtis Richard Ernest Townsend Peter R. MacKinnon Anne Bither Reynolds Winifred Townsend Patricia S. Mann Karlin Wiley Rhees Richard Trombley Joseph Mariano Fiori Rizzo Carl Tucker Betty Bang Mather Mel Rodon Sally Turner Elizabeth J. MacGraw Jayn Siegel Rosenfeld Frank Vercace Glenn A. McIlwain Edith Sagul Dick Wavrek Alden C. McKinley Karen Ruth Schlemmer Marianne Gruhn Weaver Dean Miller Max Schoenfeld Vendla Koljonen Weber Eleanor Mitchel-Roberts Virginia Schulze-Johnson Ruth Elizabeth Wehner Ervin Monroe Kenneth E. Scutt Theodore Wight William Montgomery Elaine Kurtz Shaffer David M. Williams George Ellers Morey, Jr. Gretel Andrus Shanley Robert Willoughby Carole Morgan Maurice Sharp Anton G. Winkler Fernando Morrone Carla Shepley John Wion Florence Meisels Nelson Gary A. Sigurdson Carl Woempner Emily Swartley Newbold Harold Skinner Ruth Wright Emil Opava Felix Skowronek Charles M. Wyatt Evelyn Parker Richard Donald Smith Marjorie Yates Robert Patrick Robert Charles Snyder Donald Peck Laurie Sokoloff

Conclusion William Kincaid was an influential flutist and teacher, binding the careers of his many students to his legacy. Not only was Kincaid an essential figure in the development of American woodwind playing at the beginning of the twentieth century, he was also known as the kind of person that all musicians looked up to, colleagues and conductors alike. The great artistry that Kincaid expressed with his flute playing survives in his many students through their connection to this specific generation of teaching.

CHAPTER FOUR

JULIUS BAKER

Introduction This chapter features the musical life of American flutist and teacher Julius Baker (1915- 2003). Unarguably one of the most significant and influential musical figures of Jeanne Baxtresser’s career, Mr. Baker was her primary teacher during her years at The Juilliard School (1965-1969). His life as a musician will be outlined through early years, young professional experiences, New York Philharmonic years, and final milestones and accomplishments. The chapter ends with a discussion of Julius Baker’s influence on his students’ careers musically, pedagogically and personally. A roster of students known to have studied with Julius Baker is included in the penultimate subchapter.

Early Years On September 23, 1915 in Cleveland, Ohio, Julius Baker was born to musical parents, his mother being a local piano teacher, and his father a flutist, who would become his first teacher.72 Initially being told not to touch his father’s instrument, curiosity got the best of young Julius and he attempted to play the flute. After noticing Julius’s intense interest, his father agreed to teach him and their lessons together commenced.73 Music came very easily to Julius, and at age 13 he

71 Jeanne Baxtresser, quoted in Ragusa, 1.

72 Patricia Harper, “Julius Baker’s Remarkable Career in Flute-Playing” The Flutist Quarterly (Winter 2001), 31.

73 Ragusa, 4.

was enrolled at Empire Junior High School where he played first flute and piccolo. In 1930 he was selected for all-state orchestra and had an offer to play in the Northeastern Ohio School Orchestra. At the age of sixteen, the National Guard Service Company Band from the 145th Infantry was in need of a piccolo player. As one of the few proficient piccolo players in Cleveland at the time, he was asked to play in the group.74 Naturally talented musically at an early age, Baker was convinced that a career in music was an unmistakable calling. Beginning in the fall of 1933, Baker attended the Eastman School of Music for one year. He was to attend the Curtis Institute of Music, but the Great Depression had closed the institution and he had received a scholarship to attend Eastman. He studied with Leonardo De Lorenzo, with whom he had a great friendship until Lorenzo’s death in 1962. In 1935, with the assistance of his good friend Mitch Miller, Julius moved to Philadelphia to attend the Curtis Institute of Music.75 Miller was always a supporter of Baker’s musicianship and believed, “The first day I heard him play, I thought he was better than his teacher…he made it look so easy. Julie76 was the only musician I don’t remember ever, ever screwing up.”77 Baker attended the school from 1935 to 1937 and studied privately with William Kincaid.78 During these two years, he also studied chamber music with Marcel Tabuteau, principal oboist of the Philadelphia Orchestra. Known as a very focused and studious pupil, Baker would spend many hours hand copying music that he wished to study. Julius graduated from the Curtis Institute on May 18, 1937, and was one of only eleven students in his graduating class.

Young Professional While a student at the Curtis Institute, Julius Baker was involved in touring opera productions of Menotti’s Amelia Goes to the Ball and Milhaud’s The Poor Sailor, conducted by Artur Rodzinski, the music director of the Cleveland Orchestra. During the intermission of one of the performances, Rodzinski asked Baker if he would like to return to Cleveland to play

74 Ibid, 7.

75 Ragusa, 11.

76 Julius Baker was endearingly known as “Julie” to his family, colleagues, and former students.

77 Ibid, 13.

78 Ibid, 11. Photographs of notes from Baker’s lessons with William Kincaid from October 2 through April 29 of the 1934-35 school year are published in the appendix of Ragusa’s book on page 156.

second flute with the orchestra. Baker accepted the position and remained in Cleveland playing next to Maurice Sharp as principal for four years. In 1941 Baker relocated to Pennsylvania due to a request from the Pittsburgh Symphony Orchestra conductor, Fritz Reiner. During an official audition, Baker played no more than three notes, when Reiner simply offered him the job. Baker played in Pittsburgh for two seasons from 1941 to 1943.79 On a trip to New York City to join the musicians union, Baker met up again with his friend, Mitch Miller, who told him that the CBS Orchestra was in need of a flutist. After going to Howard Barlow’s office, the conductor offered him the job on the spot. Baker played with the orchestra until 1951, when the group disbanded and other playing opportunities surfaced. During his time with the CBS orchestra, Baker was known for performing the US premier of Jacques Ibert’s Concerto for Flute and Orchestra,80 a work deemed “impossible to play” by his teacher Kincaid.81 The performance was held on June 13, 1958, and has become a staple of twentieth century flute repertoire.82 Baker’s time with the CBS orchestra also enabled him to be proficient in many different playing styles through weekly broadcasts of popular, jazz, and classical performances. Jeanne Baxtresser believes that Baker’s playing style was influenced by this diverse background.83 Julius Baker was a flutist known to have a clear and resonant sound as well as impeccable rhythm. These qualities in Baker’s playing are perhaps what allowed him to obtain numerous performance engagements as an orchestral player, soloist, and chamber musician. In 1947 the Bach Aria Group was established and Baker was the solo flutist for the ensemble. Over the next decade, the group gave performances throughout the United States, South America, and Europe.84 By 1949 Baker was highly desired as a chamber musician, clinician, and soloist, recognized as “one of the most outstanding flutists of the day.”85

79 Ibid, 16-17.

80 Ibid, 22.

81 Patricia Harper, “Julius Baker: Tribute” The Flutist Quarterly, (Fall 2003), 56.

82 Ragusa, 22.

83 Jeanne Baxtresser, interview by author, (May 30, 2013).

84 Ragusa, 28.

85 Ibid, 29.

In 1950 an article was published entitled “Master your Flute Tone,” featuring Baker’s advice on the subjects of flute tone, tone color, flute fingerings, hand position, and finding the right teacher. Baker emphasized the importance of correcting mistakes early in study for young students with the assistance of an “experienced professional.” He refers to a flutist’s air stream as a violinist’s bow, stating, “The flutist’s bowing controls his tone as the violinist’s bow controls string tone.” Tone was always a part of flute playing that was of paramount importance to Baker. He recommended producing a good tone with a straight tone first, a concept that Jeanne Baxtresser also teaches. “The exact middle of each tone must be reached by full, free vibrations of well supported breath.”86 Baker also encouraged the practice of a wide range of different kinds of tones such as hard tone, soft tone, dark tone, and bright tone.87 It is apparent that Baker’s unique pedagogical style and personal teaching methods had begun to substantially develop even early in his professional career. Julius Baker was a clever negotiator when it came to his professional career as a musician, and was often in contact with people who could offer him substantial performance opportunities. In 1950 a letter from the manager of the Chicago Symphony Orchestra to Baker suggests that the two gentlemen had previously had a conversation about Baker playing principal flute with the orchestra. Negotiations between Baker and the orchestra were finalized and he was Chicago’s newest flutist.88 Balancing a challenging schedule with the Bach Aria Group and his new position in Chicago was demanding for the highly desired musician. Albert Goltzer, a fellow oboist colleague of Baker’s in the CBS Orchestra, believed it was in his blood. Goltzer elaborated, “Julie was quite competitive with the world in many things that he did. It was his nature. He had to be top dog.”89 Julius Baker played with the Chicago Symphony Orchestra for three years until 1953. Baker’s chamber and orchestral performances during these years furthered his reputation as a performer and continued to fuel interest in him within the music community. A 1951 review by John Briggs for the New York Post said of Baker’s playing,

86 Rose Heylbut, “Master your Flute Tone,” Etude (June 1950): 1.

87 Ibid.

88 Ragusa, 33.

89 Ibid, 32.

The most noteworthy feature of the Serenade was the playing of Mr. Baker. His was well-controlled tone, capable of every graduation of sound from the softest pianissimo to the loudest forte, and seemingly unlimited breath. Mr. Baker has great technical facility, and is in every way, one of the outstanding flutists now performing.”90

In 1953 Baker had come to the conclusion that his performance schedule was far too complicated and that he had to decide between the Chicago Symphony and The Bach Aria Group. Baker made the decision to return to New York City and establish himself once again on the east coast.

Beginning Again in New York City After returning to New York City, Baker was active as a performer. In September of 1954, The Juilliard School asked Julius Baker to join their faculty. Also teaching flute at The Juilliard School at the time were Arthur Lora and Frederick Wilkins.91 Through his affiliation with the well-known institution, Baker attracted some of the most talented students in the country to study with him in New York. Sandra Ragusa, a former Baker student and biographer, believes that “Julie knew how to find talented students and allow them to develop. These outstanding students have gone on to play major roles in flute playing throughout the world.”92 During the next decade, Baker continued to perform in music festivals and a number of contractual orchestras, and was a proponent of new music through premiers and performances affiliated with the Bach Aria Group. Performances included solo appearances with the New York Chamber Symphony, the Herman Clebanoff Sinfonietta, the Paganini String Quartet and the Trio Rococo, to name a few. A review from The Philadelphia Evening Bulletin depicts the significant impression Baker left with his audiences: “In Julius Baker, Harsanyi couldn’t have found a better flautist. Technically, temperamentally, in fact in every way, Baker was the player for such music as the Suite. He has a sense of nuance which justly maintains him where he is – a phenomenon among flautists.”93 Without question, Baker had become one of the most sought after and respected flutists on the American concert stage.

