Presiderlt: Sir James Galway OBE The psychology of Vice-presihr: Albert Cooper cover is from the worlishops of sculptor teaching Acting Chairmat/: Kenneth Bell Jan van Nost and has been in the 24 grounds of Painswiclc House, Lucinda klackworth-Young shares Gloucestershire, since it was first some of the best-kept secrets of constructed in the 18th century. successful tlute teaching and ...... happy, motivated pupils. The Journal of The British Flute Society British Flute Society Sing alto flute! Volume 21 No. 1 Address Book 2 The sonoritv of the alto flute has 28 March 2002 enormous expressive possibilities. Carla Rees reveals its history and Editor& Committee Comment sings its praises in this first article Clare Roberts Editor 3 of a new series. Kenneth Bell ...... Christine Ring BFS news Brian Finnegan: a bit Helen Baker i\ new section to keep. .vou up to date 4 of a wizard with all BFS events, activities and 30 Contacting the BFS information, including memhers' noticeboard Funky tlute playing General enquiries ...... from a techno acrobat Kenneth Bell Acting Choir - to find out more E-mail: secretary@bfs,org.uk Flute news about the man and his Ben's diary, tlute days for young music, read I-Ielen- Membership enquiries 6 people, advice, rare crystal flute Louise Balter's interview John Rayworth A4en1bedip Secretary with the central figure The Nook, How Mill, of the folli band Flook! Brampton Letters ...... Cumbria CA8 9JY Octotonic music, coping with Tel: 01228 670306 braces 11 Deafness no bar E-mail: [email protected] this flautist All telephone enquiries regarding BFS June playing The flute is the best thing that has ever membership should be directed day with happened to Ruth Montgomery. The to John Rayworth 12 beauty of her playing has been Susan Editorial described as inspirational. Here, this Clare Roberts Editor Milan determined, inspired flautist tells the 2 \Voodlawn Road story...... of her music-making. SW6 6NQ Telephone 020 7385 2071 Historical clues to the Fax020 73853276 origin of the flute 37 E-mail: [email protected] Advertising ...... really invented in Maple Media Ltd. Concert and flute day 411 Wokingham Road Earley, Reading, reviews 14 Berlrshire RG6 7EL Telephone 0118 926 1669 Simon O'Sullivan delves Fax0118 9665611 Obituaries into the mists of time.. . illl~ertIloney, Russell King, 17 Cover James Cuming Hopliinson Summer school listings Statue of Pan (see tinted box for details) ...... Pan's annual list of flute summer Courtesy of the newspaper Concert listings 38 Stroucl News and Journul schools...... in the UK and abroad Design, production and printing Michaelangelo Design Reviews The Fitzpatrick Building Flautist of fire and 158-194 Yorli Way, London N7 9AS flexibility 20 ...... Telephone 020 7700 4733 Jol~athanSnowden Advertiser index and Fax 020 7700 3703 believes the key to survival E-mail:[email protected] classified 55 in the flute world is ...... flexibility - in dynam~cs, style, colour and Counterpoint interpretation. Susan Further shock revelations from Views expressed by contributors are their own Fitzgerald finds out more ' the Comos ... Daisy \Veal on Harmony56 and do not necessarily reflect the official view of of the Spheres, world music, the British Flute Society. All copyrights reserved. about this talented, versatile musician. Neapolitan sixths and Zarathustra ... Registered charity No. 326473 ISSN 1360-1563 The aims of the British Flute Society: ...ro advntance the edt/cntion ofrhep~tblicin the Art and Scierrce of iblrcric and in por~ir~tlarthe AI? nnd Science of FMe p/n.ying it1 anN its nspccts...

PAN MAGAZINE 1 The British Flute Off'leers Cumbria London SE24 9JQ Elizabeth Way I Janet McCallum Tel: 020 7733 1328 Harlow, Essex CM20 2HX Rachel Misson Peasrirer 1 Society Wyresdale Surrey Tel: 01279 417134 Spring Farm, \Vanviclc 7 Liniethwaite Road Jacliie Cos Pax: 01279 429401 Road, Stratford-upon- Pmi&it: Sir .lames Galway Windermere LA23 2BQ 3 \Vest Street, E-mai1:baerenreiter Avon CV37 OPZ Tel: 01539 446611 Carshalton, @dial.pipex.com TeVfax: 01789 731966 East London Surrey SM5 2PT Fas: 01789 731499 Bill Lewitigton Ltd AFT liate Cuzner Tel: 020 8773 0436 Unit 8, Hornsby Square Nbert Cooper Nbert Cooper 52 Turnstone Close Swansea Southfields Industrial Hot~aryVice Presihl l Upper Road, Plaistow, I-lug11 Phillips Park, Laingdon, Essex 9 \Vest Road London, E13 116 Delffordd, Rhos, Clapham SS15 6SD Tel: 020 7511 5552 Pontardawe, Swansea, Tel: 01268 413366 London SlV4 7DL East Central Scotland \Vest Glamorgan SAS 3E\% Tel: 020 7622 7663 Fax: 01268 418008 Irene Barties, Broughton Tel: 01792 865825 Email: Kenneth Bell Susan Bruce 28 Station Road, ICinross, Twicltenhan~ [email protected] Acting Chairman Legal Represetrtafive Scotland KY13 7TG Julie \Vright Central Band HQ Music 4 Winston Close Tel: 01577 862433 ClCW Publications 41 Devon Avenue i\ttn. Services, RAF Uxbridge Stratford uoon Avon Hertfordshire Twiclrenham, Middlesex UBlO ORZ Geraldine Russell-Price \Vendy LVaIshe, Iiennel Middlesex T\V2 6PN 10 Avenue Road Tel: 01895 237144 House. Howe Green. TeWax: 020 8241 7572 x 6341 Tel: 01789 292708 Kingston-Upon-Thames Hertfoid SG13 8LH Thames Valley Surrey KT1 2RB [email protected] Fas: 01789 414081 Tel: 01707 261573 Email: susan@bn~ce.co.~~k lan Mulin Tel: 020 8541 OS57 Cliristine Ring Norfollr 96 Grovelands Road .John klyatt \lloodwind Mitrrrles Secretaq Clare Roberts Elaine Smith Reading, Berks The IIemmel, Editor The White Homestead RG30 2PD and Brass Low Warden, 2 Woodlawn Road Bramerton Tel: 0118961 3476 57 Nightingale Road Ilexham, London SW6 6NQ Norwich NR14 7DP Hitchin, IIcrts SG5 1RQ Northumberland Tel: 020 7385 2071 \lresses Tel: 01462 420057 TeVfax: 01508 538215 Jan Trevithiclr NE46 4SN. Fax: 020 7385 3276 Fax: 01462 435464 TeVfax: 01434 603489 [email protected] North East Thorny Banli Christine Ring 4 The Retreat. Frome Jonathan Myall/Just Yvonne Mcl1w:line John Rayworth The Hemmel, Low Somerset ~~1'15JU Events Coordittnor ~VentbershipSecretmy \Varden, Hexham, Tel: 01373 452922 46 South End, Croydon, 4 Church Farm Cottages The Noolr, How Mill Northumberland Surrey CRO 1DP Packington Lane Brampton Wrest Susses NE46 4SN. 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WR14 3BE Services Clare Mellor AFTrep Hafod Ruffydd Uchaf, Tel: 01684 567819 Assisfan/ Treasurer 153 Logan Street C Noel Sheehan, Beddgelert, France Sor~tli\Vest 50-52 London Road, 25 Melrose Avenue Market IIarbol~rough Caernarfon Reading, Berlis RG6 7BN Leicestershire LE16 9AP Atarah Ben Tovim Leicester LE2 0QD Gwynedd LL55 4UU Au Bosch, Juillac 33890 Tel: 0116 255 7492 Tellfax: 0118 966 9767 TeVfax: 0116 259 0184 TeVFax: 01766 890434 E-mail: Gensac, France Fax: 0116 285 5932 'lkevor Wrye North West London Fa0033 557474003 [email protected] Archivist Email: Patricia Clelland [email protected] Helen Baker Tamley Cottage 7 Cherry Tree Avenue Edltcatio 11 Repmsetitafive Association Nastingleigh, Ashford, Yiewsley, West Drayton, Top Wind 7 West Street. of Flute Traders Kent TN25 5HlV Midds UB7 8DB 2 Lower Marsh Isleham, Ely, TeVfax: 01233 750493 London SE1 7EJ Cambs CB7 5SD Tel: 01895 437570 Albert Cooper Chairman 9 \Vest Road, Tel: 020 7401 8787 Tel: 01638 780275 Oxford Fax: 020 7401 8788 [email protected] Carolyn Robinson Clapham, London SW4 7DL Pearl (UK) Ltd David Oliver 21 Trinity Street St. Ehbes, TeVfax: 020 7622 7863 Sherbourne Drive 'Hill Side Cottage', Tilbrook Brailes, Oxford OX1 ITN All Flutes Plus Avon & Somerset Tel: 01865 250169 5 Dorset Street Milton Keynes MK7 SLP Banbun. Tel: 01908 366941 OX15 ~AF Carole Timms South Devon London WII1 3FE Tel: 01608 665529 4 Sheppards \hlk Garth Freeman Tel: 0171 935 3339 Fas: 01908 640655 Fax: 01608 686592 Chilcompton Highbanlzs, Fax: 0171 224 2053 Yamaha-Kemble Music Mobile: 07813 258283 Somerset BA3 4FF The Orchard, Boosey Pr. Hawltes (U10 Ltd Email: flute@david- TeVfax: 01761 233982 Holcombe Dawlish, Deansbrook Road. Acoustic Division oIiver.co.uk Birmingham Devon EX7 OJD Edgware, b~iddlesex Sherbourne Drive Margaret Lowe Tel: 01626 865653 HAS 9BB Tilbrook 10 Navenby Close South East London Tel: 020 S429 7511 blilton Keynes Shirley, Solihull, Susan Mary W~ittalter Fas: 020 8429 7556 bIK7 8BL West Midlands B90 1LM 52 Red Post Mill Barenreiter Tel: 01908 366700 Tel: 0121 474 3549 Herne Hill Burnt Mill Fax: 01908 369225

2 PAN MAGAZINE his month sees a bumper issue of Pan to start the new year with a bang! Don't miss our major interviews of two Life Members of the BFS . exceptional flautists, Jonathan Snowden and Brian Finnegan. Their talents and personalities Julian Arnmstrong Danielle Baron-Janli may have taken their playing in somewhat Michie Bennett .: different directions, but they both have \Villiam Bennett fascinating tales to tell. Jonathan Snowden, \Vissam Boustany Robert G. \V. Brow known for his sumptuous range of tone, has Briat~Burgess been successful as principal flute with several Patricia Clelland hestras, and shares his love of the i\lhert Cooper Philomena Cooper t, his belief in the importance of flute Paul Dhasrnana teaching and insights into the power of Elena Duran mance. Meanwhile, Brian Finnegan, who Andrew Edwards Michael Emrnerson expresses himself with astonishing dexterity on Paul Pelguson of different flutes in the band Floolr!, Daniel Fisher Carlos Pitzpatriclr tells of his inspiration and fellow travellers on Dr ilngeleita Floyd the folk road ... Caroline M. Frankly We may be inspired by the great flautists of our day (don't forget that Susan James Galway Jeanne Cinnante Galway Milan is leading the BFS June playing day - see pages 12 and 13 for details), but Lucy Gibson we were all pupils once and it never hurts to stop and think how we present Brian Hamilton ourselves to those who, after all, may be inspired (or unwittingly discouraged!) by Robert B.S. Ilamilton Christopher Ilammond us. Lucinda Mackworth-Young reminds us of the butterflies in the stomach most of Patricia L. Ilarper us felt at our first lesson (and beyond!) and how teachers can help to create Louis M. Henry successful, happy pupils by being aware of feelings and modifying their attitudes to Pauline Jaclrson Anne Jalreman learning accordingly. Trevor James Sometimes pupils astonish by their talent and determination to succeed and Nils-Thilo Icrlmer Ruth Montgomery, a deaf flautist whose playing has had excellent reviews (see June I-Iannah Lang Ian LlcLauchlan 2001 issue of Pan), is one of those. For her, a hearing impediment is simply another Susan Milan challenge to be overcome in her music making. You can read her story on page 34. Christopher Paul h.lo~*v Another major series starts this month in Pan with Carla Rees' introduction I-lannah hloney Alexander Murray to the history of the alto flute and its status in the music world today. Readers will Barbara Noble miss the next instalment of the audition series by Nicholas Vallis-Davies - but Carla Rees don't worry, this will reappear in the June issue. Our regular columnists Simon Stephen Robinson David St.John-Il'eyela O'Sullivan, with his insights into the flute in art and literature, and the musings of Mary Scudder Daisy Weal, are also not to be missed. Sheila Searchfield Richard Shaw Finally, you will find Pan's annual listing of flute summer courses, which take Rachel Sherlock place in prodigious numbers in every corner of the UK (as well as exotic locations ICirsten Spratt abroad), to whet your appetite for this year's holiday season. This issue also Andy Tbomson hlarlr Underwood includes the usual flute news (with special pages for BFS events and information), Jennifer \\'elch concert listings and reviews, obituaries and letters. Lars-Ame \Vennqui: Susan-Nary \\'hittalc Emma IVilliams Trevor \\'ye

Membership information ilnnual subscriptions 2002 Clare Roberts U<: Individual 220.00 Two members at the same address (one journal) 225.00 BFS ANNUAL GENERAL MEETING Student (under 25) 213.00 Pensioners 213.00 THE AGM is an importa;nt date in the BFS calendar, when Schools and flute clubs 820.00 Europe: you, the members can meet the council and officers and Individual 225.00 state your views. The AGM this year takes place on Student (under 25) 818.00 24th March at 2.30pm in the Bertrand Russell Room of Worldwide: Individual (air mail) 230.00 Conway Hall, Red Lion Square, near Holborn tube station, Student (under 25) 218.00 central London. The BFS exists to further the flute-playing Pensioner 218.00 Schools and flute clubs 225.00 opportunities for YOU, the members, so please do come Life membership: along and tell us what you think! Individual 2300.00 Joint 2350.00 John Rayworth, Membership Secretary The Noolr, How Mill, Brampton, Cumbria CA8 9JY. Tel: 01228 670306. PAN MAGAZINE 3 E-mail: [email protected] r -- 1 New music for wind ensemble THREE COMPOSERS have very considerable challenges. been appointed by tlorsham "We are only interested in Wind Ensemble to undertake contemporary music which is three commissions, funded by tonal and appeals to wide a second major award to the ' musical tastes ... \Ve are Ensemble by South East Arts. committed to introducing our audiences to music written by contemporary composers but we know from our audience

intcrcstinfi and innovati\'e pro,ject. 'I have also been asked to dircct the piece from the , so it will be wonderful to be involved as a player interpreting my own score.' The third commission is for Ilominic Se\vcll (ahove)will a piece of music for double conlpose a piece based on folk wind quintet and piano. Liz music from differentcultures Lane (right),when told of the 1 which will bring together the award said, 'I am looking surveys that they are not ten senior players and forward to the challenge of interested in "experiments Ilorsham Junior Wind Quintet. writing this work, which will with sound". The second commission is be based on a Romanian folk Dominic's piece will be for two flutes, two oboes, two tale entitled "\Vhy cats sit on played at Chequer Mead, East , two bassoons, two the doorstep in the sun". The Grinstead on 23rd June; Ben's French horns, piano, alto music is intended to be commission will be performed saxophone and ten contemporary, accessible and on 17th November also at professional singers. The piece fun to dance to for a group of Chequer nilead and Liz's piece will trace the popular music 7-13 year olds. It will also will be premiered at Horsham tradition from the 1920s stand alone as part of the Arts Theatre in the Capitol through , ragtime, swing, double wind quintet and piano Theatre on 9th November pop and so on to the present repertoire'. 2003. For further details, day. Ben Pope (above centre) Dr Richardson, one of the contact Dr Geoffrey is 'delighted to have been given Directors of the Ensemble was Richardson on 01403 242429. the opportunity to work with delighted that the three Website: www.sussexcoast.co. the Ensemble again on such an composers had accepted these uldiorshadwind-ellsem ble.htm

i Members wanted for Hcrts flute group ... again as I have plenty of spare chairs, a : A couple of summers ago, after going to good sized living-room ancl tea ancl coffee! : : Atarah's and Julie's Bloshani flute course, I Making phone calls doesn't put me off i i managed to start up a flute group (Grade and I'll buy some new music as we go ... all I : : 2-7) which had enthusiastic adult players need, then, to start is some enthusiasm : meeting on a regular basis. I made phone from other like minded-flautists, so please i i calls, bought music, filled the kettle, put up call me any time! : the music stands and we kept it running Les Cirkel, 19 Cornerfield, Hatfield, Herts, i ALlO OUN. Tel: 01 707 268500. Email: : for over a year, with each of us taking -~ turns to set up a room in our homes and [email protected] . : have an evening's good playing. : Unfortunately it's now faded away because Help! Where are Popps 12 Easy Pieces? i L i of other commitments, but I'm keen to get Does anybody have knowledge (or copies!) : .. : it started again. of 12 Easy Pieces by Wilhelm Popp (one of : : Living in I-Iatfield,Hertfordshire, I'm them is printed as no 15 in First Repertoire i : fortunate to be able to go to Wendy Pieces (Wastall).hly Grade 6-8 students : i \\ralshe's excellent flute group in Hertford love playing the various pieces currently : i : once a month, but it's not enough of a flute- available by Pop (Stimmungsbilder, : fix for me. There must be others out there Vortragsstiiclte, Sonatine, Nightingale i who feel the same, are dead keen to play especially) and we find the Kleine : and might like to contact me and get Anfangeriibungen a useful tool at all levels. : : something going. It doesn't necessarily have I am hoping that these other pieces would i i to be in Ilerts as I'm not worried about extend the range of abilities to which I : : getting in the car and travelling a bit ... could introduce his music. If you can help : : I have plenty of flute music for duet, trio, me in my search please phone me on i quartet and larger ensembles, there's a large 01202 884196/07974 113918 or : hall I can hire with good facilities and email:[email protected]. : parking, or I'm happy to set this up at home Roz Triibger

, MAGAZINE f l Annual General Meeting

TI-IE AGM is an important date in the BFS time to catch up with other flute players and calendar, when you, the members, can meet fellow members. It takes place in the Bertrand the council and officers and state your views. Russell Room of Conway Hall, Red Lion It is the time when the council is reelected Square, London and the nearest tube station is to office and, this year, the AGM will also be IIolborn. the time for members vote for the adoption of The BFS exists to further the flute-playing Annual General the new constituion (printed in full in the opportunities for YOU, the members, so please Meeting of the December 2001 issue of Pan). do come along and tell us what you think! Full British Flute Society The AGM generally lasts about an hour and details of date, time and venue are printed in there are refreshments afterwards, giving you the box to the right. Sunday 24th March 2002 at 2.30p.m. in the Bertrand Russell Two Fantastic Flute Days McDowall Room 11/12 May 2002 flute Conway I-Iall, Red Lion Square, London to be held venture for kids (Nearest Underground at Nolborn) Mowden Hall School, Stocksfield, YOUNG FLUTE PLAYERS nationwide will get a Northumberland chance to appreciate and play music by composer Cecilia McDowall when they take AGENDA part in Flutewise's countryside venture Project 1. Apologies for Absence There will be: 2. Election of Chairman of Flute Choirs, Masterclasses, Jazz Flute Flutewise next year. Jeanne Galway, wife of the Meeting Irish Flute, Chamber Music BFS President Sir James Galway, has recorded 3. Minutes of the Annual Yoga Breathing for Flute Players one of McDowall's Six Pastiches for flute on the General Meeting held on Special sessions for Beginners and Adult CD that will accompany the book that all Sunday 20th May 2001 Learners children receive on signing up for the course. to be approved The Flutewise project taltes place in eight 4. Matters arising from the TUTORS locations. It began in Staffordshire in Eva Stewart, Mike Mower, Brian Stewart, Minutes of the AGM December, went on to Bingley, then held on 20th May 2001 Martin Dunn, Tewkesbury in January, Sheffield, Leicester, Liz Taylor, Irene Rarnes, David Nicholson 5. Chairman's Report Truro, Taunton, Newcastle on Tyne then 6. Treasurer's Report and Sat £121 Sun E15 (includes coffee, lunch, tea finally London. presentation of accounts each day) McDowall's Six Pastiches were published by to 31st December 2001 Pan Educational Music in 1985. Her own CD 7. Membership Secretary's For more detailslbrochures contact: Piper's Dream, will be released this month Report Christine Ring (DXL 1033) and is performed by flautist Emma 8. Pan Report The Hemmel, Low Warden, Williams, with Richard Shaw, piano, and the 9. Education Report Hexham, Northumberland,NE46 4SN Ensemble Lumiere. 10. Area Representatives' TelO1434 603489 Flutewise's latest venture is funded by the Report email: [email protected] National Foundation for Youth Music with 11. Events Co-ordinator's firnding from the National Lottery. Report 12. Announcement of election of new Officers and Council Members BFS website: www.bfs.org.uk 13. Adoption of new constitution for the BFS Did you know that the BFS has had a website The site lists BFS organised events as well as 14. Presentations to retiring since October 1998? The purpose of this having a page of more than 70 flute and music members of the Council article is to explain the aims of the website and related linlrs to other websites. During major 15. Questions and where it might go in the future. events such as the Convention and Bach2000, comments from the the site provided online booking facilities as floor New members well as comprehensive programme details. The primary aim of the website is to attract new members. It is our society's presence on Looking to the future the world wide web and gives information There are many possibilities for the future. Pan Birmingham about the objectives and benefits of the society. magazine will remain the main 'voice' of the Flute Day \Ve experience somewhere in the order of society, while the website will provide 1,000 'hits' (ie. people visiting the site) per complementary services to prospective and Don't forget the month. Prospective members can obtain existing members. h Birmingham Flute Day information on how to contact us, events that We do not publish Pan online, but in future on 17th March at , are being run, and details about Pan magazine, we may look at providing online access to the including access to several sample articles from current issue for members only. Another Birmingham baclr issues. The site also provides a secure possibility is to extend the range of events Conservatoire, Paradise new online membership application facility, (currently limited to BFS organised events) Place. For information which has proved very popular. On average displayed on the site. This is an area where call 0121 474 3549. about 50% of all new members now join the there might be a distinct advantage to the - society online each month. currency of information compared to the quarterly listings possible in Pan. Useh11 resources for existing members If you have any ideas or views about how the The site also provides resources for existing web site should develop in future, please e-mail The BFS Playing members. You can renew your membership me at [email protected]. Day online using the secure membership renewal Nick Wallbridge, BFS Webmaster with Susan Milan will form. The process is quick and easy: all you take place on 16 June. have to do is enter your membership number The BFS site is developed and maintained For full details se,. (from your renewal reminder), name, postcode free of charge by Metal Minds Ltd. Website: pages 12 and payment details. ~~v.metalminds.com.

PAN MAGAZINE 5 Ben's diary: coping with tendonitis

wrist and hand problems that I better and had been playing enormous. What a made an appointment to see hard preparing for a piano disappointment. My tone was the doctor. Acute tendonitis, assessment. I must have poor and my mouth and fingers he said, and how lucky I was. overdone it. were not quite together but at that it had been caught in \\'hat is tendonitis? It is least I was playing again and time and so should not inflammation of the tendons things could only get better. I become a long-term chronic due to overuse and unnatural could add only one minute a problem. stretching - basically, a day so a full practice regime 'Don't worry', he said. 'With repetitive strain injury. This was still a little way off. It was a bit of rest and physiotherapy has meant no flute playing very easy to focus on exactly you should be right as rain.' whatsoever for weeks, \vhich is what was required in each The terms 'tendonitis' and like having a body part cut off. session so things started to 'repetitive strain injury' really All the things I was looking come together very quicltly. It scared me. My first forward to - competitions, is surprising how a total break assumption was that my hand auditions, and so on - were off from something can, in some YOU ICUOiV IIOIV it is - P% position on my flute must be too. I tried to put a brave face ways, actually help. I am sure sometimes things just feel at fault but I thought that on it but it wasn't easy. I my tone is now better than 1' 1' right. Summer was barely over wasn't the likely cause as I attempted to see it as a good before, although it may just be ,- and my playing felt good. My was sure that my hands and opportunity to look at things my delight at playing again. ,. ,. summer courses had been posture were relayed and I differently. I worked on my I'm back! But still having to great fun and I had learned a play an offset G flute. My diaphragm, looked and be very careful. ,'' lot. The coming year looked teacher and 1 looked very listened to new music and It seems so unfair that my :-like hard work and I could carefully at this and still really focused on what I flute playing should have barely wait to get going - a couldn't understand it, wanted to do when I could suffered because of an injury couple of competitions and a particularly as it was my right play again. caused by something else, but discussion about concerto wrist that had the problem. Thanlifully, I am fascinated it shows just how careful we ,- possibilities with my teacher. by technology and enjoyed the all have to be. I know my .. There was a lot of technique I Piano was the culprit! physiotherapy sessions. For posture and hand position wanted to look at too and 1 My next appointment with the tendonitis, the general cure is weren't responsible but it has .'' planned to really give it my doctor and my first complete rest but things can made me very conscious of ,-- all. Things were going well. physiotherapy session be speeded up by laser how important these things , But not so fast! provided me with the answer. treatment, ultrasound and a are and how aware of our Perhaps I had overdone it a .-~ Piano was possibly the culprit! strange but effective sort of bodies we have to be. If you bit. Maybe I had played just an The clue was in the specific electrical therapy - all of feel any pain when you are - hour too long that day. It will tendons that were inflamed which were aimed at my wrist playing, stop and seek proper ,-. be okay tomorrow. and painful: overstretching on over the following weeks. advice. Continuing playing

,,.. No it wasn't. The ache in my the piano with my right hand Boxing Day was the big day: regardless could mean that wrist seemed a bit strange. seemed the lilrely cause. I had I was to be allowed to play for you might never play again, You hear so many stories spent part of the summer five minutes. The anticipation which is far too much to risk. about musicians suffering from getting to Itnow Beethoven and excitement were Ben iMacDotigull Series of flute days for young people :: VIF FLUTE ENSEMBLE is running a series of flute days through which young players have the opportunity to broaden their musical experience, meet others who share their interest in flute playing and work with experienced music educators. The days include small ensembles, flute choirs, masterclasses, warm-up and technique sessions, all designed to be fun, in a relaxed, friendly environment. For most, the highlight is the creative piece composed by the students themselves, which is later performed in the afternoon concert. Special guests include Clare Southworth, Philip Brunton, Ian Clarke, Sarah Newbold. There will also be the chance to apply to join VIF on a tour to IIolland in August, following the success of the . 2001 visit to Paris! For a brochure, call Ian Judson, tel: 020 83742841 or

^ Louise Matthew, tel: 0208 374 0199. Email: - [email protected]~.ult 17 March, Dagenham worltshop performance) Music Centre, Essex 29 September St Nban's 19 May, St Andrew's Music School, St i\lbans School, Hitchin 13 October Hampstead 9 June The Cavendish School, London School, Camden, S December, Burgh House, 30 June Lauderdale Hampstead (special House, Highgate (special worltshop performance) John Packer's are moving ! Thanks to you we need bigger premises to increase our stocks and continue offering the service that you expect.

