TheJournal of the British Society

President James Galway Vice President Albert Cooper Council Area Representatives Douglas Townshend Chairman Helen Baker Avon/Somerset Robert Bigio Events Organizer Carole Timms, 'Marlow', Garston Lane, Blagdon, Avon BS18 Ann Cherry 6TG Tel: 01761 462348 lan Clarke Biiam Jackie Cox Margaret Lowe, 10 Navenby Close, Shirley, Solihull, West Mid- Hugh Pbillips lands B90 ILH Tel: 0121 474 3549 Tessa Ralphson Christine Ring Bolton/Lancashire Susan Mary Whittaker Assistant Area Reps Gwrdinatm Irene Barnes, 40 Grange Park Road, Bromley Cross, Bolton BL7 Julie Wright Area Reps Gwrdinalm/Educafia R@wntaliue 9YA Tel: 01204 59391 1 Cardiff Jenny Wray Membership Secretary Philip Wray Trmm Iau Provis, 13 Werfa Street, Roath Park, Cardiff CF2 5EW Tel: Susan Bnlce Hon Legal Adviror 01222489061 Trevor Wye Archivist East Kate Cuzner, 52 Turnstone Close, Upper Road, Plaistow, London Judith Fitton Editor Tel: 0171 51 1 5552 The British Flute Society was formed in January 1983 from the constitution: Guildford 'The objects of the Society shall be to advance the education of the public Clare Lund, Down Amphrey, Rowley Drive, Cranleigh, Surrey in the Art and Science of Music and in particular the Art and Science of GU6 8PN Tel: 01483 273167 Flute playing in all aspects by the presentation of public concerts and Hertfordshire recitals and by such other ways as the Society through its Council shall deter- mine from time to time'. Wendy Walshe, Kennel House, Howe Green, Hertford SG13 8LH Tel: 0 1707 261573 The Editor welcomes contributions to Pan - typed and always double spread Leeds - by post to l16 Woodwarde Road, Dulwich, London SE22 8UT (also see Pauline Jackson, Croft Cottage, Old ~ank~o~,~ool-in- Membership Secretary's address). Wharfedale LS21 3BZ Tel: 01532 842457 Views expressed by the contributors are their own and do not necessarily Norfolk voice any official view of the Society. Elaine Smith, The White Homestead, Bramerton, Nonvich NR14 7DP Tel: 05088 215 Subscription rates to BFS North East Individual Membership (U.K) £20 Christine Ring, Low Warden Farmhouse, Warden, Hexham, Husband and wife/daughter etc £25 Northumberland NE46 48N Tel: 01434 603489 Student (25 & under) &OAP. f13 Flute Clubs and schools £20 Oxford Commercial (Worldwide) f 40 Carolyn Nelson, 21 Trinity Street, St Ebbes, Oxford OX1 ITN Overseas Membership Europe f 25 Tel: 01865 250169 Overseas Zone 1 & 2 £30 South Buckinghamshire All Overseas students (25 &under, must be in Ann Davidson, S Bailey Close, High Wycombe, Bucks HP13 6QA, full time education) f 18 Tel: 01494 528538 Lie Membership £300 Joint Lie Membership f 350 South East London Susan Mary Whittaker, 52 Red Post Hill, Herne Hill SE24 9JQ Membership Seaetary Jenny Wray Tel: 0171 733 1328 The White House South Hampshire Hatton Green, Hatton Waxwickshire CV35 7LA Karen Morrison, Roselands, Crawley Hill, West Wellow, Hamp shire S051 6AP Tel: 01794 323842 Aduerlisemenf Repesmtalivcc South Kent Maple Media Ltd, 411 Wokingham Road, Earley. Reading RC6 2EL. John Gridley, 47 Park Avenue, Deal, Kent CT14 9AW Tel: 01304 Telephone: 01734 261669 Fax: 01734 665611 364806 Printed by The Lavenham Press Ltd. Lavenbam, Suffolk Southport/Merseyside AU wpyighcr mmed Tessa Ralphson, 57 Salford Road, Ainsdale, Southport Tel: 0170477614 Life Members of the British Flute Society Surrey Michie Bennett Pauline Jackson Jackie Cox, 3 West Street, Carshalton, Surrey SM5 2PT Tel: 0181 William Bennett Anne Jakeman 773 0436 Wissam Boustany Trevor James Swansea Lamond Clelland Ian McLauchlan Hugh Phillips, 116 Delffordd, Rhos, Pontardawe, West Glamor- Patricia Clelland Susan Milan gan SA8 3EW Tel: 01792 865825 Albert Cooper Christopher Paul Money Twickenham Philomena Cooper Alexander Murray Julie Wright, 41 Devon Avenue, Twickenham TW2 6PN Tel: Elena D& Barbara Noble Michael Emmerson Stephen Robinson 0181 241 7572 Caroline M. Franklyn Kirsten Spratt West Sussex James Galway Andy Thomson Lindy Thwaites, 19 Downview Road, Bamham, Bognor Regis Jeanne Cinnante Galway David St. John-Weyers P022 OEG Tel: 01243 553623 Brian Hamilton Trevor Wye Wiltshire Patricia L. Harper Danielle Baron-Janke Paul Ferguson Christopber Hammond Mrs P. Clelland, 23 Islington, Trowbridge, Wiltshire BA14 OEG NilsThilo -er Carla Rees Tel: 01225 752971 Hannah Lang Sheila Searchfield Cumbria Jennifer Welsh Lars-Ame Wennquist Janet McCallum, Wyresdale, 7 Limethwaite Road, Windermere LA23 2BQ Tel: 01539 446611 Cover: Painting of Dulwich College. by Camille Pissaro - Worcestershire Private Collection USA. AJison Uren, Chalfont House, 26 Christchurch Road, Great Malvern, Worcs WR14 3BE Tel: 01684 567819 France South West Atarah Ben Tovim, Au Bosch, Juillac 33890 Gensac, France Tel: 57474003 Editorial Contents

More divorces, suicides, depression, family rows, Editorial 2 wife/husband beating (partner bashing to be totally Diary 3 PC) and murders! 'Amongst musicians?' I hear you say - no, it's just that there is a massive increase in Keeping in Touch 4 these incidents around Christmas time. The stress is Two Bern hards tremendous and it doesn't matter how much you John Wion resolve not to get caught up in it all, and vow not to send cards except to friends of 90 plus etc. etc, you So Who is this Mike Mower? do and it is worse than ever the later you leave it, Judith Fitton hence all the screaming, bashing and bad temper. However, if you do manage to survive without giving Why Play an Open-hole Flute? way to one of the aforementioned, there are things Robert Bigio to look forward to in the new year. Masterclass You will of course initially put yourself on a diet Nicholccs Vallis-Davies but when that has all gone by the board, you can get back to normal. Read Pan, and perhaps you will be Why Play an Old Instrument? able to think more positively about that wooden flute you have hankered after for so long (Why Buy an Old February Flute Festival 22 Instrument by Rachel Brown, Page 19). If that idea doesn't grab you but you feel in a mood for action, Protect Your Hearing - Tinnitus book up to come to the February Flute Festival (see Anthony McColl middle pages) and if that doesn't appeal to you, have A Flute Orchestra in the Dordogne a gin and tonic or whatever and think about the Sue Ogilvie/Richard Walsh various 'Days' we have-put on this year, all advertised in this Pan. There will be a variety of events and there Regional Events should be something for everyone - as there, hope- Julie Wnght fully, is to read in Pan (if I cannot be the Queen of Editors I hope I can be in your hearts!') NFA Convention 1995 My message for the new year then is; come to at Ziie Smith least one event, meet us, read us, be positive! Area Reps Portrait Gallery 33 Happy New Year. Reviews 34 Letters 42

BFS EVENTS

11 Feb 1996 - February Flute Festival 10-12 April 1996 - Teachers Course Stranraer Editor 7 July 1996 - Cardiff Flute Day 1997 - London Flute Event with Peter Lukas-Graf Ann Cherry - Warmest congratulations for being awarded an Honorary Fellowship of Trinity College of Music Michael Walder - Former Music Lecturer at Preston College has sadly died at the age of 52, he will be greatly missed. Summer Masterclasses - If you wish to appear in the listing in the Spring Pan please send details to the Masterclass Reporter not the Editor of Pan, by 1 January 1996. Maly J~anSimpson, Maskrclass Reporter 5106 Hapmts Dri71e Columbia MD 21044.1310, USA. Copydate - 15January (15 April, 15Ju1y)Typed and double spaced, please . . . please . . . please! Diary

January 1996 Elena Durh with the Orchesba of the Swan - Mer- 16-17 BFS Weekend with Colin Fleming 17 cedante Concerto Civic Hall Stratford-upon-Avon Stockport. Tel: 01 789-269247 (h:269843) Contact: Tessa Ralphson -Merseyside Rep. Tel: 01 704-5 77614 (Pax: 5 71614) Magic of Mozart Elena Durh Masterclass Flute Weekend at Canterbury on Mozart Flute Concertos Christ Church College with Trevor Wye, Kirsten Spratt, The Town Hall, Stratford-upon-Avon Lisa Nelsen, Kate Hill, Andy Thomson Tel: 01 789-269247 (Fa:269843) Tel: 01227-782244

February 17 Flute Day 10 Elena Masterclass lOa.m.4p.m. Jubilee Hall, Middleton-onsea, West Sussex 10a.m. The Stables, Wavendon Details: Mrs Carolyn Fuley, 2 Chalfont Close Tel: 01 908-582522 MiddletonanSea, W Sussex P022 7SL

Elena Durh and Laurie Holloway -“Pd BFS Teachers Course 'Broadway to Hollywood' 10-12 Stranraer, with Ann Cheny Wavendon. Tel: 01 908-582522 Details:Julie Wet0181-241 7572

February Flute Festival J"h BFS Flute Day Duhvich College 7 Cardiff with Wmam Boustany and Elena Durh Details on cenh.e Pages

March Concert for Peace (Musicians against Nuclear Arms) 10 Ruth Underwood, Margaret Lion 7.30p.m. Lauderdale House, Highgate Hill, London N6

A date for your diary: Cardiff Flute Day Sunday, 7 July, 1996 with Elena Dur5.n and Wissam Boustany Workshops and Recitals Howell's School, Llandaff Full details in the next issue of Pan. On the job front, we have one Heinzman (Stuttgart), Second Wze- Gareth Davies newly appointed Gabriel Ahumada (USA). Two Keeping Principal Flute with the Flut~s/TwoFlutes and Piano. First Prize Bournemouth Symphony Orchestra -Yoko and Mayami Sugiyama (Rueil- who had recently been refused an Malmaison) Secondprize - Andrea audition for extra work on grounds Ikker and Barbel Kolof -Danek of inexperience! (Celsenkirchen) . Third Prize - Robert Wiwould like it to be Johanna Sigler and Stephanie Touch more generally known that he has Bechert (Berlin) Three /Four been appointed Professor of Flute at Flutes. First Prize - Suzanne Arends, Weimar University in Germany (for Marielle Niewhuis and Jernen Bron some time now) although he is of (Den Haag) Second Prize -Jorgensen course still flourishing as Principal Kielke, Charlotte Norholt and Mari- Flute with the RPO, dividing his time anne Leth (Arhus) Third Prize- Beat- between the two jobs. rix Wagner, Cathrii Heckner, Uta Killing and Brigitta Drost (Detmold) . Competition Results Peter Lukas-Graf was president of Munich International Competition - the internationaljury which included 1st prize - not awarded. 2nd prize - our own Susan Milan. She was very jointly to David Fonnisano (Italy) impressed with the system of select- and Sabine Kittel (Germany), 3rd ing the winners which she felt was as I have tried to assemble some news- prize- Marina Leguay (France).The fair as was humanly possible. I am worthy snippets for the readers, panel of judges were chaired by Sir hoping that she will soon present us unfortunately lack of available funds John MandueJl and included Trevor with an article on this very subject. for supporting possible libel actions Wye . I am endeavering to evolve some has inhibited my natural instinct for Kuhlau International Competition system of listing available competi- imparting the more salacious items Solo Flufe Joint First Prize - Nili tions for younger readers - any (you could always try asking). Newman (London) Anne Catherine ideadoffers? Editor

Xoyal Xcabemy of music. TENTERDEN STREET. HANOVER SQUARE W.

Tfzi~early 20th Centuly RAM exam syllabus appeared without a caption in the last (Summer) Pan. It was found in a tattered old crqy ofFurstenau studies belonging to Andrew Wauchope.