90 Ibid, 35.

91 Ibid, 39.

92 Ibid.

93 Ibid, 43-46.

By this point in his career, Baker had completed a number of recordings that were widely known. By 1959, recording music had become a priority for Baker, and various collaborations with well-known artists were the result. Noted as one of Baker’s most enjoyable recording experiences was an album with famed French flutist Jean-Pierre Rampal in 1960 (see figure 2). The two flutists agreed to alternate parts on the album, resulting in a blend of sound so successful that one finds it nearly impossible to determine when Baker or Rampal is playing.

Figure 2. Julius Baker and Jean-Pierre Rampal Album Cover94

Jeanne Baxtresser recalls that Baker and Rampal had a special bond. “I knew both of them very well and I spent a lot of time with each of them. They admired each other deeply. They just loved each other—there was a great mutual affection and admiration.”95 In the summer of 1960 Baker was asked to perform and teach at the Yale Summer School of Music and Art. That is where he met his future wife and life-long partner, a singer named Ruth Thorp. The couple saw more of each other the next year and was married on March 28, 1961.96

94 Ragusa, 58.

95 Jeanne Baxtresser, interview by author, (May 30, 2013). 96 Ragusa, 58.

During the 1960-61 season, the Bach Aria Group toured again and visited a number of American cities. This year of performances was one of the busiest ever for Baker. As his performance schedule intensified, he became curious about purchasing a number of new flutes during the early 1960s. In April of 1961 he purchased a flute from his former teacher William Kincaid (Louis Lot No. 1784). Baker also purchased two Haynes flutes in 1962 (No. 31872 and No. 31991) and another in 1963 (No. 32623). All of the flutes that Baker purchased were French model instruments with a low B footjoint. Haynes was a well-respected Boston-based flute company at the time and still has a reputation for manufacturing professional level instruments. At the same time Baker also had in his possession two Powell flutes that he had purchased several years earlier. Julius’ first trip to Japan occurred in June of 1963 as the result of a special invitation from the Japan Flutist Association. Baker was the first foreign flutist invited to perform in Japan. After traveling to Tokyo and Osaka on this trip, Baker developed a large following of flutists, thereby sparking an interest in his teaching in the U.S. This trip to Japan was the first of many trips abroad where he would teach classes, give concerts, judge the famed Kobe Flute Competition, and develop partnerships with both the Muramatsu Flute Company and the Yamaha Musical Instrument Company. Negotiations with Muramatsu company officials were made for the company to manufacture a special model of flute that would bear Julius Baker’s name. After some time, it was decided that the manufacturing honor would eventually go to the Yamaha Corporation.97

The New York Philharmonic Years One of the most significant milestones in Julius Baker’s career occurred in 1965 when he was appointed to the principal flute position of the New York Philharmonic. Baker was welcomed with a letter by conductor Leonard Bernstein dated September 15, 1964 (see figure 3). The message read, “Yippee, hooray, welcome!”98 Announcements of Baker’s appointment were spread through newspapers around the country and an inaugural performance of Nielsen’s

97 Ibid, 64-65.

98 Ragusa, 67.

Concerto for Flute and Orchestra in January of 1965 would be the New York premier of the work.

Figure 3. Bernstein Welcome Letter to Julius Baker99

Julius Baker and Leonard Bernstein had a very close friendship that would last the rest of their lifetimes. Baker released the following statement as part of a tribute to a Leonard Bernstein exhibit opening in September of 1985:

I have known Leonard Bernstein all of my musical life, beginning with my student years at the Curtis Institute. It was he who engaged me for the solo flute position with the New York Philharmonic in 1965.

When Lennie conducted, there was never a boring moment. He has the gift of communication with both the orchestra and the audience. His love of music comes through to everyone. The years of Young People’s Concerts were education not only for the young, but also for the older listeners and musicians in the orchestra.

Just recently, I had the honor to play the recording of “West Side Story” with Lennie. It is fortunate that we can recapture on video this phenomenal musician conducting his own work.

99 Ibid, 68.

Lennie has the respect of professional musicians as a marvelous composer, a tremendous pianist, and a superb conductor. If he is not in a class by himself, there are – or have never been – very few in his class.”100

Within months of Baker’s initial performances in the New York Philharmonic and as a soloist with the orchestra, glowing reviews and messages of congratulations from colleagues began to pour in. There is no question that both the music world and public were completely taken by the talent and skill that Julius Baker exhibited on stage. In 1966 Baker was featured in a Time magazine article about flute playing. Of the nearly thirty flutists mentioned in the article, Julius Baker, Jean Pierre Rampal, Aurèle Nicolet, and Severino Gazzelloni were pronounced the most brilliant. The article said of Baker:

Julius Baker, 52, first flutist of the New York Philharmonic, last week played the intricate trills in Mendelssohn’s oratorio Elijah as casually as another might whistle for a taxi. A plump, dapper, matter-of-fact chap who looks and acts like a prosperous dentist, Baker is short on temperament but long on technique. He is the supreme mechanic of his instrument, and he produces what is surely the most glorious tone that ever came out of the flute: big, round, cool, white, radiant as a September moon.101

Known for his unique sound and sophisticated playing style in the orchestra, Baker developed a well-recognized reputation as an orchestral player with virtually flawless technique. When on stage, Baker’s motions were minimal. Flutist Ina Mae Holt recalls Baker conveying this style to students when teaching classes, recollecting that he would ask a student whose motions were too extreme, “Who is your choreographer.”102 Baker continued to engage in a number of solo and chamber performances alongside his full time work with the Philharmonic. His last season with the Bach Aria Group was 1964-65; consequently, most performances that occurred after this point were affiliated with music festivals, masterclass recitals, and chamber music societies.103 During Baker’s time with the New York Philharmonic, besides Leonard Bernstein, Baker also worked with a number of other

100 Ibid, 68-69.

101 Staff, Music. “Instruments: Flute Fever.” Time (March 11, 1966).

102 Ragusa, 71.

103 Ragusa, 69.

notable conductors, including George Szell, Zubin Mehta, and Pierre Boulez.104 In September of 1974, Baker suffered a heart attack and was instructed to take time off from the orchestra. He returned again for the 1975-76 season.105 By 1976, Baker was affiliated with a number of music festivals as a teacher and performer. Baker scholar Sandra Ragusa notes that by 1976, Baker’s classes had gained such popularity that Jeanne Baxtresser often joined Baker in teaching for a number of residencies at camps and classes. Baker was in high demand as a teacher during his time with the New York Philharmonic and in 1979 took on a position to teach at the New England Conservatory.106 In 1980 a contract was formulated for Julius to begin teaching at his alma mater, the Curtis Institute of Music. The 1982-83 season was Baker’s final season as principal flute with the New York Philharmonic. In a bittersweet farewell, Baker had his final performance with the orchestra the same way he had begun, playing Nielsen’s Concerto.107 Julius Baker’s coveted position with the New York Philharmonic was sought after by many and ultimately taken on by his former student, Jeanne Baxtresser. The end of Baker’s Philharmonic career was by no means the end of performing for him. A resignation from such a demanding position for Baker only opened the door for more playing and teaching opportunities. Baker was invited to be on the faculty of a number of music festivals and orchestral institutes, as well as an adjudicator for instrumental competitions worldwide, a schedule that he would continue for the rest of his professional career.

Life after the Philharmonic In the years following his retirement from the Philharmonic, Baker’s dedication to playing the flute never ceased, for he practiced every day. As a teacher, Baker continued to instruct students at both The Juilliard School and the Curtis Institute. In 1990 Julius accepted a teaching position at Carnegie Mellon University as Visiting Artist Lecturer in Flute, a position he would have until 1994. He would be succeeded by Jeanne Baxtresser in 1998. In addition to his collegiate level teaching, by 1991, Baker’s well-known yearly Danbury, Connecticut, summer masterclass series had become hugely popular, featuring a number of former Baker flute students

104 Demetra Baferos Fair, 62.

105 Ragusa, 95.

106 Ibid, 100-106.

107 Ibid, 116.

as guest lecturers, including Jeanne Baxtresser, Jeffrey Khaner, Sandra Church, Tadeu Coelho, Bradley Garner, Marina Piccinini, and his devoted pianist, Linda Mark. Teaching became the core of Baker’s life. Through his good sense of humor and generous demeanor, it was evident that his love for teaching flute always remained with him and never faltered. A number of awards and distinguished honors went to Baker in gratitude for his dedicated career as a flutist. The National Flute Association awarded Baker the Lifetime Achievement Award in 1995, and Flute Talk magazine featured him in a publication the same year.108 During the last year of his life, both The Juilliard School and the Curtis Institute bestowed on him honorary Doctor of Musical Arts degrees for his exemplary career in music.109 Aside from enjoying the wonderful company of his endearingly supportive family, Julius Baker spent the last few years of his life doing what he loved to do best, playing and teaching flute. The Danbury classes continued each summer and eventually, Baker donated his personal library of music to The Juilliard School in 1999. In 2001 his health began to deteriorate and he underwent heart bypass surgery in February. After many ups and downs with his health, Julius Baker passed away in the morning of August 6, 2003. Leaving a lifelong legacy of music making and memories behind, Baker passed away having given his last masterclass at his Danbury summer classes just two days prior. Baker’s legacy lives on through the rich heritage of flute teaching and playing that he helped to establish.