From March 6thour address will be: 141, Staplegrove Rd, Taunton, TA2 6AF

TeVFademaillwebsite are remaining as before - please see below.

Telephone 0 1823 282386 Workshop 01 823 3385 17 Fax 0 1823 337653 Email: sales @johnpacker.co.uk website: www. johnpacker.co.uk We will be closed for the move on Monday March 4Ih and Tuesday March 5~,2002

For people ~nthe muslc busmess there IS always help at hand from

Help with stress and health

Help that's given in str~ctconf~dence Help glven to outstanding young musicians If you or somedne you know needs our help, please contact: Mus~c~ansBenevolent Fund 16 Ogle Street London W1 W 6JA Telephone: 020 7636 4481 Facs~m~le.020 7637 4307 email: [email protected] website: www.mbf.org.uk

PAN MAGAZINE 7 -, IN BRIEF ,. Advice for those setting Festival of nlusic and dance 1:lautist Ruth Underwood's roots are in Salisbury Plain, IVlltshire anci she ras out in the flute world insn~reclbv the story of the remote C1 ' village of frnber to &ite a song last FIRSTLY, DON'T let anyone ever say to Remember that there is safety in summer called Song of the Open Downs. r you 'Have realistic goals': what a dim numbers; try to form at least two music Imber was evacuated in 1943 to *L. thing to say! If Columbus had had groups, duos or whatever. For example, provide a military training ground and realistic goals, would he have found Put an advert in Brides Magazine and get I-+ the villagers were never allowed back America? The way I see things, if you aim some work playing for weddings and despite vigorous campaigning. Seeing F- as high as you call regarding your career, functions. As a starter, it is good money the ripe wheatfielcls in A~~~~~ gave her you will get further then aiming low. Also Ring around some of your local concert the idea for the song, which reflects on - -, mnember this: there is a big difference halls, especially churches. These places the old days and looks ahead with hope. .. between confidence and arrogance. One often have lunchtime concerts, and these The campaign to restore Imber is now r- must dream; one must have asPirations, are great.events to invite agents, record reactivated If you are interested, come or what is life about? It is the dreamers labels or promoters to, ~f you get people to Imber on Easter Day, Sunday 31 _ who create wonders. to these concerts, it is ace PR for the start March, when army firing is suspended This is very well; but One of your career, and most of all, you are and the roads are open There will be a C it?. One turn dreams playing to audiences: you learn to have 'a festival of music, dance and visual art so I have say is my healthy adrenaline rush' not nerves! It is bring your flute and be prepared to _ point of view, but it has done me well. a job and nobody wants to hear that you improvise! Firstly, you have to get networlring " are scared. There is a CD single and booklet with from the first day at Music College or Uni. lvrite off to every business you can background to the Imber story available While taking Your classes seriously, You think of for sponsorship, ~~~~~b~~ that for f 6, including post and packing from - have to build contacts in the outside the arts inspire and motivate Ruth Underwood, 2 St. John's Grove, , world, ready for when you have your degree or diploma. If you leave communities and businesses lilie this. You 5R\V. TelephO1le 7272 . treat music as a business: you may 8500 \\'ebsite: professional concert work or teaching till ~w\v.active.uk.com/imber-restoration the end of your course, you are toast. malie a pretty sound but does your bank Get business cards designed, manager care? No. Also, however good you are, you will Sonthampton Flute Fun Day advertising your teaching1 performing, I\ flute fun day with Ian Clarlie is being earn quite a lot of your and put them up in all the music shops from run in association with Flautissi~no, teaching. Don't think you are above it; you can find. Able-Label (Tel: 01604 The Southampton Flute Orchestra, at 810781) can design 100 business you can learn a lot from it. Teaching is Thornden School, Chandlers Ford, " for 99.00. If any College friends laugh at rewarding and it is as important as Southampton on Sunday 21st April you, just remember; you are the winner. performing; somebody has to Pass on the 2002 from 10 am until 4.30pm, when Buy the British Music Year Book and kno\vledge. When I left college I was there will be a concert showing the given a lot of contacts from other music , that will be your music bible. 5peout a highlights from the day. The day is simple CV and biography. Ask a buddie to teachers regarding concerts etc and even open to all flautists of Grade 4+ talie a photo of you for publicity; black formed ensembles with them. standard, and will focus on extended - and white looks better than colour. Type There is so much to say, I could go on technique! For more information please , out a list of all the recital and orchestral for hours, but basically you must never contact Sarah Logan, (musical director works you can do. Get all this info give up and, as Miss 0'1-Iara said, of Flautissimo) on 023 80 61 83 62 or " together and make an information pack to 'Tomorrow is another day'. email [email protected] . send to people. Andy Anson .. , .. . . e ...... , -4 !l3~rct.3-e a+~istalglass jkte (spotted at ,\lct.llet Gccll two former editors yf Pan) wit11 silver mounts ned and datecl 'Luurent a E'cwis 1814'. engmved !h the coctt of to-ms of Cltctrles Fc:rclinccm I ~rtois,lltike of Berry, and seconccI son of arks S (1757-1 8.36). Thanks to .I~tclitlzFitton and Sim.on Ilu,nt. Price: $48,000. - -. Length: 62cm.. ..-% .,.X'

Claude Lazcrazt, ./'I ./'I Paris 1805-1848. rC In. 1806, Lazcrent, a jlute specialist, inventecl the process of glass flzste manufachrre and pioneered the use of metal lined sockets ancl key pillars mozsnted on plates screwecl to the bocly. He patented this design in the sa9n.e year that a Conservutoire commission reported favourably on this flute of crystal glass, capable of withstanding extremes of temperature ancl with su.perior keywork. Few examples still exist. One is in the Smithson,ian, Washington DC.

PAN MAGAZINE

Tribute CD to Laurie Kennedv

was leaving, Laurie was appointed as their F'-..;-,---- . . -...... , youngest principal wind member at the . . / age of 21. I-Ie performed many concertos .. . . , . . .,. . r-.,... with them, includirfg the Ibert, and Bach's Brandenburg concerto No 5 with the Jacques Loussier Trio. Ile also gave solo and chamber music BBC radio broadcasts. As a flautist, Laurie possessed characteristic qualities of tone purity and intense vitality and spirit and, as 1 illustrated on the CDs, an ever-increasing virtuosity. James Galway said of him: 'Laurie was a wonderful player and his natural singing tone was always easy to : spot. IIe had a very tllasculine way of playing which I loved and a personal charm which was truly endearing.' ! Laurie had a particdar flair and charm in playing worlts of the Victorian era, and his 1 his natural, deep sense of integrity ancl IN k\UGUST 1970, the outstancling young honesty in his playing, and his firm Flautist Laurie Kennedy was tragically adherence to his musical convictions. IIe ltilled in a car crash at the age of 22, after also had a cheeky and mischievous side a brilliant and promising start to his (demonstrated in the Till Eulenspiegel career. This memorial double CD has solos!) and was a great risk-taker, driving been compiled and produced as a tribute fast cars and climbing dangerously high to him, to present the unique qualities of mountains. Laurie also hacl a very do\vn-to- his playing to those who remember him earth side and was often seen driving his and to new audiences. eccentric, unpredictable camper van across 1,aurie Kennedy was born in September Europe, to the Moyse courses, transporting 194'7. He grew up in the village of Speen, 'the English contingent'. i\ylesbury, in a country environment Now, 31 years after his death, as a which he loved and which inspired him as special friend of Laurie's, I am pleased to he grew up. Laurie showed great musical have completed this prqject with the help talent at an early age, taking part in local of many of his colleagues and friends, to music festivals, and went on to study with I- bring his memory baclt to life. William Bennett and Geoffrev Gilbert, - Evelyz Frail k attending man). of the ~arceiMoyse astonishing performances of Genin's Tlze CDs (which will be revi~wedin a Masterclasses in Canterbury and Boswil, Carnival of Venice (his favourite piece!) will Switzerland, where he was awarded the fhrthcoming issue qf Pan) can be orderecl 1 not be forgotten by those who heard him. by sencling donation.< to the 'Laurie Marcel Moyse Prize in 1967. (Marcel The solo CD includes Bach's kloyse sent him a self portrait and I(et1ned~1~Memoi-inl Scholarship', 40 Brandenburg Concerto No 5 in the CVoodlands Avenue, London, N3 2NR. detlication which is in the CD cover.) original version, followed by the Jacques At a young age Laurie held positions of Teyfax: 020 63710608 (s~iggestecl Loussier jazz version, and finishes with a n?iilimum: $10 + 31.50 p&p in the UIO. principal flute with the Ilalle Orchestra, unique and mysterious performance by l and then with the 'BBC Training They are also civciilable.fro~ntlte.fltcte l the 19-year-old Laurie of Syrins and the shops. Orchestra', where he spent t\vo years. Chopin Variations in close duet with a 1 These CDs include inspiring performances tawny owl (location and circumstances so All proceeds will be dorutecl to 'War of Daphnis and ChloG and 13ach7s far unltnown!). The pieces on the second Child ', an international charity Brandenburg Concerto No 5 from that (orchestral) CD feature Laurie's playing in committecl to providing immediate cind time. After this, Laurie movetl to London well known flute solos or pieces that were lasting aid to children aifected ~JJwar and was encouraged by Sir James Galway a particular source of inspiration in his izationwide. This includes the opening of to apply for principal flute in the Royal musical development. recreation ancl music ccrztres in uffectecl Philharmonic Orchestra which he himself Laurie's fundamental characteristics were regions.

FLUTES & FLUTE MUSIC flutes piccolos alto flutes bass flutes Full range of models from student to professional Free music + 1 year's free insurance with purchase Short Ilong term hire Starter Packs for new students Repair service Referral incentives for teachers Flute music mail order Most exam music in stock

Studio65 Limited Kingma-System Flutes TelIFax: 01280 84111 3 e-mail: [email protected] PO Box 6565, Brackley Hoofdstraat 10 - 9444 PB Grolloo - The Netherlands Northamptonshire. NN13 6YE terrifying climaxes. The whole worlr lasts still play with it in, that's fine, but if you Octotonic music for less than 20 minutes. The flute solo is can't, then it can be talren out (just don't I am very pleased to be able to respond to not easy (see extract above), but tell your orthodontist). This is not the appeal for more octotonic music contenlporary effects are all optional. My possible with fixed braces. They only way (Ricliard Stag, PAN, December 2001, hope in composing the work was to to combat this is to practise. Go back to page 40). My piece The Pied Piper of increase a small repertoire of good stories easy pieces while you get used to your lIamelin (not to be confused with another for narrator and orchestra, and to braces. Later, a retainer is just the same of the same title recently reviewed in showcase the flute's beauty and versatility. as a removable brace, in that you can PAN) was composed for the East Riding's Alan Eclgar take it out while playing. Some students amateur orchestra, IIessle Sinfonia, and even find that a brace can help. My fixed its fine principal flute, Michael Taylor. appliance gave me a stronger upper They gave two performances in 2000. Coping- with Braces register, and I ci~rrentlyfind it easier to The main theme (the Piper) is in There are arguably many challenges in a play with a retainer in than with it out. octotonic mode, with niy own harmonic flute player's career. From learning to You may also find that the fixed brace scheme accompanying it. play the first note, the first grade exam, rubs against the inside of your mouth. In case readers fear this would offend first school performance, grade 8, GCSE This however is no real problem. Strips of the ear, I can say that the effect is exotic and A level performance, they can all be wax can be bought from the orthodontist, but very pleasant. The narrator uses perceived as a challenge. IIowever, one of and they have been extremely useful for poetry specially written by ilnn Liles; the the most difficult, that I personally have me in the past. If braces feel tight, and full orchestra is used, including some just overcome, is that of learning to play cause tooth ache, Paracetamol, or unique percussion (which presents no with braces. something similar, helps. When you get a diffic~dty).The town has its bells, hymns A month ago, 1 had my fixed appliance brace, or have it tightened, I would advise and a landler, the children are represented ('traintraclis') removed and an1 now you to stock up on painkillers for 4-5 days. by a nursery tune made sinister by use of playing with a retainer. I know that braces My advice to those with braces looming a gapped minor mode, the foolish mayor is are a major obstacle, and many friends of is DON'T GIVE UP! Keep trying: practice evoked by 'Toytown' humour, a small jazz mine have given up because they had nialtes perfect and plenty of it will do you group led by the flute dance the children braces put in (one even gave up when she no harm. Always lieep painkillers and into the mountain and gritty whole tone had them removed). However there are wax handy, and most importantly, enjoy figures depict the rats. ways that students can keep going. playing. I linow I still do. Combination of the modes creates A removable brace is easy. If you can David Vigar (1 7) [email protected]

P MUSICAL INSTRUMENT Timothy Moore celebrates his.80~'birthday in 2002 Recent publications include his .Sonniinn for fl & pno, REPAIR COURSES Q~~o~lihetfor flr~tc with alto fl, euph or bn & piano Spring & Summer 2002 Quirkv for flute \\.it11 alto fl & picc, eupll or bn & piano (Mid-Wales location) i'?ain as a woodwind andlor brass repairer. ~~$OSCO~US'Publications No previous experience necessary INTENSIVE COURSES FROM TWO DAYS TO ONE K. Rachel Malloch WEEK 92 Aldcliffe Road for further information send an A5 SAE to: Lancaster, LA1 5BE Trevor Head, MSMIR, Llangunllo School, Llangunllo, Knighton, e-mail: saIes~ir)~IivIIosc I Powys LD7 1SR. or Tel:01547 550622

PAN MAGAZINE 11 L', -

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please indicate numbers in boxes below , 0 I enclose a chequelpostal oyler made payable

to The British Flute Society for E 0 BFS Members E15 0 BFS Member concession -E12 BLOCK CAPITALS PLEASE Non- Member E21 Name 0 Non- Member concession E18 Address

I Send the completed form with SAE to: Yvonne Mcllwaine, 4 Church Farm Cottages, Telephone: Packington Lane, Maxstoke, WARKS B42 2QP Happy Birthday Sir Malcolm hold! BFS Jazz Tl-IE COMPOSER Sir Malcolm fellow student at the Royal written for our instrument.' Arnold celebrated his 80th College of Music. Naturally, the Sebastian Bell featured in the day success birthday on 21st October and flute was well represented at second concert, taclding the Sunday 14th October is currently attending a spate the two birthday concerts. . treacherous Fantasy for Flute WHEN AN inexperienced of concerts up and down the The critics took a keen Op89, written to trip up adult flute player said to me, 'I country in his honour. Arnold interest in the very substantial contestants for the International have never played any jazz is best Imown as the prolific Sonata for Flute and Piano Wind Competition held in before: aren't I going to make composer of music for films Op121. The Times commented: Birmingham in 1966 (and won a complete fool of myself?", such as The Bridge on the "Surprises littered the first of by a young James Galway). my answer was, 'Nor have I - River Kwai, and many the Wigmore IIall's two SeentkkIeard (w\w.musicweb. so shall we go along together orchestral works. birthday concerts. A Rute uli.net/Sand~V2001/NovOl/Am and just see what it's like?' Two concerts at London's Sonata, you think: let's settle old-at-Ru.htm ) wrote: 'One I brought some of the Wigmore Hall on 23 and 25 back and be burbled at [sorry, wondered how the flautist, members of my flute choir October celebrated his readers!]. But Arnold's Sonata Sebastian Bell, fitted in all the and we duly arrived at the birthday with a full range of of 1977 knoclrs the stereotype notes!' and Classical Source ( Royal Academy of Music his chamber works. The for six, echoing the late www.classicalsource.com) where I was immediately concerts were devised by symphonies' questing mood. reported that 'Sebastian Bell struck by the wonderf~~lly pianist Richard Shaw and were Karen Jones gave a lovely was at home in the calm but purposeful supported by Top Wind, The performance, assisted by capriciousness of the Flute atmosphere - despite the fact Performing Right Society Richard Shaw's piano." Fantasy (1966), having played that there were many students Foundation, RVW Trust, Hoist The website SeengHeard the straight man to trumpeter coming and going. I do hope Foundation, \Vorshipful regarded Karen Jones' Mark Law's keen showmanship we shall be able to have more in the Grand Fantasia Op973 Company of Musicians, performance as 'the highlight sessions there. of the concert', high praise (1940) [for flute, and IVe started at 10.30am with Britten-Pears Foundation, the considering that the performers Musicians Union, and Sir piano], a teenage skit worth ensemble playing - groups of that night included the very reviving for this occasion.' James Galway, among others. about 10 players in each of distinguished singer Ian The Daily Telegraph noted 'a four ensembles. This gave 11s Malcolm Arnold has written Partridge (tenor), Roger Chase dazzling performance from many fine works featuring the an excellent opportunity to (viola), Paul \Vatluns (cello), Ensemble Lumihre [Emma hear the tutors at close range. flute. Most of these (the and Ensemble Lumihre (with \Villiams, flute; Emma Feilding, Sonatina for Flute and Piano Next, we had the Emma \Villiams, Emma oboe; Fiona Cross, ] of improvisation session given by Op19, Concerto for Flute and Feilding and Fiona Cross), the quirky Divertimento for Strings Op45 and Concerto [(ate Cuzner (beginners) and among others. The Sonata was \\rind Trio'. This entertaining Nick Cartledge (intermediate). No2 for Flute and Orchestra written for James Galway and work was given its first Oplll, for example) were I have no experience of premiered by him in 1977. performance by Arnold's LP0 improvisation though I have written for Richard Adeney, a Richard Adeney went on to friends, Richard Adeney been teaching the flute for champion the work, and wrote (flute), Sidney Sutcliffe (oboe) many years -so I joined the a touching commentary on the and Stephen \\rater-s (clarinet) beginners section. Others with piece specially for the printed back in 1952. some experience were quickly programme for the Wigmore The Galliard Ensemble (with able to 'go around' the given concerts: flautist Kathqm Thomas) note patterns with ease, 'The Sonata for Flute and opened the second concert leaving some of us on the Piano is a strange piece, difficult with 'a sparkling rendering of basic note pattern. to take in at first. Unlilre the the Three Shanties Op4 earlier Sonatina, but like Flute (1943)'(Seen&IHeard), Cleverly devised session Concerto No 2, it isn't the usual 'dispatched with suitably wry Although Kate appeared not to jovial, jokey hold at all, but characterisation' (Richard have any particular structure sombre; it seems to me almost \Vhitehouse, Classic Source). for the session, it was cleverly frantic in its expression of At the second concert, Sir devised so that at the end of unhappiness. But 1 feel it is Tim Rice presented the the hour we had in fact hugely exciting to play. How composer with a Fellowship covered a lot of ground and grateful we flautists are for from the British Academy of many ideas had been everything you [Malcolm] have Composers and . In generated. IVe all found her speech to Sir Malcolm, ourselves playing with a sense Sarah Rodgers spoke for us all of freedom and there were when she said, 'There is some very interesting perhaps no-one among the progressions and sounds I 2 country's living composers who developing. Even so, why has achieved more in couldn't I 'stamp, cliclr, clap, transcending the actual or cliclr', then 'stamp, stamp, imaginary boundaries of click, clap', to say nothing of m~lsicalstyle, and no-one singing some nonsense words whose music has reached more at the same time? audiences worldwide than you. After a brief break for You yourself have said, "there lunch, we were treated to a is no such thing as 'serious half hour recital by Nick who classical music'. In the end was accompanied most there is just music, good or sltilfull!r by his father. I bad." This chimes with the particularly enjoyed an view of Academy members and exquisite piece for alto flute. we believe you have written a There followed the lot of very good music!" preparation of group pieces to Sir Malcolm received be performed at the informal standing ovations at both the concert. My own group was Above: Richnrcl Acleney with ~\lalcol~nArnold at the reception, Wigmore concerts. given a concentrated coaching after wltich he received his Fellowshipfron~the British Accrclerny See concert listings (page session with Ann Cherry, of Composers and Songwriters. Top: Sebastian Bell 18) for more Arnold concerts. which was informative and

14 PAN MAGAZINE exhausting! At the concert The remainder of the itself any performance nerves morning was taken up with a were dissipated by the masterclass which, for me, was audience, who were required the most interesting part of the to get up and dance a samba day. For those participating it's (what audience has ever had a chance to get some top-class to do this before?) and this tutoring in technique and was particularly helpful to new interpretation, with top-class and inexperienced players' accompaniment. For those After all this, by 4.15pm, we listening it's also a chance to were all pretty exhausted and learn, and hear the sometimes were therefore very happy to instant effectof Christine's relax and enjoy listening to suggestions - such as 'tone Kate who, with and drum improved while-U-wait'! accompaniment, displayed her There is also that all- considerable skills to bring the important chance to get out Kirkcaldy Flute Day - day to a close. there and perform in front of Thank you Jaclrie Cox and an audience -you only get 10 November memorisation is something I .. your team of helpers for better at this by doing it! For I have just driven back from an want to include more in my organising the day and a very us listeners it was a joy to see inspiring, fun-filled day full of own teaching - it is only when new ideas, new music and new special thanks to the tutors, everyone (especially the we can play something without friends. As many as 106 flute the protective shield (music + David Oliver, Helen Baker, younger players) getting out players and approximately 30 stand) in front of us that we Clare Mellor and the jazz there and giving it their best non-playing participants filled really 'know' a piece. F players Nick Cartledge and shot. Christine has a skill of pointing out faults and the St Brycelrirk Centre in Thanks to Top Wind for m Icate Cuzner. Wrlrcaldy for an action packed travelling to the frozen North \Vendy Walshe possible improvements while remaining positive and day planned to perfection by to support yet another flute encouraging, and her energy the energetic East Central event! This was much P and enthusiasm carried the Scotland BFS rep, Irene appreciated by all of us. A day along. Barnes. It was a perfect venue - Patrick gave enlightening talks p a converted church with on flute maintenance, as well The afternoon went all too IA quicldy - master classes with several large rooms downstairs, as answering a million Flute Day some of the more experienced a coffeeshop, meeting area and questions throughout the day. m a worship area upstairs which I caught the end of Pianist , 28th October players, rehearsal of the 'full band' and work on pieces for proved to be a beautiful venue Tips with Scott Mitchell and I did wonder at one point just groups of 4/5 players. This was for the budding performers enjoyed David's Audition Tips what I was doing, but then I great fun and good practice. who serenaded David (wished I'd heard it all 25 years - remembered - I had got out of At the end of the day was Nicholson all day. ago!).Sadly I missed bed on a Sunday morning and the 'concert' with family and There were several Understanding Baroque with got myself, with flute, to the friends invited to attend. workshops to choose from Christine Ring but I did enjoy Ealing Flute Day, with Amazingly everything was throughout the day. A large Exam tips with Richard P Christiiie I-Iankin (flute)and incorporated - all the number joined David for a Michael and his Jazz Flute Irene Bridgmont (piano).As a masterclass participants, the warm-up to start with. I heard workshop. He had us all 50-soniething returning to smaller groups and the 'big the long tones wafting along playing with a groove in an flute playing after a long break, band' pieces, rounded-off the hall as I joined seven other amazingly short time, and this it seemed a good opportunity nicely by Christine and Irene people for an equally calming was followed by an to get back into the swing of with a rousing rendition of start to the day - an introductory session in things and see what was going Gaubert. introduction to the Alexander improvisation. I could have on these days. Often these What did the day do for me? Technique with Jo Barlow. spent the entire day learning events are just for the younger Well, I plan to spend more The Alexander Technique more - maybe he will get a generation, but Chris assured time on genuine practice now makes so much sense. I wish it longer slot next time , X me there were no age - listening to what's was more readily available, at a (please?!). restrictions this time - so here happening and trying to more affordable cost. Lying on From the Jazz I ran up to - I was. improve - and less time the floor and having my head the junior masterclass and . By way of introductions, and aimlessly tootling tunes. As I gently lifted was only watched a tiny flute player (6 to wake everyone up, we usually spend Sunday surpassed by finding where and or 7 years old) performing began with a run-through of afternoons comatose after how I should be sitting! An Wallring in the Air and another 0 one of the pieces for the whole eating too much lunch, a Flute enlightening experience. performing Bach's Siciliana. band - 20 or so participants Day has got to be better! As I headed for my welcome David's versatility as a ' stretched right across the hall, When I'm asked to provide a cup of tea (I had been up since performer and teacher was in creating a wall of sound! We reference for someone, the 6am and needed help) and a evidence throughout the day. all stayed together for a only question they need ask is catch up chat with flute friends Every time I hear a class I am session on 'how to practise' (at 'would you employ this person (the best!) I was passed by given another gem to add to 10.30am on a Sunday morning again?'. Would I do an Ealing chattering young players my own teaching. That is what the answer is...!)but some Flute Day again? - Definitely! heading either for the senior these days are all about. interesting topics were Venton Wood choir or David's masterclass. At the end of the day we all covered, including warm-ups My next stop bas the Suzuki premiered Richard Michael's (no-note blowing, whisper workshop with Barbara jazzy flute choir piece entitled tones, low notes, harmonics Newland. \Ve also heard some Tutti Flutey - it may become . etc) and how to get creative of her extremely young the signature tune for flute - with scales, using different students in the junior days in Scotland! Flute players p rhythms, articulation and .masterclass in the afternoon. from all over Scotland made dynamics to express a mood. The Suzuki method has the journey - Edinburgh, We also used the notes of a many positive aspects that we Glasgow, Aberdeen, Elgin, Glen i scale to improvise ideas. The could all do well to include in Oig (near Skye) as well as fi message is that practice isn't a our teaching. Great emphasis Preston. punishment - combining the is placed on praise and positive This was a self indulgent day m technical and expressive criticism - not so much saying - I look forward to more of P aspects of playing is what it's something is wrong but asking the same next year: same time, all about, and makes the whole for it to be played in a different same place3 See you there! thing more worthwhile. Ealittg Flute Dny: worthwhile way. The emphasis placed on Gillzan Leonard ,-