4

which the first, with its long orchestral tutti, is the most substantial, displaying both brilliant passage work and lyri- Two Bernhards cal sections. The slow movement is a pastorale in G major where the flute traces endless embroidery over string accompaniment, and the charming rondo offers inter- by John Wion ludes of great bravura and a dazzling coda. The orches- tration calls for oboes, horns, bassoons and timpani in addition to the strings. It was surely the lack of a reduc- For the hundred years following the creation of tion for piano that kept this fine work from entering the Mozart's beautiful music for flute, major composers repertory, and it is hoped that my publication of such a were not inspired to write major works for our instru- version will correct this state." ment. It would seem that the romantic ethic combined Romberg's cousin Andreas, born the same year, was with the larger concert halls of the bourgeoisie moved a violinist, and led a parallel career which included joint the small intimate baroque flute to the sidelines. It was concerts as well as publications. Thus, in 1803, the pub- not until Boehm's new instrument took hold at the end lisher Hoffineister offered Trois Quintetti pourflute, vioh, of the nineteenth century that the flute reclaimed its deux altos et violenceUe cmnposa par lesfi-eresAndreas et Bernard place. Romberg-premieroeuvre de Quintetti.The title page of each However there were composers, highly respected in flute part gives the composer of the first two as Andreas, their lifetimes, who did write for the flute. Their music and the third, in G major, as Bernhard. This latter is a has been overshadowed by the greater geniuses who were substantial four movement work, requiring considerable their contemporaries, but this does not mean that their virtuosity of the flute, violin and . The are used music was without value to us, and certainly not that it largely in accompaniment, but the darkness they provide was without charm and elegance. gives a weightiness to the piece (particularly the A good example of a composer known to perform- expressive Andante poco Adagio) that contrasts it to flute ers today, but largely unperformed a generation ago, is quartets of this period. Car1 Reinecke (1824-1910). He was a second rate com- Romberg's third contribution to our repertoire is in poser, in the best sense of the word, who was eclipsed by lighter vein - a charming Divertimento with string his contemporary, Brahms (1833-1897), but he gave us (quartet) accompaniment. A bright Allegro sets up a a most enjoyable concerto and sonata, as well as some Swedish folksong which is varied with considerable (do listen to Fenwick Smith's gorgeous virtuosity- as a coda there is an elegant minuet. Published recording of the latter). Who were the Reineckes of the as Opus 27, it was similarly listed by Romberg's bio- previous generations, Beethoven's (1770-1827) and grapher, H. Schafer, but as Divertimento uber ein Schwedis- Mendelssohn's (1808-1 847) contemporaries? ches VoUtsW fur Flote und Orchester. Schafer also lists a Berhard Heinrich Romberg (1767-1841) was born Divertimento with quartet accompaniment as Opus 40, three years before Beethoven. He was the foremost cel- but not being able to find a copy of this I do not know if list of his time and began his career in the orchestra of it is a different piece. Vester lists Divertissement, Opus 40, the Elector at Bonn, Germany, which counted among its fmpute, violin, and cello in his members, Beethoven, playing viola, and Anton Reicha, Catalogue as having been published by Richault. He also playing flute. He later concertized all over Europe lists Divertimento, Opus 27, as a work for flute and piano performing his own compositions, which included ten that was published by Schweers und Hake in Bremen. concertos, and numerous other solos and chamber Bernhard Molique (1802-1869), a violin prodigy and music. He renewed his friendship with Beethoven when- student of Ludwig Spohr, was seven years older than ever he was in Vienna, and performed the latter's cello Mendelssohn. At the age of eighteen he was appointed sonatas with him. It is unfortunate that Romberg is most concertmaster in Munich and at twenty four he became remembered for a disgusted reaction attributed to him concertmaster in Stuttgart. After a successful solo career when he first read through the second movement of he settled in London where he became Professor of Beethoven's first Rasoumovsky Quartet, however, as late Composition at the until his as 1822, Beethoven wrote to him to praise his 'high art'. retirement in 1866. His compositions include two masses, In addition to his cello music he wrote six operas, five a symphony, 6 violin concertos, concertos for a number symphonies, eleven string quartets, and at least three of other instruments, and chamber music. He had his works for solo flute. biggest successes with his A minor violin concerto, his It was while he was Kapellmeister to the Prussian piano trio, Opus 27, and his oratorio, Abraham. King in Berlin between 1815 and 1819 that his Concerto While in Munich as a young man he befriended the for Flute and Orchestra in B Minor was published as a flutist Theobald Bohm and they did some successful set of parts by C. F. Peters with the opus number 30 (also concert tours around Germany. One of Molique's first assigned by the same publisher to one of the cello con- compositions was a Duo Concertante, Opus 3, for flute and certos). It was dedicated to the Berlin publisher, Adolph violin for themselves to play. A charming work which Schlesinger, and was probablywritten somewhat earlier; draws on themes of Weber, including the final hymn from a letter of 1819 states that he had designated opus 17 for Der Freischutz, it demonstrates that Molique must have the . The piece is in three movements, of been a superb player. He also wrote a concerto for Boehm which was piano maker and amateur flutist, Walter Broadwood, it reviewed after a performance in Leipzig in 1824 - is quite beautiful. As has been mentioned earlier the use 'Although the composition performed by Herr Boehm of two violas seems to imply a more serious intent than is not a work of genius and shows here and there too that of a typical flute quartet, and although the opening much of the influence of Spohr, it is nevertheless an hon- Allegro is in D Major the first entry of the flute is in the orable addition to the repertoire of the instrument'. The minor mode. The Scherzo is in D Minor, though the trio concerto was not published at that time though it is is built around an English folksong in the major mode. presumed that this is what has been recently edited and the elegant Andante is in Bb Major, but the contrasting recorded by Alain Marion using a manuscript in the Wurt- middle section is again in the minor mode. The bubbling temberg Library in Stuttgart. In 1865 the Norwegian finale returns to the opening D Major. The texture flutist, Oluf Svendsen, played a concerto by Molique with throughout integrates the flute with the three strings, only the orchestra of the Philharmonic Society in London. It the second viola taking an accompanying role. would seem that this was a reworking of his early concerto, After I became interested in these composers some now designated Opus 69. A comparison with the Marion twenty years ago audience response to my performances edition shows that the outer movements are obvious encouraged me to record the concertos and quintets. I reworkings and that the Andante is new. Whatever has have now added the smaller piece's mentioned above to now become of the manuscript of the later version, it was create a CD of each composer's music. I hope that these obviously the source of several German editions after CDs along with this article will stimulate the further Molique's death (one of which was used in producing the investigation of the two Bernhards' contributions to our currently available Southern Music edition). The new repertory. Andante has always been a popular solo but the concerto as a whole is rarely heard. The opening Allegro is *John Wion has been Pn'ncipalF7ute in the New Yurk City Opera musically strong, though containing some awkward since 1965. His edition of the RombergFlute Concerto also his figurations and extended phrases, and the Rondo is Opera Excerpts are reviewed on pages 34 and 37. charming and appropriately brilliant. Of Molique's other works for the flute the most sub- The lithographs of Bernhard Molique and Bernhard Romberg stantial is his Quintet, Opus 35, with violin, 2 violas and are printed by courtesy of the . cello. Written in 1848 on commission from the English

Remembering Mr Moliky . m m an extract from Musical Reminiscences by my great grand-father John Francis Barnett, the Victorian Composer and virtuoso pianist. Editor

'. . . One of the first professional engagements I entered appeared on the following Saturday in the "Athenaeum"; upon, after my return from Leipsic [whereJFB had been for Chorley, the critic, came specially to our church to studying], was the resuming of my organ duties at the hear the new Mass. church of St. Aloysius, Somers Town, which I gave up Molique, although he had been so long in England, when I went to Germany. My father was still the conduc- never mastered the difficulties of our language. He tor and solo tenor; and I found the choir had increased often used to narrate in his broken English a little inci- in numbers and efficiency. dent that occurred when he made his first appearance as At this period ladies were allowed to sing in Catholic a juryman. He said that the usher of the court, on read- churches in London, which gave us an opportunity of ing over the names of those summoned, called out in a engaging well-known artists to represent the soprano and loud voice, "Mr Moliky". contralto solo parts in the Masses. Thus, about the year This mispronunciation of his name, Molique treated 1863, for some months Madame Rudersdorff, the cele- with silent contempt. "I deed not answer", he told us. "Mr q brated operatic prima donna, was our soprano. . . Then Moliky!" again shouted the usher. Still Molique was we had for our bass singer Mr W. H. Wiess, the Elijah of silent. the Birmingham Festivals, the finest bass voice of that "Mr Moliky! Mr Moliky!" was echoed through the period. . . court. Among the congregation who attended at this Then arose Molique and quietly said: "My name is church was a distinguished composer and violinist; no less not Moliky - but Molique", giving the foreign pronunci- a person than Bernard Molique, of continental reputa- ation of the i that acute effect so noticiable in foreign tion. I often saw him after Mass, and, as nearly all my tongues. voluntaries and postludes were extemporaneous, I was Molique appeared to be quite delighted at the dis- much gratified at his kindly remarks about them. He comfiture of the usher, who I expect revenged himself wrote a Mass especially for us, which we performed for by contriving to include Molique among the number of the first time one Sunday. A very favourable notice of it the jury. So Who is this Mike Mower? by Judith Fitton

The name Mike Mower keeps cropping up - his Itchy Fin- 'You must have been in a minority in those days with I gers music publications seem to be everywhere. Finger a wooden flute?' Busten, virtuosos pieces written for the European Flute 'Yes I think I must have been the only student there Convention in Frankfurt, Not thBon'ng StufJ; a wonder- playing on one. At that stage my aspirations were to be a fully flexible book for medium standard flute players classical professional flute player, to be in an orchestra. and Sonata Latino for flute and piano performed by I had been made first flute in the Repertoire Orchestra Kirsten Spratt and Elizabeth Mucha at the NFA Conven- when I arrived at the Academy and was pretty competi- tion in Orlando last July, where it brought the house tive about my flute playing. I was interested in jazz down and broke the sales record of any one piece sold though - had been since my last year at school and wanted at the Convention, to name but a few. to take the saxophone as my second study. The Academy l Who is this trendy, inscrutable, terse rather 'Latino' was adamant that I should not do so, they said it would looking young man whose group 'Itchy Fingers' can pack ruin my embouchure, so I went straight out and bought concert halls the size of the Cologne and Munich Phil- one and taught myself. I had to hide it from Gareth but harmonic Halls (capacity 2000) whose music has recently one of the advantages of Gareth was that he was blind in hit the flute network? one eye and if I met him around the Academy, I made The garden flat in a side road off Clapham Common sure that I passed him on the left. where Mike lives with his occupational therapist wife and 'My interest in jazz developed during my flute prac- 1 18 month old daughter seemed smallish for a musician tice - I used to spend hours and hours making up scale (where did he keep all his music, instruments, recording patterns in 3rds and 4ths etc to help develop my tech- equipment?) until he took me into the extension. It was nique and I became fascinated by them.' An amazing l a recording studio, built by himself. As well as all the demonstration of finger virtuosity all over (and above) recording gear, it was stocked with an Apple Mac com- the flute followed. 'I wrote them down and later on I puter on which Mike prints his own music (Itchy Fingers applied them to the saxophone. It used to drive Robert Publications), covers and all! And shelves (Ikea this time) Win [now first flute in the RP01 mad, he was at the RAM packed full of his compositions and arrangements for with me, he used to pester me, he just couldn't under- saxophone quartet and various sized bands. stand these weird things I was doing. Mike's background is artistic though there is no 'By the time I had reached my third year, I had given history of music in the family. His father was a metal work up all interest in a classical career and had formed my own teacher and his mother an art teacher - his older sister nine piece jazz band, made up of Academy students, Sarah is a successful fashion journalist. He was brought which I started writing for - we did gigs together. up in Bath and went to the City of Bath Boys' School, a At this point, I asked whether he had ever studied grammar school where he learnt the recorder routinely composition - he hadn't. I was also interested to know like the other children. He started the flute when he was how Gareth felt about Mike's changing musical priorities. around 12, with the school wind instrument 'peri', Nan- 'He never knew, I never said anything about the jazz side mor Davies, a clarinettist and must have shown some tal- of things to Gareth. We never had any lessons or coach- ent because 'my mother took me to a "Preliminary ing in jazz at the Academy but one of the professors, Mal- Advice Audition" at the RNCM when I was 16, to play to colm McDonald, a charming old man, was very

Trevor Wye. He told me to give up flute. He was proba- encouraging and helpful. In my second year, I did a two I bly right because my mother then decided that I needed week jazz summer course in Bany and met young musi- i a p-operteacher. I wasn't playing the flute properly at all, cians with whom I have worked ever since. didn't put my little finger down on the Eb key etc, so it 'I left the Academy in 1980 and freelanced - with my had a positive effect really. I then went to Frank Wilson band, now 12 piece, and jazz quartet, the Mike Mower a marvellous flute player who had been Principal Flute quartet which won a big competition, I think it was called l with the BBC Welsh Orchestra. He was retired but was a the Greater London Arts Association Competition. I also I real old character, I can't sing his praises highly enough. played in a flute quartet, the English Flute Quartet, run 'I made great progress with Frank and after taking by John Dodd, with Lawrence Joyce and John Hackett, A' levels, German and music, I got into the Royal the brother of Steve Hackett the famous guitarist in the Academy [where he is now an Associate - ARAM] on the Genesis pop group. I wrote the music and did gigs with performance course where I studied with Gareth Morris, them but basically for two years or so, I was scratching a playing my much loved wooden Rudall Carte flute.' living and was on the dole for a bit. CHRISTNAS AND NEW YEAR PRESENT,, ,, , , .

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I kept going with the Mike Mower Quartet and the more time writing.' band and as a result of doing a few broadcasts, was asked I wondered what had happened to his flute playing by some of the BBC producers to do arrangements for and when the interest in writing seriously for the flute had the Radio Orchestra and the Radio Big Band, I really got started. into writing then - mostly it was arrangements but I did 'In about 1988, I had my flutes stolen - nine instru- do some originals too. ments went altogether from this flat including three 'In about 85/86 I formed ajazz saxophone quartet, wooden Rudall Cartes. After that I didn't have a flute for the music I wrote and arranged for it was really a dis- about two years, I just thought S- - it I'm not playing the tillation of Big Band arrangements, in fact the quartet was flute anymore, I was so attached to my instruments - I was formed in the first place as a result of a saxophone quartet playing the saxophone so much anyway. A couple of years 'intro' to one of my band arrangements on the BBC which after that I bought a cheap Ubel flute, I thought from now had worked rather well - we called the quartet Itchy on I'm not going to get attached to any instrument. Then, Fingers. about four years ago, people began to ask me to write for 'Within six months of forming Itchy Fingers, we won the flute. Andy Thomson [of Top Wind and a fellow flute a prestigious national competition "Jazz Sounds 86". student at the RAM] asked me to write something for his There were several regional rounds which we made our wife Kirsten, so I wrote Doodle and Flightwhich she liked way through and then the final round was televised -an so much that she asked for something else. Then came hour long programme with seven finalists, bands from Fingerbusters and lately Sonata Latino commissioned by seven regions. We were the only one without a rhythm Kirsten as part of her prize for winning a South East Arts section, the only quartet, and we won! That was when my award. I've written quite a lot of things for beginners like career really took off. The next day, Virgin Records rang, Not The Boring Stuffand 12 Bite Size Pieces. I get all sorts of and we did a deal with them and made two records, also commissions, for instance I was asked to do the orches- promoters from abroad who had watched the pro- tration for the Polish entrants for the Eurovision Song gramme, contacted us and we were invited to play at the Contest a couple of years ago (they came second) but I prestigious Montreux Jazz Festival amongst other places. seem to get more for the flute at the moment.' We were sent on tours by the British Council too, we went What next I wonder for this innovative composer all around the world, to 46 different countries and we've whose music, so dazzlingly performed around the world been working as much as we want ever since although I'm at conventions and concerts by Kirsten Spratt, has bridged toning it down a bit now. I would really like to start a a gap in the modern flute writing scene - We await with different sort of band for a change and want to spend interest. Why Play an Open-hole Flute?