The Influence of Julius Baker It is unmistakable that Julius Baker has left an astounding impression on American flute playing through the sheer number of successful students who studied with him over his lifetime. Although Jeanne Baxtresser has been hailed as Baker’s protégé and is undeniably a pillar of American flute playing, it has become apparent that not only Baxtresser, but all of Baker’s students share memories of what an inspiring and hugely influential individual he was on their lives. Sandra Church describes Baker as an extremely motivating teacher during her lessons with him at The Juilliard School in the 1970s, stating:

108 Ibid, 148.

109 Demetra Baferos Fair, 62.

At this time, he was that busy with his job in the orchestra, so he was intolerant of less than great playing. There was a high-pressure atmosphere to get things right. He wanted you to make giant steps each year. He would say, “You can’t be just good. You have to be great.”110

Discipline and dedication were distinct themes within Baker’s life as a flutist and teacher. Jeffrey Khaner, now principal flute of the Philadelphia Orchestra and flute instructor at the Curtis Institute describes the sense of urgency and regulation that Baker instilled upon his talented students. According to Khaner, “As a student, he never spoke harshly to me, but I remember so clearly getting a sense of disappointment if I was not prepared. It was an unbelievable incentive to work hard. He was such an idol for me.”111 The unique bond that Julie had with his students is apparent thought their incredible desire to want to please their teacher. Not only was Baker an encouraging and supportive teacher, he was nurturing and humble on both a musical and personal level. Baker treasured teaching and was generous with this time. At the end of masterclasses, Vanita Hall Jones recalls him kindly stating, “I haven’t done that much for you. Each one of you came already talented and I didn’t do that much for you. You just did what I told you to do and became your own best teacher.”112 Julius Baker was known for being a wonderful teacher and flutist, and more importantly a consummate musician who had the natural ability to express any kind of music. New York Philharmonic bassoonist Leonard Hindell describes Baker’s talent, explaining: “He always played as a musician; he didn’t just play the instrument the same way…in his prime he was quite extraordinary.”113 Baker’s attention to detail rang true to everyone with whom he worked. One thing that Julius Baker said about the key to his success was, “You know what my secret is? I never let one note get by me without knowing what I’m going to do with it!”114 Above all, Julius Baker was an inherently talented musician who had a deep affection for the flute. His instruction through example in the areas of both sound and technique has been one

110 Ragusa, 97.

111 Ibid, 109.

112 Ragusa, 126.

113 Ann Cecil-Sturman, “Julius Baker Remembered” The Flutist Quarterly (Spring 2004), 29.

114 Ibid, 30.

the most documented traits about his teaching. Baker also encouraged his students to become well-rounded musicians by learning from all genres of music. In an interview with Jeffrey Khaner, Baker stated, “The flute student should always study the voice.”115 This is a credo that was prominent in Baker’s teaching and hugely present in Baker’s playing style, noticed also by Jeanne Baxtresser:

One of the most significant elements of Baker's career was that he had many musical chapters in his life. We all know of the years he played in great orchestras. But he also dedicated himself throughout his career to chamber music with some of the greatest musicians of his time. In this category I would include his years in the extraordinary Bach Aria Group. He was also constantly performing as a soloist. I know he always encouraged me to be comfortable as a soloist as well as being a principal flutist sitting in the middle of an orchestra. He felt that both were essential to being a well-rounded professional flutist.

It was always apparent that Baker had many musical influences and sources of inspiration. He would speak of great singers and iconic string players with regularity, especially in reference to tone and vibrato. I also know that his record collection included many recordings of various flutist/colleagues. Of course he also adored the music of the great American songwriters such as George Gershwin, Cole Porter, and Irving Berlin. Equally important, he admired the singing style of the popular performers who made these songs a part of our shared musical heritage.116

The many students that carry on Julius Baker’s legacy through his teaching are documented within the next section of this paper.

115 Jeffrey Khaner, Julius Baker – Living Legends Part 1. Video interview with Julius Baker. https://www.facebook.com/video/video.php?v=101460184389.

116 Jeanne Baxtresser, interview by author, (May 30, 2013).

Baker Student Roster Table 4. Julius Baker Student Roster117

Martha Aarons Carol Lyn Butcher Robert Dick Patti Adams Torkill Bye David DiGiacobbe Myung-Joo Ahn Lisa Byrnes Rochelle Draizar-Doepke Angela Allen Helen Campo Sanford Drelinger Linda Allen Edward Cardone Philip Dunigan Alberto Almarza Robin A. Carlson Paul Lustig Dunkel Mary Ann Archer Tobias Lars Carron Linda Fleckner Eagleson Janet Arms Julie Carter Amos Eisenberg Stanley Aronson Elizabeth Castelvecchi Donna Elaine Nadine Asin Beatriz Castro Cynthia Ellis Rececca Pollock Ayres Ann Cecil-Sterman Janette Erickson Don Bailey Dana Chalberg Bruce Erskine Elizabeth Baisley Diana Butler Cherry R. Lynne Ewing Deborah Baron Kenneth Chia Ruth Ewing Mary B. Barto Nakyung Choi Raymond Fabrizio Lybi Bauer Sandra Church Patricia Farrell Jeanne Baxtresser Mary Karen Clardy Kenneth E. Fears Jean Benson Patricia Cloud-Kauffman David Fedele Judith Cook Bentley Mary Lee Cochran Bart Feller Carl Bergner Tadeu Coelho Elaine Fine David Bloom Jennifer Conner Mary Kay Fink Randi Jean Bly Laura Conwesser Paul Fried Juliet M. Bobrowsky Alan Cox Michele Frisch Shelley Bogausch-Webb Robert Cram Marilyn Laughlin Froehlich William S. Bomar David Cramer Judith Resnick Gaffney Kathleen Bondurant Patricia Creighton David Gantsweg Cynthia Bonny Lynn Nicole Cunningham Bianca Garcia Israel Borouchoff Thomas Curran Bradley Garner Vieri Bottazzini Joan Carter Curtiss Diana Gee Teresa Bowers Roslyn Cushman Laura George Randolph Bowman Donna Cutler Patricia Dengler George Judith Sherry Braude Kristan Cybriwsky Robert Gifford Barbara Jean Breedon Joseph D’Ambrose Tyra Gilb Deborah Breedon Immanuel Davis Laura Gilbert William Brice Lisa N. Davis Jan Gippo Anne Briggs Andrew J. Day Susan Glaser Sally Brink Susan Deaver Lucille Goeres Keith Brion Norman Dee Scott Goff Bruce Brown Angelo DeMattheis Laura Goldman

117 Demetra Baferos Fair, 64-66.

Table 4. continued

Diane Gold-Toulson Susan Kaplan Kyril Magg Susan Goodfellow Paula Kasica Joseph Maggio Erich Graf Fumiko Kawasaki Timothy Malosh Marco Granados-Diaz Katherine Kemler Elizabeth Mann Viviana Guzman Marie Herseth Kenote Deirdre Manning Barry Haines Jeffrey Khaner Linda Ann Marianiello Jennifer Haley In-Sung Kim Juliet Marsat Kim Haley Sung Kim Laurel Ann Maurer Gordon Halligan Sung Yoon Kim Valorie Mays George Hambrecht Sung Yun Kim Katherine McClure James Hamilton Linda Kirkpatrick Katheryn McElrath Lisa Hansen Suzanne Kirton Demarre L. McGill Gertrude Hartman Mary Beth Kiss Alden C. McKinley Catherine Hayes Phillip Klein John McMurtery Regina H. Helcher Melissa Knight Margaret Meta Julie Williams Hill Joan Koenig Andrew Mikita Susan Hoeppner Trix Kout Janet Millard de Roldan Eunice L. Hofer Abbe Krieger Brian Miller Jacqueline Hofto Renee Krimsier Lynne Miller Camilla Hoitenga Jun Kubo Gigi Mitchell-Velasco Li-Chi Huang Deborah Kuick Emma Moon Jeong-Eun Nadine Hur Sherry L. H. Kujala Pamela Mooney Patrick Hurtado Susan Kurian Teddy N. Moore Hidemi Ichiki Lisa LaCross Katherine Mueller Nancy Mae Iden Michael Laderman Jeani Muhonen-Foster Rochelle Itzen Constance G. Lane Kanichi Nagahara Barbara Dinger Jacobson Hubert Laws Miriam Lynn Nelson Victoria Jicha Jennifer Lawson Carol Neuleib Debra Johnson In-Tiffany Lee Karen Newman Angela Jones-Reus Karen Davidson Leech Leslie E. Newman Harold Jones Lyson Leifer Nili Merle Newman Katherine Borst Jones Martin Lerner Barli Nugent Vanita Hall Jones Gerardo Levy Patricia Nuss Larry Jordan Mary Beth Lewandoski John W. Oberbrunner Elaine Jorgenson Elaine Lewis Alex Ogle Yoomee Jung Bonnie Lichter James Ogle Svjetlana Kabalin Roberta Lindstrom Per Oien Sue Ann Kahn Carolyn Lloyd Elizabeth Ostling Joy Kairies Christine Locke Anthony J. Pagano Trudy Kane Andrea Kapell Loewy Helba Pahl Hyun-Jung Kang Adele Zeitlin Lorraine Overda Paige Brenda Kann Denise Lozano-Healey Soo Hyun Paik Andrea Kaplan Jane Wadsworth Lyman Pater Palasota

Table 4. continued

Soo Hyun Paik Gary Schocker Cynthia Ann Trimble Pater Palasota John Shackelford Eugene Tripetsky John Palumbo Greig Shearer Richard Trombley Louis Papachristos Jane Shelly Laurence Trott Hyun Cheong Park C. Chip Shelton Rosalyn Trotter Min Sang Park Martha Sherwig Rebecca Troxler Soo Kyung Park Nobutaka Shimizu Julia Tunstall Brenda Patterson Debra Shorrock Evelyn Tyrrell-Storer Theresa Patton-Pope David Shostac Zachary Valenzuela Steven Paul Benjamin Shwartz David van de Bogart Robin Peery Renee Siebert Carol I. Van Bronkhorst Jeffery Pelletie Barbara Siesel Janet Houston Van Graas Curtis Pendeleton-Caron Winnifred Andrew Simonetti Lauren Jean Varuzzo Trygve Peterson Irene Simonsen-Davis Carlton Vickers Marina Piccinini Mary Jean Simpson Jan Flickinger Vinci Elissa Pohorily Virginia Sindelar Nancy M. Vinson Lisa Noele Poll Pamela Sklar Margaret Anne Vitus Elissa Poole Christina Smith Ingrid von Holck Mary Posses Janice Morgan Smith Chloris Vowels Lynne Power Joshua Smith Claudia Walker Katherine Menefee Price Young-Ji Song Kerry Elizabeth Walker Beverly Joan Pugh-Corry Jenny Spadola Vendla Koljonen Weber Gretchen Pusch Sharon Sparrow Alan Weiss Kevin Quinn Dianne Estelle Spoto Janet Kristensen Weiss Sandra Ragusa Cheryl Star Catherine Wentland Bruce Rankin Stefani Starin David Whiteside Julie Ranti Jennifer A. Steele Marjorie Wiener Martha Rearick Stacey Graham Steele Theodore Wight Andrea Redcay Beverly Stein David M. Williams Margaret Weeks Redcay Patricia Stephenson Morgan Williams Mardee Reed-Ulmer Sara Stern Keri-Lynn Wilson Catherine H. Reijans Wendy Stern Ransom Wilson Steven Robbins Adria Sternstein John Sebastian Winston Thomas Robertello III Mimi Stillman Kristen Winter Paula Robison Marc Stocker John Wion Leslie Roettges Susan Cohn Stockhammer Sharon Woods Susan Royal Susan Stuckien Takanori Yamane Heidi Ruby-Kushious Ulla Suokko Ann Marie Yasinitsky Mark Russo Henrik Svitzer Hye Ri Yeon Jane Rutter Erella Talmi Suhnyoung Yoon Brenda Sakofsky Diane Taublieb Neal Zaslaw Margaret Strum Schecter Jacqueline Thompsoon Sidney Weitlin Diane Schick John Thorne Anne Diener Gales Zentner

Table 4. continued

Miles Zentner Amy Ziegelbaum Eugenia Rich Zukerman

Conclusion Julius Baker’s humor, passion for the flute, and love for all kinds of music are what led him to live a hugely fulfilling career as one of the most significant and impressive American flutists. Aside from his musical talents, Julius was a beekeeper, ham-radio collector (a hobby that led to experimentation with recordings and the development of his own company called the Oxford Recording Company)118, tractor hobbyist, and photographer.119 Baker’s diverse array of talents never distracted him from being the incredible flutist that he was. The following statement from a 1976 interview with Baker helps to understand the true admiration he had for his work.