J James Cuming Hopkinson JIM OR HOPPY, as he was lrnown among highlight of those years was the to describe was very much 2 la Hoppy. orchestras, was born 14th June 1914 in StravinslryIRobert Craft tour of 1961, But even 'Hoppier' was a oneness with Scotland and died 13th September 2001 in where Jim and other members of the singers and singing in his playing. I Perth, Western Australia, after a long life NZBCSO worked happily with the believe that the early worlr he did, some which embraced music, writing and a composer and his assistant. of it with his father in the pit, in support passionate liuniour all of his own. A rather full-on broadcast recording of of singers on stage, was definitive for him. .. His mother was a keen amateur cellist, Jim in Car1 Nielsen's Flute Concerto dates It lead to be1 canto playing which 'lrnew' his father a seasoned professional flautist from this time. It probably represents the where the phrase was going and what (being a foundation member of Beecham's peak extant record of his playing and his kind of nuances would help it on its way. LP0 in 1932) while an uncle, Albert, was friends in \\restern ilustralia (WA) are This was playing that could convey the for many years principal of that hoping to have it restored onto CD. whole opera of life and hint even at what orchestra's second . Before arriving in Perth, Australia, in might lie beyond. It was no surprise, therefore, to find the mid-1960s, Jim played with the State James Hopkinson played his part in Jim, aged 15, entering the Royal College Orchestra of Victoria (latterly the building the enviable professional of Music as a Scholar, where between Melbourne Symphony Orchestra). reputation of British orchestras in their 1930 and 1933, he studied flute with In his remaining years as a professional pivotal period of the 1930s. His emigration Robert Murcliie, conducting with Sargent, in Perth, \VA, Jim came full circle insofar to Australasia coincided with and and moonlighted in \Vest End theatre pits as his main nlusical employment, which he contributed to the inexorable rise in and opera orchestras. relished, was as Principal Rute of the orchestral standards here. He provided his I am led to believe that at some time in Western Australian Arts Orchestra, an students, who include Evelyn Frank, with those early years Jim took the opera orchestra that played mostly in the a musical richness which humbly opportunity to change his flute and style pit although it gave tlie occasional concert. aclrnowledges that the flute is but a tool - of playing to accord with the French way, tlie flute in the hands of a great musician , and may even have had some lessons Thmpet-like clarity is like tlie typewriter in the hands of a from Moyse. IIis father, though, was also As a pupil and avid listener of Jim's, it great writer - an instrument used to clearly an abiding musical influence and was clear to me that a unique heritage express something else of great depth. mentor. Indeed, Jim's first fulltime and individuality was at worlr in Jim's Ikn Gasmier - appointment, in 1934, was as second flute playing. It is difficult to analyse elements I am researching a longer article on to his father in the London Philharmonic of anyone's playing, but I will try: James Hopkinson and would be gratefil " Orchestra. He took part in major tours of There was ahsolute rhythmic security, a jor any injbnnation, photos, etc which r. Holland and Belgium where Beecham gift for sight reading, and a trumpet-like Pan readers can provide or point me to. ,,, showcased the new orchestra. clarity where needed in his playing - all References Jim's next major appointment was with hallmarks of the early British training, Personal communication, Viclry Sturgess, m the BBC Symphony Orchestra, from 1936 where orchestras had limited rehearsal Numini Secretary, RCM c> to 1948. During World \Var Two he was time and had to play in vast icy halls like Russell, Thomas (1944) Philharmonic !-, seconded to the RAF and thence to ENSA, the Royal Albert, pre-amplification. Decade. London: Hutchinson (see p135 but the details we have of this are slretchy. His sound was always cultivated in 'Record of Players'). He was then 'headhunted' to become what is usually talren to be the French Iienyon, Nicholas (1981) The BBC Principal Flute of the New Zealand style, but it was not predominantly cool, Symphony Orchestra 1930-1980. Broadcasting Corporation Symphony being capable of a mellowness which London: BBC (see p444 'Personalia'). Orchestra, from 1949 to 1963, during could push delightfully over the top, into Tonlrs, Joy (1986) The NZBC Symphony which years lie also appeared as soloist on a Iceatsian ripeness. Orchestra: The First Forty Years. many occasions with the orchestra. I\ The timbre I have probably just failed Auclrland: Reed Methuen.

Russell King (1922-2001) ------7 <- ANOTHER FLllUTIST with English and In the 1960s, he returned to Australia 1 c- 1 87 Australian connections, Russell King to play in the South Australian Symphony F- 1 .-, (pictured right), died in Adelaide, South Orchestra (later known as Adelaide Australia, on 29th October last year, aged Symphony Orchestra). He also re-formed l *- A 79 years. Born in Sydney in 1922, he the Adelaide Flute Quartet. C 1 came to London in 1946, where he 'P, During the first half of his profressional L studied at the Royal Academy of Music h career, in 1950s England, he was with Gareth Morris, going on to play with the Ilall6 and then in the London associated with many leading English Philharmonic Orchestra, and also the flautists (notably ) and BBC Symphony Orchestra under Sir orchestras. A fuller article about Russell Malcolm Sargent. After this, he became a ICing and his connections with other freelance player, performing with all the leading flautists of the day will appear in ma-jor London orchestras. the June issue of Pan.

Review Orchestra. Ile was mentor to leading flautists such as IVibb and Sir Albert Honev James Galway, and friend to Albert J PAN ALSO announces the passing of Edinburgh then in the Coldstream Cooper. He became senior lecturer at Albert Edward Iloney, known as Doc, or Guards. After this, he did composition at Rhodes University in South Africa and on ,- Bert, on 9th November. He will be Trinity College and studied flute with retirement (1984) moved to Johannesburg remembered as a virtuoso flute player, Geoffrey Gilbert and Gerald Jaclrson. where he remained active teaching and with a wonderful tone, a teacher and man Albert was one of the early English playing. He will be remembered with great of many other talents, including players to change to the silver flute and affection and respect. A more detailed . . composing, arranging and poetry writing. French method and in 1949-50 lie studied eulogy will be published in due course; IHe was born in Devon in 1919, and at the Conservatoire in Paris. Then, he any anecdotal information is welcomed. during the war he was principal flute in became principal flute of the Scottish Miclzael Botha. Email: ? the Band of the Royal Dragoons in National Orchestra then of the BBC [email protected] Haydn, hilozart, Vivaldi, Byrd; London 15 11pril MARCH Derek Bourgeois; new Castellain Ensemble , of Meadowsweet by Carla Rees, alto flute; Aidan London l March 7.30pm Colin Cowles. 'homey, bassoon; Antony Emma The Scottish Flute Trio Tickets: 98. Concessions: 85. Davie, conductor Williams, with guitarist Allan Neave Box Office: 020 8341 4421 Chamber Music of Andrew flute IGlmardinny Music Club, McBirnie: String Quartet No.2, All-Arnold Kilmardinny IIouse, Milngavie, 12 March The Moon at Night for alto flute gala concert Glasgow Holy Trinity Church, Rowle and piano (premiere), Lament given by the To include: Renneth Dempster, Road, Exmouth for Bassoon and string quartet Junior St Kilda's Parliament; Edward Andrew Anson, flute (premiere), Images for clarinet Fellows at McGu~re,Western Light; Karen Malcolm Arnold Concerto Op 45 and piano; Poulenc, Sextet; the Roval - Wimhurst, Exposed Island; Tel: 020 7627 8894 Schoenberg, Chamber College in the prcsencc of thc #. Edward McGuire, Dances. Symphony No.1 composer (see www.rcm.ac.~ilr). Thu 14 Mar 7.30pm Tickets: 98/34 ' Sun 3 Mar 3.00pm . Purcell Room, London Sat 27 April 1.00pm P Purcell Room, London Badinage; with Paul Garroll, 20 March lpm St Alfege Church, Greenwich The Feinstein Ensemble baroque flute, oboe, recorder, Church St Library, Church St. Church Street, London SE10 with Martin Feinstein, flute bassoon, chalumeau London Sheila Searchfield, flutes; Ann To include: Handel, Sonata in B To include: Vivaldi: Flute Flute and guitar recital Dixon, guitar minor for flute and continuo, Concerto in D, RV.427; Telemann: Andy Anson, flute. To include: Maximo Diego Pujol, . 0p.l No.9; Bach, Trio Sonata in Concerto in C for recorder Kids' workshop: 2.15-2.45pm Suite Buenos Aires; John B minor for flute, and Tickets: 814, 811, 97 Tel: 020 7641 54791020 7641 2814 Duarte, Un Petit Jazz. continuo. Wq.143; Bach, Musical Tel: 020 S852 7866. Offering - 6io Sonata in C Fri 15 Mar 7.45p1n Sun 24 Mar 3.00pm minor; Bach, Flute Sonata in E Queen Elizabeth Hall Purcell Room, London flat, BWV.1031; Telemann, Trio Idir: Berber roots with identities The Feinstein Ensemble MAY Sonata in A minor for Gerard Geoffroy, flutes To include: Handel, Sonata in E 9 May 1.05pm flute/recorder, violin and Tickets: $18, 816, 914 minor for flute and continuo Purcell Room, London continuo (from Essercizii musici) 'Ilallenser No 2'; Bach, Sonata Emily Beynon, flute, Andrew 1\11 tickets 910 (including Saturday 16 March 7.30~111 in D for flute and continuo, West, piano, Paul Watlrins, cello refreshments in interval). South Hill Parlr Arts Centre, Wq.83; Bach, Trio Sonata in G Weber, Trio in G minor, Op 63; - Concessions: 99. Braclmell, Berlts (after BIiV.525); Bach: Trio Beethoven, Violin Sonata in F Series Offer: 020 7960 4201 Sonata in A, Wq.146 major, op 24 (arr Emily Beynon All tickets 910 (including for flute and piano); Martinu, " Mon 4 Mar 7.45pm refreshments in interval). Trio for flute, cello and piano *- Queen Elizabeth Hall, London Concessions: 99. ,- Battlefield Band Thurs 16 May 7.30~111 Scottish music inspired by Celtic \ - Sun 24 Mar 7.45pm St James's Church. Piccadilly, music and today's Scottish Oueen Elizabeth Hall, London London W1 - cultural scene. They play on a C (Wq87); i condon Sinfonietta Ruth Undenvood, flute; fusion of ancient and modern Prokofiev, S$- Paul Zulrofslry conductor; Margaret Lion, piano instruments - flute, bodhran, Sonata ,I L Sebastian Bell, flute; Teresa To include: Bach, Sonata in B bagpipes, fiddle, synthesisers, op94; ,224 Shaw, mezzo soprano minor; Schubert, Introduction guitar, cittern and . Oltra, Tres DebussyIGrainger, Estampes and Variations, Elena Firsova, Ticlrets: 815, 813, 811 Estacions; Faure (accent), Morceau No.1 (Pagodes); RaveVGrainger, Spring Sonata; Robert de contours; Feld, Sonata. La Vallee des Cloches (Miroirs); Hinchliffe, The Elements. Wed 6 March, 7.30~111 Tickets 98.50 (97.50 conc) Delius, Summer Night on the In aid of The Samaritans. Royal Festival Hall Box office tel: 01344 464123. River; Kondo, Hagororno (one- Tickets: 910. Concessions: 96. London Philharmonic Orchestra; act opera for dancer, narrator, Vladimir Jurowslri, conductor; 17 March 4pin singer, solo flute and orchestra. ' Camilla Hoitenga, flute. Concert at BFS Birmingham X11 tickets 812. Concessions: 87 JUNE - Prolrofiev Suite, Lieutenant Kij6, Branch's Flute Day, Adrian - Saariaho Aile du Songe for Flute Roult Hall, Rirmingha~n 15June 7.30pm All Saints Fawley Parish and Orchestra, Stravlnsky The Emma Williams. flute: Sandv APRIL Church, nr Sor~thampton " Firebird nay, contrabas~tlute;'Richdrd 6.15pm FREE pre-concert event. nesday ll 7pm Anson Quartet -. Shaw, piano St George's Church, Hanover Icaija Saariaho and Camilla To include: Arnold, early Flute Tel: 023 8069 1778 Moitenga interviewed by Square, London W1 Sonata (1942) (premiere), London Handel Orchestra, " Anthony Burton. Downes, Symphony for Flutes. Moll 24 drrne 1.lOpm 20% discount for Pan readers: Adrian Butterfield. St James's Piccadilly London - directorlviolin; ~achelBrown ,. tel: 020 7840 4242 quoting Sun 17 Mar 3.00pm Glen Ballard, flute; Sarah British Flute Society. baroque flute McClure, oboe; Christopher Purcell Room, London Programme to include CPE The Feinstein Ensemble Glynn, piano l0 March Bach Flute concerto in D minor To include JS Bach, Trio Sonata Telemann: Concerto in C for and worlrs by Handel, Purcell, BLW 52.7; Gaubert, Tarantelle; , Dartington Hall, Devon recorder; Quantz: Trio Sonata in Lully and Corelli. Andy Anson, flute; English C for recorder, flute and Kohler, Valse des Fleurs; Wesley, ' Mozart Players continuo; Handel: Sonata in F Trio in F. Malcolm Arnold flute concerto for recorder and continuo, 0p.l Saturday 13 April Tel: 0118 9732107. . OPllS 45 Memorial Hall, Freshwater, Isle No.11; Quantz: Sonata in B flat of \\light Tel: 01803 847070 for flute and continuo; Andv Anson, flute; Alan Telemann: Quartet in D minor Althoz~ghevery ejyort is made to Sun 10 Mar 7.30pm for two flutes, recorder and Cuckston, piano Jacksons Lane Theatre, 269a Sichler, Bird in May; Schubert, ensure accuracy, the British continuo (Tafelmusilc 11) Flute Society and Pan do not hrcliway Road, London All tickets 810 (including Variations on Troclrne Blumen; (opposite IIifllgate Tube) Sancan, Sonatine; Debussy, accept responsibility.for any refreshments in interval). errors in these listings. Readers - Palace Band Concessions: 89. Syrinx; Rutter, Suite Antique; Paul Harris, Overture: Ally Pally Rachmaninov, Vocalise; Field, are adwised to check ticket (premiere: latest commission of 19 March 7:30pm Sonata. Tickets E7.50 (conc 92) availability ancl details with the Palace Band). Also: music by Warehouse, Theed Sh-eet, Tel: 01983 752278 venues bejbre attenclance.

18 PAN MAGAZINE A non-residential 3 day workshop Rpd Rc~cel@5~/1rool Coombe Lane, Croydon, Surrey loam to 4pm 25 to 27 July 2002

- /Lejust got back B-on?!lie F:,i:e Co[;rse if pas f,iiiBshc I'm recomnwid~ngthe couise to anyone ~tcaters for lileraliy eveiyo~le. - Lloyd Stringer - Spalding. Lincs. UK An unique opportunity to learn in a challenging and stimlllating environment..

7- - For more information or to book, contact the Course Director Susan-Mary Whittaker 52 Red Post Hill, London SE24 9JQ Telephone: 020 7733 1328

OF MUSIC & DRAMA

Flute tutors among best in UK: Christine Messiter, Jonathon Burgess, Philippa Russell, Katherine Baker I h . Guru Tutor - Karen ]ones 1 Piccolo tuition from Pat Morris and Lir May 3s I High- standard of plaving required. for entw I Recent past students now playing with BBC National Orchestra of Wales and Welsh National Opera Orchestra Flautist of fire and lexibilitv f l U As a talented young flautist, everything seems to slip into place for Jonathan Snowden. l Notable for his sumptuous range of tone, he believes that teaching is as important and l rewarding as performance. This interview reveals more of the man and his music. l Where did it all begin? \my did a rehearsal and thought, I lilte the you choose the flute? sound of that. Her friend came A---hL That's quite easy actually. My round to tea and I rudely asked if I mother was a professional violinist could have a go on her flute, and I and she decided to teach me the she agreed to let me try with just violin when I was very young. the head joint; I made a sound However, being a very independent straight away. minded child I didn't want to do %"",, what my mum was doing. My So how old were you when you mother had a friend in one of the realised that you wanted to be a orchestras that she played in who professional flautist? What drove -P was a flautist, and one day I went to you forwards? . I was about six or seven years old. I told mum that I didn't want to play BY the violin and gave up. From the age i Susan Fitzgerald of 14 I knew that all I wanted to do .. ! was become principal of a London Orchestra and I never deviated from that, ever. I was always 7 completely focused and it was something that I was very Oh yes. Recording can sterilise passionate about. music because everybody is expected to play a million and one "hat do you love about the flute? right notes a second and if there's a & Well, looking back, I would have blemish you're no good. Of course, l liked to be a violinist or perhaps a notes are essential, but what's really singer, but I have always loved the important is magic. If you don't take flute. It has fantastic possibilities. risks you don't produce any magic I Some of them are hidden, like - and all for the pursuit of playing dynamics. The readily available the right notes - and that's not a a dynamic range of the flute is small good or successful compromise. compared with that of the clarinet After recemirrg aafitst class honorrrs degree at l Trlnll/ College of FllzReraldworl but, if you really focus on it, the What is your favourite repertoire? - mo awards to cor~trrrlreher strrd~ecas a dynamic range is huge. It has to be Brahms. Performing a Posgradrdate wrth Susan A4t/an arrd Stnart People should put more effort Brahms Symphony with an ckIcIlwharn at the Royal College oo/ll.f~dsrc. She enjoys workir~gboth as a so/otst arrd as a into searching around for these orchestra is ultimately the most memhofwanotlsense~nhles Herrnostrece,~t possibilities. Quiet can be almost fulfilling thing for me, and I'd have Peffornlaflce,aftheR~~alFestl~alHall?tnc/tl~edinaudible and loud can be almost toincludeaPucciniOperainthere a perfomarzce of the Doppler Dotthle Flute Corrcerto of de deafening, which takes a lot of as well. Of course, the French flute II~I/Y~nterrratrona/ YOI~~ Corrcerts Arm energy. It's just a huge risk that repertoire is everything. Prelude h Competrtron. She haspla~~c~/atntanyprest~g~ottsSome people do not like taking. l'apr2s midi couldn't possibly have wenrres wrth the Hanower U'nld Q~tlr~tet. been written for any other Susan IS also part of the F/&-Elltonflute and harp c160 and IS ctrrrent~pnf~crpalfrrrteofthe SO huge dynamic range and instrument or started on any note kptdr Chamber Orchestra arid the London taking risks are essential for a good other than C#. Can you imagine Pheonlx Orchestra. performance? starting it on E flat?!

20 PAN MAGAZINE -...... 1 Jonathan Snowden

\%'h0 would you say has been an amazing set of your biggest influence, particularly experiences'. That is during your college years? my goal - to take I started with Peter Lloyd at them on a journey Guildhall and then studied with according to what I Trevor Wye and also had the odd am playing. lesson with LVibb. I remember going to Wibb's When did your house and playing the first career really begin movement of a Mozart Concerto to to take off? him. When I had finished he said, While still at the 'have you ever heard Moyse play Guildhall I intended this'? I said no. I sat down and he to continue having played a record of Moyse performing lessons with Wibb, Mozart. At the end he said, 'there but I got a job and you are'. I was too embarrassed to decided to take it, as say what I really thought and said, I thought that it 'great', when what I really wanted to might be the only say was, 'I don't want to play it like job I'd ever get. that, I want to play it like you'! I remember it Looking back, I realised that every well. Trevor had generation and every person has seen an advert in the their idol. Wibb's idol was Moyse, Daily Telegraph for a Moyse's idol was probably Taffenel new orchestra in or Gaubert and mine was Wibb. Leeds. It was called the English National Why was this? Opera North (now Because, although I am known as Opera passionately interested in the flute, North). I am more interested in being a He recommended that I apply for them as principal flute for a series of musician. The flute is how I get it to get some experience. However, recordings, concerts at the Royal there, the vehicle that I use to he told me not to take the usual two Festival Hall, London, and also a tour communicate. I don't want to be contrasting pieces but to take more. to Poland. Still only 22, I had to take remembered for being a flute I remember turning up and they this opportunity. It was fate. Also player; I want to be remembered for asked me what I was going to play playing on this tour was the principal being a musician. The message is in and I plonked down a pile of music clarinet and principal bassoon of the the music. I want the audience to and said, 'anything you like really'. WO. After two weeks, the manager come away thinking, 'wow, that was And it paid off! contacted me asking if I was free to do a concert with the WO. I checked \%'hat did they ask for? my diary (knowing it was empty) and One of the pieces they asked for accepted the work. During the was Messaien's Le Merle Noir. And concert I met Derek Wickins, I played it without an principal oboe, who was a fantastic accompanist! On my 21st birthday influence on me. At the end of the I called to find out how I had done concert he said, 'great, I've enjoyed and was dumbfounded to hear that working with you and have put you I was principal flute .and my top of the extra list. I couldn't believe second was a flautist called David what was happening. It was luck.' Moseley, who was my idol when I was about 14 and he was 17, Having been principal flute with playing in my county youth the Royal Philharmonic, London orchestra! I was absolutely Philharmonic and Philharmonia, dumbfounded! and having a very successful solo and recording career, I have to ask After Leeds, I understand you you, for my benefit and other young went on to work with the RPO: is flautists reading this, how much that right? practice you did while at college ...? Not quite. While in Leeds, I received I wasted some of my time at a call from The Academy of St Martin Guildhall because I was growing up in the Fields inviting me to play with doing growing up things. I

PAN MAGAZINE : Jonathan Snowden

-F- complete conviction. I which I turned down for family practised sounds within reasons. I had prepared for the a musical contest and audition purely by enjoying it. I that was absolutely in thinlc that's the best way. the centre of my heart all the time. Practice is a I think most people would very personal thing and disagree with you there, as they different people seem to would find it very difficult to enjoy sustain different the highly pressured environment amounts. What's of an orchestral audition. important is really Agreed. On an audition panel, I do passionate and focused my very best to try and make the I practice. It's when you person feel at ease. An orchestral practise connected with audition can be a ghastly and very your spirit and emotions destructive environment and that you benefit the people do not want to be destroyed! most - you can seelt a huge dynamic and What do you look for when you colour range. If you are on an audition panel? practise as a machine for The audition is not about playing eight hours you don't sonatas and concertos. From my feel the benefits and you point of view, it's about choosing only get the notes. A someone who will not be an lOOm Olympic sprinter embarrassment to the orchestra or

1 cannot practise the an annoyance to the conductor. 100m sprint for eight I look for someone who has a lot hours. My happy of potential and, above all, :. -S. medium is 4-5 hours of flexibility, for example, being able committed practice to respond quickly when aslted to every day. play quietly or loudly, and making adjustments to intonation, or remember spending evenings Did you ever get disheartened? colour and style changes. walking around the East End of Oh yes: when I was working on tone Conductors are not always London visiting pubs and chip for two years, I found older known for their forgiving qualities. shops and chatting to the locals. colleagues at College were way It can be a ruthless environment The East End really was a ahead of me in technique. Sooner and conductors don't want to aslc community of its own and people or later, I thought I'd better get a twice; if they do, they don't ask were fascinated by this young lad move on as I was getting left a third time. You have to make who desperately wanted to be a behind! So I began worlcing on a change. flautist. However, I think I did this technique, concentrating on studies for a bit too long and eventually - playing notes, fast ones, and went back to playing the flute! often in the wrong order!