Marcel Mqse model flute by Couesnon, Paris with extensionsfor ease of playing. photo: COU~JYO~B. J. cha~ke

Robert Bigio suggests you probably shouldn't

Open-hole flutes cause muscle strain, are harder to play, Open-holeflutesforce you to develop a good hand position. harder to make and harder to maintain. Are they really necessary for you? I would like to give a few very good No, they don't. They only force you to cover the holes. reasons why they are not. That is not the same thing, and it is not necessarily the First of all, let me list some of the reasons people give best hand position for you. It is a bad idea to have your for recommending open-hole flutes: hands in an uncomfortable position.

All the best players use open-holejlutes. Open-hobflute make a better sound.

Well, no, they don't. Many, many great players have used Ifyou think this is true, then you should play one. Unfor- covered-hole flutes exclusively, and many have changed tunately, it is not true. In a blind test you would not be from open to closed holes late in their careers. Marcel able to tell what sort of flute someone else was playing. Moyse, no less, used a covered-hole flute. His instrument, which was built to his design by the Paris maker Open-holeflutespkty better in tune. Couesnon, even had extension keys for the second and third fingers of the left hand to reduce the strain caused Flute play well in tune if their holes are in the right places. by stretching to reach those keys. The right hand of It does not matter whether the flute has open-holes or Moyse's flute had built-up keys to bring them closer to not. The holes can be in the wrong places on an open- the natural position of the fingers. hole flute just as easily as on a covered-hole one.

You have to have an open-hole flute you want to be tah You need open holes to play glissandos and quarter-tones. seriously. I can't argue with this except to say that in twenty years No, you don't. You only need to play well to be taken of playing professionally I was never once asked to play seriously. What you play on is your business. a glissando or a quarter-tone. Ifyou regularly play the sort of music that requires these techniques then you should and the tops of the holes. Fast passages are always easier have an open-hole flute, or possibly even a quarter-tone on a covered-hole flute. Flute makers will all agree that flute. If you don't play this sort of music, why make your it is much harder to pad an open-hole flute satisfactorily. life difficult? This, plus the inevitable leakage through the fingers, There are many disadvantages to open hole flutes. makes open-hole flutes more difficult to play. Albert Cooper particularly dislikes open holes on the Thqr force your hands into aposition to suit theflute, not to suit left hand of a flute because of the worse high F# and the your hands. strain caused to the hand. However, he has occasionally made a flute with open holes on the right hand and With an open-hole flute your hands may be forced into covered holes on the left. This corrects some of the irreg- uncomfortable positions. The worst flute of all for strain- ular venting that exists on an open-hole flute and ing your muscles must be an open-hole, in-line one. Even improves the upper register. with my enormous hands I would not play such a flute. So, why play an open-hole flute?You almost certainly don't need one, and playing one might actually be bad Thqr make high H insecure. for you. Moyse recognised that. If a covered-holeflute was The great flute maker Albert Cooper thinks that the good enough for him, might one not be good enough increased venting on an open-hole flute makes high F#, for you? a bad note at the best of times, even worse. NB: The sharp-eyed reader may have noticed that one flute- maker uses a photograph of one of his open-hole, in-line Thq, make fast, staccato passages more difJicult to play. wooden flutes on his advertisements. Be assured, dear reader, that this is because the flute maker concerned firmly believes Tiny amounts of air will always leak between your fingers that the customer is always right.

Flute by Albert Cooper with cowered holes on the leJ hand and open holes on the right. BY courte~o/simon Hunt

E. Walckiers (1793-1866) Quartets for flute, clarinet, horn and bassoon, Op. 7 nos. 1 & 3 .- excellent chamber music F.R. Gebauer (1773-1845) Trio Concertant Op:32 NO.] for flute, clarinet in A (ob/clw in C) & bassoon

Hand made wooden flutes and headjoints. wooden . headjoints in wood and metal. K. Rachel Mall~~h overidge Gardens,

mail: [email protected]

WOODWIND INSTRUMENT standard and mstom-made REPAIRER Edward D. Kettlewell M.I.M.I.T. alto- and bassflutes 56 Leabrooks Road, Somercotes, Derby. open hole and quartertone Tel: 01773 603276 models available (4 mins Junction 28 M1)

European agent for Oston-Brannen/ Kingma system flute BRlAN CLOVER FLUTEMAKER Est. 1959 Eva Kingma ALTERATIONS - SERVICING - OVERHAULS Hoofdstraat 10,9444 PB Grolloo, 54 Buckhurst Way, Buckhurst Hill, Essex IG9 6HP The Netherlands,Tel/Fax (31) 192101619 Tel: 0 18 1-505 0557 A new series for young (and interested musicians) Masterclass by Nicholas Vallis-Davies

It appears that it is becoming standard practice nowa- Approaching Programme Planning days to offer promising young musicians the opportu- Whatever type of recital is being undertaken there is nity of giving recitals. My advanced pupils who find always one basic important consideration - how best to themselves in this position are generally unsure how to ensure that the members of the audience leave the approach such areas as choosing a programme, how to concert feeling more uplifted/inspired/generally better tackle spoken introductions, appropriate concert dress than when they arrived! etc. Therefore the new 'Masterclass' section of Pan This should be the central theme underpinning any seems an ideal opportunity to address these issues and, programme planning and it is a good idea to give some I hope, to offer some useful advice. thought to what may be the expectation of the audience. The first recital opportunities young people are For example, an audience for a lunchtime recital will be usually offered are either lunchtime recitals, or evening mainly made up of retired people and office workers in recitals shared with other young musicians. Alternatively, their lunch break and both these groups will undoubt- they may be asked to fill a twenty minute slot in a school edly be looking for a pleasant diversion. Therefore it is or community concert. wise to choose music of a melodic and accessible nature Generally, complete evening recitals are the domain (also bearing in mind that if the audience is demonstra- of professional players, bringing their own challenges, so bly pleased then this will have the added advantage of for the purposes of this article I will leave these out of the pleasing the recital promoter who may offer another equation. engagement in future . . .) New Series

A further important consideration for the less Stamina is another consideration, as a younger experienced recitalist is that any music chosen must be player may find their concentrations waning in recital well within their technical capabilities and hopefully will situations, sojuxtaposing demanding pieces is not a good have been performed (i.e. played in its entirety to at least idea. an audience of family or friends) as if in a recital situa- On a personal note, I have never found any justifi- tion. cation for avoiding the piano as an accompaniment to The first thing to decide when choosing the music - if a modern flute is to be used, and both is exactly how many works will be needed to fill the time players are sensitively aware of the stylistic traditions of alloted - a lunchtime recital of an hour's duration will the day. require around 45 to 50 minutes of actual music, not Music originally written for other instruments, for including applause, walking on and off, spoken intro- example the Schumann Romances, needs to be assessed ductions etc. It is a good idea to play four or five pieces on its own individual merits as suitable for the flute. In displaying a variety of styles from different historical my experience, audiences have always been very pleased periods or national characteristics. to hear good music played with integrity and sincerity For example, an interesting programme may contain whatever it may be. a 6aroque sonata, followed by an English or French sonata For the purposes of a youth recital it is usually best and/or a classical sonata, an unaccompanied piece or to avoid longer works such as the Prokofiev, Reinecke or piano solo, and ending with a more virtuosic work and Franck sonatas or the Schubert Introduction, Theme and possibly an encore: Variations,as these are very demanding for younger play- ers in terms of retaining the intensity of the music. Also, Handel Sonata in F Major J. S. Bach Sonata in CMajor for a programme lasting an hour these works would over- Mozart Sonata in C Major Schumann ThreeRomances balance the programme. Honegger Danse de la Cbe Poulenc Sonata For a shared evening recital or a shorter solo spot or a Piano solo the same basic principles apply, but it is important to liaise Lennox Berkeley Sonatina Chopin Variations carefully with the person with whom the recital is to be Doppler Fantasie Pastorak on a theme of Rossini shared to produce a balanced programme as a whole. For Hongroise example, a clarinettist, who would not include baroque Encore: FaurC Sicilienne Encore: Gossec Tambourin repertoire, would probably hope a -flautist colleague

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The Musicians Benevolent Fund exists to 'RI enjoy theirgenerosiball you need to do is help professional musicians who have fallen on telephone 0171-636 4481 or write to hard times and whose future look bleak Mrs Michal Thylor at the address below We can provide you and your dependants with financial advice and assistance If you're elderl~we can offeraccommodation. BENEVOLENT FUND The Fund is financed by music lovers who 16 Ogle Street, London W1P 8JB Patron. HM The Qwen feel their appmiation should go beyond applause. Regstered Chanty ~umbe~228089 New Series would ensure this musical style would be included. However, younger performers are not generally Sometimes an artist will have to conform to a equipped with this sort of concert wear, so dinner-jacket programme that follows a theme (e.g. 'Music and the or small suit/jacket with tie or Laura-Ashley-type dress will Sea') which of course limits the choice of pieces. How- respectively suffice for younger males and females (leave ever, leaving aside themed programmes, it is always best the DMs at home!). to include a broad variety of different styles. It is much I was once told by a well-known concert promoter: more interesting for the listener, and learning a wide 'audiences listen with their eyes!' It is therefore worth spectrum of music from different periods and styles is sure remembering 'before a note is played an impression has to aid the musical development of the young performer. been made', so it is important to make an effort in this direction. Having said all this, there is a trend away from Encores the most traditional concert wear - silk shirts etc. But It is always worth leaving time to play at least one short these experiments are probably best left to the established encore, usually virtuosic in nature - maybe Gossec's artist. Tambourin or the Minute Waltz. Alternatively, a popu- Spoken Introductions lar slow melody such as the Faur6 Sicilienne is often much appreciated. This is the aspect of performance that young performers seem to find most cringe-worthy! However from my own Concert Dress experience of professional recitals I know how very Promoters expect a high degree of conformity from much verbal contact is appreciated by the audience. their artists as regards concert wear. This is because the Spoken introductions do have the effect of 'warming up' members of their audiences like to make an event of the atmosphere, breaking down the perceived barriers their outing and naturally expect the musicians to play between observer and performer. (However, if the recital their part in this. happens to be in one or the London concert venues it is In the world of professional classical music, dress for worth noting that it is not usual practice to speak to these an evening concert for men consists of tail-coat, black audiences). trousers and black shoes, white bow-tie and white In general, it is enough to announce clearly the cummerbund (not forgetting black socks!) and for pieces to be played and then say a short sentence or two women full length evening dress. For lunchtime concerts about the composer. For example: 'The next piece we men wear a dark suit, white shirt and dark shoes, and shall play is the Sonatina by Lennox Berkeley. It was women usually wear a calf-length smart dress. conceived- originally for recorder and composed for Car1 HINDHEAD FLUTE WEEK 1996 COLLEGE ATARAH BEN TOVIM

THE EDWARD JAMES FOUNDATION in residence JULIE WRIGHT flute masterclasses OrganiserlResident Tutor The sixth year of this hugely successful course, which has consistently attracted flautists from all over Europe. The course offers a unique mixture of workshops and master- classes given by world-class artists, together with ensemble and technical work under the expert guidance of resident 21-26 July 1996 tutor Julie Wright and her colleagues.

THE FLUTE MASTERClASSES ARE AN EXCELLENT OPPORTUNIM The course is intended for the keen amateur, adult or child, FOR INTENSIVE STUDY ON PERFORMANCE, TECHNIQUE AND and is open to flautists from around Grade 3 upwards. INTERPRETATION FOR FLAUTISTS OF GRADE V AND UPWARDS. There are special classes for adult learners. OBSERVERS ARE ALSO WELCOME TO APPLY. We offer a very friendly atmosphere in our comfortable old THE COURSE IS PART OF A SUMMER PROGRAMME OF EVENTS, county house, with excellent home cooking, six acres of CONCERTS AND MASTERCLASSES WRH ESTABLISHED MUSICIANS. gardens and a heated swimming pool. ALL STUDENTS ARE INVITED TO ENJOY THE PLEASANT AND ELEGANT SURROUNDINGS WHICH MAKE WEST DEAN A UNIQUE ENVIRONMENT IN WHICH TO WORK, LEARN AND RELAX. Sunday 21st - Thursday 25th July Please write or 'phone for further details, brochures and bookings. DETAILS OF ALL COURSES ARE AVAILABLE FROM: ROSEMARY MARLEY, WEST DEAN COLLEGE, WEST DEAN, CHICHESTER, WEST SUSSEX P018 OQZ HINDHEAD MUSIC CENTRE F (01243) 81 1343 Hindhead Road, Hindhead, Surrey GU26 6BA. Tel(01428) 604941 New Series

Dolmetsch in 1939. There are three movements: Moderato; such as competition successes, youth orchestra Adagio and Allegro Moderato.' membership etc . . . Stage Deportment A Final Note The usual procedures for walking on and off the platform In conclusion, an obvious and vital element in all concert while graciously receiving the applause are as follows: The giving is that the performer should be able to commu- performer walks on to the platform with the accompanist nicate their enjoyment of giving the concert, as this enjoy- to the applause which will begin by itself (if it has not ment is then passed onto the audience. As there is already been started by the promoter). They then stand nothing worse than watching a self-conscious performer side by side in front of the piano and take a brief bow it is important for the young player to develop an air of together while smiling in a welcoming fashion! Tuning self confidence on the concert platform. This auto- is the next stage. matically tends to be the result of experience. However At the end of the piece, the flautist looks over to the the better prepared the performer is, the more con- accompanist and the two stand again side by side and take fidence they will be able to project, which means plenty a longer bow. If the piece was substantial, or either ends of rehearsal, practice and 'mock' recitals to anybody who the recital or occurs before the interval, it is appropriate will listen. for the performers to walk off together, returning to bow Finally, the aspiring young musician should take again if the applause warrants this. If the piece is short every opportunity to attend as many professional recitals or in the middle of a programme, it is usual to stay in as possible as this is by far the best way of absorbing the art. position after the first bow, acknowledging the applause, until it is time to move onto the verbal introduction to the next piece. Nicholas Vallis-Davieshas worked as pnncipalflute with many Providing Publicity Material of the country's leading orchestras, including the LSO. More A brief note on what is generally expected if photo and recently he and his wife, the oboist Sean Vallis-Davies, have biography are required. The photo should be black and completed a series of recital engagements with their chamber white, clearly in focus, of the performer in concert dress group, culminating in their own programme for Channel 4W. holding or playing their instrument. Keep the biography They now direct a publishing company -Karaoke Classics Ltd brief and informative outlining any musical background and enjoy teaching advanced students at their home in Dorset.