I don’t think there is the satisfaction you can get from listening to an orchestra unless you’re sitting right in the middle of it. When I play a Brahms symphony, my reaction to the sound that’s going on around me would be impossible for you to capture just listening in the audience. It is a thrill to sit in the middle of a great orchestra and play great music.120

Studying the successful career of flutist Julius Baker helps us to further understand the rich heritage of American transverse flute playing.

118 Demetra Baferos Fair, 61.

119 Cecil-Sturman, 42.

120 Julius Baker, quoted in Cecil-Sturman, 43.

CHAPTER FIVE

JEANNE BAXTRESSER

Introduction The following chapter highlights the teaching and playing career of Jeanne Baxtresser. As a shining example of her American flute heritage, it is with great respect and dignity that Jeanne Baxtresser offers a reflection on the musical influences that have become the core of her professional development. The following subchapters of material are derived from a number of articles written about Baxtresser, as well as live interviews conducted for this document. The enthusiasm that Jeanne has shown for the documentation of her flute genealogy reflects the significance of the eminent tradition of fine flute playing that she represents. A biographical summary opens the chapter, followed by an account of her studies with Julius Baker. Her thoughts on the American flute school both present and future are expressed, and a roster of her students is presented.

Early Years Born in Bethlehem, Pennsylvania, on August 2, 1947, Jeanne Elizabeth Baxtresser was surrounded by music from her earliest impressionable moments. Jeanne’s mother, Margaret Baxtresser, was a concert pianist who constantly filled their home with solo and chamber music and her father, Earl Baxtresser, was a man passionate about the arts. JB121 attributes much of her musical success to the rich artistic environment that her parents created for her at a young age.122 Jeanne states, “I knew so many pieces in the piano repertoire by the time I was three. I didn’t know the composer or the name of the work, but I could sing them from beginning to end.”123 Showing a palpable interest in music as a young girl, Jeanne began piano lessons with her mother in their home. JB describes her piano debut as a disaster. She quickly learned that impatience with her progress on the instrument would launch unsuccessful attempts with both

121 Jeanne Baxtresser requests that she be referred to as “JB” in this document.

122 Kortney Michele James, “Jeanne Baxtresser: A Musical Legacy,” (DMA diss., Arizona State University, 2008), 17-20.

123 Kathleen Goll-Wilson, “Dawn to the Music.” Flute Talk (April 1995), 11.

the violin and cello as well. Her first encounter with the flute was at a public woodwind quintet concert at school where she became enamored with the sound and appearance of the instrument. When JB was ten years old, her parents rented a flute and she was instantly captivated. JB said of the experience, “When I got my little rented flute, I realized that I liked the way it felt. I liked the song in me that was able to be expressed though the breath.”124 Despite the great interest that JB had with the flute, there was no history of flute playing in their family, which allowed for the flute to become JB’s own area of expertise.

Education JB’s first flute teacher was Mary Roberts Wilson, a family friend of her mother’s. Mary’s teaching style was nurturing, yet she established a solid musical foundation upon which Jeanne could build. Looking back on notes from these early lessons, JB recalls that everything was “as it should be” and is thankful for the musical discipline that Mary passed onto her.125 In her first year of playing flute (1958), JB was awarded a Superior Rating from the National Federation of Music Clubs in Minneapolis, Minnesota; she won this award consecutively each year until 1961. When JB was fifteen, her teacher, Mary Roberts Wilson, sent her to study with her own former teacher, Emil Opava, who was then the principal flutist of the Minnesota Orchestra and a former Kincaid student. JB describes Opava’s teaching style as very professional and disciplined. As the prizewinner of a number of scholarships and awards during this time as a young flutist, JB was also awarded the Stillman Kelley Scholarship in 1963, enabling her to attend the Interlochen National Music Camp the following summer. During the summer of 1963, JB began her time at Interlochen where she thrived in the accepting musical environment created by the students and staff. It was here that JB found the strong desire to play and learn as much as she could about flute, performing for the first time as an orchestral player (see figure 4). She was inspired by other flute players more advanced than she and believed that this was a place for her to flourish musically. Following her summer at

124 Kortney Michelle James, 21.

125 Ibid, 22.

Interlochen, it was decided that JB would return, only now as a high school boarding student enrolled in the Interlochen Arts Academy.126

Figure 4. Jeanne Baxtresser playing in the Interlochen Arts Academy Orchestra127

When JB attended her new school in the fall of 1963, she recalls this as “the real true beginning” of her time as a flutist. Studying with flute teachers Ramona Dahlberg and Gary Sigurdson was influential; moreover, perhaps the most significant component of her training at Interlochen was the experience she gained with orchestral literature. The program consisted of a number of competitive building blocks including mock auditions, weekly orchestral programs of challenging repertoire, and chair placement auditions. JB consistently held the principal flute position in the orchestra for two years, despite weekly auditions for placement. As the winner of the Academy’s concerto competition, JB performed the Allegro movement of Ibert’s Concerto for Flute and Orchestra with the group and was honored at the end of her junior year as “Outstanding Woodwind Player of the Year.”128

126 Ibid, 25-31.

127 Jeanne Baxtresser, personal scrapbook, in possession of Jeanne Baxtresser, Wexford, PA, (accessed October 7, 2013).

128 Ibid, 31-33.

During JB’s final year at Interlochen, she began to prepare for college auditions. It was during this time that she traveled to Philadelphia to have a lesson with William Kincaid. Although JB does not recall much of what was said during this specific lesson, she does remember that Kincaid was “an incredible and impressive looking man. He was tall, had a beautiful presence and was just a striking individual.”129 JB also recollects that she was very aware of both Julius Baker and William Kincaid’s playing at this time through the study of their recordings. She believes that her greater interest in Kincaid and his playing came later on in her life after her studies with Julius Baker, as an effort to discover more about Baker’s mentors.130 In anticipation of her undergraduate studies, JB auditioned at both the Manhattan School of Music and The Juilliard School. From her very first hearings of Julius Baker’s playing, it was always her deepest goal to study with him in New York City. During her Juilliard audition, Baker was not present, but flute faculty Arthur Lora was, accepting her into his studio in 1965. Shortly after beginning her studies at Juilliard, a fellow classmate generously offered JB her lesson slot with Julius Baker since he was absent from her audition. It took only this one performance for Baker to accept JB into his studio.131 During the four years that JB studied with Julius Baker at The Juilliard School, she had many challenging and fulfilling musical experiences, working with a number of famed conductors and composers including Jean Morel, Luciano Berio (see figure 5), and Dennis Russell Davies. Some of the many successful colleagues that went to school with her during this time were pianist Emanuel Ax, pianist Garrick Ohlsson, pianist Jeffrey Siegle, conductor Leonard Slatkin, violinist Pinchas Zukerman, and many flutists that went on to have notable careers as orchestral musicians and soloists. Although JB actively searched for performance opportunities though summer music festivals, she does remember spending one very intense summer away from outside engagements. She participated in an intense practice regimen aimed at increasing technical facility. JB developed a schedule that summer which included Taffanel and Gaubert’s Exercise de Journaliers, and she worked through a variety of articulations in scales, arpeggios, and scales in 3rds, 4ths, 5ths, and 6ths. JB confesses that without this

129 Jeanne Baxtresser, interview by author, (May 30, 2013).

130 Ibid.

131 Kortney Michele James, 35-37.

summer’s intense and dedicated work, she is uncertain about how successful her musical future may have been.

Figure 5. European Tour with Luciano Berio132

Professional Milestones During JB’s final year at The Juilliard School, she decided to take an audition for the principal flute position with the Montreal Symphony Orchestra.133 Orchestral excerpts were not something that were studied often in private lessons at the time: more often, students were expected to master them on their own.134 Uncertain about her success in her first professional audition, JB decided not to tell Julius Baker that she was taking the audition.135 At the age of twenty-one, JB won her first orchestral audition and began playing with the Montreal Symphony Orchestra in the fall of 1969. As the youngest person at the time in a principal chair, and the first female principal player the symphony had ever hired aside from the harpist, JB believes that she learned at an astonishing rate during her first few seasons with the orchestra.

132 Jeanne Baxtresser, personal scrapbook, in possession of Jeanne Baxtresser, Wexford, PA, (accessed October 7, 2013).

133 Kortney Michele James, 45-49.

134 Hannah Lang, “Interview with Jeanne Baxtresser” Pan (March 1997), 16.

135 Kortney Michele James, 49.

Aside from her orchestral duties in Montreal, Baxtresser’s work as both a teacher and performer broadened. She was hired for her first major college teaching position at McGill University in Montreal (1972-1978) and was also a Visiting Professor at Dalhousie University in Halifax, Nova Scotia. During the summers of 1973 and 1975, she was also invited to play at the Mostly Mozart Festival in New York. It was during this time that JB was very influenced by a New York style of playing, which was more full-bodied with a strong emphasis on projection.136 Alongside her professional career, Baxtresser’s personal life was also flourishing. The principal bassoonist of the Montreal Symphony Orchestra was David H. Carroll (see figure 6) and both he and JB began work with the orchestra on the same day. The two musicians bonded over their mutual love for music and were married several years later in 1976. JB credits her first true exposure to the European traditions of fine woodwind playing to Carroll, who had studied extensively in both London and Paris on a Fulbright Fellowship (1965-1967).