I think that has to be the best How do you prepare for practice routine I have ever heard! auditions? Any tips? I might try that myself - I think I'd I have only ever done one audition be rather good at it! and that was for my first job. My I would also go into Soho at around other work seemed to just fall into midnight with friends, all armed place by accident. I did sort of with our instruments. \?re would audition for the Boston Symphony find various jazz groups in bars and Orchestra. They contacted me clubs and ask if we could join in for asking me to play principal flute free beers. It was a great time and I with them for 10 days because the In an audition, I want to see if the thinlc an important part of my job was vacant. I went to performer is filled with the music development. Tanglewood and Mr Ozawa asked if and can respond quickly to making I minded standing up and playing such changes. Don't forget, you can On a serious note, what was your to the orchestra. I agreed and was have orchestral musicians who practice routine? What did you asked to perform the flute solo from aren't great soloists and vice versa. concentrate on? Daphnis and Chloe, a Mozart I had a passion for sounds. For about Concerto and a Mozart Quartet. \Vhat do you enjoy most about two years I practised tone with They then offered me the job, your life as a musician? 22 PAN MAGAZINE --.-- .p -- -- . -. .- . .. --- -. - Jonathan Snowden 1 -- l -

I used to live to work but now I Yes, I am not affiliated with any work to live and that has made main orchestra at the moment and music a much richer experience, have just gone through a rest period because it's not so self centred and to spend more time with my family. you're not just thinking about I do miss the orchestral repertoire projecting yourself. One of the and opera. things I enjoy most about life is my I adore my work, especially my family - Rosie, who is six, Toby, teaching. Teaching is very who is five, and my wife Ruth, who important to me, particularly on the is a professional harpist. International Flute Summer School. I wouldn't want to do playing I You are obviously extremely without teaching. passionate about your work. Have you ever thought about what you \Vhy is teaching so important to wo~~lddo if you didn't have music? you? If I had my time again I'd be a vet. I Teaching is very fulfilling for me. It's adore music and I adore the extremely rewarding to nurture countryside where I live. It is somebody who has a passion for the important for me to feel that I am music inside themselves to develop. doing something of service. It's like planting a flower and What I love about music is the watching it grow into something ,- sincerity of the audience. I looli beautiful. You are giving somebody - across a concert hall and see people an opportunity for fulfilment sitting there with their eyes shut, regardless of their ability. I think it F - 1 really adoring each moment that is important for all musicians to they are experiencing. That is teach and find a balance, as * hugely important to me. Being a vet teaching also draws attention to would be dealing with people and one's own playing. animals in a compassionate way CDs and I would get to wear my wellies! Do you have any tips for flute Solos players in general? G Nolst, Fugal concerto, EM1 I understand that you have just Survival is the bottom line and the CDEMX 2227 had a well-earned rest period. liey to your survival is flexibility - M Rozsa, Sonata Silva, SLICD ------,---.-".--" ...- ..- -- in dynamics, style, colour 6006 Kaleidoscope and the way you interpret JS Bach, Suite No 2, Teledislr something. In an orchestra, ACDM lOCD **+y.* you often have to play in a I' . I Various: French recital, Virgin . -S. .+ +.

-m .,. i + * i way you might not want to, Classics, VBD 5 61495 2/7243 5 .t, 6 l ' a t.f'... i but in a way someone else 61495 2 6 ,& 7 l. I ... wants you to play. WA Mozart Concerto No 1, Flute V . I Also, you have to be an and harp concerto, EM1 actor. Classical music on the CDCFPSD 4808/7243 5 6894426 flute is a combination of S Prokofiev, Concerto (arr things. It has to be a show. sonata), Conifer CDCF 173 You have to involve the W Lloyd Webber, Sonatina, The audience in an experience, Gardens at Eastwell, Mulberry drawing them to you with a Cottage, Hyperion CDA 67008 sort of power. Orchestral solos Playing with power doesn't C Debussy, L'Apres Midi, EM1 necessarily. mean playing CDEMX 9502 (LPO) loudly. Playing that is G Bizet, L7Arlesienne Suite, secretive, personal and very Tring TRP 049 (WO) tender is hugely powerful. \V Walton, Symphony No 1, The show .and the message Virgin VC 790715-2 (LPO) are what are important. R Vaughan IVilliams, Never lose sight of what's Greensleeves (London Chamber inside of you. Orchestra) And never just practise R Vaughan Williams, notes in a repetitive, dead Epithalamion, EM1 CDC 7 Jonathan is a fantilv ntan as well cis cc .fine flautist. environment - anyone can 47769-2 His wife Ruth is a professional Imrpist. do that! PAN MAGAZINE 23 The psychology of flute teaching , The success offlute teaching, like other musical education, can rest on simple things such as the tone of voice used to greet a new pupil. Learning is an emotional experience and the teacher has an important role to play in creating a safe, nurturing environment

mew beginnings always bring welcomed, accepted and appreci- it7,a fear of failing. Fearing not being heightened emotional ated by the teacher. Younger pupils able to do it and, worse, finding that intensity - both excite- may also be concerned about how he or she cannot do it, may cause the ment and fear. Like long they'll be there, who will be pupil to feel very worried and animals entering new territory, all collecting them or where they sometimes utterly overwhelmed with our senses are on the alert as we should go next, and whether they anxiety, as though he or she is falling hope to find what we seek, but fear can find the bathroom without apart or tumbling into a bottomless danger. Fear can be about finding having to ask! But, as a general rule, pit. It can literally feel unbearable. the building or studio, being late, the younger the pupil, the more the This learning anxiety is being welcomed and accepted by excitement, and the older and more exacerbated as the pupil has to fellow pupils and, especially, being self-aware the pupil, the worse the learn in front of the teacher, the fears. Any previous experience of perceived authority. There is a fear the building, studio, fellow pupils or that he or she might be found teacher can help to reduce fear. wanting, and humiliated, By annihilated or cast out. Lucinda First impressions Owing to the heightened emotional Signs of anxiety l Mackworth-Young intensity, first impressions of the Common signs of learning anxiety studio and teacher, whether typical include engaging the teacher in or not, are powerful and long distracting chatter (especially at the lasting. A warm and welcoming beginning of lessons!), providing beginning will evoke warm and endless valid-sounding reasons for welcomed feelings within the pupil not practising, 'forgetting' the music, and give him or her the belief that arriving late or leaving early. Other music is a safe and enjoyable place signs are: seizing up, 'going stupid', to be. The potency of these initial sitting in uncommunicative silence feelings will also help sustain him or or running away in mind ('I'm not her when, later, the going gets listening!') or in body, either by harder. An uncared for, cold or begging to be allowed to give up or, bleak first impression of a studio or simply, by not turning up. The most an unwelcoming first impression of common sign is avoiding practice,

a teacher may be equally powerful or avoiding practising certain things I and make it very difficult for the (such as scales, or difficult - pupil to feel either safety or passages). It can feel better not to enjoyment. It may even put the try than to try and fail. Lucinda A bung (MAPsychEd GTCL) pupil off music lessons for life. These anxious feelings, whether i.r a lead1 ng Lonsttltant it1 P.r~fcho/ogyfor M~/siciatrsand an esperienred cotrcer pianist in lessons or practice, may seem out and teacher: I.Ir,llknown for her etzte~taining, Learning anxiety of all proportion to the actual experiential and accessible approach, she puts In addition to fears about the studio, situation. The adult learner, psjchology into ~zpkvantand practica/fonns for mtlsir teaching, /earning andpe?forming. fellow pupils and teacher, there may especially, may be aware that the She runs cotmes for Mrtsic, iblir~dand Alovetnetrt also be anxiety about learning itself. intensity both of the fear of 'not being (see ad), prowides corme work/orprofessiona/ Usually well hidden, as it's not 'cool' able to do it' and of the need for the dmeIopment cosmes run Ly the ABRSAf and ISM, atnong othen, ant1 w?.ites estetrsive~yin the to show such feelings in our society, teacher's approval, seems absurd, but field (see over/eaffor detads of her book). there is a fear of 'not being able to do yet feels caught up in it. \ay?

24 PAN MAGAZINE -.p.p . - Psychology of teaching - - . . I The 'Inner Child' to open up to something new, to try over the pupil. Care, interest and As we experience any emotion we and to risk failing. appreciation from the parent is life cannot help but be lreyed baclr into Typically, the mother contains giving, and conveys to the child that earlier experiences of the same her infant by wrapping her arms he or she matters and can succeed as emotion. So when did we first around him, bearing his anxious a person, whereas neglect or experience anxiety about 'not being feelings and providing for his needs. disapproval can severely threaten able to do it'? In a similar way, the pupil looks to physical and emotional survival. In infancy. the teacher to focus her mind on Similarly, care, interest and To the infant, hunger, thirst, him, bearing his anxious feelings appreciation from the teacher are heat, cold or loneliness are intensely and providing the emotional musically life giving and convey to experienced. They are life reassurance and practical help that the pupil that he or she matters and . threatening, but the infant is utterly he needs. can succeed as a musical person, unable to do anything about them by Teacher as Critic whereas neglect or disapproval can himself. He can only cry, and the cry Just as to the helpless infant the severely threaten musical survival. expresses the way he feels. It can parent is all powerful, knows sound as though he is overwhelmed everything and is always right so, The ' Inner Parent' with helplessness and terror. through transference, there is a Whatever messages the pupil So, the feelings of anxiety level at which the pupil believes the receives from parents or teachers, experienced in education may seem same of the teacher, especially whether caring or critical, and out of all proportion to those where music and his or her ability however they are conveyed warranted by the actual situation are concerned. In being perceived (through words, tone of voice, because they reawaken the similar as the 'Ultimate Authority' in this silences, actions, body language or but infinitely more profound way, the teacher has enormous feeling), he or she may then feelings of utter helplessness and power and significance in the eyes internalise so that they become terror in the face of not-being-able- of the pupil. what he believes about himself and to-succeed experienced by the says inside his head to himself daily. infant-within-the-pupil. Life Giver or annihilator? They become the 'Inner Parent'. Simply by becoming a pupil, Just as, through the quality of care, Thus, a child who receives care, whether at the age of six or 66, the the parent literally has the power of approval and encouragement, pupil cannot help but hark baclr, at life or death, comfort or discomfort, receives positive messages about some level, into his own inner over a helpless infant so, through himself such as, 'You matter as a infantile and early childhood transference and the quality of care, person', and 'You can succeed'. emotions, his 'Inner Child'. He the teacher has the power of musical When internalised, these messages may easily feel anxiety and life or death, comfort or discomfort, become 'I matter as a person' and 'I helplessness to the extent that 'not being able to do it' is experienced as severely threatening: a matter of life and death. In 'Inner Child', the pupil transfers onto the teacher the role of 'Parent', having a seemingly out of proportion need for care and fear of criticism.

Teacher as parent P The parental role is twofold, both nurturing and authoritative: the teacher is 'Caregiver' and 'Critic'. a Teacher as Caregiver In the same way that the infant depends on the parent to make him feel safe and secure, to contain his anxiety, so that he can take things in, feed and grow, so the pupil, at any age, depends on the teacher to make him feel safe and secure in her presence, recognise and contain any learning anxiety, so that he can learn. Only if the pupil feels internally secure can he or she learn, because learning requires us play an active part in accepting or rejecting them. Messages that Directors resonate with the child's feeling and US~C Lucinda Mackworth-Young MA(PsychEd) GTCL any existing internalisations are in. Nicola Gaines BPhil(Hons) LISTD more likely to be accepted than M0veI'Ilent Karin Greenhead GRSM ARCM LDS others which don't. Dip.Sup.InstitutJaques Dalcroze, Geneva Becoming independent PRACTICAL PSYCHOLOGY Just as the parent brings up the child to be independent, so the for MUSICIANS who are teacher's role is to help the pupil become musically independent. The TEACHING, LEARNING & PERFORMING pupil's primary need in becoming including: independent is to develop his own Understanding Pupils, Teacher-Pupil Relationships inner security and resource. With Emotions and Motivation, Lesson Content, Practice this Inner Carer he can stay fully Teaching Styles and Learning Strategies present and engaged in learning, Problem Pupils & Parents even through difficulty, and also feel Inner Authority in Performing, Performer-Audience Relationships confident enough to continue Communication, Technique, Anxiety & Safety in Peiformance learning by himself whether or not Improvisation, Dalcroze Eurhythmics and Dance for Musicians he is having lessons. The Inner Carer is developed COURSES: through positive emotional Sat 13th-Sun 14th April 2002, Norfolk experience in lessons. In particular, Mon 15th-Thurs 18th July 2002, London Also PRIVATE CONSULTATIONS throughout the year the pupil needs to feel and then And a BOOK: "TUNING IN" for HOME STUDY internalise acceptance, appreciation and achievement from the teacher. "A leading authority on the psychology of music teaching and performing, In practical terms we need to: I knew how good LM-Y was from a previous session.. .but the course far exceeded my expectations!" Give the pupil unconditional "Immensely comprehensive, informative & stimulating!" "Refreshing!" "Fun!" positive regard "Shed new light and transformed my career!" "A turning point!" The more the pupil experiences Enquiries: Flat 2,35 Bush Lane, London EC4R OAW unconditional positive regard, belief Tel & Fax: +44 (0)20 7626 01 83 and trust from the teacher, the more Email: [email protected] he or she will internalise and so Website: www.musicmindmovement.btinternet.co.uk believe and trust in him or herself. He needs to feel our belief in him can succeed'. This child then has a supports the pupil, enabling and hBjotentia1, whether or not he caring, supportive Inner Parent or, openness and an acceptance of 'not appears to have talent, because only more simply, an Inner Carer. knowing' and the fear of 'not being then will he feel safe enough to try, On the other hand, a child who able to do it' while patiently only then will he believe he has a has not been so cared for and has working out what to do, how to do it safe place to 'fall' (our unerring faith perhaps even been persistently and trying it. in him) if he gets it wrong. The more criticised, will have internalised A critical awareness is necessary he believes in himself, the more he critical messages such as 'You're no in alerting the pupil to quality and will dare and discover within good', 'The others are much better spurring work. But, if not balanced himself. than you', 'You won't get anywhere' by the Inner Carer, the Inner Critic and so have an Inner Critic. destroys the pupil internally, Validate and honour any Similarly, a pupil who receives resulting in increased learning previous musical achievements care, approval and encouragement anxiety, increased fear of the The pupil will want to show us what e. from the teacher will feel and then teacher and no internal resource, he can play and has learnt. Our internalise, 'I matter as a musical so that the pupil is unable to persist validation of his existing expertise person' and 'I can succeed with through difficulties, and gives up. strengthens his faith in himself, music'. The converse is also true However, the pupil's enabling him to feel safe enough to with a lack of encouragement: 'I'll internalisations are not solely the open up to further learning with us. never be good enough', 'The others parents' or teacher's responsibility. are much better than me'. Owing to differences in innate Be constantly in touch with disposition (evident at or soon after the pupil's feelings Need for the 'Inner Carer' birth), infants, children or pupils In particular we need to be aware of A strong Inner Carer is essential in elicit different messages from any anxious feelings and be ready to learning, as it is the resource that parents and teachers and they also contain them with reassurance, or Psychology of teaching

by giving practical help, or by shifting activity to something the pupil enjoys and can do. TUNING IN Practical Psychology for Musicians Give ongoing praise Praise is musically life giving. We who are Teaching, Learning and need to praise whenever it's due and Performing whenever we're in doubt whether it's due. There's always something Handbook and Home Study Course that can genuinely be felt and said: by Lucinda Mackworth-Young 'Those two bars were exquisite', or 'Well done! That was hard, wasn't t it?' Under the considerable time pressure of the lesson it can be only too easy to forget to praise as we tend to feel we must use the time to help the pupil with his difficulties. Perhaps surprisingly, praise can be especially encouraging when there has been little improvement because it can give the pupil the courage to continue to face and conquer his difficulties: 'Oh! So it's worth continuing to try after all!' Highly recommended, entertaining and informative, this book explains the intuitive processes which all good music teachers and Be wary of criticism performers use, it sheds light on many of the problems encountered Criticism implies to the pupil that daily and offers a wealth of practical tips and suggestions. he is not good enough as he is, and Including psychology for: is usually felt as a threat. It can be Understanding Pupils, Teacher-Pupil Relationships especially devastating if the pupil Motivation, Learning Skills, Teaching Styles, Lesson Content, Practice tried but couldn't succeed. Any Problem Pupils, Teacher-Parent Relationships constructive comments, so easily Improvisation, Group Teaching felt as criticism, should be preceded Inner Authority in Performance, Performer-Audience Relationships by praise: 'I enjoyed that!' with Anxiety, Communication and Safety in Performance enough pause for the compliment to ...... sink in, and then, put positively, 'You phrased those two notes Available by post from: beautifully! Now apply that from MMM Publications, The Houghton Centre, South Pickenham, there to there'. Or: 'The legato Swaffham, Norfolk PE37 8DP, U.K. playing there was lovely. What @ 814.99 including postage and packing to the U.K. about bringing out the staccato or @ 817.99 if to be posted elsewhere more to make a real contrast?' Cheques payable to: Music, Mind and Movement In this way, the pupil feels (don't forget to include the name and address of the recipient) secure in our belief in him now, so he or she is able to hear, accept and take on board what we are saying. If Enquiries & Further Information: Tel/Fax +44 (0)1760 441444 b the pupil does not first feel secure, E-mail: [email protected] he will put up defences to avoid or www.music,mindmovement.btinternet.co.uk lessen the pain: 'It went all right at * home!', 'I don't usually do that!'. unless it drives!). But this will$only based on reality not transference Know when to criticise work if the teacher-pupil relationship We need to encourage pupils to There may be occasions, perhaps in is sufficiently strong and the pupil check into what they think and feel, the case of persistent non-practising, can do what is required, so that he or rather than what they hope or dread despite careful, thorough work in the she wants to work to regain the we think or feel. Thus, they learn to lesson, when it may be appropriate to temporarily lost approval. Otherwise trust and rely on themselves by deliberately criticise the pupil in the pupil may feel irredeemably taking more responsibility for their order to make him feel more anxious undermined and give up rather than own progress in a spirit of mutual about coming to the lesson having face us with failure again. respect, communication and not practised again than about facing cooperation with us: 'Adult' to the practice (anxiety blocks learning Encourage a relationship 'Adult' rather than 'Child' to 'Parent'. Sing alto flute! The alto flute is becoming easier and more rewarding to play all the time and composers and players are realising the huge potential of its rich colours and deep sonority. Carla Rees examines its history and extols its virtues in thefirst article of a new series.

he alto flute as we know it The Planets. It is important that the discomfort. It is unlikely that an today was ' developed by modern alto flute player should take average sized female would have I Boehm in the mid 1850s. this into account when approaching been physically large enough to be The exact date of its inven- early works, to ensure that they are able to play the alto flute. l tion is unknown, though there is playing the correct instrument! Many early experiments with documentary evidence to suggest alto flutes relied on the addition of that he made his first alto flute in Deep, strong, sonorous tone extra notes, extending the C flute 1854 or 1855, when he was 60 years The only orchestral instrument to downwards by lengthening the tube old. There are also references in be pitched in G, the alto flute letters of 1865 that suggest the alto sounds a fourth lower than the flute was already well established. concert flute, with a sounding range The name of the alto flute has of approximately three octaves created much confusion since it was from the G below middle C. Boehm first manufactured in the UK by set out to create an instrument with Rudall Carte & CO in 1891. As the its own distinctive sound, rather alto flute was, at that time, the than merely a lower extension of lowest of the flute family, the the C flute: English name for the instrument 'The long felt need for a deeper, became the bass flute in G. This was stronger, and at the same time more often abbreviated to bass flute, and sonorous tlute tone has not been and adding keys with levers to close used by composers such as Holst in satisfactorily provided for either by the holes (which could not be the former "flute d'amour" or by the reached by the fingers). This extension to the foot of a C flute, involved a large amount of hand BY since the tones thus obtained are movement, interfering with the weak and uncertain, and their positioning of the right hand and Carla Rees combination difficult and entirely making the instrument unstable. impracticable. There must be created an entirely new instrument History and design in the family of flutes of deeper Flutes at this time were generally pitch, similar to the basset-horn made with a conical bore. This and English horn.'* meant that the more the tube was Several makers experimented lengthened (that is, the lower the with the design of lower pitched pitches required), the smaller the flutes in the early 1800s, though the bore became. In order to achieve results were largely inadequate. In the required resonance of the addition to suffering from the harmonics for the low notes, a 1 problems associated with all simple- wider bore is required than that system flutes, such as complicated necessary for higher pitches (as I cross fingerings and inconsistent may be clearly seen by comparing intonation, the length of the tube the C flute with the piccolo). The itself compounded difficulties for narrow diameter at the foot end of Carlo Rees is a principal strml,~a/to f/tl/ep/aj~et; the performer. Finger holes were the extended flute created a gradual working as a perjornrer and /eucher in and widely spaced, for intonation weakening of the sound in the low arorttrd Londorr. Follo~itrga moyear part time Alil11ts coutxe at /he Royd College of ihsic, she is purposes, and were large and register, which was clearly crdrretr//y workirig closely with composets to difficult to cover with the fingers. unacceptable for a flute designed innzase the repertoire of the ako f/ftte. Sht The tube length required the player for its lower pitch range. pefjhtrrrs replari'y in dtdos with piano, hatp atid pitor; atrd rut~.ra stnallprrblishitrg cotnpafiy, to stretch the arms a long way, The essence of Boehm's design Tetrac~sPrtl//iations, dedicated to iucreasing the particularly to reach the left hand was the idea that the alto flute mailability of mrrsic for alto frtte. To cotrtact finger holes, and the instrument should be a proportionally larger Cnrla, please etnail: car/a@telrac~ss./reeseme.co.uk could only be played with extreme instrument than the C flute. In .- p.

p

p p Sing alto flute! . p 1 .-

other words, he used the same comparison to the C schema as for his C flutes, and flute and piccolo. Its simply made an enlargement in repertoire includes order to keep the proportions some of the most ground exactly the same. He experimented breaking and prominent with different tube lengths and bore masterpieces of the last sizes in order to find the optimum 100 years, by composers size for the instrument. He found such as Stravinsky, that a flute in E or F would be too Ravel, Holst and, more big to be manageable, and a flute in recently, Maxwell Davies A already existed as the flute and Boulez, to name but d'amore. A flute in B flat, he a few. It has a distinct, 1 decided, would not have a beautiful sound with sufficiently different sound quality enormous expressive < -- I from the C flute to be justified. capabilities, and yet, +,d He settled for a bore size of 150 years after its r 26mm, 7mm more than the C flute, original conception, it which allowed for increased remains an outsider to the range of contemporary techniques sonority in the low register. It also orchestral flute section, with very available to players, and causing meant that the same pitches, played few specialist players. further limitations for composers in on alto flute and on the C flute, As a solo and chamber music a world of new unexplored sounds. would have different tone qualities, instrument, there are numerous None of these hurdles, however, according to their different sizes. original compositions and is insurmountable. The demand for The range of Boehm's alto was for the alto flute, which alto flutes has risen considerably in approximately two and a half make particular use of the intimacy the past 20 years or so, and makers octaves, with the sound becoming of the alto flute's sound and the range are beginning to cater for this characteristically thinner towards of espressive colours available in demand with vastly improved the top of the compass, since the contrast to other instruments. instruments. Composers and players large bore size does not correspond these works are rarely alike are discovering the alto flute as well with the resonance of high performed in standard recitals, and an enormous untapped resource of harmonics. This has been seen by none of them have become musical variety and depth. some as a wealtness of the mainstream repertoire for flautists. Instruments are now more instrument, though it is clear from reliably in tune, more comfortable Boehm's own comments and music Remedying the drawbacks to play and more easily available, for the instrument that he found The reasons for this apparent lack and the benefits of playing the alto this difference in sound to be one of of interest in the alto flute are flute can be enormous. The alto the alto flute's strengths. numerous, but can be easily flute is attracting attention with its In creating the new instrument, remedied. Perhaps the most obvious unique, languid tone colour. It is Boehm set out to solve many of the is the clumsiness of the instrument, rapidly emerging as one of the new problems of earlier low pitched due to its size. It is heavier than the sounds of the 21st century. flutes, by subjecting it to the logical C flute, and takes more air to play, Carla Rees is happy to answer any key systems already used in his making it especially physically questions on the alto flute. Please 1832 and 1847 model C flutes, demanding and exhausting. The send your queries to the editor. which by this time were becoming length of the instrument is itself more widely used. enough to make the alto flute Readers will be interested to hear In adapting the alto flute to the impractical for shorter or younger that there is a new alto and bass now commonly termed 'Boehm players. The dynamic range is flute repertoire list on the web: I System', he enabled players of his C limited, especially within the https//carbon.cudmer.edu/-cpotter. 1 flute to switch to the alto whenever 'Ontext of the modern symphony Theobald ~oelim.The Flute and Flute necessary, without having to learn a orchestra, where there is Playing. English translation by Dayton new system of fingerings. He also undoubtedly an increased nee'd for C ~~ll~~.2nd edition (1922): ,, ~~~~+~~~d , reduced the previously limiting projection in the wind section. The D,,,? N,, York (1964): p119) finger stretches by creating a series alto flute needs to .be carefully of levers, attached to the keys of the balanced with the orchestra, left hand, which would enable the demanding much skill from articles series player to reach the keys with the composers to be successfully &l..+, minimum strain to the hand. scored. This has perhaps served to 8 A guic le to pra ctising a] Boehm's instrument was the first discourage some composers from teachiing the aIto flute

m h l+, CIl..+,. ..--A low flute to become accepted by the using the instrument. Practically all I Lull C: flute-playing population, though it alto flutes are closed-hole (plateau) le alto fli remains somewhat neglected in models, limiting somewhat the