William Bennett ELENA DU~NFLUTE COURSE and the International STRATFORD INTERNATIONAL FLUTE FEsmAL Flute Summer School STRATFORD-UPON-AVON at 19 JULY3 AUGUST I Bath, England

EUROPE'S MOST EXCITING FLUTE COURSE AND FLUTE FESTIVAL

FLUTE ORCHESTRA WITH COLIN FLEMING MORE THAN TWENTY FIVE CONCERTS ALBERT COOPER COMPETITION WILLIAM SIMMONS PRIZE Course I 12th -- 18th July 1996 FULLY RESIDENTLAL Course 11 23rd - 29th July 1996 write to: William Bennett Flute Master Class 50 Lansdowne Gardens Further details from Stockwell THE ADMINISTRATOR, P.O. BOX 007, LondonSW82EF STRATFORD-UPON-AVON CV37 9BG England TEL: 01789-269247 FAX: 01789-269843 Fax: 0171-498 1155

Gustav Dubusc. Engraving 6y crmrtesy ofrh.4 Royal College of Music.

Why Play an Old Instrument? by Rachel Brown

Well why not? Actually there are lots of good reasons off forever. Life never gets less busy, so if you want to do why not! Maybe it's too expensive to buy two instru- something enough, you'll find the time somehow. ments, or you haven't got time to practise both, or it's Learning new fingerings is the easy part! The holes just not the right time to spread your interests. Perhaps are further apart too, which feels odd at first. It's rather you're worried you'll get the fingerings muddled up, or like learning another language. The words are different lose your hard-earned lovely tone or confuse your sense but it's quite possible to be fluent in both. Getting the of style. Maybe you just don't like it! accent right is perhaps more difficult. (Imagine French Of course it's expensive owning two instruments, and spoken with an English accent). If you insist on one way then there's the insurance, the lessons and even more of playing, if you apply note for note to your modern flute music to pay for. But unless you buy the equivalent of a what you learn on baroque, you'll certainly be in trouble. Stradivarius violin, old instruments are usually much For instance, C# on a baroque flute is often flat, so you cheaper than modern ones, and the price of a newly- have to lip it up. If you do that on modern flute your C#s made copy is a fraction of the cost of a hand-made silver will sound absolutely dreadful, that's if they're not mis- flute. The very best makers don't charge that much more taken for Ds! A bit like a charming word in one language than the less well-known, so it's possible to find an excel- turning out to be quite offensive in another. Your lent instrument relatively cheaply. (My two favourite embouchure will have to learn to be far more flexible and baroque flutes both cost less than 51000). most modern flute players find this an enormous bene- Time to play two instruments may well be a real prob- fit. Your sound will hopefully be inspired by what your lem - I know the feeling. If your teachers feel strongly that instrument offers. It may take a while to separate the two you need to concentrate on your modern flute technique sounds in your head. Be patient! Playingwith less vibrato right now, no question about it, follow their good advice. may or may not seem strange, but any vibrato ought to Get on with everything they've set you and sort out your be able to be controlled, varied or taken away anyway. playing so you'll be a better flute player if you ever do try Maybe you think you don't like old flutes, or you're an old instrument. But ifyou're really keen, don't put it bored with Handel and you can't get the hang of all those Back Scnak &I, E mirt trills. What about all the fantastic music by Telemann, didn't like it, you would slate the violinist, but you Leclair, Rameau, Monteclair, Hotteterre, Couperin, wouldn't write off the violin. So if you hear me (a few Marais, C. P. E. Bach, not to mention the great J. S. enquiries had established he hadn't heard anyone for an himself? If you don't yet know any sonatas or chamber awful long time), and don't like it, by all means say so, music by these composers you haven't lived! Craving good but don't dismiss the instrument or anyone else who music is the best reason for playing 'early music'. The flute might do better'. repertoire is woefully short of masterpieces, but there are Old instruments can be much lower in pitch, and the lots of gems which are rarely played. Much of the baroque lower the better! Just like a contralto voice as Quantz ensemble music is first rate. described. His articulation patterns give a lilting quality A few years ago I had the misfortunate to sit oppe to detailed phrasing as in example 2. site a music critic on a long train journey. He persisted My recorder teacher had shown me Telemann's in talking to me all the way home, and when he discovered Methodical Sonatas which I found fascinating. You can what I did for a living, his actual words were 'Do you mean have so much freedom to improvise ornamentation as, to say you actually like playing your baroque flute with all for instance in example 3a which could be played as in its out of tune notes and uneven tone quality?' Actually example 3b. the first few times I heard a baroque flute I didn't Playing each piece of music on an instrument of its particularly like it. On the first occasion I sat at the back time makes everything feel modem. You have much more of an enormous concert hall and I simply couldn't hear sense of how daring the composer was, how he stretched it. I hate to admit it but I was so tired I fell asleep! The the instrument. Beethoven, for instance had a troubled recorder seemed a much nicer sounding instrument - till life and the struggle comes out in the music, especially I heard the baroque flute played really well. Eventually I when he demanded more out of the instrument than any- tried one and discovered many things that had never one had done before. The standard top note of a classi- occurred to me before. It wasn't easy. My first flute wasn't cal flute is A (in third octave above middle C). Mozart very good and I struggled. But after a lot of hard work almost never used it. Beethoven's 9th symphony is full of and some inspirational lessons with Lisa Beznosiuk I top As. While it's quite possible to play this note, it takes found that all those 'out of tune notes', could be solved a lot of stamina to keep playing it, fortissimo, then a long and could produce a beautifully mellow tone quality pianissimo held note, then jumping up and down, then unlike any other flute or any other baroque instrument. fast tongued passages with it, and more fortissimo fol- These special notes give a whole new meaning to chang- lowed by a beautiful phrase ending with A and a ing from one key to another. D major sounds bright and diminuendo; etc! It's the equivalent of doing all this with happy, E major transparent and sparkling, Bb major light top D on a modern flute. Keep this up for a three hour and airy, F minor weak and desperate, B minor strong and rehearsal and a hot concert or days of recording sessions solemn. Even the use of certain notes within a key have and you sense all of Beethoven's inner turmoil! added significance because of their individual colour. People often ask 'Wouldn't these composers have Compare for instance the last three bars of the first move- wanted to hear their works on an improved instrument?' ment of Bach's E minor sonata with a similar passage, bars I'm sure they would, and all this talk about old flutes 7-9 (See examples la and l b) . shouldn't put anyone off playing old music on modern The flute part is almost identical though the har- flutes. But many composers understood exactly the mony is quite different. Both times the G# and D# are nature of the instrument they were writing for and expressive notes because they are dissonances. On the created something specially suited to it. modern flute you could choose which one.is stressed Many of these things are possible to create on a more, or both the same if you wish, but on the baroque modern flute, but apart from anything else, wooden flute, the instrument dictates: G# has a naturally tender, instruments look so beautiful. There are no two pieces introverted quality about it, because it is produced by a of wood the same, so every flute will be individual, both forked-fingering (one open hole and some closed ones in looks and response to being played. Even Boehm who lower down); if you force it, it will either go very sharp or invented the silver flute, loved the sound of wood and split. You can try to make D# match, but it is a good strong advocated a wooden head-joint with a silver body. note and can cbnveniently lead back into the cadence with Is it possible to play two instruments well? As well as quite a dark sound. The F natural is quite unexpected and it is possible to speak two languages. Some people are could be emphasized or drawn attention to in a hushed multi-lingual. The hardest problem is juggling your work manner. Middle F is one of the few forked fingerings that so that you have time to prepare for the next concert on can be played with an intense sound on some one-keyed one instrument while working on another. flutes, but it is more easily controlled if blown gently. All Next time you have a chance to hear an old instru- this and more can be achieved on modern flutes, but the ment in public, sit close enough so you can actually hear baroque flute's 'limitations' guide your interpretation. it! Ask to have a look at it. Look out for instruments on To that critic I could only say 'If you heard a violin display at flute days. Find out what models are available played out of tune, with uneven tone quality and you before rushing out to buy! The British Flute Society is proud to announce the Emily has won major national and international February Flute Festival which will take place in the beau- awards including top prizes at competitions in Prague, tiful surroundings of Dulwich College in South London. Japan and Paris. She has given recitals and concerto Dulwich College's famous Great Hall will be the setting performances throughout Europe. The Young Concert for recitals and mass flute choirs, while the splendidly- Artists' Trust (YCAT) selected Emily Beynon for repre- appointed Music School will provide the best possible sentation in June 1994. facilities for workshops and small ensembles. In June 1995 Emily took up an appointment as The Festival will provide an opportunity to play, to principal flute in one of the world's greatest orchestras, learn, and to hear the very best of flute playing. the Royal Concertgebouw Orchestra of Amsterdam. In a welcome return home, Emily Beynon, the Emily and her sister Catherine have released their brilliant young first flute in the Royal Concertgebouw first CD of British music for flute and harp, including the Orchestra of Amsterdam, will be giving a recital with her Bax Sonata and the Alwyn Naiades, both ofwhich they will harpist sister Catherine. Rachel Brown, baroque flute be performing at the February Flute Festival. player extraordinaire, will run a workshop on playing baroque music on the modern flute and will give a short recital. The ever-popular Clare Southworth will make us all fitter with a gallop through some Flute Aerobics. Robin Soldan will conduct us in a mass flute choir. Dulwich College's Lower Hall will provide a splen- did setting for trade stands. Come and see the best in flute music and recordings, and try out the flute of your dreams.

Flute Choir workshops: Following the huge success of the flute choir coach- ing at the Birmingham Flute Day in July we have arranged to expand the event. Flute choir specialists including Julie Wright, Ann Cherry, Hugh Phillips, Robin Soldan and others, will be on hand to coach existing ensembles, who will have an opportunity to Keitli Si~unders perform to each other and to the entire audience. Catherine Beynon Flute choirs will quallfy for a special admission price Catherine Beynon studied at thejunior department of the of 55.00 per member. Royal College of Music and then at the Royal Academy If you are a director of a flute choir and would like of Music where she studied with Daphne Boden. She later your choir to participate, please contact the Festival studied in Lyons with Fabrice Pierre. Catherine has won organiser, Robert Bigio on 0181-882 2627 (fax 0181- many prizes, including the Audi Junior Musician of the 882 2728). Year Competition. Catherine has played principal harp in the National Admission to the February. Flute Festival: BFS Youth Orchestra of Great Britain, the London Phil- members 59 (children and students £6). Non-members harmonic Youth Orchestra and the European Com- £12 (children and students 59). Pre-booked tickets 51 off munity Youth Orchestra, working with some of the from Jenny Wray, The White House, Hatton Green, world's finest conductors and soloists. She has appeared Hatton, Warwickshire CV35 7LA. Telephone 01926- as soloist with the Philharmonia Orchestra and the 850000 (office hours). You will need to bring a music London Chamber Orchestra. stand and a packed lunch. Emily and Catherine Beynon will be performing in YCAT's Lunchtime series at the Wigmore Hall on 5 Emily Beynon March, 1996 and will be soloists with the English Chamber Orchestra in Mozart's Concerto for flute and harp at the Emily Beynon was born in 1969 in Swansea. She studied Queen Elizabeth Hall on 21 March, 1996. at the junior department of the Royal College of Music Their programme at the February Flute Festival will and then at the Royal Academy of Music with William include the Bach G Minor Sonata, the Carmen Fantaisie Bennett. She later studied in Paris with Alain Marion. by Francois Borne, the Bax Sonata and Alwyn's Naiades. Clare Southworth - Flute Aerobics Clare Southworth enjoys a successful and varied career as performer, teacher and author. She is a flute player acclaimed for her sensitivity, musicianship and captivat- ing performances. Clare studied at the Royal Northern College of Music. She won a number of prizes in England and abroad, including first prize at the National Flute Competition in America.

Robin's flute group, Erithacus, which won the BFS flute choir competition in 1994, performed at the London Easter Flute Festival at the South Bank in April, 1995.At the February Flute Festival Robin will be conducting mass flute choirs in some of his own, brand-new arrange- ments. Bring a flute, bring a stand, and come and enjoy yourselves! Rachel Brown - Baroque Music Work- shop Rachel Brown studied at Manchester University and the Royal Northern College of Music as a student of Trevor Wye, Lisa Beznosiuk and Stephen Preston. She graduated with distinction in 1984, the same year she won first prize in the American National Flute Association's young artist Clare Southworth is recognised as one of the coun- competition. She has since pursued a busy career on try's leading flute teachers. She is professor of flute at the baroque, classical and modern flute. Formerlywith Kent Royal Northern College of Music. She has taught at Opera, she now plays principal flute in the Academy of masterclasses at home and abroad. Clare is director of Ancient Music, the Hanover Band, Collegium Musicum Lakeland Flutes and founder member of the Just Flutes 90 and the Brandenburg Consort. She has performed Summer School at Woldingham. She has written Flute throughout Europe, America and Japan and has made Aerobics, Sequentials and Light Aerobics and can be heard many recordings. Rachel teaches at the Royal Northern on two solo CD recordings. College of Music. She is currently working on a book on Flute Aerobics is the name of Clare's exercise class the baroaue flute. designed to make you fitter on the flute. It is a method of warming up and extending technique which can be adapted to players of any standard. Bring your flute, music stand and, if you have them, copies of Clare's books. We will provide them if you need them. Many aspects of flute technique will be covered including posture, breathing, tone, pitch control and articulation, with lots of helpful hints along the way. Best of all, it's fun! So, join in and get warmed up for the rest of the day. Robin Soldan - Flute choirs Robin Soldan has been involved with flute choirs through- l out his career as a flute teacher. His groups have ranged .1 from quartets of students like 'The 4Cs' who represented At the February Flute Festival Rachel will conduct a UKMusic for Youth abroad, to the 70-strong flute orches- workshop on the Handel Sonata in A minor, Op. 1, no. tra 'Flautissimo' which has performed at two ~choolsProms, 4. She will deal with phrasing, articulation and orna- at the Festival Hall and on television. He also conducted mentation specifically for players of the modern flute. several thousand players at the Barbican Magic Flute Days. Please do bring your flute and take part! How to get to Dulwich College By car: The vehicle entrance to Dulwich College is in Dulwich Common, which is also known as the South Circular Road (A205).There is plenty of parking. By train: West Dulwich Station (British Rail) is an eight minute walk from the College. This station is on the line from Victoria to Sevenoaks by way of Beckenham Junction, Bromley and Orpington. There is a Sunday se~cefrom Victoria leaving at 0938 and aniving at 0946. (Please confirm these times with British Rail.) Tulse Hill Station (British Rail from Charing Cross and London Bridge) is a fifteen minnte walk. Gipsy Hill Station (British Rail from Victoria via Clapham) is a twenty minute walk. By bus: Bus routes 3, P4 and 115 pass close to the College. Other nearby routes are 2,2b, 12,37,40,63,78 and 227. 92 The Flute Player: The Elena Dur6.n Flute Course presents The Magic of Mozart