Figure 6. With David Carroll, future husband and principal bassoonist, Montreal Symphony137

136 Ibid, 50-59.

137 Jeanne Baxtresser, personal scrapbook, in possession of Jeanne Baxtresser, Wexford, PA, (accessed October 7, 2013).

In 1978 an opening for the principal flute position with the Toronto Symphony Orchestra opened. With the support of her new husband, JB took the audition, which was only her second professional audition. After a rigorous audition process, including a one-week trial and concert, she was engaged as the new principal flutist. After moving to Toronto, David Carroll, was hired as the principal bassoonist with the Canadian Opera and was offered the position of Visiting Associate Professor at the University of Toronto. JB’s professional playing career continued at a steady pace, with a busy schedule of solo performances for the CBC, solo recordings, orchestral recording projects with the Toronto Symphony, and tours of Asia, Europe and Canada (see figure 7). A life of orchestral playing, the pursuit of a solo career, and teaching left Baxtresser constantly striving to seek balance between her professional development and personal life during these years. Nevertheless, JB consistently made progress as a professional, performing numerous times as a soloist with the Toronto Symphony and other ensembles, including concerto performances with flutist Jean-Pierre Rampal and recital programs with Julius Baker.

Figure 7. European tour rehearsal with Sir Andrew Davis, Toronto Symphony Orchestra138

138 Jeanne Baxtresser, personal scrapbook, in possession of Jeanne Baxtresser, Wexford, PA, (accessed October 7, 2013).

Julius Baker contacted Baxtresser in 1983 to inform her of his retirement from the principal flute position with the New York Philharmonic. This was an event of great importance to flutists from around the world and there was great interest in who would be Julius Baker’s successor. During the same time period, David Carroll decided that he would apply for the associate principal bassoon position with the New York Philharmonic. Carroll won the job and began work with the orchestra in 1984 while Baxtresser continued to perform with the Toronto Symphony Orchestra. The New York Philharmonic flute auditions continued and no one was hired after a year of searching. JB felt it was finally time for her to be with her husband again in the same city and auditioned for the position. As a well-seasoned orchestral flutist at this point, Baxtresser’s preparation for the NY audition undertook a different form than any of her preparations in the past. It was her goal to focus on mental discipline, the beauty within the music she was playing, and to know more about the compositions that she was performing for this audition.139 She explains,

In addition to practicing the orchestral excerpts, preparing myself mentally was very much in my thoughts in getting ready for the New York Philharmonic audition. I knew I would have butterflies when I played, but my objective was to make the butterflies fly in formation.140

The audition process lasted three days, consisting of an extensive list of excerpts, performing in the orchestra at an open Philharmonic dress rehearsal, as well as an afternoon performance with the orchestra. After feeling satisfied with representing herself to the best of her abilities, JB received a phone call from the orchestra asking her to play with the Philharmonic on a South American tour. Eager for the process to come to a conclusion, Baxtresser respectfully declined. Months later, she was asked to come back to New York to perform once more with the Philharmonic. JB agreed and was met with an ironic turn of events as the Philharmonic’s music director, Zubin Mehta, was unable to conduct due to an elbow injury. A substitute maestro was flown in and was none other than Andrew Davis, music director of the Toronto Symphony Orchestra.141 Upon her return to Toronto after an extremely

139 Ibid, 59-65.

140 Goll-Wilson, 7.

141 Kortney Michele James, 59-70.

successful performance in New York, JB was contacted by Zubin Mehta himself, offering her the job with the words, “Welcome to the New York Philharmonic!”142 Finally realizing more childhood dreams than Baxtresser ever thought possible, she began a career with the New York Philharmonic that was deeply tied to the legendary flutists and conductors that came before her. As the first female principal flutist in the orchestra, JB began life in her new position, overwhelmed and overjoyed by the wonderful experience of working with such accomplished musicians.143 Baxtresser notes that the presence of the orchestra’s rich history was palpable in the ensemble, stating, “There is such a tradition in that orchestra with its history of great conductors and players. You can hear that history in the way everybody plays.”144 During her years with the New York Philharmonic, JB made over 50 appearances as a soloist with the orchestra. Baxtresser also premiered a number of works with the group, including Peter Mennin’s Concerto for Flute and Orchestra and the New York premiere of Ellen Taaffe Zwilich’s Concerto for Flute and Orchestra, both under the baton of Maestro Kurt Masur. While in New York, Baxtresser was asked by various recording companies to record a number of works for flute and piano as well as chamber recordings. In addition, the Philharmonic was recording very regularly with conductors such as Leonard Bernstein, Zubin Mehta and Kurt Masur, among others (see appendix C). During her New York years, JB played a Haynes flute (#29995), along with a LaFin headjoint and a 9K Albert Cooper headjoint that had previously belonged to Julius Baker.145 Alongside her performances with the New York Philharmonic, JB taught at both The Juilliard School (1985-2001) and the Manhattan School of Music (1990-2001). As a highly sought-after instructor, JB recruited some of the most talented flute students from around the globe to study with her. Although approached by several other prestigious schools to consider joining their faculty, Baxtresser continued to teach and perform in New York. Shortly before her retirement from the Philharmonic in 1998, Baxtresser was approached by Carnegie Mellon

142 Ibid, 70.

143 Ibid, 71-72.

144 Ibid, 72.

145 Ibid, 73-82.

University in Pittsburgh and offered a full professorship. Julius Baker had retired from the position recently.146 JB accepted the position at Carnegie Mellon with the same enthusiasm she had as an orchestral musician. Marking her transition into fulltime teaching, at the time she said:

There is no question that in the last few years I have felt my need to teach evolving into a passion. I find at the end of the day the activities and progress of my students occupy my thoughts much more than the thoughts of my own activities, exciting as they are…I have learned so much over the years from of the greatest musicians of our time. I have seen the business of music from every angle, and I have lived the life of a performing professional. I now want to pass all this knowledge on to those who want to learn, much as I have always done, but with more time to do it, with even more commitment. It is my mission to bring the world of the performer to these young people and to help them learn the great value of living a life where the greatest gift is their participation in the world of the arts, and in bringing this magic in its many forms to as many people as possible.147

After retiring from the New York Philharmonic in 1998, JB transitioned out of her orchestral playing career by continuing to teach at The Juilliard School, The Manhattan School of Music and Carnegie Mellon University. Living without orchestral playing was a difficult adjustment for JB, explaining that her position in the orchestra was an instinctive part of playing music for her. Baxtresser maintained a schedule that was far from what one would consider relaxed, commuting between New York and Pittsburgh frequently and teaching masterclasses all over the world. In 2000, David Carroll retired from the Philharmonic to accept a teaching position at Carnegie Mellon University. JB also resigned from teaching at The Juilliard School and the Manhattan School of Music. The couple decided to relocate and settled in Wexford, Pennsylvania, just outside of Pittsburgh. In 2001 JB was approached by the New England Conservatory to join their faculty and accepted a position that allowed her to commute between Pittsburgh and Boston. After three years of teaching in Boston, Baxtresser decided to cut back on her demanding teaching schedule and focus on her students at Carnegie Mellon. She taught masterclasses at the New England Conservatory for some time after that and was affiliated with the institution until 2006. JB has incorporated masterclass teaching into her pedagogical style since the beginning of her time as an orchestral player. During the last decade, Baxtresser has made an effort to

146 Ibid, 84-85.

147 Ibid, 86. Excerpt from a phone interview with author, (August 10, 2008).

reach her knowledge-seeking flute audience by offering masterclasses globally in Asia, Europe, and North and South America to students of all ages. A number of international classes led by Baxtresser have been held at both The Juilliard School and Carnegie Mellon University. Along with masterclass and university teaching, JB has also been an adjudicator at many internationally respected flute competitions, including the Fourth Kobe International Flute Competition in Japan and the 53rd ARD International Music Competition in Munich, Germany.148 JB has received many distinctions for her achievements as a performer and teacher, including an honorary University Professorship from Carnegie Mellon University, as well as the esteemed “Lifetime Achievement Award” at the 34th National Flute Association Convention held in Pittsburgh, Pennsylvania. The Suzuki Association recognized JB’s commitment to education in 2008, nominating her as an honorary board member of the Suzuki Association. Perhaps Baxtresser’s most significant contributions to flute pedagogy are her publications, including Orchestral Excerpts for Flute with Piano Accompaniment (1995) and Great Duos from the Orchestral Repertoire (2002), which feature her practice and performance suggestions to readers. She has also recorded selected flute excerpts on an album titled, Orchestral Excerpts for Flute (CD 1996), on the Summit record label.149 In writing and recording these works, it was JB’s goal to be as inclusive as possible for all potential readers so that flutists and listeners may be able to utilize her works in their own way, regardless of their previous training. JB is currently working on a new publication, which will be the sequel to her first book of orchestral flute excerpts. The new volume will concentrate on challenging excerpts from repertoire of the 20th century and will be available in 2014.150 Jeanne Baxtresser continues to teach at Carnegie Mellon University as the Vira I. Heinz Professor of Flute along with her colleague, Alberto Almarza.

Studying with Julius Baker One can sense the tremendous amount of respect and admiration JB had for Julius Baker, especially when hearing her speak about his influence on her life and career (see figure 8). As his student at The Juilliard School from 1965-1969, JB was heavily influenced by Julius Baker’s

148 Ibid, 88-93.

149 Ibid, 95.

150 Jeanne Baxtresser, personal email with author, (October 2013).

flute playing, humor, and pedagogical philosophies, stating, “I know there is simply no way to overestimate his influence. There are very few performer/teachers of any instrument that have had such a profound effect on so many players of that instrument.”151

Figure 8. Julius Baker and Jeanne Baxtresser152

From a young age, JB respected Baker’s work as a flutist and often listened to recordings of him. She explained that the arts were at their peak in the United States during the 1960s, accessible to Americans in both public schools and television. JB recounts that she watched Leonard Bernstein’s show on television and witnessed an appearance that featured Julius Baker. “I remember that was the first time I saw Baker on TV – the whole family would be watching it. Every time they brought the camera on Baker my father would yell, ‘Flute! Flute!’ with great excitement. It was so thrilling.”153 Baxtresser feels that the timing of Baker’s artistic flourishing

151 Jeanne Baxtresser, The Legacy of Julius Baker, http://www.jeannebaxtresser.com/timeline/baker- legacy.php, (accessed August 14, 2013).