PAN MAGAZINE negan:

Technically brilliant, m2inal and fill of poetry, as well as an integral part of the hip folk band Flook!, Brian Finnegank playing and personality are making people sit up and listen all over the world. Helen-Louise Baker finds out more.

rian Finnegan, one of the didn't like smoky atmospheres. The Finnegan (flutes), Sarah Allen finest folk musicians of friend was insistent, 'you'll like it,' (flutes), Ed Boyd (guitar) and John modern times, first came to she said, 'it's a flute group, they're Joe Kelly (bodhran - a type of Bmy attention in 1999 when called Flook!' drum). They are more than I was persuaded by a friend to So we trundled along and I was accustomed to playing for packed attend the Cambridge Folk Club. It surprised to arrive and find the houses all over the country and, was held in the baclr room of a event absolutely packed out. We indeed, across the world. In the last drinkers' pub in a busy part of the bought the very last two tickets and year they have visited Australia, city. I was reluctant to go initially as had to squeeze our way down the America, New Zealand, Canada, I was new to the folk scene and side of the room and stand between Austria, and Ireland, to name a few. the walls and a speaker. Brian's Unusually for a folk ensemble, playing that day was quite simply especially one using flutes as the spectacular and I hadn't felt as primary attraction, their image is of BY excited as this about flute playing modern culture and youth. Luckily, since the day I first heard Susan the latter is still very much on their Helen-Louise Milan. I was converted. side and they continue, after five Baker years together as a band, to fit with Techo-acrobat a 20-30-something's image. They

Brian's reputation as a techno have a reputation for high- energy-. acrobat on the flute is well playing - 'fiery wildness and deserved. Multiple tonguing and adrenaline-fuelled spontaneity', improvised ornamentation trip from quotes one newspaper review. his fingers with the agility of a \men I met him (just before dancer. I-Ie stops, starts and rolls his another sell out gig), Brian Finnegan way dexterously through tunes, was wearing trendy sports shoes often soaring above the melody in a with soft 'comfort' soles (Sarah burst of improvisation. Allen, Flook's other amazing flautist, His musical personality is unique, and noticeable for an artistic depth of poetry that is rare among today's musicians. A desire to experiment with a wider range of tone colour than the wooden flute offered prompted him to collect a Helet/-Lotrise Baker is a fvelarrce f/auti.rt, teadter range of different flutes upon which and dedicated advocate of contemporary mtisic to express himself. These include and mtcsical 'crossover' between classical,jazz; andfolk sgb. She is a tnen~berofthe Silverwood traditional wooden Irish flutes, Duo (with g/iitat.ist Fiotra Harrisotr) and the whistles of all shapes and sizes and Lowlat~dBand (with perct~ssiorristlconrposet- bamboo flutes such as the Indian Antre Sparkes). As a tutorshe specialises in building sftidenr confdence thrort.gh metnorisation bansuri. and irnplovisatiotr and has led a~orksl,opsin the In my view, Flook! is folk music's UK and USA. Helen is a graduate of the RCM most formidable and imaginative and the U~~iverxi~of Not-fh Tms. She is deliiR/lted to have been chosen as the new BFS young band. The Anglo Irish folk Ed~icatiorrRepre.rentative. quartet is made up of Brian

30 PAN MAGAZINE -. ..- . . - .-

p I Brian Finneaan

has a similar bright red pair) and a natural progression for him that Anyone who hopes to progress and fashionably cut jeans, which started during childhood in the enjoy this style of music can only complete the look. Armagh Pipers Club with Brian and learn it in the traditional way - and There is no doubt he is the Eithne Vallely. 'They decided they that's by ear. 'Some are advertised, hippest flautist I've ever met, and I were going to educate the kids from but these sessions often lack wondered about the type of the town and all the kids would start atmosphere. The best ones happen audiences their image and their on tin whistle,' he explained. 'It was spontaneously' he said. swinging, trad 'folk-gone-jazz' music much easier, if you were going to attracted - 'uh, we get a lot of learn a completely new music A natural memory young people coming to our gigs and (which traditional was to most of Brian talks about being guided by signing into our guest book,' he told us), to do it on the whistle and get recordings of great folk flautists lilie me. An extremely 'cool' group, they the tunes in our head, before Matt Molloy and Jean-Michel have a guest book on their website. moving to something much more Veillon, and this reminds me of difficult lilie the fiddle or pipes. I another aspect of folk playing that Funky played the whistle for two years and peaks my curiosity - the sheer 'Recently, we did a tour in Ireland then Brian came to me and said capacity for memorised music that and our first gig was at the Fleadh "I've got this flute and I think you these players naturally possess. Has [pronounced Flah],' Brian said. 'It's should try it, we need a few flute he ever forgotten a tune? the big music event in Ireland, and 'Yes.. .sometimes,' he admits and I players in the club"'. the whole audience was young So does he think of himself as a laughs. 'I have started with the A people, it was just a really great whistle or a flute player? "A bit of part of one and finished with the B concert. They seemed to think it was both really. I wouldn't say I'm only a part of another! But I remember Irish Music as they'd never heard it flute player because I'm sure you've tunes from way back in my before, and they were tallung about seen Flooli! I play a'lot of whistre as childhood without even trying. our clothes and our haircuts. It well, but likewise when I'm at home They come to me from nowhere.' seemed to connect with them on a in Ireland I wouldn't play that much What about his technical younger level. I guess if you're whistle. If I'm playing in sessions it prowess, is this a result of copious watching John Joe play the bodhran would all be flute.' . scale practise? 'No', he says then it's quite funky; he makes it The legendary folk 'sessions', honestly, 'Technique was something sound like not many people make it where folk musicians learn their art, we didn't really dwell on back then sound!' He added reflectively, 'I think still remain a huge mystery to many - we were more concerned with that's great, if you can get young who come from the classical volume of repertoire, so we could sit people into your music'. background, yet they are essential down in sessions and play for hours Swapping between flutes follows - a bit like 'jamming' in jazz. with our friends. It was in the Brian Finnegan

that like? 'We went out with a tape recorder to people's weddings and funerals,' he says. Completely uninvited, I ask? 'Yes', he laughs, 'you know, those were the only times when they were playing their traditional music. I met a lot of interesting people ! ' As luck would have it, also during this time Brian was introduced by chance to the future members of Flook! - Mike McGoldriclr and Sarah Men, both flautists. They started with a one-off project called Three Nations Flutes. It was a bold idea to have a band made entirely of flutes, but any doubt about a woodwind trio's endless playing and in the listening " I took on organising the work for ability to draw crowds was quiclrly to other great flute/whistle players UIAT near the end of our life dispelled. that my own style began to surface. together and to be honest I am not a They had much early success Technique and ornamentation is an very organised, methodical person. and were quiclrly joined by a intuitive reaction to the music I am I found the business world and the talented guitarist, Ed Boyd, who playing and the way I am feeling. I creative process a stressful played with undertones of jazz and can't explain where it comes from combination and I stopped enjoying swing. The Irish Times described or how it got there'. the music I was playing. The their first thus: 'the pace i\stonished at the answer, I ask moment that happens it's time to effortless, the standard of playing him more about his learning listen to the cue and move on." quite brilliant. Definitively experience as a child. 'When I was traditional root, its style is a going to classes, I was just part of a New verve and energy wandering in and out of jazz with big group of people. It was a one With hindsight, it becomes possible beautifully contrapuntal, mixed hour class and we were thrown in to see how a brealr of this nature wind timbres ... the ultimate together. And then Brian Vallely's may, in actual fact, have modern flute album'. cousin, Fintan Vallely (author of the contributed to Brian's success. Later on, Mike was to leave the Timber Flute Tutor) and I used to go When he returned to music making group to pursue his solo career and to a weeklong summer school it was with a new verve and energy the press speculated that the outside Armagh. Fintan was the and with a definite feeling that flute 'instinctive magic' and 'charmingly teacher and he was my main was his true passion. He found fresh unique' sound would be lost. Brian inspiration for seven or eight years. inspiration from an extended trip to comments, 'I was totally devastated For a long time I was heavily in to Hungary: 'I had been to Budapest a when Mike left - he was such an music. Music was kind of the family co~~pleof times to perform at a inspiring person to play with. He is holiday; we'd all go away to festival on the Danube and had rTCT-*7-bR-x-P- competitions!' really fallen for the warmth of the With such a prodigious start it is people I met while I was there. I surprising to discover the road to fancied a break from a life on the the top was not smooth. Twice in his road and wanted a routine in my life career he has taken a brealr from for a change, so moved out to Buda the flute suffering the curse of the and got a job teaching and another talented, burnout, "When I was collecting music. Inevitably, it sixteen I was getting into discoing wasn't long before I was searching and falling in love and the session out musicians and writing tunes, such a natural improviser and really didn't really fit my new super cool but that year in Budapest was very pushed me into new territory - image. I was also very involved in important for me; it graced me the scary impro territory. Every gig was sport and travelled to competitions space to think things through.' a whole new highway, all four of us and training camps abroad, so my Brian's 'collecting music' just ripped up the map from the music suffered and it was three comment sounded very interesting. night before and set off again'. years before I found my way back to It turned out he was employed by Mike's departure meant there it". Later on, unable to resist the the Bartok Kodaly Institute, who was a vacancy. ' We tried lots of flute lure of music he formed his own briefed him to gather indigenous players but it was really difficult to band 'Upstairs in a tent', but folk tunes for their documentation find someone to fill Mike's shoes,' gradually he felt the pressure again, and research work. So what was Brian explained. Good fortune once

32 PAN MAGAZINE Brian Finnegan

-p words could never explain. I don't try we like and play it to the boys. We scography to understand it, I just enjoy it! We watch their eyebrows - if they When ttie Party's Over. 1 are so fortunate that we met each disappear into their heads then we MD CD 101 (Celtic Musit other when we did.' scrap it! And if they like it, it Flook! L,ive! 1997 Small ' becomes part of the set.' D9405 Looking into the crystal ball Another unexpected new branch Flook! l'he Four of Us So what does the future hold? in Brian's career has been education. merica I-elease onlv). 199 'We're in the middle of an English Despite coming to teaching atfish001L tour right now and then we're going relatively late in life, Brian has Flook! Flatfish. St to Denmark next week and then we proved a naturally gifted tutor. His have 31 concerts in Germany and ability to focus on a student, to be again smiled on the band in the work in Belgium and Japan before both patient and gently demanding form of John Joe Kelly, bodhran Christmas.' Will this allow them has proved inspirational for player extraordinaire, 'We'd been time for anything else, I wondered? students. He is genuinely pleased to

V playing with each other in sessions 'We've an album tour that's just be able to pass on the benefit of his down the years and I'd seen John started to be booked for next year, experience and this is backed up by Joe across a crowded room and but we don't have an album!' He his conviction that 'everyone has a thought, wow, that guy can really didn't look put out about this as window of artistry'. Unsurprisingly, play!' It was an amazing stroke of 'we've got some time set aside for his folk flute class at Bunvell House luck for Flook! and they entered a recording' and started talking in Cambridgeshire this year was new phase of their playing. excitedly about it: 'I think the overwhelmed with subscribers; so 'John Joe brought great space to recording part of making a CD is for many signed up they had to put 12 our music. He is a melody player as me the most interesting side, on a waiting list. well as a drummer, so he because it means I can be creative Ultimately, success has brought understands the inner sanctum of on another level.' Brian a punishing and perhaps traditional tunes and both he and Live performance alone doesn't daunting schedule of live Ed leave Sarah and myself the room cut the mustard then? 'There is a lot performances, recordings and now to explore, lrnowing that if we fall of spontaneity about our gigs because teaching; but it has also brought they'll both be there holding it John, Joe and Ed allow Sarah and me him rewards, not least of which together. This took the emphasis the luxury of experimenting and have been the artistic and creative away from the full-on flute attack trying new things. But there is opportunities it provides him in life. and rounded us into a fuller sound nothing like being in the studio, It appears very much as if he was and a more complete band, as playing new sets, arranging and being destined to play the flute. opposed to a novelty flute thing.' creative. A lot of compositions we've This begs the question, what He knows that the four of them composed ourselves.' does he do in his spare time? 'You have something special, something Both Brian and Sarah linow, if I have a week off, I try to that all ensembles long to have: sheer continually write new material for kid myself that I should be doing telepathy: 'Sometimes I believe that the band: 'Between us we come up something like yoga or gardening - you could spend your musical life with quite a bit. A lot isn't really but after three or four days I'm searching for the musicians who can playable,' he said n~odestly. 'Now climbing the walls, so it's easier to hear the music inside your head the and again we come across one that sit down and write a few tunes!' way that you can hear it - people who will push you every night, not allow you to sit back. When you meet them everything makes sense. Sarah, Ed and John Joe are my biggest inspirations. Socially, we lead very different lives but on stage there is a very strong bond between us that

PAN MAGAZINE 33 Deafness no bar to this flautist Ruth Montgomery, a 20-year-old who was born profoundly deaf, says playing the flute is the best thing that ewer happened to her. Undaunted by her hearing problems, she shares her musical experiences and her hopes of becoming a performer. t first, it may seem that vibrations; we take more account of took me to piano lessons. I could the experience of music is them because they are so relevant perform the instrument as alien to the world of the to the sense of hearing; we know successfully, but never fully deaf as say, the experience that vibrations produce sound. This understood the purpose of learning of deep-sea life is to birds. However, provides a connection with the skin music and its language. It was all just as there are birds that catch and the sense of touch. meaningless sounds to me, even fish in the sea, there is contact Every day, when I wake up in though I could hear the low and between the world of the deaf and the morning without my hearing high ranges and enjoy the rhythmic the world of music. aids, all I get is the golden silence: feel of the playing. There's music to the ears, the no sounds of the kettle boiling for eyes and skin. With hearing, you are my cup of tea, the toast popping out familiar with one of its kind - the of the toaster or voices with good ear music. But when I go to a morning greetings. Then I put my concert, my eyes interpret the hearing aids in and I can hear the music, they tell me what's playing; I keyboard tapping away as I type for watch the flautist play around the this article, the sounds of the keys so I can see the movement of television in the other room, my the rhythm. Following the fingering voice and my name. rhythm is very similar to lip-reading Being deaf means not simply which I always do. My eyes play a hearing things more quietly but vital role in the world of music; they hearing things distorted. For hear and listen for me. example, when I pick up the I also believe that deaf people are telephone, the sounds of voices are When I was 10, I joined the more sensitive to and aware of just a cacophony of assorted noises marching band at the Girls Brigade, which I cannot cope with. This also playing the drums. I remember applies to the mumbling sounds of experiencing no difficulties in BY voices on the radio. It drives me learning; I had to imitate the mad! It is difficult to ltnow what is rhythmic motives and themes Ruth Montgomery being said without the additional taught by a teacher and, with plenty input of lip-reading. of encouragement, I picked it up I must have been about three and played very accurately. I think years old when I started wearing it was the drums that helped me hearing aids and started to explore develop a good sense of inner the world of sound. This was a big rhythm, especially with the thing because, as a young child, I marching on my feet, and the strict was surrounded by music - it was timing of the music. That is when I a big family interest, my dad being learnt the value of time keeping. a classical guitarist and my mother In 1992, when I was 11, I went to involved in the local operatic the Mary Hare Grammar School for society. Later on in life, when my the Deaf in Newbury, Berkshire. By three brothers all played the piano the time I started, I had already and became choristers at the given up the piano, because the cathedral, it seemed natural for me novelty had worn off. I found the to take part in learning music too. sounds on the piano to be what I call At the age of six, my parents 'noise' - it was too much for my

34 PAN MAGAZINE P

P P Deafness no bar P

had much moment in my life, when I knew I wanted to perform. ment and Learning and performing music has, for me, no particular problems and I take every opportunity to do activities. I so. I have performed in a number of different situations - with piano, small ensemble and regularly with a large local wind band. There is not the school too much difficulty as I rely on band and watching the conductor or colleagues. It was difficult at first, because not only am I hearing my flute, but also all the other instruments playing their various taking part parts. I try to study the whole score in dance, before the performance as it really music and helps to understand the flow of the acting. In music, and familiarise myself with summer where I am. One of the biggest 1994, I difficulties is that the finer points of played along tuning are not possible for me so I with the cannot tell whether my flute is Mary Hare playing sharp or flat. But, since Band tour to using a chromatic tuner, I can feel Australia! It the different air adjustment. It has didn't stop improved dramatically over the there: the past year, as I work my scales, again band using a tuner, and my teacher Ann continued Cherry suggested some simple playing in singing practice to help me train my public places inner hearing. fit,: 1'o:loutrtittC cct tltc dloscow Cottscmcctoiue oj'Jlttsic in Se),tctrtber s~lch the Learning the flute has had 1997. Above: Rtctlt with cc locrrl wincl orcltestrc~in Frrtnce. Royal Albert other benefits. It has helped me to Hall for the train my hearing to understand ears to take in. But I felt I had the TV Series, Challenge Anneka, in the noises that I pick up. Apart ability to understand music, SO one 1995; and a year later we played from these minor problems I face, day I piclred up the flute and went together again at the same concert the flute is the best thing that has on from there. 1 soon discovered a with Evelyn Glennie and the Kings7 happened to me: I can enjoy it and new side of sound. The flute was the Singers at the Anvil in Basingstoke. understand the language of music best instrument for me as it was In September 1997, a school close to my hearing aids, and this friend who plays the clarinet and I meant I could distinguish different went to Russia, to play at the intervals and simple melodies. The MOSCOW Conservatoire of Music in a head of music at Mary Hare, festival for young musicians from Christine Rocca, played a very big all over the world with various Part in my development. She is my disabilities; we were the only deaf mentor and gave me much advice people. The concert hall had over and direction when I was in the 1000 people in the audience. I upper school Years. She kept my could not believe my eyes!, My spirits up if 1 became discouraged. 1 friend and I played' Handel's water also had a good flute teacher, Chris music suite with the MOSCOW in my own way. I can hear all Molloy from Reading, who taught Symphony Orchestra. And then I pitches, control the dynamics, and me the flute from beginner level to played the flute obligato part to like to think of expression as passing the Associated Board grade Bach's Jesu Joy of Man's Desiring, portraying various characters in V111 with merit. with 100 choristers and the the music. It also helps me with I was fortunate, because mar^ orchestra. The evening also my speech, and especially with Hare Chan~marEkhool is a pioneer included Monseratt Caballe singing the use of articulation and in making music Part of the regular a duet with her daughter. I will phrasing in talking. curriculum of deaf education and I never forget that day: it was the key Two years ago, I applied to the

PAN MAGAZINE 35 .- -. .

--p Deafness no bar -. - -.

Trinity College of Music in London to do the B.Mus performance degree. They had never had a deaf student before and I think they had Comments from Ruth's teacher their doubts but they let me db the pre-degree, one-year ~~~~d~~i~~When I was asked by Trinity College of Music if I would accept a deaf course. was there that I met pupil, I said yes - but I was worried. For a start, I had never taught cherry, who has been a wonderful a pupil with a disability. How would I teach her? How would she inspiration and who has had faith understand me? Could she really appreciate music? It must be the that I could make it as a performer. goal of every music teacher to find a way of communicating khowledge to a deep inner level; would I manage to do that? I enjoyed. . ,.he one year foundation course immensely; it improved My fears, I'm happy to say, turned out to be unfounded. Ruth had many aspects of my flute playing attended a very fine specialist school; her lip-reading skills are and academic worlt. excellent, and she does have some slight hearing ability with the After that, I took a year out and help of a hearing aid. In a very short while I forgot she has a hearing worked hard on my flute studies, problem, and we got on with the business of making music. - finally getting myself a place at the Welsh Colleke of Music and Drama Her innate musicianship and warm personality shone forth, and we L> to study the four years BMus found ways of 'feeling' the pitch and the quality of tone. The things performance degree course. I know we tried must have worked, because Ruth's tone is lovely and her there will be aspects of the degree performance can move you to tears by its beauty. Teaching Ruth course that will not be easy for me has been one of the greatest experiences of my life. Although I have but I am determined to work hard always prided myself on finding a different and special approach for in order to be able to perform each pupil, with Ruth new avenues were opened. I have learned so professionally by the end of the much from my pupil! course. I also want to teach and, Ann Cherry BMus, Hon FTCL, Hon FLCM, ARAM most of all, to be able to show other deaf people that anything is possible if you really want it.

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he earliest ltnown picture reconstructed from the writings of Norman romances, which can be of a transverse flute in medieval theologians. Among these dated between 1160 and 1170, a few Western European art was Bishop Isidore of Seville, who decades before a vloite appears in Tappears in the Hortus Deli- wrote in his Etymologiae (600AD): German in the Nibelungenlied (the ciav-t~m. This 'Garden of Earthly 'Three sirens are imagined to source of Wagner7s Ring). Before Delights' was compiled between have been part virgins, part birds, then there is only the frestel, a kind 1160 and 1200 by two abbesses of having wings and claws: of whom of small pan-pipe, derived from the the Convent of Mount Saint-Odile one with the voice, the other with Latin fistula, which was indeed one in Alsace as a series of moral the flute, and the third with the lyre of the names of Pan's flute in lessons for their nuns on the temp- did sing, and by their songs led classical times. tations that befall the soul on its unwary sailors to shipwreck.' What is remarkable is that the spirit~laljourney. One of these was flute, as a transverse instrument a re-interpretation of the legend of Seductive music of the sirens rather than a recorder, appears to I Ulysses and the Sirens, first told in The commentary of the Mortus spring fully crafted into medieval Homer's Odyssey. Deliciarum explains that the three musical life as if from nowhere. The manuscript of the Hortz~s sirens whose sweet song caressed There is no Latin word or Deliciarum was lost in a fire in sailors into sleep are the delights instrument from which the name Strasbourg in 1870, but the pictures that soften the heart to vice. The derives, although the most had been copied as tracings some one who sings with her voice is convincing ideas are that flaiite years before, and a text has been avarice, the one who expresses her might come from the Latin tibia melody with the lyre is flatur (literally, 'a pipe is blown') or extravagance, and the one who that the 'ah-oo' sound is sings with the flute is ostentation, onomatopoeic, like the breath of the BY whose song says: you are young wind whispering in the reeds, as the Sirnon and noble, you should show off Roman poet Lucretius mentioned in your worldly distinction to the first century BC. O'Sulliva everyone. The beautiful faces of We may never know whether the the sirens are intended to seduce, transverse flute was really invented while their wings symbolise the in Western Europe in the late 12th fickleness of worldly desi,res and century or whether, as some their clawed feet grip those whom historians of musical instruments they draw into sin. have suggested, it was brought by Isidore of Seville, writing in travellers from Byzantium.. . but Latin, describes the flute as a tibia, from its earliest days it has been an the Roman name for the Greek instrument with profound symbolic aulos, which was a reed instrument meaning. more like an oboe or a clarinet than a flute proper. The significance of This tracing of the three sirens the picture in the Hortzis was first published in an edition oj' Deliciarum is that it is almost the Hortus Deliciarum by the contemporary with the first Socie'te' pour la Conservation des IS ttzat-ryed to an atnatetdr flatrtfst m the mentions of the flaiite or fleiite in Monuments Historiques in Light F/t~teOrch~stra. European literature in Anglo- Strasbourg in 1901.