A public Masterclass and Concert to celebrate Mozart's birthday given by Elena Durk in the Shakespeare Institute, Stratford-upon-Avon on Saturday, 27 January 1996 10 am-12.30 and 2 pm-4.30

Elena will work on the Mozart Flute Concertos with students from the Birmingham Conservatoire and accompanist Zoe Smith The Flute Course: The afternoon session will conclude with a short concert THE JONATHAN SNOWDEN FLUTE SCHOOL of music by Mozart played by the students ATWORTH a glass of wine and a piece of birthday cake WILTSHIRE AUGUST 10th-16th 1996 Admission: £5.00 for both sessions (concessions £4.00) Flute Students free of charge CAN YOU AFFORD TO MISS IT? For information please contact: Further details from THE ADMINISTRATOR, P.O. BOX 007, Jonathan Snowden Flute School 23 Egerton Gardens STRATFORD-UPON-AVON CV37 9BG London W13 8HG TEL: 01789-269247 FAX: 01789-269843 Tel/Fax: 0181-998 7788

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. impulses via the auditory nerve to the brain. If some of these hair cells are damaged or degenerate, an unbalanced or ir- Protect regular sequence of nerve signals reaches the brain and mani- fests itself as tinnitus -which may initially affect only one ear but often appears later on the other side. your The onset of tinnitus, in any degree, can be the source of anxiety or fear that it may be the forerunner of a more serious condition such as a brain tumour, cerebral haemorrhage or complete deafness. Fortunately, however, these fears are Hearing groundless and though the initial symptoms may be confus- ing and distressing, the tinnitus in itself is harmless and does not lead to total deafness. Many people find that the incidence of the tinnitus increases or decreases according to certain circumstances: it may be aggravated by stress, loud noise, some drugs such as aspirin and quinine or reaction to some foods or drinks - particularly caffeine and alcohol. But although there is no treatment which can abolish the noise itself, the intrusive sound is not going to become louder or more insistent just with the passage of time; and there are a by Anthony McColl considerable number of ways in which some relief can be provided.

In the last issue I attempted an assessment of the The Royal National Institute for the Deaf estiinates that about 85% of those who experience tinnitus do not find it disturbing potential damage to hearing caused by noise levels or a particular cause for anxiety: they may wish that they generated in various kinds of musical performance, could be free of it, but having undergone a thorough examina- tion by an ear, nose and throat specialist, followed by a diag- to supplement the established knowledge that nosis and some explanation of the symptoms, they are able to exposure to excessive noise of any put the tinnitus noise firmly at the back of their consciousness and pursue their lives and activities without noticing it. But kind can cause severe damage to the for a minority the tinnitus is perceived as a threat which will complex structure of our hearing mechanism and interfere with their concentration, their recreational activities and their sleep: and the more they become obsessed by these lead to permanent loss of hearing. possibilities, the more insistent the tinnitus seems to be. For these people, a professionally directed course of counselling and retraining therapy can be undertaken, by which the ne of the undesirable effects of such hearing loss can patient is helped to learn that the tinnitus is in reality a 'sound 0be the advent of tinnitus - noises which are heard of nature' - a meaningless noise originating in the ear but not continuously 'in the ear' or 'in the head' and which an internal threat. When this important fact is known and do not originate from sounds outside us. These sounds may accepted, work can begin on 'reprogrammir&' the networks be variously experienced as ringing, whistling or buzzing and of nerve cells in the subconscious part of the brain beyond the they vary greatly in intensity and volume between individu- inner ear so that the need to hear the tinnitus may be greatly als. Some temporary experience of tinnitus is a fairly common diminished. This process of relearning will take a long time to symptom - affecting 10% of the adult population - and while achieve habituation, but it can when successful lead to a children can also experience tinnitus, it more usually mani- situation where the signal is no longer recognised and there- fests itself in middle age or later years. Some 5% of adults find fore the tinnitus is no longer heard. their sleep disturbed by the noises; but only 1%find the whole quality of their life affected severely by the condition. For musicians, the presence of tinnitus may be thought to hinder that effect to hear in their head the sound which they The causes of tinnitus apprto be principally connected with wish to produce on their instruments or with the voice, which hearing disorders caused b;y ageing or exposure to loud noise, is such an important element in learning to play or sing - either in the present or the past. Sometimes it manifests itself indeed, which provides the original impetus towards musical quite suddenly, possibly after a head injury, a sudden expo- performance. In effect, however, the sounds we produce by sure to noise or syringing of an ear for the removal of wax. It playing or singing mask the tinnitus and become the focus for can also appear as the side effect of a drug: but for many our imaginative concentration: though there are doubtless people it is difficult to recall exactly when it began. Usually some musicians - both men and women - among the 5% of the root of the disorder lies in the delicate and elaborate the population who suffer moderate annoyance from the con- structure of the inner ear where the cochlea -a coiled tube like dition. In this context, the most famous name in musical a snail's shell - contains some 13,000 microscopic hair cells history was the composer Smetana whose prolonged periods which receive sound waves and transmit them as electrical of ill health and final insanity were accompanied by a severe tinnitus. In his in E minor - entitled 'From my In previous issues we discussed the life' - Smetana graphically portrayed the searing reality of the sound in his head in the last movement, where the progress of hazards to musicians of their work- the music is suddenly interrupted by a piercing high E sus- ing environments - with sound lev- tained on the violin. But despite his intense tinnitus and other distressing ailments, Smetana continued to compose until the els of playing reaching l l2dB and last months of his life. on-stage explosions of over I2OdB - and some of the solutions. Many In recent times,.various drugs have been tried with a view to relieving tinnitus noise, but without any worthwhile results: adults are worried about the dam- and the use of acupuncture has also proved ineffective. So age from sound levels to the hearing therapy nowadays is directed towards helping a person to of the young disco and personal come to terms with the condition. This can take a variety of - forms including relaxation training to reduce tension and stereo levels are alarmingly high. stress; first by learning muscular techniques which can then What is more, many musicians try engender mental relaxation. Another aid is the use of a tinnitus masker. This device looks like a hearing aid and generates a to reproduce music on hi-fi systems 'white noise' in the ear which can render the tinnitus inaudi- at unsafe levels to recall those at ble. But, more importantly, the 'white noise' it produces con- work. A new product from tains all the available frequencies, and if experienced at a low intensity, so that the tinnitus itself can still be heard, the 'white ETYMOTIC RESEARCH may be of noise' stimulates the nerve cells in the subconscious so that interest and value. they may more easily be retrained with the help of counsel- ling. Much research is being carried out, around the world, into the manifold causes of tinnitus: but in the meanwhile, ER-4 series Canal PhoneTM Earphones The Royal National Institute for the Deaf operates a Canal Phone Earphones are in-the-ear, high-fidelity transduc- tinnit us helpline where you can speak to someone about ers developed specifically to combine flat frequency response your difficulties or problems - Tel. 0345 090210 Mon. to with isolation from external noise. The ER4 earphone is light- Fri. 10.00 - 3.00. They also have a tinnitus information pack weight and couples to the ears with 3 flanged eartips similar and various fact sheets which are available free of charge from to those used in our ER-20 Hi-Fim '~arplu~.It provides 20- - R.N.I.D. Tinnitus Helpline, 2 Pelham Court, 25dB of external-noise exclusion, allowing the listener to hear Pelham Road, Nottingham NG5 1AP. the full dynamic range of external noise. There are two ver- sions of the ER4 earphones: the ERAS and the ER4B. They are the same price, but differ in frequency response. The ER4 S is designed for stereo listening, monitoring and recording, and the ER4B is intended for specialised binaural recordings.

The ER4B (binaural) earphone was developed from our ER-l flat diffuse-field-referenced audiometric Tubephonem Insert # Earphone. A flat diffuse-field-referenced response means the eardrum-pressure response of the earphone is compared to the eardrum-pressure response in a diffuse sound-field. A diffuse sound field is one in which sound amves from all directions with equal probability and energy. For the binaural recording enthusiast, the ER4B is an ideal earphone for use Hand made flutes with material not equalised for loudspeaker playback.

of distinction The ER4S (stereo) earphone is essentially the same as the ER- 4B but has an equalised high frequency response. The ER-$S Introducing the Conservatoire model, has approximately 5dB less output at lOkHz than the ER-4B. latest in a range of Why? Most stereo recordings have been equalised, electroni- highly acclaimed instruments cally or by choice of microphone type and placement, to sound good with mainstream 'good' loudspeakers in typical For further infmtion contact: living rooms. The ER4-S is well-suited for all types of stereo recording reproduction. Stephen Wessel Millbrook House Noise exclusion and the reproduction of musical detail by the Alhampton ER4 earphones creates a unique listening experience. Many Shepton Mallet recording or listening environments have sufficient background Somerset BA4 6PX noise to make accurate monitoring difficult.The typical ambi- Phone or fax: (01749) 860047 ent noise in home listening environments (43dBa) produce the equivalent of a 23dB hearing loss (Killion, 1978). Weak sounds are masked, but high-level sounds are unaffected. Thus, quiet musical passages can't be heard unless the volume is turned up beyond levels that are more realistic for the more intense sounds. At this amplification, moderately loud inputs may overload the ear, producing the equivalent of 5-10% distortion above lO0dB SPL (Killion, 1980). Such unrealistic levels also change the quality of the sound: "A harmonica blown up to the dimensions of a theatre organ is a new and different instrument." (Villchur, 1962)

Decreased listening levels also allow for longer periods of safe listening time. The following table includes data for the more conservative 85dB equal energy (EE)approach as well as the U.S. OSHA standard for average safe hours per day versus Ventus digiti ra idi listening environment level. For example, according to OSHA Inhabiting higher elevations anfhown for its standards, an individual in a 115dB environment can safely fleetness and agdily, the flute can often be seen only as a blur as it reaches its highest speeds. listen for only 46 hour before risk of hearing damage. With 20dB on environmental noise exclusion, this individual could safely listen for 4 hours assuming the same simal to noise I ZOOLOCY I T-SHIRTS E

Custom earmoulds can be made for use with the earphones. Top quality white T-shirts and sweat-shirts, available in small, medium, large and extra large. For more information and to order the ER4-S (cost E295 in- T-shirts £ 12.95, sweatshirts £21.95 inc P&P. Many cluding VAT and custom-made fitting) contact: instrument designs available other than the two shown here. MBS Medical Current dock includes flutes by by Altus, 129 Southdown Road Armstrong, Buffet, De Ford, Emerson, Gemeinhardt, Haynes, Jupiter, Lamberson, John Harpenden Lunn, Mateki, Miyazawa, Muramatsu, Oxley, Herts AL5 IPU Pearl, Powell, Rudall Carte, Sankyo, Takumi, Tel. 01582 767218 Toulson, Trevor James, -. ~omaha,Michael Allen, Ewen SPECIFICATIONS MCDougall, Wicks, Zentner. Frequency response: 20Hz-16Wz +/- 4dB; 50Hz-1OkHz +/- 2dB Extensive (re 4 8/45 cunnes) selection of new, Weight: Less than 28 grammes (1 ounce) second-hand and Cord supplied: 4 foot cord with 35mm stem phone plug special offer flutes, recorders, Windi Monumentus Thereare fist a few ofthe untamed animals yl accessories hiat john Myan woodwind 6. ~raxr!!! and sheet music. Competitive prices with friendly knowledgeable Printed by kind permission of Double Reed the magazine of serviie from brofessional musicians. Phone for the British Double Reed Society FREE 1995196 catalogue and our second hand & special offer lists. Tel: 01462420057

FLUTES, NEW & USED IN STOCK. COLLECTORS' ITEMS OFTEN AVAILABLE NEWCASTLE MUSIC 57 Nightingale Road, Hitchin, Herts. 7 1 WESTGATE ROAD SG5 1RQ Tel: 01462 420057 Fax: 435464 NEWCASTLE-UPON-TYNE NE1 1SG Open Tues - Sat 9.30 - 5.30 Tel: 0191-221 0595 A Flute Orchestra in the Dordogne

Sue Ogilvie (a participant) writes . . . Richard Walsh (a non-flautist) writes .. . Our destination was Chateau de Pitray - a paradise Picture a country church, deep in the Dordogne, a beau- situated in the most mystical and idyllic surroundings tiful, dark, old edifice whose glory is its frescoes, faded overlooking the Dordogne river. A perfect setting for now but still clearly to be seen, filled to the brim with hard graft, relaxation and music making. people, chattering expectantly. Notjust the whole village, The owner of the Chateau prepared the orchestra but half the surrounding countryside had turned out to each day with one of his famous 'body classes' - then the witness this group from the big city. It was a special event orchestra set to work on the concert repertoire. As well for the whole community. The British expats were there as having Julie Wright to put us through our paces, we in force, the mayor, the head of the Syndicat d'Initiative were privileged to have the direction of Atarah Ben- and the Priest who had apparently been ag4nst the whole Tovim. Both Julie and Atarah really pushed us, working enterprise. And who had they all come to see? Flutes? on details and ensemble. Every session was extremely Only flutes? A Flute Orchestra from London!? The chat- constructive and they drew the whole orchestra together ter rose to a buzz as more and more people crowded in. as a unit, thinking and playing as one. As the week When would proceedings start? Would it be British style progressed, the orchestra went from strength to strength. - i.e. more or less on time or would it be French style - After several impromptu busking sessions at various at least half an hour late? local market towns, we performed our first concert - at At last, here they were, resplendent in their dinner the Chateau. Atarah lead the proceedings, assisted by our jackets and ball gowns in pinks and greens. What, only leader (JulieWright) . The atmosphere in the Chateau was twelve of them? And, at their head in her dress of many breathtaking and the concert, magnificent. Chris Britton colours - Madame Atarah Ben Tovim herself. The cheer- displayed his technique in performances of both Sping ing started about halfway through the first half of the con- from Vivaldi's Seasons and TheFlight of the Bumble Bee, Julie cert. By the end, the audience were in raptures. The best performed the Faur-6 Pavane exquisitely and Jeremy concert they had had locally for the past fifteen years, Deeks (first flute) played all his solos with his unique someone said afterwards - the local paper subsequently singing tone. referred to the group as 'les magiciennes anglaises'. Our last concert our 'piGce de resistance', was at Alle- Something which gave the evening particular dis- mans du Dropt in a spellbindingly beautiful church. We tinction and also made the visitors from London take note were unsure as to whether we would get a large audience was that, apart from showing them off, local (British but on returning to the church after the rehearsal (in expat) talent also played a major part in the entertain- front of the local press) and a meal, we were amazed to ment. The second half of the evening began with a world see the church was full, with people standing. premiere - a very attractive flute quintet (played as a After the concert, wine was laid on in the market decet), by a local resident, Peter Jarvis, which I under- square. We were showered with compliments and there stand the Flute Orchestra of London are taking into their were even requests for CDs - one member of the audi- repertoire. ence commented that itwas the best concert the town had This was a special concert and the inhabitants of Alle- had in ten years. mans du Dropt were won over, they want them back next The tour had been fabulous and no one wanted to year, and back they are coming with of course their charis leave. matic artistic director Atarah Ben-Tovim.