152 Jeanne Baxtresser, personal scrapbook, in possession of Jeanne Baxtresser, Wexford, PA, (accessed October 7, 2013).

153 Jeanne Baxtresser, interview by author, (May 30, 2013).

was sheer perfection and recounted that “there couldn’t have been a better flutist for us to have as a model…he came to his prime in these years when the cultural flowering of this country was at its apex – and then his greatest years were our greatest years. I’m just very fortunate I lived in those years because they were extraordinary.”154 JB explains that Julius Baker was not a typical teacher in the sense that “he was such an extraordinary artist that each student had to take it upon themselves to kind of discover from him how to become a better flutist.”155 Baker was exceptionally talented and allowed his students to see him work by demonstrating often in lessons. Baxtresser explains that Baker expected the most from his students and pushed them to their limits, encouraging each of them to become an independent artist and teacher. With this in mind, JB expresses her definition of musical talent as “the ability to process what you hear from another player, a great player, a player better than you are—to synthesize that and then be able to reproduce it. After that, you make it your own.”156 This philosophy can be seen also in Baker’s pedagogical approach to cultivating artistically independent students. Julius Baker always set a good example for his students and was an excellent model of a musician dedicated to his work. JB recalls working to imitate Baker’s playing style elaborating,

When students are in front of a master teacher and renowned performer, they feel a certain amount of awe. They hang on every word and watch for every change of expression. I was certainly like that with Julius Baker. Most of his students developed their playing by watching and listening to him play during lessons. I watched carefully to find any performance techniques that might be visible, and today I see students watching me the same way when I play during lessons. Motivated students watch, analyze, and attempt to discern ways to produce a good tone and beautiful vibrato.157

It is evident that Baxtresser’s teaching and playing style grew greatly from the professional motivation that Baker required all of his students to have. Baker’s curriculum for each student was not very prescriptive in regards to repertoire and lesson requirements. JB explains, “He would suggest some etudes he enjoyed. As far as solo

154 Ibid.

155 Ibid.

156 Ibid.

157 Victoria Jicha, “The Jeanne Baxtresser Approach” Flute Talk (May/June 2002), 7.

works, he let me choose those pieces. He didn’t have a list. It was completely up to each student to come into the lesson with material prepared that he would be interested in.”158 Baker knew the skills that a successful flutist needed to possess and demanded them from his students, insisting that they strive for good rhythm, solid technique and excellent intonation. JB recalls that “If you fumbled a fast passage, he wouldn’t tolerate it. It had to be crystal clear and clean. If you played out of tune, he would stop you.”159 Baker’s teaching style was motivated by personal example through his own dedicated practicing and playing. Baxtresser believes that he was an enormously dedicated musician, remembering, “He practiced every day…and he loved it – exercises, scales, arpeggios, tone exercises, and then his repertoire.”160 Baker was a living example of the diligent work that he required from both himself and his students. Concerning specific pedagogical topics that Baker emphasized, Baxtresser stresses that intonation was of the utmost importance to him. JB recalls that Baker said to her, “I don’t care how great your technique. I don’t care how loudly you can play, how beautiful the sound, if it isn’t in tune, it’s no good.”161 Intonation was central to beauty for Baker and he expressed this each time in the great care he spent in preparation for his own performances. One suggestion Baker offered to students was to “pull out and turn out,”162 meaning to push a lot of air into the instrument and then to compensate for pitch by pulling the headjoint out slightly and placing the headjoint in a turned out position to play with a large sound that is still beautiful. Baxtresser also recalls that Baker taught that “tone had to be focused, and never forced. Julie used to talk about spinning the sound forward, which is a lovely image. My greatest challenge was to produce the most beautiful sound I was capable of making, at all times.”163 Baker also influenced his students though the many artists that he studied himself. Baxtresser remembers:

158 Jeanne Baxtresser, interview by author, (May 30, 2013).

159 Ibid.

160 Ibid.

161 Ibid.

162 Ibid.

163 Don Bailey, “Jeanne Baxtresser Going Strong” Flute Talk (April 1999): 8-12.

Baker was a great listener and a true fan of all kinds of music and musicians. For example, he would speak of the great violinist, Jascha Heifetz, and the singer, Jussi Björling, with intense interest and admiration. But he also was very connected to the singers and instrumentalists of American popular music. Many times, after a lesson, he and I would play melodies of Gershwin and Cole Porter and Irving Berlin. I loved to harmonize and it was a great opportunity to hear his lovely style and sound in those gorgeous songs.164

JB goes on to expand about her thoughts on imitation:

I truly believe that we all find our musical and instrumental voice through a process of imitation. I love the process of trying to capture the sounds of other great musicians and singers in my own playing. Of course, each player is unique and no musician will ever sound completely like another. But the learning takes place through the process of listening with intent, and learning how to reproduce those new and interesting sounds and techniques. It is also very important to move outside of your own school of playing and to embrace the styles of great musicians who have an entirely different approach to tonal beauty.165

JB remembers that Baker's teaching personality was that of a calm presence. He was inspired and engaged by a student's motivation and preparation. JB recalls,

Julie's expectations of us were very high, and he would respond with great interest and enthusiasm if we were well prepared and ready for each lesson with an outstanding performance. The best of my own students have always understood that the music teacher and student have a partnership, and the effectiveness of the teacher is very dependent upon the level of the student's work. Sometimes I think students feel it is the job of the teacher to inspire the student. While this is true, it is equally important that the student must be prepared to the degree where the teacher can also find inspiration. Responsibility is shared, completely, in the best student-teacher partnerships.166

JB emphasized that Julius Baker was a teacher who was invested in each of his students, caring for them on both a personal and professional level. She indicated that his confidence and tremendous pride for each student was evident through the great enthusiasm he had for teaching and performing. JB shared that Baker was a wonderfully social person who had a terrific sense of humor. She recollects, “We students remember how much Julie simply loved being with

164 Jeanne Baxtresser, interview by author, (May 30, 2013).

165 Ibid.

166 Ibid.

people – talking, laughing, and telling those wonderful stories…He liked to make you laugh, and he loved it if you made him laugh.”167 JB noted that Baker’s humor was, indeed, a significant part of his personality and teaching style, something that has made an obvious impression on JB through her incredible wit and ability to make students smile in even the toughest times (see figure 9). The impression that Julius Baker made on the life of Jeanne Baxtresser and many other flutists from the American flute school is immeasurable and special in many ways, as reflected in JB’s tribute to Baker in Appendix A.

Figure 9. Jeanne Baxtresser and Julius Baker sharing a moment together168

167 Ragusa, 2-3.

168 Jeanne Baxtresser, personal scrapbook, in possession of Jeanne Baxtresser, Wexford, PA, (accessed October 7, 2013).

Thoughts on the American Flute School Beginning her university teaching career in 1972, Jeanne Baxtresser has taught talented flute students from around the world for over 40 years. As a former student of Julius Baker’s, JB believes that his style of playing was what some flutists during the middle and end of the 20th century considered to be the quintessential “American” way to play the flute, stating,

When I first started studying with Baker, it seemed to me at that time there was somewhat of a distinctive American style. And that was through the Barrère/Kincaid/Baker line, that particular strain. It became predominant because so many of Baker’s students went into orchestras, and became soloists.169

Although Baker’s teaching and playing encompassed a number of pedagogical areas, Baxtresser mentions that Baker’s style focused on a very big, resonant, beautifully controlled sound. With that being said, she also believes that sometime over the last few decades, the drastic evolution in technological advancements has played a substantial role in making recordings and great flute teaching accessible to flutists worldwide, dissolving any boundaries between American flute playing and other styles. The influence that technology has had on the evolution of the American flute school as well as other schools of playing has been tremendous. Baxtresser believes that the dissipation of a specific American style can better be described as an evolution of the traditions in flute playing. She explains:

This is the best time to be a musician. The availability of the magical sounds of great musicians of the past and the brilliant performers of today are seconds away and may be accessed with the press of a key. In my opinion, this has resulted in a wonderful acceptance and embracing of different approaches to flute playing. A flute student today can hear Emmanuel Pahud in a live performance with the Berlin Philharmonic and minutes later, a vintage recording of Kincaid with the Philadelphia Orchestra. This accessibility has torn down barriers and even prejudices that used to exist. The true musician will always respond to the element of beauty in another player with admiration, even if that player is from an entirely different background and musical training. This is one of the best things about being a musician. There are an infinite variety of ways to play the flute and the greatest musicians are always eager to hear more and learn more. It is a process that never stops.170

169 Jeanne Baxtresser, interview by author, (May 30, 2013).

170 Ibid.

Baxtresser believes that the American flute playing style that developed during the beginning of the 20th century relied heavily on the influence of European and Russian instrumentalists who immigrated to the United States to perform in American orchestras. Furthermore, she feels that American musicians borrowed these inspirations and applied them to their own knowledge of performance practice, developing an American style. JB also points out that the American flute style, which developed during the latter half of the 20th century, was also greatly affected by the accessibility and exposure to a variety of influences because of the availability of recordings.

All music has lessons to teach us. If I listen to great players of ethnic and folk instruments from other cultures such as Japan or Peru or Hungary, for example, I hear glorious tones and colors that I want to bring into my own palette of colors. I know that my flutist colleagues feel the same and are drawn to these artists for what they can teach us about the flute.

In the same way, I will listen to and study the phrasing of great popular singers such as Frank Sinatra, Ella Fitzgerald and Sarah Vaughan, and the playing of legendary saxophonists such as Johnny Hodges, Stan Getz, and Ben Webster to learn as much as I can about beauty in line and tone. In music there should be no barriers—the more kinds of music that you hear and study, the more you will bring into your own playing.171

As an artist who grew up in the cultural flowering of the arts in the second half of the 20th century, Baxtresser concludes that flutists and other artists must bind together to help inform today’s society of the vital role that music plays in our lives. She states:

One of my colleagues once said that we must all think of ourselves as musical missionaries. Beyond our commitment to play the flute with the greatest skill and ability, we must all be actively involved in the greatest challenge facing all of us in the arts. This is the challenge of finding the path to continue to make the study and appreciation of great music a part of our rapidly changing society. Our ability to perform at our best on the flute is assumed. In addition, we must be creative and dedicated to keeping our music alive through continuing to find creative ways of communicating with and engaging our audiences.