PAN MAGAZINE 37 Sedlescombe Road, London SW6 Liz Taylor and Ruth Underwood. intense and demanding 6-day MARCH IRE, UI(. Tel: 020 7385 5569. There will be yoga exercises and course for a group of 15-18 very Fax. 020 7381 9001 stretches to improve breath advanced players (usually 25-29 March control, work the diaphragm and 18yrs+) held at Michael's home Robert Pot, Rudolf Dobler improve posture, mental in beautiful Devonshire Masterclass for advanced exercises for concentration and countryside. It is unique in that amateur flute players in the JUNE relaxation for performance it has been carefully designed as Black Forest (Germany) 15-21 June nerves. There will also be some a curricular course. It builds (languages: English, German, creative music making on strategically through a range of Dutch and a little French). Wildacres Flute Retreat (25th anniversary) instruments. disciplines and styles from day 1 For more information, brochure For more details on course to 6. Every student plays in and application form, email: Wildacres Retreat, Little Switzerland, North Carolina content contact the City Lit every class. There are also wallts, [email protected] or Music Dept. Tel: 020 7430 0546, swimmimg and cycling trips Flotenlturs im Scharzwald, \Villiam Bennett,,modern flute; Stephen Preston, traverso, email: Liza)[email protected], or alongside nearby rivers, hills or Rudolf Dobler, Krefelder Strasse phone Ruth Underwood on 0207 coasts to complement the 20, 10555 Berlin. TeWax: modern flute and early repertoire; i\my Rice 272 8500. The City Lit intense study schedule.There arc 004930 39907701. Email: enrolment and information line really excellent evening meals [email protected] Blumenthal, Flute Choir Symposium is 020 7831 7831. and wonderful lunches and Wildacres Flute Retreat taltes home-baliing by Michael's wife 27 March - 3 April Rosalind. Concerts, classes and Trevor Wye Flute Master Class place on an isolated mountaintop Zdenek Bruderhalls 'lute accommodation are all in the Trevor Wye, Clifford Benson retreat centre in the beautiful Blue Ridge Mountains of North S"rnrner village. (piano) with YLI I(urata Servit Church and Monastery, Further details or applications Sasayama, Japan Carolina, \vildacres is similar to a resort lodge with hotel-Jilte 'lrady, 37333 Czech (with CV)to Lower Hayne Flute Classes for many aspects of flute Republic Course, Lower Hayne Barton, playing in friendly non- rooms, but without the distractions of telep~lonesin AgeRlaying level: high school to Ashill, Cullompton, Devon EX15 competitive atmosphere. teachers 3NL Tel./fas 01884 841968. Cost: performer: 95,000 yen; every room and no televisions. Meals are served family style, performers Email: [email protected] participant: 75,000 yen; auditor: Number of auditors/visitors: no 35,000 yen further enhancing the strong sense of community. It combines restriction 20-26 July Accommodation: 7 nights plus T~litioncosts: performer USS Jonathan Snowden International 20 meals: 63,000 yen an informal, and supportive atmosphere with 330; auditor: US S Flute School Information: Jun Sasai 2-22-8- Room: cca 280 Czech Crowns Jonathan SnowdedChristine 401 Minami Tsultaguchi, 661- teaching, performance, and artistic standards of the highest per day Hanltin 0012 Japan. Application deadline: 11 June Stonar School, nr Bath, UR Tel: +81 (0)6 6424 2071. Fas: calibre. Includes afternoon seminars, ensembles, and 2002 Masterclasses with Jonathan +81 (0)6 6424 2072. Email: Technical ifor all Snowdedtechnical worltshops [email protected] recitals for high school through professional players, including particpantsl with Cliristine amateurs. Masterclasses [for performers] Hanltin/concerts/wine tastingots 45 performerd20 participantdlo Seminardectures of fun! APRIL auditors Listening sessions include some Cost: Tuition: S575/Performer, historical recordings Masterclassed~~orltshops/full , 9-13 April S550/FlLlte clloirsymposium, Tuition Languages: English, board: $449.00 In Search of Inspiration 5525fferformer-Participant, Czech; restricted French, \Vorltshops/obsen~e Bossut, Belgium S475/auditors; room, board and masterclasses/fi~llboard: 9399.00 This taltes place on a very tuition are included. Contact: Arbitrium PO Box 13, Observe any class/full board. peaceful, rustic farm just outside Deadlines: March 29 to Ilove SA 5048 Australia. TeWax: 9299.00 Bruxelles, Belgium. Maximum 10 June 1 to listen 61 - 8 - 82983099. Email: Daily Observer: f69.00 participants, so you need to contact: \vi1dacres plute ~~t~~~~,[email protected].\Vebsite: Jonathan Snowden International apply early. C/O Karl Barton, 2308 Orleans http://~w.senet.com.au/-flute Flute School, 23 Egerton Information and online Drive, Tallahassee, FL 32308- Gardens, London \V13 RI-IG, UIt. applications for all the Wissam 5929. TelRax: (850) 309-0556, 10-18 July TeVfas: +44 (0) 20 8998 7788. Boustany courses can be found Email: [email protected]. I" Searcl' of llis~iMtiOrl Email: at: www.wissamboustany.com. Website: \\rissarn Boustany [email protected]. Email: [email protected]. http://www.barefootboy.org~Wilda Victoria, Canada Website: jonathansnowden.com Contact address: 47 Sedlescombe cres.html This popular course has now Road, London SW6 IRE, UK Tel: been expanded into a full length 20-26 July 020 7385 5569. Fax: 020 7381 22-29 June course - please see details on Charterhouse Summer School of 9001 Trevor Wye Surlllller course Wissam's website, which should Music, Godalming. Surrey University of New Mexico be up by 1 Fehruary.. The Wind Chamber Music A week of masterclasses and a information and "line Course, tutored by flautist Emma concert in Albuquerque applications for all the Wissam IVilliams and members of MAY Trevor Kurata, Clifford Boustany courses can be found Ensemble Lumikre. R~nrnn on the website: Full-time wind chamber music 11-12 May vvww.wissamboustany.com. sessions are available for any In Searcli of Irispiration Performers (S405), participants (5345) and auditors ($150) Email: ensemble applying as a pre- Dublin, Ireland [email protected]. formed group. Applications from This is an intensive weekend Board: S160 Daily fee: S30 (not including Contact address: 47 individuals will also be course, the first 'In Search of Sedlescombe Road, London SW6 accommodated wherever Inspiration' course Wissam gives Wye/Benson/Kurata concert) Deadline: 3 May IRE, UK Tel: 020 7385 5569. possible. I\S an alternative, in Dublin. This is being organised Fax: 020 7381 9001 flautists and other wind players in conjunction with William Contact: Carla Beauchamp: [email protected] may attend the Summer School IIalpin and Candice IIamel. 16-21 July as members of the Symphony Informatio~iand online Mchael Cox's Lower Hayne Orchestra (conductor: Russell applications for all the Wissarn Flute Course Keable) or the Chamber Boustany courses can be found JULY klichael Cox with Robert Orchestra (conductor: Bob 011 the website: Manasse Chassey) Ad the Wind Band www.wissamboustany.com. July (Tuesday evenings) Ashill Village, Cullompton, (conductor: David Clacli), and Email: Yoga for Woodwind Players Devon join some of the additional wind [email protected]. The City Lit Cost: 9395 inclusive chamber music sessions on offer Contact address: 47 9, 16, 23 July, 6.15-7.45~mwith Michael Cos's course is an Contact: Emma kVilliams. Tel:

1 38 PAN MAGAZINE l Oxford Flute Summer School 12- 1 8 August 2002 Worcester College

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C\ flT*p3 allflutes plus Oxford Flute Summer School is generously supported by

websitc: mr(.\w.oxford-flutes.co.uk email: katie.bycroft@]talk2 l .com Administrator, 9 Pinehurst. Horsham RH12 2DL tel: 01403 259463 fax: 01403 240610

PAN MAGAZINE 39 07971 2004751020 8882 5333. accommodation, full board, on the website: 29 July - 4 August Email: tuition and admission to www.wissamboustany.com. Scottish International Flute [email protected]. concerts): E595 (1900, Euros Email: Summer School Website: 900) [email protected]. Strathallan School, Perthshire, www.emmawilliams.co.uk For more information, please Contact address: 47 Scotland Or apply to: The Music Office, contact the administrator, Sedlescombe Road, London SW6 Tutors: Peter Lloyd, Wissam Charterhouse Summer School of Rachel Smith, 10 Guild Street, IRE, UK Tel: 020 7385 5569. Boustany, Ruth Morley, Elaine Music, Charterhouse, Godalming, Stratford-upon-Avon, CV37 6RE. Fax: 020 7381 9001 McPherson with Alan Hiclts and Surrey GU7 2DX. Tel: 01483 UK. Tel: 01789 261561. Email: Scott Mitchell, Piano 291696. [email protected]. Website: 23-31 July There are four ways to attend stratford-flute.co.uk Zdenek Bruderhans Flute the summer school: 20-26 July -Sun~mer Schools Performer: master class and Cl~arterhouseSummer School of 21-25 July Servit Church and Monastery, private lesson with Peter or Music, Godalming, Surrey Hindhead Flute Course NovC Ilrady, 37333 Czech Wissam, two coaching sessions The Art of Accompaniment, Atarah Ben-Tovim, flute. Julie Republic with Alan or Scott, two tutored by pianist Richard Shaw, Wright, Director. Roy Stratford, AgeRlaying level: high school to technique worltshops, all group with flautist Emma Williains and accompanist. university teachers. 10 classes, play in a concert. members of Ensemble LumiBre. IIugely popular children's course performers. Participant: private lesson or This course is intended for Grades 1 - Diploma, ages 10-19. Tuition costs: performer US1 masterclass with Peter or experienced pianists who wish to Lovely setting, pool, good food, 330; auditor: US S l50 Wissam, piano coaching session develop their accompanying large staff. Room: cca 280 Czech Crowns with Alan or Scott, two sltills. The flute repertoire Hindhead Music Centre, per day technique worltshops, all group includes Elgar's Chanson de Hindhead GU26 6BA. Tel: 01428 Application deadline: 11 June classes. Matin and Serious Doll, 604941. Email: 2002 Course Member: two private Poulenc's Sonata, Reineclte's [email protected]. \Vebsite: Technical classes [for all lessons with Ruth Morley, two Ballade, and the Weber Trio www,hindheadmusiccentre.co.uk particpants]. Masterclasses [for technique workshops, a piano (with cello). Flautists with pre- performers]. Seminars/lectures coaching session and all group formed duos and trios (including 22-26 July Listening sessions include some classes. piano) are also welcome to Benslow International Flute historical recordings Ensemble Course (31st July - attend with their own chamber Summer School Tuition Languages: English, 2nd Aug inclusive). This three- group. Benslow Music Trust, Hitchin, Czech; restricted French, day course for adults will include Contact: Richard Shaw. Tel: Ilertfordshire, UK German, Swedish ensemble coaching, a private 07976 6144291020 8882 5333. Philippa Davies and visiting Contact: Arbitrium PO Box 13, lesson and technique worltshops. Email: specialist tutors, lan Clarlte and Hove SA 5048 Australia. Tel/Fax: You will also be able to listen to [email protected] Sarah Newbold. Jan Willem 61 8 82983099. Email: masterclasses and concerts, m. Wbsite: www.ensemble- Nellelte, accompanist. [email protected]: including Wissam's concert on lumiere.com A stimulating and rewarding http:l/www.senet.com.au/-flute the Thursday night. Or apply to: The Music Office, course given by one of Britain's Special offer: Book with a friend Charterhouse Summer School of finest flautists and teachers. The 27th July - 2nd August and you both receive a 10% Music, Charterhouse, Godalming, course will cover all aspects of .Just Flutes at Woldingham discount off your course fee. Surrey GU7 2DX. Tel: 01483 technique, from breathing and \Voldingham School, Surrey, UK Course fees in Pounds Sterling: 291696. posture to tone and articulation, Teachers: Clare Southworth, Performers: $285; Participants: to enable greater musical Ilelen Brew, Michael Cox, Ian 9205; Course member: E165; 20 July - 3 August awareness and expression in Clarlte, Louise Matthew, Gary Ensemble course: $165 Stratford-upon-Avon solo, chamber and orchestral \Voolf, Tim Carey (including 2 nights International Flute Festival repertoire. There will be general Join us at one of the most accon~modationand a11 meals, Artistic Director: Elena Duran and master classes given by successful summer schools in 31st July - 2nd Aug inclusive). Associate Directors: Jonathan Philippa and a team of the UK. i\ week of music-making, Accommodation costs: 6 nights, Rimmer, Jenny Brooks distinguished visiting tutors. All in a beautiful English full board: E180; meals only: Resident Artists: Vieri Bottazzini, levels of observers welcome. countryside location, which will 870; extra nights for visitors: 930 Catherine Goodman, William Minimum Grade 8-music college be relaxing, instructive and a Scottish International Flute Dowdall, Thomas Pinschoff, level for participants. Repertoire great way to meet new friends. Summer School, 319 Canada Sandra Seefeld, Miguel Angel list available. This is a unique opportunity to Court, 81 Miller Street, Glasgow Villanueva There will be a public recital study with and hear G1 IEB, Scotland. Tel/Fax: +44 Guest Artists: IZeith Brag, given by the course tutors on the performances from the country's (0)141 248 5756. Email: Marisa Canales, Paul Edmund Thursday, free to course leading flute professors, who [email protected]. Davies, IZaren Jones, members. currently teach at the Royal Website: www.flutescotland.co.uk Jaime Martin, Jean Paul Wright Resident: 5275 Non-Resident: Academy of Music, Royal The Stratford Flute Festival is $230 Scottish Academy of Music, 28 July - 3 August open to students of all ages, Benslow Music Trust, lbberson Royal Northern College of Music Trevor \Vye Surnmer course levels and experience. Apart Way, Off Benslow Lane, IIitchin, and Guildhall School of Music & Sion Switzerland from the main Festival, there are Hertfordshire SG4 9RB. Tel: Drama. Contact: Acadenlie de Musique 'Magic Flute Worltshop' sessions 01462 459446. Fax: 01462 Cost: 9435.00 (full board); de Sion, Casa Postale 954, CH- each morning for younger 440171. Email: $65.00 non-refundable deposit to 1951 Sion, Switzerland.Emai1: students. On the middle [email protected]: accompany application form. [email protected]. weekend there is a special www.benslow.org. Day visitors welcome at a charge Website: www.festiva1-varga.ch. 'Flutes for Pleasure' weekend for of E60.00 per day (excludes Tel:02732 26652. Fax: 027 323 adults who might be returning to 22-27 July accommodation, which can be 4662. the flute or amateurs who want a In Search of Inspiration arranged if required). weekend of enjoyment with the Wissam Boustany Contact: Course Administrator, 29 July - 6 August (course 1) flute. In the course of the two IIamline, Minnesota Jonathan Myall Music, 46 South William Bennett International weeks there are almost 30 The first 'In Search of End, Croydon, CRO IDP UI(. Tel: Flute Summer School 2002 concerts, more than half of Inspiration' intensive course to 020 8662 8400. Fax: 020 8662 Frensham Ileights, Farnham, which are given by students of be held within the USA, this is 8404. Website: England the flute Festival. The Festival being organisied in www.summermusic.org.ulr \Villiam Bennett with assistants: also includes the Albert Cooper conjunctionwith Hamline Michie Bennett and &-Young Competition which takes place University (Janet Greene and 29 July - 2 August Song. Piano: Clifford Benson. in the second week and Amy Morris). Bunvell Musical Madness Student Recital Pianist: Waka culminates in the final concert Information and online Contact: Stephen Bardwell, tel: Narui on the last day. applications for all the Wissam 01638 751483. Email: Cost: Performer: 5335; Cost for two weeks (includes Boustany courses can be found [email protected] Participant: 5295; Auditor: 5245 ~oldingham -+ Clare Southworth THE PRINTED MUSIC with 20 & I b Helen Brew, Michael Cox, lan Clarke, Louise Matthew & Gary Woolf

v----as=, - / . -- ,-A--

##&,,-i&-J* : An amazing week of masterclasses, workshops, private lessons, ensembles,concerts and much, much more in a fabulous setting in the English countryside. The facilities include: luxurious single rooms with wash basin, shared kitchen with tea and coffee provided, arts centre including full size concert hall, studios and practice rooms, covered heated swimming pool, all weather tennis dome, sports complex including squash courts, fully equipped gym etc. and attractive grounds for walking. For more information and a course brochure, please contact: Course Administrator, Jonathan Myall Music, 46 South End, Croydon, CRO 1DP Tel: +44 (0)20 8662 8400 Fax: +44 (0)20 8662 8404 email: [email protected] web: www.summermusic.org.u~ F"

INTERNATIONAL FLUTE FESTIVAL .

; A warm and wonderful Bank Holiday feast of flutes and flutinc FOR ADULTS OF ALL LEVELS from beginners to advanced, from cautious to super-confident

Associate Directors AT BLOXHAM SCHOOL, Nr OXFORD Jenny Brooks & Jonathan Rimmcr Noon Saturday 24th August - 4pm Monday 20 July - 3 August 2002 26 August 2002 Host: Atarah Ben- Tovim MBE Hon D Mus Course Director: Julie Wright B. Ed. at Magic Flute Workshop Teacher Trinity College, London

Flutes for Pleasure Weekend More info from 'Conspiracy' 41 Devon Avenue,

I-l~r~iic.ri~~li:rtii;r~ioll fiuni: Rnclicl Snllrli. i\dlnini,rramr. Twickenham TW2 6PN Str;~~lbnl-upo~i-:\\or1I~iicrnnlicrn;~l 1-lu~s Ica~i~nl. 10 Guild Srrccl. faxlphone: 020 8241 7572 or e-mail [email protected] and see www.atarah tv

JONATHAN SNOWDEN INTERNATIONAL FLUTE SCHOOL ABELL FLUTE 12b- -A. ! $=€G COMPANY Cr, g3:

20th - 26th July 2002 BATH ENGLAND For full details please contact: Jonathan Snowden International Flute School 23 Egerton Gardens London W13 8HG England TelIFax: +44 (0)20 8998 7788 email: [email protected] www.jonathansnowden.com

42 PAN MAGAZINE Accommodation (8 nights, 8 breakfasts, 8 suppers, 7 Tutors include: Michel Debost, Tuition cost for performers: breakfasts, S suppers, 7 lunches): lunches): shared room: 6177; Peter Lloyd, Anders Ljungar- 6.500 SKR (approx. USS650), shared room: 6177; single room: single room: 9197 Chapelon including room and board S197 One of the most popular and Cost: 6340-S670 (depending on Application deadline: 1 May - One of the most popular and best attended Summer Schools tuition and accommodation Tel: +46 70 5566 556. Ernail: best attended Summer Schools in a beautiful location, with options). Bursaries available for [email protected] ~-, in a beautiful location, with excellent food, and inexpensive 15-24 year olds. excellent food, and inexpensive accommodation. This course Friendly course for players over 19-24 August accommodation. This course fills fills up quickly, especially the age 14, catering for all abilities Flute Summer Conrse For the - up quickly, especially the places places for performers, so early from keen amateur to young Contemporary Flutist for performers, so early booking boolung is advisable. professional. Individual lessons, Teacher: IVil Offermans is advisable. Contact: 50 Lansdowne piano accompaniment sessions, Location: Genes, Les Ardennes, " Contact: 50 Lansdowne Gardens, Gardens, Stockwell, London concerts, enesembles and Belgium Stocltwell, London SW8 2EF UK. SW8 2EF UK. Tel: 020 7498 masterclasses. Intensive, Enrolment fee: 325 euros Tel: 020 7498 9807. Fa: 020 9807. Fax: 020 7498 1155. Seminar and including all lessons, board and t 7498 1155. Email: Email: [email protected] or Pre-Audition options available. lodging [email protected] or [email protected]. Website: Details and brochures from Katie Number of participants: 15 [email protected]. Website: www.wibb.co.uk or Bycroft, 9 Pinehurst, Ilorsham, Contact: Studio E - FSC2002, www.wibb.co.ulr or http://web.tecinfo.com/-pettbarl \Vest Sussex Vroliltstraat 195 D, NL-1091 TX, i http://web,tecinfo.com/-pettbarl wibb1sweb/ U112 2DL. Tel: 01403 259463. Amsterdam, llolland wibblsweb/ Fax: 01403 240610. Email: Te1.+31(20)668.2478; 10-13August Fax.+31(20)665.1425; Email: A Breath of Fresh Air [email protected]. Website. Leighton Park, Reading http://www.studio-e.nl AUGUST Special studv of French Music 6-14 August (course 2) with celebrated Composer in 17-24 August 21-29 August II'illiam Bennett International Residence Jean-Michel DAMASE Elisabetli Weinzierl and In Search of Inspiration Flute Summer Scliool 2002 Presented by Anna Noalies with Edmund \I1achter 10th annual \Vissam Boustany Frensham IIeights, Farnham, Evelyn Grant and Julie Murray, sumnler flute class Penzance, England England Flutes; Kathron Sturrock-piano; For flutists, flute teachers, The longest running course, William Bennett with assistants: Gillian Tingay- Harp students and amateurs Wissam will be returning there Michie Bennett and Ah-Young Website: \nnv.flutecourse.com. Elisabeth Weinzierl (Munich again this year. Song. Piano: Clifford Benson. Tel: 020 8888 9005. Email: Conservatory) Edmund LViichter Information and online Student Recital Pianist: CValta [email protected] (University of Munich) applications for all the Wissam LT__ : Villa Palagione (near Volterra), Boustany courses can be found lY lll-LlL Cost: Performer: 5335; 12-18 August Toscana, Italy on the website. Participant: 6295; Auditor: $245 Oxford Flute Summer Scliool Level and age not limited ~~v.wissamboustany.com. ~iccommodation(S nights, S Worcester College, Oxford Interpretation, style, chamber Email: music, flute choir, technique of [email protected]. fluteplaying, how to practice, Contact address: 47 The University of Reading how to teach ... Sedlescombe Road, London SW6 - is& School of Education Contact: Elisabeth Weinzierl und IRE, UR Tel: 020 7385 5569. 0 Edmund Wachter, Fax: 020 7381 9001 Magdalenenstrafie 36, D-80638 Mtpp International Summer School 2002 Miinchen. Tel: +49(0)89 -15 54 24-26 August July 20th - 26th 2002 92 fas: +49(0)89 -157 54 97. Conspiracy of Flutes No 8! Email: CVeinzierl-Waechter@t- Bloxham School, Near Oxford International Centre for Research in Music Education online.de A warm and wonderful Bank Bulmershe Court Holiday feast of flutes and fluting 18-22 ilugust for adults of all levels, beginners The Mtpp Summer School is an integral part of the Music Summer I\'irlds to advanced, cautious to super Teaching in Professional Practice Diploma/Masters programme Benslow Music Trust, Hitchin, confident. delivered internationally by distance learning at the University of Ilertfordshire, UI< Host: Atarah Ben -Tovim MBE Reading. Mtpp can be taken over 2 - 7 years, leading to Janet Myatt, Judith Ilill and IIon D Mus Certificate, Diploma and MA qualifications. visiting tutors Course Director: Julie Wright B Friendly and industrious Ed. Teacher at Trinity College atmosphere, large and small London. Course Director: Nicholas Bannan ensembles with opportunities for Conspiracy, 41 Devon Avenue, Course Tutors: solo performance classes, with Twicltenham TW2 6PN. TeYfax: - Norman Morris, Fred Seddon, Laurel Pegg, Ron Colyer, Pamela the benefit and tutors' sltills and 020 S241 7572. Email: Bowden, Steven Goss, David Baker, Elizabeth Drew, Anthony lmowledge. Some set repertoire, [email protected]. Website: Williams but please bring pieces you want www.atarah.tv to work on..\Voodwind, horn and - Sessions on: saxophone players from grade 5 26 August - 1September Vocal and Aural development; Improvisation; with some ensemble playing Wind Plus Surntiier School Dalcroze Eurhythmics; Music IT; Alexander Technique; experience. Benslow Music Trust, Ilitchin, Motivation and Assessment in music teaching; Resident: $230 Non-Resident: Hertfordshire, UI< Music Psychology; Performance Practice; Interpretation; $185 Colin Bradbury, Caroline Repertoire Development; Study skills; Library resources Benslow Music Trust, Ibberson Radcliffe, David Ebbage, Martin Way, Off Benslow Lane, Hitchin, 1 Lawrence, Martin Gatt The Summer School is also open to participant observers who are Hertfordshire SG4 9RB. Tel: Recorder consort, trio sonatas, not registered for Mtpp. Attendance on a daily basis is also 01462 459446. Fax: 01462 small and large wind groups and possible by arrangement with the course director. 440171 Email: , mixed chamber ensembles. - l [email protected]. Website: Enjoyment while improving your For further information or to apply, contact: www.benslow.org. ensemble playing, building Mtpp Administrator, The University of Reading, repertoire and developing School of Education, Bulmershe Court, Reading RG6 1HY 18-25 August technique. Wind players and Tel: +44 (0)118 931 8843 Fax:+44 (0)118 931 8834 Goran Marcusson, Gitte pianists of grade 6 and above Sorensen, 'lim Carey (pianist) standard welcomed. Informal E-mail: [email protected] ' Website www.soews.rdg.ac.uk/mtpp Bjertorp Sweden concert held by participants and Number of performers: 12 tutors.