Out-door concert - basking in St. Emillion. Regional events . . .

October saw a busy flute day in Newcastle organized by in Bristol of flute workshops and final recital with Kirsten Christine Ring with Atarah Ben-Tovim as guest tutor. Spratt. With junior and intermediate workshops on one Over seventy flautists were presented with a variety of day and senior the next, Carole Timms had carefully activities from junior storytime, masterclasses, chamber planned this event ensuring that each level had its own music and improvisation to trill sessions and of course the particular focus. Attendance was very good with a high ever popular massed playing time. proportion of adult players. Irene Barnes masterminded Bolton's first BFS flute Now well established as an annual event, the Twick- day which attracted no less than 115 players! Guest tutors enham Flute Festival was once again extremely well . David Nicholson and Atarah Ben-Tovim (re-acquainted attended with flute ensembles from Richmond, War- on this occasion for the first time since their 'youth'!) wickshire, Oxford, Kent, Wimbledon, Carshalton, Guild- inspired and motivated everyone with their energy and ford and Streatham. Atarah Ben-Tovim, expertly assisted passion for flute playing and teaching. Of particular by members of The Flute Orchestra of London guided interest to manywas David's session on the NYO set study. everyone through the day's activities and used all of her Tutti ~luttiwere also hard at work on this day. Business unique expertise and management to produce a final for those interested in trade matters was reported to be concert of the highest possible standard imaginable. excellent at both events. Forthcoming area events include a Merseyside day November events included an ambitious week-end in March with Colin Fleming. J.W. 5c Kirsten Spratt and Zip Smith ppforming Sonata Lnlino /g Mikp 1Vlow~r

by Zoe Smith

'Thrown into the deep end' with the Magic &Fantasy of My abiding memories of the opening of the 23rd the Flute in Disney World, Florida, would be an under- NFA Convention on the Thursday are the headlong rush statement when describing 17-20 August 1995 in this to the Burkart-Phelan booth where piccolo try-outs began pianist's life. Originally, I had arranged a gentle and continued for four solid days (being on the booth initiation into the wonders of an NFA Convention, help next door, we had plentiful fantasies relating to the joy ing out on the Keynote Design booth (jewellery of silence), and spending most of the first morning designed and produced by Californian flutist Angela wandering around trylng to find the room Kirsten and I Koregelos, and her retired flute-making father George had been allocated for rehearsals (and wondering Koregelos), playing for Colin Fleming in his 'Interna- whether Mike Mower would be able to find us there!). tional Showcase', and providing the accompaniment for Friday dawned and I have to confess to missing Clare Elena Duran's 'Power Workout', billed in Flute Talk as Southworth's 'Flute Aerobics' warm-up, although it the first warm-up session to incorporate piano! These seemed to have been a great success (in marketing terms comfortable plans were sent awry by a phonecall from too) judging by the queues of people wanting to purchase Kirsten Spratt in early August, appealing to the more autographed copies of the relevant books at the Just Flutes adventurous side of my nature, since her Peruvian booth over the next few days! Kirsten and I took part in accompanist had had to drop out and she was severely a well attended and very well received Exhibitor Show- 'up the creek' without a pianist! Last minute scrambles case, sponsored by Theodore Presser CO, where Simon to rehearse Mike Mower, Martinu and Lennox Berkeley Hunt presented highlights from his Pan Educational Cat- proved scary, but I had a week's grace in San Francisco, alogue. People were pleasantly surprised at the catchy where Angela Koregelos' mother kindly let me use her tunes and good music to be found in such collections - Steinway to cope with my daily doses of salsa and jazz. Cecilia MacDowell proved particularly popular. Then My arrival at the Buena Vista Palace helped me to came the 'Rhythm and Groove' concert which was to become accustomed to another established Disney bring my debut performance of Mike's Sonata Latino. tradition - that of queuing! I checked in very late at night, Other contributors to this programme included some real but had to queue for half an hour and then wait another Latin American groovers, so we were determined to hour for the security people to mend the door lock- not abandon any English inhibitions and give them a run for an auspicious start. Then there were queues for break- their money. It seems we did. The applause was very warm fast, lunch and dinner, and never quite enough bar staff and I was gven the name of 'the salsa pianist' (itwas easier to cope with the thirst of the traders and performers! than remembering Zoe!) . The best result was that copies of Sonata Latino sold out shortly after our performance. The next morning came all too soon, with Elena's On to the next event, and a slightly sparser audience warm-up during which we challenged, entertained and for the International Showcase with Colin Fleming where kinesiologised a large crowd of enthusiastic Americans he introduced the listeners to Philip Hammond's (starting a 8am on a Sunday - not fair!). My final fling Sonatina, Seghers' Souvenir de Gand and Victory's Pavane was Kirsten's European Showcase which ran late (surprise, (pour un chien dqunt, named Gyp). The close of day for surprise), and by the time we got on stage the audience me was a welcome relief, and the day's combatants had halved because the Young Artists' Competition had together with Andy Thomson, Angela Koregelos, Chris just got underway. Nevertheless, our programme of Abell and Dana Sheridan (two very genial people making Lennox Berkeley, Martinu and Mike Mower went down very genial flutes!) dared to leave the hotel's air- very well. All that remained was to help our friends pack conditioning to battle through the humidity for dinner up their booths, and then everybody breathed huge sighs on Disney's Pleasure Island. This was followed by a pre- of relief. My final dose of Magic and Fantasy came in the storm dip in the swimming pool and then on to the early hours of the morning, when I fantasized that I heard cabaret. . . several flutesjamming along the corridor from my room I don't think that any of us were quite prepared for -it turned out not to be an illusion, but the hypnotic hips Nestor Torres and his hypnotic hips! Nestor is based in of Nestor Torres at it again . . .! Florida although his roots are in Puerto Rico, and he has already recorded a couple ofjazz albums with his group who are fabulous (particularly the real salsa pianist), and the stage show they gave us was superb. Sadly I left before the audience loosened up enough to dance, but I believe that the girations of the Arista brothers (more flute ...fltaeah Sea - makers) were worthy of mention. atr.ctor ... gulte Wci5ht * Saturday was a rest day for me, with rehearsals but 'Don't mire tmo uniqru lrdM~~wuretr at $ no performances. Kirsten, howeve'r, was up with the lark Xlnwlu~rnSchool, iSuJuq nr. Oxjotd. $$ flpd 6th - 8th ifm younger ffarct~ocs$$ to present her 'Full English Warm-up' which again P-ust 24th - 26th $aadalcs $f proved popular (but no book to autograph yet!). Selling waxm81 241 7572 % in the Trade Hall was slow for most people (except piccolo salesmen) - it seemed that Disney was taking people's spare dollars rather than the flute! Elena DurAn's Mexican trio had arrived for that night's cabaret slot and the pianist, Luis Zepeda, was mesmerised by the Epcot Centre. I know that Albert Cooper enjoyed spend- ing time sampling the delights of Disney in the company of Michael Emmerson and Elena DurLn, and this was probably his only chance of peace, since whenever I saw him in the Convention he was besieged by admirers of his work. I decided to be virtuous and attend the Gala Concert that night where Gary Schocker performed his Geen suteChoir Weekend Places Concerto. This was a very pleasant work, but it was with W.crdwxs difficult to respond more positively since the hall's and +itd acoustic and size made the whole performance very 9 distant. The second half of the concert featured Jim Cdin seminfi Walker (ex LA Phil) playing the Corigliano Pied Piper hpincfpaliputo - Wstuv Orchtra) Fantasy with a cohort of young students for the final sndshnpeuw - piano er march. Bedecked in the traditional Pied Piper attire he Cl+skwortkr NwL-Pbw looked splendid, and one of the most touching sights of m the whole Convention was seeing his own children clam- on Sat 16th Sun 17th %rch 19% bering all over him after the performance. - Elena DurAn's cabaret 'Broadway to Hollywood' started late due to the late-running of the main concert (a regrettable and BR-like feature of the Convention in general) but was warmly received - a welcome relief to hear Bolling and Beatles after some of the more highbrow specialist repertoire available to delegates during the day. Bad programming on the part of the NFA meant that Mike and Kirsten were jamming upstairs in the bar at the same time - people were sad to have to make a choice between two such appealing propositions. FEBRUARY FLUTEFESTIVAL Emily and Catherine Beynon

Robin Soldan

RECITALBY BFS MEMBERS 59 (STUDENTS AND CHILDREN £6) EMILYBEYNON NON-MEMBERS£ 12 (STUDENTS AND CHILDREN 59) PRINCIPALFLUTE PRE-BOOKEDTICKETS &lOFF FROM JENNY WRAY, RowCONCERTGEBOUW ORCHESTRA, AMSTERDAM THEWHITE HOUSE, HATTON GREEN,HATTON, WITH CATHERINEBEYNON, HARP WARWICKSHIRECV35 7LA. TELEPHONE01926-850000 (OFFICE HOURS). WORKSHOPON BAROQUE MUSIC WITH FLUTE CHOIRSPARTICIPATING IN WORKSHOPS: RACHELBROWN £5 PER MEMBER. PLEASECONTACT ROBERTBIGIO, FLUTEAEROBICS WITH FESTIVALORGANISER. CLARESOUTHWORTH TELEPHONE0181-882 2627. FAX 0181-882 2728. Email:[email protected]. FLUTECHOIR WORKSHOPS WITH ROBINSOLDAN, JULIE WRIG~ ANN CHERRY,HUGH PHILLIPS TRADESTANDS

The British Flute Society is a Registered Charity Karen Morrison- South Hampshire Tessa Ralphson - Southport, Merseyside

Karen Morrison started the flute at eleven and the saxo- Tessa began the flute with Ann Hoad at the Canvey Island phone when she was fifteen. She began her career play- Junior Music School. She originally wanted to play the ing in a pop band, performing at clubs and dinners until oboe but was unable to find a suitable teacher - however her teacher, Tim Wheater, persuaded her to take up with Ann Hoad's enthusiasm and encouragement, she music seriously. She then went to the Colchester Insti- never lookedback. When she was sixteen, having moved tute where she did a degree in music and studied the to Southport, she attended one of the famous 'Atarah's flute with Duke Dobing and Keith Bragg and the sax Band Concerts' and after doing an audition (in the foyer with Angela Fussell. Karen went on to the Middlesex after the concert!), was invited to play a solo with them. Polytechnic, where she trained as a teacher and studied Colin Chambers was Tessa's next teacher and later, the clarinet with Gordon Lewin - she also took flute at Huddersfield Polytechnic, she studied with Ron Mar- lessons with Trevor Wye. lowe. She has been fortunate enough to play in master- Since 1986 Karen has been working for the Hamp classes given by such people as: Atarah Ben Tovim, Colin shire Music Service where she teaches 195 woodwind Flemming, Trevor Wye, Jonathan Snowden, Daniel pupils per week and spends one day a week on class music. Pailthorpe and Elena DurAn, whose Stratford-on-Avon She has CO-writtentwo books on class music and has orga- Course Tessa attends regularly - this year she was the nized two Hampshire Flute Days with the BFS. course administrator. Karen used to play regularly with Saxology, a saxo- Tessa founded and runs the year old Southport Flute phone quartet and Flutopia, a flute quartet. Now, for Club, which has regular meetings and flute classes. She recreation, she runs a weekly wind band, plays regularly has also organized a number of successful 'Flute Days' and in local shows and has recently helped to form a new syrn- masterclasses and at the moment is preparing a Flute phony orchestra in Portsmouth called the Solent Sym- Choir Weekend in Liverpool with Colin Fleming for next phony Orchestra. Having recently moved to West Wellow March. She has recently been elected as a Council in Hampshire, Karen is discovering the joys of living in Member for the BFS, and is very much looking forward the country. to working with the other Council Members. Reviews