171 Ibid.

With the advances in technology, there are so many exciting avenues to explore. I work with remarkable young people every day and I so admire their passion for music and their tremendous abilities to engage in these fast moving changes in technology. I am confident that today's generation of classically trained flutists and musicians recognize that the gift of great music and the joy of playing an instrument are universal and timeless contributions to society. They carry this message with dedication and love that inspires me and guides me to help them in every way that I am able.172

Baxtresser acknowledges that it is inevitable that the quality of flute playing will continue to improve over time. She is a believer that not only American flutists, but more so all accomplished flutists of today and the future will need to develop tremendously flexible skills, becoming conversant in a wide variety of genres of playing. She feels that flutists will continue to become advocates for music in today’s society, incorporating the promotion of live performance very closely with the development of their own instrumental studies.173

Baxtresser Student Roster Table 5. Jeanne Baxtresser Student Roster174

Laura Adams Lucy Cho Jocelyne Fillion-Kelch Les Allt Joon Hyuk Choi Andrea Fisher Nana Aomori Carolyn Christie Luke Fitzpatrick Weronika Balewski Claude Cobert Jacinthe Forand Jeffrey Barker Patty Creighton Valerie Forstman Pettys Belinda Batson Alison Crossley Marc Andre Fournel Lucie Batteke Valerie Debaele Anna Garzuly Wahlgren Jonathan Bayley Razika Djoudi Joanne Geerling Dorothea Belanger Ellen Dooley Rebecca Gilbert Alan Berquist Christy Edewaard Long Eduardo González Dilshad Billimoria-Posnock Alison Emerick Amal Gochenour Rachel Blumenthal Christine Ertel David Graham William Bomar Nicole Esposito Erik Gratton Jennifer Bouton Yevgeny Faniuk Inger Grefftegreff Shelley Brown Kathryn Farenish Cordula Hacke Pandora Bryce Hillary Feibel Brit Halvorsen Ellen Cash Brook Ferguson-Schoenwald Louise Hanley I-Jung Cheng Luciana Fernunson Natasha Harrison

172 Ibid.

173 Ibid.

174 Jeanne Baxtresser. http://www.jeannebaxtresser.com (accessed June 10, 2013).

Table 5. continued

Stephanie Hegedus Katy McKinney-Bock Hyesong (Sarah) Shin Anne-Catherine Heinzman Adi Menczel Martina Skjellerudsveen Emily Hoppe-McKay Joanna Messer Mercedes Smith Brandy Hudelson Douglas Miller Yun Hwa Song Yoonjung Huh Sarah Yunji moon Jennifer Steele Jessica Hull-Dambaugh Diana Morgan Elizabeth Stern Nadine (Jeong-Eun) Hur Susan Morse Terri Sundberg Timothy Hutchins Bridget Muldoon McDaniel Rebecca Swain Jin Young Im Jana Nelson Marie Tachouet Russel Shatoshi Itani Clarissa Nolde Elizabeth Talbert Dionne Jackson Rhiona O’Duinnín Stephen Tam Rachel Jenkyns Seung Min Oh Chelsea Tanner Christina Jennings Rachel Ordaz Julie Thacker Elaine Jorgensen Karen Osmond Sarah Tiedemann Sharon Juby Stepson Elizabeth Osorio Heidi Tovik Phillip Jundt Robert Pagan Laurel Trainor Yoon-Hee Jung Jee Eun Park Margaret Trethewey Jung-Wan Kang Minji Park Patrick Tsuji Sue Karpo (Hauke) Soo-Kyung Park Sarah Tuck Jeffrey Khaner Aaron Perdue Cecilia Ulloque Hee Jung Kim Jodi Petroelje Dyer Dana Varelli Digennaro Hyun Jeon (Helen) Kim Marina Piccinini Marlene Verwey Jeong Hyun Kim Lynne Piening Meredith Veysey Youngji Kim Amy Porter Claudia Walker Renee Brodwin Koch Julie Ranti Leoni Wall Ann Marie Kopp Heather Rentz Henrike Wassermeyer Elisabeth La Foret Tom Robertello Roseanne Wierenga Francois Lamothe Pia Rodriguez Fiona Wilkinson Ester Lee Tatjana Ruhland Stephanie Winker David Lonkevich Emre Sagbas Vicki Woolsey Blechta Elizabeth Lu Anna Dina Schick Xiong Xiao Hilary Ann Lynch Kathleen Schott Shaffer Elena Yakovleva Susan MacLagan Katarina Schroter Jessica Yang Simone Madden-Grey Sean Schulich Sook Young Yim Mira Magrill Keren Schweitzer Peggy Yoo Elisabeth McCafferty (Plunk) Julie Seftick-McGough Young Joo Yoo Elizabeth McGlinchey Sara Shedad Hyeri Yoon

Conclusion The extraordinary expertise and skill that Jeanne Baxtresser exhibits as a flutist and teacher is evident through her remarkably successful career thus far. Consequently, the contributions that JB has made to the advancement of flute playing have the potential to influence generations of flutists far beyond her time. Her eloquent, witty, and humble personality has a distinct way of inspiring those who seek her personal and musical guidance. As the proud instructor of those she calls a diverse “family” of students, Jeanne Baxtresser continues to produce successful flutists who have gone on to pursue careers in both music and unrelated fields. JB summarizes her philosophy by stating:

I will never forget how much I was given as a child by my parents and the remarkable devotion of my principal teachers. A big part of being a musician is to pass on all of the devotion and generosity you have received to those who will some day follow you as the teachers and players of tomorrow. This has been the greatest and most inspiring part of my life as a flutist and teacher. I know that I, too, am a small part of a magnificent lineage of thoughts, ideas, and inspiration that will continue into eternity.175

175 Goll-Wilson, 11.

CHAPTER SIX

CONCLUSION

The intricately woven history and sense of tradition that is present within the flute heritage of Jeanne Baxtresser is a story that all flutists should have the opportunity to study and know. From the beginning of conventional French Conservatoire flute teaching at the end of the 19th century to today’s diverse flute instruction, the teachers mentioned in this work have made a substantial mark on the history of American flute playing through both their professional performance careers and shared pedagogical teachings. The inspiration and deep admiration that Jeanne Baxtresser has for both her teachers and the other flutists mentioned in this document is evident through her dedication to teaching talented young musicians as well as her boundless generosity for sharing knowledge. JB wrote of her late teacher Julius Baker, “His legacy will live forever because a great teacher affects eternity.”176 These words are the essence of what it means to strive for greatness in one’s art form through the teachings of those who have come before us. Through this study, the researcher has taken a closer look at the achievements, pedagogical contributions, and musical genealogy of flutists Georges Barrère, William Kincaid, Julius Baker, and Jeanne Baxtresser. It is the researcher’s desire that future generations of flutists and admirers of these respected musicians may read this document and develop a greater appreciation for the enormous musical contributions that Jeanne Baxtresser and her American flute forefathers have made to the advancement of flute playing. Uncovering the great career paths of these influential musicians may allow one to conclude that there is much to be learned from the fascinating journeys that these flutists have had in music. Perhaps the information provided here to readers will spark interest in further exploring the lives of these accomplished artists.

176 Jeanne Baxtresser, Juilliard Tribute to Julius Baker, Appendix A.

APPENDIX A

JUILLIARD TRIBUTE TO JULIUS BAKER – JEANNE BAXTRESSER

My introduction to Julius Baker happened when I was twelve years old. I heard him on a recording of the Handel flute Sonatas. What happened after was not unique to me. In fact, the same thing happened to hundreds of flute students from all over the world. Put simply, I was transformed. I heard a flute sound that was so gorgeous and a musician so magical, I was overwhelmed. From that moment, at only twelve years of age, all of my energies were dedicated to one goal. I wanted to be able to study flute with the master of that instrument. All of Julius’ students felt that strong gravitational pull to him…long before we even met him. I am sure I am not the only one here that tried, countless times, to analyze what made his playing so compelling. Of course, there was that sound…best described in a Time magazine article as being “rich and full as a beautiful harvest moon.” His technique was astonishing…no matter how fast or how difficult; he made it sound easy, effortless. And when it came to style, he crossed all the borders in all kinds of music. To me, he defined the ideal of a real American musician. We students were all in love with the way he played…and we tried so hard to be like him, even to the point where we imitated his posture, and the way he held his flute. As a teacher, he led by example. He demanded so much of himself that we all began to understand that behind that natural genius on the instrument was tremendous study and discipline. I don’t think he ever played a note that wasn’t the best he could do. His dedication was one of the greatest lessons he taught. When it came to performance, he demanded the best of himself and asked it of us as well. When I was his student the only difficult thing about studying with Julie was that his performances were always like recordings…nothing ever went wrong. I confess…sometimes when I heard him play, I would secretly hope for some small error, one note that wasn’t so perfect, so I wouldn’t feel so overawed. His standards as a performer seemed superhuman and impossible to match. Julie adored the talent and potential of his students, and he always showed tremendous pride in their abilities. How often we would all hear him exclaiming about a new student of his that would be the next great player on the world stage – and he was often right. I know it was his

confidence and enthusiasm with us that gave us the courage and strength to pursue our lofty dreams. He always made us feel that anything was possible. Julie also taught me the virtue and necessity of having a strong, healthy competitive nature. He wanted you to show what you could do, to be strong and proud of your abilities and to want people to be aware of what you had to offer. I remember once when his dear friend Jean Pierre Rampal was a soloist with the Philharmonic. That was soon after Julie had joined the orchestra. He said to me, in a lesson, “Rampal is playing the Mozart Flute and Harp Concerto with the orchestra next week. The 2nd half of the program is Stravinsky’s ‘Song of the Nightingale’; it’s loaded with flute cadenzas.” Then he got that determined almost defiant look of his (eyes narrowed, lips pursed) and he said, “I’m going to play the hell out of it.” Observing this “you’ve gotta show ‘em what you can do” attitude was a critical part of my education. Outside of the lessons we saw a man who simply adored his family. He spoke of Ruth and the children – Muffy, Jonathan, and Jennie – all the time with delight, love, and deep admiration. They were truly the core of his life. We also saw a man who made room in busy days for developing a working knowledge in many totally unrelated fields. He was a beekeeper, a ham radio operator, and a pilot, operated his own recording studio, and was an authority on Russian tractors, and on and on. He was not a dilettante; he studied, read and became an expert in all these fields. We students remember how much Julie simply loved being with people – talking, laughing and telling those wonderful stories. I know all of you have had the experience of trying to walk anywhere with Julie. He was always stopping to greet friends and acquaintances. I remember walking down Broadway with him after my lessons to rehearsals at Philharmonic Hall. It seemed to me he knew everyone in New York City. He reveled in the repartee with the guy that sold the NY Times as much as he enjoyed talking with a famous conductor. To him, there was no difference. We all know what a great wit he was; we could spend the rest of the evening telling stories about the funny remarks, the asides, the limericks and the poems. He liked to make you laugh, and he loved it if you made him laugh. It was here, at The Juilliard School, that we all started the fascinating journey of getting to know this man and this great musician. Even though he became a dear friend to all of his students, he would remain our teacher. In our minds he will always be the giant among flutists.

Nobody has ever been able to equal that remarkable magic, even though we all try valiantly. From his gift to us as flutists, we will all be eternally grateful, and will pass on his lessons to those that come to us for guidance. Above all, he gave us the example of a life lived to the absolute fullest; it is this inspiration we carry with us always. Today is not about what we have lost – it is about what we were given. For so many of us it was the gift of a life in music. His legacy will live forever because a great teacher affects eternity. And for this precious moment…when we have all come together to honor him…he has given us each other.

Thank You.

Juilliard Tribute to Julius Baker Jeanne Baxtresser March 11, 2004

APPENDIX B

KINCAID PRAELUDIUM EXERCISE*

Appendix B. continued

*Score transcribed by Patricia George, unpublished manuscript.