PAN MAGAZINE 43 Hindhead T Hindhead

Flute - R sn Summer strings course -- -- - .% ----. . ,*! .v-11. 1st 4th August ~1st- 25thJuly ..a4t:h*8* E,+ - 7#7G? iilqtrvi~ci '6 - 7 :' ] 'W S-q > SALLY LISNEY, ATARAH BEN TOVIM p+- .-;',g+ - ~e :J. c:, - ?,ctrJ"W",c:,~<,* JAMES LISNEY Julie Wright 'S. , > - ,/

Glorious country hou! Courses are a blend of master- setting Six acre gardens classes, chamber groups, Heated swimming pool workshops, technique classes, Superb home cooking discussions, concerts and free time Friendly Family atmosphere for practice, swimming ( IINDHEAD MUSIC CENTRE Hindhead Road. Hindhead, Surrey. GU26 6BA lel u1421r bu4941 Fax 01428 607871 Email [email protected] ww. hi admu Resident: 9310 Non-Resident: $265 I OCTOBER ...... -. -. .-. -. - Benslow Music Trust, Ibberson IG FOR LiFE Way, Off Benslow Lane, Hitchin, 4-6 October .-W -.- - -.- - .- - ---. Hertfordshire SG4 9RB. Tel: Hawkwood College, Painswick, 01462 459446. Fax: 01462 Gloucestershire. Flute Weekend 440171. Email: Tutors: Emma Williarns (flute) [email protected]. Website: and Richard Shaw (piano). www.benslow.org. Flautists are invited to spend the relaxed setting weekend exploring and developing their ~laving.The worltshops offer and informal a range df activities: flute ' atmosphere of SEPTEMBER masterclasses, sessions on flute Little Benslow Hills and piano repertoire, and flute 30 September - 4 October technique classes (breathing, Jeanne Bmtresser International sound, articulation and general Flute Master Class 2002 facility). Individual lessons 22 - 26 JULY Master Class Jeanne Baxtresser (Former available. Composer Cecilia Principal Flute, New York McDowall joins us for a session on Philharmonic; currently her compositions for tlute. The i Professor at Carnegie Mellon course is suitable for flautists University in Pittsburgh) with from grade 4 up to diploma level. guest Alberto iUmarza and Contact: Emma Williams. Tel: PhilippasDavies ' , Free Rec~t Pianist Cordula IIaclce 07971 2004751020 SS82 5333. & Bavarian Music Academy, Email: Hammelburg, Germany [email protected]. siting T Course Membe Performing participants should Website: be accomplished www.emmawilliams.co.uk university/conservatory students Or apply to IIawkwood College, BR'OCHURE ALSO AVAILABLE OF and young professionals. All ages Painswiclc Old Road, Stroud, BENSLOW'S YEAR-ROUND PROGRAMME 0 and levels are welcome as Gloucester GL6 7QW. Tel: 01453 RESIDENTIAL MUSIC COURSES. FOR AMATE auditors. 759034. Fas: 01453 764607. MUSICIANS OF ALL AGES & STANDARDS (1E Application Deadline: 15 August Email: 2002 [email protected]. Contact: Nancy Gildner, I-lerrngartenstr. 7, D-65185 LITTLE BENSLOW HI Eoety qftort has be02 made to ensure NSLOW LANE, HITCHIN, HERTS SG4 -.- Wiesbaden, Germany. Email: that these details are correct. 11462 459446 Email: [email protected] [email protected]: However, tlle BFS accepts no 00 49-611-379633 responsibilityjbr mq errors. NFA MASTERCLASSES The BFS has generously beeit 11-16; Mary Raren Clardy; 6-12; Jan Boland; IOWA 28-August 3; Trevor Wye; sent a comprelzeizsive listing of TEXAS 7-12; Robin Fellows; SWITZERLAND worldwide summer schools by 12-29; Mario Folena; ENGLAND WISCONSIN 29-Aug.2; Linda Wetherill; NEW the Natioizal Flute Association 14-i\~gust4; Thomas Robertello; 7-13; Susan Royal; NEW YORK YONC kzc. Special thanks go to Grace NORTH CAROLINA 7-14; Louis Moyse; VERMONT 29-Aug.3; i\lexa Still; Petree, NFA Masterclass Reporter, 15-21; William Bennett, Stephen 7-19; Mary IZaren Clardy; COLORf\DO wlzo compilecl tlze list. [faizy Preston; NORTH CAROLINI\ BRAZIL reader wmcld like full 29-Aug.4; Peter Lloyd, Wissam 16-20; Katherine Borst Jones; 9-13; Ervin Monroe, Jeffery Boustany; SCOTLAND ii~formationon any qf these Zook; MICIIIGAN tlze editor, OHIO 29-Aug.9; Marina Piccinini; courses, please einail 9-13; Florida Southern or write enclosing a stampecl 16-21; Tadeu Coelho; IOWA SWITZERLAND adclrcssecl envelope. Tl~eBFS 22-29; Trevor Wye; NEW \Vorlrshop; FLORIDA 29-Aug.14; William Bennett; accepts no responsibilityjor tlze MEXICO 14-28; .Mesa Still; ALASKA ENGLAND accuracy of these listings. 22-July 28; Patricia George; 14-i\ugust 24; Aria TENNESSEE International; CANADA AUGUST The following masterclass listing 22-August 3; Keith Underwood; 15-20; George Pope; OHIO 1-7; Mary Karen Clardy; 1 was compiled by The National MINE 15-29; Robert Aitken; FRANCE CALIFORNIA r< Flute Association, Inc., for its 23-29; Patricia Harper; 20-25; Thomas Robertello; 2-10; Northern Calif.Flute Flutist Quarterly magazine, and is VERA,IONT INDIANA Camp; CALIFORNIA 20-27; Jonathan Snowden; used by permission. 23-30; Cincinnati Flute 3-8; Julius Balter; Symposium; OHIO ENGLAND l MARCH 23-30; Oberlin Flute; OHIO 20-August 3; Julius Baker; NEW CONNECTICUT 27-April 3; Trevor \\rye; JAPAN 23-July 6; Doriot Dwvyer; .YORK 5-10; Ransom Wilson; hb\SSACHUSETTS 20-i\ugust 3; Stratford-upon- CALIFORNIA MAY 24-28; Ruth Ann McClain; Avon; ENGLAND 12-18; Oxford Summer School; ENGLAND 21-June 8 ; Amy Hamilton; TENNESSEE . 21-26; Chris Norman, CANADA 24-August 2; Jill Felber; Boxwood; Nova Scotia, 16-18; Thornas Robertello; CALIFORNIA CANADA JAPAN JUNE .21-28; Mary Karen Clardy; 17-24; Edmund Wachter, , 2-5; Jim Walker; IZENTUCKY JULY HAWAII Elisabeth 1Veinzierl; ITALY 3-S; Mary IZaren Clardy; 1-5; Ithaca Flute Institute; NEW 22-26; Wdfrid IZujala; 18-25; Goran Marcusson, Gitte FLORIDA YORI{ ILLINOIS Sorensen; SWEDEN l 3-22; Sarasota Music Festival; 1-19: Jonathon Landell: 27-August 2; Just Flutes; 19-24; Patricia George; IDAHO FLORIDA VE~MONT ENGLAND 6-8; Patricia George; IDAHO 2-24; Zdenelt Bruderhans; 27-August 2; Western SEPTEMBER 11-15; Patricia Spencer; NEW CZECH REPUBLIC Connecticut Flute; 30-October 4; Jeanne l, YORK 5-8; Alexa Still; NEW ZEALAND CONNECTICUT Baxtresser; GERMANY

L PAN MAGAZINE 45 music rises to an intense and with both parts and it is an expansive climz~before falling expressive work to perform. back to a simple dreamy Dennis Clnrke ending. The final movement begins, Flute Concerto in G major in contrast with the other Dominilc Josef Sltroup movements, with the strings BIrenreiter and percussion. After 15 bars ISlMN M 2061 0027 5 the flute enters with a 9.5.50 chattering semiquaver figure. This pleasant and Flute and The intense energy does not undemanding one-movement relent until the appearance of a concerto was written by piano cadenza. At the end of this, the Sltroup for his son in the early characteristic figure from the years of the 19th century. first movement takes its final Slrroup (1766-1830) came from Concerto for Flute, Strings bow before self-immolating a musical family and and Percussion (piano itself in a cataclysmic burst of established himself as a teacher reduction) energy. in Osice, making the town a Melinda M'agner . I have quite simply not come significant provincial musical Theodore Presser Company across anything quite like this centre. The style of this piece PR 3085 before, and would urge any is very akin to that of I-Iaydn 629.75 serious flute player to look at and his contemporaries and it Comissioned by Paul Lustig this worlr with a view to is well-crafted if perhaps not Dunlrel and the \Vestchester performing it. This is a piece inspired. Philharmonic, this concerto for that deserves to be heard in Technically, the flute writing flute, percussion and strings this country. is very straightfonvard received its first performance Leslie Sheills (apparently the young Skroup in May 1998, and was awarded made a big in~pressionplaying the 1999 Pulitzer Prize. This is Jenny Gould the concerto at the age of one piece in a small but Last Song of a Nightingale seven!) and the piano significant body of work by this Hunt Edition HE65 reduction is uncluttered. gifted young composer. $5.95 Curiously, given the date of the Melinda \Vagner was born in work, an alternative part for Philadelphia, and received recorder is included. This degrees in Composition from Last Song of a Nightingale would make a good and the Universities of Chicago and inexpensive way to introduce Pennsylvania, where her students of about Grade 5-6 teachers included George by Jenny Gould standard to the Classical Crumb, among whose noted stylistic idiom. compositions is Vox Balanae, or I

r -- l- - l its arrangement in All Jazzed and buoyant in the hands of a cor Anglais. The most useful I am very glad to have Up. The standard is Grade 3-4. conscientious performer, of a part of this collection comes discovered this excellent music The music is reasonably good standard. Saltarello is from the provision of the and look forward to finding an priced, and it is very nice to be unfortunately rather too much alternative parts, enabling a opportunity to programme able to buy just the piece you like a study, and the little contrasting sonority. some of it. Thoroughly want, but I wonder if Dr variation in note values, metre The piano parts are not too recommendable! Downing might consider and ambience requires a good demanding and there is little Kenneth Bell producing an album of similar deal from the performer to technical difficulty for the standard arrangements? This prevent tedium on behalf of flute. The arrangements convey John W Bratton Rr .rimmy might be more appealing (and the audience. the ambience of the original Kennedy an-. Sarah Downing less expensive in the long run) Alexn?tdra Buckle Romantic pieces very well. The Rr Peter Moore than to buy several single piano part is edited The Teddy Bear's Picnic pieces. An album is also a good Flute, Alto flute, piano comprehensively, including Dr Downing's Solos way to discover new pieces Theobald Boehm several page foldouts to GEN2775 which one might not otherwise 5 hangeme~~tsof Pieces by overcome difficult page turns. s3.95 pick out. Rossini, Weher and \'ogler for The pieces themselves are not This well known tune here Hnnnnh La* iUto Flute well known, but they contain receives an airing in B flat and Zimlne~mlannZM 33880 pleasant melodies that would E flat major, and regularly Ren6 Goepp 518.461824.50 lengthen a programme without reaches the heights of top G. Five O'Clocli adding too much strain upon The Trio (in E flat) begins G, G, Billaudot G6881B Theobald Bohm the performers. An interesting G flat, G natural and I think 26.80 preface includes historical this sums up my thoughts on This volume contains five Die Bearbeitungen notes about Boehm, and the this edition: it would not only miniatures for flute and piano, mit Altflote overall impression is of a well- be mucl1 easier to read F sharp, entitled Irish Coffee, La :be ~rr~~emw!s conceived edition, which would it would also be musically religieuse, Viennoiserie, A cup rnlll lilt0 ""W be a compelling addition to any correct. This point concerns 5 s!t.*e vm15 Pieces by of tea and Cakewalk , which G. ROSS,"\. C.Y. v. WeMr. PbbB mkr recital programme. me as this edition is perhaps gives an idea of the style of the Alexanclm Bl~ckle intended for children, and it is pieces. They are short, picture- not good practice to present drawing tunes, the whole suite Solo flute them with incorrect musical lasting under six minutes. The \rorlts for Solo Flute grammar. standard is Grade 5-6. There .Joseph Lauber The music is nicely are some bars which contain Zin1111erman ZlM34020 presented, with a cute cover enharmonic notes (A flat and Trois Morceaus depicting aforementioned G sharp) that are very difficult Caracteristiques. Op.47 teddies dutifully picnicking, to read, and these sometimes Prelude et Fugue a dew voix, and looks as if it would appeal even appear next to each Op.49 to young children of, perhaps other. I did feel that some Partita, Op.51 Grade 2-3 standard, but in fact parts could be rewritten to E101€13.50 it is perhaps Grade 4-5 in make them easier to read. My The alto flute first left Boehm's Lauher (1864-1952) studied difficulty. \Vould children or favourite movement is the Munich workshop in 1858. composition with Rheinberger adults of that standard still third, which has quite a This new instrument fulfilled and Massenet among others want to play this tune? If the Viennese waltz feel to it. Irish Boehm's long-held ambition to and taught at the Zurich and answer is yes, then great, this Coffee has a definite Irish feel achieve 'a deep, powerful, and Geneva Conservatoires, his is a clear edition, and will be and the final Caltewalk is a at the same time sonorous students including Frank well received. If not, 1 think romp to the end, which would flute tone that could neither be Martin. Ile wrote music on all this music will be best used by certainly finish this suite on a achieved with the "Fltite scales, from opera to solo people who want to play high. d'ilmour" nor by extending the instrumental worlts, and I have concerts for children. tIccnnalz Lnng foot joint of the flute in C'. To been very impressed with the Hanimlt kn,g . - showcase the qualities of his sheer compositional Flute (Clarinet) and Piano new instrument Boehm craftsmanship of these Leonardo de Lorenzo completed arrangements of unaccompanied flute worlrs. All Pizzica-Pizzica, op 37 and Rossini's La Pesca and La three were written for Lauber's Educational Saltarello, op 27 Serenata from Soirkes friend, the Danish amateur Flute tutor Zimmerlnzu~~~ZM 34030 musicales, \\reher's Sonatina flautist Paul IIagemann, who Boosey Woodwind Method 514.611€19.50 and Romance from Pi&ces studied with Taffanel and book l De Lorenzo (1875-1962) was faciles and Vogler's Cantabile Hennebains before making a Series editor: Chris Morgan an enthusiastic writer for flute, from 32 Prkludes pour I'orgue. career as a banker. Boosey and Hawlies and an eminent flautist. IIe This edition by Zimmerman The three Morceaux $9.99 contributed more than 300 brings these arrangements into Caracteristiques are Boosey and I-Iawltes are worlts to the flute repertory, in one collection, and provides Complainte, Aubade and Feus producing a complete new a range of genres. alternative parts for those Follets. I found these satisfying series of tutor books for Zimmermann has published a without access to an alto flute to play and very charming - woodwind and brass, designed few of these worlts, including (for violin, clarinet or cor conventional in style but with to be used for individual and these two short and 'effective' Anglais). This is a rather some imaginative touches. The group teaching. They reflect pieces. The edition consists of bizarre decision on the part of Prelude et Fugue a deux voix the latest thinking in a separate flute and clarinet Weinzierl and Wachter, as the have remarkable stylistic and instrumental tuition, part, the version for clarinet arrangements were first technical similar'ities with the incorporating the best being modelled on that of the written to showcase the alto Alwyn Divertimento. No traditional ideas within new flute, with only a few flute, but does mean that the cornpositional date is given for and more rounded concepts of differences between respective potential for performance is the Lauber, so I would love to holistic musical education. The parts. The preface is printed in enlarged. The first four (the know which came first! (I curriculum framework includes each part for easy consultation Rossini and Weber) are suspect the Lauber did). performing, creating, listening of editorial intervention. arranged for flute, alto flute Finally, the four-movement and reflecting - too often in the Pizzica-Pizzica is an exciting and piano while the last (the Partita, which begins with an past the emphasis has been on piece, and good fun, but is too Vogler) is arranged for a almost Anderson-like Prelude, performing only. While the long for an encore piece, of combination which can vary continues with a neo-classical student still learns to which genre it belies. IIowever, from two flutes and one alto, Sarabanda and Minuetto and understand notation, he or she it is idiomatically written for or two altos and one Elute, ends with a Saltarello which is also encouraged to develop flute and the many repeated through any combination of again reminds me of the Al~vyn the 'inner ear', feel rhythm (as sections could be charming flute, alto, violin, clarinet and (this time the Finale alla Gigue). opposed to just counting),

PAN MAGAZINE 47 make choices, and be and it has a nice range to give awareness of keys and Flute Quartet inventive. them some tunes they know transposition. My Lord, What a Mornin' As well as the usual tunes, and many new things to Joanna Todd Tracl spiritual, arr Ricliy and some unusual ones, there introduce them to. (You will Idmbarclo are breathing activities, find 11bba's Mamma Mia! Three flutes Lombartlo Music Publications requiring increasing levels of rubbing shoulders with a Largo Faur6 arr. Jan van der Goot $9.00 control, and rhythm activities, and Presto by Locatelli!) Berceuse This is a sensitive arrangement involving clapping, singing, The duets start quite easily Spartan Press HYZ 1194 of the traditional spiritual; it is moving, counting, or two of with a few of Grade I standard, 54.99 short (only 41 bars long) and these at once. Students are told but soon become more i1 nice simple arrangement of carefully structured. l'wo flutes to 'sing the tune in your head' difficult, with quite a few in B the Listen with Mother music begin with the melody, all four and play from memory, so flat major, presenting E flat (that shows my age!), there is join in close harmony in the aural training is an integral problems (or opportunities, the rocking baseline, the lower register. Two flutes rise to part, from the very first lesson. depending on hpw you look at moving inner part and the the middle register, and are There is some puzzle solving, it!) for young students. tune, and these three lines joined by the others. As the and opportunities to compose My only quibble with this move around the three parts music rises towards the climax and record. The echo games very nice volume is that it says one phrase at a tine, giving the arrangement expands to and call and response activities on the back cover that it is for equal interest to each. The use all three octaves, and then encourage playing by ear and Grades 1-3. There is music of opening is in C major, with the contracts and relaxes for the imagination. that standard, but there is also middle section in A flat major, final 8 bars. Four students with Choices are offered: play this much trickier music (easily meaning that this is best for a beautiful tone at about grade 5 piece with slurs, and then grades 4 and 5 standard), and Grade 4+ group. With three level could perform this very without: which do you prefer? the first movement of Koechlin's copies of the score, so successfully. Listen to this on the CD played Sonata for two flutes Op.75 everyone can see what is Alison Uren in two different ways: what is would require at least a good happening, this is a successful the difference and which do Grade 6 player. This book will arrangement. Four Flutes (with optional you like better? There are last you well beyond Grade 3. Hannah Lang Alto Flute) nearly 100 tracks on the Hannah Lane Scott Joplin, Cl~arlesL accompanying CD, on which Four flutes Johnson, Tom Turpin you can use the balance Flute Duet h.Ricky Lombardo Four lbgti1nes control to choose backing track Scottish Jigs and Reels The Water is Wide Zimmermann Fra~lkfi~rtZM only, performance track, or (Beginner Woodwind Duets Lombardo Music Publications 34040 solo part with backing but no Boolc 1) FT@-005 !213.85/€18.40 extra instrumental parts. Some Tratl, arr. Mark Goddard 69.00 pieces can be played as an Spartan Press SP598 This arrangement of this ensemble with anyone learning 84.99 charming folk tune is in A from any other Boosey Brass or major, moving up to B flat for Woodwind book. that showtime rise of This is an excellent series, excitement at the end. The representing a real step four flutes move in pairs, two forward in attitudes to teaching with the melody, and the and learning. The presentation others with a suitably 'watery' is unfussy but detailed, up-to- accompaniment during the date but not irritatingly trendy. sirstained notes of the tune. It is perhaps a pity that all the The pairs then swap over so backing tracks are synthesised; that everyone gets a crack at I feel it is important to convey the tune. This works well, but the message to students that if I have anything negative to traditional instruments are say it is that this does get a interesting and 'alive' too. little repetitive after a while. Book 2 will be published Ilowever, this is a good tune very soon (material up to grade and will be enjoyed by players ERMANN . 3) and some repertoire books of around Grade 4 standard. will follow. Hannalz Lang This collection of rags, edited Alison Uren by Doris Geller, is a lovely Flute Quartet addition to the repertoire. The Easy Winners and Peacherine For the ultimate in flexible Birdland for piccolo flute, alto and bass flutes or 4 concert Rag are popular Joplin duets, bend no further than compositions, but the Cum-Bac Two or these arrangements of Scottish flutes with optional string / electric b:~ssand drums Rag, by Johnson, and the Jigs and Reels for any Ilarlem Rag, by Turpin, were combination of flute(s), Josef Zawinul arr. Ricky more flutes Lombardo unlmown to me. They are a oboe(s), clarinet(s) and/or breath of fresh air! Flute duet saxophone(s) (B Flat and E Lombardo Music Publications Selectecl ancl Ed. Emma This funky piece has been With regard to the ensemble, Flat), with or without bassoon the preface states that the 'alto Coi~lthard and with chord symbols for arranged extremely well for the The Best Flute Duet Booli combination, showing how flute can substitute the missing guitarkeyboard. Phew! The bass foundation at least in Ever! music teacher's dream? Well, effective this kind of music can be on flutes. Riclcy Lombardo is parts; it would be ideal if such Chester CH61694 they are certainly ideal an instrument were available; $6.95 beginner ensemble fodder, with himself a flautist and he has given plenty of musical interest the alto flute is not absolutely This attractive book of duets the parts being of 1-3 standard; necessary though, because flute to all the parts. I can envisage contains a real mixture of the top part is more complex, quartets alone can well produce music - from traditional to for the more competent this work becoming a favourite a fully adequate ensemble classical, pop, contemporary players. with many flute choirs and sound.' and show tunes. The duets The arrangements quartets. While it requires Yvonne Mcllwaine vary in difficulty and are a themselves, however, are only playing with immaculate rhythm good mixture between the average, although could be and careful attention to all the Five Flutes parts; in some, the two share profitably used even in single performance markings, none of Peter Iciitt the tunes, in others, the top instrument teaching, as the B the parts is very difficult and Snowbreali. dominates and the second flat and E flat parts are within most average players could Zirllmen~lannFranlcfiirt accompanies. So, this is a good the flute's range, so could be manage it successfully. %M 34240 book to play with a student, helpful in developing an Breiuia Dykes Price %10.7(,/€14.30

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> Instrument hire scheme Concertos for Flute and Orchestra G major K. 313 HN 673 E 12,- WINDBAND D major K. 314 9 Greyfriars Rd. Shrewsbury, SY3 7EN Tel: 01743 367482 Fax: 01743 340412 HN 674 € 12,- E-mail WindinstrumentsOaol.com Ed.: Adorjan 1Piano reduction: Petrenz Cadenzas: Levin Press HN 673 I would definitely recommend this edition for both teaching and performing - it is unfussy and refreshing. BRANNEN~BROTHERS [Pan magazine] Press UN 673 und 674 Fluremakers, Inc. .. . In this new edition the music is laid out so the entire exposition can be played without a page turn, and similar care was taken with the piano score. The modest articulations are reminiscent of the Baerenreiter editions of Bach and Mozart. This edition includes two cadenzas by Robert D. Levin in the style of the Mozart, with rehearsal numbers marked in the cadenzas. [Flute Talk] to perfection Antonio Vivaldi Concerto for Flautino (RecorderIFlute) and Orchestra in C major op. 44,ll RV 443 Ed.: Wiese l Piano reduction: Schulze HN 689 € 9,- *.S U-.=-I6 . --. ?..,... . :g*-- P ,,*.*..O-C - ..I , d I --.-- -.