Sob Flute Elaine Baker. Published by John Wion, lightly scored movement where the Alain Gaussin: La chtwelure&B&hice 180 Riverside Drive, New York, NY solo instrument emerges. This effect for solo flute (or oboe or clarinette). 10024, USA. $14.95. is also strongly felt in the Overture. The simplification of the piano part This is not only a 'must-have', but also is largely based on the elimination of This little work was commissioned by a 'why haven't we heard of this the first violin part, greatly reducing the French government as an exam- before' piece of music. Romberg's the musical effect of the tutti/Solo ination piece for school-aged players. Concmtois wonderful fun and fills the balance and the music is poorer for It is written in an uncompromisingly large gap in flute concertos from the it. (The flautist in me enjoys the loss 'modern' idiom. There are clear Beethoven era. This edition is clear, of the piano doubling but the musi- instructions on glissandos (to be welledited and well-transcribed for cian in me doesn't like it). The sup done with the lips in the flute flute and piano. Highly recom- pression of the first violin part will version), on the control of vibrato mended. RB. surely be noticed in the BadiW, any- (on, off, added slowly, and so on) and one who knows the work must be very on breathing. There are no extended Pamela Wedgwood (ed.): ChA aware in bars 6 and 7 when the flute techniques such as multiphonics, but Jazzin' About (Classic Christmas hits is playing repeated Ds that the violin this work would be an excellent intre for flute and piano). Faber Music. ducks down to C#s in between and duction to contemporary music for similarly a bit later. In this version it's younger players. RB. All your favourite Christmas tunes in like a mince pie without the currants. one volume. This is ideal for The flute part is carefully anno- children. It is well-arranged, clear tated with editorial suggestions as to Fran~oiseRossk: Exo~che(F1 or and very easy. R.B. Alto F1) (Lemozne/UMP, £4.80) slurs, rhythmic conventions and the performance of ornaments in line Preceded by the obligatory gooey J. S. Bach ed Wye. Suite No 2 in B with good scholarly practice. It is a verses by the composer, this work Minor. Novello. £4.95. pity that in such a carefully prepared intriguingly exploits avant-garde edition a misprint has arrived in the Trevor Wye and Robert Scott have set timbres without really straying into Minuet in both the separate flute part out to make the string parts into a the third octave. Evocative. L. and in the score. (Inexperienced more convincing piano part than players take the printed notes very the usual transcriptions, as they have literally). In the 5th bar the last note Flute and Piano done with the Mozart flute concertos, should be a G, not an F#. D.C. Muczinski, Robe*. Moments for flute in the belief that this would be prefer- and piano. Theodore Presser Co. £1 4.25. able for performing the work with Flute and Piano flute and piano. This approach Muczinski writes so sensitively for C. P. E. Bach. Complete Sonatas for worked very well in the Mozart, the flute that it is a pleasure to play Flute and Obligato Keyboard. Musica retaining most of the musical con- his music. This three-movementwork Rara. tent. I am not sure that this is the case lasting twelve minutes will make a Volume IV Sonata in G major, Wq in this edition. I am sure that most challenging yet accessible recital 85/H. 508 £7.50 flute-players hate playing an piece. The slow movement is partic- Volume V Sonata in G major. Wq extended passage, let alone a whole ularly lovely. I have my usual com- 86/H. 509 £7.50 movement, doubled by the piano at plaint about the price, however: Volume V1 Sonata in C major. Wq the unison or octave (though accept- $15.00 (about 210) in the States, but 87/H. 515 £7.50 Musica Rara £14.25 in Britain. This sort of thing able with strings) and these have cannot continue. . . R.B. been eliminated here. Hoorah? Not Sonatas W,V and V1 are part of the really. The Da Capo movements such new series of C. P. E. Bach sonatas as the Bourries and Polonaise and published by Musica Rara. The first Bernhard Heinrich Romberg: Gm- Doubkcharacteristicallyin this period three of which were reviewed in the certo in Bmimr, Op. 17fo~jlute.Edited exploit the contrast of a tutti move- Summer '95 Pan. According to the by John Wion. Piano reduction by ment and its repeat, flanking a more catalogue of Car1 Philipp Emanuel Bach's Estate (Hamburg 1790) the taken the risk of suggesting possible Leopold Mozart (17 19-1787): Sonata in C Majur is the only one of metronome markings, although I Concerto in G. (Ricmdi Sy . 2593). his sonatas which was conceived as a realise that these are sometimes Here are the building blocks from sonata for obbligato keyboard right taken too literally. A separate figured which Mozart fils created works of from the beginning, all the others continuo bass part is supplied which, genius. Solid, enjoyable, backward- being authentic adaptions of trio it is suggested, could also be used to looking music from a real pro. L. sonatas for flute, violin, and basso practise one's own realisation. D.C. continuo. Again this edition follows the main sources as faithfully as TwoJutes possible with meticulous notes on Lothar Kempter (1844-1918): Willem de Fesch: Six Sonatas for tzuo deviations or alterations made Ballade, Up. 37 (Amadeus, BP 22 78, flutes or tzuo violins. Edited by Gerhard because of illegibility of original £8.50). Braun. Universal Edition. £7.95. material etc. Beautifully printed on An unadventurous but enjoyable durable paper, sturdily bound. The Dutch-born de Fesch spent trifle from a man who taught Otmar J.F. many years in London where he died Schoeck. Idiomatically written for in 1761. These delightful pieces were the instrument. L. first published in London in 1743. Philippe Rougeron: L7Hibiscus They are easy (perhaps grade 4 to 6) and a lot of fun to play. The edition ( Leduc/UMP, £7.55) Gaby Wagenheim: Mblancolie is excellent: clearly printed on good Yzennoise (Hamelle/UMP £15.70). Nice to know that the tradition of paper in score form, with regard to salon pieces for the flute is alive and A pleasant genre piece lasting just the page turns. Recommended. RB. well across the channel. over eight minutes. Nothing too tax- ing, except perhaps the price - can this be a mistake? L. Three Flutes Philippe Leroux: P P P for Rufe &' "Three's A Crowd" Christmas Book Piano (Billaudot/UMP, £10.50). compiled and edited by James Power Dense, virtuoso writing for both Concertos Arrensdorf £4.95. Piano accompani- instruments, PPP exploits the full Wfiam Mathias Chmertofor Rute and ment/guitar symbols £4.95. Strings (arr. F1 + Pno) (OUP). gamut of flute timbre; page one is These popular Christmas carols can almost entirely one single note end- Mathias was a true craftsman; the be played by grade 3 to 4 flutes (some lessly manipulated. Clever and music always grows on you. Here, a grade 2s as well I should think) in intriguing, tho' by now it's hard to quizzical opening movement pre- many combinations - as solos, duets, come up with much in this line that cedes an unusual Lento Molto in trios, with piano accompaniment, hasn't been tried before. L. which the lone flute raves and with guitar and all together as awind declaims, the strings trying to coax band. A good idea for flute choir the soloist back into a calm frame of carol singing, should be a welcome Flute and Piano mind. Equilibrium is only really change on peoples door steps and Edited by Richard Jones. Baroque restored in the light and lively final quite feasible if the mild weather Flute Pieces, Books I, XI &LU Associated Allegro. Not avirtuoso solo part, but continues until Christmas. J.F. Board. Each £5.25. very satisfying to play. L. These are good value. Book one con- Robert Schumann: Eight pieces from tains 27 short pieces, of which four Album for the Young, Up. 63 arranged are used in the first four grades in the for three flutes by Doris Geller. new Associated Board syllabus, Book Zimmerman (Frankfurt). two, 18 longer pieces and Book three, Yves Prin: Concerto (1 986). 14 pieces. The books each contain 15 These arrangements are a welcome (Durand/UMP, £9.10). or 16 pages. Separately and together addition to the repertoire for teach- they provide a good introduction to Written for Pierre-Yves Artaud, and ers. The music is sensibly presented music of the period from Michel de consequently taxing, this work comes with the first flute reading from the la Barre to John Stanley and C. P. E. with a long, very necessary preface score (and the other parts in smaller Bach, including among others, detailing the techniques employed. print), plus separate parts for the Handel, Bach and Telemann. Well This three-movement work fascinat- second and third flutes. RB. printed, each part is copiously ingly reveals how the French style of supplied with good editorial sugges- flute writing has developed from the tions for the realisation of the various Concerto of Ibert, with which it Flute ensembles embellishments. For those not too shares melodic and rhythmic motifs Mike Mower: 12 Bite sire pieces (3 familiar with the period it would despite its far more avant-garde rounds, 3 duets, 3 trios, 3 quartets). have been nice if Richard Jones had standpoint. Good value. L. Itchy Fingers Publications. £4.95. CAMDEN MUSIC LEADING THE WAY IN QUALITY WIND MUSIC PUBLISHING

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EASY FLUTE AND PIANO teaching material for JEFFERY WILSON . Two in G £3.50 beginner, intermediate and Prices include score ond pods. Please odd C1.50 for postoge. ensemble teaching use. Send for a free cotologve todoyl LEARN AS YOU PLAY CAMDEN MUSIC 19A NORTH VILLAS, CAMDEN SQUARE, LONDON NW1 9BJ PRACTICE SESSIONS Tel/Fax: 01 71 267 8778 VISAIMASTERCARD WELCOME pp SESSION TIME

* Explore new teaching strategies to help your pupils develop technique and 2 Flutes : . musicianship * Motivate your pupils in the early stages MICHAEL REGAN Jazz Duets Five attractive short pieces in jazz and Latin- * Experience repertoire that encourages American styles. Moderately difficult. E3.95. practice and performance 4 Flutes RAYMOND PARFREY * Hear the progressive teaching Cloud Ballet Four melodic parts, soaring and dipping in an evo- cative tempo di valse. Moderately difficult. E7.50. 8 Flutes+ TCHAIKOVSKY Overture Solennelle '1812' Please send me a copy of the I BOOSEY& HAWKESWOODWIND & BRASSTEACHERS' FREE CD: Two of the players could double on piccolo, while I bells and cannon are optional. E10.50. l ...... Name

Prices include postage.Why not send for our iI Address...... - ...... fkee catalogue now to discover more delights? I I ...... Piccele Pree~~ I I 1 ...... Postcode: Tel No. 10 CliftonTerrace,Winchester, S022 5BJ. I Telephonelfax: (0 1962) 864755 I Please return this coupon to: The Marketing Department, I Boosey & Hawkes Freepost, WD 257, London NW9 5YA ! F Mike Mower's skill in writing for the an interesting work to play with the Sonatina by Castelnuov+Tedesco. flute is well-known. These are won- challengingvirtuosicpassage work. It Just the job for jaded profes- defil little pieces that are perfectly proved necessary to edit dynamics sionals and tired virtuosi in need of suited for group teaching and for and articulation -excellently done by stimulation and a challenge. J.F. school concerts. R.B. Bernhard Piiuler, though as far as notes are concerned, the Nageli print is practically flawless. J.F. Domingo Simoni del Croubelis: Opera E3ccqbts for the Hute (part 5) - @urtet for flutes. Edited by Joachim John Wion. Publish& by John Wian. 180 Kremer. Zimmerman (Frankfurt). Flute Oboe Clarinet and Bassoon/Alto RiversideDrive, New York. N. Y., 10024. Saxophone Not much is known about Croubelis. Maty6.s Seiber: Dance Suite for flute, John Wion, who has been Principal The editor of this work does not oboe, clarinet and bassoon (or in the New York City Opera even give the composer's dates, but saxophone). Arranged by Stefan de Orchestra for 30 years, has just com- he must have lived in the late eigh- Haan from Seiber's Easy Dances. pleted the seventh volume of a teenth century. This agreeable and Schott. £7.95. unique and comprehensive collec- very interesting quartet will be of tion of opera excerpts. Teachers who value to teachers of students in the Seiber's Easy Dances for piano were know of this series would surely never grade 6 range. RB. based on popular dance styles of the let any student go through music col- 1920s and 1930s. These arrange- lege without both acquiring and ments are enormous fun to play and studying all of these books. So much BizetIWye. Jeux d'enfants. Nouello. are highly recommended. R.B. emphasis is placed (rightly) on the £12.95. study of symphonic excerpts and lit- Bizet also played the flute so I am tle, or none, on the study of the opera sure that he would have approved of Studies repertoire, which requires unique this careful transcription of four of Niccolo Paganini. 24 Caprices, ($1. skills and sensitivity [sixth sense!] his five pieces, with perhaps a slight Transcribed and arranged by Patrick for the accompanying orchestra and reservation, as I have, about the Gallois. Leduc £24.80. which of course contains many movement entitled Trompette et Tam- prominent and important solos. Gallois suggests in his introduction, bourwhere the dynamic range heard As John Wion says in the intro- that it should be possible to 'forget' in the orchestral and piano duet duction to the series, 'the principal the flute and go beyond it's ordinary versions is so much more potent function of the [opera] orchestra is limits. He is trying to introduce us to than could be expected from flutes. to accompany the singers . . . more modern techniques e.g. circular Apart from that they all work well and need for beauty of sound, expressiv- breathing, double stops, but some of the famous Galop is particularly suit- ity, and sensitivity to tempo fluctu- the changes he makes, actually Sim- able. For flutes in C, piccolo, alto ation . . .', you therefore need to be pllfy the original. Advice is given on flute and . D.C. in complete technical command of circular breathing, but not enough, the music before you begin. John and a few of the caprices remain Wion has done a magnificent job unaltered. If you want to develop Flute and Guitar here. There are solos and difficult your modern techniques, then this Mfkho Diego Pujol: Suite Buenos tutti passages from 22 operas in vol- will give you a few ideas, but it's an Aires (F1 + Guitar) (LRmoine/UMP, ume 5 alone. Each excerpt is pref- expensive edition, with some unwel- 58.10). aced by a brief description of the come changes. Look before you buy. story and states the scoring, with Four movements idiomatically laid C.S. practical advice on the extracts, such out (Pujol is a guitarist), owing much, as: where it is necessary perhaps to inevitably, to the tango and to learn a short passage from memory Piazolla. Teasing occasional music. L. Luigi Ottaiano 36lZwmisesJdk. because the flute is accompanying a Hen9 Lemozne UMP £9.95. tricky tenor solo, where there is an Really difficult well thought out daily awkward ensemble run for the flutes, Two Flutes and Viola exercises rather in the same mould as where the tempo usually doubles, L the Moyse ones. There are exercises when the upbeat is played much @ten und Viola Amudeus £1 1.65. for scales and arpeggios in 5ths and shorter than it is written etc, even One of the few works written for wind minor 3rd~:intervals of 2nd and 3rd comments like 'there are consider- instruments by the talented violinist and inversely, 3rd and 4th and able discrepancies between the scor- and viola player Alessandra Rollo inversely, etc. etc. Also a marvellous ing and the parts in this section': All (1757-1841) who supposedly gave couple of pages based on the Cowente tremendously helpful in preparing the young Niccolo Paganini violin from a Bach Partita, another based the players for their task. The series lessons and who founded the Lom- on exerpt from Peter and the Wolf is unique - would that it had been bard School of violin playing. This is and a third based on an exerpt from available before I began my career, I l FROM SCHOTT

Devienne: 20 petits airs for 2 Flutes (Caesar)

Mozart: The Magic Flute arranged for 2 Flutes (Went)