APPENDIX C

SELECTED JEANNE BAXTRESSER DISCOGRAPHY AND PUBLICATIONS

Solo Recordings

The Baroque Flute Fanfare Digital Recording CDD-405

Bolling: Suite for Flute and Jazz Trio IMP Classics 30367-0962

A Collection of My Favorites MSR Classics MS1114

Chamber Music for Flute Cala Records CA CD 0544

Debut Solo Recording, Montreal 1977 McGill Records 2002-01-1

Gershwin with Jeanne Baxtresser and Julius Baker Available on iTunes

Jeanne Baxtresser, Principle Flute, New York Philharmonic Cala Records CA CD 0512

The Magic Flute Fanfare Digital Recording CDD-406

New York Philharmonic Kurt Masur Teldec Classics International 0630-13133-2

Orchestral Excerpts for Flute with spoken commentary Summit Records DCD-159

Additional Chamber Music Recordings

Phillips Modern Music Series Differences for 5 instruments and tape 839.323

Phillips Modern Music Series Works by Charles Ives, William Bolcom, Henri Pousser, Max Lifchitz 839.322

RCA Red Seal Luciano Berio Folk Songs and Epifanie for small ensemble and orchestra with the BBC Symphony Orchestra LSC-3189

New York Philharmonic Orchestral Recordings

Teldec (Zubin Mehta and Kurt Masur) Beethoven—Symphony No. 5; Egmont Overture Berg—Lulu Suite Brahms—Ein deutsches Requiem; Symphonies No. 1, No. 2, No. 3, and No. 4; Academic Festival Overture; Tragic Overture; Variations on a Theme of Joseph Haydn; Schicksalslied Britten—War Requiem Bruckner—Symphonies No. 4 and No. 7 Dvořák —Symphonies No. 8 and No. 9; Cello Concerto (with Yo-Yo Ma) Debussy—La Mer; Afternoon of a Faun Franck—Symphony in D Minor Gershwin—Porgy and Bess; An American in Paris Ives/Brahms/Reger—Variations Janáček—Sinfonietta Kodály—Hary Janos Suite Liszt—Mephisto Waltz; Mazeppa Mahler—Symphonies No. 1, No. 5, and No. 9 Ravel—La Valse Schoenberg—Gurrelieder Shostakovich—Symphony No. 13 “Babi Yar” Sibelius—Symphony No. 2 Stravinsky—Le Sacre du Printemps; Symphony in Three Movements Tchaikovsky—Waltzes Weill—The Seven Deadly Sins

Deutsche Grammophon (Leonard Bernstein and Giuseppe Sinopoli) Copland—Symphony No. 3 Ives—Symphony No. 2 Mahler—Symphonies No. 2, No. 3, and No. 7 Mussorgsky—Night on Bald Mountain Ravel—Valses nobles et sentimentales Respighi—Pines of Rome; Fountains of Rome; Roman Festivals Scriabin—The Poem of Ecstasy; Symphony No. 3 Strauss—Also sprach Zarathustra; Tod und Verklärung Tchaikovsky—Symphony No. 5; Symphony No. 6 “Pathetique” RCA Victor Red Seal (Yuri Temirkanov) Rimsky-Korsakov—Scheherazade; Russian Easter Overture

Publications

Flower Duet from Lakmé Published by Theodore Presser Company

Great Flute Duos from the Orchestral Repertoire Published by Theodore Presser Company

Orchestral Excerpts for Flute Published by Theodore Presser Company

APPENDIX D

STATEMENT FROM THE IRB

APPENDIX E

September 3, 2013

Dear Ms. Ragusa:

Thank you for taking the time to talk with me regarding my current project. I am writing to request permission to reprint selections from Julius Baker – A Tribute for my doctoral treatise entitled “Jeanne Baxtresser’s Flute Heritage: A History of Tradition and Excellence” at Florida State University. The excerpts to be reproduced will include:

• Photograph of Bernstein welcome letter, pg. 68. • Photograph of Julius Baker and Jean Pierre Rampal CD cover, 58.

The requested permission extends to any future revisions and editions of my dissertation, including non-exclusive world rights in all languages, and to the prospective publication of my dissertation by UMI Company. These rights will in no way restrict republication of the material in any other form by you or by others authorized by you. Your signing of this letter will also confirm that you own [or your company owns] the copyright to the above-described material.

If these arrangements meet your approval, please sign this letter (by pen or electronically) where indicated below and return it to me via email. Thank you very much.

Sincerely,

David M. Graham

PERMISSION GRANTED FOR THE USE REQUESTED ABOVE:

Ms. Sandra Ragusa

July 20, 2013

Dear Ms. Baxtresser:

Thank you for taking the time to talk with me regarding my current project. I am writing to request permission to reprint the following documents that you have provided to me, which will be included in my doctoral treatise entitled “Jeanne Baxtresser’s Flute Heritage: A History of Tradition and Excellence” at Florida State University. The excerpts to be reproduced will include:

• Selected photographs from your personal scrapbook. • A speech manuscript from a 2004 Juilliard School tribute for Julius Baker.

If these arrangements meet your approval, please sign this letter (by pen or electronically) where indicated below and return it to me via email. Thank you very much.

Sincerely,

David M. Graham

PERMISSION GRANTED FOR THE USE REQUESTED ABOVE:

Ms. Jeanne Baxtresser

BIBLIOGRAPHY

Bailey, Don. “Jeanne Baxtresser Going Strong.” Flute Talk (April 1999): 8-12.

Baker, Julius. Interview by Peter Bacchus, September, 1994. http://www.peterbacchus.com/technique/Interv_Flutists.html (accessed August 14, 2013).

Baxtresser, Jeanne. Interview by author. Tape recording. Pittsburgh, PA, May 2013.

———. Jeanne Baxtresser. http://www.jeannebaxtresser.com. (accessed June 10, 2013).

———. The Legacy of Julius Baker. http://www.jeannebaxtresser.com/timeline/baker- legacy.php. (accessed August 13, 2013).

———. Personal Scrapbook, in possession of Jeanne Baxtresser, Wexford, PA, (accessed October 7, 2013).

Blakeman, Edward. Taffanel: Genius of the Flute. New York: Oxford University Press, 2005.

Bliss Herbine, Lois. “William Kincaid and Marcel Tabuteau: A Legendary Collaboration.” The Flutist Quarterly (Winter 2006): 46-51.

Cecil-Sturman, Ann. “Julius Baker Remembered.” The Flutist Quarterly (Spring 2004): 28-43.

Dorgeuille, Claude. The French Flute School, 1860-1950. New York: Tony Bingham Publishing, 1986.

Fair, Demetra Baferos. “Flutists’ Family Tree: In Search of the American Flute School.” DMA diss., The Ohio State University, 2004.

Goll-Wilson, Kathleen. “Dawn to the Music.” Flute Talk (April 1995): 6-11.

Harper, Patricia. “Julius Baker: Tribute.” The Flutist Quarterly (Fall 2003): 56-59.

———. “Julius Baker’s Remarkable Career in Flute-Playing.” The Flutist Quarterly (Winter 2001): 30-36.

Heylbut, Rose. “Master your Flute Tone.” Etude (June 1950): 1 and 49.

James, Kortney Michele. “Jeanne Baxtresser: A Musical Legacy.” DMA diss., Arizona State University, 2008.

Jicha, Victoria. “The Jeanne Baxtresser Approach.” Flute Talk (May/June 2002): 7-12.

Khaner, Jeffrey. Julius Baker – Living Legends Part 1. Video interview with Julius Baker. https://www.facebook.com/video/video.php?v=101460184389 (accessed July 13, 2013).

———. Julius Baker – Living Legends Part 2. Video interview with Julius Baker. https://www.facebook.com/video/video.php?v=102243694389 (accessed July 13, 2013).

———. Julius Baker – Living Legends Part 3. Video interview with Julius Baker. https://www.facebook.com/video/video.php?v=102658534389 (accessed July 13, 2013).

Krell, John C. Kincaidiana: A Flute Player’s Notebook. Santa Clarita: The National Flute Association, 1973.

———. “William Kincaid – Master Musician.” Flute Talk (May 1983): 1-2.

Lang, Hannah. “Interview with Jeanne Baxtresser.” Pan (March 1997): 16.

Ragusa, Sandra. Julius Baker – A Tribute. New York: Oxford Recording Company, 2004.

Solum, John. “The Kincaid Legacy.” Flute Talk (May 1983): 3-4.

Staff, Music. “Instruments: Flute Fever.” Time (March 11, 1966).

Toff, Nancy. Georges Barrère and the Flute in America. New York: The New York Flute Club, 2004.

———. Monarch of the Flute: The Life of Georges Barrère. New York: Oxford University Press, 2005.

BIOGRAPHICAL SKETCH David M. Graham is widely recognized as a flutist and teacher and has performed solo recitals, chamber music, composition premiers, and concertos across the United States. As an orchestral player, he has performed with ensembles such as the Pittsburgh Opera Theatre Orchestra, West Virginia Symphony Orchestra, Arkon Symphony Orchestra, the Alia Musica New Music Ensemble, and is currently principal flutist of the Erie Chamber Orchestra. As an active proponent of new compositions and chamber music, Dr. Graham has played for the Pittsburgh Symphony Orchestra Chamber Music Project, Flute and Strings NCSA Chamber Music tour to Lincoln Center, is a founding member of the Arioso Trio, and serves as the membership and finances chair of the Flute New Music Consortium. At home on the concert stage, David Graham has performed in various performances associated with national competitions and awards. He was the first prizewinner of the Atlanta Flute Club Young Artist Competition in 2011 and was a semi-finalist at the NFA Young Artist Competition in 2012. Dr. Graham has also been a performer at a number of national flute conventions, including the Atlanta Flute Fair, The Florida Flute Convention, the Mid-Atlantic Flute Fair, and most recently at the 2013 National Flute Convention in New Orleans, LA. Active as an instructor at both the high school and collegiate levels, David has taught masterclasses and clinics in both Pennsylvania and Florida, including The Florida Flute Association Convention, as a guest artist at Slippery Rock University, and undergraduate and graduate level courses at Florida State University. His articles on flute pedagogy have been published by the Pittsburgh Flute Club, the Washington D.C. Flute Society, and the Flute Association at Florida State. Dr. Graham holds degrees from the University of North Carolina School of the Arts, Carnegie Mellon University and a Doctor of Music Degree from Florida State University. His primary teachers have included Eva Amsler, Alberto Almarza, Jeanne Baxtresser, Jennifer Conner, Tadeu Coelho, and Stacey Steele. David Graham is a member of the National Flute Association, The Flute Association at Florida State, The Atlanta Flute Club, the Flute Society of Washington D.C., and the Florida Flute Association.