PAN MAGAZINE 49 PP- I(

for solo performance, some an opportunity for wind or useful addition to the vocal and even in orchestral form. They string players to perform one instrumental repertoire. have always been popular, even of the most famous and Leslie Sheills with tea-shop and seaside celebrated pieces of Mozart's ensembles, so it is hardly choral music, without that Flute and harp surprising that for many people nagging guilt which surrounds Elegie for Flute and Harp (or they are the first thing to come some modern transcriptions. Piano) to mind when thinking of Play this piece, and enjoy not Johannes Donjon Hungarian Dances. Some are. only the gorgeous music, but Zimrnerman from genuine Hungarian also the warm glow of Donjon (1839-1912) studied sources but others are merely historical correctness. with Tulou and became solo 'in the style', rather as Leslie Slzeills flautist at the Paris Opera. Vaughan Williams did with the wrote several pieces for his fir 5 floten English follr sox~g. Flute, Soprano and Organ instrument and this Elegie was hr. Huts In the original piano duet' (piano) originally an unaccompanied version there is a feeling that Gaetano Donizetti etude from Huit Etudes de the top two hands belong to Gratias Agimus Salon, very much in the the senior partner whereas in Zimmermann ZM 33300 floridly expressive 19th this arrangement all the 916.92/€22.50 century tradition and inspired musical material has been The partnership of flute and by a short poem bp Richepin This is an unusually hypnotic shared between all the parts, soprano has always been a (which is printed in this new quintet. The constant rhythm nialting a very effective and significant one, not least edition). creates a sense of movement, musical whole. The dances are because of the similarity of The harp (or piano) almost a ride on a sleigh over musically satisfying and great approach to melodic accompaniment was added by snow-covered lands. The fun to play. For that reason, expression between the two a musician called Robert, about rhythm is certainly the driving and as sure-fire audience disciplines. Mow often have we whom nothing is known, for force in this quintet, and each pleasers, one cannot afford to told someone, or been told, to publication in 1891, and this part is con~pletelyindependent. be without them. 'sing' the phrase? new version put the etude even It would be a great piece for Dennis Clarke. The possibilities of this more firmly into the salon students discovering the potent combination have not music category. intricacies of rhythm. I thinlt Flute and windlstrirlg been lost on composers of the This piece is very agreeable good grade 6 pupils could ensemble past, and there is a rich seam if you (as I do) like the lighter effectively perform this most MTolfgangAmadeus Mozart of music for soprano with 19th century repertoire and enjoyable piece. Adagio K.V. 580a obbligato flute in, for instance, don't expect any profundity, Yvonne Mcllwaine Barenreiter H5667 Bach's Passions, the Christmas despite the title. Thomas E5.50 Oratorio and many of the Richter (the editor) has gone to Flute Ensemble To be found among Mozart's Cantatas. Opera composers the original sources in the Let's Swine manuscripts preserved in the have also used the Bibliotheque Nationale to Mozarteum in Salzburg is a combination to great effect at produce an unambiguous sheet of manuscript with the emotionally important version, well printed and Price810.76/€14.50 inscription 'Adagio-Corno moments, the telling scene in presented - I lilre the open-out The composer of this piece was Inglese'. There follows 24 bars Lucia di Lammermoor being a format to avoid awkward page asked by his students at music of beautiful music in four parts, prime example. turns. camp to write a 'hot' piece of but thereafter only the melody Donizetti is renowned for Kenneth Bell music for them to play. Ile remains, the piece obviously the rich variety and came up with Let's Swing which having been left unfinished. significance of his early works, Flute and guitar is great fun, not at all difficult, The melody appears familiar. It and will be known to flute Easy Blues Tunes for Flute and flexible in orchestration. is, in fact, the melody better players for his exquisite with Guitar Chord Symbols There are four main flute parts, lrnown as the sublime 'Ave sonatas in C, B flat and F, with Terry Cathrine optional piccolo, an alto flute or Ven~mCorpus'. their operatic overtones. A Spartan Press SP 630 clarinet part, optional bass The distinguished early similar operatic flavour runs 94.99 flute/cello/bassoon (all parts music expert Milan Munclinger through this lovely early piece These 15 short pieces are supplied), and optional piano has now completed this late by the Master of Bergamo, designed to introduce accompaniment, which I feel it chamber worlr, to which composed in July 1820. There beginners to the blues style. All needs. In terms of rhythmic Mozart returned in order to is an agreeable tension of them have guitar symbols and harmonic interest, the provide material for the more between the necessarily for simple chords and could be piece is quite repetitive but, if famous choral work, just flowing lines of the vocal part played by performers of Grades played with energy and style, it before his death in 1791. and the mercurial virtuosity of 1-2 standard. They are would be an entertaining Although the the flute part. extremely attractive and are concert item. instrumentation of the In this version, edited by thoroughly to be Alison Uren accompaniment is not Gian-Luca Petrucci, the recommended. The final Blues specified by Mozart, the range orchestral part has been for Two is a duet for two flutes suggests that either winds or reduced for piano or organ by plus guitar. strings could have been Paola Pisa, and the whole is BrdaDykes Flute and intended, and of course well presented, as is usual examples of both appear in from this publisher. There are Sextet for flute, oboe, clarinet, other examples of Mozart's some minor discrepancies horn, bassoon and piano other chamber music. between the flute part as it Wlodzimiem Kotorisld Therefore, two versions have appears in the autograph PMM Edition 10080 been produced, one in C score, and the first written out 815.20 instruments major, scored for cor Anglais, flute part, but the editor has This one-movement sextet is violin, viola and cello (or wind resolved this by presenting a an intricate work in a quasi- Flute, Cello and Piano trio of two clarinets and study part, with both versions contrapuntal mode, based Johannes Brahms bassoon) and one transposed clearly marked. around a free 12-note pattern. (arr. Doris Geller) into G major for oboe or flute, The parts submitted for The notation is extremely Six Hungarian Dances two clarinets and bassoon, or review are printed on a slightly precise, making for difficult Zimmernlann ZiM 33550 string trio. The second clarinet yellowish paper, but are clear ensemble, especially where E18.46lE24.50 part of the first version is also and very easy to read, and the there is vertical coincidence of Brahms wrote his Hungarian playable on the basset horn. flute part is printed in a fold- three or more parts, but it is Dances as piano duets, though The result is a beautifully out format to obviate panicky rhythmically more they were also published later produced piece of music and turns. This is a delightful and straightforward than similar

50 PAN MAGAZINE writing by Boulez or Book 2 contains the E flat spent jotting them down is Part of a series introducing folk Stoclthausen. major BNV 1031, G minor time well spent! Allowing for music from Cuba, Israel and The opening texture is very BWV 1020, A major B\W differences in interpretation, Russia, the lrish offering dense, but it becomes more 1032, and C major BWV 1033. the performances were good includes a jig, a reel and three transparent. The dynamics are The introduction, written by and enjoyable. It did strike me songs from popular lrish mostly below mf, although Paul Edmund-Davies, gives a as odd to have a harpsichord folklore. there is occasional extreme brief history of these sonatas. and cello accompanying a This is a basic introduction contrast with sudden fs or ffs. He explains the ambiguity of 'modern' flute! to the genre and would be ideal Although the piece is difficult composers for the sonatas The playalong CD has no for use alongside class music from the point of view of B\W 1020, BIW 1031, and tuning note and the worlr. ensemble, it is not so B\W 1033, and whether they introductory 'cliclr' is All the pieces have been demanding technically and I were originally JS or CPE inconsistent. Sometimes there recorded twice on the think it could be quite Bach's compositions. is one complete bar, accompanying CD, once with rewarding to play. Edmund-Davies writes, 'we sometimes two, and sometimes the melody, once without; the Brenda Dykes may never Itnow for certain incomplete bars. The most jig and reel have additional the conlposer of these awkward is the first movement versions at a slower tempo. disputed sonatas, but I am of the B minor sonata, which is However, navigating one's way content to include them in the not at all helpful for students. around the CD with no index Flute and oeuvre of JS ~achbecause The other problem was the proved a little tricky and, with they are excellent and unmarlted and dramatic no tuning note, intonation enjoyable pieces, worthy of ritenutos at the end of each could easily be a hit and miss CD his genius, and from a period movement. affair with less experienced that is not over-endowed with I was generally pleased with players. Flute and CDFlute and good flute music. the layout and all round It would have been useful to Keyboard There are two CDs included presentation of the boolts in have a full piano score instead Johann Sebastian Bach with each book: a performance this edition. The leaf motive is of just chord symbols. For a Flute Soilatas Volume 1 and 2 by Paul Edmund-Davies an attractive idea and runs truly authentic experience, an The Paul Edmund-Davies accompanied by John Alley on consistently through both explanation of the idiomatic Perfon~lingEdition harpsichord and Tim Hugh on volumes. It is such a shame ornamentation used by the Kevin ?vlaylle\v Ltd. cello; and a 'Music Minus One' that the accompanying CD lets performers on the disc would Catalogue ~~umbers3611565 CD without the solo flute. The them down. have provided an ideal and 3611564 respectively lack of track numbers could Yvonne Mcllwnine opportunity for Irish folk cause confusion, unless the novices to try the Booli 1 contains the sonatas in flautist already ltnows the R Graf and R Filz embellishments for themselves E ma.jor BWV 1035, E minor sonatas. The CD traclts do run \Vorld Music: Ireland at home. BWV 1034, B minor RWV in the same order as printed in UE 31 554 Joaizna Todd 1030. the books, so a few minutes $7.95

NEW FROM SCHOTT Interpretation Peter-Lukas Graf How to Shape a Melodic Line The internationally renowned performer and teacher Peter-Lukas Graf exp in great detail the parameters that have to be taken into account for a successful interpretation. Numerous examples from the flute repertoire of the 17th-20th century serve as models from which he derives the 'rules' appropriate for an interpretation in keeping with each period.

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48 Great Marlborough Street, London W I F 7BB. Tel: +44 (0)20 7437 1246 Fax: +44 (0)20 7437 0263 www.schott-music.com and imagination. engagingly Iberian feel, with DMPOOlCD Amilcar Vasques Dias' Eyes hard at it here. $12.00 of the Water of 1997 is more With the theme and This beautifully played and arresting, but inhabits an variations, Senhor Galv2o recorded CD is a delight from 20th Century Portuguese almost Bartoltian idiom, shows us what he can do with a start to finish. David Nicholson, Music for Flute and Piano incorporating some later more extended form, but Principal Flautist with the Joaquim GalvBo; flute, alto techniques such as extended tonally 1 fear this results in Scottish Chamber Orchestra flute, piccolo glissandi and special warmed-over Hindemith. from its formation until last JoBo Luis Rosa: piano articulations and, at times, it is Tiago Cutileiro's For Flute year, and Eluned Pierce, now Musidlia M.01.02.005 even reminiscent of the Boulez and Piano rounds offthe harpist with the Bournemouth Sonatina. Eurico Carrapatoso collection, and consists of Symphony Orchestra, have travels back a good deal forlorn Scriabinesque worked regularly as a duo and further, to the world of Les Sis, meanderings interrupted by performed at the Northlands in his Tombeau,de Germaine studiedly incongruous Festival (hence the title of the Tailleferre,an unashamed multiphonics, plus other quite CD). This festival, centred on pastiche containing some unidentifiable special effects- Thurso and Wick, has created touching lyricism over a sort of strangulated wheezings artistic links between noodling accompaniment, and oppressed notes. It made Scandinavian, Icelandic and interrupted briefly by some me think of a shed full of Scottish composers and, as the boisterous street-band music. rusting, abandoned steam liner notes say, this CD There are definite shades of locomotives in which one of includes several pieces by Satie in the slow bits. them is trying to struggle back composers who have been Joaqulm Galvso, a student of to life. Nothing wrong with inspired by the austere beauty Graca, is represented by a suite that, I suppose, but it was nice of the land and seascapes of of five popular Portuguese when it stopped. Is there a these parts of the world. The opening two traclts of this tunes, in which we get a little message here? Indeed, the mood of the disc is anthology are by Fernando closer to characteristic folklore. There is, I hasten to add, well captured in David Lopes-Grapa, whose life It is a little in the manner of some very nice flute-playing on Nicholson's own atmospheric spanned almost the entire 20th Britten, in that the flute tends this disc, admirable piano photography on the cover. century, and who became a to do the tune while the piano support and one or two very It is good to see Edward pupil of Koechlin in Paris in the provides the innovative good pieces which reward McGuire getting the 1930s. His cello concerto has interest. The alto flute solo has rehearing. recognition he deserves outside been popularised by an almost Celtic languor, until Riclmrd Stagg his native Scotland and the CD Rostropovich. The Koechlin the first piccolo track seems to opens with two hauntingly influence is clearly audible in whisk us back to a promenade Music from the North Lands evocative Folk Memories in this Andante and Allegro, with Satie. The second piccolo David Nicholson, flute; Eluned Autumn, an Andante and Jig, which has character, elegance track has charm and an Pierce, harp which are described more as a

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.. .- -~ ~ ...... dance remembered than an listener aware of the technique while playing, variable vibrato, actual frolic. required to perform these very and some flutter-tonguing, and Piping Hot David Horne's Three Dirges attractive pieces. there are passages influenced by were written for the Duo to After Romance for flute and minimalism, all of which add up Mark Underwood (flute) perform at the 1993 Northlands guitar by Sor, there is a to a very atmospheric effect and friends Festival. I-Ie is the youngest performance of Concerto in G without sounding at all composer represented (born in by Pergolesi. The original contrived. The flute-playing Diamonds 1970) but his music has a great orchestral accompaniment of does it justice. Harlequin maturity of style and some very strings and harpsichord Dinu Lipatti, better known as interesting melodic and continuo has been arranged a pianist, wrote a fair amount of Each CD £ 11.99 rhythmic ideas. very convincingly for guitar by music and his attractive (both: £21.99) Sir Peter Maxwell Davies' Dario Rossetti-Bonell, and his Introduction and Allegro is here including p&p in UK Two Dances from Caroline playing is colourf~~land full. I given its 'world premiere Cheques to 'Mark Mathilde were originally part of have never heard the guitar recording'. Elena Firsova (born Underwood' a ballet score and are charming sing so appealingly as in the in Leningrad in 1950) is Enquiries: in an almost Renaissance way. slow movement. The fast represented by Two Inventions, Now that they have been movements are taken at a consisting of an expressive tellfax: 01 322 287924 published they should be a steady tempo, allowing for total Andante and a lively Allegretto. Chromattica Recordings popular addition to the clarity in the accompaniment, This is followed by the Swiss repertoire. and this means that Nick John FrBderick Perrenoud's Les 20 Summerhill Road, The piece on this CD which Cartiledge has the time to Vieux Pres, four varied Dartford, Kent DA1 2LP people may know from consider much more musical descriptive pieces. [email protected] previous hearings is Toru detail than is often apparent in 'A la recherche du son perdu', Taltemitsu's three-movement faster performances. written for the Polish flute Towards the Sea - hauntingly The CD ends with Resolution society in 1996 by Zbigniew use of the material in the beautiful music for alto flute by Nick Cartiledge and 3 Ideas Bargielslti, is another world pursuit of the new classical and harp. Espanolas by Dario Rossetti- premiere recording. form, CPE Bach has given us Finally, a real discovery: the Bonell, both of which are full of Finally, Yvonne Desportes, the sollie interesting repertoire. Sonata by Adrian contrast. The final movement, much respected and honoured Patricia Morris Shaposhnikov written in 1926. Canto Montales, provides an French composer, is here Shoposhniltov, from St exhilarating finish. represented by three pieces Autr~n~nColours Petersburg, studied with Brenda Dvkes under the title 'L'Aulete, and 20th Century Belgian Worlts Glazunov and his another world premiere for Flute and Piano Vol 2 compositional style combines Solo flute music (various recording'. Denis-Pierre Gustin - flute. the Russian romantic tradition, composers) A truly Pan-European Carmen-Elena Rotaru - piano Impressionism and touches of Elizabetl~Most, flute selection of music, well played Ren6 GaillyIOne CD for You Neo-Classicism. EM0501 and recorded. Four Belgian composers are This CD can be €18 Dennis Clurke represented on this unusual recommended unhesitatingly to and fascinating CD. First, all lovers of fine playing and CPE Bach Flute concertos Joseph Jongen's Sonata for flute fine music, much (or perhaps The Feinstein Ensemble; and piano, first performed in all) of which they may not have Martin Feinstein, Flute. 1925. Not as well known in heard before. Blacli Box Britain as it should be, this Ke~znetltBell On this CD, Martin Feinstein piece is full of powerful melody has chosen to perform three of and contrasts of atmosphere Resolutior~ the CPE Bach Concerti: the E and mood. Denis-Pierre Gustin Contemporary and Classic major w.q.169, A major w.q.168 (now Principal flute of the Duets for Flute and Guitar and the D minor w.q.22. He Belgian National Orchestra) Nick Cartletlge, flute; Dario and his fine string ensemble and his accompanist Carmen- Rossetti-Bonell, guitar play on modern instruments; Ele~iaRotaru bring out every Chameleon Arts Management they succeed in an excellent colour and subtle harmonic 102 CIW CD blend of immediacy of sound change in this exuberant 211.99 and a baroque style of phrasing. performance. One is aware of This is a thoroughly enjoyable Performing works for solo flute The string playing is very Jongen's underlying disc, which is beautifully is by definition a lonely impressive; it is fill1 of energy, romanticism, reminiscent of recorded and enhanced business, without companions, and has great clarity and Cesar Franclr, but also of throughout by perfectly but it is also very liberating in uniformity of articulation. idiosyncratic chromaticism and balanced performances. I-Iaving that one does not need to make Martin Feinstein, as director dissonance. The last movement never heard the Bartok any adjustments for the sake of and solo flautist, gives a well- is truly vivid and exciting. Roumanian Folk Dances in this good ensemble. Subtleties of researched performance with On the CD, this is followed arrangement before, I tone colour are more apparent ornamentation gleaned from the by Jacques Levis Suite (1924), wondered how it would and, because it is possible to keyboard version of the music. nine short pieces mainly for compare with the violin and play really quietly, the dynamic He combines a lovely even piano - though the 8th is for piano version. I was totally range is increased as the sound and sense of line with solo flute, and the 9th captivated by this performance audience's ears adjust to the impressive virtuosic passages. A (MBandres) is for both and particularly liked the current datum level. The sound lack of dynamic variety leaves it instruments. This seems to change to piccolo for Pe loc, recording quality on this disc is a little bland but it is a result in a rather strange which has a similar effect to very good and serves Elizabeth stylistically satisfying imbalance overall. The the use of harmonics on the Most well, allowing her to performance. accompanying leaflet is rather violin. The CD continues with exploit the capabilities of the CPE Bach was at the court of confusing; the initial listing of four pieces from Mountain flute. Frederick the Great when the pieces is correct, but the Songs by Robert Beaser, in Jolivet's Asc&sesoccupies the Quantz was also in residence. detailed description later which the flautist produces a first five bands and these He therefore had the need to mentions only seven pieces, in limpid, singing tone and both Elisabeth Most plays with produce music for his patron the wrong order. players convey the slightly elegant fluency, but the next and the example of a fine Of much more interest is jazzy style with ease. piece, Landscape with Birds by virtuoso player in the person of Eug&ne Goossens' Three In Robert Muczynski's 3 Peteris Vaslrs, is probably my Quantz. The result is a Pictures for flute and piano. Preludes for solo flute, Nick favourite on the disc. Vaslts was wonderful use of the First is From the Belfry of Cartiledge once again born in Latvia in1946 and instrument, both in beautiful Bruges, where one can hear the demonstrates a clarity and studied in Riga. In this work expressive slow movements and bells chiming over the hazy simplicity of tone not often he uses some extended virtuosic fast movements. Flemish landscape. Then comes heard, and at no point is the techniques such as humming Though guilty of over extended From Bredon in the Cotswolds. PAN MAGAZINE 53 an evocation of a summer is also no track numbering for hiatus in Music in Words, by than two hundred pages, it is sunset over an intimate British the various pieces, the addressing the issues an invaluable addition to the pastoral scene. Finally there is comments are printed in a encountered when tackling bookshelves of anyone engaged From a Balcony in different order from the written taslis, from programme in writing and researching Montparnasse, depicting a performances, and Goossens' notes to dissertations. The dual music. The high quality starry autumn night in Paris own descriptions of his music function of this book, as publishing and paper, and the with snatches of dance-hall are repeated three times in textbook and reference book, benefit of having a tango and the bells of Notre- English - it probably would combined with Ilerbert's clear, compendium of information in Dame in the background. As a have been more helpful to . unhindered writing style, one small, easily transportable complete suite, there is translate these into French and ensure that many readers will book, justify the price. perhaps insufficient contrast of Dutch, along with the rest of find something beneficial Alexnndra Buckle mood between the three the information. within the pages. pieces, but each would stand Alison Uren I found the most useful well on its own, and the sections to be the meticulous performances here are account of scholarly sensitive and subtle. conventions, which confuse The CD ends with a yirtuoso even the most eminent of performance of L6on Stelilte's musicologists, the introduction Scherzo Capriccioso, probably and strategic guide to using the written for a competition at and Writing about Music Internet, libraries and journals. the Brussels Conservatoire. All Trevor I-Ierbert While this book is particularly elements of technique are ABRSM Publishing 2001 suitable to those completing exploited - florid passagework, ISBN: 1 86096 236 X GCSE, A-level, degrees and the fast staccato, cantabile melody. 511.95 Associated Board diplomas, This is a very enjoyable, Many boolts are written about those unfamiliar with the vibrant performance. performing, composing and important academic and My main criticism of the CD analysing music, but there are musical resources available is the presentation of the very few on how to research could repeatedly draw on this accompanying leaflet. I have and write about it. Trevor as a source of aid. already mentioned a problem Herbert, a Professor of Music at Although this book may with the Levis Suite, but there the Open University, fills this seem expensive for little more

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Please send to: John Rayworth, Menrbenhip Secretary The Nook, How Mill, Brampton, Cumbria CA8 9JY. CERTIFICATE FOR GIFT AID Membership !?Loch C'lP/7iiw' DONATION Ref: pan 13 / 2002 I I PLM.YL If you are a UI< tm payer then signing this section will enable the British Flute Society to APPLICATION Section 1 - Contact Details: reclaim income tax relief from the Inland revenue on your subscription. Name (MrliUrslA!isslMs): FORM 1) I certify that I pap an amount of income tax Performer Teacher Address: andlor capital gains tax at least equal to the tax deducted from my Gift Aid donations Amateur Student Postcode: 2) I want the Charity to treat this subscription Date of Birth (qsr~~dett/l of "E as a Gift aid Donation. Country: " Please i11ser1amount Other (blense s~ate) Tel: Fax : Signature IJle:lsc t~cltif you do a01 want your onrnc. ~cldrcss Date atid plionc ~iu~~il,erpul,ltslied 111 rlic llFS d~rcctory

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PAN MAGAZINE 55 Counterpoint Weal, always true to her word, regales us with firther shock revelations from the Cosmos. Harmony of the Spheres ... I beg your pardon? Can they be Sirius? eing, I confess, no stranger to sixths, I lunow, will have you aslung, apparently some people who say that the realm of World Music, 'Mat's a Neapolitan sixth?' 1 do not they exist only inside our minds. We the question I am often wish to comment on this, save to say are all entitled to our views. Did you Basked is, 'Do you have to that if you're getting through that lunow that it's difference-tones that play quarter-tones?' The answer to amount of ice-cream, my dear, you make a minor triad sound troubled or this, of course, is, 'Why, don't you like really ought to be seeing somebody that they make an uncorrected them?' But the truth is that, as in -yech! believe me, I've been there ... dominant seventh sound weird? ancient Greek music (with which we Sixths, as we know, are intimately If you thought a dominant seventh are all intimately conversant), a related to thirds, and thirds provide was made up of three intervals, think minor third splits very neatly into a us with a field day. Choirboys, on the again. It's like a combination lock, pair of three-quarter-tone intervals, whole, need little encouragement in and has six intervals: major third, two which are singable, while anything as making major thirds as wide as a minor thirds, perfect fifth, diminished small as a quarter-tone tends not to London bus. Unfortunately, this fifth and minor seventh. Each interval be. Try listening to Javanese gamelan doesn't stop some people who take a makes its own difference-tone. The singers - those guys really know perverse delight in encouraging them simplest way to harmonise those how to tread in the cracks! further. The paradox is that tempered difference-tones is to flatten the Let's come down to earth, though, major thirds are wide anyway; seventh-tone. and apply some lateral thinking to trombonists and brass-players (many This matters all the more because our silly old tempered scale. Bach of whom have been choirboys) dominant sevenths have generally didn't invent it - some smart alec in generally tend to make them been found far too useful to be wasted the Renaissance did - but he gives narrower and more natural, to give a on the dominant of the home key - us a nice test of what you can do with more serene effect (hem, hem). Jo Haydn saw to that - and certain a flat submediant in the slow Who is correct? There is no such individuals, like Debussy, delighted in movement of Brandenburg 1. (Bend thing as correct! There are, trust me, spraying them around like cellulose it in any direction you like but up.) strong grounds for making minor graffiti, to the fury of their teachers, Mentioning the Renaissance and thirds natural (ie. wider than showing they had a genetic pattern tempered). A natural minor third that could be replicated on any note sounds expressively sad; a tempered you like, without resolution BY one just sounds sad. A cent narrower (disgusting, how dare they?). and it just sounds out of tune. About all that leaves us to look at Daisy Weal Moving on through space and is the leading-note, or sharp seventh c time, and before consigning 2001 to of the diatonic scale - not to be l history, let's give a thought to dear confused with the Leittonwech- Zarathustra (parental guidance selklang, which is rumoured to be a advised). Anyone who has survived low cholesterol version of the the closing B major bars of the R Neapolitan sixth (I don't wish to Strauss tone poem may have come as know that!). What people don't near to losing their marbles as the realise is that a leading-note doesn't poet himself. With a pianissimo just lead to the tonic - it can lead to chord consisting of floor-to-ceiling any cadential note you like, and thirds in the woodwind, the when it coincides with an accented difference-tones are buzzing around beat or appoggiatura it must always like a hive of bees. The thing to lreep be sharpened, for some strange but reminding yourself here is that even compelling psychological reason when it's right it sounds wrong (viz which eludes me. Defying gravity, or Harledas a chtldprogeiiy, the exrrhnpt of her Nietsche, perhaps). heightening the tension, perhaps? era, three hnles co?~so/ario?ipnw-wzfffler of the Difference-tones are tricky little Think of those top F sharps in the Woc~Mtrsrra/ dr~ Mottne, IIlieafi imnpeac/ml,le rerordtt~gshave emdher rfr//ca/trrudes, blighters. They can help you play in development of the finale of mo Golahtt Floppy Dzscs anda G'latmjv Award tune, but if you misinterpret them Beethoven V. Ah! The dominant of Read 117en/, get teal you'll go rapidly ET. There are the dominant!

56 PAN MAGAZINE