Quantz: 6 Sonatas for Flute & Basso continuo

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Send for a copy of the Schott Wind Music Catalogue would have had an easier start to my how the various tests might be pre- alas). The Italian players are accom- life in the opera pit. J.F. sented and provides practice sam- plished too, though what they play ples. It is obviously most desirable to holds the attention rather less. It have worked through Books I and 11. amounts to a useful survey of the state Music Rem'ved The cassettes are well recorded of European flutistry today, but the Jeremy Drake: Sonata forflute and gui- and the work on them is clearly sleeve notes definitely go overboard. tar. Editions Salubert (UMP). £7.90. presented. All round a good invest- Nor does all the music chosen hold Mauro Giulini: Sad,W. 127for ment. D.C. the attention for long, however com- flute and guitar. Edited by Henner petent the audience . . . J.C. Eppel and Voker Hoh. Zimmaman (Frankfurt). Ws/Cassettes Fippo Gragnani: Sonata in D Major Flautissimo '93 (Vols 1-3): Accade- forflute andguitar, OP. 8, No. l.Edited miu Ztaliana del Flauto AFOO1-3. by Henner Eppel and Volker H6h. The Classic Buskers Handel with Care International Flute Seminars are an Zimmennan (Frankfurt). (Seavim Music W 007367). Ivan Shekov: Concertino for four acquired taste. There are, I'm told, flutes. Zimmaman (Frankfurt). people who just can't get enough of Their cover picture shows the Cam- Tanguy, Eric: Arur C for amplified them. For such connoisseurs, here bridge Buskers have changed their bass flute or flute in C. ~ditions are highlights from a grand affair on image even before donning their Salabert (UMP). £11.50. Lake Garda a couple of years hack. periwigs for this occasion: whether Vladislav Uspensky: States for solo 'The most striking aspect [of they have grown wiser as well as older flute. Editions Max Eschig (UMP). these recordings, according to the is open to question. This is as devas- £8.50. blurb] . . . is their particular atmos- tating a display of the versatility of phere, which goes beyond the sen- Messrs. Copley and Moore as you are sations normally offered from a live likely to hear this side ofjudgement recording. . .The performers played day. Their choice of instruments is TEACHING before a competent audience [my catholic, leading them into kitchen italics] composed primarily of and even bathroom in search of fresh Ronald Smith. Aural Tmining in Prac- flautists, some of whom were concert challenges: precisely how the Rubber tice, Book m, Grades 6 to 8. Associated artists of international fame; the Chicken is coaxed into giving voice Board. £6.95. Double audio cassette creative tension that derives from is perhaps better left to the imagina- £1 1.69. the mixture of an informal atrnos- tion. As well as their usual flutes, Too often pupils, and some teachers, phere with substantiallyrigorous dis- pipes, and medieval instruments treat the aural tests of grade exams as cipline makes these performances there are mercifully brief appear- a nuisance and wony to be dealt with truly unique, and capable of trans- ances from eunuch flute, kelhorn, as the exam approaches when time is mitting both the feelings of cele- kena, and digital horn, the highlight too precious, instead of them being bration and cultural exchange, of (or low spot if you aren't already a straightforward measure of the con- playfulness and extreme profession- pretty well oiled) being a rendering tinuing musical development vital to alism, that the participants of the of the Ride of the Valkyries on all instrumentalists. If sight-singing is symposium experienced'. So there sopranino recorder, rauschpfeife introduced in the very first lessons you are. and accordion, with deafening when the pupil can only play a few Actually, the strain does show a shrieks from Moore letting fly as a notes it is quite easy and develops bit. It goes without saying that the castrato Brunnhilde, inches from the from there. Likewise recognition of standard is high, and there are pleas microphone. the difference between major and ant (albeit uneven) performances And there's the rub. By defini- minor modes and noticing and iden- from stalwarts like Peter-Lukas Graf tion, the busker's natural habitat is a tifying cadences can be achieved (happier in Mozart than in C. crowded railway-station during the early. If you catch yourself saying Franck), Jacques Zoon and Andrh rush-hour, surrounded by enthusias- 'Right, in this grade we have to do Ado j5n: Philippe Bernold, where in tic and noisy commuters. This disc, sight singing (or cadences, or differ- a cool PiernC Sonata or with Janos however, was closely and faithfully entiate between major and minor)', Balint in the outrageous Doppler monitored in Richard Stilgoe's front and then have to explain, it's too late! Rigoletto Fantasy, seems on most room with no audience, produced by This book of 88 pages, the third consistent form. Kirsten Spratt dis- a chap with a Doctorate and pressed in the series, is a must for all teach- tinguishes herself technically in Mike in Switzerland. Precious little of the ers. It is not merely a collection of Mower's Triligence and Academicians spontaneous atmosphere the boys sample tests but a manual, explaining which come across with an appro- can create so marvellously survives the purpose of each test and steps priate, slightly hard, detached dry- this process, and the result is often which can be followed to achieve the ness; if the overall effect is less than pretty bizarre in consequence. You ability to cope with them. Lucidly and convincing here, blame the pianist! have been ,warned - Handel with helpfully written it gives examples of (Adorj5n too is poorly accompanied, Care. . . J.C. night: British Flute Magic. Ingid on this disc is Boehm's Grand Polon- Culliford 8c Dominic Saunders 'Moyse' model, Tel: 00 353-1282 231 1, aise. This she plays with marvellous (piano) (Lontano Records LNT 107). or write 'Elmhurst', Ballybride Road, virtuosity. The smaller works include Shankill, County Dublin, Ireland a lovely performance on a bass flute With this fascinating disc we return in G (which todaywould be called an to the mainstream themed recital. alto) of Schubert's Am meer. Simon Ms. Culliford's survey deals with the Nicholls accompanies well, the sound highways and byways of the British quality is good and the record notes, repertoire, giving prominence to the Silver headlsilver-plate body. by Rachel Brown herself, are excel- Sonata and Miniature Suite of York Good cond. £1,000 ono. Tel: 0161-445 7446 lent. This is a splendid disc. R.B. Bowen: really listenable music that any recitalist should take seriously. There is also Elizabeth Maconchy's THE WESSEX FLUTE BAND BOOKS characteristically, dry, but effective Colloquy, and the Alwyn Sonata, Fridays in Trowbridge. Concerts, Queen Ekanor's Legag. Atarah Ben- brilliantly written for the instrument. contests, musical and social events. Tovim. Platkus £15.99 314 pages. Two memorable rarities for unac- Ages seven to seventy, challenging but playable music, grade 4 to diploma. From its dust-jacket, Queen Ekanor's companied flute complete the pro- New members welcome; have fim Legacy looks as if it could be a gramme: Roberto Gerhard's achieving high standards. women's magazine historical Capnccio, a favourite of mine (its Contact: P. Clelland (Wilts rep.) romance, but from the first page it Spanish colouring subtly brought Tel: 01225-752971 proves to be much more. It is an out here) and the extraordinary unusual book. It is not just the story Flight of George Benjamin which of a powerful mediaeval queen and gives the disc its title - a virtuoso FOR SALE: flute tutors, studies, her time-travel connexion with Jay, a performance of compelling sounds pieces, books, recordings - 22W items. twentieth century flute player - but from one of our most interesting £60, or will sell separately. List also a mystery for which the meticu- young composers. available: 01432-263935 lously researched clues will please lin- The playing throughout the disc l guistically inclined readers - and in is imaginative and committed from which present-day terrorists are both performers, and the recording linked to Nazis and to twelfth century is a perfectly-judged presentation HAMMIG PICCOLO crimes. The book also features which immediately prejudices you As new. Professionally played in LSO. Tel: 0181-943 5329 moments of surreal humour and an in favour of the players, and makes undercurrent of a deeper philoso- listening straight through a pleasure phy, and what's more, it's a love rather than a chore. An interesting story. For a non-flute player it is an and most successful recital. J.C. Flute, Buffet, Silver Head, Hardly Used. enjoyable read: for a flute player, it Excellent Condition E300 o.n.0. has the additional charm of being Tel: 01 17-924 5757 able to empathize with the authenti- Rachel Brown, flutes; Simon cally drawn heroine: (who would be Nicholls, piano. Schubert: Zn2raEuo better able to portray the life of a tion and Variations, Op. 160; Two grfted young flute player on the con- songs from Winterreise (an-. Leopold Pearl Flute, solid silver. cert platform than Atarah-Ben- Jansa); Am meer from Schwanengesang E mechanism, B foot E850 Tovim?). But most important of all: (arr. Theobald Boehm) . Boehm: Excellent Condition Tel: 01491-681637 it has the 'read on factor' which for Grand Polonaise, Op. 16; Potpourri me is the best way ofjudging a novel. of Waltzes on Schubert's and other - It is not often that a creative artist can Favourite Melodies, op. 18; Fantasy woodwind & CO make the transition into another on a Schubert Air, Op. 21. Chandos medium, but Atarah Ben-Tovim has CHAN 0565. been able to bring her characteristic Rachel Brown plays the Schu- verve and energy to novel writing, bert Variations on a nine-keyed flute and I look forward to reading her (the ninth key is to play the low B). ind next book. J.N. It is a revelation to hear this work as it was intended, with flute and fortepiano properly balanced. It is a pleasure to hear it played without a supercharged, machine-gun vibrato. Reviewed by: Dennis Clarke, Rachel Brown plays this elegantly, 0161 - 775 1842 Lapmar, Robert Bigio, Judith Fitton, with a beautiful sound and with flaw- 208 Liverpool Rd. Cadishead Clare Southworth, Janice Norman, less technique. The other main work Martchester M44 5DB __ Julian Coward. SUMMER FLUTE ACADEMY 19th to 21th July 1996 TREVOR WE& CLIFFORD BENSON

Rachel Holt, Susan Thomas and Robert Scott

Flute Master Classes and Sonata Classes focussing on the relationship between the flute and piano, using the traditional repertoire. Excellent accommodation, food and surroundings.

Details from the Administrator: Ann Nichols, Oak Cottage Elmsted, Ashford, Kent TN25 5JT Telephone: 01233 150212 The Summer Flute Academy is sponsored by Novello and Just Flutes *

WOLDINGHAM

July 28th - August 3rd 1996

Presents. . . Clare Southworth Goran Marcusson & Helen Brew *Featuring Rob Buckland Uazz Saxophonist) & Danielle Eden (Piccolo)

For an application form & further information: JustFlutes 36 Chipstead Vally Road. Coulsdon, Surrey, CRS 2RA Tel: 0181 668 4444 Fa: 0181 668 7262 /f Dear Editor, adults, and the support of local teach- July copy date was the day before the I enjoyed the amusing feature on ers, makes these a motivation and Birmingham event. Trevor which appeared in the inspiration for all who take part. By Yours sincerely autumn 1995 issue of Pan butjust in the way, is no one going to write Julie Schroder case anyone takes his criticisms of the about the new Ass' Board exam Birmingham British Flute Society seriously, I syllabus? Does no one feel passion- would like to assure your readers ately enough about it one way or the Julie Wright replies: Thank you fmyour that we no longer dwell in the Stone other? encouraging comments about further Age. If Trevor would like to be Yours sincerely events fmpre-fmdflutegroups. We are brought up to date with our work- Atarah Ben-Tovim - Area Rep includingsimilur coachingsessions to the ings, he would be very welcome to Extraordimire one enjoyed by your flute group in Bir- attend a Council meeting. SW France mingham, at our BFS Flute Day on l l th Yours sincerely February at Dulwich College where the Douglas Townshend - Chairman will be the opportunity to polish and of the BFS Dear Editor, pe$m a prepared piece, befme an audi- Wales As Director of Camp Hill and South ence, guided by teachms with experience in Birmingham Schools' Flute Choir, I this area. Dear Editor, would like to express my thanks to Having, like most flute-players,spent Julie Wright for inspiring us all with Dear Editor, a lifetime trying to avoid quarter- a lively and instructive training I was fortunate enough to attend the tones I was most impressed by the session at the Birmingham Flute Day Conspiracy of Flutes weekend at complicated mechanism of the on July 16th 1995. My group was one Bloxham during the August Bank Osten-Brannen Kingma System of only two flute choirs to benefit Holiday. Quarter-Tone Flute (Pan, Autumn from Julie's training, and my only Julie and Atarah specialise in 1995).A miracle of technology, inge- regret was that this event was inex- enthusiasm and motivation and the nuity and craftmanship. But why go plicably omitted from the pro- whole weekend kept us keen and to all that trouble and expense when gramme, so that others who may interested rushing from one class tc you can hear quarter-tones (and have enjoyed and benefitted from another on breathing, tonguing, microtones galore) in every 'authen- 'eavesdropping' were not aware that articulation, technique, scales, tic' performance on any 'baroque' it was happening. ensemble playing, trouble shooting, flute with just six open holes and one I would like to take this oppor- nerve removal and relaxation. With or two press-to-open flaps for keys? tunity to put in a plea for more events so many classes running concurrently Yours sincerely which give flute choirs the chance to the difficulty was one of choice. Fritz Spiegl perform to each other and to a wider Thanks to the teachers and accom- Liverpool audience. Massed 'ad hoc' flute panists, also to Top Wind for bring- choirs during BFS events around the ing the trade stand and flutes for us country are all very well, but I believe to try and to Andrew Oxley for doing Dear Editor, there is a growing need for ready free instrument checks and minor Having just revelled in two wonder- formed flute choirs to share their repairs. ful flute days - Bolton with Irene achievements in an atmosphere of With a wide range of abilities Barnes, and Newcastle, with Chris- mutual appreciation and encour- from grade 3 to professional there tine Ring, I would like very much to agement. I look forward to hearing was something for everyone. I met a thank the two Reps for all their hard other people's ideas on this matter, great bunch of fellow flautists and work. and hopefully to some positive action look forward to seeing you all again It always amazes me to see the from the BFS. Once again, via Pan, I next year. enormous effort our reps go to to would like to express my thanks to Yours sincerely make a success of each 'Day'. The Julie for a stimulating and memo- Carole Chandler shiny faces of the kids, the courage rable experience, although I fear Richmond on Thames shown by many of the 'late-starter' they will be somewhat belated as the Surrey I .------Prod :

BAH HUMBUG!

(Happy Christmas from all at Top Wind)

Andy Patrick avourite flute specialist i Graeme JOn I Katrina Gary I Stephen Katy Ondine

2 Lower Marsh London SE1 7RJ Telephone 01 71 401 8787 Fax 01 71 401 8788 Telephone or fax for our latest catalogue TOP WIND l i TOP WIND British Flute Society l l th Teachers' Course

loth-12th April 1996

Portpatrick Stanraer Scotland

Resident Tutor...... Ann Cherry Professor of Flute Trinity College of Music

Once again we are offering you the opportunity to share news and views, talk tips and techniques of all aspects of flute playing and hopefully relax and enjoy yourself in a wonderful manor house setting with exceptional food, beautiful grounds, private beach and cliff top walk. All levels of teachers and interested adult players are welcome to attend. The schedule as usual is flexible according to your specific interests and requirements but outline topics to date include tone colour and resonance, new exam repertoire and a series of demonstration lessons covering all flute techniques and using student 'guinea pigs'.

SAE for details of cost, travel and course content from ......

Julie Wright 41 Devon Avenue Twickenham TW2 6PN Telefax 0181 241 7572

****** Stop Press ******

Following the immense success of the 1995 teachers' course to Chateau Pitray on the Dordogne, we are planning a return visit by popular request in late May 199'7 for all interested teachers or adult players! Please contact Julie Wright as above to provisionally reserve a place.